Celluloid Subjects to Digital Directors. Jennifer Debenham
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11 Gillen, Gillen’s Diary, 18.
12 Gillen, Gillen’s Diary, 18–19.
13 Gillen, Gillen’s Diary, 22.
14 Mulvaney and Calaby, So Much That Is New, 197–8; Arthur Cantrill and Corinne Cantrill, “The 1901 Cinematography of Walter Baldwin Spencer”, Cantrill’s Filmnotes 37/38 (1982): 31.
15 Mulvaney, et al., My Dear Spencer, 327–8.
16 Cantrill and Cantrill, “The 1901 Cinematography of Walter Baldwin Spencer”, 31.
17 Gillen, Gillen’s Diary, 72.
18 Gillen, Gillen’s Diary, 60.
19 Spencer, Wanderings, 1: 359.
20 Spencer, Wanderings, 1: 359.
21 Spencer, Wanderings, 1: 374.
22 Spencer, Wanderings, 1: 374.
23 Spencer, Wanderings, 1: 374.
24 Spencer, Wanderings, 1: 374.
25 Dunlop, “Ethnographic Film-making”, 113.
26 Dunlop, “Ethnographic Film-making”, 113.
27 Dunlop, “Ethnographic Film-making”, 113.
28 Mulvaney and Calaby, So Much That Is New, 194.
29 Mulvaney and Calaby, So Much That Is New, 191–2.
30 Mulvaney, et al., My Dear Spencer, 309.
31 Mulvaney and Calaby, So Much That Is New, 193–4. Spencer produced 670 column inches almost 50,000 words and numerous photographs enough for twenty-six instalments in The Leader.
32 Spencer, Wanderings, 1: 349.
33 Spencer, Wanderings, 1: 348.
34 Spencer, Wanderings, 1: 351; Gillen claims that they were accompanied by three Aboriginal people. Purunda (Warwick), engaged by M.T. Chance, the other “two gaol birds are named Sambo and Billy and the former is an unmigitagated scoundrel”. Gillen’s Diary (1968), 1.
35 Mulvaney, et al., My Dear Spencer, 323.
36 Letter to Ian Dunlop from Spencer’s daughter, Mrs Rowan in 1967. Personal Communication. Dunlop, 5 September 2011.
37 The Melbourne Savage Club is a private gentleman’s club founded in 1894. Like the London based Savage Club established in 1857, it was named after English poet Richard Savage (1697–1743). Bohemian in spirit, the club was to bring together literary men, and those immediately connected or sympathising with literature, the arts, sport or science. Its membership is particularly secretive with a strong code of silence; members are traditionally the elite or “savages” in the arts, business and politics. Travelling Savages enjoy good fellowship through reciprocal arrangements with other private clubs throughout the world. In 1915, Hans Heysen donated a painting to the club. Sir Robert Menzies, long time Prime Minister of Australia, served as its president from 1947 to 1962. The club incorporated the Yorrick Club (with which it had a long and cordial rivalry, including regular cricket matches) in 1966. Hubert T. Frederico, QC, was president from 1974 to 1977. In 2012, the President was Robert Heathcote. The president as of 2016 is Ian Baillieu. <https://en.wikipedia.org/wiki/Melbourne_Savage_Club>.
38 “Australian Aborigines”. The Argus (Melbourne), 8 July 1902, 7.
39 “Australian Aborigines”. The Age (Melbourne), 8 July 1902, 5.
40 “Australian Aborigines” The Age (Melbourne), 8 July 1902, 5.
41 At this time the only moving film recordings produced in Australia were made by Alfred Haddon’s expedition on Tiwi Island in the Torres Strait in 1898. These films were not presented in Australia “until recent times but excerpts have been used in various documentaries, including Mabo – Life of an Island Man (1997), Dir. Trever Graham” [personal correspondence NFSA Simon Drake – Collection Reference Co-ordinator 23 October 2017]. The films (NFSA Title No. 8879) were given to the National Library of Australia by the British Film Institute (BFI) and cylinder recordings are held at Cambridge University with copies held by AIATSIS. Curator, Liz McNiven notes “three days before the expedition ended, Haddon received his new 35 mm Newman and Gardia movie camera. As a result he only managed to produce a small amount of film material”. Australian Screen <https://aso.gov.au/titles/historical/torres-strait-islanders/notes/> [Accessed 23 October 2017]. This claim appears to be at odds with what other commentators such as Mulvaney and Alison Griffiths who only mention the Warwick Bioscope camera. It was not until 1911 that Spencer again attempted to film in the field. Visiting the Northern Territory in 1911 and 1912 when he was appointed Special Commissioner and Chief Protector of Aborigines, he filmed a Tiwi Pukamani ceremony on Bathurst Island with an improved camera with a tilt and pan on the tripod. Film historian Michael Leigh notes that the only other films made about Aboriginal people between 1912 and 1922 were “Eric Mjöberg’s footage shot in 1913 in Cape York; William Jackson’s Chez les Sauvages Australiens (1917), shot in the Kimberleys; Frank Hurley’s Pearls and Savages (1921); Francis Birtles’s Coorab in the Island of Ghosts (1922); and Brooke Nicholls Native Australia, sponsored by Kodak (also 1922). Leigh emphases these were films shot by adventurers, body snatchers and developers rather than academics”. See Leigh, <https://aso.gov.au/titles/collections/ethnographic-film-in-Australia>