John Pilger's epic portrayal of Earth's oldest continuous human culture,…
Her Name is Nanny Nellie
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HER NAME IS NANNY NELLIE is a powerful and poignant documentary that sheds light on the treatment of Aboriginal people in Australia's history and the ongoing efforts to reclaim their identity and dignity. In 1925, the Australian Museum commissioned three statues depicting Aboriginal individuals - a child, a man, and a woman - displayed anonymously as relics of a "dying race." The woman was Nellie Walker, great-grandmother of Irene Ridgeway, who is now on a mission to uncover Nellieís story.
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Distributor subjects
Indigenous Identity; Colonial Violence; Historical Erasure; Museum Ethics; Racial Representation; Cultural Dignity; Intergenerational Trauma; Ancestral Memory; Indigenous Resilience; Historical JusticeKeywords
Australia,Aborigine,Aboriginal,Aboriginal Australians,Indigenous,Indigenous Identity,Colonialism,Colonial Violence,Historical Erasure,Museum Ethics,Racial Representation,Cultural Dignity,Intergenerational Trauma,Ancestral Memory,Indigenous Resilience,Historical Justice,Nellie Walker; "Her Name is Nanny Nellie"; GOOD DOCS
HER NAME IS NANNY NELLIE
NITV VERSION
© 2023
© Copyright 2023 First Person Films Pty Ltd
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1 |
10.10 |
animated logo runs over screen
[LOGO] NITV
THEN fade to black
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10 00 00 00 |
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5 |
7.20 |
fade up to title board on black
WARNING READS Aboriginal and Torres Strait Islander viewers are advised that the following film contains images, voices and names of deceased persons.
then fade to black
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MUSIC BEGINS... 01 MIN 36 SEC MEETING NELLIE |
10 00 05 06
10 00 12 11 |
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6 |
16.13 |
swing left and track behind MUSEUM WORKER leading IRENE thru door
TITLE BEGINS AT 10 00 18 18 Screen Australia and National Indigenous Television present SUPER ENDS AT 10 00 22 21
TITLE BEGINS AT 10 00 25 08 In association with VicScreen and Adelaide Film Festival TITLE ENDS AT 10 00 29 13
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MUSEUM WORKER Shall we go in now?
IRENE Yeah, sure. Sorry.
MUSEUM WORKER So there's lots of other collections here. There's, um, some of our Pacific Island material. And, um, some of the, um, natural history collections too.
IRENE Oh, wow. |
10 00 13 05 |
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7 |
7.10 |
SWING RIGHT OVER WS SHELVED COLLECTION THEN TRACK UP AISLE
TITLE BEGINS AT 10 00 32 05 With support from the Australian Museum TITLE ENDS AT 10 00 36 05
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MUSEUM WORKER (OFF SCREEN) So if we wander up here.
IRENE (OFF SCREEN) Oh, I'm so nervous.
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10 00 29 18 |
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8 |
2.17 |
TRACK UP TIGHTER WS COLLECTION AISLE |
MUSEUM WORKER Just,
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10 00 37 03 |
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9 |
2.17 |
MS PROFILE MUSEUM WORKER MOVES TO LIFT SHEET FOR IRENE |
I mean, if you lift, you can see her face.
IRENE Yeah, just so I can
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10 00 39 20 |
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10 |
39.20 |
TIGHT MS PROFILE IRENE LOOKS TO SHELF
TITLE BEGINS AT 10 00 45 23 A First Person Films production TITLE ENDS AT 10 00 50 01
PAN LEFT TO MCU BUST OF NELLIE HEN RIGHT WITH EMOTIONAL IRENE
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see her. Oh, my goodness. Oh, wow. I can, oh, wow. That's amazing. I might bring it down a little bit. Shaking. Oh, wow. Oh, dear. Yep. That looks exactly like um... like Nanny.
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10 00 42 12 |
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11 |
10.04 |
TRACK LEFT AROUND LA TILT MCU BRONZE BUST OF NELLIE |
IRENE (OFF SCREEN) I can see so many people in her.
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10 01 22 07 |
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12 |
7.05 |
MCU IRENE |
IRENE Not a lot of people would have this same thing that um, that I'm experiencing now.
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10 01 32 11 |
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13 |
7.04 |
CU BRONZE BUST OF NELLIE |
IRENE (OFF SCREEN) Just to see this, you know. She's looking at me.
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10 01 39 16 |
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14 |
11.01 |
MS IRENE LAUGHS |
IRENE Yeah, it's great. It's fantastic. Hello, Nanny. Um... I am your great-granddaughter.
MUSIC ENDS MUSIC BEGINS... 02 MIN 39 SEC IRENE’S FAMILY TREE
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10 01 46 20
19 01 48 15 19 01 37 13 |
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15 |
24.03 |
TRACK UP OVER FAMILY TREE WITH PHOTO OF IRENE
SUPER BEGINS AT 10 01 58 15 Irene SUPER ENDS AT 10 02 02 01
CONTINUE TO TRACK UP TO PHOTO OF ELSA
SUPER BEGINS AT 10 02 01 16 Elsa SUPER ENDS AT 10 02 05 22
CONTINUE TO TRACK UP TO PHOTO OF VICTORIA
SUPER BEGINS AT 10 02 05 19 Victoria SUPER ENDS AT 10 02 09 22
CONTINUE TO TRACK UP TO PHOTO OF NELLIE WITH CGI BUTTERFLY FLITTING ABOVE
TITLE BEGINS AT 10 02 11 11 Her name is Nanny Nellie TITLE ENDS AT 10 02 21 23
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10 01 57 21 |
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16 |
6.03 |
AERIAL TRACK OVER PARKES TOWN |
IRENE (OFF SCREEN) Who am I? Oh my goodness.
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10 02 21 24 |
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17 |
2.13 |
TRACK RIGHT PAS MWS PARKES TOWN SIGNAGE |
IRENE (OFF SCREEN) That’s a really tricky question.
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10 02 28 02 |
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18 |
2.15 |
HA WS PARKES HOTEL SIGNAGE AND EXTERIOR |
IRENE (OFF SCREEN) I’m
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10 02 30 15 |
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19 |
14.14 |
MONTAGE VIEWS OF IRENE AROUND PARKES TOWN WITH FRIENDS |
Irene Ridgeway. I haven't been living in Parkes all the time, but I was coming to an end of my relationship, and I had an opportunity to come here, and I think it's one of the best places.
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10 02 33 05 |
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20 |
15.21 |
TRACK BACK WITH MS IRENE WALKING UP STREET |
IRENE Wednesday nights I go down to the um, the railway hotel and do trivia, which is starting up very soon, Wednesday evening, trivia night, so it's a bit of fun. Everybody likes to have a bit of fun. It's good socialising too. Catching up with people who are smarter than me.
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10 02 47 19 |
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21 |
3.09 |
TRACK BEHIND MS IRENE UP STREET |
IRENE (OFF SCREEN) And I think it's important
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10 03 03 15 |
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22 |
2.04 |
LA TILT MS IRENE HUGS WOMAN |
to be part of the community.
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10 03 06 24 |
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23 |
2.22 |
MWS IRENE WAVES AT MAN ON MOBILITY SCOOTER |
IRENE How you going? Hey!
IRENE (OFF SCREEN) The community makes us.
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10 03 09 03 |
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24 |
1.12 |
MS IRENE NODS AT TABLE WITH OTHERS |
IRENE (OFF SCREEN) So yeah.
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10 03 12 00 |
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25 |
1.15 |
VIEW THRU DOORWAY TO IRENE WITH OTHERS |
IRENE ... and we’ll have a chat about those.
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10 03 13 12 |
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26 |
1.15 |
WS PROFILE VAN
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IRENE There’s
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10 03 15 02 |
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27 |
1.18 |
MS IRENE TURNS BACK FROM FOOD TRAYS IN VAN |
heaps of food here today.
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10 03 16 17 |
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28 |
3.15 |
PAN LEFT WITH MS IRENE CARRYING TRAY OF FOOD |
IRENE Live like a king. Supermarkets are
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10 03 18 10 |
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29 |
2.10 |
MS IRENE WITH SHOPPING |
like, are throwing stuff away.
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10 03 22 00 |
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30 |
6.24 |
MONTAGE FAST EDITS IRENE UNPACKING SUPERMARKET TRAYS OF FOOD |
IRENE So they, I approached some and said, instead of throwing it away, be good for families who really need it. Trust me,
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10 03 24 10 |
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31 |
2.06 |
SWING UP WITH MS IRENE |
every little bit helps.
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10 03 31 09 |
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32 |
11.23 |
MONTAGE EDITS VIEWS OF IRENE CARRYING FOOD TRAYS FROM VAN TO HOUSES |
IRENE (VOICEOVER) There's no point being idle, I don't think. If I'm idle, I'm usually in bed. So... so keeping busy is great.
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10 03 33 15 |
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33 |
3.04 |
TRACK RIGHT WITH MS PROFILE IRENE WALKING UP STREET |
IRENE (VOICEOVER) I have family
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10 03 45 13 |
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34 |
15.24 |
TRACK RIGHT OVER PHOTOS OF IRENE WITH HER SONS
SUPER BEGINS AT 10 03 48 17 Connor Campbell James Robert John Daniel SUPER ENDS AT 10 04 04 15
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here as well. I have six boys. Well, they're all men now. None of them are favourites. I have favourite grandchildren. Yeah.
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10 03 48 17 |
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35 |
19.08 |
MONTAGE VIEWS OF IRENE LOOKING AT HENRY PARKES STATUE |
IRENE (VOICEOVER) I've met my great-grandmother in a statue. How many people get to do that? I want to know more about my Nanny Nelly. What her life was like. Where I came from, and I wanted my boys to know
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10 04 04 16 |
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36 |
8.00 |
MONTAGE WS TRACKING VIEWS OF TOWN STREETS |
where they came from. Those family roots are really important. And so I started doing research.
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10 04 23 24 |
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37 |
2.23 |
MS IRENE HOLDS UP ARCHIVE B/W PHOTO OF NANNY
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IRENE This is a picture of |
10 04 31 2 |
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38 |
5.21 |
CU ARCHIVE B/W PHOTO OF NANNY KEMPSEY |
Nanny Kempsey. Nanny Kempsey is my grandmother.
MUSIC ENDS
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10 04 34 22
10 04 36 15 |
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39 |
2.01 |
MS PROFILE IRENE HOLDS UP ARCHIVE B/W PHOTOS |
IRENE This is Nanny Nellie.
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10 04 40 18 |
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40 |
8.00 |
ECU B/W ARCHIVE PHOTO OF NANNY NELLIE THEN PAN LEFT TO PHOTO NANNY KEMPSEY THEN PAN LEFT TO PHOTO OF NANNY ELVA
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IRENE (OFF SCREEN) Nanny Nellie is Nanny Kempsey’s Mum. This is me and my Mum.... Nanny Elva, |
10 04 42 19 |
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41 |
6.03 |
MS IRENE HOLDING UP PHOTOS |
and Nanny Irene. Cause we’re all nannies now.
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10 04 50 19 |
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42 |
5.20 |
CU ARCHIVE PHOTOS OF IRENE’S GENERATIONS OF WOMEN |
IRENE (OFF SCREEN) I love that. So yeah, four generations.
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10 04 56 22 |
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43 |
4.14 |
MCU IRENE |
IRENE I lived with my grandmother for many, many years, um, Nanny Kempsey,
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10 05 02 17 |
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44 |
9.19 |
MS IRENE AT TABLE |
and I have a letter here that she wrote to the museum, um, about her mother on exhibition.
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10 05 07 06 |
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45 |
4.03 |
TILT UP FROM MCU LETTERS TO IRENE |
IRENE Ah, this is the photo of all the statues together.
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10 05 17 00 |
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46 |
8.19 |
CU B/W ARCHIVE PHOTOS OF STATUES OF NELLIE THEN SWING RIGHT TO LETTER |
IRENE So there were two other statues with Nanny Nellie. They had no names attached to them when they were put on exhibition. And
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10 05 21 03 |
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47 |
11.00 |
MCU IRENE HOLDING UP ARCHIVE B/W PHOTO OF NELLIE |
at that time in their lives, that era in their lives, you know, in 1920s, they were all walking around with clothes on. This wasn’t them, then.
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10 05 29 22 |
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48 |
4.07 |
CU ARCHIVE B/W PHOTO OF NELLIE |
IRENE (OFF SCREEN) It'd be interesting to see what sort of setting they were put in, so, um, together.
MUSIC BEGINS... 01 MIN 41 SEC A MILLION CLOAKED GHOSTS
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10 05 40 22
10 05 44 15 |
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49 |
6.22 |
MS IRENE HOLDING ARCHIVE B/W PHOTO |
IRENE How they were standing around each other. They just, these look like all different photographs taken and then put together.
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10 05 45 04 |
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50 |
7.02 |
MCU IRENE |
IRENE I haven't seen the, how they were put on exhibition. Um, where they were placed at all.
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10 05 52 01 |
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51 |
2.18 |
MS IRENE AT TABLE |
IRENE So, I mean, that'd be very interesting to find out.
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10 05 59 03 |
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52 |
4.24 |
LA TILT WS CAR DRIVES PAST CAMERA OUT OF PARKES
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10 06 01 21 |
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53 |
5.00 |
AERIAL TRACK OVER EWS SYDNEY HARBOUR AND CITY |
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10 06 06 20 |
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54 |
9.12 |
MONTAGE EDITS IRENE TRAVELS IN CAR OVER HARBOUR BRIDGE THEN VIEWS OF MUSEUM EXTERIOR |
IRENE (VOICEOVER) In 1996, my grandmother, Nanny Kempsey, visited the Australian Museum with her cousin.
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10 06 11 20 |
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55 |
5.15 |
SLO-MO LA TILT WS IRENE WALKS THRU MUSEUM |
IRENE (VOICEOVER) They were walking through the museum, looking at the animals on display, when she noticed something ahead of her.
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10 06 21 07 |
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56 |
6.03 |
TRACK THRU LA TILT WS MUSEUM |
IRENE (VOICEOVER) It was the statues. As she got closer, she broke down in tears.
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10 06 26 22 |
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57 |
5.24 |
SLO-MO TRACK BACK WITH MS IRENE WALKING THRU MUSEUM |
IRENE (VOICEOVER) Her cousin was confused. She asked, What's wrong?’ Nanny Kempsey said,
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10 06 33 00 |
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58 |
18.14 |
MONTAGE VIEWS OF ARCHIVE B/W STILL IMAGE NELLIE STATUE |
‘That's my mother.’ It was the first time Nanny Kempsey had seen her mother, Nanny Nellie, in 62 years since her passing. Can you imagine coming across your mother in a museum half naked for the first time in 62 years?
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10 06 38 24 |
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59 |
12.12 |
TRACK RIGHT ON SLO-MO LA TILT MWS IRENE WALKING UP STAIRS |
IRENE (VOICEOVER) The museum realized the trauma it had caused and took the statues down.
LAURA (OFF SCREEN) How are you auntie?
IRENE (OFF SCREEN) Laura!
LAURA Welcome to the
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10 06 57 13 |
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60 |
4.08 |
HA TILT WS LAURA WALKS WITH IRENE |
Australian Museum.
IRENE Thank you so much.
LAURA We'll have a walk around and start to talk about Nan Nellie.
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10 07 10 00 |
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61 |
2.14 |
MWS LAURA LEADS IRENE THRU DOORWAY
SUPER BEGINS AT 10 07 14 08 Laura McBride Director / First Nations Australian Museum SUPER ENDS AT 10 07 18 24
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LAURA So this is the gallery that the statues |
10 07 14 08 |
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62 |
2.03 |
WMS LAURA AND IRENE |
were on display.
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10 07 16 22 |
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63 |
10.23 |
MONTAGE EDITS ARCHIVE B/W STILL IMAGES OF MUSEUM INTERIORS |
LAURA (OFF SCREEN) And there would have been large cabinetry and cases in between these poles and all along the walls. But I do have a picture here...
MUSIC ENDS
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10 07 19 00
10 07 25 15 |
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64 |
2.08 |
MCU IRENE AND PROFILE LAURA |
IRENE Oh gosh!
LAURA ...of what they
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10 07 29 23 |
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65 |
9.06 |
MCU LAURA THEN PAN RIGHT TO IRENE EMOTIONAL |
looked like in the case.
IRENE Oh dear. Oh my goodness. Oh.
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10 07 32 06 |
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66 |
5.14 |
CU B/W STILL IMAGE OF NELLIE STATUE WITH OTHERS IN HAND
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10 07 41 12 |
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67 |
6.17 |
TIGHT MS IRENE CRYING AS LAURA RUBS HER BACK
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MUSIC BEGINS... 02 MIN 26 SEC SEEING THE STATUES
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10 07 47 01
19 07 49 15 |
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68 |
3.13 |
MS LAURA AND PROFILE IRENE LOOK TO B/W PHOTO |
IRENE Oh yeah, that’s not good.
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10 07 53 18 |
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69 |
4.14 |
MS IRENE AND PROFILE LAURA |
IRENE Just on display, like you know...
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10 07 57 06 |
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70 |
5.24 |
CU B/W STILL IMAGE OF NELLIE STATUE WITH OTHERS IN HAND
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IRENE (OFF SCREEN) Like all the rest of the things in here that are... I guess that’s what they
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10 08 01 20 |
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71 |
1.12 |
MS IRENE AND PROFILE LAURA |
wanted wasn’t it.
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10 08 07 19 |
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72 |
6.05 |
LA TILT MCU PROFILE IRENE |
IRENE Wow, then this, I mean, this would have been the way that Nanny Kempsey
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10 08 09 06 |
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73 |
6.21 |
MS IRENE AND PROFILE LAURA |
would have seen her mum. She would have come in here and seen her for the first time in so many years, and this is
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10 08 15 11 |
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74 |
5.21 |
LA TILT MCU IRENE EMOTIONAL |
how she saw her. That’s very sad.
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10 08 22 07 |
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75 |
5.07 |
CU B/W STILL IMAGE OF NELLIE STATUE WITH OTHERS IN HAND
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IRENE This is a real shock. My great granny never had hair
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10 08 28 03 |
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76 |
6.14 |
LA TILT MS IRENE AND PROFILE LAURA |
like that.
LAURA That’s right. So in looking at that, with her straight hair and matted hair.
IRENE Yep.
LAURA Um, the colour of
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10 08 33 10 |
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77 |
5.20 |
MCU IRENE AND PROFILE LAURA |
the hair.
IRENE Yeah.
LAURA Um. But everything about them was posed.
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10 08 39 24 |
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78 |
18.19 |
LA TILT MS LAURA AND IRENE |
LAURA Scientists collected to their theories, and this is another example of that, by which they make people display in what they perceive to be the native savage.
IRENE And that, everybody thought that they were, oh they were like that. I mean, back then, you know, I mean, you show something to somebody, they, oh, that's what Aboriginal people look like, you know, they still do that today.
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10 08 45 19 |
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79 |
10.20 |
MCU LAURA |
LAURA One of the things that a lot of people don't realise is that Aboriginal, Torres Strait Islander and Pacifica peoples actually exist in natural history museums because originally we are animal collections.
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10 09 04 13 |
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80 |
5.12 |
LA TILT MCU PROFILE IRENE EMOTIONAL
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10 09 15 08 |
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81 |
10.11 |
SLO-MO HA TILT WS REV IRENE WALKS DOWN MUSEUM STAIRS |
IRENE (VOICEOVER) I can see why Nanny Kempsey had her mother's statue taken down. She must have been overwhelmed to see her like that, displayed
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10 09 20 20 |
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82 |
5.09 |
TRACK ALONG MWS ANIMALS IN MUSEUM CABINETS |
in a glass cabinet, like all the rest of the animals in this museum.
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10 09 31 06 |
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83 |
6.05 |
B/W STILL IMAGE OF NELLIE STATUE WITH OTHERS
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10 09 36 15 |
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84 |
26.17 |
MONTAGE VIEWS OF IRENE AT DESK READING LETTER |
IRENE (VOICEOVER) But after talking to her family and giving it some thought, my grandmother requested that Nanny Nellie’s statue be restored and put back on display, respectfully, for the whole world to see. So that's what I'm doing now. I'm honouring Nanny Kempsey's request.
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10 09 42 20 |
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85 |
10.01 |
MONTAGE EDITS LAURA AND IRENE WALK THRU MUSEUM |
IRENE So I was going to ask you, would the museum allow the statues to go on exhibition here at the museum?
MUSIC ENDS
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10 10 09 12
10 10 15 15 |
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86 |
16.13 |
MONTAGE VIEWS B/W STILL IMAGES STATUES OF NELLIE, JIMMY AND HAROLD |
LAURA (OFF SCREEN) Well we can decide that together and I think the futures of the statues should be a joint decision. Where can the statues go on display? Will they have conditions good enough to go back on display? And then how do we celebrate the statues? Now we've rediscovered
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10 10 19 13 |
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87 |
1.20 |
MS IRENE NODS
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the statues in our collection,
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10 10 36 01 |
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88 |
2.09 |
MCU LAURA |
we’ve connected with you,
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10 10 37 21 |
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89 |
3.19 |
MS IRENE NODS |
one family, and once we connect with the other families, so
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10 10 40 05 |
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90 |
7.02 |
MCU LAURA |
now is the time for them to come back out, where the families can reconnect and um, make decisions about their future.
MUSIC BEGINS... 01 MIN 24 SEC RECLAIMING HISTORY
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10 10 43 24
10 10 47 15 |
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91 |
1.21 |
TIGHT MS IRENE SHAKES HEAD |
IRENE Look, I'll be looking forward to that.
