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Aerial shot
Used to capture footage from high altitudes (bird eye view), often to establish context like location, landscaoe or to demonstrate isolation and visual/emotional tone of a scene
Medium shot
used to show character relationships/body language and interactions with eachother/enviornment
Close up
Used to capture smaller details of a subject to show emotion or characters state of mind, indicates to audience they need to pay attention to this detail
Long shot/wide shot
Often used as an establishing shot in a film, sets up a scene and the characters place within it
Extreme close-up
When screen is fillied with only the subjects face, demonstrates emotions without words
Extreme long shot
Another type of establishing shot in a film to show the audience where the action is taking place or the scale of whats happening in a scene
High angle shot
A technique where the camera poits down on the subject from above, often used to make them seem vulnerable, powerless or weak. Causes the audience to have the viewpoint of a person in power, can provide new perspectives
Low angle shot
When the camera is below the subject looking up at or above them, makes the subjet look strong and powerful
Over the shoulder shot
often used when two or more characters are talking in a conversation, often used in association with a medium or close up shot
Cinematography
The techniques used in a general composition of a scene. Such as the lighting or location of a set, choice of camera lenses, camera angles and movements and use of any special effects
Denouement
The part of the story which follows the climax, where the resolution occurs and the audience learn what happened to the characters after they reached or didn’t reach their goal. It can also be used for foreshadowing of future films in a series, but is not required.
Diegetic sound
Any sound that comes from within the world of the film, either on-screen or off-screen. For example a phone ringing in another room, or a character putting on a record and dancing around their living room
Non-diegetic sound- directors form of communication
Any type of sound that does not specifically exist within the world of the film itself, other characters in the film are not able to her it but the audience can. This can include narration or soundtrack or music overlay which could be used within an action scene to create suspense and tension.
Linear structure
Follows the traditional chronological order of a film, the structure has a opening, conflict and resolution.
Mise-en-scene
Everything that appears before the camera the sets, lighting/colour, composition of the shot, props, costumes, actors and lighting. The elements work together to convey a films narrative, themes and character development without relying solely on dialogue or plot
Motif
a repeated narrative element that supports the theme of a story, it can be physical item, lines of dialogue, music, colours and symbols. For example, in the horror film ‘IT’ Pennywise the clowns red balloon is a motif.
Juxtaposition
placing two things side by side to highlight the things that are different between them.
Foreshadowing
Hinting about what is to come during later events, it creates expectations about how events may play out as a film continues and could relate to tone or significant narrative events.
Crisis point
The point in a film where a decision has to be made or a dilemma occurs, it is often a turning point which defines a characters journey
Turning point
Where the direction of the plot changes, such as big decisions and challenges that characters in film may face, these moments create tension and anticipation
Postcolonial
address the issues and ongoing effects of colonialism, often involves portraying historical events where the story is progressed by themes and devices that come from a colonial source.
In Aus anytime after 26th Jan 1788-1901
Totem
An object serving as the emblem of a family or clan and often as a reminder of its ancestry such as a animal or plant. Spiritual symbols
Exposition
Introduces the main characters, the setting and the central conflict
Opening of High Ground
Extreme long shot (birds eye view): monolith in Arnhem land, diegetic sound of birds-fades out-into non-diegetic sound of traditional Aboriginal song, Same time as sounds zooming in on monolith- important-symbol-Yolngu culture/this place is theirs (important feature prominently in narrative
Gutjuk and Baywarra
Opening of HG: Gutjuk sits on his uncles shoulders- Baywarra teaching Gutjuk about his culture and their totem (Baywarra the snake, Gutjuk the crocodile) Symbol: Capturing of crocodile throughout the film by the missionaries – Missionaries DOMINATE indigenous (dominate crocodile)
“You’re going to kill my uncle.” (Gutjuk) “Will you keep him safe?”
