High Ground study guide

Australia's First Peoples

When studying High Ground, it is important to understand that Australia's First Peoples comprise more than 250 different language groups with language being deeply tied to identity, culture, and knowledge systems. A significant theme in High Ground relates to the colonisers' failure to acknowledge the rich living and distinctive culture of the Yolngu people whose land they are taking over and occupying. In your research and analysis, keep this diversity in mind. In High Ground, we see how the Commanding Officer Moran represents the British colonial perspective that drove the initial colonisation of Australia and how this makes him blind to the culture and law of the Yolngu people he engages with.

Language and terminology

There is a range of views about the appropriate terminology to use when referring to First Nations peoples and cultures, and these preferences can also change over time. What is most important is that you are thoughtful in your use of language relating to Australia's First Peoples' identities and cultures, and that you have spent time researching current best practice. Visit reputable websites for information about appropriate language and terminology for referring to Australia's First Peoples. You may find this advice from Reconciliation Australia a helpful place to start. This resource from the Australian Indigenous Health Infonet provides simple explanations of terms such as 'clan' and 'mob', and most importantly, provides guidelines about use. (For instance, it is not appropriate for non-Indigenous people to use the word 'mob'.)

Both ways approach

In High Ground's credits, Stephen Maxwell Johnson acknowledges his friend "Dr Djarrtjuntjun Yunupingu Lead singer of Yothu Yindi, Australian of the Year both-ways educator, proud Yolngu man". Dr Yunupingu championed an education system that recognises the value of both non-Indigenous and First Nations ways of thinking and learning. This is a perspective that values balance and mutual respect, and links up with the concept of Makarrata, a Yolngu word that describes the acknowledging of wrongs and the coming together of two parties after a dispute. It also conveys the restoration of balance: "There is a potential for two sovereignties to co-exist in which both western and Indigenous values and identities are protected and given voice in policies and laws." (Broome regional dialogue, Uluru Statement from the Heart)

Production context and consultation

The director Stephen Maxwell Johnson is a non-Indigenous man who worked on developing this project for many years prior to filming. High Ground represents events experienced by the Yolngu, Bininj and Jawoyn people of Northern Australia, so it was important that Johnson work collaboratively with these communities to ensure their active involvement in portraying their history and culture.

For many years, the people who colonised Australia saw themselves as the ones creating history and presented events from their perspective, denying Australia's First Peoples the right to self-representation. Therefore, in order to ensure an authentic insight into the injustice and trauma of colonisation and a respectful adherence to cultural protocols, Johnson partnered with Rirratjingu elder Witiyana Marika, who as producer and senior cultural adviser, led a process of deep consultation with the Yolngu, Bininj and Jawoyn communities:

"Families right across, Bininj, Jawoyn and Yolŋu people, all the clans, the tribes, the families, the permissions and the respecting and the good will of wanting to tell this story was quite incredible." (Interview: Stephen Maxwell Johnson & Witiyana Marika GLAM Adelaide, 4 Jan 2021)

High Ground was shot in Arnhem Land and Kakadu, so permission for filming was sought from the traditional owners across these regions. An important part of Marika's role was to bring different language groups together in such a way they felt their stories were represented:

"Marika is a respected Rirratjingu (Yolngu) ceremonial leader and was also senior cultural advisor on High Ground, negotiating the complexities between different Indigenous clans who joined together to work on different lands. The Traditional Owners of Cannon Hill, Arnhem Land, and Jawoyn are all executive producers on the film. In keeping with tradition, the film crew was welcomed to the country through ceremony and then farewelled. The elders and their communities were the first to see the film after it was completed: 'Let me tell you, the screams and the applause, and the laughter and the tears, when they saw the film, on their Country. Their film. Their story.'" (High Ground: creating an outback thriller that resonates, Screen Australia website, 3 February 2021)

Country

"Country encompasses land, waterways, seas and skies, as well as the energy and space in between. It also encompasses relationships. Relationships with plants, relationships with animals and relationships with Ancestors (to name a few). (What is Country? Common Ground, last updated 14 Dec 2023)

The relationship to Country of the Yolngu characters in High Ground is a significant part of the narrative, with their understanding of their connection to the land being a crucial difference between them and the colonisers. Thanks to the time spent working with Elders to get permission to shoot on Country, High Ground takes viewers into Country that had not previously been filmed. The drone shots reveal an extraordinary perspective on the world below that highlights Country as sacred and eternal beyond the destructive impact of colonisation. In particular, the shots of Nimbuwa Rock which bookend the film (i.e. appear at the beginning and the end) attest to the cultural significance of Country.

Jacob Junior Nayinggul, who plays Gutjuk and is a ranger in the Gunbalanya community in east Arnhem Land, has spoken of the importance of Country and how this informed his decision to take on the role: “We do have sacred ground. It was my land – and I’m one of the creatures of the landscape.” ('"I did this for my family": how High Ground uses a "both ways" approach to tell Australia’s story', The Guardian, 9 Feb 2021)

Sharing stories

Because High Ground focuses on telling the story of the frontier wars in Northern Australia, it draws on the stories and family histories of multiple language groups in this region. A key part of Witiyana Marika's role as cultural adviser was to bring these stories together in a way that meant each community was satisfied their culture and history had been respected.

Stories of violence and dispossession have been passed down over time in these communities, with Marika, who also plays the role of Grandfather Därrpa, sharing the experience of his grandmother's clan and explaining how this history had been passed down via his father:

“My father was the one that told us the story of what happened then. It’s only through a level of understanding of country, and through the cycle of songs, that they were able to pass on that story." ('"I did this for my family": how High Ground uses a "both ways" approach to tell Australia’s story', The Guardian, 9 Feb 2021)

While it is important to understand the cultural and linguistic diversity of Australia's First Peoples, the different language groups who contributed their stories to the High Ground narrative, are connected through their experience of colonial violence. Stephen Maxwell Johnson explains how the different stories about this shared experience were incorporated into the film narrative: "the narrative and the heart of this film is inspired by truth. It’s taken a long time to consult, to sit and talk and sing and even dance all elements and thoughts and ideas that flow through the storytelling to make sure that culturally we got the language and representation correct." (Interview: Stephen Maxwell Johnson & Witiyana Marika GLAM Adelaide, 4 Jan 2021)

