CUNNAMULLA
Written, produced and directed by
Dennis O’Rourke
Film Australia Executive Producers
Stefan Moore
Chris Oliver
ABC Executive Producer
Geoff Barnes
A FILM AUSTRALIA NATIONAL INTEREST PROGRAM IN ASSOCIATION WITH CAMERAWORK LIMITED
PRODUCED WITH THE ASSISTANCE OF THE AUSTRALIAN BROADCASTING CORPORATION
© Film Australia and Camerawork Limited 2000
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CUNNAMULLA
SYNOPSIS
Cunnamulla, 800 kilometres west of Brisbane, is the end of the railway line. In the months leading
up to a scorching Christmas in the bush, there’s a lot more going on than the annual lizard race.
Arthur patrols the sunbaked streets in his Flash Cab, the only taxi in town. He’s as terse as the
company motto — ‘no cash, no Flash’. His wife Neredah knows everyone’s business and tells it all.
‘My father told me never to marry anyone from the end of the railway line — they just jump off here
and you don’t know where they've come from,’ she says.
Marto, the local DJ, is into heavy metal and body piercing. He dreams of making it big with his
band. His girlfriend Pauline sticks up for him, but her parents don’t approve. Jack, a pensioner who
adopted Marto as a baby, wants him to get a steady job with the local council.
Cara and Kellie-Anne have dropped out of school. They're trying not to get pregnant and longing
for the day they can escape to the city. Paul is just 18 and about to go to jail for the first time. Herb,
the scrap merchant who lives alone with his dogs and guinea fowls, wages endless battles with the
‘bloody government’. Now he’s at odds with Ringer, the town’s official dog-catcher and undertaker.
In Cunnamulla, Aboriginal and white Australians live together but apart. Creativity struggles
against indifference, eccentricity against conformity. Daily dramas unfold.
Famous country-and-western singer Slim Dusty is coming to town, a teenage concert pianist is
touring with her pet cat, and Santa Claus is on his way.
Sometimes sad, often hilarious, Cunnamulla is an astonishingly honest portrait of life in an isolated
community in outback Queensland.
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CUNNAMULLA
DENNIS O’ROURKE INTERVIEWED BY RUTH CULLEN
RC: One of the astounding things about Cunnamulla is the level of the performances that you were
able to get and that obviously is to do with the relationship that you had with the people in the film.
I’ve been saying it for a long time now — since The Good Woman of Bangkok — that the critical
thing in documentary filmmaking is the relationship between the filmmaker and her or his subjects.
This relationship informs what sort of film it is, how the audience can read it, what the audience
can accept as “truthful” or believable. It creates the sense of realness, or verisimilitude — the
sense of what I call “is-ness”.
RC: What does it take to get that intimacy on camera?
Firstly, it takes a lot of time. You must be observant, empathetic (sometimes sympathetic) and
committed to revealing those moments in time, which have a transcendent quality. You’ve got to
be very persistent. You have to reveal the hidden conflicts or paradoxes, which will have a greater
force of revelation. Always, you must have a willingness to allow situations to speak for
themselves, and you must not be didactic — or, worse, self-realising.
As well, I think it’s to do with the fact that I am always filming by myself so I don’t have any
extraneous distracting elements around me. Importantly, also it’s to do with the fact that, insofar as
I can, I make myself vulnerable to the people that I am filming, as they are vulnerable to me; not
only do I get to know them well, they also get to know me very well.
The process of filming itself is done very casually and without drawing attention to that process. I
don’t deny that one must be very skilful — intuitively making a number of critical, technical and
aesthetic judgments, while being casually engaged in dialogue with those you are filming. My
friends in Cunnamulla were often more interested in asking me what I thought about something
that had occurred down the street the night before, rather than what was happening in the
filmmaking process. The one word to describe it all is engagement. You can’t place yourself
outside any situation and then hope to record what is inside. As Joseph Conrad said, “Before all, to
see.”
RC: Before I saw Cunnamulla, I thought it would be very much the black side of town versus the
white side. Yet, when I watched it, they were all mixed up even though there are very clear
threads.
