Abstract:
In 1983, the German filmmaker Werner Herzog realised a decade-long ambition to
create a film thematising the struggles of Aboriginal groups against mining companies
operating in northern Australia. Where the Green Ants Dream (WGAD), was reviled by
Australian pundits and also disappointed international critics. However, it raises
important issues, not only about the creative appropriation of Aboriginal mythology, but
also about the representation of Aboriginality and the struggle for Aboriginal land rights.
This article reveals how Herzog relied heavily upon Milirrpum v Nabalco [1971] 17 FLR
141 in writing his film script. In doing so, he came up with a hybrid tenuously situated
between documentary and feature film. What complicated this strategy was the fact that
Herzog––whose unorthodox style often involves casting non-professional actors in
important roles––also cast Wandjuk and Roy Marika, who had both been witnesses in
Milirrpum v Nabalco, in lead roles. They were ultimately uncomfortable with reperforming
a court-room sequence in which they had once participated in earnest. This
article analyses Herzog’s mix of documentary and fiction, examines the reception of
WGAD––both by white Australian critics and by Aboriginal Australians involved with
the film––and argues that, while the film may be flawed, it is valuable because it threw
(and continues to throw) disquieting yet important issues into perspective.
