invasion of Aboriginal lands by, among many others, the NABALCO bauxite mining enterprise on Yolngu land. In this way, although
Djungguwan at Gurka’wuy
is clearly a film about mortuary practices and beliefs about ancestors in primeval times, it is also an intensely political film of immediate contemporary relevance, thereby fulfilling, in the most powerful, even if in the most unexpected way, the brief that Dunlop was given when he first set out to film in Yirrkala in 1970.
execution from the scaffold.) The stag hangs upside down like a deposed
tyrant in a cooling room that resembles a mortuary – or the chapel in
which the imprisoned Charles was pictured in the Guillaume Marshall
portrait circulated by his supporters in a volume entitled Eikon
Basilike: The Pourtraiture of his sacred maiestie in his solitarie
suffering . With her mind concentrated wonderfully by the fate of one
, which was filmed on Baluan, one of the Admiralty Islands, which lie off the northern coast of Papua New Guinea. Released in 2009, this film followed the Dutch anthropologist Ton Otto, the other co-director, as he returned to Baluan, where he had carried out fieldwork over many years, in order to attend the mortuary ceremonies of a senior man who had adopted him as a son.
Ferrarini also made a number of shorter films, as well as