I’ve always said, “You don’t make the film, the film makes you”. What you expected was, in fact,
exactly my own expectation when I first went there. However, I soon understood that the reality
was far more complex. I say about Cunnamulla that it is a town, where half of the people say they
are white while the other half say that they are black. Jack, who had an Aboriginal mother and an
Afghan father, always refers to Aboriginal people as “them”. Marto [his adopted white son]
identifies as a Murrie [Aboriginal]. You only know Cara is Aboriginal when you see her with her
mother. It’s all mixed up, and for my film it is just not the issue.
RC: Were you conflicted about using Cara and Kellie-Anne, given that they are both so young and
talking so frankly about their sex lives?
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No, although there were, and are, complex issues involved. For me, the overriding issue is the
way that Cara and Kellie-Anne are spoken of and abused by men and boys in the town. It’s not the
girls who are bad, but those around them — the hypocrites. I realise that it’s a huge thing for them
to be recorded, but what they admit is not going to be news to anybody in Cunnamulla. Most of the
“good folks” think that the girls are, as the graffiti states, “sluts”. Well the same man in the bar
who’s calling them sluts is also having sex with them. It’s that sort of immorality and hypocrisy that
I wanted to show. My role is to record certain truths — no matter how uncomfortable they are. I
don’t mean it pretentiously, but if artists are not able to record the realities of our lives in this way
then how are we going to progress? All I can say is that there are worse things happening in these
kids’ lives than being in the film, and worse things will probably continue to happen, although I
hope not.
RC: What qualities were you looking for in the people that you used in the film?
I was drawn toward the people who were not officials or spokespersons in the town but who were,
instead, emblematic of all the issues that confront and affect people who live in places like
Cunnamulla. I wanted to make a film about so-called “marginal” people. But they’re not marginal in
their own heads and in their own hearts, and they’re not marginal to me. These are people who
show their ability to express the inner condition of humanity through the description of their own,
often banal, experiences... If the film has any genius, it’s that... If I have succeeded then I will have
made a film which is like a play that has been written out of life; the film will have gone beyond
those banal events and everyday happenings to tell a story, which is universal.
I think it will be a big shock for many people in Cunnamulla, to realise the depth of understanding
and feeling that people like Cara and Kellie-Anne and Paul, the young Aboriginal man, have about
their own condition.
RC: But that’s a toughie because you’re letting the people speak but Cunnamulla is Dennis
speaking. The film is your point of view ultimately, isn’t it?
I wouldn’t call it my point of view but it is my artefact — that is, I made it. I made it and the film
clearly reflects my concerns and my personality, as does any work of art of any kind. A filmmaker
always carries his world with him — his experiences, both personal and artistic, and both are
intertwined. Each new film that I make is a project to connect my past experiences with new ones.
I’m very conscious of the various levels of privilege that exist between documentary filmmakers
and their subjects. I don’t enjoy it and I work very hard to destabilise that idea. That’s what I did in
The Good Woman of Bangkok, and I have tried to do the same thing in Cunnamulla — to collapse
the “secret contract”, which exists between the three parties — filmmaker, subject and audience. It
is an implied contract, which has the filmmaker firmly established as an authority over the subjects,
so that audiences can experience the film from a safe and insulated vantage point.
RC: Most of your films have been set in other cultures. Can you talk a bit about why?
That is truly a mystery to me. Truthfully, I thought it was some failing that I had. I never got to the
point where the light came on and I saw what I could do at home, until I dreamed of what was to
become Cunnamulla. Gee, I don’t know... more and more I see the universal, all the big themes, in
the most unprepossessing of situations. Now I’m likely to be working with Channel 4 and the ABC
on a film about landmines, which has that “epic” sense about it, but I’m really keen to make a
sequel to Cunnamulla.
RC: In Australia? In a country town?
