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Female Authorship and the Documentary ImageTheory, Practice and Aesthetics$
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Boel Ulfsdotter and Anna Backman Rogers

Print publication date: 2018

Print ISBN-13: 9781474419444

Published to Edinburgh Scholarship Online: September 2018

DOI: 10.3366/edinburgh/9781474419444.001.0001

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To::For::By::About::With::From:: Towards Solid Women: On (Not) Being Addressed by Tracey Moffatt’s Moodeitj Yorgas

To::For::By::About::With::From:: Towards Solid Women: On (Not) Being Addressed by Tracey Moffatt’s Moodeitj Yorgas

Chapter:
(p.159) 9. To::For::By::About::With::From:: Towards Solid Women: On (Not) Being Addressed by Tracey Moffatt’s Moodeitj Yorgas
Source:
Female Authorship and the Documentary Image
Author(s):

Sophie Mayer

Publisher:
Edinburgh University Press
DOI:10.3366/edinburgh/9781474419444.003.0011

The hybrid nature of Moodeijt Yorgas, which blends talking heads with oral histories presented through dance, music and optically printed effects, effects an imbrication of documentary and experiments through a specifically non-white, queer feminist authorship. The author thus argues that Moffatt’s film presents a challenge to traditional conceptions of the author/auteur, embedded in Euro-Western exceptionalist individualism. “The stakes for the Moodeitj Yorgas project were therefore high: contesting historical erasure, contemporary misrepresentation by settler culture, and … way in in which settler patriarchy had been internalised within Aboriginal communities to devalue women’s law.”

Keywords:   Moodeitj Yorgas, Oral history, Queer culture, Feminist authorship, Aboriginal women, Matriarchy

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