Reflect and respond

1. This section contains a number of links to resources that will build the cultural understanding required to understand important themes explored in High Ground. Take notes as you read these resources. As you go, jot down: (a) things you want to know more about; (b) relevance to High Ground, and (c) how what you learn relates to themes or scenes in High Ground.
2. Research the languages spoken by the three main groups whose stories were shared as part of the High Ground collaboration: the Yolngu, Bininj and Jawoyn peoples. Find their Country on the Gambay Languages map. You can also visit the AITSIS website to view their interactive Languages map, which gives a less in-depth, but still helpful insight into the linguistic diversity of Australia's First Peoples. Why is it important for you to do this work of locating the Country of the different language groups who shared their stories during the development period of High Ground?
3. Find out more about Australia's First Peoples' connection to Country.
4. Read this article about the NAIDOC Week theme 'Heal Country'. How does the ongoing destruction of Country and culture in Australia interconnect with the colonial perspective presented in High Ground?
5. Take the time to watch High Ground's end credits. What do these credits tell you about the consultation and collaboration that was part of the production process? Explain and give examples.
6. Why is it important to ask about production context and protocols when studying High Ground?
7. Find out more about Witiyana Marika's role in the development phase of High Ground. You might like to start with this informative article.
8. This tribute to Dr Yunupingu outlines his philosophy of both-ways education. How does this add to your understanding of the approach to making High Ground and to the themes and perspectives presented in the film narrative?

Historical contexts

A very long history

In High Ground, the depiction of the ancient, eternal, and ongoing historical connection of Australia's First Peoples to Country is powerfully conveyed through the symbolism of Nimbuwa Rock. The film opens with a sweeping shot of the rock, positioning it as a sacred, timeless landmark — a constant witness to the land’s deep history. In the closing shot, the camera returns to Nimbuwa Rock emphasising that this connection is unbroken, enduring, and beyond of the violence of colonisation. The rock is a symbol of stability and continuity that encapsulates the broader theme of the film – that, despite the forces of displacement and violence, First Peoples' connection to Country remains vital and unyielding, spanning both the past, present and the future.

Witiyana Marika has described the significance of Nimbuwa Rock in the following terms:

"The strange and divine ranges tell a story and connects people … it’s there, it’s in their blood. There is a big mountain called Nimbuwa Rock, that’s where the two sisters created us: from my side in the east, giving the land and power, moving resources. The youngest one looks to the east, the other one looks at the west – and in the middle of Arnhem Land, that’s where they stand: south, east, north, west." ("'I did this for my family’: how High Ground uses a ‘both ways’ approach to tell Australia’s story" The Guardian, 9 Feb 2021)

The significance of Nimbuwa Rock as an enduring symbol of culture and Country is echoed in the representation of Grandfather Därrpa. He is first introduced standing on high ground with an ancient rockface behind him, and with the exception of his meeting with Moran, this is where he stays.

Colonisation

Australia was colonised by the British who initially established the country as a penal colony. In 1788, the First Fleet of British ships brought 1400 people, including convicts, officials, marines and other British newcomers, to begin the process of establishing a permanent settlement:

"The invasion of Sydney by the First Fleet in 1788 has meaning for all Aboriginal peoples. The event marks the beginning of dispossession and genocidal practices that continue to have devastating effects on First Nations peoples today." (Australian Museum, Terra Nullius)

During this period the British were in the process of creating an empire that saw them establishing colonies and territories across the globe. Like many European powers, the British believed they had a right to conquer and reshape other parts of the world, often through violence and domination. This colonial perspective drove the colonisation of Australia where the land was claimed without any formal agreement or treaty being negotiated.

The invaders did not recognise the sovereignty of First Nations people as the owners of their land. And in 1835, this racist assumption was given legal status in a proclamation made by NSW Governor Richard Bourke, who invoked the principle of terra nullius as the basis for British settlement. Terra Nullius literally means empty land, or land belonging to no one. Not only did the colonisation/ invasion Australia disregard the land rights of the traditional owners, they undermined and devalued the cultures, languages, and belief systems of Australia’s First Peoples.

The Australian Wars

For much of the twentieth century, Australians viewed history through a colonial lens. This meant that the arrival of Captain Cook and his circumnavigation of the east coast of Australia in 1770 and the arrival of the First Fleet in 1788 are celebrated as significant historic events. What has often been left out of this narrative is the violence and injustice that cannot be separated from the colonial narrative or the history of Australia as a nation. The myth that Australia was settled peacefully has been described as The Great Australian Silence. While some Australians still struggle to recognise the racism and dispossession faced by First Nations people during and after the colonial period, prominent historians such as Bruce Pascoe, Henry Reynolds, Clare Wright and John Maynard have countered The Great Australian Silence with histories that have made First Nations' perspectives and experiences part of Australia's public and shared history. As part of this determination to share a fuller version of the Australian story with all Australians, a group of historians and researchers have mapped the Colonial Frontier massacres that took place between 1788 and 1930.

We can see from High Ground that screen texts are a powerful way to communicate new knowledge, and filmmaker Rachel Perkins has played an important role in creating "a fuller version of the Australian story" through her documentary series First Australians (2008) and the more recent series The Australian Wars (2022). In each case, Perkins' created these productions to carve out a place for First Nations peoples' experiences and histories within the national story. Of First Australians Perkins said: "we hope to change a new generation of Australians thinking so they grasp a further dimension to the history of this country and hopefully embrace Indigenous history as part of their own culture as Australians" (Rachel Perkins Keynote Address, 2 Deadly Conference, 2006). The purpose of First Australians was two-fold: to give Australia's First Peoples back their history and to educate non-Indigenous Australians about their country's past.

When making The Australian Wars, Perkins was not only determined to break apart The Great Australian Silence and share the violent history of Australia's colonisation, but also to highlight the strength and determination with which First Nations peoples fought back and resisted. Perkins initially resisted this topic because of the personal toll she knew it would take: "She knew it would require years of sifting through violent colonial history that affected her own family; emotional scarring would be unavoidable." (‘"They are burning with a desire for justice": Rachel Perkins on Australia’s genocidal past', The Guardian 18 Sep 2022)

The final structure of the documentary series combined archival documented history stories from the archive with oral histories passed down through family and community, including from her own family history. This oral history also plays an important role in the narrative told in High Ground. With the support of Witiyana Marrika as senior cultural advisor, Stephen Maxwell Johnson and screenwriter Chris Anastassiades were able to learn from First Nations communities in the North about their past experience of colonial violence and then knit these memories into the screenplay. Indeed the event of the Gan Gan massacre that inspired the specifics of the High Ground narrative was communicated to Witiyana Marika by his grandmother: “I didn’t learn it from the school,” he says. “My grandfather brought all the nephews, sons and daughters to Gäṉgän. There were over 100 people that had passed away.” (‘High Ground’ producer Witiyana Marika: “I would like to show Australia to the world”, NME, 27 Jan 2021)

While academics have confirmed that High Ground presents an accurate portrayal of the Frontier Wars, it is important to remember when you are writing about the film that, unlike The Australian Wars, High Ground is a feature film that tells a fictional narrative based on historical events. In High Ground, the many stories, memories and experiences both on the record and also shared during the consultation process inform the narrative, which has been constructed to provide audiences with a personal and emotional connection to the events of the past.

