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Accepted Contribution:

Film as living archive: collaboration and refusal  
Amelie Ward (McGill University)

Contribution short abstract:

As a filmmaker, I think of film as medium that keeps the present moment alive. But what does it mean when such work is undertaken collaboratively with Indigenous activists? I explore how film can be mobilised to trace Indigenous ancestral topographies in the city of Melbourne/Narrm.

Contribution long abstract:

As a filmmaker, I often think of film as a “living trace”. Filming, as a practice of documenting/witnessing, happens in the moment —yet by producing film clips that we can reopen later, we retain memories. I explore how I think about this dynamic process in relation to my collaborative practice with artist Maree Clarke (Mutti Mutti, Wemba Wemba, BoonWurrung, Yorta Yorta). Together, in her car, using an iphone and a stick, we started producing footage about ancestral sites that are undergoing intense industrialization in the city of Melbourne/Narrm. I discuss whether film, as a living trace, can be mobilized as a form of Indigenous refusal (Simpson, 2014). Maree indeed refuses to ask the city for legal permits to visit ancestral sites and continue her practice of collecting natural material. How can collaborative filmmaking participate in such refusals, which are simultaneously acts of reclamation?

Roundtable RT132
What is a living archive?
  Session 1 Tuesday 23 July, 2024, -