Won numerous awards, including the Film Critics Circle of Australia Best Feature Documentary 2019 Winner, AACTA Award for Best Editing in a Documentary 2019 Winner, Asian Academy Creative Awards Best Documentary 2019 Winner, Had a total of four screenings on Network Ten and WIN to over one million audiences across the broadcast and 10Play Catch Up. Angles. Explores how to respectfully listen to and engage with Aboriginal and Torres Strait Islander peoples, histories and cultures. Student Worksheets one copy per student. 0000005252 00000 n It begins in 2013 when Goodes, at that point a veteran of the game, singled out an opposing teams supporter for calling him an ape during a match. [32], The Go Foundation reported that it had received several messages from members of the public who had seen the documentary and wanted to express their remorse for having booed Goodes.[20]. Note: This film may not be suitable for viewing by all young people. write an analysis based on the conventions of archival documentaries. Project-specific support provided through Screen Australia's P&A Program only. The Final Quarter is a post-mortem of this dark period in Australian sporting and cultural history, comprised entirely of archival footage aired at the time. We strongly recommend each unit is delivered in the recommended sequence to achieve maximum impact and understanding of the concepts. He publicly called out racism, was named Australian of the Year, was accused of staging for free kicks, and performed an on-field war dance celebration. FBIRadio. The Final Quarter is a 2019 Australian documentary, directed by Ian Darling and produced by Shark Island Productions, about the final stages of the Australian football career of Adam Goodes, during which he was the target of repeated booing by opposition fans. 0000067587 00000 n Please update your location and try again, On the Way: Upcoming Brisbane Openings to Put in Your Diary for 2023 and Beyond, Oktoberfest Brisbane Is Saying Auf Wiedersehen After 15 Years of Steins, Schnitties and German Celebrations, Sydney's YCK Precinct Has Been Named Australia's First Purple Flag District for Its Vibrant and Safe Nightlife, Disney's 'Peter Pan & Wendy' Trailer Is Here with Your First Look at Jude Law as Captain Hook, The NGV Is Getting a World-Premiere Pierre Bonnard Exhibition with Scenography by Architect India Mahdavi, Parrtjima A Festival in Light Has Revealed the Full Lineup That'll Dazzle Alice Springs This Autumn, Splendour in the Grass Has Locked in the July 2023 Dates for Its Huge 21st-Birthday Festival, 'MAMMA MIA! The Final Quarter - Listening To Community - Years 7-9 0000001256 00000 n 0000006599 00000 n [11] The booing of Goodes intensified in the months after the war dance. They will develop skills in active, conscious and reflective listening and communication, along with gaining an understanding of the Five Dimensions of Reconciliation. consider the various ways mood and meaning are created in archival documentaries. Students will explore how the editor and director created mood and message for the audience, and appreciate how archival documentary can powerfully communicate public messages of importance. Screenwriters: Mark Monroe, Ian Darling Director Ian Darling joins us to discuss, ://fbiradio.com/ian-darling-yvonne-sampson-last-days-adam-goodes-career/, https://thefinalquarterfilm.com.au/about/. Australian Teachers of Media, Cool Australia, and Reconciliation Australia, as well as the Australian Human Rights Commission, and many media organisations and influencers mobilised to support the film. All Rights Reserved. 0000003225 00000 n Directed by Ian Darling, and solely compiled from archival material in a technique reminiscent of another great sports doco in recent years, . This despite the nuance with which he spoke about the incident, and his carefulness to lay the blame on her environment, rather than on the girl herself. Cool celebrates the world's oldest living culture and acknowledges that sovereignty was never ceded. Reconciliation in Education is a program for Reconciliation Australia that supports all schools and early learning services in Australia to develop environments that foster a higher level of knowledge and pride in Aboriginal and Torres Strait Islander histories, cultures and contributions. Shortly this will also incorporate project-specific market and festival support provided by Screen Australia since its inception in July 2008. On this Wikipedia the language links are at the top of the page across from the article title. 0000007435 00000 n 0000009450 00000 n With Adam Goodes. We acknowledge and pay our respects to their cultures and traditions, and to Elders past, present and emerging. In July 2019 the NFSA hosted a screening of director Ian Darling's documentary The Final Quarter, about the events that provoked heated public debate and the retirement of champion AFL player Adam Goodes. Director Ian Darling wanted to explore what happened and why, and start the conversation about racism in Australia that Adam Goodes asked us to have. how technical and symbolic codes are used by the director of. Documentary Australia acknowledges the Australian Aboriginal and Torres Strait Islander peoples of this nation. 