Sons of Namatjira [from the AIATSIS collection].
(eVideo)
Contributors
Published
[San Francisco, California, USA] : Kanopy Streaming, 2014.
Format
eVideo
Physical Desc
1 online resource (1 video file, approximately 47 min.) : digital, .flv file, sound
Status
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Language
English
Notes
General Note
Title from title frames.
Date/Time and Place of Event
Originally produced by Ronin Films in 1975.
Description
Sons of Namatjira examines the relationship between a community of Aboriginal artists and the outside world. Keith Namatjira is the son of the celebrated artist Albert Namatjira, and emulates his father's distinctive style. He lives with his family in the same camp that his father had established on the outskirts of Alice Springs in Central Australia. One of Curtis Levy's finest documentaries, Sons of Namatjira, follows Keith and his wife, Isabel, and other relatives, in their interactions with the wider world including art galleries in town and bus-loads of middle-aged tourists from the big cities. The film highlights communication difficulties between black and white, and in Levy's terms, becomes a parable of black-white relations in Australia. Tourists and dealers drive out to the artists' camp to bargain with the artists in person. Keith feels pressured to accept their offers but dreams that one day he will own his own gallery, so that his family can make a decent living from their work. In addition, Keith has other pressures: he has to go to court on a charge of drink-driving, whilst at the same time working with a legal-aid officer on a claim for the land they are living on. He and his family are worried that their land will be swamped by the urban development they can see closing in around them. This sympathetic portrait of a tiny community of Aboriginal artists is rich in Levy's characteristic humour and sense of irony. It was the last of Levy's films for AIAS before he returned to independent production, and remains one of the Film Unit's most widely seen works.
System Details
Mode of access: World Wide Web.
Citations
APA Citation, 7th Edition (style guide)
(2014). Sons of Namatjira [from the AIATSIS collection] . Kanopy Streaming.
Chicago / Turabian - Author Date Citation, 17th Edition (style guide)2014. Sons of Namatjira [from the AIATSIS Collection]. Kanopy Streaming.
Chicago / Turabian - Humanities (Notes and Bibliography) Citation, 17th Edition (style guide)Sons of Namatjira [from the AIATSIS Collection] Kanopy Streaming, 2014.
MLA Citation, 9th Edition (style guide)Sons of Namatjira [from the AIATSIS Collection] Kanopy Streaming, 2014.
Note! Citations contain only title, author, edition, publisher, and year published. Citations should be used as a guideline and should be double checked for accuracy. Citation formats are based on standards as of August 2021.
Staff View
Grouped Work ID
eb056d94-3abf-a336-4ecc-155415d63a35-eng
Grouping Information
Grouped Work ID | eb056d94-3abf-a336-4ecc-155415d63a35-eng |
---|---|
Full title | sons of namatjira |
Author | kanopy |
Grouping Category | movie |
Last Update | 2022-08-24 19:23:17PM |
Last Indexed | 2024-04-17 02:22:31AM |
Book Cover Information
Image Source | sideload |
---|---|
First Loaded | Dec 25, 2023 |
Last Used | May 3, 2024 |
Marc Record
First Detected | Jan 28, 2022 10:08:47 AM |
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Last File Modification Time | Aug 24, 2022 07:23:53 PM |
MARC Record
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520 | |a Sons of Namatjira examines the relationship between a community of Aboriginal artists and the outside world. Keith Namatjira is the son of the celebrated artist Albert Namatjira, and emulates his father's distinctive style. He lives with his family in the same camp that his father had established on the outskirts of Alice Springs in Central Australia. One of Curtis Levy's finest documentaries, Sons of Namatjira, follows Keith and his wife, Isabel, and other relatives, in their interactions with the wider world including art galleries in town and bus-loads of middle-aged tourists from the big cities. The film highlights communication difficulties between black and white, and in Levy's terms, becomes a parable of black-white relations in Australia. Tourists and dealers drive out to the artists' camp to bargain with the artists in person. Keith feels pressured to accept their offers but dreams that one day he will own his own gallery, so that his family can make a decent living from their work. In addition, Keith has other pressures: he has to go to court on a charge of drink-driving, whilst at the same time working with a legal-aid officer on a claim for the land they are living on. He and his family are worried that their land will be swamped by the urban development they can see closing in around them. This sympathetic portrait of a tiny community of Aboriginal artists is rich in Levy's characteristic humour and sense of irony. It was the last of Levy's films for AIAS before he returned to independent production, and remains one of the Film Unit's most widely seen works. | ||
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650 | 0 | |a Aboriginal Australians|x Ethnic identity. | |
650 | 0 | |a Aboriginal Australians|x Social conditions. | |
650 | 0 | |a Aranda (Australian people). | |
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