WorldCat Identities

Ronin Films

Overview
Works: 550 works in 958 publications in 3 languages and 6,407 library holdings
Genres: Drama  Comedy films  History  Nonfiction films  Romantic comedy films  Musical films  Documentary films  Instructional films  Dance films  Short films 
Roles: Editor, 605
Classifications: PN1997, 791.4372
Publication Timeline
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Most widely held works by Ronin Films
A frontier conversation( Visual )

4 editions published in 2006 in English and held by 154 WorldCat member libraries worldwide

A "Frontier conversation" documents a unique collaboration between indigenous and white historians from Australia and North America. In September 2004, a diverse group travelled through the top end of Australia meeting representatives of the traditional landowners, and engaging in a dialogue about indigenous history. The themes that emerged raised more questions than answers; from cultural appropriation and copyright, to land rights, the role of language and art, and what history means to indigenous communities in the current climate of cultural reclamation and survival. The film asks some difficult questions, such as how valuable can histories written by outsiders to any community be? What are the responsibilities of the historian, indigenous or not, to the people whose stories he or she attempts to tell
beDevil( Visual )

7 editions published between 1993 and 2014 in English and held by 104 WorldCat member libraries worldwide

Three short films concerning spirits, ghosts and unexplained happenings
When the snake bites the sun( Visual )

2 editions published in 2014 in English and held by 84 WorldCat member libraries worldwide

A compelling account of the return by a group of dispossessed Aboriginal people to their ancient tribal grounds in the Northern outreaches of this continent. This highly provocative cinema verité work shows the rebuilding of relationships through a shared pilgrimage to ancestral lands and a traditional Aboriginal ceremony, despite occasional failures of cross-cultural communication. It reflects a community in transition through the journey of a family, especially the sole remaining custodian of that spirit country Amy Peters, and also Shirley the daughter of Sam Woolagoodja. Shirley sixteen years previously had taken her baby daughter to be purified ceremonially in a traditional ritual in the film Lalai Dreamtime. This event on film created a unique bond between daughter, grand-daughter, grandfather and aunts right in the middle of their spirit country. The film shows our return with her tribal family to spirit country, the ancient tribal grounds in the Northern outreaches of this continent, and commemorates a ceremony that puts to rest the spirit of Sam Woolagoodja, one enormously important song-man of the Kimberley
Intervention : stories from the inside : a film( Visual )

5 editions published between 2008 and 2014 in English and held by 81 WorldCat member libraries worldwide

On 21 June 2007, the Howard Federal Government introduced the Northern Territory Emergency Response legislation commonly known as 'The Intervention' - one of the most dramatic policy shifts in Aboriginal affairs in Australia's history. Relentless media attention generally focuses on ideological arguments for or against the Intervention put forward by 'experts' far removed from its everyday realities. Ironically, the voices of those affected by the policy are rarely heard beyond their own communities. This film bypasses ideology and instead asks those living inside the Intervention day-in-day-out the simple question - Is it working? For this film, more than forty Alice Springs town-camp residents were interviewed at length about the impact of the Intervention on their lives, whether positive or negative. Breaking with journalistic tradition, the interviews were conducted by a research team made up of Aboriginal town-camp residents themselves, who were able to transcend barriers of language and cultural dynamics, resulting in the type of candid and emotional responses that mainstream media often struggles to achieve
Yap how did you know we'd like TV?( Visual )

3 editions published between 1980 and 1987 in English and Yapese and held by 74 WorldCat member libraries worldwide

Documentary about the introduction of American TV (complete with ads for carpet shampoos and Fords) to the small Pacific island of Yap on the eve of the island's independence. Yapese and English dialogue with English subtitles
Women of the sun ... 25 years later( Visual )

4 editions published between 2006 and 2014 in English and held by 73 WorldCat member libraries worldwide