The Voice referendum

High Ground is also about recent Australian history. The film was released in the context of the Uluru Statement from the Heart, which is a petition to Australia from First Nations Australians, written and endorsed in 2017. The Uluru Statement from the Heart called for the establishment of a First Nations Voice enshrined in the Australian Constitution, so that First Nations Australians would have an advisory role in decisions made by the government "on matters relating to Aboriginal and Torres Strait Islander peoples". The concept of Makarrata was at the heart of this petition, and in the Makarrata scene in High Ground, viewers are shown the limitations of a colonial perspective that fails to respect the ancient culture and history of the Yolngu people, or acknowledge their humanity. With this in mind, you can see how High Ground has the purpose of educating viewers about the injustices of the past in order to connect them to the ongoing impact of colonial violence in the present day.

In 2023, Australians voted in a referendum about whether the Constitution should be altered to enshrine a Voice to parliament. Because the Yes vote was not given bi-partisan support, the referendum was defeated. An impactful way to understand how High Ground connects with this significant twenty-first century social and political issue is to think about how when Australian viewers first watched this film, they could imagine a near-future where Australians have come together to give Australia's First Peoples the respect they are denied in the events depicted in High Ground.

Reflect and respond

1. The opening and closing shots of Nimbuwa Rock frame the rest of the High Ground narrative. What is the purpose and effect of this strategy?
2. In the opening scene that follows on from the shot of Nimbuwa Rock, the representation of Gutjuk's community establishes the Yolngu peoples' authentic ownership and connection to Country. Explain how this connection to and ownership of Country is communicated.
3. A significant theme in High Ground is how colonialism distorts the perspective of the non-Indigenous characters. List the many ways this is communicated in the narrative.
4. Even though High Ground is set in the past, it is speaking to a twenty-first century audience, so it bears with it the history that has followed the time frame covered in the film narrative. With this in mind, you may like to find out more about the momentous Mabo decision that overturned the principle of terra nullius, as well as looking at the recent history of the Voice referendum.
5. Both The Australian Wars and High Ground have the purpose of breaking through "The Great Australian Silence". Explain what is meant by the term "The Great Australian Silence". Why do you think Australian history has largely ignored the violence of colonisation? Why do you think some Australians continue to deny this history despite the evidence?
6. Why is it important for Australians to understand the history of this country, and the different perspectives or lenses through which it is viewed?
7. Stephen Maxwell Johnson has commented that he had to bide his time before telling this story because "No one wanted to know about massacres; our true history, that kind of stuff. But as the years have gone by, the discussion has started.” Do you think audiences are ready for this story?

Colonialism

The impact of colonisation (act of colonising) and colonialism (ideas and policies that are part of colonisation) are at the heart of the narrative, driving the actions of the non-Indigenous characters and destroying the lives of the Yolngu people whose Country is invaded.

Johnson visually communicates the destructiveness of colonial values that privilege the lives and culture of the colonising people over and above the First Peoples of the land in the scenes of Moran using photography to record and create history. The unreliability of Moran’s perspective and the influence of British beliefs and laws on his point of view is communicated by the shots of the upside down view that can be seen through the glass in the camera. We are shown how history is viewed and presented through the lens of the colonisers and the colonisers’ culture and view of the world.

Reflect and respond

1. Think about how High Ground informs viewers about the colonisation of the north of Australia and about the policies and ideas (ideology) that allow the colonists/invaders to believe they have a right to Yolngu land.
2. Which characters are shown to see the world from a colonial perspective? How is their colonial perspective communicated?
3. Explain how the recording of history is depicted in High Ground as part of the colonial process. Why are the colonisers so determined to record events that take place from their perspective?

Conflict

While it seems very obvious that High Ground is a film about conflict, it is important to think about the multiple layers of conflict presented in the film. The massacre at the beginning of the film is a brutal and shocking event that is inspired by an actual historical event but also has the purpose of representing the many years of violence and conflict that are part of the colonisation of Australia. We also see how the conflict between the Yolngu people and the colonisers triggers conflict between individuals based on their view of events and of their sense of their place in the world.

Throughout the narrative Travis is in conflict with the non-Indigenous characters that he engages with. In this context, he wrongly perceives his relationship with Gutjuk as a refuge from the conflict and personal compromise that emerge from every interaction with Eddy and Moran . In fact, Gutjuk is always loyal to his people. Baywara and Grandfather Därrpa mirror the conflict between Travis and Moran as they clash over how to respond to the aggression of the colonial invaders. Baywara seeks justice through revenge, while Grandfather Därrpa is determined to remain true to his law.

Reflect and respond

1. Explain how High Ground reveals how conflicting ideas and perspectives lead to violence.
2. High Ground's opening scene is set in 1919; the year following the end of World War 1, a devastating conflict that saw more than 60,000 Australians killed and many more wounded. Explain how this conflict is referenced in High Ground. As well as this overt textual reference, how might Travis and Eddy's experience in WW1 be represented in the unspoken subtext of the film? (Think in particular about characterisation.)
3. How is the gun represented in High Ground's portrayal of the conflict between the Yolngu people and the invaders?

Makarrata

Grandfather Därrpa is set apart through his desire for balance and reconciliation, and his determined adherence to the principle of Makarrata or treaty. Baywara and Gulwirri – understandably – cannot turn their gaze away from the events of the past, but Grandfather Därrpa will not allow his peoples' established culture and belief system to be compromised by the colonial perspective of the invaders. He is very aware of the wrongs that have been done to his family by Moran’s men, but wants to achieve justice by remaining faithful to his law, rather than descending into lawlessness in response to the perpetrators.

Grandfather Därrpa is given immense status in the narrative and his strength and vision are contrasted with Moran's limited and compromised perspective. Makarrata is a Yolngu word that refers to the resolution of a conflict through acknowledging of wrongs and the coming together of two parties after a dispute. Makarrata is represented in High Ground as a powerful concept that transcends the divisions and dispossession wrought by colonisation.Some viewers refer to the pessimistic outlook of High Ground but, on the contrary, by staying true to the principle of Makarrata and to the established law of his people, Grandfather Därrpa offers a way forward into the future.

