Waiting for Harry.
(Streaming Film)
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Published
[San Francisco, California, USA] : Kanopy Streaming, 2014.
Format
Streaming Film
Language
English
Notes
Creation/Production Credits
Directed by David and Judith MacDougall.
Participants/Performers
Francis Yunkaporta.
Date/Time and Place of Event
Originally produced by Ronin Films in 1980.
Description
Djunawunya, Arnhem Land, east of the town of Maningrida, July 1978. Frank Gurrmanamana is responsible for preparing the final mortuary ceremonies for his brother who had died six years before. The brother had been buried in Maningrida, but now his remains are being brought back to his home country. Central to the ceremonies is Harry Diama, the senior blood-relative of the deceased man, but Harry lives in Maningrida and is pre-occupied with a pending court-case there involving his son. He is needed to approve each step of the preparations, and is also pivotal in bringing other people to the event, including "men of importance" for the dancing. Harry's continuing absence puts huge pressure on Frank and upon all of the others who must wait at the ceremonial site, including Les Hiatt, Franks' old anthropologist friend. Harry is also aware that the film crew is waiting to record the event: "These filmmakers work for us. We'll see it here ... our own film. We'll all be in it." Painting of emblems on the hollow-log coffin proceeds, sand sculptures are made, with Frank expressing his constant concern that it all "looks good for the film". Men from Cape Stewart, an area with cultural and traditional trade links to the dead man's clan, are also needed to make the ceremony work, and further tension surrounds their response to the painting of the coffin. As the day for the ceremony's climax draws near, Frank grows ever more anxious about the non-arrival of Harry and the people he is supposed to bring. When Harry finally arrives, the final stage of the ceremony is permitted to begin and, though normally performed at night, it is successfully performed in daylight for the benefit of the camera. In the end, Frank's responsibilities are fulfilled and he speaks with great satisfaction about the film: "This film is mine. Now men everywhere will see my sacred emblems ... These emblems I hold so dear are now on a film, so the film is also dear to me. It was my idea to bring these film makers. All is now finished ... and I am filled with pride." Because of its unusual narrative, focussing as much on political negotiations as on the ceremony itself, the film has become one of the most celebrated of the AIATSIS collection, and won the 1982 Royal Anthropological Institute Film Award for "the most outstanding film on social, cultural and biological anthropology or archaeology". Directed by Kim McKenzie.
Original Version
Originally produced,Canberra, Australian Institute of Aboriginal and Torres Strait Islander Studies, c1979.
System Details
Mode of access: World Wide Web.
Citations
APA Citation, 7th Edition (style guide)
McKenzie, K. (2014). Waiting for Harry . Kanopy Streaming.
Chicago / Turabian - Author Date Citation, 17th Edition (style guide)McKenzie, Kim. 2014. Waiting for Harry. [San Francisco, California, USA]: Kanopy Streaming.
Chicago / Turabian - Humanities (Notes and Bibliography) Citation, 17th Edition (style guide)McKenzie, Kim. Waiting for Harry [San Francisco, California, USA]: Kanopy Streaming, 2014.
Harvard Citation (style guide)McKenzie, K. (2014). Waiting for harry. [San Francisco, California, USA]: Kanopy Streaming.
MLA Citation, 9th Edition (style guide)McKenzie, Kim. Waiting for Harry Kanopy Streaming, 2014.
Note! Citations contain only title, author, edition, publisher, and year published. Citations should be used as a guideline and should be double checked for accuracy. Citation formats are based on standards as of August 2021.
MARC Record
Grouped Work ID
63d7429d-428b-905e-35ec-b3683a2e226a-eng
Grouping Information
Grouped Work ID | 63d7429d-428b-905e-35ec-b3683a2e226a-eng |
---|---|
Full title | waiting for harry |
Author | kanopy |
Grouping Category | movie |
Last Update | 2024-12-26 15:47:31PM |
Last Indexed | 2025-02-15 02:34:12AM |
Book Cover Information
Image Source | sideload |
---|---|
First Loaded | Feb 1, 2025 |
Last Used | Feb 1, 2025 |
Marc Record
First Detected | Aug 17, 2023 05:27:05 PM |
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Last File Modification Time | Dec 26, 2024 03:47:40 PM |
MARC Record
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520 | |a Djunawunya, Arnhem Land, east of the town of Maningrida, July 1978. Frank Gurrmanamana is responsible for preparing the final mortuary ceremonies for his brother who had died six years before. The brother had been buried in Maningrida, but now his remains are being brought back to his home country. Central to the ceremonies is Harry Diama, the senior blood-relative of the deceased man, but Harry lives in Maningrida and is pre-occupied with a pending court-case there involving his son. He is needed to approve each step of the preparations, and is also pivotal in bringing other people to the event, including "men of importance" for the dancing. Harry's continuing absence puts huge pressure on Frank and upon all of the others who must wait at the ceremonial site, including Les Hiatt, Franks' old anthropologist friend. Harry is also aware that the film crew is waiting to record the event: "These filmmakers work for us. We'll see it here ... our own film. We'll all be in it." Painting of emblems on the hollow-log coffin proceeds, sand sculptures are made, with Frank expressing his constant concern that it all "looks good for the film". Men from Cape Stewart, an area with cultural and traditional trade links to the dead man's clan, are also needed to make the ceremony work, and further tension surrounds their response to the painting of the coffin. As the day for the ceremony's climax draws near, Frank grows ever more anxious about the non-arrival of Harry and the people he is supposed to bring. When Harry finally arrives, the final stage of the ceremony is permitted to begin and, though normally performed at night, it is successfully performed in daylight for the benefit of the camera. In the end, Frank's responsibilities are fulfilled and he speaks with great satisfaction about the film: "This film is mine. Now men everywhere will see my sacred emblems ... These emblems I hold so dear are now on a film, so the film is also dear to me. It was my idea to bring these film makers. All is now finished ... and I am filled with pride." Because of its unusual narrative, focussing as much on political negotiations as on the ceremony itself, the film has become one of the most celebrated of the AIATSIS collection, and won the 1982 Royal Anthropological Institute Film Award for "the most outstanding film on social, cultural and biological anthropology or archaeology". Directed by Kim McKenzie. | ||
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