Women of the sun is a remarkable drama series that told the Aboriginal story through the eyes of Aboriginal women in their own language. Now, 25 years later Bob Weis, the producer of the original film sets out to find out the impact of the film on five of the women who played major roles in the original series. His journey - from Arnhem Land to the southern states - reveals a profound and moving tale of discovery, for himself and those he meets. In the film, Bob Weis interviews actor Justine Saunders, actor/playwright Eva Johnson, academic Marcia Langton, and co-writer of the original series Sonia Borg
Night cries : a rural tragedy by Tracey Moffatt( Visual )

6 editions published between 1990 and 2014 in English and held by 67 WorldCat member libraries worldwide

A short experimental film by Tracey Moffatt, shot totally in a studio, about the relationship between an Aboriginal daughter and her white mother. The daughter, now the sole carer of her dying mother, dreams of far away places
We of little voice : [indigenous communities and the Australian nuclear industry]( Visual )

4 editions published between 2002 and 2014 in English and held by 64 WorldCat member libraries worldwide

In the 1950s the British Government tested nuclear bombs in northern South Australia. These days, there are mines and waste dumps in the erea. The Indigenous communities in the region have concerns about how the fall out from the testing and the risks of mining leaks impact on their communities. Indigenous anti-nuclear campaigner, Kevin Buzzcott, goes on a journey through northern South Australia to hear the stories of Aboriginal elders who have experienced the effects of the nuclear industry.This is the first time many of these elders have told their stories to the public.This film is a part of the National Indigenous Documentary Fund Series 5. Other titles in this series are: Ngangkari, The foundation, me and you and Big girls don't cry
Lousy Little Sixpence by Alec Morgan( Visual )

7 editions published between 1983 and 2007 in English and held by 62 WorldCat member libraries worldwide

In 1909, the New South Wales Aborigines Protection Board planned to break up Aboriginal communities by forcibly removing children and hiring them out as servants to white 'masters'. The children were paid sixpence for their services, but many never saw their 'lousy little sixpence'. In the 1930s, Aboriginal people began to organise and to fight the Aborigines Protection Board. Through old film footage, photographs and the memories of Aboriginal elders, we are presented with an account of their lives and their struggle
Ngangkari : a film by Erica Glynn( Visual )

4 editions published between 2001 and 2014 in English and Australian languages and held by 62 WorldCat member libraries worldwide

The role of Ngangkari, Traditional Healer, still plays a vital role in the health and well-being of the Anungu people of Central Australia. Yet only two Ngangkari are employed in full-time positions. This film introduces these two renowned Ngangkari specialists
Final payback( Visual )

1 edition published in 2007 in English and held by 60 WorldCat member libraries worldwide

In this action-packed thriller, ex-cop Joey Randall suddenly finds his affair with Sharon Moreno, wife of Police Chief George Moreno, has turned deadly. He discovers her dead body, and is blamed for the murder
The Last of the nomads by W. J Peasley( Visual )

7 editions published between 1997 and 2010 in English and held by 56 WorldCat member libraries worldwide

"Every once in a while, television delivers a programme that is truly a special event. This is one such show ... it offers an invaluable and poignant insight into Aboriginal culture."--Courier Mail, Brisbane
Tnorala - baby falling( Visual )

2 editions published between 2007 and 2014 in English and held by 50 WorldCat member libraries worldwide

Tnorala is the Aboriginal name for Gosse's Bluff, a dramatic meteorite impact crater set in a vast plain 175km west of Alice Springs. This significant dreaming site for Western Arrernte people is steeped in mystery and tragedy. The story of its creation and the events that occurred there are narrated to the camera by Aunty Mavis Malbunka, one of the traditional story-tellers for the place. Legend says that while stars danced in the Milky Way, a child fell to earth and was lost to its parents, the morning and evening stars, who still search for their baby to this day. Today, ancestors of Tnorala's traditional owners are remembered and honoured by their descendants and visitors that are drawn to this stunning and eerie landscape. The film is another fine example of the outstanding documentaries that Warwick Thornton made for CAAMA before he went on to win international acclaim for this first feature, SAMSON AND DELILAH in 2009. His haunting cinematography of the awe-inspiring landscapes in and around Tnorala, together with a moody impressionistic music score, make this a remarkable and memorable film
Lockhart festival [from the AIATSIS collection]( Visual )