“You’re finished with the mission, your life starts now.” – Baywara
Baywarra
“Its our land, we should fight” (Baywarra) Foreshadowing Baywarra’s later vengeance for his family with the wild mob and the fires they set. |
Start of Travis and Gutjuk’s journey: Long shot- large snake (Baywarra’s totem) he see everything, he knows what is happening and is connected to Gutjuk
“Father, you said that if I was in trouble you would help me” – Baywara
Darrpa
“Not when you do something like this” – Darrpa – will only support his son if his actions are responsible, moral and in accordance with yolngu law- response to Baywarra
“This is my law. It comes from the soil. From mother earth… My law is perfect. Consistent. It makes us one.” (Darrpa) “Makarrata. Restore balance.” (Darrpa)
“My country!” (Darrpa)- idea of one country (Aust.) has been opposed on the 1st nations people, Darrpa points out Moran’s hypocrisy. The law is not applied objectively |
“…you give us justice for the man who killed my family…”/”You want us to respect your law? Give us our justice” (Darrpa) |
“Are you going to follow your uncle’s path?”- Darrpa may be worried that Gutjuk will make irresponsible, immoral choices and end up dead, he only has two family members left |
Gulwirri
“She’s [Gulwirri] nobody’s. Too wild that one” – Baywara
“You’re a mission boy pretending to be a man… you’re weak” – Gulwirri
“You’re all weak. Cowards who talk when they should fight.” – Gulwirri – Gulwirri stands above Darrpa, Gutjuk and yolngu men going to make peace. She is shown from a low angle highlighting her strength
Gulwirri believes that resistance and violence is proper identity for yolngu men. Advocating for revenge
“Boss man thought he owned me… I told my family. He killed them all… He gave me to his men.. I know how it feels to be beaten, to feel like nothing. That’s why you have to stay angry and keep fighting” (Gulwirri)-
“Anger is all you have” (Gulwirri)
Says this while her and Gutjuk are on high ground |
Massacre- early Crisis point
Cut to thundering hooves- white men chasing two Aboriginals: Juxtaposition from the previous event (serenity, Gutjuk developing a connection to his land and culture- learning and imitating a song from his uncle, safety) to the chaos and danger of white men fighting against the land and its people (chasing the men))
Getting the ‘High Ground’ Motif
Extreme long shot- Travis on high ground- he is supposed to be in charge and in control - White man/white culture/ white law dominates Long shot Travis’ P.O.V through the riffle scope- Motif (Illusion of control when to engage/have control, domination/white men having control)- turning to crisis and disaster (shown by following scene of the massacre) |
- Being on high ground (moral and literal) should provide the big picture, yet Travis necessarily limits his view, both literally and figuratively |
Birds eye view long shot- showing the high ground and the land “when you’ve got the high ground, you control everything”- Wide shot showing Travis and Gutjuk on the cliff getting a view of the land, providing perspective on the location |
Rifle sight motif- Gutjuk watches from high ground. He has the brief, illusion of control and moral superiority before the situation turns violent and chaotic
Comes down from moral and literal high ground- undertaking actions similar to Baywarra rather than what is right |
Birds Motif
Everyone’s actions are witnessed in one way or another, responsibility and accountability follow closely behind |
Bird flies off alone – Indicated Gutjuk is alone now, flying away (after massacre) |
Time jump 12 years: Birds grow in numbers as Gutjuk has grown in age- showing the jump in time
Enlist their help getting Gutjuk to join the mission to hunt Baywarra- Cuts to birds flying and calling out. The motif implies that secrets can’t be kept, everything is seen and remembered, in turn hinting at an inevitable reckoning
Cuts to birds flying and calling out. The motif implies that secrets can’t be kept, everything is seen and remembered, in turn hinting at an inevitable reckoning
Cut away to the birds flying through the sky, calling out. The film uses these shots consistently as transitions between scenes. Birds are important in aboriginal culture as messengers and carriers. Connection people Aboriginal people and the natural world
Nature Motif
Birds- witness the violence (massacre), then fly away, cawing and screeching, perhaps distressed by what they see, carrying their message on “the wind, from “mother earth” to “father sky”- Motif nature/the gods/the universe sees everything- consequences are inevitable
Panning shot of land- birds eye view (P.O.V) (highlights the start of their journey)- non-diegetic sound of birds and aboriginal song- Highlights how insignificant, vulnerable small Travis and Gutjuk are in relation to the rest of the Yolongu landscape
- Motif: nature “mother earth… father sky” find out everything. It is impossible to keep things secret and with knowledge comes consequences
“Listen to the wind. Listen to father sky. Listen to mother earth, to what she is telling you. Walk safely. Protect yourself. Stay here” |
Eddie and Travis
Post Massacre: “They’re dead what matters is that we act as a unit” (Eddie)- get their story straight to avoid responsibility (corrupt) vs Travis “I’m not lying” (honest)-Juxtaposition
Campfire scene: “Don’t tell me it doesn’t haunt you and you don’t want it off your back” (Eddie)
“And shooting him does that you reckon?” (Travis)- both are traumatized but for seemingly different reasons. Eddie seems to want to keep the truth of the massacre hidden and is perhaps scared of the consequences, while Travis may feel guilty for not making sure justice was done.
