Celluloid Subjects to Digital Directors. Jennifer Debenham

I wish to thank my husband Graeme for his continued support in all my endeavours and for his patience and forbearance through the long gestation period of writing this book. To my three daughters, Felicity, Katie and Imogen, who were children at the beginning and are now grown women who have found their ways in the world. And to my four-legged companion, Alfie, who reminded me to take breaks from my desk. Many thanks and much appreciation goes to my mentor, the fabulous Professor Lyndall Ryan, who believed in the worth of the project. Her support and academic advice and companionship have always been inspirational. I feel privileged to be one of her students. Many thanks to the amazing Dr Wendy Michaels, friend and mentor who, like Lyndall, gave patient advice on numerous drafts. Advice on earlier drafts was enhanced by input from Dr Michael Kilmister, colleague and friend.

I have benefited from the advice and help of the librarians at the Ourimbah Campus of the University of Newcastle (Australia), Fiona Neville; Julie Mundey-Taylor; Narelle Lawrence; Lorraine Millar; Jenny Shephard; Catherine Moffat and Ruth Talbot-Stokes. They are all great colleagues and friends who provided a very supportive environment.

I would like to acknowledge the assistance of Lea Gardam and staff at the Museum of South Australia, Robin McWilliams, and staff at Museum Victoria who provided some salient information and access to films, crucial in writing this history. The crucial support of the staff, including Graham Shirley and Sam Bateman at the National Film and Sound Archive in Canberra played an important role.

I gratefully acknowledge the generosity of Warwick Thornton, David Tranter, Dena Curtis, Mitch Torres, Troy Albert, Stephen Albert, Henry Augustine, Miriam Corowa and Ian Dunlop for their interviews. Without their personal insights into filmmaking and television experiences the study would lack depth in its treatment of the films.

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I would also like to thank Andrew Pike at Ronin Films and Martha Ansara, Ballad Films for their time in responding to my inquiries.

Although not responsible in any way for my interpretations, I would like to acknowledge the influence of academics, including Russell McGregor, Geoffrey Gray, Christine Cheater, Nancy Cushing and James Bennett. Each have drawn me into their circle for lively discussions and teaching. The academics Marcia Langton and Frances Peters-Little have also influenced the way I have reasoned the arguments in this book.

To my much neglected friend Dianne Sallee. We started our adventures at uni together and formed a strong bond of friendship that still holds us together. Thanks for your patience.

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Cultural Warning and Acknowledgement

Readers of this book should be aware that if members of some Aboriginal communities see names or images of the deceased, particularly their relatives, they may be distressed. Before using this work and the related documentary films in such communities, readers should establish the wishes of senior members and take their advice on appropriate procedures and safeguards to be adopted.

I also acknowledge and respect the Darkinjung people, past, present and emerging leaders, the traditional custodians of the land where this book was written.

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Abbreviations

AASEAL	American-Australian Scientific Expedition to Arnhem Land
ABC	Australian Broadcasting Corporation
ACMI	Australian Centre for the Moving Image
AEDP	Aboriginal Employment Development Policy
AFC	Australian Film Commission
AFI	Australian Film Institute
AFTRS	Australian Film, Television and Radio School
AIAS	Australian Institute of Aboriginal Studies
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