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10 10 51 01 |
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92 |
27.02 |
MONTAGE EDITS ARCHIVE B/W STILL IMAGES OF MUSEUM EXHIBITS AND PATRONS |
IRENE (VOICEOVER) From what I understand, the statues were made and displayed for scientific reasons. Nameless objects to be studied by future generations. But Nanny Nellie wasn't an object. She was a human being and should be respected as such. For too long, our history has been told by colonisers. I want to honour her life by reclaiming our history.
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10 10 52 22 |
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93 |
3.21 |
AERIAL TRACK OVER BOMBALA TOWN |
IRENE (VOICEOVER) And that history starts here
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10 11 19 24 |
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94 |
4.09 |
AERIAL TRACK OVER BOMBALA TOWN HOUSES
SUPER BEGINS AT 10 11 23 20 Bombala 1867 - 1883 SUPER ENDS AT 10 11 28 03
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in Bombala.
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10 11 23 20 |
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95 |
15.22 |
MONTAGE ARCHIVE B/W STILL IMAGE OF HISTORICAL BOMBALA |
IRENE (VOICEOVER) Nellie Bunjil was born in Bombala, a little town in southern New South Wales. Ngarigo country. She lived here until she was 16. Her grandmother died when she was 5 and her mother died when she was 10.
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10 11 28 04 |
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96 |
5.05 |
ARCHIVE B/W STILL IMAGE COMMERCIAL HOTEL EXTERIOR |
IRENE (VOICEOVER) We know she worked here washing linen when she was 15. But that's it.
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10 11 44 01 |
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97 |
3.15 |
WS REV IRENE WALKS UP DRIVEWAY |
IRENE (VOICEOVER) That's all we know from her younger years.
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10 11 49 06 |
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98 |
2.15 |
LA TILT WS IRENE WALKS INTO HOUSE
|
IRENE Hello?
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10 11 52 21 |
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99 |
9.10 |
TRACK BEHIND MS IRENE WALKING THRU DOOR AND UP HALL |
IRENE Hello?
STUART (OFF SCREEN) Hello. Come on in.
IRENE Hello.
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10 11 55 11 |
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100 |
6.10 |
TRACK BEHIND MS IRENE WALKING TO SHAKE STUART’S HAND |
IRENE Oh, this is an amazing big building here. Oh hello, how are you?
STUART Very well thank you.
IRENE Irene.
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10 12 04 21 |
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101 |
2.09 |
MS IRENE SHAKES PROFILE STUART’S HAND
SUPER BEGINS AT 10 12 12 08 STUART HOOD Historian Bombala Historical Society SUPER ENDS AT 10 12 15 12
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IRENE Stuart.
MUSIC ENDS
STUART Yes.
IRENE Lovely to meet you.
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10 12 11 06
19 12 11 15 |
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102 |
1.23 |
MWS REV IRENE AND PROFILE STUART |
IRENE Great.
STUART Hope I can help you in some way.
IRENE Yes.
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10 12 13 15 |
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103 |
7.24 |
MS IRENE AND REV STUART
THEN SWING RIGHT WITH STUART WALKING TO DOOR |
IRENE I believe you have information for me.
STUART I’ll go and get the book on. We'll see if her name’s in there.
IRENE OK, fantastic, thank you.
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10 12 15 13 |
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104 |
2.20 |
VIEW THRU DOORWAY TO WS REV STUART |
IRENE (OFF SCREEN) Oh, wonderful.
STUART This is a very valuable resource.
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10 12 23 12 |
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105 |
5.23 |
WMS REV IRENE WITH PROFILE STUART LOOKING AT BOOK |
IRENE Yes. So, so it's Bunjil, B-U...
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10 12 26 07 |
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106 |
3.01 |
MS STUART AND PROFILE IRENE LOOK AT BOOK |
STUART Bunjil.
IRENE Bunjil. I've seen it spelled... Frederick, that's my
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10 12 32 05 |
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107 |
1.21 |
MS IRENE AND PROFILE STUART LOOK AT BOOK |
great grandmother's brother.
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10 12 35 06 |
|
108 |
5.22 |
CU IT’S FINGER POINTS TO LISTING IN BOOK |
IRENE 29th of January, 25 years old. And there's Nanny Nellie's mother and father.
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10 12 37 02 |
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109 |
2.17 |
MS STUART AND PROFILE IRENE |
STUART William must have been a black stockman on Maratta.
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10 12 42 24 |
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110 |
5.20 |
MS IRENE AND PROFILE STUART LOOK AT BOOK |
IRENE Yes.
STUART Well, we've got somewhere.
IRENE We have, haven't we? Absolutely. That's fantastic.
STUART Right, and
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10 12 45 16 |
|
111 |
1.03 |
MS STUART AND PROFILE IRENE |
one-five-five.
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10 12 51 11 |
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112 |
2.00 |
MS IRENE AND PROFILE STUART LOOK AT BOOK |
STUART Well he’s in the Bombala Cemetery.
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10 12 52 14 |
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113 |
2.14 |
MS STUART LOOKS TO PROFILE IRENE |
IRENE He's in Bombala Cemetery here.
|
10 12 54 14 |
|
114 |
2.00 |
LA TILT MS STUART AND IRENE |
STUART Yes,
|
10 12 57 03 |
|
115 |
5.24 |
VIEW THRU DOORWAY TO WS REV IRENE AND STUART |
the parents were and the brother was.
IRENE That's right.
IRENE Your grandmother was probably there too—
IRENE Most definitely here.
|
10 12 59 03 |
|
116 |
3.07 |
MS STUART AND PROFILE IRENE LOOK AT BOOK |
IRENE Although we don't have any information on Nanny Nellie here,
|
10 13 05 02 |
|
117 |
2.01 |
MCU IRENE |
but we've got Nanny Nellie's brother here.
|
10 13 08 09 |
|
118 |
5.11 |
MS STUART ND PROFILE IRENE |
STUART With the Aboriginals, everything was spoken, and there was no writing down anything.
|
10 13 10 10 |
|
119 |
6.16 |
MCU IRENE NODS AT PROFILE STUART |
IRENE Mmm.
STUART And that makes it very difficult a hundred years later to get the story.
|
10 13 15 21 |
|
120 |
2.05 |
MS STUART AND PROFILE IRENE |
STUART You can find something and then you
|
10 13 22 12 |
|
121 |
4.08 |
MCU IRENE NODS AT PROFILE STUART |
run into a dead end and just wonder what happened there.
MUSIC BEGINS... 02 MIN 01 SEC THAT LOST THING AGAIN
|
10 13 24 17
19 13 28 15 |
|
122 |
3.03 |
MS STUART AND PROFILE IRENE |
IRENE Thank you very much for that Stuart.
STUART No problem at all.
|
10 13 29 00 |
|
123 |
2.11 |
MS IRENE NODS AT PROFILE STUART |
STUART Great to be able to help somebody.
|
10 13 32 03 |
|
124 |
13.09 |
MONTAGE EDITS MAPS AND RECORDS IN HISTORICAL SOCIETY |
IRENE This whole place is full of records. Whole place is full of records. And not
|
10 13 34 14 |
|
125 |
2.12 |
TIGHT MS IRENE |
much on Aboriginal people living around here.
|
10 13 47 23 |
|
126 |
13.24 |
ARCHIVE B/W STILL IMAGE BOMBALA
OST BEGINS AT 10 13 50 10 Bombala Main Street OST ENDS AT 10 14 04 08
|
IRENE My family came from here. The Bunjil family come from here. And there's only one report of Nanny Nellie's brother, Frederick. That's that lost thing again. |
10 13 50 10 |
|
127 |
2.12 |
TIGHT MS IRENE |
IRENE They were just Aboriginal people, they moved from here to there.
|
10 14 04 09 |
|
128 |
16.05 |
MONTAGE ARCHIVE B/W STILL IMAGES BOMBALA TOWN SHOPS AND GROUPS OF SETTLER MEN |
IRENE You know, where did the Aboriginal people live? What did they do here? There's no record of those things, of their life here. They didn't keep records of Aboriginal people. Aboriginal people were in the background. They were like,
|
10 14 06 21 |
|
129 |
1.24 |
TIGHT MS IRENE |
they didn't even want to know them then. So...
|
10 14 23 01 |
|
130 |
4.23 |
WS PROFILE IRENE WALKING OVER DRIVEWAY |
IRENE (VOICEOVER) There are
|
10 14 25 00 |
|
131 |
9.05 |
AERIAL TRACK BACK OVER EWS TOWNSHIP |
no records of Nanny Nellie, but I do know what her life would have been like. It would have been tough. She would have
|
10 14 29 23 |
|
132 |
33.06 |
MONTAGE EDITS AERIAL TRACKING VIEWS OF CAR UP RURAL ROAD AND IRENE DRIVING |
grown up quick, just like I had to. Nanny Nellie wouldn't have been allowed to get an education. She would have been told that she was different. The colour of her skin would have been pointed out to her at a younger age, just like it was for all Aboriginal people. But she would have walked this country, her country, and she would have known all its stories. This is Delegate Aboriginal reserve, where Nanny Nellie would have lived with her grandparents when she was little.
|
10 14 39 03 |
|
133 |
8.22 |
WS IRENE GETS OUT OF CAR THEN PAN RIGHT AS SHE WALKS |
IRENE (VOICEOVER) Before it was an Aboriginal reserve, it was a meeting place for surrounding countries for thousands of years.
IRENE Here we are.
|
10 15 12 09 |
|
134 |
12.19 |
MONTAGE EDITS IRENE WALKS TO PLAQUE |
IRENE This is the Delegate Aboriginal Reserve. Also known as The Common, was formally gazetted in 1892. Many descendants have strong
MUSIC ENDS
|
10 15 21 06
19 15 29 15 |
|
135 |
4.18 |
LA TILT TIGHT MS IRENE READS PLAQUE |
family connections to the land at The Common. That's true.
|
10 15 34 00 |
|
136 |
3.11 |
LA TILT MWS IRENE AT PLAQUE |
IRENE This was a camp stop for multiple clans.
|
10 15 38 18 |
|
137 |
2.17 |
MWS IRENE LOOKS TO PLAQUE |
IRENE And I was told that, um, the
|
10 15 42 04 |
|
138 |
4.17 |
LA TILT MCU IRENE |
Wiradjuri people used to come down here to get wives because the women were prettier.
|
10 15 44 21 |
|
139 |
9.10 |
MWS IRENE LOOKS TO PLAQUE |
IRENE I don't know if you're going to put that in, but that's what I was told. Which is a great story, I reckon, for my ancestors.
MUSIC BEGINS... 03 MIN 01 SEC EVERYTHING’S UNMARKED
|
10 15 49 13
10 15 57 15 |
|
140 |
27.14 |
SLO-MO VIEWS IRENE IN DELEGATE RESERVE |
IRENE (VOICEOVER) Here, Nanny Nellie would have been allowed to speak her language, practice her culture, and be with her people. Before it was a reserve, this was a place with no fences. A place where culture and knowledge was learned and shared. A place where she could be herself.
IRENE (OFF SCREEN) Aboriginal people were allowed to come and go, free to come and go as they pleased.
|
10 15 58 23 |
|
141 |
2.19 |
MCI IRENE |
IRENE Later on, that all changed.
|
10 16 26 12 |
|
142 |
6.09 |
ARCHIVE B/W STILL IMAGE BUILDINGS IN BUSH LANDSCAPE |
IRENE (OFF SCREEN) When the settlers came, they would have moved them further out of town, up to here.
|
10 16 29 06 |
|
143 |
3.05 |
WMS IRENE AT DELEGATE RESERVE |
IRENE Things changed.
|
10 16 35 15 |
|
144 |
2.00 |
MCU IRENE |
IRENE They were changed for the worse.
|
10 16 38 20 |
|
145 |
11.17 |
ARCHIVE B/W STILL IMAGE GROUP OF SETTLER MEN HOLDING GUNS |
IRENE (OFF SCREEN) Do not leave the reserve. Here's the certificate. You could be arrested. Don't speak your own language. No dancing in public. You may be served in a shop if
|
10 16 40 20 |
|
146 |
14.19 |
MONTAGE SLO-MO VIEWS OF IRENE AT DELEGATE RESERVE |
we choose to serve you in a shop. You know, you weren't allowed in any pubs at all. They would have to report there was somebody here watching them all the time.
|
10 16 52 12 |
|
147 |
11.04 |
AERIAL TRACKING VIEWS IRENE’S CAR ALONG RURAL ROAD
|
|
10 17 07 06 |
|
148 |
6.07 |
AERIAL TRACK OVER EWS BOMBALA CEMETERY |
IRENE (OFF SCREEN) This is Bombala Cemetery.
|
10 17 18 10 |
|
149 |
39.02 |
TILT UP WS REV IRENE WALKING TOWARDS GRAVES |
IRENE (OFF SCREEN) This is where Great Uncle Fred is buried. But there's no marking on Uncle Frederick's grave. Aboriginal graves never got marked. There was no money for Aboriginal people to mark graves with, you know, like these, these ones here that have tomb stones. So, we don't know where he is. Nanny Nellie's and Uncle Frederick's mother and father could be buried here. But, everything's unmarked.
|
10 17 24 17 |
|
150 |
2.19 |
WS IRENE IN CEMETERY |
IRENE This is where everything got lost.
|
10 18 03 19 |
|
151 |
3.21 |
TIGHT MS IRENE |
IRENE We lost our connection to, um, our language,
|
10 18 06 13 |
|
152 |
2.05 |
WMS IRENE |
our culture.
|
10 18 10 09 |
|
153 |
4.03 |
TIGHT MS IRENE |
IRENE We lost our connection to our way of life.
|
10 18 12 14 |
|
154 |
7.14 |
WS IRENE AMONGST GRAVES |
IRENE We lost them because... Nanny Nellie moved from here. From then on, it was forbidden
|
10 18 16 17 |
|
155 |
6.13 |
TILT UP MS IRENE LOOKING AT BOOK |
to speak her own language. And this is where
|
10 18 24 06 |
|
156 |
9.13 |
TIGHT MS IRENE |
everything got lost for me. For us. Our family.
|
10 18 30 19 |
|
157 |
4.14 |
TRACK LEFT ON LA WS PROFILE IRENE IN CEMETERY |
IRENE (OFF SCREEN) We lost our tradition here.
|
10 18 40 07 |
|
158 |
2.07 |
WMS IRENE IN CEMETERY |
IRENE In this place.
|
10 18 44 21 |
|
159 |
6.21 |
tight ms IRENE emotional |
IRENE So yeah.
|
10 18 47 03 |
|
160 |
11.23 |
MONTAGE EDITS views of bombala streets and IRENE’s car leaving
|
MUSIC ENDS
|
10 18 54 00
10 18 59 00
|
|
161 |
54.01 |
black
|
|
10 19 05 23 |
|
161 |
30.03 |
ARCHIVE B/W MONTAGE EDITS SYDNEY CITY in 1925 |
MUSIC BEGINS... 56 SEC SYDNEY, 1925
IRENE (VOICEOVER) When the statues were made in 1925, Sydney was already a city. There were around one million people living here. The Sydney Harbour Bridge was being built. Around this time, the first trans Pacific flight was made from the United States to Sydney. Nanny Nellie would have never seen anything like this before. She would have been overwhelmed by all the people, by everything.
|
10 20 00 00 |
|
162 |
6.19 |
ARCHIVE B/W STILL IMAGE AUSTRALIAN MUSEUM EXTERIOR |
IRENE (VOICEOVER) In 1925, the Australian Museum, the oldest in Australia, was almost 100 years old.
|
10 20 30 03 |
|
163 |
4.20 |
ARCHIVE B/W STILL IMAGE ERNST WANDERLING |
IRENE (VOICEOVER) Philanthropist and supporter of the arts, Ernst Wanderling,
|
10 20 36 22 |
|
164 |
5.08 |
ARCHIVE STILL IMAGE COMMISSION DOCUMENTATION |
commissioned the three statues to be made for the Australian Museum's collection.
|
10 20 41 17 |
|
165 |
9.06 |
MONTAGE EDITS LIBRARY SHELVES AND BOOKS |
IRENE (OFF SCREEN) Hi how are you?
MARIKO (OFF SCREEN) Welcome to the research library and archive.
IRENE (OFF SCREEN) Thank you so much.
MUSIC ENDS
MARIKO So I just want to
|
10 20 47 00
10 20 51 18
|
|
166 |
3.20 |
TRACK BACK WITH IRENE AND MARIKO WALKING UP AISLE
SUPER BEGINS AT 10 20 56 06 Mariko Smith Manager / First Nations Australian Museums SUPER ENDS AT 10 21 00 10
|
take you through with the material that we have set aside for you to look at this afternoon.
|
10 20 56 06 |
|
167 |
5.12 |
MCU IRENE THEN TILT DOWN TO GLOVES |
IRENE Okie dokie.
MARIKO So what we've got here today is the collection of the original
|
10 21 00 0 |
|
168 |
2.09 |
MS MARIKO AND IRENE |
documents from the Australian Museum archives.
|
10 21 05 13 |
|
169 |
4.21 |
MCU PLACING DOCUMENTS ON CUSHION |
MARIKO It gives us a lot of insight into the way people were thinking in a particular time, and
|
10 21 07 22 |
|
170 |
4.04 |
MCU IRENE |
particularly about Aboriginal and Torres Strait Islander peoples.
IRENE So the language in there is not desirable.
|
10 21 12 18 |
|
171 |
3.03 |
MS IRENE AND IRENE |
MARIKO Yeah, so I just wanted to give you a little bit of a warning about that too.
|
10 21 16 22 |
|
172 |
2.14 |
LA MCU DOCUMENTS IN GLOVED HAND |
MARIKO Through the generosity of Mr Ernest Wunderlich, trustee,
|
10 21 20 00 |
|
173 |
1.24 |
MS MARIKO AND IRENE |
the Australian Museum will shortly be able to place
|
10 21 22 14 |
|
174 |
4.01 |
CU NEGATIVE OF PHOTO OF STATUES OF NELLIE AND OTHERS |
on view a fine Aboriginal group consisting of a man,
|
10 21 24 13 |
|
175 |
1.14 |
LA TILT TIGHT MS IRENE AND MARIKO |
Jimmy Clements, native
|
10 21 28 14 |
|
176 |
3.04 |
CU NEGATIVE OF PHOTO OF STATUE OF JIMMY |
of Orange District, New South Wales. Boy,
MUSIC BEGINS... 04 MIN 38 SEC INTO THE MUSEUM ARCHIVES, UPDATING THE NARRATIVE
|
10 21 30 03
10 21 30 18 |
|
177 |
1.01 |
LA TILT TIGHT MS IRENE AND MARIKO |
nine years.
|
10 21 33 07 |
|
178 |
4.07 |
CU NEGATIVE OF PHOTO OF STATUE OF HAROLD |
MARIKO Harold, Harry Marsh, native of Grafton. So
|
10 21 34 08 |
|
179 |
1.14 |
MS MARIKO AND IRENE |
it's interesting, might give you some leads...
|
10 21 38 15 |
|
180 |
2.06 |
LA TILT MCU IRENE |
IRENE OK.
MARIKO (OFF SCREEN) ...in finding the family, hopefully.
IRENE Yeah absolutely.
|
10 21 40 04 |
|
181 |
2.21 |
CU OPENING DOCUMENTS |
MARIKO Now Friday
|
10 21 42 10 |
|
182 |
2.00 |
CU MARIKO AND IRENE |
December the 5th, 1924,
|
10 21 45 06 |
|
183 |
1.14 |
LA TILT MS MARIKO AND IRENE LOOK TO DOCUMENTS |
stated that a census of
|
10 21 47 06 |
|
184 |
25.01 |
MONTAGE EDITS CU VIEWS ARCHIVE NEWSPAPER CLIPPINGS THEN FLICKING THRU ARCHIVE B/W PHOTOS OF IN BOOK ON SCIENTIFIC RACISM ON ABORIGINALITY |
Aborigines made up as follows. Full bloods, half castes, quadroons, and octroons.
IRENE (OFF SCREEN) Octroons. And of course I had that photograph back then, you know, with the different colours of Aboriginal—
MARIKO (OFF SCREEN) The very famous one, yeah.
IRENE (OFF SCREEN) Mm-hm.
MARIKO (OFF SCREEN) So this is really quite shocking to read, but at the time this was, um, practice and it gives really interesting insight into the rationale for why this project was commissioned because there's this belief
|
10 21 48 20 |
|
185 |
1.00 |
LA TILT MCU IRENE NODS |
that the Aboriginal
|
10 22 13 21 |
|
186 |
2.20 |
CU MARIKO AND PROFILE IRENE |
race, um, was
|
10 22 14 21 |
|
187 |
13.14 |
MONTAGE ARCHIVE B/W STILL IMAGES OF ARTISTS WORKING ON STATUES OF ABORIGINAL PEOPLE |
a dying race.
IRENE (OFF SCREEN) So because of their assimilation policies, they thought they needed to preserve the way we looked?
MARIKO (OFF SCREEN) That's it. And I mean...
IRENE (OFF SCREEN) It's mind boggling, isn't it? I mean...
MARIKO (OFF SCREEN) Yes.
|
10 22 17 16 |
|
188 |
2.02 |
MS MARIKO TURNS PAGE FOR IRENE
|
|
10 22 31 05 |
|
189 |
2.15 |
LA TILT MCU IRENE AND MARIKO AT LEFT |
MARIKO We’ve just got a note here...
IRENE OK.
MARIKO This is a key document.
|
10 22 33 07 |
|
190 |
2.24 |
MCU MAIKO AND PROFILE IRENE |
IRENE OK.