Scene after recruiting Gutjuk: “You know it was my idea to bring you in” (Eddie)- Appears to be sincere in giving Travis the opportunity to solve his problems given he knows how the massacre does ‘haunt’ them both
“It’s how you see it? Our mistake?” (Eddie)- His sense of entitlement is clear. He is irritated that Travis could even contemplate that they, the white authorities could be t fault-
“I won’t make the same mistake twice” (Travis)
“We gotta talk about your choices mate.” Eddie stands over wounded Travis- almost gloating telling Travis he should’ve been loyal to hi sown instead of helping Gutjuk- Low camera angle represents Eddies short lived dominance and conviction that power is the only way to thrive and survive |
Eddie, Moran and Travis
Campfire scene: Moran and Eddie sit together separated from Travis- Mise en scene showing their opposing views and conflicts to follow
“The truths a funny thing… questions come with it…Like how did two whitefella’s end up with your bullets in them?” (Moran)-
“We got through the war by sticking together, trusting eachother…” (Moran)- Idea of loyalty, trying to ensure Travis helps them because of their past
Scene trying to get Gutjuk’s help: John Braddock is on the opposite side of the table to Moran and Eddie- shows that he opposes his ideas, Travis is on Moran and Eddie’s side but distanced from them because he is in-between view points and morals of the two sides
Eddie is outraged by Travis helping Gutjuk “What the fuck is wrong with you?!”
Moran is just as corrupt and unjust, “So much for keeping it quiet.” He doesn’t object to Eddies attack, just his lack of discretion
Scene after: Travis repots back to Moran and Eddie- they are shown together with Travis away from them and his back turned
Moran
“Bunch of black bastards wreaking havoc, burning stations. They’re calling them the wild mob” (Moran)- uses specifically derogatory terms “black bastards” instead of just bastards
“They crossed a line.. killed a white woman” (Moran)- Baywarra’s vengeance and revenge
“Travis had no sense of duty, no sense of loyalty.” (Moran)
“…that is no way to talk about an officer of the law”- only says because he sees him as someone of use and who has conformed to white culture
“See the shiny thing on his hat? Makes him think he’s the boss” (Gutjuk)
“I didn’t come here to negotiate” (Moran) |
You know how a civilization is build son?”.. Bad men, doing bad things, clearing they way for the others to follow. Bad men like you and me. What made you think you could change who you are?”-
“You break my heart son” Moran sees Travis as deeply misguided and his desire to do the right thing as futile
Moran’s Camera Motif
“it’s the responsibility of those who make history to record it”(Moran)- His view is depicted as tunnel vision, where the white man and white culture are viewed as innately superior, excluding other perspectives
GutJuk
Wild mob try to capture Gutjuk- he appears as a white man due to his clothes and the way he acts- not one of them
bush church steeple- send message that white culture and spirituality dominates- Gutjuk ringing the bell suggests Gutjuk is westernised as a white man, signifying the way he and his Yolongu culture have been subjugated - participating in their activities and dressing in their clothes
“He’s watching me. Gutjuk it means Hawk. My name is Gutjuk” (Gutjuk)- He is beginning to tell the truth with Travis, perhaps trusting his motivations more as their journey progresses. In sharing his real name he is also possibly leaving behind the white culture of his up bringing as he gets further away from the mission, Clare and John Braddock. He seems primed to join his people, especially his uncle and the wild mob, their attitudes and methods |
Gutjuk burns down the bush church symbolising his rejection of white culture and mission life
“You lied, you know who these men are!” (Gutjuk)- Travis lied by omission
“What they did to my family”
“My name is Gutjuk! You killed my family”- Travis, Eddie and Braddock
And Moran were accessories after the fact- they are morally culpable
Eddie and Gutjuk
when Eddie pins Gutjuk to the ground straight away, without any provocation (Low angle/ close up- show Eddie in power, intimidating Gutjuk- highlights his brutality and almost complete lack of civility)- ironic- Eddie seems to see himself (and white culture) as innately superior to Aboriginal people even though he is the one frequently behaving like a savage
Eddie
Scene when getting Gutjuk’s help: “You’re with the mob, aren’t you?! Tell me what you.. know!” (Eddie)- Goes straight for brutality, intimidation and openly displays his corruption. It does not matter in this post-colonial setting. Does not occur to people like Eddie to hide his behaviour, implying the innate inferiority and subservience of Aboriginal people.
I don’t need that half-caste bastard” (Eddie)- his disregard and superiority complex to that of the aboriginals
“There are many ways to look at a situation Walter. One way is your way, the black**fella way, which in my opinion is reckless and lacking in precision.. Sure we can rely on your black** mumbo jumbo some of the time but if a the point of engagement.. nothing gets the job done like sound military planning.”
“You can’t share a country Claire” (Eddie) He does not deny his intentions and candidly admits the likely reason why killing Aboriginal people is justified in his mind
“Look at you! You care more about this black piece of shit than you do about yourself! God knows why !?” (Eddie)
Travis
“We’re going to convince him (Baywarra) to come in… that’s why you’re here.”