0000003655 00000 n This is the time period captured in director Ian Darlings exhilarating and confronting documentary, which premieres at the Sydney film festival on 7 June and is intended to spark a reassessment of the national conversation at the centre of which Goodes found himself. This sets the scene for exploration of one of the films key messages: that words matter, and they ought to be used responsibly. Oz musicians Paul Kelly and Dan Sultan provide an original ballad for the films bleak coda, which brings the saga very much into the present tense. Music: Paul Charlier Cool Australias curriculum team continually reviews and refines our resources to be in line with changes to the Australian Curriculum. We acknowledge the Gadigal people of the Eora Nation as the traditional custodians of the land on which we work and we pay our respects to ancestors and Elders, past and present. Extraordinary media coverage and audience response across newspapers, radio and TV, largely praising the way the film objectively revealed the truth about the last three years of Adam Goodes career. 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Explores injustices faced by Aboriginal and Torres Strait Islander peoples, their rights and the continuing journey towards reconciliation. The director of the film, Ian Darling, led the production team in deciding what to omit and what to include from the many televised me-dia segments and newspaper stories available. The second Goodes-focused doco, The Australian Dream, will surface in August. His response strives to acknowledge the hurt inflicted on Aboriginal peoples without sounding ungrateful for the honor just bestowed upon him, and its the futility of his efforts to tread this line between calling a spade a spade and conciliation that gives his media encounters their sense of discomfort, and of poignancy. Background [ edit] Cool Australia has produced 52 lessons designed for Years 5-12 that investigate racism, privilege, truth-telling, cultural pride, resilience, values and dignity. THE FINAL QUARTER April 2019 PRODUCTION CREDITS Director Ian Darling Producers Mary Macrae & Ian Darling Editor Sally Fryer Executive Producer Malinda Wink Executive Producer Mark Monroe Executive Producers Mark Nelson & Will Vicars Archive Researcher Lindy Boylan Composer Paul Charlier Sound Designer Wes Chew Graphics Paul Ducco Edit Assistant Made entirely from archival footage, photos and interviews sourced from television, radio and newspapers, the film reviews the national conversation that took place over this period, and places it in a wider historical context. subsequently exacerbated the situation by suggesting, in an on-air interview, that Goodes be used to promote the forthcoming stage musicalKing Kong. Darling also makes the point that we can always learn from history whether that history is found in an ancient scroll inside a museum, or via television footage from the old, dark, distant days of 2015. Specialist lessons will achieve the best results when THE FINAL QUARTER documentary is introduced as atopic across the curriculum. Uncomfortable, too, in the middle of a media storm he never saw coming, and which seems never to abate. Teachers are advised to use their discretion when deciding whether to show this film. Further, the film has already achieved positive educational outcomes. 'The Final Quarter' compiles a selection of opinions from cultural commentators at the time (like Andrew Bolt, Miranda Devine, and Rita Panahi), who present the most common arguments for why people were booing Goodes. 0000067911 00000 n It is essential that teachers watch The Final Quarter documentary in full before showing it to students. 0000069818 00000 n Students explore the way mood and message is created for the audience by the editor and director. 0000005976 00000 n Premiering at the Sydney Film Festival, what a picture The Final Quarter paints; one that as the archival footage emphasises all played out in the public eye under the sizeable gaze of both the country's football media and the popular code's supporters. Addressing the media the day after famously being called an ape by a 13-year-old girl in the stands, for instance, Goodes rightly criticises the teenagers behaviour while calling for compassion insisting that its not her fault, that kids are innocent and we need to support her. Use these age-appropriate lessons to guide your students through the process of viewing the filmin its entirety. Use the film to educate young people about racial vilification at a grassroots level and continue outreach to ensure The Final Quarter continues to have a long-term and lasting legacy. Retrieved fromhttps://thefinalquarterfilm.com.au/about/. Theyre booing you because youre acting like a jerk, he bellows, going on to ridicule the league for promoting diversity-related initiatives and declaring that, as a white heterosexual male, he is waiting for my day to come. Explores what it means to be Australian, and how we express our individual and collective identities. 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