MARIKO It's interesting, um,
|
10 22 35 22 |
|
191 |
1.04 |
MCU IRENE AND MARIKO AT LEFT |
MARIKO The museum was suggesting
|
10 22 38 21 |
|
192 |
3.06 |
MCU MARIKO AND PROFILE IRENE |
that the secretary of the Aborigines Protection Board be asked to
|
10 22 40 00 |
|
193 |
5.20 |
ARCHIVE B/W PAN LEFT WITH WMS POLICE OFFICERS WALK PAST CAMERA |
take the necessary steps to detain, actually using the words...
IRENE (OFF SCREEN) Detain.
MARIKO Detain the Aboriginal...
IRENE (OFF SCREEN) Uncle Jimmy.
|
10 22 43 06 |
|
194 |
3.15 |
CU BOOK SHOWING PHOTO OF STATUE OF JIMMY |
MARIKO (OFF SCREEN) ... Jimmy Clements.
IRENE (OFF SCREEN) Well, that means
|
10 22 49 01 |
|
195 |
3.07 |
ARCHIVE B/W WS CITY STREET WITH HORSE AND CARRIAGE |
take him into their custody—
MARIKO Take him into custody I mean, how is it any different from basically
|
10 22 52 16 |
|
196 |
1.03 |
MCU MARIKO |
arresting him?
|
10 22 55 23 |
|
197 |
1.15 |
MCU IRENE NODS |
IRENE That's right.
MARIKO That had no
|
10 22 57 01 |
|
198 |
1.15 |
CU MARIKO |
agency or free will of their own.
|
10 22 58 16 |
|
199 |
10.08 |
LA TILT MS MARIKO AND IRENE |
IRENE Yep, absolutely. Picked up anywhere.
MARIKO Picked up anywhere and monitored. The fact that the surveillance—
IRENE Because of the colour of their skin.
MARIKO That's right, because they were seen as desirable examples of what Aborigines...
|
10 23 00 06 |
|
200 |
2.13 |
MCU IRENE NODS AT PROFILE MARIKO |
IRENE Look like.
MARIKO ...look like.
|
10 23 10 14 |
|
201 |
3.21 |
LA TILT MS MARIKO AND IRENE |
MARIKO You know, someone like me, I'm Aboriginal, but you know, I wouldn't pass that test.
|
10 23 13 02 |
|
202 |
9.01 |
MCU IRENE |
MARIKO (OFF SCREEN) Unbelievable how much control the police had.
IRENE And worked in, they worked in with Aboriginal Protection Board, they worked in with the museum—
MARIKO All these government agencies.
IRENE And all the,
|
10 23 16 23 |
|
203 |
10.23 |
TRACK LEFT AROUND ARCHIVE B/W STILL IMAGE OF STATUES OF NELLIE, HAROLD AND JIMMY |
that's exactly right. You know Mariko, they thought we were primitive, lesser humans than them. We weren't civilised enough by their standard to be treated equally.
|
10 23 25 24 |
|
204 |
3.03 |
LA TILT MS MARIKO AND IRENE |
MARIKO Museums, even today, they're still seen as sources of authority and
|
10 23 36 22 |
|
205 |
7.24 |
LA TILT MCU MARIKO |
objective knowledge.
IRENE (OFF SCREEN) Mmm, yep.
MARIKO And this is why museums are really powerful and can be quite dangerous places because they have that power to spread
|
10 23 40 00 |
|
206 |
13.09 |
CU VIEWS ARCHIVE BOOKS AND DRAWINGS ON SCIENTIFIC RACISM |
a particular truth and then people would accept it because it's a museum. Why would museums lie to us?
IRENE (OFF SCREEN) Lie. That's exactly true. Yep.
MARIKO And, um, this is where, you know, theories about scientific racism, this is how it gets perpetuated because places like museums
|
10 23 47 24 |
|
207 |
2.04 |
MCU MARIKO |
legitimise these theories
|
10 24 01 08 |
|
208 |
1.16 |
MCU IRENE |
because you'll have researchers
|
10 24 03 12 |
|
209 |
3.14 |
ARCHIVE B/W STILL IMAGE RESEARCHER WRITING PAPER |
writing papers. And so they based on an idea of like, you know, Aboriginal people, they have, you know, brain
|
10 24 05 03 |
|
210 |
6.09 |
ARCHIVE B/W STILL IMAGE SKELETONS AND SKULLS IN CABINET |
size that's inferior to non-Indigenous peoples. And then someone just has to write a paper about it. Australian
|
10 24 09 18 |
|
211 |
5.05 |
ARCHIVE B/W STILL IMAGE SETTLER MEN AROUND TABLE OF DOCUMENTS |
Museum is referenced in some way. And then there you go. That's a legitimate theory. And it's truth.
|
10 24 16 02 |
|
212 |
4.20 |
MCU MARIKO AND PROFILE IRENE |
MARIKO The Australian aboriginal, in lower case for Aboriginal, is said to be the most primitive
|
10 24 21 07 |
|
213 |
2.00 |
LA TILT MCU IRENE NODS |
type of homo sapiens...
IRENE Yes.
|
10 24 26 02 |
|
214 |
1.20 |
MCU MARIKO AND PROFILE IRENE |
MARIKO ... surviving on the face of the earth.
|
10 24 28 02 |
|
215 |
1.22 |
LA TILT MS IRENE LOOKS TO PROFILE MARIKO |
MARIKO And it's a legacy now that we're still
|
10 24 29 22 |
|
216 |
1.21 |
LA TILT MCU MARIKO |
undoing as Aboriginal people
|
10 24 31 19 |
|
217 |
2.04 |
LA TILT MS IRENE NODS AT PROFILE MARIKO |
where often we get presented with
|
10 24 33 15 |
|
218 |
2.08 |
LA TILT MCU MARIKO |
these outdated and offensive stereotypes.
|
10 24 35 19 |
|
219 |
3.05 |
MCU IRENE NODS |
|
10 24 38 02 |
|
220 |
50.20 |
MONTAGE EDITS IRENE LOOKING AT STATUES OF CAPTAIN COOK |
IRENE (VOICEOVER) Nanny Nellie was used because of the way she looked. Taken against her will and made to pose naked so that Aboriginal people were portrayed as being primitive. Imagine if the statues in Hyde Park were naked and portrayed as being uncivilised, they would be taken down. The narrative that these people were noble and that we were primitive justified the dispossession of land, the raping and murder, and forced removal of children. This narrative still justifies the racism that exists in Australia today. And the museum was supporting that narrative, just like the majority of museums around the world were.
|
10 24 41 07 |
|
221 |
6.01 |
TRACK BEHIND WMS IRENE IN HYDE PARK |
IRENE Well, it says, discovered
|
10 25 32 02 |
|
222 |
9.18 |
TRACK RIGHT AROUND LA TILT MS STONE PLAQUE FOR CAPTAIN COOK
OST BEGINS AT 10 25 38 03 DISCOVERED THIS TERRITORY 1770 OST ENDS AT 10 25 47 21
|
this territory, 1770. That's a huge statement. It's there, bold, on the statue, here. |
10 25 38 03 |
|
223 |
9.05 |
MCU IRENE |
IRENE From their perspective, he discovered it. From their perspective. But from our perspective, as an Aboriginal person, he,
|
10 25 47 21 |
|
224 |
5.17 |
MCU REV IRENE LOOKS TO PLAQUE |
he came here and discovered
|
10 25 57 01 |
|
225 |
3.02 |
MCU IRENE |
the owners the owners of the land here.
|
10 26 02 18 |
|
226 |
4.24 |
LA TILT MWS STATUE OF CAPTAIN COOK |
IRENE Well I think
MUSIC ENDS
|
10 26 05 20
10 26 08 18 |
|
227 |
2.21 |
MCU IRENE |
they’re blatant lies.
|
10 26 10 19 |
|
228 |
4.10 |
MCU REV IRENE LOOKS TO PLAQUE |
IRENE And then we keep on feeding that. Keep on feeding that. When you feed it
|
10 26 13 15 |
|
229 |
7.23 |
MCU IRENE THROWS ARMS OUT |
gets bigger and bigger and bigger. People believe in it, because, because of that. And then they don’t know the real truth.
|
10 26 18 00 |
|
230 |
19.23 |
MONTAGE EDITS AERIAL VIEW’S IRENE’S CAR ON ROAD AND IRENE DRIVING |
MUSIC BEGINS... 01 MIN 25 SEC REUNITING THE STATUES WITH THEIR FAMILIES
IRENE (VOICEOVER) Wanting to change the narrative of the statues, the museum have agreed to put the statues back on display. Now I want to reunite the other statues with their families. Some of these statues have been damaged, but the museum have agreed to restore them.
|
10 26 25 23
10 26 26 18 |
|
231 |
4.22 |
TILT DOWN ARCHIVE STILL IMAGE OF STATUE OF JIMMY |
IRENE (VOICEOVER) Uncle Jimmy's statue has been damaged the most.
|
10 26 45 21 |
|
232 |
5.05 |
ARCHIVE B/W MS JIMMY WAVING |
IRENE (VOICEOVER) Uncle Jimmy is very important to our history. All of our history.
|
10 26 50 18 |
|
233 |
3.08 |
ARCHIVE B/W STILL IMAGE JIMMY AND OTHER |
IRENE (VOICEOVER) In 1927, he and John Noble protested at the
|
10 26 55 23 |
|
234 |
6.21 |
ARCHIVE B/W MONTAGE OPENING OF PARLIAMENT HOUSE IN CANBERRA |
opening of the Old Parliament House in Canberra for the sovereign rights of all Aboriginal people. One of
|
10 26 59 06 |
|
235 |
3.10 |
ARCHIVE B/W WMS JAMES WITH DOGS |
our first acts of activism. Apparently,
|
10 27 06 02 |
|
236 |
5.02 |
ARCHIVE B/W PAN LEFT OVER HA MS CHILDREN IN CROWD |
they were not allowed in because of the way that they were dressed, but attendees rebelled against security
|
10 27 09 12 |
|
237 |
3.00 |
ARCHIVE B/W STILL IMAGE JIMMY AND MAN |
and they were allowed to stay.
|
10 27 14 14 |
|
238 |
4.24 |
ARCHIVE B/W MWS DUKE GETS OUT OF CARRIAGE THEN MWS DUKE GIVING SPEECH |
IRENE (VOICEOVER) Later, Uncle Jimmy also met with the future king, the Duke of York.
|
10 27 17 14 |
|
239 |
25.01 |
MONTAGE ARCHIVE B/W STILL IMAGES OF JIMMY AT PROTEST |
IRENE (VOICEOVER) People of the time even requested a statue be made of him to honour his protest. Sadly, he died a couple of months after this event. Notice how he has an Australian flag in his hand. They must have given that to him. Another example of how they tried to control the narrative of our history.
|
10 27 22 13 |
|
240 |
4.02 |
LA WS REV IRENE’S CAR DRIVES PAST CAMERA |
IRENE King Billy, whose full name was
|
10 27 47 14 |
|
241 |
2.19 |
MS PROFILE IRENE AT COMPUTER BEHIND LOUNGE |
Jimmy Clements, was worried about sovereignty
MUSIC ENDS
|
10 27 51 16
10 27 51 18 |
|
242 |
4.06 |
CU SCREEN SHOWING PROFILE ON JIMMY |
for Aboriginal people. Wiradjuri Mann, and direct descendant of King Billy,
|
10 27 54 10 |
|
243 |
6.08 |
MCU PROFILE IRENE |
Dean Freeman said he wanted a voice out there about Aboriginal people still being around
|
10 27 58 16 |
|
244 |
11.18 |
CU SCREEN SHOWING ABC NEWS ARTICLE THEN TIGHTER VIEW OF DEAN |
and believed they deserved for a statue to be built in recognition of his efforts and so people could know who these people are. We’re reflecting the same
|
10 28 04 24 |
|
245 |
4.04 |
LA TILT MCU IRENE |
ideas here, and by him saying that and by what we're doing here.
|
10 28 16 17 |
|
246 |
3.18 |
CU SCREEN SHOWING ABC NEWS ARTICLE |
IRENE Yeah, definitely on the same path. Yeah, yeah. Because it's
|
10 28 20 21 |
|
247 |
4.22 |
LA TILT MCU IRENE |
not just me, I've always said that, you know, it's all about these, the three statues with all the,
|
10 28 24 14 |
|
248 |
5.17 |
CU SCREEN SHOWING INTERNET SEARCH THEN PHOTOS |
with all the families. We need to speak to him.
|
10 28 29 11 |
|
249 |
5.18 |
MWS REV IRENE AT TABLE ON PHONE
|
|
10 28 35 03 |
|
250 |
27.15 |
MS IRENE AT TABLE ON PHONE |
DEAN (ON PHONE) (ENGLISH SUBTITLES) Hi Irene.
IRENE Hi Dean, how are you?
DEAN (ON PHONE) (ENGLISH SUBTITLES) Good thanks. How are you?
IRENE Well, thank you very much. We're not quite sure whether any of the family know about the, about the statues.
DEAN (ON PHONE) (ENGLISH SUBTITLES) No, I didn't know.
IRENE Yeah. So we really—
DEAN (ON PHONE) (ENGLISH SUBTITLES) I've done a lot of research. And I've got a lot of paperwork here. I hadn’t seen any of that sort of stuff mentioned in that.
IRENE Wow, wow. So we'd really like to get together and have a good old yarn.
|
10 28 40 2 |
|
251 |
3.01 |
LA MCU PHONE IN IRENE’S HAND |
DEAN (ON PHONE) (ENGLISH SUBTITLES) I would love to get involved in that sort of stuff.
IRENE Oh wow, that's fantastic.
DEAN (ON PHONE) (ENGLISH SUBTITLES) I’ve got on a bit.
|
10 29 08 11 |
|
252 |
3.09 |
LA TILT MCU IRENE |
DEAN (ON PHONE) (ENGLISH SUBTITLES) But I’ll sit down and have a conversation with you. No worries at all.
|
10 29 11 12 |
|
253 |
6.06 |
MS IRENE ON PHONE |
IRENE Really look forward to seeing you.
DEAN (ON PHONE) (ENGLISH SUBTITLES) Sounds good. Bye bye.
IRENE OK sounds good. Bye. Bye.
|
10 29 14 21 |
|
254 |
10.15 |
MS IRENE LAUGHS AND CLAPS |
IRENE You know what, they sound really proactive. His mum and him and his family, so uh, that's, that's even better.
MUSIC BEGINS... 35 SEC TRAVELLING TO UNCLE JIMMY’S FAMILY
|
10 29 21 02
10 29 28 18 |
|
255 |
5.21 |
AERIAL TRACK BEHIND WS IRENE’S CAR UP ROAD |
IRENE So we're off to
|
10 29 31 17 |
|
256 |
6.12 |
MCU PROFILE IRENE DRIVING |
Bunjil today to um, meet with the Freeman family. Um,
|
10 29 37 13 |
|
257 |
4.20 |
VIEW THRU WINDSCREEN TO TRACK UP ROAD |
so that's very exciting. But it'll just be great to see
|
10 29 44 00 |
|
258 |
2.04 |
MCU PROFILE IRENE DRIVING |
how everything fits in their family.
|
10 29 48 20 |
|
259 |
5.12 |
AERIAL TRACK OVER IRENE CAR UP ROAD |
IRENE Yep, there it is over there.
BUDDY They gotta put the
|
10 29 50 24 |
|
260 |
6.00 |
TRACK BEHIND WS IRENE WALKING TO MEET DEAN
SUPER BEGINS AT 10 29 58 01 Dean Freeman Jimmy Clement’s descendent SUPER ENDS AT 10 30 02 10
|
thing on you.
IRENE Yes!
DEAN How are ya?
IRENE Hello!
DEAN Good to finally meet you.
IRENE Good to finally meet you.
|
10 29 56 11 |
|
261 |
4.23 |
MS REV IRENE MEETS BUDDY WITH DEAN
SUPER BEGINS AT 10 30 02 11 Buddy Freeman Dean’s father SUPER ENDS AT 10 30 07 08
|
IRENE This this your dad?
DEAN Yep, this is Buddy.
MUSIC ENDS
IRENE Hello, how are you?
BUDDY Good to How are you?
IRENE Hello,
|
10 30 02 11
10 30 03 18 |
|
262 |
3.09 |
MS REV IRENE SHAKES HANDS WITH WILLIAM
SUPER BEGINS AT 10 30 07 09 William Morgan Dean’s nephew SUPER ENDS AT 10 30 10 17
|
William. How are you, darling?
WILLIAM How are you?
IRENE Lovely to meet you.
|
10 30 07 09 |
|
263 |
21.11 |
MWS IRENE SITS AT TABLE WITH REV DEAN AND BUDDY AND WILLIAM AT LEFT |
IRENE So, I brought some paperwork for you to have a look at.
DEAN Yes good.
IRENE And this is from the museum, right?
DEAN Ah, yeah.
IRENE So, here's, um, Uncle Jimmy, right? This is your relative.
DEAN Yeah.
IRENE Um, so, and this is my great grandmother, this is Nanny Nellie, and here's young little, um, Harold Marsh. And
|
10 30 10 18 |
|
264 |
9.04 |
ARCHIVE B/W STILL IMAGE OF STATUES OF NELLIE, JIMMY AND HAROLD ON DISPLAY |
this is how they displayed them at the museum. Look how fit he was.
DEAN (OFF SCREEN) Yeah. In 1927, he walked from Brungle to Canberra with John Noble
|
10 30 32 04 |
|
265 |
7.16 |
MCU PROFILE DEAN |
to protest for Aboriginal sovereign rights.
IRENE (OFF SCREEN) So he walked from—
DEAN He was 80.
IRENE He was 80?
DEAN So this year he's probably...
|
10 30 41 08 |
|
266 |
3.17 |
MS IRENE AT TABLE AND BUDDY AND WILLIAM AT LEFT |
IRENE I never knew that.
DEAN (OFF SCREEN) Yeah.
BUDDY Yeah.
IRENE That's amazing.
DEAN (OFF SCREEN) Yeah. Him and John Noble.
|
10 30 48 24 |
|
267 |
6.04 |
HA TILT MS DEAN PLACES PHOTO PRINT ON TABLE |
DEAN See, so I'm pretty sure talking to Mum and some others, they think that that there is probably Jimmy Clements.
IRENE (OFF SCREEN) Yes, that's definitely
|
10 30 52 16 |
|
268 |
5.11 |
CU B/W PHOTO PRINT OF JIMMY WITH OTHERS |
him, isn't it?
DEAN (OFF SCREEN) Yeah.
IRENE (OFF SCREEN) Most definitely.
DEAN (OFF SCREEN) Yeah, there's some of the other photos that came along.
IRENE (OFF SCREEN) Taken here?
|
10 30 58 20 |
|
269 |
19.17 |
MS DEAN AND WILLIAM HOLD PHOTO PRINTS FOR PROFILE IRENE
ZOOM TO POST IT NOTE ON PHOTO PRINT |
IRENE Oh, wow. Oh, wow, so 1894, this photograph was taken here. 1894.
DEAN You can see the initials. So, T-H is actually T Hubbard. For the mission manager.
IRENE The mission manager.
DEAN (OFF SCREEN) So that's actually...
IRENE (OFF SCREEN) That's terrible, isn't it?
DEAN (OFF SCREEN) Like they tagged them, yeah.
IRENE (OFF SCREEN) Yeah.
|
10 31 04 06 |
|
270 |
4.17 |
CU PHOTO PRINT WITH MAN BEARING PAINTED INITIAL |
IRENE (OFF SCREEN) Ownership...
DEAN (OFF SCREEN) Pretty crazy.
IRENE (OFF SCREEN) .. of Aboriginal people.
|
10 31 23 23 |
|
271 |
4.01 |
CU IRENE’S HAND POINTS TO B/W PHOTO PRINT OF CAMP |
IRENE (OFF SCREEN) There's the original camp.
DEAN (OFF SCREEN) See, maybe that hill.
|
10 31 28 15 |
|
272 |
8.06 |
MS DEAN HOLDS PHOTO UP NEXT TO LANDSCAPE |
DEAN (OFF SCREEN) See the little hill in there?
IRENE (OFF SCREEN) It’s totally that, yeah.
DEAN And you see the little on the right here somewhere, that might be that one there.
IRENE (OFF SCREEN) And then the slope going up.
WILLIAM Cuts across to here.
IRENE (OFF SCREEN) Up here.
|
10 31 32 16 |
|
273 |
2.08 |
WS PADDOCK TO HILL
|
DEAN (OFF SCREEN) Up the river there.
IRENE (OFF SCREEN) So they’re the
|
10 31 40 22 |
|
274 |
4.23 |
WS IRENE SITS WITH DEAN AND FAMILY IN FRONT YARD |
statues.
DEAN Yeah, that's Jimmy there, see?
IRENE That's Uncle Jimmy.
DEAN So they're restoring them at the moment?
IRENE At this stage, um,
|
10 31 43 05 |
|
275 |
9.01 |
MS IRENE |
Uncle Jimmy is not fully, um, together. Because he's made of a statue and they've been moving him around quite a lot, you know. Um,
|
10 31 48 03 |
|
276 |
3.23 |
MS BUDDY |
so parts of him, uh, need a lot of
|
10 31 57 04 |
|
277 |
12.02 |
MS IRENE |
repair. But the Australian Museum have put money away to repair all the statues to their original, what they originally looked like. Now
|
10 32 01 02 |
|
278 |
15.20 |
WS IRENE SITS WITH DEAN AND FAMILY IN FRONT YARD |
when they go on exhibition, because there'll be an exhibition and a show that everybody, you know, will all come down.
DEAN Yep.
IRENE I want them all clothed.
DEAN Yeah nice. Yeah good, good.