2 editions published between 2013 and 2014 in English and held by 49 WorldCat member libraries worldwide

This film presents atmospheric and visually dramatic impressions of a four-day dance festival organised by the Aboriginal community of Lockhart River, on the far north Queensland coast. Over 100 dancers from 8 tribal groups fly into Lockhart by light aircraft from as far afield as Groote Eylandt in north-eastern Arnhem Land, and Kowanyama, Edward River, Aurukun and Umagico in Cape York. Far away from their homelands, many of the dancers meet other tribal groups for the first time, and new relationships are forged between communities. Around this time, the Aboriginal Theatre Foundation had sponsored a number of dance festivals throughout Northern Australia, and this was the second at Lockhart. Co-chairman of the Lockhart festival committee, Jerry Pascoe, speaks to the camera about his responsibilities as host, especially to people who had never been to Lockhart before. A large camping ground is established on the beach for the visitors, and special rehearsal grounds are cleared for each group in the bush, allowing them to prepare in seclusion. The dances tell traditional stories, of the frill-necked lizard, the kangaroo, the shark - and are enhanced by elaborate body decorations and spectacular body-painting. The dances are beautifully photographed by cameraman Richard Tucker, with carefully recorded original sound, although the filmmakers were somewhat constrained by not being able to shoot at night when many dances were performed. Although filmed under difficult conditions, and at short notice, the film is a little-known gem and is an excellent example of the films made by Curtis Levy for the Australian Institute of Aboriginal Studies (now AIATSIS)
Strictly ballroom by Niklas Luhmann( Visual )

2 editions published in 2002 in English and held by 48 WorldCat member libraries worldwide

Romantic comedy on the politics, intrigues and women's hair styles associated with competition ballroom dancing
Marn Grook( Visual )

2 editions published between 1996 and 2014 in English and held by 48 WorldCat member libraries worldwide

Marn Grook explores the history, achievements and struggles of Aboriginal sportsmen involved in our National game, 'Aussie Rules'. Through perseverance, natural ability and a love for the game, Aboriginal players have been able to overcome the many barriers placed before them to gain recognition and respect for their prowess on the football field. Marn Grook is a celebration of Australian Rules and the great contribution Aboriginal players have made to the game. Produced by CAAMA (Central Australian Aboriginal Media Association) based in Alice Springs. --Kanopy
Stolen generations by Darlene Johnson( Visual )

3 editions published between 2000 and 2014 in English and held by 47 WorldCat member libraries worldwide

Between 1910 and 1970 in Australia, 1 in 3 children were removed from Aboriginal families and placed in institutions and foster homes. These children, in most cases, were never to see their family again. The film tells 3 stories of Aboriginal people who were removed. Bobby Randall: a singer/songwriter, recalls the traumatic experience of being placed in a mission dormitory at the age of 4. He describes the experience of 'shrinking' emotionally. Bobby spent 9 years searching for his mother and eventually found out she had died soon after he was taken. Cleonie Quayle: a mother of four, remembers at the age of 5 being enticed into the back seat of a large black car. She thought she was going off for a holiday, waved to her mother but all she could see were tears in her eyes. Cleonie spent the next 12 years in foster families where she experienced sexual abuse. Her mother later died an alcoholic. Cleonie's story is one of courage and survival. Daisy Howard: a Kimberley woman, was separated from her half-sister May fifty years ago. Daisy was removed to a cattle station where she worked as a domestic, and later to a mission where she eventually married, while May grew up in the bush with her parents. The two sisters re-unite in the film recalling and comparing their experiences. The stories are combined with interviews with two well-known Australian historians Marcia Langton and Henry Reynolds who describe the racist assumptions behind these policies. Removing children was a deliberate government policy and the end aimed for was the eventual disappearance of Aborigines as a people. Illustrated with striking archive footage and a first person narration by Aboriginal director Darlene Johnson. The film ends with the contemporary debate in Australia - how the current Prime Minister John Howard, while recognising past wrongs and expressing his 'regret', refuses to make an official apology and say 'sorry' on behalf of the Australian nation
Full circle [from the AIATSIS collection] by Australian Institute of Aboriginal and Torres Strait Islander Studies( Visual )

