Three Australian stories of the supernatural are recounted in this anthology. Rick (Jack Charles), an Aboriginal boy living near a swamp on Bribie Island, is haunted by an American solider ...
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Employees and clients of a commercial gallery only live for love; they dream it, proclaim it, sing it and dance it. Experience the encounters, reunions, passions and disappointments of a malicious chorus of girls and a group of idle boys.
Red Crow Mi'kmaq reservation, 1976: By government decree, every Indian child under the age of 16 must attend residential school. In the kingdom of the Crow, that means imprisonment at St. Dymphna's. That means being at the mercy of "Popper", the sadistic Indian agent who runs the school.
A feature-length anthology film. They are known as myths, lore, and folktales. Created to give logic to mankind's darkest fears, these stories laid the foundation for what we now know as the horror genre.
Three Australian stories of the supernatural are recounted in this anthology. Rick (Jack Charles), an Aboriginal boy living near a swamp on Bribie Island, is haunted by an American solider who drowned in quicksand. Ruby (Tracey Moffatt) and her family live in a house near long-abandoned train tracks, which still carry ghostly apparitions. A landlord (Lex Marinos) has trouble evicting the tenants of an old warehouse: a couple that's been dead for years.
The first feature film directed by an Australian Aboriginal woman. See more »
The trilogy shares the memories of the White settlement in the Australian homeland 200 years ago.
BeDevil (1993) addresses the marginalization of Aboriginal Australians in the events, symbolism, and media hype surrounding the bicentenary of European settlement in Australia in 1988. Tracey Moffatt challenges the racial stereotypes by gearing a political process of reform and self-recognition though her postmodernist 'identity search'-driven work aiming at appropriation of hegemonic spectacle. BeDevil disrupts the hegemony of the pure original canon that excluded Aboriginal Australians from the mainstream. This sort of exclusion practice is a known phenomenon worldwide, more so happens in the post-colonial Third World countries like Pakistan and India as both exclude their ethnic minorities from the mainstream media. The author echoes back to Moffatt's stories of bedeviling experiences with tales of similar issues around race, gender, and normality from Islamic Republic of Pakistan, wherein post-Independence immigrants are constantly struggling for appropriation and redefinition of their identities. The Pakistan born children of miscegenation are considered immigrants by descent despite the facts concerning Islamic origins, two nations' theory, migration, and over 60 years residency. The author shares the mutually bedeviling experiences of 'othering' and a struggle with the notions of shared social conscience and histories between children of miscegenation in Australia and Pakistan in the context of the Australian trilogy.
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