IRENE Yeah, and that’ up to you guys to say how you want to see Uncle Jimmy.
DEAN Yep, good.
|
10 32 13 04 |
|
279 |
12.24 |
MCU DEAN AND FAMILY |
DEAN Cause So I know a lot of the men wore suits and that sort of stuff.
IRENE (OFF SCREEN) Yeah, absolutely.
DEAN Yeah, a lot of the old photos.
IRENE (OFF SCREEN) Yep.
DEAN All the people are in, all the fellas are in suits and the ladies are in, in dresses.
IRENE (OFF SCREEN) That's exactly right. Absolutely.
|
10 32 28 24 |
|
280 |
8.06 |
WMS DEAN AND FAMILY |
IRENE (OFF SCREEN) So when you come down, you can talk to the museum about how you want him to be represented. Because he's your direct ancestor.
|
10 32 41 23 |
|
281 |
13.12 |
MS PROFILE IRENE |
IRENE And then they'll, because they were not given any names. They were just put there without a name. They were just put on exhibition saying, “These will be the last Aboriginal people you'll ever see.” That's what this exhibition was about.
|
10 32 50 04 |
|
282 |
3.17 |
TIGHT MS DEAN AND FAMILY |
DEAN People need to know this sort of stuff, and I think the conversations are out there now
|
10 33 03 16 |
|
283 |
1.16 |
MCU PROFILE IRENE |
for it.
MUSIC BEGINS... 38 SEC
IRENE Yeah,
|
10 33 07 08
10 33 07 18 |
|
284 |
2.20 |
TIGHT MS DEAN AND FAMILY |
absolutely.
DEAN Yeah, so I think it's a good thing.
|
10 33 08 24 |
|
285 |
17.13 |
MONTAGE EDITS IRENE DRIVING BACK TO SYDNEY
|
|
10 33 11 19 |
|
286 |
3.06 |
MWS DOOR OPENS AND IRENE ENTERS |
ROBERT Welcome to one of the sites where
|
10 33 29 07 |
|
287 |
4.00 |
TRACK BEHIND MS MUSEUM WORKERS WITH IRENE |
the Australian Museum has workrooms. And, of course, this is where your
|
10 33 32 13 |
|
288 |
2.04 |
VIEW THRU WINDOW TO IRENE AND MUSEUM WORKERS |
ancestor's sculpture is
|
10 33 36 13 |
|
289 |
2.02 |
MS IRENE LEADS MUSEUM WORKERS THRU DOOR |
ensconced through here.
IRENE Wow.
|
10 33 38 17 |
|
290 |
1.19 |
LA TILT MS IRENE |
IRENE Be great to see her again.
|
10 33 40 19 |
|
291 |
2.05 |
PAN RIGHT WITH TIGHT MS IRENE
|
|
10 33 42 13 |
|
292 |
4.14 |
TRACK AROUND MS REV IRENE WATCHING MUSEUM WORKERS REVEAL STATUE
|
IRENE Oh, hello. Yeah. Oh, hello.
MUSIC ENDS
|
10 33 44 18
10 33 45 18 |
|
293 |
7.03 |
TIGHT MS IRENE EMOTIONAL |
IRENE There she is. Hiya. Hello.
MUSIC BEGINS... 02 MIN 01 SEC SEEING NELLIE
|
10 33 49 07
10 33 54 18 |
|
294 |
4.19 |
MS REV IRENE REACHES TO TOUCH STATUE
|
|
10 33 56 10 |
|
295 |
10.07 |
MCU PROFILE STATUE OF NELLIE THEN PAN LEFT TO IRENE |
IRENE It’s been a while, hasn't it? I love the way she looks at me. I really love the way she
|
10 34 01 04
|
|
296 |
1.23 |
MS REV IRENE LOOKS TO STATUE OF NELLIE
|
looks at me.
|
10 34 11 11 |
|
297 |
4.12 |
LA TILT MCU STATUE OF NELLIE
|
|
10 34 13 09 |
|
298 |
8.09 |
MCU PROFILE IRENE EMOTIONAL |
IRENE It's beautiful. It's really beautiful. Lovely to see you again. I missed you.
|
10 34 17 21 |
|
299 |
6.10 |
LA TILT CU REV IRENE REACHES TO TOUCH STATUE OF NELLIE |
IRENE (OFF SCREEN) We look alike. I think we look alike. You know.
|
10 34 26 05 |
|
300 |
6.24 |
SLO-MO MCU IRENE |
IRENE (OFF SCREEN) So yeah, yeah.
|
10 34 32 15 |
|
301 |
1.20 |
TIGHT MS KYRA AND PROFILE IRENE BEND TO FRAGMENT
SUPER BEGINS AT 10 34 39 14 Kyra Kim Conservator Australian Museum SUPER ENDS AT 19 01 17 15
|
KYRA So we've got a loose fragment, um, |
10 34 39 14 |
|
302 |
1.17 |
LA TILT MS IRENE AN KYRA AT TABLE |
of the plaster here.
IRENE This is
|
10 34 41 09 |
|
303 |
3.18 |
LA MCU KYRA PASSES FRAGMENT TO IRENE |
from Nanny.
KYRA (OFF SCREEN) Yeah, so this is from her ankle.
|
10 34 43 01 |
|
304 |
4.07 |
LA CU TAKING PLASTER PIECE FROM STATUE |
IRENE (OFF SCREEN) Oh my goodness.
robert (OFF SCREEN) Yes.
KYRA (OFF SCREEN) Yeah.
robert So that’s why
|
10 34 46 19 |
|
305 |
5.19 |
TILT UP FROM CU PLASTER PIECE TO REV IRENE TO ROBERT |
she’s still in her stillage.
IRENE Right.
robert And that’s the work we will do too, to make her stable again.
|
10 34 51 01 |
|
306 |
2.16 |
MS PROFILE IRENE AND KYRA LOOK TO STATUE WITH ROBERT
|
IRENE Oh yes, now I can see from the back.
|
10 34 56 20 |
|
307 |
2.22 |
MCU PLASTER PIECE IN IRENE’S HAND |
IRENE I never realised, just seeing from the front, never realised how
|
10 34 59 11 |
|
308 |
2.10 |
TIGHT MS IRENE |
much damage there was from the back.
KYRA (OFF SCREEN) Yeah,
|
10 35 02 08 |
|
309 |
3.04 |
LA MCU BROKEN FRAGMENTS ON STATUE LEG |
yep.
|
10 35 04 18 |
|
310 |
6.01 |
CU SCREEN SHOWING IMAGES
|
ROBERT So when we
|
10 35 07 22 |
|
311 |
2.14 |
TRACK BACK WITH LA TILT MWS KYRA LEADING ROBERT AND IRENE
SUPER BEGINS AT 10 35 13 23 Robert Clendon Conservator Australian Museum SUPER ENDS AT 10 35 16 11
|
come up here, just on our right is the |
10 35 13 23 |
|
312 |
3.05 |
TIGHT MS IRENE |
sculpture of the young man called Harold.
|
10 35 16 12 |
|
313 |
2.01 |
LA TILT MWS PROFILE KYRA, ROBERT AND IRENE IN MUSEUM SHELVES |
ROBERT He's behind the calico at the moment.
|
10 35 19 17 |
|
314 |
2.04 |
MS STATUE BOX IN CALICO |
IRENE Right, yes. It’s been quite
|
10 35 21 18 |
|
315 |
2.18 |
TIGHT MS IRENE |
difficult, um, finding, um...
|
10 35 23 22 |
|
316 |
5.23 |
ARCHIVE B/W STILL IMAGE STATUE OF HAROLD |
Uncle Harold's family, because he was so young when he was taken away.
KYRA (OFF SCREEN) Yep.
|
10 35 26 15 |
|
317 |
2.20 |
TIGHT MS IRENE |
IRENE But we're still searching and we have hope that
|
10 35 32 13 |
|
318 |
5.11 |
WMS IRENE FACES ROBERT AND KYRA |
we, we do find his family so they can come and he can belong
|
10 35 35 08 |
|
319 |
3.05 |
TIGHT MS IRENE |
to family.
|
10 35 40 19 |
|
320 |
8.23 |
MONTAGE EDITS VIEWS OF STORED MUSEUM PIECES |
HEATHER So this file has
|
10 35 43 24 |
|
321 |
2.16 |
LA LS UP AISLE TP REV IRENE FACING HEATHER |
as much of the information as what we’ve been able to gather
|
10 35 52 22 |
|
322 |
2.10 |
LA TILT MS HEATHER FACES REV IRENE
SUPER BEGINS AT 10 35 55 13 Heather Bleechmore Manager/Collection Care & Conservation Australian Museum SUPER ENDS AT 19 01 17 15
|
about the history of the statues,
MUSIC ENDS |
10 35 55 13
09 05 35 1 |
|
323 |
2.11 |
MS IRENE AND REV HEATHER |
and from that we’ve been able to find out
|
10 35 57 23 |
|
324 |
2.13 |
LA MCU LEAFING THRU DOCUMENTS |
they were up in Holbrook in
|
10 36 00 09 |
|
325 |
1.09 |
MS IRENE NODS AT REV HEATHER |
Holbrook museum for about
|
10 36 02 22 |
|
326 |
0.24 |
LA TILT MS HEATHER FACES REV IRENE
|
twenty years.
|
10 36 04 06 |
|
327 |
1.23 |
MS IRENE AND REV HEATHER |
IRENE Wow.
HEATHER We’re all under the conclusion
|
10 36 05 05 |
|
328 |
3.09 |
LA TILT MCU HEATHER FACES REV IRENE |
that Uncle Jimmy was damaged in transit.
|
10 36 07 03 |
|
329 |
2.10 |
MS IRENE NODS AT REV HEATHER |
IRENE Right.
HEATHER Back from the Holbrook Museum,
|
10 36 10 12 |
|
330 |
4.03 |
LA TILT MS HEATHER FACES REV IRENE |
HEATHER Auntie Nellie also had some areas of weakness around her ankles, which
|
10 36 12 22 |
|
331 |
1.09 |
MS IRENE NODS AT REV HEATHER |
we’ve seen.
IRENE Mm-hm.
|
10 36 17 00 |
|
332 |
13.23 |
LA TILT MCU HEATHER FACES REV IRENE |
HEATHER I can honestly say that there was an enormous sense of sorrow when I saw Uncle Jimmy.
IRENE Mmm, yes.
HEATHER And I remember thinking, this has to be fixed.
|
10 36 18 09 |
|
333 |
4.23 |
MCU IRENE NODS AT REV HEATHER |
IRENE Yes.
HEATHER This has to be made right.
IRENE Yes.
HEATHER This can’t be left like this.
|
10 36 32 07 |
|
334 |
6.11 |
LA TILT MCU HEATHER FACES REV IRENE |
HEATHER Wasn’t the right time before, now is the right time.
IRENE Yeah. Now it is. Yeah. Cool.
|
10 36 37 05 |
|
335 |
7.19 |
TIGHT MS IRENE |
IRENE It is. It definitely is.
HEATHER Yay.
IRENE You know um, and like I was saying before, that the past and the present, are coming together.
|
10 36 43 16 |
|
336 |
11.11 |
MONTAGE EDITS MUSEUM WORKERS DRILL OPEN STATUE CASE |
IRENE (OFF SCREEN) OK. OK. Oh my goodness. Wow, alright.
MUSIC BEGINS... 01 MIN 13 SEC RECOGNISING THEM AS PEOPLE: CHANGING THE FRAMEWORK
|
10 36 51 10
10 36 57 18 |
|
337 |
3.07 |
TIGHT MS IRENE WITH HEATHER AND KYRA |
IRENE Oh yeah he is in pieces isn’t he. Wow.
|
10 37 02 21 |
|
338 |
3.10 |
WS IRENE WALKS AROUND STATUE WITH MUSEUM WORKER |
IRENE Oh wow.
|
10 37 06 03 |
|
339 |
4.03 |
LA TILT TIGHT MS IRENE |
IRENE I wish his family was here now to see him.
|
10 37 09 13 |
|
340 |
16.23 |
MONTAGE VIEWS OF JIMMY SCULPTURE IN BOX |
HEATHER (OFF SCREEN) To be recognising that they are real life people that modelled, that were made to model for an artist...
IRENE (OFF SCREEN) Yes. Yes.
|
10 37 13 16 |
|
341 |
13.14 |
LA TILT MS HEATHER AND REV IRENE |
HEATHER ... is how we can reframe that original concept, kind of leave it behind and move forward into something that is for the future.
|
10 37 30 14 |
|
342 |
2.05 |
MCU IRENE NODS |
IRENE Yes.
HEATHER Recognising Uncle Jimmy and
|
10 37 44 03 |
|
343 |
2.11 |
CU DOCUMENTS WITH PHOTOS OF STATUES |
and Uncle Harold, and Auntie Nellie
|
10 37 46 08 |
|
344 |
2.09 |
MCU IRENE NODS |
as people
|
10 37 48 19 |
|
345 |
2.06 |
LA TILT MCU HEATHER AND REV IRENE |
is a changing framework.
|
10 37 51 03 |
|
346 |
4.16 |
MCU IRENE
|
IRENE That’s perfect. it’s beautiful. I see that too. We have the same dream.
HEATHER Yeah.
|
10 37 53 09 |
|
347 |
12.06 |
MONTAGE EDITS MUSEUM WORKERS LOAD SCULPTURES ONTO TRUCK THEN TRUCK DRIVES AWAY
|
IRENE (OFF SCREEN) So...
HEATHER (OFF SCREEN) Yeah.
IRENE (OFF SCREEN) And that’s not impossible.
|
10 37 58 00 |
|
348 |
5.09 |
WS IRENE AND HEATHER HUG AS ROLLER DOOR CLOSES
|
MUSIC ENDS / MUSIC BEGINS... 01 MIN 01 SEC WARANGESDA MISSION
|
10 38 10 06
10 38 10 18 |
|
349 |
44.09 |
black
|
|
10 38 15 15 |
|
349 |
10.20 |
MONTAGE EDITS AERIAL LAND SCAPE VIEW AND IRENE’S CAR UP ROAD
|
IRENE (VOICEOVER) Around the age of 17, Nanny Nellie left Bombala and travelled more than 500 kilometres to Warangesda
|
10 39 00 00 |
|
350 |
5.16 |
WS REV IRENE’S CAR DRIVES THRU WARANGESDA GATE
SUPER BEGINS AT 10 39 10 20 Warangesda 1883-1890 SUPER ENDS AT 10 39 16 10
|
Aboriginal Mission. She would have gone there because
|
10 39 10 20 |
|
351 |
5.23 |
ZOOM IN ON B/W STILL IMAGE ARTWORK DEPICTING MISSION |
she had no immediate family, and the mission had a good reputation.
|
10 39 16 11 |
|
352 |
7.06 |
ARCHIVE B/W STILL IMAGE JOHN GRIBBLE |
IRENE (VOICEOVER) Reverend John Gribble, who established the mission, grew up with the Wiradjuri people and was known to be fair.
|
10 39 22 09 |
|
353 |
15.19 |
MONTAGE WS VIEWS OF MISSION LANDSCAPE |
IRENE (OFF SCREEN) Nanny Nellie came out here To this place where she thought she was going to be safe. This idea of somewhere being safe to live
|
10 39 29 15 |
|
354 |
16.04 |
MONTAGE EDITS REV IRENE AND ANGELA WALKING THRU PADDOCKS
SUPER BEGINS AT 10 39 45 09 Angela Goulding Descendant of Warangesda SUPER ENDS AT 10 40 01 12
|
amongst our own people would have been some sort of light.
IRENE So when my grandmother first arrived here when she was around about 17 or so,
MUSIC ENDS
|
10 39 45 09
10 39 56 03 |
|
355 |
2.15 |
LA TILT MS IRENE AND ANGELA |
she would have been told to come over here and stay in this
|
10 40 01 13 |
|
356 |
15.06 |
MONTAGE EDITS ARCHIVE B/W STILL IMAGES OF MISSION |
girls dormitory.
ANGELA (OFF SCREEN) Yep. In the girls dormitory, yep, this is where she would have been sent to, so she would have had a room, sharing a room in here with a fair few of the other girls.
IRENE And then she met her husband, her first husband here. So that would have changed dramatically for her. They probably would have got
|
10 40 04 03 |
|
357 |
4.15 |
LA TILT MS IRENE AND ANGELA |
a little house, I suppose.
ANGELA Well, they said the family huts were over there, so...
IRENE Yep.
ANGELA Perhaps they did
|
10 40 19 09 |
|
358 |
18.03 |
MONTAGE EDITS ARCHIVE B/W STILL IMAGES OF MISSION |
have a little place of their own out here or shared a house with other families.
IRENE (OFF SCREEN) Yeah cause she wouldn’t have stayed in the dormitories, yeah.
ANGELA (OFF SCREEN) Yeah.
MUSIC BEGINS... 02 MIN 16 SEC APB
IRENE (OFF SCREEN) She wasn't alone. She was with family and then, like, integrated family as well.
ANGELA (OFF SCREEN) Yeah.
IRENE (OFF SCREEN) But in 1894, Reverend Gribble left Warangesda to establish a
|
10 40 23 24
10 40 31 03 |
|
359 |
5.24 |
WS REV IRENE WALKS AROUND MISSION PROPERTY |
mission in Queensland. The Aborigines Protection Board took over and from that point
|
10 40 42 02 |
|
360 |
3.18 |
TIGHTER WS REV IRENE LOOKS AT BRICK OVEN
|
onwards, the nightmare stories began.
|
10 40 48 01 |
|
361 |
3.24 |
TRACK BEHIND MS IRENE AND ANGELA WALKING THRU FIELD |
ANGELA I've heard people have good sides to it.
IRENE Right.
ANGELA Like, when
|
10 40 51 19 |
|
362 |
5.13 |
ARCHIVE B/W STILL IMAGE GRIMBLE |
Grimble first established it because he wanted to help the Indigenous people and get them here, so.
IRENE (OFF SCREEN) Yeah, yeah.
ANGELA But then I've heard
|
10 40 55 18 |
|
363 |
4.07 |
MS ANGELA AND PROFILE IRENE |
some pretty, you know, horror stories about the place and how they were treated
|
10 41 01 06 |
|
364 |
7.07 |
ZOOM IN ON ARCHIVE B/W STILL IMAGE INDIGENOUS MEMBERS OF MISSION WITH TWO SETTLERS |
and weren't treated real good and punished and what not, so.
IRENE (OFF SCREEN) Yeah, yeah. I've been reading about that too, how they were punished.
ANGELA (OFF SCREEN) Yeah.
|
10 41 05 13 |
|
365 |
4.24 |
ZOOM IN ON ARCHIVE B/W STILL IMAGE SETTLERS AT MISSION |
ANGELA (OFF SCREEN) Strapped.
IRENE (OFF SCREEN) Strapped. That's what it says.
ANGELA (OFF SCREEN) Dragged behind the cart, back into the mission and what
|
10 41 12 20 |
|
366 |
6.10 |
ARCHIVE B/W STILL IMAGE ARCHIVE MOUNTED HORSEMEN CROSSING BRIDGE |
not, so yeah, there was some, there is a lot of bad stories. Like,
|
10 41 17 19 |
|
367 |
2.15 |
MS IRENE AND PROFILE ANGELA |
where they done a mass genocide out that way too.
|
10 41 24 04 |
|
368 |
17.01 |
MONTAGE VIEWS OF WATERHOLE AND TREE TOPS |
IRENE Yeah.
ANGELA A poison water hole down from here.
IRENE (OFF SCREEN) Yeah, yeah, yeah.
ANGELA (OFF SCREEN) Went and put all poison into the water and they drank it and lost hundreds of lives.
|
10 41 26 19 |
|
369 |
7.04 |
TRACK RIGHT AROUND MCU IRENE |
IRENE (VOICEOVER) The Aborigines Protection Board was established
|
10 41 43 20 |
|
370 |
41.02 |
MONTAGE ARCHIVE B/W STILL IMAGES OF POSED ABORIGINAL AND SETTLER GROUPS |
to control and supervise the lives of Aboriginal people. Its aim was to assimilate Aboriginal people into mainstream Australian society. The Aborigines Protection Board had the powers at its discretion to choose who you could marry, how to spend your money, what language you spoke, and to remove Indigenous children from their families and place them in government run institutions. The irony was that the Aborigines Protection Board was set up to protect Aboriginal people. But in reality, it destroyed so many lives. The repercussions of
|
10 41 50 24 |
|
371 |
10.02 |
MONTAGE VIEWS OF REMAINS ON MISSION SITE |
this violence is still felt today through generational trauma.
|
10 42 32 01 |
|
372 |
11.01 |
MONTAGE EDITS AERIAL TRACKING VIEWS OF IRENE’S CAR ALONG RURAL ROADS |
IRENE (OFF SCREEN) It's amazing how they had these missions so far out of town.
MUSIC ENDS
|
10 42 42 03
10 42 47 03 |
|
373 |
1.19 |
MCU PROFILE IRENE DRIVING |
IRENE Out of sight, out of mind.
|
10 42 53 04 |
|
374 |
3.00 |
VIEW THRU WINDSCREEN TO TRACK ALONG WS ROAD |
IRENE (OFF SCREEN) And then take the children away.
|
10 42 54 23 |
|
375 |
4.19 |
CU PROFILE IRENE DRIVING |
IRENE Stick the family's out on the mission, out of town, then
|
10 42 57 23 |
|
376 |
4.05 |
TRACK RIGHT ALONG ROAD FROM CAR POV |
take the kids away. I mean, if they wanted to be like a white man so much,
|
10 43 02 17 |
|
377 |
6.21 |
MCU PROFILE IRENE DRIVING |
why wouldn't they let them live in town? So... I don't under, I don't get it.
