A Life committed to Papua New Guinea
eBook - PDF

A Life committed to Papua New Guinea

Conversations with Christopher Owen— filmmaker

  1. 353 pages
  2. English
  3. PDF
  4. Available on iOS & Android
eBook - PDF

A Life committed to Papua New Guinea

Conversations with Christopher Owen— filmmaker

About this book

THE BOOKThe 23 March 2018 issue of the Weekend Courier (PNG) pays tribute to Chris Owen in the following terms: "I do not know of one other culture whose children will inherit a film heritage such as the one Chris Owen has given to the people of Papua New Guinea." Pascale Bonnemère has transcribed a series of long conversations she had with Chris Owen, between 2013 and 2017, which paint a vivid picture of the life and work of this dedicated author of the most famous films on the country (e.g. The Red Bowmen, Man without Pigs, Tukana and Bridewealth for a Goddess). Completed by contextual information and photographs from his archives, the present volume constitutes a valuable testimony on a key period in the history of Papua New Guinea as experienced by a committed left-wing expatriate who spent almost 40 years of his life there and became a child of the country.THE SERIESThe aim is to provide a conduit for the publication of studies on the Island of New Guinea, with its two established political divisions, but will also include other associated patterns of islands.It will enable contributions from new knowledge workers—with their dissertations—and from established scholars. As there are numerous scholars who would like better coverage of the areas in which they have explored—as a tribute to the people they have worked with—as well as local scholars who understand the importance of their unique areas. It is felt that the approaches being trialed in the visual anthropology part of the series as area studies will bring a wider attention to the remarkable nature of the island.The first volumes will be on modes of communication: oral history and folklore, and the emergence of a local literature. While the representation of all disciplines is welcome, comparative and whole island studies would be of great interest as well. For this, collaborative works or edited volumes may be needed.It will allow for academic publications of a more preliminary kind—rather than exhaustive monographs, which are becoming more and more impossible to produce.Where is the knowledge we have lost?

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Information

Publisher
Galda Verlag
Year
2022
Print ISBN
9783962032197
eBook ISBN
9783962032203
Edition
1
Topic
Art
Subtopic
Art General

