Rabbit Proof Fence

Topics: Low-angle shot, Rabbit-Proof Fence, High-angle shot Pages: 5 (1822 words) Published: August 25, 2008
“The journey not the arrival matters”
Discuss this statement focusing on HOW the composers of your prescribed text and two related texts represent the concept of journey.

A physical journey involves both a beginning and ending. The beginning and ending is not what is important, in fact the journey itself is important. Physical journeys involve movement to new places whilst incurring obstacles. A physical journey has many opportunities for its travellers, these allow for physical, environmental and intellectual growth as they learn about themselves whilst overcoming challenges and learning about the world around. This is shown through different techniques in the film ‘Rabbit Proof Fence’ directed by Phillip Noyce, The book cover ‘Odyssey’ by homer illustrated by Alan Baker and the poem ‘Night Ride’ by Kenneth Slessor.

In ‘Rabbit Proof Fence’ directed by Phillip Noyce techniques such as, symbolism, language, lighting, camera angles and shots, imagery, music, sound and setting are used to represent the concept of journey and that ‘the journey, not the arrival matters’. The three girls in Rabbit Proof Fence, Molly, Gracie and Daisy are the travellers. The film follows the three girls as they are captured and sent to the Moore River Native Settlement where they run away from back to their home Jigalong.

The opening scene of the film is a panning shot of the landscape from a birds eye view. Noyce uses this camera angle and shot to inform the audience that the journey is going to be epic and that the landscape is a major character in the film. Noyce uses Aboriginal song and language at the beginning in scene one to set the context and show that the film will have Aboriginal content.

In Scene two Noyce positions the audience to look upon the girls and their family from a far, hiding and watching them hunt, this is shown from Constable Riggs perspective in the position he is, this represents that he is sneaky, in charge and in control and that he has authority. The slow panning up his boot represents this. Close ups of the girls smiles are shown as the camera dances with them as they play. This makes it evidently clear to the audience that the girls are happy and Jigalong and have no foresight into what is about to happen.

In Scene four where the girls are taken from the depot by Constable Riggs, Noyce uses sound effects of females screaming and crying, rapid intense music and the rapid movement of the camera all show the panic and fear of the girls and their mothers. Noyce uses the symbolism of the beating hands on the windows of Constable Riggs’ car, with the glass in between. This symbolises the loss of connection to the land and their culture. It is broken by a barrier, the barrier being the glass between the beating hands on either side.

The First stage of the girls journey begins in scene six. This scene shows the girls kept behind bars like prisoners and animals their fear is show through a low angle shot from the view of Molly up to the guard and high angle shots show their vulnerability. The girls fear is shown when the three girls arrive at Moore River Native Settlement. The girls think that the nun is a ghost and are hesitant to follow her. Noyce shows the girls fear through the use of the girl’s body language and how they whisper to one another.

The beginning of the second journey takes place in scene sixteen. As the camera follows the girls among the trees, the rain covers their tracks; the rain becomes the first obstacle that the girls have to overcome. Noyce shows this by a camera zooming in on the girls sheltering in rock terrain from a high point. The second obstacle the girls have to over come is outwitting Moodoo the aboriginal tracker. Molly outwits Moodoo by hiding Daisy’s bag upstream and then walking downstream to cover their tracks.

Noyce allows Molly to learn certain things that she didn’t already know on her journey home. Molly learns that there is more than one fence. Noyce...
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