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It’s going to be set in a caravan park, somewhere on the coast. It will be a film about marriage and
raising children, work (or looking for work), intergenerational conflict, money and economics,
exploitation and politics... and dreams. I am calling it “Fun”. To me, caravan parks are, in some
ways, like tribal villages in Papua New Guinea. In the new year I’m going to search to find the right
place, then move in and stay until I can reveal what’s going on. Once again, it will be total
immersion.
RC: In all your films what would you say is the one thematic thread?
I understand that there is something there that’s in all of them. I know that. It’s to do with the notion
that life is a tragedy. Yet at the same time we’re here, we have to make the best of it, we’re living. I
still have this notion of redemption. If there’s one thing that’s in all of them, it’s that tragic-andfarcical sort of thing. Life is beautiful, but also tragic, and everyone just wants to be loved —
ultimately.
RC: You said earlier that Cunnamulla took a lot out of you.
I grew up in Queensland, and there’s that aspect of it, because there was an immediate level of
similarity between the characters and me. I knew I had to make the film on their terms — you
know, to see the world their way — but I had to be able to see past that. I felt strongly that there
were things to be expressed concerning what it is to be Australian, and not only in Cunnamulla; yet
I did not, and still do not, understand precisely what they are. But because these ideas are
ineffable, it does not mean that they are any less true. I feel that it was the most difficult film that
I’ve made — more so than The Good Woman of Bangkok.
RC: But you weren’t involved as directly on camera.
It was really difficult because of the level of intimacy that I wanted. The word intimacy is not quite
right. It’s more than that because the film required reflected intimacy — the “filmic” intimacy, not
the personal intimacy. It was, in some ways, my culture — Western Queensland culture. That’s
where my father came from. I already knew what was there and I couldn’t rely on the ... gloss that
working in a foreign culture automatically gives you.
RC: What I’ve always found* with you, particularly in the post-production stages which is where I
know you from, is that you’ve always known instinctively what it is that you want and that you’ve
been able to get to that right away. The structure has evolved and come about later.
You’re right, but it’s only the stuff that has that magical quality — that transcends the mere
recorded moment — that is automatically selected. My way of working, or intuiting, goes right back
to when I was young and had to make the choice about whether to be a criminal or an artist; and I
taught myself to take still photographs. One day, I had the epiphany: I was pulling something out of
the developing bath. I saw what was, probably, a mediocre photograph, which I had created. I
trembled, because I realised that this image had a meaning, which I had helped to create, and that
meaning was more than me.
RC: Sacredness?
No, not sacredness, that’s too elevated a term. What I realised was that there was a way to create
meaning through the recording process. I call the cameras and tape recorders my “recording
angels”, because angels are always listening, and they’re not judgmental. You need to know how
to use them very well and then have the mad intuition to recognise the moments of verisimilitude.
These are the moments that the voice inside one’s head tells you are “sacred”, if you want to use
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that word. They set the tone — the all-important tone. I’m worried about the use of the word “truth”
because documentary has always been thought of as pure and unadulterated truth. Well, truth, as
we know, is not a simple thing. Truth is messy. Most truths we know are subjective truths, not
objective truths.
RC: God comes up a bit in the film.
I am a doubting atheist but in my conversations with people God will always come up, because I
like to engage with characters in the film at the level of “What does it all mean?”, “Why are we
here?”. It turns to God because everything I do in all my films is only addressing this ultimate
question. God is dead in terms of the absolutes that we have always accepted; we are all
searching for meaning, and we all want to be loved. They’re the three concepts that apply to
everything that I do as a filmmaker. You know how I used to toy with the idea of making fiction
films? Well, now I am not the least bit interested. But I am interested in pushing this form of nonfiction (call it documentary, if you must) filmmaking, which Cunnamulla is... I think I’ve found this
new avenue for the expression of my madness — my obsessions.
* Disclosure: Ruth Cullen was the co-editor on Couldn’t Be Fairer and the sound editor on Half Life.
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CUNNAMULLA
BIOGRAPHY – DENNIS O’ROURKE
Dennis O’Rourke was born in Brisbane, Australia, on the 14th of August, 1945. For most of his
childhood he lived in small country towns, before being sent to a Catholic boarding school for his
secondary education.