MUSIC BEGINS... 47 SEC UNCLE HAROLD MARSH
|
10 43 06 22
10 43 09 03 |
|
378 |
8.20 |
AERIAL EWS TRACKING VIEWS OF IRENE’S CAR ALONG RURAL ROADS |
IRENE (VOICEOVER) Life on the missions and reserves would have been challenging for a teenage
|
10 43 13 18 |
|
379 |
4.18 |
WS IRENE WALKS UP STONE STREET |
girl, especially being alone and having your life controlled.
|
10 43 22 13 |
|
380 |
3.21 |
HA TILT WS IRENE CLIMBS STAIRS |
IRENE (VOICEOVER) I can't imagine what it would have been like for a little boy living in
|
10 43 27 06 |
|
381 |
6.19 |
ARCHIVE B/W STILL IMAGE OF STATUE OF STATUE
|
Kinchela all by himself. Harold Marsh was nine years old when the statue was made of him. The museum
|
10 43 31 02 |
|
382 |
8.00 |
CU ARCHIVE MUSEUM RECORDS |
records state that he was originally from Grafton, but the museum ordered the police to obtain him from Kinchela. From there,
|
10 43 37 21 |
|
383 |
4.15 |
ARCHIVE B/W STILL IMAGE RAYNER HOFF |
Harold was taken down to Sydney to be sculpted by Rayner Hoff.
|
10 43 45 21 |
|
384 |
4.08 |
PULL FOCUS FORM MCU STATUE TO WS REV IRENE CLIMBING STAIRS |
DEBORAH Hello.
|
10 43 50 11 |
|
385 |
4.08 |
WMS PROFILE DEBORAH SHAKES IRENE’S HAND
SUPER BEGINS AT 10 43 55 16 Deborah Beck Lecturer, Archivist and Collections Manager National Art School SUPER ENDS AT 10 43 59 01
|
DEBORAH Hi Irene.
MUSIC ENDS
IRENE Lovely to finally meet you.
DEBORAH It’s very nice to meet you.
IRENE It’s been a while hasn’t it?
DEBORAH Yeah.
IRENE And we’ve got a
|
10 43 54 19
10 43 56 03 |
|
386 |
2.20 |
LA TILT MS DEBORAH FACES REV IRENE |
few things to talk about.
DEBORAH We do.
IRENE Yeah.
|
10 43 59 02 |
|
387 |
2.11 |
PULL FOCUS TO MS DEBORAH AND IRENE |
DEBORAH So I’ll just go round the corner and see where Rayner Hoff’s
|
10 44 01 22 |
|
388 |
1.18 |
TRACK BEHIND MS IRENE AND DEBORAH WALKING |
studio was.
IRENE Wow.
DEBORAH Yeah.
|
10 44 04 08 |
|
389 |
2.07 |
LA TILT MS DEBORAH LEADS IRENE THRU STUDIO |
DEBORAH It's really big now. It was a little smaller when
|
10 44 06 01 |
|
390 |
3.03 |
LA TILT WS REV IRENE AND DEBORAH WALK THRU STUDIO |
Harold Marsh was posing in here.
|
10 44 08 08 |
|
391 |
15.16 |
MONTAGE ARCHIVE B/W STILL IMAGES OF ARTISTS IN STUDIO SPACE AND STUDENTS AROUND EXTERIOR |
DEBORAH (OFF SCREEN) It had sandstone walls.
IRENE (OFF SCREEN) Oh.
DEBORAH (OFF SCREEN) Pretty well mud floor. It was terrible. The floor was terrible. You know, in 1925 it was actually a technical college when he came, but the art school was part of it.
IRENE (OFF SCREEN) Right.
DEBORAH (OFF SCREEN) So he would have been coming in amongst all those students and things and posed.
|
10 44 11 11 |
|
392 |
2.11 |
LA TILT MCU DEBORAH |
DEBORAH it would have been quite hard actually, I think.
IRENE Yeah I
|
10 44 27 02 |
|
393 |
2.00 |
MCU IRENE |
guess with the whole three of them,
|
10 44 29 13 |
|
394 |
1.06 |
LA TILT MCU DEBORAH NODS AT REV IRENE |
they would never have
|
10 44 31 13 |
|
395 |
2.20 |
LA TILT MS IRENE AND REV DEBORAH |
normally been in this sort of situation before.
DEBORAH No.
|
10 44 32 19 |
|
396 |
3.16 |
LA TILT MS DEBORAH AND REV IRENE |
DEBORAH And we don't know of any Aboriginal students here either.
IRENE No.
DEBORAH You know, even
|
10 44 35 14 |
|
397 |
4.05 |
LA TILT MS IRENE AND REV DEBORAH |
coming into the site would have been quite, quite, um...
IRENE Yes, it would have been.
|
10 44 39 05 |
|
398 |
3.06 |
WS DEBORAH AND IRENE WALK INTO GALLERY |
DEBORAH So this little section here is actually mainly
|
10 44 43 10 |
|
399 |
2.20 |
MWS REV DEBORAH LEADS IRENE THRU GALLERY SPACE |
about Rayner Hoff actually. And then through here
|
10 44 46 16 |
|
400 |
2.19 |
TRACK BACK WITH WMS DEBORAH LEADING IRENE THRU STORAGE |
is where we have our main collection. So I've
|
10 44 49 11 |
|
401 |
3.17 |
PAN LEFT WITH IRENE WALKING TO ART |
just put out some photographs and some drawings to show you.
IRENE Wow.
|
10 44 52 05 |
|
402 |
3.05 |
LA TILT MS DEBORAH AND IRENE LOOK TO ARTWORKS |
DEBORAH And these are part of our archive now.
|
10 44 55 22 |
|
403 |
3.02 |
MS IRENE LOOKS TO PROFILE DEBORAH |
IRENE Um, so why do you think Rayner was commissioned to do the statue
|
10 44 59 02 |
|
404 |
4.24 |
LA TILT MS DEBORAH AND PROFILE IRENE |
of Nanny Nellie?
DEBORAH Uh, because he was the best sculptor in Australia at the time.
|
10 45 02 04 |
|
405 |
2.16 |
MS IRENE LOOKS TO PROFILE DEBORAH |
DEBORAH But his major work in Sydney, of course,
|
10 45 07 03 |
|
406 |
11.14 |
MONTAGE ARCHIVE B/W STILL IMAGES OF ANZAC MEMORIAL AD CONSTRUCTION |
is the Anzac Memorial in Hyde Park, which has got 32 sculptures on it and two huge, long bronze reliefs. So.
IRENE (OFF SCREEN) Beautiful. He did some beautiful work. The statues of Nanny
|
10 45 09 19 |
|
407 |
4.19 |
LA TILT MS DEBORAH AND PROFILE IRENE |
Nellie, Uncle Jimmy and Uncle Harold, uh, they look
|
10 45 21 08 |
|
408 |
4.09 |
MS IRENE AND PROFILE DEBORAH |
real lifelike.
DEBORAH Yes.
IRENE Just standing in front of them. Looking at their bodies.
DEBORAH Yes. It was because he was
|
10 45 26 02 |
|
409 |
1.19 |
LA TILT MS DEBORAH AND PROFILE IRENE |
so, uh, adept at
|
10 45 30 11 |
|
410 |
10.13 |
MONTAGE VIEWS OF PICKING UP ARCHIVE RAYNER HOFF DRAWINGS |
anatomy. He really understood how, how the weight of the body was, was helped by the bones and the muscles and so on. And so that was a great commission for him when he first came here. But I
|
10 45 32 05 |
|
411 |
1.24 |
LA TILT MCI DEBORAH AND REV IRENE |
think Aunty Nellie is the best, like she's
|
10 45 42 18 |
|
412 |
8.24 |
ZOOM OUT ON CU ARCHIVE B/W STILL IMAGE STATUE OF NELLIE |
so beautifully done, you can see her ribcage and her...
IRENE (OFF SCREEN) You can.
DEBORAH (OFF SCREEN) It's just, uh, it feels like she's the real person, like you really, really feel it.
|
10 45 44 17 |
|
413 |
19.06 |
MONTAGE EDITS ARCHIVE B/W STILL IMAGE RAYNER HOFF’S SCULPTURES |
DEBORAH (OFF SCREEN) He was really interested in Australian Indigenous population. He was very, very interested and had been since he arrived.
IRENE (OFF SCREEN) For him it was art.
DEBORAH (OFF SCREEN) It was always art. It was never about sort of depicting the dying race. For him it was making a sculpture of a person that was in front of him.
IRENE (OFF SCREEN) Yeah, because I heard Nanny Nellie used to come back and sit with him.
|
10 45 53 16 |
|
414 |
2.24 |
LA TILT MS DEBORAH NODS AT PROFILE IRENE |
IRENE He would come out and have tea with her.
DEBORAH Yep. Yeah.
IRENE Cups of tea.
DEBORAH Yes.
|
10 46 12 22 |
|
415 |
1.19 |
TIGHT MS IRENE |
DEBORAH Yes.
IRENE I thought that was very endearing.
DEBORAH Yes. Yes.
|
10 46 15 21 |
|
416 |
2.07 |
LA TILT MS DEBORAH AND PROFILE IRENE |
DEBORAH It's really great that they had that relationship.
|
10 46 17 15 |
|
417 |
2.12 |
MS IRENE AND PROFILE DEBORAH |
DEBORAH In that time it must have been really something.
|
10 46 19 22 |
|
418 |
4.18 |
LA TILT MS DEBORAH AND PROFILE IRENE |
IRENE When I read that, um, that Nanny Nellie would come here,
|
10 46 22 09 |
|
419 |
5.11 |
MS DEBORAH AND IRENE |
it changed my whole perspective about how I looked at what was happening.
|
10 46 27 02 |
|
420 |
4.05 |
LA TILT MS DEBORAH AND PROFILE IRENE |
IRENE I was quite angry with the whole process of what was going on with her.
|
10 46 32 13 |
|
421 |
3.14 |
MS DEBORAH AND IRENE |
IRENE I didn't like the fact that, you know, she was made to be naked and,
|
10 46 36 18 |
|
422 |
4.00 |
MS IRENE AND PROFILE DEBORAH |
you know, um, I didn't like that. I didn't like that, that, that idea at all.
DEBORAH Yeah.
|
10 46 40 07 |
|
423 |
2.21 |
LA TILT MS DEBORAH AND PROFILE IRENE |
IRENE But when I read that, I went, wow. Um,
|
10 46 44 07 |
|
424 |
15.20 |
MONTAGE ARCHIVE B/W STILL IMAGES RAYNER HOFF WITH FAMILY, WITH ART, AND LIFE MODELLING |
he really took time.
DEBORAH (OFF SCREEN) He did a great job.
IRENE (OFF SCREEN) And Rayner treated her like any normal person would've been.
DEBORAH (OFF SCREEN) Yeah. Yeah. He was, it was one of his, he was renowned for being very respectful to the models and when he was teaching life modelling, the art school would pay for that. But, when he was working in his studio, he paid them.
|
10 46 47 03 |
|
425 |
1.10 |
TIGHT MS IRENE AND PROFILE DEBORAH |
DEBORAH Yeah, yeah.
IRENE I don’t think we
|
10 47 02 23 |
|
426 |
4.19 |
LA TILT MS DEBORAH AND PROFILE IRENE |
knew that.
DEBORAH He didn't believe in people working, um, for nothing. Ah. So he, no, he really...
IRENE He was
|
10 47 04 08 |
|
427 |
3.06 |
MCU IRENE |
a man before his time, wasn't he?
DEBORAH (OFF SCREEN) I think so, yeah.
IRENE Absolutely.
|
10 47 09 02 |
|
428 |
1.18 |
MS DEBORAH AND IRENE |
DEBORAH Yeah, he was quite renowned for that, yeah.
|
10 47 12 08 |
|
429 |
5.16 |
LA TILT WS DEBORAH AND IRENE WALK OUT ART SCHOOL DOORS
|
IRENE So when Rayner sculpted young Uncle Harold, |
10 47 14 01 |
|
430 |
3.02 |
LA TILT TIGHT MS IRENE AND REV DEBORAH |
what would it have been like for a young boy to come here?
|
10 47 19 17 |
|
431 |
7.15 |
LA TILT MS DEBORAH AND REV IRENE |
DEBORAH I do often think about what it would have been like for him to come into this place, which had big stone walls around it, uh, in the city,
MUSIC BEGINS... 42 SEC DAMPEN THE WAVES
|
10 47 22 19
10 47 30 03 |
|
432 |
3.06 |
LA TILT MS IRENE AND REV DEBORAH |
and be asked to take his clothes off in front of other people. Ah,
|
10 47 30 09 |
|
433 |
3.16 |
LA TILT MCU DEBORAH AND REV IRENE |
for a young child to be asked to do that must have been really quite difficult for him.
|
10 47 33 15 |
|
434 |
2.22 |
LA TILT MS IRENE AND REV DEBORAH |
IRENE Yes, I think so. I think it would have been difficult for him.
|
10 47 37 06 |
|
435 |
15.13 |
MONTAGE EDITS IRENE LOOKS AROUND NATIONAL ART SCHOOL EXTERIOR
|
|
10 47 40 03 |
|
436 |
4.07 |
AERIAL EWS PARKE TOWNSHIP
|
|
10 47 55 16 |
|
437 |
2.15 |
WS PROFILE IRENE WALKS ALONG PARKES LIBRARY EXTERIOR
|
|
10 47 59 23 |
|
438 |
4.01 |
WS IRENE ENTERS LIBRARY |
IRENE So I thought that this would be really good to
|
10 48 02 13 |
|
439 |
5.08 |
MS PROFILE IRENE |
have a look at because um, Harold Marsh has been so hard to, like, find.
|
10 48 06 14 |
|
440 |
2.17 |
MCU IRENE |
IRENE There are little bits of snippets, about
MUSIC ENDS
|
10 48 11 22
10 48 12 03 |
|
441 |
7.22 |
ZOOM IN ON CU ARCHIVE B/W STILL IMAGE OF STATUE OF HAROLD |
his life here and there, but, um, the little bits of notes that we have are really, really good. So we can track his movement.
|
10 48 14 14 |
|
442 |
8.08 |
LA TILT MCU IRENE POINTS TO PROJECTED DOCUMENT |
IRENE Harold Marsh, native of Grafton and sent down to Sydney from Aboriginal Reserve, Kinchila.
|
10 48 22 11 |
|
443 |
4.24 |
MS PROFILE IRENE WRITES ON MAP |
IRENE This is a boys home. Back then it was a boys home, right? Kinchila Boys
|
10 48 30 19 |
|
444 |
2.03 |
CU IRENE DRAWING ON MAP |
Home. That's what they called it back then,
|
10 48 35 18 |
|
445 |
12.13 |
MCU PROFILE IRENE AT MAP |
here. And so it might have been a holding centre for him, taken from his family here. And then brought down to Sydney um, to do their, relief of his, of his body.
|
10 48 37 21 |
|
446 |
4.07 |
MCU IRENE AT MAP |
IRENE Look, this is what the Protection Board did back then. They took
|
10 48 50 09 |
|
447 |
18.02 |
MONTAGE ARCHIVE B/W STILL IMAGES OF STOLEN INDIGENOUS CHILDREN IN GOVERNMENT HOMES |
children away from their natural habitat, right, and put them in other places. A lot of the time they changed their names. A lot of times they weren't allowed to speak where they came from. They tried to erase their past. He wouldn't have been able to comprehend everything that was going on.
|
10 48 54 16 |
|
448 |
6.14 |
MCU IRENE AT MAP |
IRENE He would have just gone along with the people who were taking him. He had no choice in the matter anyway, let's face it, none of them did.
|
10 49 12 18 |
|
449 |
9.19 |
TILT DOWN FROM ARCHIVE NEWSPAPER ARTICLE PROJECTED ON WALL TO MCU PROFILE IRENE |
IRENE So the next time we see, um, Harold Marsh come up, is in this little snippet in the paper.
|
10 49 19 07 |
|
450 |
7.02 |
LA TILT MCU IRENE POINTS TO NEWSPAPER PROJECTION |
IRENE Another half caste Aborigine, Harold Marsh, aged 20, who was also charged with having been found drunk,
|
10 49 29 01 |
|
451 |
4.14 |
MCU PROFILE IRENE POINTING THEN TURNS |
because he was picked up at, um, Ulmara, which is just outside of Grafton.
|
10 49 36 03 |
|
452 |
5.02 |
LA TILT MCU IRENE POINTS TO NEWSPAPER PROJECTION |
IRENE Here is his named again, Harold Marsh, and again, charges of drunkenness.
|
10 49 40 17 |
|
453 |
11.23 |
MCU IRENE |
IRENE He's masking his trauma with alcohol, you know. A lot of Aboriginal people do that, um, mask their trauma from their childhood with alcohol, which is, um, very, very sad.
|
10 49 45 19 |
|
454 |
3.11 |
LA TILT MS IRENE LOOKS UP TO PROJECTION OF ARCHIVE DOCUMENT |
IRENE So here we find he's
|
10 49 57 17 |
|
455 |
7.03 |
MCU IRENE POINTS TO PROJECTION |
moved on to, um, to clean his life up.
|
10 50 01 03 |
|
456 |
1.20 |
T MS PROFILE IRENE LOOKS TO ARCHIVE DOCUMENT ON WALL |
IRENE And it's at Christmas time.
|
10 50 08 06 |
|
457 |
2.20 |
MCU IRENE READS |
IRENE Uncle Harold Marsh said grace
|
10 50 10 01 |
|
458 |
5.05 |
LA TILT MCU PROJECTION OF DOCUMENT |
and reminded us that we were celebrating the birth of one who was born to
|
10 50 12 21 |
|
459 |
3.07 |
TIGHT MCU IRENE |
become King of Kings and Lord of Lords.
|
10 50 18 01 |
|
460 |
6.00 |
MCU IRENE |
IRENE And this is in 1959. So he's around about 42.
MUSIC BEGINS... 59 SEC MAKING A FAMILY (WALLAGA LAKE)
|
10 50 21 08
10 50 26 03 |
|
461 |
3.08 |
TRACK RIGHT OVER CU PROJECTION OF DOCUMENT |
IRENE Lots of little tiny
|
10 50 27 08 |
|
462 |
3.23 |
MCU IRENE |
steps to get where we are with Uncle Harold.
|
10 50 30 16 |
|
463 |
2.20 |
WS IRENE LOOKS TO PROJECTION ON WALL
|
IRENE So, yeah, yeah, yeah.
|
10 50 34 14 |
|
464 |
16.20 |
AERIAL TRACKING VIEWS EWS IRENE’S CAR OVER BRIDGE AND RURAL ROADS
SUPER BEGINS AT 10 50 40 21 Wallaga Lake 1901 - 19 18 SUPER ENDS AT 10 50 45 11
|
IRENE (VOICEOVER) Albert Kennedy, Nanny Nellie's first husband, died after she left Warangesda. They had a baby, but there's no record of what happened to that child. Then,
|
10 50 37 09 |
|
465 |
6.21 |
ARCHIVE B/W STILL IMAGE JAMES WALKER WITH COWS AND WAGON |
in 1911, at Tilba Tilba, Nanny Nellie married James Walker, my great grandfather.
|
10 50 54 04 |
|
466 |
8.22 |
ZOOM IN ON ARCHIVE B/W STILL IMAGE TILBA TILBA COMMUNITY WITH COWS AND WAGON |
IRENE (VOICEOVER) They lived and worked here together. They had children here. I believe she was trying to make a family, to have happiness
|
10 51 01 00 |
|
467 |
5.22 |
PAN RIGHT WITH WS IRENE’S CAR PULLING IN TO DRIVEWAY |
and stability. Something she'd been trying to do her whole life.
|
10 51 09 22 |
|
468 |
2.21 |
LA TILT WS REV IRENE WALKS TO FARM GATE
|
|
10 51 15 19 |
|
469 |
2.08 |
WS PROFILE IRENE LEANS ON FARMGATE |
IRENE Beautiful.
|
10 51 18 15 |
|
470 |
4.09 |
MS REV IRENE LOOKS TO RIVER BEYOND |
IRENE Wow. Fresh water, then there’s the ocean.