2 editions published between 1987 and 2014 in English and held by 47 WorldCat member libraries worldwide

This beautifully photographed portrait of the life of Aboriginal cattle men in the Northern Territory was filmed at Robinson River Station in 1986. The station today is owned by the Aboriginal community, providing a base for the community's future. Elder stockmen at the station such as Ten Dollar Don Rory and Johnson Charlie talk about their past experiences with white settlers and the community memory of Aboriginal people being shot by white men. From this violent beginning, the Aboriginal men came to work for the white station owners, sometimes trading labour for food. As one says, it was just like slaving, working for bread and beef. The station is on Garawa land and today the Garawa men have a strong identity as number one cattle men. Against the background of the annual muster, their stories are woven together to give a rich portrait of their way of life, their pride in their work and their close connection to Garawa country and Garawa culture. The annual Borroloola rodeo is another place for their skills with horses and cattle to be displayed. The excitement of the rodeo and the rough riding contests is strikingly captured by the filmmakers. Directed, photographed and edited by Kim McKenzie. Co-editor Anne Pratten. Sound recordist Chris Sullivan. Production assistant Carmel O'Keefe. An AIAS Film Unit production 1987
Women of the sun by Hyllus Maris( Visual )

5 editions published between 1991 and 2014 in English and Australian languages and held by 46 WorldCat member libraries worldwide

"Comprising four separate one-hour episodes, 'Women of the sun' examines the lives of four Aboriginal women. The first story is set in the 1820s, the second the 1890s, the third the 1930s and the last the 1980s."--Case-slip
Something of the times [from the AIATSIS collection]( Visual )

1 edition published in 2014 in English and held by 45 WorldCat member libraries worldwide

Using a wealth of archival photographs, this documentary reconstructs the life of buffalo hunters in the remote wetlands of the Northern Territory in the 1930s, both the white hunters and the Aboriginal labour that supported their operations. Tom Cole was one of the hunters, now retired in Sydney. With the filmmakers, he visits the sites of hunting camps that he had built before the war in what is now Kakadu National Park. He reminisces on the old buffalo trade and meets some of the Aboriginal men and women who still live in the area who worked for him and on whom he was dependent. He also visits Victoria Settlement (Port Essington): one of the most heroic and hopeless ventures in the history of the British Empire, established in the 1830s, now in ruins, where buffalo were first introduced. For the film, Tom and his former Aboriginal team build a new camp in the way they did in the 1930s, and demonstrate the skinning of buffalos, the washing of the hides, and salting and drying. Hunting was on horse-back in those days, unlike the present-day hunting by helicopter, and Yellow Charlie Whittaker was one of the great horse-back hunters. With other veterans, he comments on the tough life of the camps, when conditions were extremely rough and when they were often paid with food, tobacco and other commodities. The hunters remember the wartime bombing of Darwin and the explosion in buffalo numbers when hunting was abandoned during the war. Nowadays, the buffalo is being eradicated from Kakadu, and rangers such as Dave Lindner, Environmental Manager for the Gagudju Association of traditional owners, explain the modern methods of control. Directed and filmed by Kim McKenzie. Research by Robert Levitus. Music by Cathie O'Sullivan, Chris Sullivan. The Buffalo shooter's song by Jim Doyle, Allan Stewart. Production assistant Norma Briscoe. An AIAS Film Unit production 1985
 
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