In the mid-1960s, after two years of unsuccessful university studies, he went travelling in the
outback of Australia, throughout the Pacific Islands and in South East Asia. He worked as a farm
labourer, a salesman, a cowboy, a roughneck on oilrigs and as a maritime seaman. During this
time he taught himself photography and began to get work as a photojournalist. In 1970, wanting to
make films, he moved to Sydney. The Australian Broadcasting Corporation gave him the job of
assistant gardener and he later became a cinematographer for that organization.
From 1975 until 1979 he lived in Papua New Guinea, which was in the process of decolonisation.
He worked for the newly independent government, teaching documentary filmmaking techniques to
Papua New Guineans. His first film, Yumi Yet — Independence for Papua New Guinea, was
completed in 1976. It was widely seen and discussed, and it was awarded many prizes.
His other films include Ileksen — Politics in Papua New Guinea (1978), Yap... How Did You Know
We'd Like TV? (1980), The Shark Callers of Kontu (1982), Couldn't Be Fairer (1984), Half Life — A
Parable for the Nuclear Age (1985), "Cannibal Tours" (1988), The Good Woman of Bangkok
(1991) and The Pagode da Tia Beth (1993). In addition to his own productions, as a
cinematographer, director, producer, or mentor, he has contributed to the making of many other
documentary films.
Retrospectives of Dennis O'Rourke’s work have been held at the Institute of Contemporary Art in
London, the Pacific Film Archive in San Francisco, the Amsterdam International Documentary Film
Festival, the Berlin Film Festival, and in Freiburg, Honolulu, Los Angeles, Marseille, Melbourne,
New Delhi, Singapore, and Uppsala. On two occasions, he has been a Visiting Fellow in the
Research School of Pacific Studies at the Australian National University.
His numerous awards include the Jury Prize for Best Film at the Berlin Film Festival the Grand Prix
at the Nyon Documentary Film Festival, the Grand Prix at the Festival de Popoli, Florence, the
Eastman Kodak award for Cinematography, the Director’s Prize for Extraordinary Achievement at
the Sundance Film Festival, and the Australian Film Institute's Byron Kennedy Award.
Dennis O’Rourke has five children and lives in Canberra, Australia. He continues to make feature
documentary films — the latest being Cunnamulla.
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THE FILMS OF DENNIS O’ROURKE
THE PAGODE DA TIA BETH
Set in a poor area of Sao Paulo, Brazil, this was a pilot film for a television series called In Search
of the World’s Great Bars. The series is as yet unmade.
1993, 54 minutes, video
Written, directed and produced by Dennis O’Rourke
THE GOOD WOMAN OF BANGKOK
The controversial and intimate portrait of Aoi, a reluctant third world prostitute who caters for the
enthusiastic first world clientele who crowd the girlie bars of Patpong each night.
“Those who may denounce this movie for its displays of nudity or conversations about sex, will
have spectacularly, and foolishly, missed its point. The film does not ask us to revel in the
fleshpots, but to comprehend them, to see the world through another’s eye — a loved one’s eyes
— and reflect on its callousness and blind brutishness.” — Michael Wilmington, Los Angeles Times
1991, 82 minutes, 35mm/video
Written, directed and produced by Dennis O’Rourke
Featuring: Yaowalak Chonchanakan as Aoi
Photography and sound recording: Dennis O’Rourke
Associate producer: Glenys Rowe
Film editor: Tim Litchfield
“CANNIBAL TOURS”
When tourists journey to the furthermost reaches of the Sepik River, is it the indigenous
tribespeople or the white visitors who are the cultural oddity? This film explores the differences
(and the surprising similarities) that emerge when “civilised” and “primitive” people meet.