MUSIC ENDS
|
10 51 20 23
10 51 25 03 |
|
471 |
4.13 |
MS PROFILE IRENE LEANS ON GATE |
IRENE This is just beautiful. Absolutely beautiful. Why wouldn’t you want to be here?
|
10 51 25 07 |
|
472 |
7.12 |
AERIAL TRACK OVER EWS FIELDS LEADING TO RIVER AND OCEAN |
IRENE (OFF SCREEN) I would want to be here. So the house would have been over there somewhere, probably.
|
10 51 29 20 |
|
473 |
9.12 |
MCU REV IRENE HOLDS UP ARCHIVE B/W PHOTO OF HOUSE |
IRENE It almost looks like this rolling hill here in the background. They spent a long time here. A long time here. Well there were
|
10 51 37 07 |
|
474 |
9.05 |
MS IRENE LEANS ON GATE |
two children, um, born before Nanny Kempsey. Ten years, or ten or eleven years before Nanny Kempsey was born. First, Margaret,
|
10 51 46 19 |
|
475 |
4.23 |
LA TILT MS IRENE LEANS ON GATE |
but, um, she only lived for a month, unfortunately.
|
10 51 55 24 |
|
476 |
5.00 |
MS PROFILE IRENE LEANS ON GATE |
IRENE And then Rawson was born not very long after, maybe a year or so after that.
|
10 52 00 22 |
|
477 |
4.14 |
LA TILT MS IRENE TURNS TO PROFILE |
IRENE And then, about eleven years later, then Nanny Kempsey was born.
|
10 52 05 22 |
|
478 |
12.03 |
TIGHT MS IRENE NODS |
IRENE Because Nanny Nelly was 47 years old when she had Nanny Kempsey. So, you know, that's, um, you're not young at 47. So, yeah.
|
10 52 10 11 |
|
479 |
3.15 |
LA TILT MCU IRENE LOOKS LEFT |
IRENE She was obviously still fertile at that age.
|
10 52 22 14 |
|
480 |
3.03 |
TIGHT MS IRENE |
IRENE Maybe she thought she would never have another child again, but she did.
|
10 52 26 04 |
|
481 |
3.15 |
LA TILT MCU IRENE NODS |
IRENE Yeah.
|
10 52 29 07 |
|
482 |
10.09 |
TIGHT MS IRENE SHAKES HEAD |
MUSIC BEGINS... 03 MIN 28 SEC
IRENE It was a good thing. Very good thing. We wouldn't be here if that never happened.
|
10 52 32 22
10 52 33 03 |
|
483 |
6.08 |
LA TILT WS REV IRENE AT FARM GATE |
IRENE My grandmother’s name is,
|
10 52 43 06 |
|
484 |
6.13 |
ZOOM IN ON ARCHIVE STILL IMAGE IRENE AND NANNY KEMPSEY |
well we all call her Nanny Kempsey. But her name was Victoria.
|
10 52 49 14 |
|
485 |
4.08 |
ZOOM IN ON ARCHIVE STILL IMAGE NANNY KEMPSEY AND MAN |
IRENE (OFF SCREEN) I lived with her for quite a while when I was young, growing up.
|
10 52 56 02 |
|
486 |
4.01 |
ZOOM IN ON ARCHIVE STILL IMAGE NANNY KEMPSEY AT CHRISTMAS TREE |
IRENE (OFF SCREEN) She bought me my first pushbike.
|
10 53 00 10 |
|
487 |
5.03 |
ZOOM IN ON ARCHIVE STILL IMAGE NANNY KEMPSEY AT TABLE WITH OTHERS |
IRENE (OFF SCREEN) She knew a lot of people. She used to float around town, helping people,
|
10 53 04 11 |
|
488 |
6.06 |
ZOOM IN ON ARCHIVE NEWSPAPER CLIPPING ABOUT NANNY KEMPSEY |
doing lots of wonderful things with the community. So she was very community active. But
|
10 53 09 14 |
|
489 |
12.08 |
ZOOM IN ON ARCHIVE STILL IMAGES OF NANNY KEMPSEY AS A GIRL |
she had a lot of pain in her life. I know that. I think every Aboriginal family has generational trauma.
|
10 53 15 20 |
|
490 |
7.04 |
AERIAL TRACK OVER EWS COASTLINE
|
|
10 53 28 03 |
|
491 |
9.09 |
WS IRENE WALKS ALONG SHORELINE |
IRENE (OFF SCREEN) So I'm just going to read from Nanny Kempsey's letter that she speaks about here. There was
|
10 53 35 07 |
|
492 |
11.11 |
SLO-MO TRACKING VIEWS OF SURF OVER ROCKS |
a big Aboriginal camp in Moruya. We would move up and down the coast to get food. We went by the tide and the moon. The men would go ahead
|
10 53 44 16 |
|
493 |
24.06 |
SLO-MO MONTAGE EDITS IRENE WALKS ALONG BEACH THEN WHARF |
to find a camp for the night and the women would follow with all the gear. There would be about 100 in the party. When we got to towns we had to get the sugar, tea and the flour and baking powder to make damper from the police station. I was about six years old when my mother took me to Sydney. We went by boat from Batemans Bay.
|
10 53 56 02 |
|
494 |
3.04 |
HA TILT MCU DOCUMENTS IN IRENE’S HANDS |
IRENE I think she must have been ill by then.
|
10 54 20 08 |
|
495 |
1.11 |
LA MCU BOOK CLOSING IN IRENE’S HANDS
|
|
10 54 23 12 |
|
496 |
3.23 |
MCU IRENE ON JETTY |
IRENE This is, um, Tathra Wharf.
|
10 54 24 23 |
|
497 |
6.02 |
AERIAL TRACK AROUND EWS TATHRA WHARF AND COASTLINE |
IRENE (OFF SCREEN) This is where Nanny Nellie came with Nanny Kempsey from Batemans Bay
|
10 54 28 21 |
|
498 |
14.01 |
ARCHIVE B/W STILL IMAGES SHIP DOCKED AT TATHRA WHARF |
to get on the SS Merimbula, to travel all the way to La Perouse. They would have walked on the beach here. Nanny Kempsey and Nanny Nellie made their footsteps in the sand. So...
|
10 54 34 23 |
|
499 |
5.15 |
MCU IRENE ON WHARF |
IRENE And that's what we're doing, aren't we? With our footsteps, tracing their footsteps.
|
10 54 48 24 |
|
500 |
6.22 |
TRACK LEFT AROUND PROFILE IRENE ON WHARF
|
IRENE It was like that for me. It's a belonging. To be here. I know that
|
10 54 54 14 |
|
501 |
4.12 |
MCU IRENE ON WHARF |
I'm allowed to be here. That's how I feel.
|
10 55 01 11 |
|
502 |
37.10 |
SLO-MO MONTAGE EDITS IRENE ON WHARF LOOKING OUT AT BIG SURF |
IRENE (OFF SCREEN) I think Nanny Nelly's life was a little bit like a roller coaster. Australia was changing. There were settlers moving into the land. So their life was changing forever. And then she got sick. She had TB. And Nanny Kempsey writes that. So she knew that she had to go to Sydney. I
|
10 55 05 23 |
|
503 |
19.15 |
MCU IRENE AT LOOKOUT |
think Nanny Nellie was trying to make the most of her life, um, for the better of herself and her family. I think that's what she was trying to do. Um, and sometimes when that happens, you have to move, you have to go somewhere. You have to move on to try and make your life
|
10 55 43 08 |
|
504 |
4.06 |
SLO-MO MWS REV IRENE ON DUNES |
a little bit better for yourself.
|
10 56 02 23 |
|
505 |
6.06 |
WS PROFILE IRENE ON SHORELINE |
MUSIC ENDS / MUSIC BEGINS... 40 SEC give her back her IDENTITY
|
10 56 07 14
10 56 11 03 |
|
506 |
6.10 |
WS SEAGULL SON SHORELINE |
JENNIFER (OFF SCREEN) s Irene,
|
10 56 13 10 |
|
507 |
5.01 |
CU SIGNAGE ON WINDOW
OST BEGINS AT 10 56 19 20 Collection Care and Conservation OST ENDS AT 10 56 31 20
|
what are you thinking the family and yourself would like her clothed in?
|
10 56 19 20 |
|
508 |
1.18 |
MS IRENE AND JENNIFER
SUPER BEGINS AT 10 56 24 21 Jennifer Irwin Costume Designer SUPER ENDS AT 10 56 26 13
|
IRENE Here we have one photograph |
10 56 24 21 |
|
509 |
2.06 |
CU PROFILE IRENE WITH MCU JENNIFER |
of um, around that era,
|
10 56 26 14 |
|
510 |
12.11 |
CU TABLET SHOWING ARCHIVE B/W STILL IMAGE OF GROUP IN FORMAL ATTIRE |
and the women were all dressed.
JENNIFER (OFF SCREEN) Long skirts, and the pin tucked blouses, and...
IRENE (OFF SCREEN) Yes.
JENNIFER ... in the cottons and the...
IRENE Yes, everything
|
10 56 28 20 |
|
511 |
3.14 |
MS IRENE TURNS TO PROFILE JENNIFER |
would have been cotton. Is that right?
JENNIFER Yeah, would have all been natural fibres.
IRENE OK,
JENNIFER Definitely.
|
10 56 41 06 |
|
512 |
2.04 |
CU PROFILE IRENE AND MCU JENNIFER |
JENNIFER All very prim and proper.
|
10 56 44 20 |
|
513 |
3.15 |
CU TABLET SHOWING ARCHIVE B/W STILL IMAGE OF GROUP DRESSED MODESTLY
|
IRENE (OFF SCREEN) Yes. Yeah
JENNIFER Like they’re wearing their
|
10 56 46 24 |
|
514 |
1.08 |
CU PROFILE IRENE AND MCU JENNIFER |
Sunday best.
IRENE They
MUSIC ENDS
|
10 56 50 14
10 56 51 03 |
|
515 |
3.13 |
MS IRENE AND JENNIFER |
do. Yes. Yeah absolutely.
|
10 56 51 22 |
|
516 |
9.13 |
CU PROFILE IT AND MCU JENNIFER |
JENNIFER And people didn’t show their legs in those days.
IRENE No they never showed their legs. That’s right.
JENNIFER Or in fact, rarely ankles too.
IRENE Yes.
JENNIFER So, cause it was all about modesty.
|
10 56 55 10 |
|
517 |
9.02 |
LA TILT MS JENNIFER AND PROFILE IRENE |
IRENE Yeah, I mean it’s completely opposite to how Nanny was put on exhibition you know. And portrayed.
|
10 57 04 23 |
|
518 |
7.17 |
MS IRENE TURNS TO JENNIFER |
IRENE This is the way I would like her to you know, be dressed now in the museum—
JENNIFER Be portrayed yeah.
IRENE That’s right. But I know,
|
10 57 14 00 |
|
519 |
4.20 |
MS JENNIFER AND PROFILE IRENE |
traditionally, Aboriginal women never wore clothes before colonisation. They
|
10 57 21 17 |
|
520 |
2.00 |
MS IRENE LOOKS TO JENNIFER |
censored Aboriginal people with clothing.
|
10 57 26 12 |
|
521 |
5.12 |
CU TABLET SHOWING ARCHIVE B/W STILL IMAGE OF GROUP DRESSED MODESTLY |
IRENE (OFF SCREEN) That whole early 1900’s and dressing to civilise the native.
|
10 57 28 12 |
|
522 |
6.24 |
MS JENNIFER AND PROFILE IRENE |
IRENE But Nanny Nellie never grew up back then.
JENNIFER No.
IRENE She grew up, um, in a different era—
JENNIFER It's fairly modern history, really.
|
10 57 33 24 |
|
523 |
4.04 |
MS IRENE AND JENNIFER |
IRENE So, um, that's why clothing is very important.
|
10 57 40 23 |
|
524 |
5.00 |
MCU PROFILE IRENE AND JENNIFER |
JENNIFER Nan Nellie is an individual, so we're going to give her back her identity.
MUSIC BEGINS... 37 SEC SEEING UNCLE JIMMY STANDING TALL
|
10 57 45 02
10 57 46 03 |
|
525 |
6.11 |
MS IRENE NODS AT PROFILE JENNIFER |
IRENE Yes.
JENNIFER Yeah.
IRENE Yeah that's right. To who she really, really was in her time.
|
10 57 50 02 |
|
526 |
2.24 |
WMS REV JENNIFER AND IRENE AT DESK
|
|
10 57 56 13 |
|
527 |
3.08 |
LA TILT WS PROFILE IRENE WALKS AROUND BUILDING EXTERIOR
|
|
10 57 59 12 |
|
528 |
7.07 |
WS REV SILHOUETTE EOIN LETS IRENE IN DOOR
THEN EOIN LEADS IRENE TOWARDS CAMERA |
EOIN Hello Irene, welcome.
IRENE Hi Eoin, how are you?
EOIN Come on in.
IRENE Nice to see you.
EOIN Nice to see you again.
IRENE Yeah great.
EOIN This way.
IRENE Yeah sure.
|
10 58 02 20 |
|
529 |
6.16 |
TRACK RIGHT AROUND MS STATUE OF JIMMY I DARK THEN LIGHT TURNS ON |
IRENE Oh wow. Oh he looks amazing.
|
10 58 10 02 |
|
530 |
3.05 |
MS IRENE |
IRENE He’s standing. It’s
|
10 58 16 18 |
|
531 |
3.19 |
MS PROFILE EOIN AND IRENE |
beautiful to see him standing. It’s like he’s woken up. Isn’t it?
MUSIC ENDS
|
10 58 19 23
10 58 23 03 |
|
532 |
3.19 |
LA TILT MS PROFILE JIMMY STATUE |
EOIN (OFF SCREEN) That’s as intended.
IRENE It’s like putting pieces
|
10 58 23 17 |
|
533 |
3.03 |
MS IRENE LOOKS TO PROFILE EOIN |
to a puzzle back together again I imagine.
EOIN It is. Quite,
|
10 58 27 11 |
|
534 |
7.18 |
MS EOIN AND IRENE
SUPER BEGINS AT 10 58 30 20 Eoin O’Sullivan Director O’Sullivan Conservation SUPER ENDS AT 10 58 38 06
|
quite a few pieces in quite a large puzzle.
IRENE Wow. You guys, you do the most amazing work here.
EOIN Thank you.
IRENE You really, really do.
|
10 58 30 14 |
|
535 |
10.22 |
TILT DOWN MS STATUE OF JIMMY THEN SWING TO FOOT |
EOIN (OFF SCREEN) When he arrived, we had obviously the main components and then several minor components that we had to orientate and then reassemble.
IRENE (OFF SCREEN) This is great.
|
10 58 38 07 |
|
536 |
3.00 |
MS EOIN AND IRENE |
IRENE I'm just so happy to see him standing.
|
10 58 49 04 |
|
537 |
4.13 |
MS PROFILE EOIN AND IRENE |
IRENE It's really sad that Dean's not here to see, you know,
|
10 58 52 04 |
|
538 |
1.16 |
MS IRENE |
his family member
|
10 58 56 17 |
|
539 |
5.05 |
MS STATUE OF JIMMY UNDER REPAIR |
standing up. That would have been wonderful. And I know his Dad would have
|
10 58 58 08 |
|
540 |
3.00 |
MS IRENE |
loved to, to have been here as well.
|
10 59 03 13 |
|
541 |
6.17 |
MS PROFILE EOIN AND IRENE |
IRENE But no, his dad's been very ill, so, and they both can't make it.
EOIN OK.
IRENE That's very sad, but, um, I'm,
|
10 59 06 13 |
|
542 |
4.00 |
MS IRENE |
I'm definitely going to take photographs and, and send them to him.
|
10 59 13 05 |
|
543 |
4.15 |
CU BROKEN PLASTER IN HAND |
HEATHER The original integrity of the statue has been massively compromised
|
10 59 17 05 |
|
544 |
4.23 |
WS REV HEATHER AND IRENE AT COUNTER
|
by the damage that occurred 20 years ago.
|
10 59 21 20 |
|
545 |
2.16 |
TIGHT MS IRENE AND REV HEATHER |
IRENE Wow.
HEATHER And because so much of the weight
|
10 59 26 18 |
|
546 |
3.24 |
TIGHT MS HEATHER |
of that statue is on the base, and around the feet,
|
10 59 29 09 |
|
547 |
4.19 |
WS EOIN RESTORING JIMMY STATUE |
and ankles, and there’s been a lot of damage to those that we can see it’s
|
10 59 33 08 |
|
548 |
6.11 |
MONTAGE EDITS CU VIEWS EOIN RESTORING STATUE OF JIMMY |
very fragile.
IRENE (OFF SCREEN) OK.
HEATHER I think the best approach that we can have to the
|
10 59 38 02 |
|
549 |
4.12 |
TIGHT MS HEATHER |
statue is that it’s under continuous sort of assessment.
|
10 59 44 13 |
|
550 |
10.21 |
MONTAGE EDITS CU VIEWS EOIN RESTORING STATUE OF JIMMY THEN MS STATUE |
HEATHER (OFF SCREEN) I think we all want it to go ahead. I think we all would love to see the statues on display, but I think at this time it’s probably too early to call.
|
10 59 49 00 |
|
551 |
4.04 |
TIGHT MS IRENE AND REV HEATHER |
HEATHER I think we’d be looking at the damage that might occur
|
10 59 59 21 |
|
552 |
5.05 |
TIGHT MS HEATHER |
during transit to Uncle Jimmy, and if that damage is too great...
|
11 00 04 00 |
|
553 |
3.14 |
TIGHT MS IRENE NODS |
IRENE Mm-hm.
HEATHER And the risks around further transport
|
11 00 09 05 |
|
554 |
7.06 |
TIGHT MS HEATHER |
are too great, then we would need to take that into consideration about whether that exhibition can go ahead.
|
11 00 12 19 |
|
555 |
6.15 |
TIGHT MS IRENE |
IRENE Oh wow. Oh dear. Um I hope that the exhibition can go ahead.
|
11 00 20 00 |
|
556 |
1.18 |
TIGHT MS HEATHER REACTS |
IRENE (OFF SCREEN) Mmm OK.
|
11 00 26 15 |
|
557 |
1.19 |
TIGHT MS PROFILE IRENE NODS |
MUSIC BEGINS... 01 MIN 03 SEC UNCLE JIMMY IS TOO FRAGILE / LA PEROUSE
|
11 00 28 08
11 00 29 03 |
|
558 |
6.00 |
TRACK RIGHT AROUND MS STATUE OF JIMMY BEING REPAIRED |
IRENE (OFF SCREEN) Well we’ll just have to wait.
|
11 00 30 02 |
|
559 |
53.21 |
black
|
|
10 00 36 03 |
|
559 |
4.15 |
AERIAL TRACK RIGHT WITH EWS IRENE’S CAR ALONG RURAL ROAD
|
|
11 01 30 00 |
|
560 |
4.09 |
WS LA PEROUSE BEACH
SUPER BEGINS AT 11 01 34 15 La Perouse 1918 - 1928 SUPER ENDS AT 11 01 38 23
|
|
11 01 34 15 |
|
561 |
3.06 |
HA WS LA PEROUSE BEACH |
IRENE (VOICEOVER) Nanny Kempsey was around five years old when she came here to La
|
11 01 38 24 |
|
562 |
26.16 |
MONTAGE EDITS ARCHIVE B/W STILL IMAGES OF LA PEROUSE MISSION HOUSES |
Perouse with her mother Nanny Nellie. La Perouse was a mission set up on the outskirts of Sydney, about 15 kilometres from the city centre. Another example of Aboriginal people being placed out of sight, out of mind. Outsiders in their own countries. Nanny Nellie's illness was getting worse, but she had the support of her husband's family whom she lived with.
|
11 01 42 05 |
|
563 |
5.21 |
ZOOM IN ON ARCHIVE B/W STILL IMAGE TRAM LINE AT LA PEROUSE MISSION
SUPER BEGINS AT 11 02 08 21 “LALOOP” LA PEROUSE SUPER ENDS AT 11 02 14 16
|
IRENE (VOICEOVER) She must have felt a duty to be self sufficient for herself and her daughter, because she used to go into |
11 02 08 21 |
|
564 |
5.07 |
LA TILT WS IRENE WALKING THRU DOMAIN |
the Domain by tram to get food rations from the Aborigines Protection Board.
|
11 02 14 17 |
|
565 |
4.08 |
LA TILT MS IRENE TAKES TABLET FROM PERSON AT LEFT ON GRASS |
IRENE (VOICEOVER) Nanny Kempsey remembers one of those trips with her mother.
|
11 02 19 24 |
|
566 |
7.22 |
HA TILT MCU TABLET IN IRENE’S HANDS PLAYING RECORDING OF NANNY KEMPSEY |
NANNY KEMPSEY (ENGLISH SUBTITLES) This day we went down to the Aboriginal Protection Board.
MUSIC ENDS
|
11 02 24 07
11 02 26 01 |
|
567 |
6.15 |
MS NANNY KEMPSEY WITH WOMAN ON COUCH |
NANNY KEMPSEY (ENGLISH SUBTITLES) To get a voucher for food. I was only small, five or six I think.