Reflect and respond

1. How does Grandfather Därrpa enact the principles of Makarrata throughout the film?
2. Even before Moran hears about the attack on the station, how do we know that he is not interested in achieving a compromise?
3. It emerges that Grandfather Därrpa understands English. Why might it be important for his side of the Makarrata discussion to take place in his language and for his grandson to translate rather than Claire?
4. How important is it that Grandfather Därrpa asks Gutjuk to translate for him in this important scene? What do you make of the fact that Gutjuk's English translation of his grandfather's words is so powerful and precise?

Belief and religion

High Ground, communicates the holistic nature of the belief system which guides the lives of the Yolngu people represented in the film. In interviews, Witiyana Marika has pointed out the cultural significance of the opening and closing shots of Nimbuwa Rock but his comments only confirm what already exists in the text – the use of the technique of bookending combines with the grandeur of the drone shot to communicate the spiritual and eternal power of Country. For Grandfather Därrpa Yolngu culture is sacred, and it is his role to protect it for future generations.

Baywara's anger has become as hard as his signature stone spearheads, but Grandfather Därrpa sees the stone spearhead as representing the rule of law. A leader must remain true to the law and resist sacrificing it to anger. In the Makarrata scene, Grandfather Därrpa meets Moran to work towards a compromise, but he will never turn away from a law that is "perfect" and "consistent" and unites his people. Culture and law come from "Mother Earth", and cannot be overwritten by alien laws that have no connection to Country.

Reflect and respond

1. What does the opening scene in the Yolngu community communicate about culture and belief?
2. How does Grandfather Därrpa stay true to his people's beliefs?
3. Compare the representation of the creation stories and beliefs that guide Grandfather Därrpa and the Yolngu people, with the depiction of the religious and and cultural beliefs of the non-Indigenous characters.
4. What do you think is being communicated through the design of John Braddock's church and the final image of it in flames?

Country and landscape

The visual and aural representation of the landscape in High Ground is integral to the narrative and, as in the opening and closing shots of Nimbuwa Rock, communicate that Country is more powerful than the destruction and violence wrought by the colonisers. The  constant sounds of the natural world, particularly of birdsong, play an important role in communicating its power and its existence above and beyond human-made destruction: "there's a distinct sense — with the film's frequent recursion to images of native flora and fauna — of a wider universe indifferent to human squabbles; a world that will endure long after civilisation has vanished into time." (High Ground: Yolngu Boy director Stephen Maxwell Johnson and elder Witiyana Marika reunite for Northern Territory Western, ABC Arts, 28 Jan 2021)

The opening scene of High Ground where the Yolngu community is camped by the water hole communicates how connected they are to this place. This contrasts with the visual and aural disruption introduced by the cutaway shots of the men on the run and the colonists on their horses that forewarn of the cataclysmic upheaval of the massacre with which the scene concludes.

In shooting the landscape, Johnson and his director of photography Andrew Commis made extensive use of drone shots in filming the vast and varied country of Kakadu and Arnhem Land. From this immense height, the people who populate the narrative disappear, only appearing as the camera zooms in. These shots reference a concept of the high ground that is outside human control or perspective.

These shots link thematically with the many cutaway shots of birds flying through the sky. At other moments, such as when Grandfather Därrpa is alerted to the massacre through the birds' disturbed flight, the birds highlight the way that the colonisers disrupt the natural world.

When shooting people in the landscape, Andrew Commis uses wide shots in combination with handheld camera shots that come in close to the characters. He has said that this technique creates a sense of intimacy between viewer and story, but it also highlights that people are always in landscape and on Country.

Reflect and respond

1. Watch the opening scene in Gutjuk's community and note how: the camera connects the characters to the landscape, and how sound and editing are used to represent the natural world and its disruption.
2. Map out the many cutaways to wildlife, particularly birds, and note the relationship between what you see and what you hear. What are these shots communicating about Country?
3. The camera places many characters within the landscape and in the context of the natural world, but they accrue different meanings. This may relate to: sound, costume, composition, body language, whether they are on horseback or are carrying a gun. Watch some scenes with this in mind and note down what you observe and learn.

Trauma

As discussed in the context section (above), High Ground is a fictional narrative that draws on memory and history to help uncover the violence and trauma that for many years was written out of the Australian story. Stephen Maxwell Johnson wanted to "tell the story from a Bininj perspective, and from a Yolgnu perspective, and I hope we’ve achieved that" (Stephen Maxwell Johnson: Taking The High Ground, Filmink, 2021). By presenting this narrative about frontier violence from the perspective of the Yolngu characters, High Ground is able to dig deep into the trauma felt by the survivors. Gutjuk is introduced as a child starting out on a journey of learning through family and community. When this journey is so horrifically and violently cut short, Gutjuk is left to grow up in the shadow of this traumatic loss. Both Baywara and Gulwirri have suffered so much, they have stayed strong by building an alternative identity out of their anger.

While Johnson sees his film as an invitation to viewers to engage with Australia's past from a First Nations' perspective, he has also tried to create points of connection with the experience of non-Indigenous Australians. The film is set in 1919, the year after the end of World War 1. Travis and Eddy are ex-soldiers, and their wartime experiences inform their relationship and also their connection to the post-war world they now find themselves in. Australia was involved in WW1 because of the country's connection to the British Empire and, like many returned servicemen, Travis has lost faith in loyalty for its own sake and the group mentality that goes with it. In contrast, Eddy subscribes to Moran's divisive contention that they need "to stick together" against a perceived enemy, and considers Travis's disconnection to be a disloyal betrayal.

Reflect and respond

1. What are some of the techniques used to connect us to the Yolngu perspective in High Ground's opening scene?
2. How does the portrayal of Gutjuk and Baywara in the opening scene contribute to the viewer's understanding of how these characters have changed when the narrative resumes twelve years later?
3. What do you make of Eddy and Travis's relationship and the impact of their WWI alliance?

The high ground

There are many ways of understanding how to read the title of the film in the context of the film narrative, but as the layers and possibilities build, the title accrues thematic significance communicating ways of engaging with society, nature and others that is expansive and outside human self-interest, while also highlighting the limitations of the colonial perspective.

As has already been mentioned, the drone shots that provide a birds' eye view communicate a concept of the high ground that transcends human conflict and a moment in time. This idea is also represented in the opening and closing shots of Nimbuwa Rock. With the exception of his descent to the flats to seek reconciliation through Makarrata, Grandfather Därrpa is portrayed as literally occupying the high ground through his position in the rocky caves that are part of the escarpment.

That Grandfather Därrpa occupies the moral highground is brought home through his extraordinary capacity to adhere to the established law, while also seeking to negotiate with his adversaries in order to seek some kind of common ground. The fact that Moran is incapable of reciprocating or changing his view is a sign of the blinkered nature of the colonial perspective, in contrast with Grandfather Därrpa's wide-ranging viewpoint. By anointing his grandson Gutjuk as a future leader, he bequeaths him the high ground.