“Dennis O’Rourke and his films ought to be regarded like Bernard Smith, another commentator on
European vision and the South Pacific, as a living national treasure. “Cannibal Tours” is a small
masterpiece which puts to shame the work of most Australian feature directors in the acuity of its
observations of human behaviour.” — Peter Crayford, Financial Review (Sydney)
1988, 70 minutes, 35mm/16mm/video
Produced, directed and photographed by Dennis O’Rourke
Associate producers: Laurence J Henderson, Chris Owen
Film editor: Tim Litchfield
HALF LIFE: A PARABLE FOR THE NUCLEAR AGE
Examines the facts leading up to the Bravo nuclear test in 1954, which irreversibly destroyed the
fragile world of the Marshall Islanders.
“A devastating investigation...astonishing contemporary record film.” — David Robinson, The
Times (London)
1985, 86 minutes, 35mm/16mm/video”
Produced, directed and photographed by Dennis O’Rourke
Associate producers: Martin Cohen, Laurence J Henderson, David Thaxton
Film editor: Tim Litchfield
Archival picture research: Kevin Green, David Thaxton
Music: Bob Brozman
THE SHARK CALLERS OF KONTU
Captures the rituals and daily rounds of Kontu village life with some of the most remarkable
footage ever filmed in the Pacific Region.
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“O’Rourke’s film carries us through a whole revolution, or devolution of values, and I for one found
it an experience that was sometimes beautiful, and sometimes shaming and painful.” — John
Hinde, ABC Radio (Sydney)
1982, 54 minutes, 16mm/video
Produced, directed and photographed by Dennis O’Rourke
Associate producer and sound recordist: Chris Owen
Film editor: Stewart Young
COULDN’T BE FAIRER
“a devastating account of the Aboriginal land-rights battle in Queensland. It reveals white
Australians at their most beer-sodden and hypocritical. O’Rourke has captured scenes showing
how racism and vulgarity, which the middle class of Sydney and Melbourne like to think died with
the 1950s, are alive and thriving in the Australian heartland.’ — Robert Milliken, National Times
(Sydney)
1984, 50 minutes, 16mm/video
Written and narrated by Mick Miller
Produced, directed and photographed by Dennis O’Rourke
Film editors: Tim Litchfield, Ruth Cullen
YAP... HOW DID YOU KNOW WE’D LIKE TV?
Yap, a small island in Micronesia receives television in 1979, followed by a steady stream of
American programs posing what many Yapese felt was a serious risk of cultural imperialism on the
part of the US.
“Dennis O’Rourke’s film is a witty and disturbing view of cultural imperialism at its most cynical and
blatant” — Geoff Andrew, Time Out (London)
1980, 56 minutes, 16mm/video
Produced, directed and photographed by Dennis O’Rourke
Film editor: Peter Berry
ILEKSEN
Ileksen (pidgin for “election”) opens a window into Papua New Guinea’s attempts to implement the
British electoral system in their first independent elections.
“an extraordinary documentary that entertains as well as provokes, makes you laugh as well as
think. Its best feature is that it does all this without a hint of patronising...” — Derek Malcolm, The
Guardian (London)
1978, 58 minutes, 16mm/video
Produced, directed and photographed by Dennis O’Rourke
Co-director and sound recordist: Gary Kildea
Film editor: Peter Berry
YUMI YET
The peoples of Papua and New Guinea celebrate the granting of independence.
“The seamless inevitability of O’Rourke’s finest work takes the art of the documentary to a very
high level. What’s remarkable is his skill at letting his films unfold casually, piece by piece, so that
they tell a story without the tiresome intervention of a narrator or even the appearance of telling a
story...” — John Powers, LA Weekly
1976, 54 minutes, 16mm/video
Produced and directed by Dennis O’Rourke
Photography: Richard Marks, Dennis O’Rourke, Alan Shephard
Film editor: Tom Foley
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CUNNAMULLA
BIOGRAPHY – STEFAN MOORE
For the past twenty years, Stefan Moore has produced and directed documentaries in the United
States, Britain and Australia. His films have attracted international acclaim and won numerous
awards.
He has received grants and fellowships from The John Simon Guggenheim Memorial Foundation,
National Endowment for the Arts, Corporation for Public Broadcasting, the Ford Foundation, the
New York State Council on the Arts, the New York Council for the Humanities, and the Television
Laboratory at WNET/THIRTEEN.