MUSIC BEGINS... 03 SEC NANNY KEMPSEY
|
11 02 32 04
11 02 35 01 |
|
568 |
4.05 |
LA TILT MCU IRENE IN DOMAIN |
NANNY KEMPSEY (ENGLISH SUBTITLES) My mother said, “I've gotta go downstairs, you wait here at the top. “
|
11 02 38 19 |
|
569 |
7.00 |
MS NANNY KEMPSEY WITH WOMAN ON COUCH
|
NANNY KEMPSEY (ENGLISH SUBTITLES) In the office. So, I stay waiting in the big office.
|
11 02 42 24 |
|
570 |
3.04 |
LA TILT MCU IRENE IN DOMAIN |
NANNY KEMPSEY (ENGLISH SUBTITLES) So I’m waiting and waiting...
|
11 02 49 24 |
|
571 |
2.19 |
HA TILT MCU TABLET IN IRENE’S HANDS PLAYING RECORDING OF NANNY KEMPSEY |
waiting for my mother to come, but she never came back.
|
11 02 53 03 |
|
572 |
2.03 |
LA TILT MCU IRENE |
NANNY KEMPSEY (ENGLISH SUBTITLES) I tried to climb down the road.
|
11 02 55 22 |
|
573 |
1.18 |
HA TILT MCU TABLET IN IRENE’S HANDS PLAYING RECORDING OF NANNY KEMPSEY
|
|
11 02 58 00 |
|
574 |
7.24 |
MS NANNY KEMPSEY WITH WOMAN ON COUCH
|
NANNY KEMPSEY (ENGLISH SUBTITLES) They all grabbed me and held me down, they locked me in the office.
|
11 02 59 18 |
|
575 |
5.12 |
HA TILT MCU TABLET IN IRENE’S HANDS PLAYING RECORDING OF NANNY KEMPSEY
|
NANNY KEMPSEY (ENGLISH SUBTITLES) They were so frightened of me going away and running away. |
11 03 07 17 |
|
576 |
3.16 |
LA TILT MCU IRENE |
NANNY KEMPSEY (ENGLISH SUBTITLES) Anyway, I laid down on the floor, and I cried and cried.
|
11 03 13 04 |
|
577 |
8.03 |
MS NANNY KEMPSEY WITH WOMAN ON COUCH
|
|
11 03 16 20 |
|
578 |
8.03 |
LA TILT MCU IRENE |
NANNY KEMPSEY (ENGLISH SUBTITLES) And then...
|
11 03 24 23 |
|
579 |
|
HA TILT MCU TABLET IN IRENE’S HANDS PLAYING RECORDING OF NANNY KEMPSEY
|
NANNY KEMPSEY (ENGLISH SUBTITLES) They sent me to Cootamundra Home for Girls. |
01 21 20 |
|
580 |
7.16 |
LA TILT MCU IRENE |
IRENE Mmm, yeah.
|
11 03 33 01 |
|
581 |
16.19 |
LA TILT MS IRENE |
IRENE This is where it all happened, here. This is where everything turned around for both of them. It’s very sad.
|
11 03 40 17 |
|
582 |
3.08 |
CU B/W PHOTO OF BUILDING IN IRENE’S HANDS |
IRENE (OFF SCREEN) I can imagine this in my own mind,
|
11 03 57 11 |
|
583 |
4.07 |
TRACK RIGHT AROUND LA TILT MS REV IRENE |
what was going on.
|
11 04 00 19 |
|
584 |
18.06 |
LA TILT MS IRENE
|
IRENE She would have been screaming for her mother. You know? Um, Mummy, Mummy, Mummy, you know. Come back. And um, and they all just grabbed her and locked her in the office. That’s what Nanny Kempsey said, they locked her in the office.
|
11 04 05 01 |
|
585 |
16.16 |
ZOOM IN ON ARCHIVE B/W STILL IMAGE ROW OF TERRACE HOUSES |
IRENE (OFF SCREEN) And she laid on the floor and she cried until it was dark. And then they took her to a strange person's house. Then the next day took her to Cootamundra, a girl's home, where she stayed.
|
11 04 23 07 |
|
586 |
12.16 |
LA TILT MS IRENE |
IRENE And her life was taken away from her, from her family um, everybody that she knew in her whole life happened that very afternoon,
|
11 04 39 23 |
|
587 |
10.01 |
ZOOM IN ON ARCHIVE B/W STILL IMAGE OF NANNY KEMPSEY AS A GIRL |
from one incident of wanting to feed your child.
|
11 04 52 14 |
|
588 |
18.21 |
LA TILT MS IRENE WITH HAND TO FACE WEEPING THEN DANIEL ENTERS AND HUGS HER
SUPER BEGINS AT 11 05 08 22 Daniel King Irene’s son SUPER ENDS AT 11 05 15 02
|
DANIEL (OFF SCREEN) You okay Mum?
|
11 05 02 15 |
|
589 |
5.21 |
AM WMS REV IRENE LOOKS OUT AT OPERA HOUSE AND BRIDGE
|
|
11 05 21 11 |
|
590 |
6.16 |
SLO-MO MCU IRENE LOOKS RIGHT
|
|
11 05 27 07 |
|
591 |
5.10 |
WS REV CAR PASSES ROADSIDE SIGNAGE
SUPER BEGINS AT 11 05 36 12 Waterfall 1934 SUPER ENDS AT 11 05 39 07
|
MUSIC BEGINS... 02 MIN 07 SEC WATERFALL |
11 05 33 23
11 05 35 01 |
|
592 |
13.14 |
SLO-MO TRACK BEHIND MS IRENE WALKING |
IRENE (VOICEOVER) Nanny Nellie suffered tuberculosis for over 10 years. Bloody coughs, debilitating pain in the lungs and extreme fatigue. Because tuberculosis was so contagious, they placed them
|
11 05 39 08 |
|
593 |
5.24 |
ZOOM IN ON ARCHIVE B/W STILL IMAGE WATERFALL SANATORIUM |
here at Waterfall Sanatorium. Her last days would have been on
|
11 05 52 22 |
|
594 |
6.20 |
ZOOM IN ON ARCHIVE B/W STILL IMAGE SANATORIUM WARD INTERIOR |
one of these beds.
IRENE (OFF SCREEN) I know that she was suffering. I know that it would have been very
|
11 05 58 21 |
|
595 |
7.02 |
MS IRENE AT STONE GATES |
hard for her. And I think it was horrible. I think she died a horrible death here, in this place. I honestly do.
|
11 06 05 16 |
|
596 |
13.07 |
TRACK LEFT AROUND TIGHT MS REV IRENE AT STONE GATES |
IRENE (OFF SCREEN) They were put into mass graves. You know, just realising that my grandmother was shoved into a mass grave with hundreds of other people. I
|
11 06 12 18 |
|
597 |
3.20 |
MS IRENE AT STONE GATES |
just, you know, it's just horrifying. I just find that horrifying. There's no rest. in
|
11 06 26 00 |
|
598 |
5.06 |
TIGHT MS PROFILE IRENE |
IRENE (OFF SCREEN) Because there's no way of us digging her up and taking her back home with us. We can't do that now.
|
11 06 29 20 |
|
599 |
3.14 |
MS IRENE AT STONE GATES |
IRENE How would we find her? It's impossible.
|
11 06 35 01 |
|
600 |
8.05 |
SLO-MO TRACK BEHIND MS IRENE WALKING |
IRENE Must have been very sad for Nanny Kempsey to come and see her mother here and watch her mother die. I think of that a lot.
|
11 06 38 15 |
|
601 |
6.18 |
MCU REV IRENE LOOKS TO SANATORIUM BUILDINGS |
IRENE Nanny Kempsey coming here and nursing her mother to her death. It must have
|
11 06 46 20 |
|
602 |
18.15 |
MS IRENE |
been horrific for her to, just to go through all that experience. You know, and then finally see your mother again and your mother's dying. It’s, it’s too much.
|
11 06 53 13 |
|
603 |
6.11 |
WS REV IRENE LOOKS AT SANATORIUM BUILDINGS
|
|
11 07 12 03 |
|
604 |
14.12 |
MONTAGE EDITS DRIVING OVER HARBOUR BRIDGE |
HEATHER (OFF SCREEN) Hi Irene.
IRENE Hi
|
11 07 18 14 |
|
605 |
1.17 |
MS SILHOUETTE HEATHER OPENS DOOR FOR REV IRENE |
Heather how are you!
HEATHER Lovely to see you again.
IRENE Nice to see you.
HEATHER Welcome. Come
|
11 07 33 01 |
|
606 |
3.01 |
WMS IRENE WALKS TO REV EOIN IN FG |
through.
IRENE Oh Eoin, hello.
EOIN Hello Irene.
IRENE Nice to see you.
EOIN Come on in.
|
11 07 34 18 |
|
607 |
1.06 |
MS EOIN LEADS IRENE LEFT
|
|
11 07 37 19 |
|
608 |
4.01 |
WMS REV EOIN LEADS IRENE AND HEATHER TO STATUE OF JIMMY |
IRENE Oh yes. Oh yeah the repairs are
MUSIC ENDS
|
11 07 39 00
11 07 42 01 |
|
609 |
3.08 |
WMS STATUE OF JIMMY |
yeah, beautiful. So much work has been done hasn’t it?
|
11 07 43 01 |
|
610 |
2.04 |
WMS EOIN, IRENE AND HEATHER NOD |
HEATHER Mmm.
IRENE So yeah, it’s lovely.
|
11 07 46 09 |
|
611 |
1.15 |
MS REV IRENE WITH HEATHER AND EOIN LOOK TO STATUE OF JIMMY |
IRENE But um,
|
11 07 48 13 |
|
612 |
2.19 |
MS EOIN LOOKS TO IRENE |
unfortunately I’ve got some bad news today.
|
11 07 50 03 |
|
613 |
2.02 |
MS IRENE AND HEATHER |
IRENE Dean won’t be able to make it.
HEATHER Oh.
EOIN (OFF SCREEN) Oh.
|
11 07 52 22 |
|
614 |
11.03 |
MCU IRENE |
IRENE He’s had some sorry business in his family. His father has passed away. Um, but the good news is that we'll be able to talk to him on the phone. I'm going to make a video call with him and he'll be able to see
|
11 07 54 24 |
|
615 |
4.06 |
MS STATUE OF UNCLE JIMMY AND REV IRENE IN FG |
Uncle Jimmy for himself. Here we go.
|
11 08 06 02 |
|
616 |
2.06 |
WMS IRENE ON PHONE WITH EOIN AND HEATHER |
IRENE OK. Hello Dean.
|
11 08 10 08 |
|
617 |
5.14 |
CU PHONE SHOWING VIDEO CALL WITH DEAN |
IRENE (OFF SCREEN) How are you?
DEAN (ON PHONE) Good morning Aunt, I’m very good, how are you?
IRENE (OFF SCREEN) Really well. Really well.
|
11 08 12 14 |
|
618 |
3.15 |
WMS IRENE ON PHONE WITH EOIN AND HEATHER |
IRENE This is going to be the first time you get to see it. I'm so sorry you're not here with us, but
|
11 08 18 03 |
|
619 |
3.01 |
MS IRENE AND HEATHER ON PHONE |
you're here, and you're here to have a look at him.
|
11 08 21 18 |
|
620 |
4.12 |
CU PHONE SHOWING VIDEO CALL WITH DEAN |
DEAN Yeah, this is sort of the point we've been looking for from our family, I suppose.
|
11 08 24 19 |
|
621 |
2.06 |
MS IRENE AND HEATHER NOD AT PHONE |
DEAN (ON PHONE) Very excited.
IRENE I know.
|
11 08 29 06 |
|
622 |
2.13 |
CU PHONE SHOWING VIDEO CALL WITH DEAN |
IRENE I'm going to turn the phone around, my darling, OK?
|
11 08 31 12 |
|
623 |
2.12 |
MS EOIN AND IRENE WITH PHONE
|
|
11 08 34 00 |
|
624 |
5.04 |
MS REV IRENE HOLDS PHONE UP TO STATUE OF JIMMY |
DEA (ON PHONE) Yeah that’s unreal.
IRENE Can you see him?
DEAN (ON PHONE) Yeah that
|
11 08 36 12 |
|
625 |
4.07 |
CU PHONE SHOWING VIDEO CALL WITH DEAN |
just does so many things to you. It’s very emotional.
IRENE Yep,
|
11 08 41 16 |
|
626 |
3.18 |
LA TILT MS PROFILE IRENE HOLDS UP PHONE WIT EOIN AND HEATHER BEHIND |
isn’t it my darling. It is.
DEAN (ON PHONE) Yeah it is.
|
11 08 45 23 |
|
627 |
7.15 |
CU PHONE SHOWING VIDEO CALL WITH DEAN |
DEAN (ON PHONE) Like to actually replicate an ancestor, and have them represent the Aboriginal people of the past is an amazing thing.
|
11 08 49 16 |
|
628 |
4.05 |
MS PROFILE IRENE HOLDS UP PHONE |
IRENE He looks like you. He looks like your family.
DEAN (ON PHONE) I could,
|
11 08 57 06 |
|
629 |
2.15 |
CU PHONE SHOWING VIDEO CALL WITH DEAN |
I could only wish I was looking like that.
|
11 09 01 11 |
|
630 |
4.09 |
MCU IRENE HOLDS UP PHONE WITH EOIN AND HEATHER LAUGHING BEHIND |
IRENE Well considering how old—
DEAN (ON PHONE) Amazing to see.
|
11 09 04 01 |
|
631 |
8.13 |
CU PHONE SHOWING VIDEO CALL WITH DEAN |
DEAN Yeah I feel very emotional at the moment. I don’t generally get like this, but this yeah, just does something to you inside.
IRENE Because they’re
|
11 09 08 10 |
|
632 |
4.21 |
MS IRENE HOLDING UP PHONE |
family you know. They belong to us. They belong to us,
|
11 09 16 23 |
|
633 |
4.22 |
CU PHONE SHOWING VIDEO CALL WITH DEAN |
as family.
DEAN (ON PHONE) The pride, yeah the pride I feel at the moment is unbelievable.
|
11 09 21 19 |
|
634 |
2.11 |
MCU PROFILE AND OOF EOIN AND HEATHER IN BG |
IRENE Oh bless ya.
|
11 09 26 16 |
|
635 |
3.07 |
CU PHONE SHOWING VIDEO CALL WITH DEAN |
IRENE Heather, if you’d like to...
HEATHER So what our approach
|
11 09 29 02 |
|
636 |
3.01 |
MS IRENE HOLDS UP PHONE WITH HEATHER |
is gonna be with Uncle Jimmy, is to get
|
11 09 32 09 |
|
637 |
11.16 |
MS VIEWS STATUE OF JIMMY |
him safely back to our store in Castle Hill. And we'll do some scanning, um, in 3D photogrammetries. And we won't be putting Uncle Jimmy
|
11 09 35 10 |
|
638 |
7.04 |
MS IRENE HOLDING UP PHONE WITH HEATHER |
on display just yet, just because of the fragility of the sculpture. We really want to make sure that he travels well
|
11 09 47 01 |
|
639 |
5.04 |
MS STATUE OF JIMMY AND CU PHONE IN FG |
back to the home where he stays in the Castle Hill store. So hopefully you can come
|
11 09 54 05 |
|
640 |
9.03 |
MS IRENE HOLDING UP PHONE WITH HEATHER |
and see him, um, in Castle Hill.
DEAN (ON PHONE) Yeah definitely.
HEATHER And, um, we can continue the journey with Uncle Jimmy and with you and your family.
|
11 09 59 09 |
|
641 |
12.06 |
CU PHONE SHOWING VIDEO CALL WITH DEAN |
DEAN (ON PHONE) Just with everything that's happening?
HEATHER (OFF SCREEN) Yes. Yeah, it's very emotional.
IRENE (OFF SCREEN) Yeah it is.
DEAN The biggest thing, yeah the biggest thing I suppose that Dad’s not here now to see it.
|
11 10 08 12 |
|
642 |
6.21 |
MS IRENE HOLDING UP PHONE AND HEATHER EMOTIONAL |
IRENE I know darling, I know, and...
DEAN (ON PHONE) And he would have, he would’ve made every effort. Yeah.
IRENE He would have
|
11 10 20 18 |
|
643 |
7.11 |
CU PHONE SHOWING VIDEO CALL WITH DEAN |
made every effort. Absolutely. You know.
DEAN (ON PHONE) Yeah. No and this is, this is basically for him, and
|
11 10 27 14 |
|
644 |
4.07 |
MS IRENE HOLDING UP PHONE WITH HEATHER |
the rest of the family, so...
IRENE Yeah I know. I know.
DEAN (ON PHONE) Yeah, it’s pretty
|
11 10 35 00 |
|
645 |
3.19 |
CU PHONE SHOWING VIDEO CALL WITH DEAN |
amazing. Pretty amazing.
IRENE Yeah. When you come and see him
|
11 10 39 07 |
|
646 |
5.04 |
S EOIN AND IRENE HOLDING UP PHONE |
face to face, that’s what happened with me and Nanny Nellie. You know, that
|
11 10 43 01 |
|
647 |
6.20 |
WMS EOIN, IRENE AND HEATHER |
bond, that connection, that bond, it’s just you know. And that will happen.
|
11 10 48 05 |
|
648 |
4.03 |
MCU IRENE HOLDING UP PHONE AND MS EOIN BEHIND |
IRENE Don’t you worry, you will. I know you will my darling.
|
11 10 55 00 |
|
649 |
4.23 |
CU PHONE SHOWING VIDEO CALL WITH DEAN |
DEAN (ON PHONE) Yeah and just, I just want to thank everyone for the, uh, here we go again...
|
11 10 59 03 |
|
650 |
8.00 |
LA TILT MS IRENE HOLDING UP PHONE AND EOIN BEHIND |
DEAN (ON PHONE) Just for the massive effort you’ve put in. It's unbelievable for my family and to see that this is happening.
|
11 11 04 01 |
|
651 |
1.24 |
CU PHONE SHOWING VIDEO CALL WITH DEAN |
DEAN (ON PHONE) I can’t thank yous enough.
|
11 11 12 01 |
|
652 |
3.02 |
TIGHT MS IRENE HOLDS UP PHONE |
DEAN (ON PHONE) Love you very much Aunty, you take care.
MUSIC BEGINS... 01 MIN 08 SEC CHECKING IN ON THE UNCLES
IRENE Alright my son.
|
11 11 14 00
11 11 15 01 |
|
653 |
2.08 |
LA TILT MS IRENE HOLDS UP PHONE WITH EOIN AND HEATHER BEHIND |
DEAN (ON PHONE) Love you, bye, bye.
IRENE Bye bye darling. Bye.
|
11 11 17 02 |
|
654 |
1.12 |
MCU IRENE LOOKS TO PHONE |
IRENE OK.
|
11 11 19 10 |
|
655 |
4.14 |
LA TILT MS IRENE WITH PHONE WITH EOIN AND HEATHER BEHIND
THEN ZOOM OUT TO MWS |
IRENE Oh that was wonderful.
HEATHER Yeah.
IRENE How good was that.
HEATHER He did so well.
|
11 11 20 22 |
|
656 |
4.10 |
LA TILT MCU P STATUE OF JIMMY |
IRENE I just love it. thank you very much guys.
HEATHER You’re
|
11 11 25 11 |
|
657 |
2.17 |
LA TILT MS HEATHER PATS IRENE ON SHOULDER AND EOIN AT LEFT |
welcome. It’s been a long time coming. Long time coming.
IRENE Yeah.
|
11 11 29 21 |
|
658 |
5.15 |
MCU REV IRENE NODS AT PROFILE EOIN |
IRENE It’s great. Yeah, it was good.
|
11 11 32 13 |
|
659 |
6.06 |
TRACK BEHIND MS IRENE AND MARIKO WALKING DOWN STORAGE AISLE |
MARIKO So here we are. It’s great to have you back again.
IRENE It’s been a while.
MARIKO It has been a while since we were looking at the archives.
|
11 11 38 03 |
|
660 |
16.04 |
TRACK BACK WITH MARIKO AND IRENE |
IRENE And finally I get to see Uncle Harold.
MARIKO That’s right. I think you only were able to see his legs last time. I mean we’ve had to do some minor paint work, which is why you haven’t been able to see him unveiled as yet, but um now we’ve got the opportunity to do so.
|
11 11 44 09 |
|
661 |
2.22 |
MWS REV IRENE AND MARIKO WALK UP STORAGE AISLE |
IRENE I’m excited Mariko. I’m very excited.
|
11 12 00 13 |
|
662 |
3.00 |
MWS MARIKO AND IRENE STOP AND LOOK TO SHELF |
MARIKO So what we’ll do is we’ll wheel him
|
11 12 03 10 |
|
663 |
4.03 |
PAN LEFT WITH MS REV IRENE AND MARIKO WALKING TO TROLLY |
out.
IRENE OK.
MARIKO And then we’ll do an unveiling. So I might get you to assist me.
IRENE OK, wonderful.
|
11 12 06 10 |
|
664 |
2.19 |
MWS IRENE AND MARIKO WHEEL OUT TROLLEY |
MARIKO We’ll just pull yeah?
IRENE Yep
MARIKO Just guide out the...
|
11 12 10 13 |
|
665 |
2.17 |
WS IRENE AND MARIKO WHEEL OUT TROLLEY |
MARIKO And turn him around.
IRENE Yep.
MARIKO And I’d say we stop around
|
11 12 13 07 |
|
666 |
2.11 |
TIGHTER MS MARIKO AND IRENE STEP AWAY FROM TROLLEY |
here.
IRENE Yep, alright. Wonderful.
|
11 12 15 24 |
|
667 |
5.22 |
MS IRENE AND REV MARIKO UNCOVER STATUE |
MARIKO We open the top.
IRENE Oh there he is. Oh.
MUSIC ENDS
|
11 12 18 10
11 12 23 01 |
|
668 |
3.10 |
LA TILT MS IRENE LOOKS AT STATUE |
IRENE Oh there he is. Oh. Oh.
|
11 12 24 07 |
|
669 |
2.24 |
MCU IRENE AND REV STATUE IN FG |
IRENE Hello Uncle Harold.
|
11 12 27 17 |
|
670 |
6.18 |
VIEW THROUGH CRATE TO MCU STATUE OF HAROLD |
IRENE Oh yeah. He’s so tiny. I can’t believe how tiny he is, look at him. Look at his little face. His little
|
11 12 30 16 |
|
671 |
2.09 |
MS IRENE AND PROFILE MARIKO LOOK TO STATUE TROLLEY |
hands. His skinny little legs.
|
11 12 37 09 |
|
672 |
9.01 |
TILT UP TIGHT MS PROFILE STATUE OF HAROLD |
IRENE (OFF SCREEN) Like, they’re so like...
MARIKO (OFF SCREEN) You just want to go in and give him. a hug don’t you?
IRENE (OFF SCREEN) You do, you do wanna hug him. Absolutely. I know I can’t, but...
|
11 12 39 18 |
|
673 |
3.17 |
VIEW THRU CRATE TO MCU IRENE |
IRENE I wanna hug all of them. So, I’m a hugger.
|
11 12 48 19 |
|
674 |
3.11 |
MS IRENE AND MARIKO LOOK TO STATUE TROLLEY |
IRENE Ah look at him.
|
11 12 52 11 |
|
675 |
6.19 |
CU STATUE OF HAROLD |
IRENE (OFF SCREEN) I mean, look at the expression on his face.