Like Baywara, Gutjuk often struggles to follow Grandfather Därrpa's advice to play the long game, but his spirit animal the hawk is represented by the kite flying high in the sky. This image follows on from Gutjuk rejecting the might of the gun and heading off into the future with Gulwirri, and connects him to the high ground in a way that aligns him with Grandfather Därrpa, as well as the eternal law represented by Nimbuwa Rock.

Moran believes he has the high ground, thanks to the crown on his badge, a demonstration of his limited worldview and a misrecognition of the meaning of place and belonging. While Travis has no illusions about Moran and the colonial laws he is imposing, he also erroneously believes he has the high ground, through his outrage at the actions of others, perhaps even in his decision to shoot the murderous thugs in the aftermath of the massacre. He is also the character who twice describes the advantages of occupying the high ground to Gutjuk, as he teaches him how to shoot and engage in battle. As it eventuates, each time Travis is viewing events from his position up high, he is not at all able to take control. In the case of the massacre he watches helplessly as the first shots are fired and then when he watches Gutjuk's exchange with his uncle Baywara, his eagerness to protect Gutjuk leads him to misread the situation and shoot too soon.

Reflect and respond

1. What role does the high ground play in Gutjuk's growth, especially in relation to his future leadership?
2. What does Travis’s belief that he has the high ground reveal about his character? How does this relate to his attempts to navigate the conflict at the heart of the narrative?
3. What does Grandfather Därrpa’s attempt to seek common ground with his adversaries suggest about his understanding of leadership and justice, and how does this compare to Moran's understanding of these principles?
4. Rewatch the scene where Grandfather Därrpa explains to Gutjuk how Baywara lost his way. What do setting and camera communicate and how do they connect with Grandfather Därrpa's words? Are you surprised that Gutjuk chooses the hard stone of anger at this point, rather than the one of law and Country?

Genre refers to the kind of film we are watching. Particular genres can be recognised by shared elements and features known as conventions. By working with genre, filmmakers can tap into audience expectations, that can be built on or subverted. It is common for filmmakers to draw inspiration from multiple genres, weaving a complex narrative that references familiar elements while also provoking new ideas and perspectives.

The Western

When creating High Ground, Stephen Maxwell Johnson was influenced by the American Western. In interviews at the time of the film's release, Johnson actually described the film as a Northern, because whereas in the United States the West was considered the frontier – a remote area with large swathes of land that had not yet been colonised – in Australia this was the North.

This referencing of the western relates to:

• conflict over territory
• conflict between law and lawlessness
• the prominence given to the gun
• male-dominated narrative
• the few female characters play a symbolic role
• the conflict between two oppositional perspectives
• outsider protagonist/s
• themes of justice and revenge
• representation of landscape as wide-ranging

The classic American Western is organised around simple notions of good and evil, and the hero is given stature for imposing order on disruptive forces who might have been native Americans fighting back, outlaws or cattle rustlers. In contrast to the dominant Australian historical narratives about the country's peaceful settlement, the popularity of the classic Western highlights that there was no great silence in the US about the colonisation of the West. Be that as it may, High Ground is more correctly described as a revisionist Western, following in the footsteps of American films that that challenged the simplistic storytelling of the classic Western.

The revisionist Western emerged in the US in the second half of the 20th century, as filmmakers and audiences began questioning the portrayal of historical events from the perspective of the colonisers. These revisionist films began presenting alternative points of view, giving Native Americans subjectivity and reversing earlier depictions of the dichotomy between civilisation and savagery. An integral part of High Ground's narrative is to present events from the perspective of the Yolngu people, the inhabitants of stolen land. In this story, the colonisers wield illegitimate power and force, while the Yolngu characters seek justice.

We are shown how the colonisers' view of the world is limited by their belief in the power of the gun. There are multiple point-of-view shots presented through the cross hairs of the gunsight. Unlike the blurry upside-down point-of-view shots through Moran's camera, the magnified perspective of the gunsight appears to provide a better and more powerful view of events – remember how impressed Gutjuk is when he first looks. He says: “Ooh. It all comes up. But, he like Travis does not achieve a more accurate view of the world from this perspective. Instead, the view from the gun is always implicated in violence and misunderstanding.

In the aftermath of the senseless, almost absurd series of shootings outside the police hut at the settlement, the image of Travis, Gutjuk and Claire’s clasped hands offers a glimpse of possible reconciliation, but as Gutjuk and Gulwirri ride off into the distance – the true heroes of this 'Northern' – the audience is left in position with the dead bodies lying in the foreground. The image of Gutjuk and Gulwirri does in fact reference a familiar narrative trope used in classic westerns where the hero rides away, leaving behind their old life. Through this ending, High Ground leaves us with more questions than answers, in particular questions relating to the title.

Reflect and respond

1. Look through the list of conventions relating to the Western genre and explain how they do and don't relate to High Ground.
2. Claire and Gulwirri are the only prominent female characters in High Ground. What would you say each of these characters symbolise? Do they share any similarities?
3. Guns are a prominent part of High Ground and characters' relationship with guns reveals a great deal about their view of their place in the world of the film. Identify some of the most revelatory scenes featuring guns.
4. The shootings at the end of the film are an absurdist echo of the horrific massacre at the beginning of High Ground. What do you make of the pilling-up of bodies in this final scene? What is being communicated? What is the role and impact of Moran's nephew? What does it mean that Claire is forced to use a gun.
5. Gutjuk and Travis are the protagonists, and each represents a different version of the Western hero. Explain how and why each of these characters could be considered heroic?

War film

Albeit less obviously than in the case of the Western, High Ground has many of the characteristics of the War film. Perhaps the most chilling aspect of this is how the landscape, despite its power and beauty, becomes a battle field. The unsuccessful attempt to broker a treaty in the Makarrata scene, the inability of each side to conceive of the humanity of their adversaries, and the difficulty of imagining a resolution to the conflict are all part of this genre. Other elements include:

• personal sacrifice
• camaraderie
• misunderstanding and vilification of the adversary
• the dehumanising effect of war
• the emotional toll of war
• the futility of war
• the human impact of warfare
• war's capacity to reveal people's strengths and weaknesses

Thinking about High Ground as a war film highlights the point of view of characters such as Moran and Eddy, who are focused on a 'victory' which would see the non-Indigenous invaders claiming the country for themselves. As Eddy says: “You can’t share a country, Claire.” This also draws attention to how characters like Baywara and Gulwirri have lost a sense of their own humanity along with any perception of the humanity of their enemies.