Stefan Moore began his filmmaking career in 1974 with The Irish Tapes, the first full-length
videotape documentary to be broadcast on national public television (PBS) in the United States. It
is now considered a classic of documentary video and is part of the permanent collection at the
Museum of Modern Art.
From 1976 to 1984, he was president and co-founder of TVG Productions in New York where he
produced and directed many award-winning programs, including Presumed Innocent (winner of an
Emmy, the Cine Golden Eagle, and the Corporation for Public Broadcasting Best Documentary
award), Trouble on Fashion Avenue (winner of the American Film Festival Blue Ribbon), A
Complicating Factor (Best Documentary at the John Muir Medical Film Festival) and William J.
Brennan, Jr: Justice for All (winner of the American Film Festival Blue Ribbon and the American
Bar Association Silver Gavel award).
Joining the staff of WNET in New York in 1985, Stefan became producer/director for the public
affairs program Currents which looked at national social and political issues. While there he
received Emmy awards for two special broadcasts: Whistleblowers and AIDS Ward. In 1989 he
joined the CBS News national prime-time weekly magazine program, 48 Hours, and received
Emmy awards for two programs: Nightmare Next Door and On Strike.
From 1991 to 1993 he worked at the BBC in London as the series producer of Medicine at the
Crossroads, a co-production between PBS, BBC, ABC (Australia) and TVE in Spain.
Moving to Australia in 1994 Stefan worked for the ABC where he directed Global Heroes about
local environmental activists around the world. Then for Film Australia he co-produced and
directed No Sex, No Violence, No News, an inside look at television in China which was broadcast
on the ABC and received the Silver Plaque award at the Chicago Film Festival.
In 1995, he returned to New York to work at WNET as series producer and director of the critically
acclaimed PBS series, America on Wheels. He came back to Sydney in 1996 to produce the
series Under the Hammer and The Gamblers for Film Australia and ABC-TV.
Stefan Moore joined Film Australia as executive producer in 1999, where his programs have
included The Diplomat, Steel City, The Post and the ABC series Artzone as well as Cunnamulla.
His current projects include The Music School, Small Island Big Fight and Ten Million Wildcats and
the series Bush Mechanics and Tour Wars.
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CREDITS
The producers wish to thank the people of Cunnamulla
Photography & Sound Recording
Dennis O’Rourke
Film Laboratory
Atlab Australia
Film Editors
Dennis O’Rourke
Andrea Lang
Film Liaison
Simon Wicks
Additional Photography & Sound Recording
Simon Smith - Pearl Davern
Consultant Film Editors
Tim Litchfield
John Powers
Music Supervisor
Christine Woodruff
Sound Mixer
Michael Gissing
FILM AUSTRALIA PRODUCTION UNIT
Business Affairs Managers
Sally Regan
Trish L’Huede
Production Liaison Officers
Harry Ree
Sally Creagh
Executive Producer’s Assistant
Karinn Cheung
Promotions Manager
Susan Wilson
Mixed at Digital City Studios
Publicist
Tracey Mair
Production Accountants
Laurence J Henderson
Anthony Nicholls
Location Consultants
Margie Brown
Pearl Davern
Wayne Wharton
Production Assistant
Celia O’Rourke
Post Production Facilities
Frame, Set & Match
Colour Grader
Scott MacLean
Online Editor
David Tindale
Credits
Steve McGillen
CUNNAMULLA FELLER
written by Slim Dusty/Stan Coster
© 1964 EMI Music Publishing Australia Pty Limited for
the world licensed by EMI Music Publishing Australia
Pty Limited
performed by Slim Dusty
Licensed courtesy EMI Music Australia and performed
by The Screaming Jets
Licensed courtesy EMI Music Australia
Chopin, WALTZ No 6 in D Flat Op 64 No. 1
performed by Nikita Magaloff
courtesy of Philips Classics Productions
under licence from Universal Music Australia Pty
Limited
WHILE SHEPHERDS WATCHED
performed by Westminster Cathedral Choir
Transferred to film at SOS Digital
KEEP THE HOME FIRES BURNING
written by Ivor Novello /arranged by Lena Guilbert Ford
© Asherberg Hopwood & crew Ltd.