“When you get back, you tell Morran the plan has changed… Ill do things my way” – Travis – His way is honest and respectful/lawful. Travis is providing Gutjuk with the example of a white man who can perhaps be trusted.
“Do you know what a spotter is?... Travis is the nice one.” – Eddy
“I think he’s [Travis] a good man.” - Gutjuk
You don’t want to do this mate” (Travis)- A close up of Gutjuk’s seemingly relieved face, looking up at Travis from the ground, breathing heavily perhaps suggesting that Gutjuk is grateful from being saved from doing violence.
Travis takes it further, shooting Moran dead to save Gutjuk’s life.
John Braddock
hruch scene: “What sorrow for you who buy up house after house and field after field until everyone is evicted and you live alone in the land” (John Braddock- reading from Isaiah 5:8)- Ironic- what white men and white culture is doing to the black culture, land and spirituality. However white men don’t feel sorrow for their actions and Braddock is likely unaware of the truth to it
“Tommy’s got nothing to do with this mob… He’s a good boy” (John Braddock)- he is wary of the white police and their prior actions/the way they treat the black people
Clare Braddock
threatens Travis “if anything happens to him, I don’t expect to see your face again.”- shows her maternal instincts towards Gutjuk and her care for him
“Don’t worry, he’s (Gutjuk) not going to wait for them to come to him” (Travis)- Reassures Claire that they will have another opportunity to save Gutjuk - Identity/responsibility/justice- save Gutjuk’s life and his identity/characer |
“Are you going after Tommy?... To finish the job you started twelve years ago?” (Claire)- She understands Eddie’s corrupt, violent, vengeful and chauvinistic nature |
Juxtaposition
Dark lighting of the wild mob when they are first shown in the cave with low lighting cut to the church view with high lighting making it seem nicer and better (how white men see themselves)
Travis and Gutjuk
You’re going to kill my uncle.” (Gutjuk) “Will you keep him safe?”
“I’ll do my best” (Eddie)
- Close up shots highlighting their individual expressions and emotions rather than a mid shot traditionally used for a conversation
film starts with Travis saving Gutjuk from death and then saving him from trauma, guilt, grief, loss and corruption- also how Travis redeems himself
" He’s your friend?” (Gutjuk). He appears to be warming to Travis but is incredulous that he could be friends with a man like Eddy.
“My uncle Baywarra, he was my teacher. I think he had a chance, he’ll be a different kind of man” (Gutjuk
“I’m not sure anyone gets to choose what kind of man they’re going to be” (Travis) Travis spends the whole film trying to choose what kind of man he wants to be
“Travis!” Gutjuk realises Travis was involved in the 1st massacre where he had the high ground and should’ve been in control “it was you!” and Gutjuk shoots him in the spirit of revenge, taking what he learnt from Baywarra and Gulwirri, even though Travis saved him from Walter |
Themes
justice and revenge
Violence and trauma
white chauvinism
trust and loyalty
Responsibility
Corruption
Power
Character Arc
the transformation or inner journey of a character over the course of a story
Genre and director
Western/thriller directed by Stephen Maxwell Johnson
Essay opening scentence
High Ground, a film by Stephen Maxwell Johnson is about the massacre of a Yolongu tribe and the subsequent trauma, conflict and desire for justice years later.
Linear structure of High ground
Linear structure shows progression of violence, its gorwing and worsening influence and its inevitably catastrophic consequences- breif break in linear structure, with flashback to Gutjuk remebering the loving, wise Baywarra hightens the tragedy of his corruption
Monolith hideaway- symbol
Like a spiritual and cultural stronghold- literally and metaphorically high ground: a place that seems to represent moral clarity and virtue
Darrpa and Gutjuk- shows them on high ground- the perfect place the “listen to the wind” between “father sky” and “Mother earth”- a place of moral and intellectual clarity and virtue
Spearheads symbol
Working on stones for spearheads- symbol of law and justice |
This stone is the spearhead. It is the rule of law. It cannot be undone. Hardest stone there is.” Obey the law, live justly bc it never goes away; the desire for order and justice never dissipates
Climax of High Ground
- Bruce, Moran’s nephew tries to shoot Gutjuk but Travis steps in front of him, taking the bullet
Close up of Travis on the ground, clasping Gutjuk’s hand tightly. He looks up at him saying “Gutjuk” encouragingly, with a subtle smile. Travis seems to accept his death with equanimity, perhaps satisfied that Gutjuk will go on and that they have both received some measure of justice with “makarata” restored.
There is a close up of Gutjuk leaving the bandolier of bullets in the sand- rejecting the way of violence, revenge, chaos and chauvinism. He leaves on horseback with Gulwirri, most likely returning to Darrpa, his way, law, Justice and peace as well as the traditional Yolongu way of life