In contrast, in the climactic last scene, the dual protagonists Gutjuk and Travis reveal a heroic capacity to recognise the humanity of the other, while Travis sacrifices his life to protect Gutjuk. Claire, as often happens in war, is forced to use violence to protect a loved one, highlighting how the brutality of war draws even the most unwilling participants into its orbit. Grandfather Därrpa is exceptional in his refusal to become implicated in a conflict that is taking place outside of the law that has guided his people for millennia.

Reflect and respond

1. How does High Ground depict the emotional and psychological effects of war?
2. How does the landscape, despite its beauty, function as a battlefield in the film?
3. How does High Ground explore the futility of war, especially through the failed attempt to broker a treaty in the Makarrata scene? What does this moment suggest about the possibility of peace or reconciliation in the context of colonial violence?

Revenge narrative

Revenge is a powerful driver of the High Ground narrative and also of viewer engagement. The Revenge genre usually features a protagonist who has suffered a grievous wrong, such as the loss of a loved one, betrayal, or personal harm, and embarks on a relentless quest for payback against the antagonist, who is responsible.

The revenge genre:

• requires a powerful back story that justifies the desire for revenge
• establishes a strong emotional connection between viewer and the wronged character/s
• deals in high stakes
• involves a quest for justice
• the line between justice and vengeance is often blurred
• often leads to a cycle of violence
• moments of intense conflict/confrontation
• climactic showdown
• weighs up the power of revenge versus forgiveness

It is human nature to want to avenge injustice or a wrong that has been done, and the massacre that takes place in the first act of High Ground is profoundly unjust and inhumane. In presenting it the way that he does, Stephen Maxwell Johnson includes the viewer in the horror, highlighting the peacefulness of the community and the senseless violence of the attack. From the very beginning of the film, the viewer is connected emotionally to the Yolngu characters and can relate to Baywara's desire for retribution. Subsequently, when Gulwirri tells Gutjuk what happened to her and her family, her anger is relatable and justifiable.

Revenge is also a spur for the violent actions of the non-Indigenous characters. However, the film narrative does not invite viewers to engage emotionally with vengeful acts perpetrated by the non-Indigenous characters. The excessive response to the killing of the cow in the opening scene reveals that the colonisers are looking for an excuse to kill the original inhabitants. In the case of Baywara's revenge attack on the station and the death of two people, Johnson does not require viewers to feel anything for the victims.

Reflect and respond

1. Find out more about the revenge genre and its conventions. What revenge films have you seen? What elements do they share with High Ground? How do they differ?
2. How are the conventions of the revenge genre employed in High Ground and how does this influence viewer response?
3. For the viewer to relate to a character's desire for revenge, a strong emotional connection needs to be forged through the telling of the back story. Rewatch the massacre scene and note how camera, acting and sound build this connection.
4. Does High Ground challenge or endorse the idea that revenge is a valid response to wrongs?
5. How does the final scene relate to this genre, and how does it subvert it?
6. What is Grandfather Därrpa's role in this context?

Coming of Age narrative

Travis and Gutjuk function as dual protagonists whose final reconciliation gives the viewer hope for the future. However, from another perspective, Gutjuk is the true protagonist whose significance is established in the opening scene, where he is being taught life lessons by his father and Baywara. That he survives the massacre thanks to his mother's successful effort to save him further marks him out.

As the narrative progresses, Gutjuk grows and changes, learning important lessons and reaching a form of resolution connected to knowledge and maturity. In drawing in this way on the coming-of-age genre, High Ground highlights the transformative power of the knowledge shared by Grandfather Därrpa and presents Gutjuk as a character who gives us hope for the future.

In the Coming of Age genre, the protagonist:

• has experiences that lead to psychological, emotional and moral growth
• engages in a journey or quest (this may be symbolic rather than actual)
• interacts with influential figures - mentors, false guides and/or antagonists
• undergoes trials and tests
• follows a trajectory from innocence, to disillusionment and/or confusion, to experience

When the main part of the narrative resumes after a twelve-year hiatus, Gutjuk seems to be placed in the background, as Travis is met with a series of challenges. However, When Travis decides to take Gutjuk as 'bait' on his mission to apprehend Baywara, it emerges that Gutjuk has been biding his time, while hiding in plain sight as the teenage Tommy, disguised in western clothes and speaking the language of the invaders.

In the opening scene, we see how keen Gutjuk is to learn how to become an effective adult in the world, and that both his father and Baywara are impactful teachers. Twelve years later, Gutjuk must be warned against Baywara's desire for revenge, and his grandfather takes on the role of educating his grandson in culture and law, guiding him towards his future role as leader. In the Makarrata scene, Grandfather Därrpa chooses Gutjuk as his representative and interpreter, and Gutjuk rises to the occasion, using the English language he has been taught to communicate the power and legitimacy of Yolngu law and justice to the colonisers.

As in all Coming of Age narratives, the youthful protagonist will be misled or misguided, and Gutjuk is at first seduced by the power of the gun introduced by Travis. When Gutjuk casts off the bandolier of bullets in the conclusion and rides into the distance with Gulwirri, he turns his back on a conflict that appears to be without resolution. This is followed by a cutaway to the hawk and then the concluding shot of Nimbuwa Rock, linking Gutjuk to the eternal history and ancient knowledge that has been symbolically associated with Grandfather Därrpa.

Reflect and respond

1. What does Gutjuk need to learn as he grows from child to adult?
2. What are some of the mistakes he makes and what are some of the important lessons he learns?
3. How do we know that Gutjuk has never really turned away from his Yolngu culture?
4. How do you perceive Gutjuk's relationship with Travis?
5. In addition to dialogue, what film techniques are used in the Makarrata scene to communicate Gutjuk's ongoing connections with his culture as well as his growing stature through his relationship with his grandfather?
6. In what ways does the concluding scene challenge or uphold traditional coming-of-age tropes?

Narrative structure

The drone shots that frame the High Ground narrative emphasise the ancient history of the Country as a counter to the impact of colonisation portrayed in the narrative.

Following the magnificent opening shot of Nimbuwa Rock, calendar time takes over – the year is 1919. The audience is taken into Gutjuk's world and given a glimpse of a culture and community in harmony with the natural world, before everything is destroyed by the shocking and brutal violence wrought by the outsiders. The initial calm and then the awful brutality of this scene emphasise what is lost, marking a devastating break that casts the survivors into a space of loss and uncertainty.

The action then moves forward twelve years to 1931. This leap forward in time further highlights the immensity of the rupture that has taken place, particularly through Gutjuk's new identity as Tommy. This movement forward in time has the narrative purpose of revealing the ongoing impact of the senseless slaughter perpetrated all those years ago, while also revealing how little Moran, Eddy and Travis have changed in that time. Baywara, on the other hand, has changed completely. The gentle soul introduced in the film's opening has now become rock-hard and uncompromising, as he observes the world around him through a lens of anger and a desire for revenge.