MARIKO Yeah I think there’s a bit of sadness there, but
|
11 12 55 22 |
|
676 |
3.16 |
MS MARIKO AND IRENE |
I’d like to think that there’s something else. Like hope as
|
11 13 02 16 |
|
677 |
10.21 |
VIEW THRU CRATE TO MCU STATUE OF HAROLD |
well. Like the hope that he will find what he is looking for. Because you know, in his lifetime, he was taken away from family, and his cultural identity, and so I’d like to think that we can
|
11 13 06 07 |
|
678 |
5.23 |
MS MARIKO AND IRENE |
help with reclaiming that for him now.
IRENE Well we’re doing that aren’t we.
MARIKO Yep. With this journey.
IRENE And that’s what this whole journey is all about.
|
11 13 17 03 |
|
679 |
5.24 |
CU PROFILE STATUE OF HAROLD |
IRENE (OFF SCREEN) Is there a chance the statue might go on exhibition?
MARIKO Not at this stage. We need to
|
11 13 23 01 |
|
680 |
5.23 |
MS IRENE AND PROFILE MARIKO |
do more consultation before we’re comfortable with having him on display, and
|
11 13 29 00 |
|
681 |
7.09 |
LA TILT MS MARIKO AND PROFILE IRENE |
it is a bit bittersweet.
IRENE Yeah.
MARIKO I think that it may feel like we’ve left Harold behind a bit, but
|
11 13 34 23 |
|
682 |
4.13 |
MS IRENE AND PROFILE MARIKO |
not at all because a lot of things, um you know, wheels are turning behind the scenes.
IRENE Mm-hm.
|
11 13 42 07 |
|
683 |
4.00 |
LA TILT MS MARIKO AND PROFILE IRENE |
MARIKO And then there'll be always opportunity for family to connect with Harold
|
11 13 46 20 |
|
684 |
7.07 |
VIEW THRU CRATE TO CU STATUE TO HAROLD |
at a later time.
IRENE (OFF SCREEN) Late time. But he’s no forgotten.
MARIKO So I think we just need to remember that even though they were originally
|
11 13 50 20 |
|
685 |
1.20 |
MS IRENE LOOKS TO PROFILE MARIKO |
created to be part of like this family
|
11 13 58 02 |
|
686 |
5.02 |
;T MS MARIKO AND PROFILE IRENE |
group...
IRENE Mmm.
MARIKO ... we can’t lose sight of that they’re, these are individuals.
|
11 13 59 22 |
|
687 |
2.21 |
MS PROFILE MARIKO AND IRENE |
MARIKO I feel like that’s important not to just go and recreate what
|
11 14 04 24 |
|
688 |
6.00 |
LA TILT MS MARIKO AND PROFILE IRENE |
was done in the past.
IRENE Mmm.
MARIKO So with Nanny Nellie being the only one on display, I don’t think we should feel like, oh we’re
|
11 14 07 20 |
|
689 |
7.00 |
CU STATUE OF HAROLD |
missing something.
IRENE His journey is starting now. I started with the journey with Nanny Nellie, and then finding
|
11 14 13 20 |
|
690 |
3.07 |
MS MARIKO AND IRENE |
everybody together, but his journey is still going on.
|
11 14 20 20 |
|
691 |
4.23 |
LA TILT MS MARIKO AND PROFILE IRENE |
MARIKO Uncle Harold and Uncle Jimmy, their stories will unfold in their own time on their own terms.
|
11 14 24 02 |
|
692 |
7.24 |
WS IRENE AND MARIKO COVER STATUE OF HAROLD THEN FADE TO BLACK
|
IRENE Yeah. Beautiful. Yeah. I, yeah that’s true.
MUSIC BEGINS... 50 SEC
|
11 14 29 00
11 14 30 01 |
|
693 |
5.10 |
CU PLACING ‘ALWAYS WAS, ALWAYS WILL BE’ EARRINGS ON SCARF |
IRENE (OFF SCREEN) I’m feeling pretty excited about tonight.
|
11 14 36 24 |
|
694 |
3.22 |
CU PROFILE IRENE POWDERING FACE |
IRENE My Uncle Richard will be there. And Uncle Richard
|
11 14 42 09 |
|
695 |
3.02 |
MS PROFILE IRENE POWDERING FACE |
is Nanny Nellie's grandson. Nanny
|
11 14 46 06 |
|
696 |
2.23 |
MS MIRROR REFLECTION OF IRENE HOLDING SHIRT UP |
Kempsey's son. Uncle Richard
|
11 14 49 08 |
|
697 |
3.00 |
LA TILT MS IRENE HOLDS SHIRT UP |
is my elder. And I'm
|
11 14 52 06 |
|
698 |
6.04 |
REFLECTION OF MS IRENE |
proud and honoured for him to be there so he can see his grandmother.
|
11 14 55 06 |
|
699 |
19.18 |
MONTAGE EDITS IRENE LOOKS OUT WINDOW THEN PUTS ON COAT IN MIRROR |
IRENE (OFF SCREEN) It's just wonderful. Tonight's very important because it's rewriting history. It's putting narratives back. It's the realisation of past and present. All coming together
MUSIC ENDS / MUSIC BEGINS... 02 MIN 01 SEC UNVEILING OPENING NIGHT
|
11 15 01 10
11 15 20 01 |
|
700 |
3.09 |
WS MUSEUM EVENT VENUE |
and making it as one.
|
11 15 21 03 |
|
701 |
2.04 |
LA TILT WS REV IRENE WALKS UP STAIRS |
IRENE (OFF SCREEN) That's what it's all about.
|
11 15 24 12 |
|
702 |
13.12 |
MONTAGE FAST EDITS ATTENDEES AT EXHIBITION OPENING |
LAURA Thank you for joining us tonight,
|
11 15 26 16 |
|
703 |
2.02 |
LA TILT MS LAUREN AT LECTERN |
for this special night of First Nations
|
11 15 40 03 |
|
704 |
4.21 |
MONTAGE FAST EDITS ATTENDEES CLAP |
self-determination. My name is Laura McBride and I'm a Wailwan woman and
|
11 15 42 05 |
|
705 |
2.05 |
LA TILT MS PROFILE LAUREN AT LECTERN |
director First Nations here at the Australian Museum.
|
11 15 47 01 |
|
706 |
8.10 |
MONTAGE FAST EDITS ATTENDEES LISTENING WITH HEATHER AND IRENE |
LAURA (OFF SCREEN) Tonight we gather to celebrate the story of Ngarigo woman Nan Nellie Bunjil Walker. You will see Nan Nellie on display
|
11 15 49 06 |
|
707 |
9.22 |
TRACK BACK WITH MS IRENE WALKING WITH FAMILY THRU GUESTS |
for the first time in decades. This time, displayed in a way that celebrates her identity, and interpreted by her own family.
|
11 15 57 16 |
|
708 |
12.13 |
TRACK BACK WITH MS IRENE AND FAMILY WALKING AS FLASHES GO OFF |
IRENE There she is there.
MAN Oh wow.
IRENE I know.
|
11 16 07 13 |
|
709 |
5.15 |
MS STATUE OF NELLIE AMONGST PHOTOS OF HER FAMILY
|
|
11 16 20 01 |
|
710 |
4.11 |
LA TILT MCU IRENE NODS AT FAMILY MEMBERS
|
GIRL So special.
IRENE There she is.
|
11 16 25 16 |
|
711 |
2.02 |
LA TILT MS PROFILE EMOTIONAL FAMILY MAN AND WOMAN |
WOMAN (ENGLISH SUBTITLES) It’s like she looks just like mum.
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11 16 30 02 |
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712 |
7.08 |
MS EMOTIONAL FAMILY MAN AND WOMAN THEN SWING LEFT TO MCU UNCLE RICHARD AND IRENE BEHIND
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IRENE How beautiful is that?
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11 16 32 04 |
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713 |
3.18 |
MCU RESTORED STATUE OF NELLIE
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IRENE’S SON It’s beautiful Mum, it’s beautiful. It’s
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11 16 39 12 |
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714 |
1.19 |
MS YOUNG MAN WITH ARM AROUND IRENE |
crazy seeing all the...
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11 16 43 05 |
|
715 |
3.05 |
LA TILT MCU EMOTIONAL YOUNG MAN WITH PROFILE IRENE |
all the ladies together again.
IRENE I know.
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11 16 44 24 |
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716 |
2.21 |
VIEW OVER SHOULDER TO WMS STATUE OF NELLIE WITH PHOTOS OF WOMEN IN FAMILY |
IRENE Yeah. Tell me what you think Uncle
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11 16 48 04 |
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717 |
1.23 |
LA TILT CU RICHARD AND PROFILE NELLIE
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Richard.
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11 16 51 00 |
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718 |
5.03 |
CU IRENE WITH ARM AROUND RICHARD |
UNCLE RICHARD (ENGLISH SUBTITLES) To finally see her like this. With her family there.
IRENE Yep.
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11 16 52 23 |
|
719 |
6.00 |
MS STATUE OF NELLIE WITH PHOTOS OF FAMILY BEHIND |
IRENE (OFF SCREEN) She’s surrounded by family. Yeah. I think that’s what she always wanted to be, surrounded by family.
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11 16 58 01 |
|
720 |
3.12 |
LA TILT MCU RICHARD AND IRENE |
IRENE How good is that.
|
11 17 04 01 |
|
721 |
5.10 |
TRACK RIGHT AROUND FAMILY MAN AND WOMAN HUGGING IRENE |
MAN Well done.
IRENE Thank you bub.
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11 17 07 13 |
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722 |
3.00 |
TRACK LEFT AROUND IRENE WITH TWO WOMEN AMONGST GUESTS |
IRENE Isn’t she beautiful? Isn’t she beautiful?
WOMAN Absolutely.
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11 17 12 23 |
|
723 |
2.22 |
MS WOMAN HUGS IRENE AMONGST GUESTS |
IRENE Oh thank you so much.
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11 17 15 23 |
|
724 |
2.04 |
LA TILT MS ATTENDEES AT OPENING |
IRENE (OFF SCREEN) So much.
WOMAN (OFF SCREEN) And it’s beautiful, absolutely.
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11 17 18 20 |
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725 |
2.05 |
MS IRENE POSES FOR PHOTO WITH WOMAN
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MUSIC ENDS / MUSIC BEGINS... 02 MIN 16 SEC
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11 17 20 24
11 17 21 01 |
|
726 |
2.10 |
LA TILT MS MSN WITH REV WOMAN
|
MAN It’s amazing.
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11 17 23 04 |
|
727 |
13.24 |
MONTAGE EDITS VIEWS OF GUESTS AT OPENING THEN FADE TO BLACK |
IRENE (VOICEOVER) Some things I don't think we'll ever find out, but the things that we have found out, she led a full life. She had a full journey to her life.
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11 17 25 14 |
|
728 |
14.23 |
FADE UP FROM BLACK TO ZOOM IN ON ARCHIVE B/W STILL IMAGE NELLIE |
IRENE (VOICEOVER) She was a powerful woman. She bared so many different troubles, but she still got through them. I think that comes through with us, with the women in my family.
|
11 17 39 13 |
|
729 |
3.14 |
ZOOM IN ON ARCHIVE B/W STILL IMAGE NANNY KEMPSEY HOLDING PHOTO OF YOUNG NELLIE |
IRENE (VOICEOVER) With her daughter, you know, Nanny Kempsey, with
|
11 17 54 11 |
|
730 |
5.03 |
ZOOM IN ON ARCHIVE STILL IMAGE NANNY KEMPSEY WITH AUNTIES |
Aunty May, with Aunty Helen, with, you know, with my mother and
|
11 17 58 00 |
|
731 |
8.15 |
ZOOM IN ON ARCHIVE STILL IMAGE IRENE WITH NANNY KEMPSEY |
through me. It shows, this power that we have to keep going on regardless.
|
11 18 03 03 |
|
732 |
18.18 |
TILT UP TO WS EXHIBITION WITH STATUE OF NELLIE SURROUNDED BY PHOTOS OF FAMILY THEN SLOW TRACK IN |
IRENE (VOICEOVER) That's what she's given. That's what she's given to me. Absolutely. Thank her for that.
|
11 18 11 18 |
|
733 |
10.15 |
SLO-MO MCU IRENE WALKS THRU MUSEUM EXHIBITION |
IRENE (VOICEOVER) It was all taken away, but we can give it back. We're the ones left to give it back.
|
11 18 30 11 |
|
734 |
14.12 |
SLOW ZOOM IN ON STATUE OF NELLIE SURROUNDED BY PHOTOS OF FAMILY |
IRENE (VOICEOVER) I know who I am. I know who I am. And that's, that’s everything.
|
11 18 41 01 |
|
735 |
13.06 |
SLO-MO TRACK RIGHT AROUND MCU IRENE |
IRENE (VOICEOVER) I've walked the walk of my family. I'm going to be telling those stories to my children.
|
11 18 55 13 |
|
736 |
15.22 |
TRACK RIGHT AROUND MCU STATUE OF NELLIE ON EXHIBITION |
IRENE (VOICEOVER) Nothing is lost then. Everything is found. Sure there's still a lot to find, but for now I have a better understanding.
|
11 19 08 19 |
|
737 |
8.08 |
SLO-MO TRACK BACK WITH LA TILT MCU IRENE WALKING AWAY FROM MUSEUM |
IRENE (VOICEOVER) Understanding is healing. I think so. I think so.
|
11 19 24 16 |
|
738 |
77.20 |
END CREDITS ROLL ON BLACK BACKGROUND
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|
11 19 32 23 |
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In memory of Buddy Freeman and Victoria Archibald nee Walker
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MUSIC ENDS / MUSIC BEGINS... 01 MIN 38 SEC UNDERSTANDING IS HEALING
|
11 19 37 00 |
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|
Director / Writer Daniel King
Executive Producer Charlotte Seymour
Producers Ben Pederick Andrew Arbuthnot
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CAST in order of appearance Irene Ridgeway Laura McBride Mariko Smith Ella Bates Stuart Hood Dean Freeman Buddy Freeman William Morgan Kyra Kim Robert Clendon Heather Bleechmore Angela Goulding Jennifer Irwin Eoin O Sullivan Deborah Beck Hannah Newman Elaine Crombie Uncle Richard Archibald Elva Write Leo Write
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PRODUCTION |
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Writer / Director Executive Producer Producer / Writer Producer Editor Story Consultant
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Daniel King Charlotte Seymour Ben Pederick Andrew Arbuthnot Johanna Scott Beck Cole |
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CREW |
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Director of Photography Camera Operator Camera Operator Camera Operator Camera Operator Still Photographer
Location Sound Recordist Additional Sound Recordist Additional Sound Recordist Additional Sound Recordist
Production Manager Production Accountant Production Assistant Production Assistant Production Assistant Production Assistant
Safety Supervisor
Lawyer
Archival Producer Family Researcher
Design, Animation & VFX
Music Composer Music Mixer
Dress design and dress making
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Kathryn Milliss ACS Sissy Reyes Toby Ralph Ben Pederick Daniel King Mark Rogers
Luke Aigus Luke Fuller Lionel Tregret Daniel King
Kim Steblina Aida Innocente Lisa Ramsay James Bailey Conor Bailey Iris Van Veenen
Michael Kent
Jenny Lalor
Catherine Dwyer Noel Walker
21-19 Domenico Bartolo Andrew Gibbs Chris More
Claire Deak Tony Dupé
Jennifer Irwin
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PERFORMERS |
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Claire Deak - vocals, harp, vibraphone, glockenspiel, dulcitone, piano, prepared piano, accordion, reed organ, terz guitar, electric guitar, bandura, balalaika bass, mandolin, bass recorder, organelle Tony Dupé - double bass, cello, viola, violin, stroh violin Judith Hamann - cello Auntie Sharlene Cruickshank - vocals Auntie Janice Lulland - vocals Nicole Smede – vocals
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POST PRODUCTION [THE POST LOUNGE LOGO] |
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Post Production by Executive Post Producer Head of Post Production Longform Business Director Senior Post Producer Post Producer
Online Editor Colourist Technical QC Operator
Assistant Editors
Sound Post Production by Supervising Sound Editor Dialogue Editor Sound Effects Editor Re-recording Mixer Assistant Sound Editor |
The Post Lounge Kurt Royan Bronwyn Ketels Dan Lake Claire Perry Charlotte Carney
Alan Be Kale Edel Rafferty Tiago De Sousa
Jenna Dawkins Jayden Byrne Brianna Freckleton
The Post Lounge Stuart Morton MPSE Daniel Anthon Jonathan Mendolicchio Daniel Anthon Grace Newman
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Finance |
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NITV, Executive Producer Screen Australia, Production Investment Manager VicScreen, Production Executive Adelaide Film Festival, Chief Executive and Creative Director The Post Lounge Mind the Gap Finance |
Marissa McDowell Jeni McMahon
Sam Dinning Mat Kesting
Kurt Royan Michael Agar, Caroline Farmer, Ester Harding
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AUSTRALIAN MUSEUM |
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Director, First Nations Manager, First Nations Collections & Engagement Intern, Archives, Conservator Conservator Manager, Collection Care & Conservation Producer, Exhibitions Manager, Aboriginal and Torres Strait Islander Collections and Repatriation Archivist, Archives Cultural Collection Officer, First Nations Creative Producer Media Advisor, Communications Head of Communications
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Laura McBride Dr Mariko Smith
Ella Bates Kyra Kim Robert Clendon Heather Bleechmore
Trevor Ahearn Phil Gordon
Robert Dooley Melanie van Olffen
Katrina Douglas Claire Vince Farley Fitzgerald
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O'SULLIVAN CONSERVATION |
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Director and Principal Conservator Business Development and Contract Manager
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Eoin O'Sullivan Hannah Newman |
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ARCHIVE SOURCES ACMI AIATSIS Anzac Memorial Hyde Park A.O. Neville, Australia’s Coloured Minority (1947) Arthur G. Foster courtesy of National Library of Australia Australian Museum Australian War Memorial Beth Macdonald / Meyer family Bombala and District Historical Society Brian Bird courtesy of The Mitchell Library, State Library of New South Wales City of Sydney Archives David Goodyear Deborah Beck, Historian & Artist Eileen McGrath Family Elva Lang Félix-Edouard Guérin-Méneville, Dictionnaire Pittoresque D'histoire Naturelle et des Phénomènes de la Nature, 1834 Fred Hardie courtesy of the State Library of New South Wales Harold Cazneaux courtesy of Mitchell Library, State Library of New South Wales Helen Archibald Hoff Family Archive
Howard Collection courtesy of the 'Warangesda Steering Committee’. This committee consists of Waddi Housing and Advancement Corporation, Griffith Local Aboriginal Land Council, Leeton and District Local Aboriginal Land Council, NSW National Parks, and Heritage. Griffith Aboriginal Medical Service. Irene Ridgeway
Film Australia Collection courtesy of the National Film and Sound Archive of Australia Jordan Collection courtesy of West Australian Maritime Museum Josiah Clark Nott, Types of Mankind (1854) Kahlin Compound Collection courtesy of Library & Archives NT National Archives of Australia National Art School Collection National Film and Sound Archive of Australia National Library of Australia New South Wales State Archives Peter Spillett Collection courtesy of the Library & Archives NT Powerhouse Museum Randwick and District Historical Society Randwick City Library State Library of Queensland State Library of Victoria State Library of Western Australia The Mitchell Library, State Library of New South Wales Victorian Haskins
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THANK YOU |
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Jen Mellander Ali Sanderson |
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Ascot Wigmakers President, Bombala & District Historical Society Senior Curator, NSW Art Gallery
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Tracey Kostadinoska Stuart Hood
Denise Mimmocchi |
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Helen Archibald Richard Archibald Elva Badger Ken Badger Chris Robinson Rodney Mumbler Hika Walker Professor Victoria Haskins Professor John Maynard Elaine Crombie
Naomi Parry Duncan Dr Michael Bennett
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Austin Kaupe Design Local Cultural Liaison, La Perouse Museum Parkes Shire Library Australian Museum NFSA AIATSIS Waddi Housing and Advancement Corporation Ltd
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Jeremey Austin Ronald Prince
Roxanne Gallacher Robert Dooley Naomi Wanner Blake Allen and Stephanie Williams Tamileigh Chirgwin
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NITV acknowledges the traditional owners of country throughout Australia.
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744 |
3.00 |
fade up to
Developed with support from Screen Australia’s First Nations Department
[SCREEN AUSTRALIA first nations DEPARTMENT LOGO]
then fade to black
|
11 20 50 20 |
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|
745 |
3.00 |
fade up to
Principal production funding from Screen Australia
[SCREEN AUSTRALIA LOGO]
THEN FADE TO BLACK
|
11 20 53 18 |
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|
746 |
0.00 |
fade up to
Produced with the assistance of
[VIC SCREEN LOGO]
THEN FADE TO BLACK
|
11 20 56 16 |
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|
747 |
6.00 |
fade up to
and Adelaide Film Festival
[ADELAIDE FILM FESTIVAL LOGO]
THEN FADE TO BLACK
|
11 20 59 16 |
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|
748 |
3.00 |
fade up to
[FIRST PERSON FILMS LOGO]
THEN FADE TO BLACK
|
11 21 02 15 |
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|
749 |
3.00 |
fade up to
This production was made possible with the support of the Australian Museum
[AUSTRALIAN MUSEUM LOGO]
THEN FADE TO BLACK
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11 21 05 15 |
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|
750 |
2.23 |
fade up to
Developed and Produced in association with National Indigenous Television
[NITV LOGO]
nitv.com.au
THEN FADE TO BLACK
|
11 21 08 13 |
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751 |
3.16 |
fade up to
© Copyright 2023 First Person Films Pty Ltd
THEN FADE TO BLACK
|
11 21 11 13 |
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752 |
|
end |
MUSIC ENDS
|
11 21 14 05 |