Used by kind permission of Warner/Chappell Music Ltd.
All rights reserved
Film Transfer Consultants
Rick Springett
Bijou Olsson
ABC TV NEWS THEME
written by Tony Ansell / Peter Wall
master courtesy Australian Broadcasting Corporation
Post Production Supervisor
Sarah Watts
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WHEN THE RAIN TUMBLES DOWN IN JULY
written by Slim Dusty
© 1946 EMI Music Publishing Australia Pty Limited, for
the world licensed by EMI Music Publishing Australia
Pty Limited
performed by Slim Dusty
Licensed courtesy EMI Music Australia
WITH THANKS TO
Bruce Allardice, Kellie-Anne Allardice, Lawrence Anderson,
Robyn Anderson, Martha Ansara, Emmanuel Anthony,
Mitchell Block, Kerry Brown, Margaret Brown,
Jack Bourke, Lisa Bourke, Val Bucholtz,
David Carline, Elaine Charnov, Father John Clancy,
Bob Connolly, Sharon Connolly, Peter Dale,
Juliette Darling, Ally Derks, Kevin Dick,
Colin Dillon, Molly Dineen, Ann Duff,
Steven Feld, Ruby Gamble, Thierry Garrel,
Gail Gillman, Faye Ginsburg, Fred Ginsburg,
Lindsay Godfrey, Irene Goodnight, Rev. Bill Guttormsen,
Trevor Graham, Brenda Green, Stan Green,
Ulrich Gregor, Barbara Grummels, Nicole Guillemet,
Judy Gwydir, Bob Hall, Jill Hall,
Denise Haslem, Julie Hawker, Allie Hawkins,
Amelia Hearn, Margaret Hearn, Taccara Hearn,
Paul Hegarty, Julie Henzell, Rev. Brian Hennman,
Tammy Hickey, Christine Higgins, Jean Higgins,
Merry Higgins, Mike Hogan, Ken Hogg,
Dean Howlett, Catriona Hughes, Elizabeth Hulten,
Vikram Jayanti, Pierre Jordan, Barbara Katz,
Anita Kemp, Mick King, Pauline King,
Margot Kingston, Chris Knight, Geoff Lacey,
Susan Lambert, Darby Land, Jean Land,
Marcia Langton, Arthur Lee, Renée Leon,
Francis Lewis, Kim Lewis, Susan MacKinnon,
Ian McLachlan, Hazel McKellar, Maureen McKellar,
Brian McKenzie, Megan McMurchy, Liz McNiven,
Claire Martin, Jack Martin, Louise Martin,
Paul Martin, Paul Memmott, Lez Morrison,
Philip Nelson, Regan Neumann, Simone O’Halloran,
Randall Osborne, Silvia Paggi, Diana Palmer,
Brigid Phelan, Andrew Pike, Ian Pike,
John Powers, Robert Richardson, Jan Rofekamp,
Dasha Ross, Tony Safford, Willemien Sanders,
Herb Scantlebury, Andy Selms, William Sieghart,
Bénédicte Sire, Dannyl Smith, André Singer,
Brian Swift, Sandi Tan, Linda Thompson,
Scott Thompson, Kirsten Tilgals, Ian Tonkin,
Matthew Tucker, Emma Tutty, Catherine Vandermark,
Adriek van Nieuwenhuyzen, Marthe Vertueux, Anne von Herrmann,
Joan von Herrmann, Jack Waterford, Melanie Weeks,
Fiona White, Tony Wilson, Barry Winter,
Ali Wood, Neredah Wraight, Norman Young
Produced with the assistance of the
Australian Broadcasting Corporation
ABC Executive Producer
Geoff Barnes
Film Australia Executive Producers
Stefan Moore
Chris Oliver
Written, produced and directed by
Dennis O’Rourke
A Film Australia National Interest Program
© MM Film Australia and Camerawork Limited
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