Both the opening and closing sections of High Ground feature violence and murder, but the film's conclusion also gestures to a possible future beyond violence and to the continuity of Yolngu law and culture. The image of Gutjuk and Gulwirri riding off into the distance, the cutaway to the kite flying in the sky, and the final shot of Nimbuwa Rock create space for future possibilities.

Contained within this broad structure are the three journeys out from the mission to apprehend perceived lawbreakers. In each case, Travis has none of the control that he values so much and associates with the high ground.

Reflect and respond

1. The High Ground narrative is knitted together through both a visual and aural rhythm relating to the natural world. Think about the repetition of shots of birds, the shots of the landscape, and the heightened sounds of the natural world. Rewatch the sequence where Travis and Gutjuk head out together in pursuit of Baywara, and note the visual language and the soundscape and explain how this depiction of the natural world connects with the plot/events of the story.
2. A motif is a recurring image, sound, word, phrase, object, or action. Through repetition, motifs can connect with and deepen themes and ideas explored in the narrative. List motifs in High Ground and explain their purpose and what they add to the narrative (this is not always straightforward – for instance, the birds in High Ground have shifting meanings and connect with themes and ideas in a range of ways).

Characterisation

Travis and Gutjuk

The approach to character in High Ground enacts the thematic focus on the restoration of balance associated with Makarrata through the way the narrative follows the journey of the two protagonists, Travis and Gutjuk. Each attempts to do the right thing within a context of treachery, violence and constant misunderstanding.

Travis

For viewers who are accustomed to the conventions of traditional feature films, Travis – a role played with considerable weight by the well-known actor Simon Baker – may be wrongly interpreted as the film’s hero, taking on the role of the truth-teller and moral guide. In his portrayal, Baker presents Travis as someone who perceives himself as a good person, assuming responsibility for his actions. However, a fascinating aspect of the film is that every action Travis takes results in failure and leads to no meaningful change. This is particularly true when he positions himself in a place of moral superiority, mistakenly believing that it gives him control over the unfolding events.

Travis is an outsider with none of the sense of any kind of collective colonial mission that drives Moran, Eddy and Braddock in their different ways. Perhaps his detachment from the group relates to his experience during the war. His relationship with Gutjuk emerges from a sense of duty relating to his involvement in the massacre, as he tries to stand in for the father that Gutjuk lost. Because Travis has no connection or loyalty to family, place or culture, he fails to see this connection in Gutjuk, and feels betrayed when Gutjuk leads him into the path of Baywara and his comrades. There is an interesting mirroring here with Travis and Eddy's relationship and Eddy's sense of betrayal at Travis's focus on the Yolngu people and their plight.

Travis speaks Gutjuk's name in the final scene as an acknowledgement that he now truly sees him and recognises his identity as a Yolngu man.

Gutjuk

Gutjuk's identity as Tommy is a disguise, and the part he plays at the East Alligator River Mission Outpost is a performance behind which his true self remains intact and unbroken. There is no doubt in his mind where his loyalties lie, even as he perceives Travis to be "a good man". As the narrative progresses, Gutjuk's stature grows, with his role in the Makarrata scene confirming his central position. His powerful translation of his grandfather's words suggests that he is not only a future leader, but also a figure with the capacity to speak up and out with a voice that one day might be heard and understood by the invaders.

As a young person emerging into adulthood and taking on new responsibilities, Gutjuk hears from multiple voices: Claire, Travis, Gulwirri, Baywara, and his grandfather Därrpa. Each of these characters offers a view of the world that cannot simply be dismissed, but that needs to be considered and explored. As Gutjuk navigates and weighs these differing viewpoints, he is essentially choosing the kind of man he wishes to become. While this is a critical turning point for any young person, for Gutjuk, the stakes are even higher, as he faces the challenge of making this decision while confronting an external cultural force that threatens to erase his sense of identity and belonging. In the final scene of the film, Gutjuk can be seen heading into the future side by side with Gulwirri, following in the footsteps of his grandfather after having reconciled with Claire and Travis.

Baywara

Baywara is linked with Gutjuk across both narrative timeframes. In the opening scene, he is allied with Gutjuk's father when Gutjuk is told about the importance of watching, learning and waiting for "his time to come". This is followed by a scene where Baywara playfully enacts his snakelike prowess with his spear, while also referring to Gutjuk's totem being the crocodile and his name meaning hawk. Gutjuk copies his uncle's movements and then the pair walk off together into the sunlight. Gutjuk's adoration and Baywara's affection build the picture of family and community that is so abruptly and brutally destroyed by the arrival of the vigilantes with their guns.

Twelve years later, when the pair are reunited, Gutjuk is still loyal to Baywara and remembers him as his teacher. However, the Baywara he meets has a new identity, one hewn out of anger and a desire for revenge. Gutjuk says to Travis that if Baywara "had a chance, he'd be a different kind of man", while Travis comments that he doesn't think this is a choice anyone gets. In contrast, Grandfather Därrpa considers that there is always a choice and that Baywara has made a mistake by following the path of anger. Baywara's stone spearhead is his signature and represents his uncompromising anger.

Gulwirrri

Gulwirri is allied with Baywara through their shared anger. Indeed, Gulwirri explains to Gutjuk that her anger is all she has left following the violence perpetrated by the colonists on her and her family. While Gulwirri is allied with Baywara and his men, she remains separate and self-contained, highlighting the emotional disconnection that has resulted from her trauma. Esmerelda Marimowa's performance communicates Gulwirri's perception of herself as a warrior – she stands very straight and doesn't allow even a hint of what she is thinking or feeling to show on her face. When she and Gutjuk ride off together at the end of the film, it is as equals.

Grandfather Därrpa

For Grandfather Därrpa the "rule of law is the hardest stone there is". In the Makarrata scene, Gutjuk translates Grandfather Därrpa's statement that his "law is perfect. Consistent. It make us one." The law comes from the land, from the earth and the sky. While Travis talks about having the high ground, Grandfather Därrpa is most truly occupying the high ground in this film. He is visually connected to the high ground and also has a breadth of vision that none of the coloniser characters possess and that places him above and beyond the point of view of the colonisers. Witiyana Marika's performance, with his dignified stance and head held high, further emphasises the status and stature of Grandfather Därrpa in the narrative.

Some viewers consider the conclusion of High Ground to be uncompromisingly pessimistic. However, it is significant that Grandfather Därrpa chooses Gutjuk to be his representative in the Makarrata scene and that he endeavours to teach him the importance of the law that Baywara has lost sight of because of his blinding anger. When Gutjuk rides off into the distance with Gulwirri, he carries with him his grandfather's wisdom and connection to the high ground.

