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AbstractHistoryArchive Description
One of two documentaries that reflect both the Aboriginal way of life as it was before white man's interference and how white civilisation has been accepted into Aboriginal culture.
The first film, Lalai Dreamtime, deals with the Dreamtime and the tribal traditions of the Worora people of the Northern Kimberleys, reflected in their mythology. In Floating This Time, Woolagoodjah further develops the theme of Aboriginal tradition, this time as it interacts with European culture.
Publication Details of Only Known VersionEarliest 2 Known Versions of
Related Works
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form
y
Lalai Dreamtime
( dir. Michael Edols
)
Sydney
:
Michael Edols Films
,
1975
Z1510433
1975
single work
film/TV
Lalai Dreamtime explores the passing on of traditional wisdom, as an old man takes his son to a sacred place to explain about their ancestors, the "Wandjinas," and outline their mythical foundations. It also shows the traditional life of the Worora tribe.
Filmmaker Michael Edols encouraged Sam Woolagoodjah and his family to return (after thirty years' absence) to their Worora tribal lands and to re-enact for the camera some of their sacred dreaming stories and traditional ways.
Works about this Work
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From Aboriginal Australia to German Autumn : On the West German Reception of Thirteen ‘Films from Black Australia’
2009
single work
criticism
— Appears in: Studies in Australasian Cinema , vol. 3 no. 3 2009; (p. 251-263) 'This article examines some aspects of the West German reception of a series of Australian films about Aborigines - including Peter Weir's The Last Wave (1977), Phillip Noyce's Backroads (1977) and Michael Edols' Lalai and Floating (1973 and 1975) - which were shown in Germany and elsewhere in Europe in 1978 and 1979. It explains how these films came to be shown in Europe, how and why they caught the imagination of German reviewers and film-makers at the time, and how they themselves contributed to the begetting of several German films on Aboriginal themes - including Nina Gladitz's documentary Das Uran gehört der Regenbogenschlange (The Uranium Belongs to the Rainbow Serpent) (1979), Werner Herzog's Where the Green Ants Dream (1984) and Wim Wenders' Until the End of the World (1991).' (Author's abstract) -
Three Takes on Intercultural Film: Michael Edols' Trilogy of Aboriginal Films: Lalai Dreamtime, Like Wind Blow'en about-This Time, and When the Snake Bites the Sun
2008
single work
criticism
— Appears in: Studies in Australasian Cinema , vol. 2 no. 1 2008; (p. 73-93)
-
From Aboriginal Australia to German Autumn : On the West German Reception of Thirteen ‘Films from Black Australia’
2009
single work
criticism
— Appears in: Studies in Australasian Cinema , vol. 3 no. 3 2009; (p. 251-263) 'This article examines some aspects of the West German reception of a series of Australian films about Aborigines - including Peter Weir's The Last Wave (1977), Phillip Noyce's Backroads (1977) and Michael Edols' Lalai and Floating (1973 and 1975) - which were shown in Germany and elsewhere in Europe in 1978 and 1979. It explains how these films came to be shown in Europe, how and why they caught the imagination of German reviewers and film-makers at the time, and how they themselves contributed to the begetting of several German films on Aboriginal themes - including Nina Gladitz's documentary Das Uran gehört der Regenbogenschlange (The Uranium Belongs to the Rainbow Serpent) (1979), Werner Herzog's Where the Green Ants Dream (1984) and Wim Wenders' Until the End of the World (1991).' (Author's abstract) -
Three Takes on Intercultural Film: Michael Edols' Trilogy of Aboriginal Films: Lalai Dreamtime, Like Wind Blow'en about-This Time, and When the Snake Bites the Sun
2008
single work
criticism
— Appears in: Studies in Australasian Cinema , vol. 2 no. 1 2008; (p. 73-93)