Table of contents

  1. New Guinea Communications
  2. Acknowledgement
  3. Foreword
  4. Introduction
  5. I moved into Cinematography to pursue a revolutionary cause
  6. I was the team leader of myself
  7. I always sit down with the community and explain what the film is going to be
  8. Tukana was my first drama film: Bougainville stories
  9. My films do speak for themselves
  10. Working with other filmmakers in the country
  11. Skul Bilong Wokim Piksa
  12. The role of the NFI is to be a national film institute
  13. Conversations about filmmaking in Papua New Guinea, past and present
  14. Living with memories
  15. Chris Owen’s filmography
  16. References
  17. Pascale Bonnemère and Chris Owen, Canberra, November 2013 © Michelle Baru Toro
  18. Les McLaren, Chris Owen and Bob Connolly having drinks in the sun in Canberra, December 2014 © Sophie Raymond
  19. photo 1.1 Letter from the Governor general of Papua New Guinea to Chris Owen announcing him that he has been awarded in the Logohu Order (23 February 2012) © Pascale Bonnemère
  20. photo 1.2 The Logohu medal in its red box © Pascale Bonnemère
  21. photo 2.1 Graves of the crew of the Lancaster bomber that was shot down over Northern France in September 1944. Chris’ father, who was the captain, is buried there © All rights reserved
  22. photo 2.2 Chris Owen and friends with Ted Noffs at the Wayside Chapel © All rights reserved
  23. photo 2.3 Hanuabada village and Fairfax Harbour in the background (northwest of Port Moresby) © Bill Gammage (PAMBU)
  24. photo 2.4 A touristic postcard picturing a double canoe © PNG Tourist Board
  25. photo 2.5 Developing and printing a picture with a black border around © Chris Owen
  26. photo 2.6 Jose, Chris’ Portuguese friend whom he met in Birmingham while studying photography at the end of the 1960s. Here on visit to Port Moresby in the mid 1980s. © Chris Owen
  27. photo 2.7 On the Tahitien ship deck © Chris Owen
  28. photo 2.8 On the Marseille Vieux Port © Chris Owen
  29. photo 3.1 Fishing party arrival scene in a Trobriand island sea shore © Chris Owen
  30. photo 3.2 An Asaro mud man near Goroka (with the fashionable black border around the picture, see photo 2.5) © Chris Owen
  31. photo 3.3 Tourist Board flyer. Picture of a forest landscape © Chris Owen
  32. photo 3.4 Tourist Board flyer. Picture of a man’s decorated face © Chris Owen
  33. photo 3.5 Yamamoto’s crashed airplane in Bougainville island © Chris Owen
  34. photo 3.6 An Intercine 4-plate flatbed at the IPNGS © Les McLaren
  35. photo 3.7 The IPNGS building © Don Niles
  36. photo 3.8 Dylan Owen (front row, 1st on the left) at East Boroko primary school © All rights reserved
  37. photo 3.9 John Kolia at the IPNGS’ Chris’ flat © Chris Owen
  38. photo 3.10 Feasting on John Kolia’s grave after his burial © All rights reserved
  39. photo 3.11 Truck film load ready to go to the dump © Chris Owen
  40. photo 3.12 A Japanese technician installs the video equipment © Chris Owen
  41. photo 4.1 Decorated dancers during the filming of Tighten the Drums © Chris Owen
  42. photo 4.2 Chris and an Engan decorated man when filming Tighten the Drums © Kundapen Talyaga
  43. photo 4.3 Dylan and Chris Owen when filming Gogodala. A cultural survival? © Les McLaren
  44. photo 4.4 The only remaining longhouse while filming Gogodala. A cultural revival?, Isago village © Chris Owen
  45. photo 4.5 Les McLaren on the boat going to Gogodala © Chris Owen
  46. photo 4.6 Wooden containers in an open hut while filming The Red Bowmen © Chris Owen
  47. photo 4.7 Departing from Umeda after having filmed the ida ritual for The Red Bowmen © Chris Owen
  48. photo 4.8 Portrait of Eliachim Kaparau © Chris Owen
  49. photo 4.9 Filming the painting of a malagan © Steve McMillan
  50. photo 5.1 Filming at Buka passage for Tukana © Annie Stiven
  51. photo 5.2 Josephine teaching, Tukana © Chris Owen
  52. photo 5.3 Filming in the village, Tukana © Annie Stiven
  53. photo 5.4 Panguna from the air on April 28, 1974 © Bill Gammage (PAMBU)
  54. photo 5.5 Filming in the sea for Tukana © Annie Stiven
  55. photo 5.6 Papuan New Guineans queuing to enter the Papuan cinema © Bob Grieve (PNGAA)
  56. photo 5.7 Working at the Panguna mine © Chris Owen
  57. photo 6.1 John Waiko in doctoral student dress in Tabara, Man Without Pigs © Andrew Pike
  58. photo 6.2 Andrew Pike sound recording for Man Without Pigs © Chris Owen
  59. photo 6.3 John Waiko discussing with village people, Man Without Pigs © Andrew Pike
  60. photo 6.4 Ario dance paraphernalia and objects, Man Without Pigs © Andrew Pike
  61. photo 6.5 Ru Kundil, organiser of the Amb Kor ceremony, Bridewealth for a Goddess © Chris Owen
  62. photo 6.6 Preparing for the Amb Kor ceremony, Bridewealth for a Goddess © Chris Owen
  63. photo 6.7 In between two rolls while filming Ramu Pawa © Lahui Geita
  64. photo 6.8 Building the Raun Raun theatre © Michael Keniger (Univ. of Queensland eSpace)
  65. photo 7.1 Dennis O’Rourke filming Cannibal Tours © Chris Owen
  66. photo 7.2 Tourists small boat, Cannibal Tours © Chris Owen
  67. photo 7.3 The Children’s Peace Monument in Hiroshima © Chris Owen
  68. photo 7.4 Poster of the film on Jakupa © Jakupa
  69. photo 7.5 Chris and Jakupa in Port Moresby © Lahui Geita
  70. photo 7.6 Filming Jakupa in Goroka © All rights reserved
  71. photo 8.1 Filming Lukautim Bus © Tom Vigus
  72. photo 8.2 Filming Reforestation naturally © All rights reserved
  73. photo 8.3 Iggy in Goroka, during Chris’ moving from Port Moresby © Chris Owen
  74. photo 8.4 The Skul Bilong Wokim Piksa in ashes © Chris Owen
  75. photo 9.1 Chris’ house and terrace, Kamaliki, on the outskirts of Goroka © All rights reserved
  76. photo 10.1 Éclair camera © Chris Owen
  77. photo 10.2 Aaton camera in parts in the sun © Chris Owen
  78. photo 11.1 Chris Owen and Michelle Baru Toro walking in the Canberra landscape, October 2016 © Les McLaren
  79. The Order of Logohu
  80. The Royal George Hotel and The Sydney Push
  81. Fairfax Harbour and the Village of Hanuabada
  82. The Papua New Guinea National Literature: “Learning to be a Writer”
  83. The first years of the Institute of Papua New Guinea Studies
  84. John Kolia
  85. Tighten the Drums: Self-decoration among the Enga
  86. Gogodala: A Cultural Revival?
  87. The Red Bowmen
  88. Malagan Labadama: A tribute to Buk Buk
  89. Tukana
  90. Marabe
  91. The Bougainvillean protest against the Panguna mine
  92. Moses Havini
  93. The Sandline Affair
  94. Films on Bougainville (by chronological order)
  95. Man without Pigs
  96. Bridewealth for a Goddess
  97. Ramu Pawa. A diary of Yonki Dam
  98. Betelnut Bisnis
  99. Yumi Yet. Papua New Guinea gets independence
  100. The Sharkcallers of Kontu
  101. Cannibal Tours
  102. Jakupa: The Birth of an Artist
  103. The Ateliers Varan
  104. Kumain Nunguya, filmmaker
  105. Cinéma-vérité or Direct cinema (according to Martin Maden)
  106. _GoBack
  107. _GoBack
  108. _GoBack
  109. _GoBack
  110. _GoBack
  111. _GoBack
  112. Leere Seite
  113. Leere Seite
  114. Leere Seite

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