Moran

Moran and Grandfather Därrpa each represent a form of leadership, and each has uncompromising faith in the rule of their law. But Grandfather Därrpa is prepared to negotiate through the process of Makarrata, whereas Moran can see no other point of view than his own. This is made clear in the upside-down shots through the glass of the camera, and his uncompromising belief in the colonial project and the power represented by the crown on his badge.

Claire Braddock

For most of the film, Claire plays the role that patriarchy has laid out for her and is associated with supporting her brother’s determination to impose Christianity on the local inhabitants as part of the process of colonisation. Claire stands out for having learned to speak the language of the Yolngu people she engages with at the mission, but also chooses to ignore their alienation.

That Claire is forced to shoot Eddy to protect Gutjuk communicates how the violence brought by the colonisers works like a toxic cloud that engulfs all it encounters. In the final scene, she is left sitting in the midst of a pile of dead bodies with the church burning in the background. Like Travis, she perceives herself to be someone trying to do the right thing, but this shot communicates that she is inestricably implicated in the process of colonial dispossession.

Other characters

Other characters such as Eddy, Walter, John Braddock and Bruce also have a significant presence in the narrative, particularly in terms of their interactions with other characters and the way they represent particular themes and Ideas. For example, Braddock highlights the hypocrisy of religion but also makes an interesting pairing with Travis in terms of his feelings of guilt.

Reflect and respond

1. Each of the characters bears with them the scars of the past. Explain how both personal and shared history is communicated through particular characters.
2. Many of the characters in High Ground represent particular ideas and attitudes. Explain how this works and give examples.
3. Trace the patterns and relationships that are part of High Ground's approach to characterisation. For instance, Gutjuk and Grandfather Därrpa's relationship is echoed by Moran and Bruce; as the main female characters, Claire and Gulwirri can be compared and contrasted; Eddy considers his relationship with Travis to have been replaced by the one formed between Travis and Gutjuk. You could approach this task using a visual planner.
4. Use the character response worksheet (below) to dig deeper into the characters in High Ground.
5. In High Ground, character is not just revealed through dialogue but also through silence, facial expressions and gesture. Watch the 'Travis and Gutjuk leave' clip (below) and note the different ways we learn about what the characters are thinking and feeling.

Travis and Gutjuk leave (clip)

Cinematography and editing

High Ground has a distinctive visual style characterised by the sweeping drone shots (already been discussed at length) and the extensive use of a handheld camera. Cinematographer Andrew Commis has described how the hand-held camera is used to get in close to characters to create a sense of intimacy: “A strong visual theme was the sense of being with characters rather than simply watching or observing them. We spoke of the immediacy of the hand-held camera that allowed freedom to respond instinctively.” (Andrew Commis ACS on filming ‘High Ground’, Australian Cinematographer, 1 Jan 2021)

As well as getting in super-close to characters, the camera also shoots characters and events from a wide angle, emphasising their placement within the landscape and also in relation to other characters. Editing and camera go hand in hand and multiple different shots from a range of perspectives are edited together in some cases to create patterns and connections and in others to emphasise disfunction and disconnection.

In the Makarrata scene (below), the camera shots and editing highlight the multiple perspectives of the many and disparate individuals participating in and witnessing this scene. At the same time, within this scene, as Gutjuk translates Grandfather Därrpa's words, the connection between grandfather and grandson is communicated through a series of paired head and shoulder shots and close-ups. In this way, the visual language supports the possibility that Gutjuk may follow in his grandfather’s footsteps to work towards a treaty process based on mutual respect.

Reflect and respond

1. Find out more about the visual language of film, so that your discussion of key scenes is precise and layered. You can find guides to camera shots, angles and movement online. While ACMI'sFilm It resource is for filmmakers, not readers of film, you may find its explainers useful.
2. When thinking about the look of High Ground, you will also need to focus on mise en scene which includes: lighting, colour, texture, setting, props, costume, acting, composition and framing (how everything is arrange in the shot and in the frame). It can be helpful to pause the film at certain moments and take the time to look closely at what is being communicated visually.
3. Use the prompts on the worksheet (below) to analyse the Makarrate scene (also below). Try working with a partner or in a group – it can be very productive to build your interpretation together. You don't need to agree, but sharing perceptions and observations can be a great way to kickstart your creative and analytic thinking.

Makarrata scene

Sound

In High Ground, the soundscape includes:

• the heightened sounds of the natural world with a particular emphasis on the sound of birds
• the yidaki (Yolngu name for the didgeridoo)
• songs in language
• atmospheric sounds such as winds, water and trees
• the disruptive sound of horses, people etc.

The significance of the soundscape is emphasised at the beginning of the film, where the sound precedes the visual story and during the credits where songs and music extend the emotional impact of the story beyond the frames of the film.

The sound designers Chris Goodes and John Kerron have explained that it was Stephen Maxwell Johnson's intention to connect specifically with First Nations viewers through the e soundtrack: "Stephen wanted the film to have an aural underscore that would most likely go unnoticed by many in the western audience, but to an indigenous audience would carry meaning and emotion. The end product is a vibrant, detailed and uniquely rich soundtrack”. ("Soundfirm's Chris Goodes and John Kerron reflect working on High Ground", Ausfilm, 22 Feb 2021)

When you talk about sound in a film, you will find the terms diegetic and non-diegetic useful. Diegetic refers to the sounds that emanate from the world of the narrative and non-diegetic is sound that is added to connect with the audience and enhance the narrative. The songs and music in High Ground are non-diegetic, but have a powerful impact and create the illusion of being an extension of the world of the film.

Of course dialogue is a significant element of the soundtrack. One of the distinctive features of High Ground is the amount of dialogue that is in language. This is important as the imposition of the English language on First Nations people during the process of colonisation had a devastating impact on culture and continuity, and Grandfather Därrpa is determined to protect his culture and law. It is therefore important that he speaks his own language in the Makarrata scene and that his grandson – not Claire – should translate his words. At the same time, the use of subtitles invites viewers to forge a special and privileged relationship with the Yolngu characters, through understanding what they are saying and having the opportunity to view and perceive events from their perspective.

When writing about High Ground, you may find it helpful to be able to check some of the dialogue with this transcript.

Reflect and respond

• Reflect on your response to the film's soundtrack during your initial viewing. What impact did it have on you? What stood out?
• How does High Ground's soundtrack differ from your experience of more commercial/mainstream films? What does the film's approach to sound add to the narrative?
• How do the sounds complement the visual elements of the film.
• How does sound connect with or clash with individual characters?