A Many-Sided Frontier: History and ‘Shades of Grey’ in <i>Sweet Country</i>

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dc.contributor.authorAnnemarie McLaren
dc.coverage.spatialBolivia
dc.date.accessioned2026-03-22T15:16:36Z
dc.date.available2026-03-22T15:16:36Z
dc.date.issued2019
dc.descriptionCitaciones: 3
dc.description.abstractSweet Country may be a film constructed with the conventions of a Western – the guns, horses, spirits, and vast frontier landscapes with law and justice as central themes – but it is also a film grounded in oral history and the written archive. This article considers Sweet Country as a historical account of colonialism, scripted, directed and produced by an Indigenous team. It explores how the frontier and race relations are constructed, and how history is merged with myth and narrative to create a potent period piece with the timelessness of an epic and the urgency of the present.
dc.identifier.doi10.1080/1031461x.2019.1593468
dc.identifier.urihttps://doi.org/10.1080/1031461x.2019.1593468
dc.identifier.urihttps://andeanlibrary.org/handle/123456789/51420
dc.language.isoen
dc.publisherRoutledge
dc.relation.ispartofAustralian Historical Studies
dc.sourceNational Museum of Archaeology
dc.subjectFrontier
dc.subjectIndigenous
dc.subjectMythology
dc.subjectEPIC
dc.subjectNarrative
dc.subjectColonialism
dc.subjectHistory
dc.subjectRace (biology)
dc.subjectSociology
dc.subjectEthnology
dc.titleA Many-Sided Frontier: History and ‘Shades of Grey’ in <i>Sweet Country</i>
dc.typearticle

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