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Remember, we have already examined the 'Bridge Scene', and particularly Lena and Vaughn's conversation surrounding colonial perspectives in Australian authorship.

Do you think Lena's 'Photo Album' echoes a similar message concerning the voices we privilege? Or in other words, do we seek out the narratives that we want to hear?

[Keep in mind: This does not diminish Lena's search for identity, but rather, invites us to consider our implicit consumption of colonial voices].

Post your comments below ...

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Detours Homeward: Indigenising the Road Movie - Wendy Pearson

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Detours Homeward: Indigenising the Road Movie - Wendy Pearson

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What about the dog-racing that Lena's Stepfather watches? How are we meant to perceive this in comparison to the Pub's horse-racing?

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What about the dog-racing that Lena's Stepfather watches? How are we meant to perceive this in comparison to the Pub's horse-racing?

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How does the connection between Vaughn and the horse challenge or reinforce stereotypes about Indigenous identity and resilience?

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Adam Gall & Fiona Probyn-Rapsey - Ivan Sen and the Art of the Road

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Adam Gall & Fiona Probyn-Rapsey - Ivan Sen and the Art of the Road

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Apologies for the gap in paragraphs, but consider these thoughts here ...

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Nick Bujega - Ivan Sen and Mabo, the Aboriginal Tracker, Genre and Accessibility.

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Nick Bujega - Ivan Sen and Mabo, the Aboriginal Tracker, Genre and Accessibility.

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While this article excerpt doesn't "perfectly align" with the symbol ... Consider the contrasting pace of the passing vehicles against Lena's wandering.

How does Sen use the physical act of walking, particularly in the foreground of rapidly moving vehicles, to centre First Nations identity [and both character's search for identity] as inherently "present".

Or in other words, what are these vehicles [as notions of the colonial push for aggressive, mass-produced and conformative development] missing in the rural landscape?

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A small but accurate excerpt.

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Tracey Mar - Settler-Colonial Landscapes and Narratives of Possession.

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Tracey Mar - Settler-Colonial Landscapes and Narratives of Possession.

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In yesterday's lesson, I of course utilised my favourite metaphor about the "reach of colonisation" [fingers stretching out and distorting landscapes].

But for this question, I want you guys to consider our own surrounding landscapes. Use Google Maps to examine Moree's landscape today. How have the images you've discovered altered much since 2000? Do you see more industrial development?

And in doing so, consider this prompt ...

As you yourself move across different landscapes [whether this be your home street, a favourite Australian site (e.g., beach), etc.], compare and contrast the first thing you always notice against something you might begin taking more notice of.

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Opening Sequence

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Opening Sequence

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Following after Vaughn's bullet wound scar is revealed.

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After the 'Bridge Scene'

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Turning it over to you guys ...

What different insights (websites, journal articles, etc.) can you find to strengthen your understanding?

In Year 12 (and university/tafe should you wish to pursue it), there becomes a larger emphasis on peer-reviewed scholarly evidence to support own interpretations.

Get some practice in now ...

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Please keep in mind, this section does not refer to the interactions that Lena and Vaughn have as hitch-hikers. But rather, explores the vehicles that move across Country, but do not interact with it.