WEBVTT

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(soft mechanical whir,
clunk of projector engaging)

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♪

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This story started years ago,

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when I discovered
a precious reel of film

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in the National Archives.

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It belonged to a never
before seen collection

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of sensitive movie clippings.

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♪

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Once upon a time
in Australia

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in the mid-20th century,

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the censors would delete
violence and sex

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from imported films,

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then meticulously file
these cut frames by title,

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A through to Z.

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♪

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The first reel
I pulled from the vaults

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was all the Ps
slung together.

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Phantom Planet.

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♪

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Pleasure Girls.

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♪

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The Peacemaker.

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♪

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Paris By Night.

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♪

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These stray fragments,

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these displaced frames,

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captured my imagination.

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They were amusing,
compelling,

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full of beauty and mystery.

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♪

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This film is
stitched together

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from hundreds of these
stolen celluloid relics.

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♪

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When I began,

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I imagined I would
liberate these films,

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liberate us from
the tyranny of censorship.

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♪

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That\'s not what happened.

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♪

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This archive holds
1,991 titles

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dated from 1958 to 1971.

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♪

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On my first day
in the archives,

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I was sent
to a private viewing room

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so not to offend
other researchers.

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Not suitable for
public exhibition then,

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and 50 years later,

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not suitable for
public exhibition now--

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at least, not in
the government building.

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(film projector whirs)

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♪

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As a historian,
there is a discipline,

00:04:05.880 --> 00:04:09.000
a method in working
through a vast archive

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of reel after reel.

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These clips are
historical sources,

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to be picked apart
and studied.

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♪

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Meanwhile,

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the filmmaker in me
is seduced

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by the splendor
of celluloid,

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that romance of light
to image to story.

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But all this action
is devoid of story.

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How do I tell a story
with all these scraps?

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♪

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♪

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Hey, don\'t tell me
you\'re pissed, man.

00:05:55.840 --> 00:05:57.040
Don\'t tell me you\'re pissed,

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I don\'t even wanna hear
you\'re pissed.

00:05:58.240 --> 00:05:59.640
Who threw the glass
in the street?

00:05:59.640 --> 00:06:01.320
-I don\'t know the person--
-Well, who did?

00:06:01.320 --> 00:06:03.920
Tell me, you were there,
who threw it?

00:06:03.920 --> 00:06:05.040
Nobody.

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Do you know who?

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No, I think
we were both at dinner...

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All right.

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Hey, I don\'t care
who did it.

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If you know who did it,

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you just better tell
whoever did it

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to get out there,
and tell the cats

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that come up here
to ask who did it,

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tell them who it was.

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I\'m not takin\'
no fuckin\' responsibility

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for cats I don\'t know, man.

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I got enough responsibility
with my friends

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and my own people.

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No, no, come on.

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I was out there--

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I don\'t care
who was out--hey,

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I don\'t want
none of your shit, man.

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I don\'t want
glass in the street.

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I\'m not giving you shit--

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What\'d you do it for, man,

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what\'d you throw
a glass in the street for?

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I didn\'t throw a glass
in the street.

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Well, show me
the person that did.

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If you don\'t have him here
by my count of ten,

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you better take
responsibility for it.

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All right.

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All right, one, two, three,
four, five, six, seven,

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eight, nine, ten,
you got him here?

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No.

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I wouldn\'t know.

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Hey, man,
I\'m not kidding you.

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You think I\'m kidding?

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Who\'s gonna clean up
that glass, man?

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I\'ll clean it up.

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I\'ll clean up
your glass, man.

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Hey, I\'ll help you, man.

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I wouldn\'t clean your--

00:07:03.080 --> 00:07:04.800
Yeah, I believe
he\'s all right, man,

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I believe he\'s all right.

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Okay, I believe--
listen.

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Come on, man, listen.

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Oh, I\'ve heard it
a thousand times, man.

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I know a thousand cats
that look just like you, man,

00:07:14.800 --> 00:07:16.320
talk just like you.

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Aw, fuck off.

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You\'re a big noise,
you know?

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I know it, man.

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I know I\'m a big noise.

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I\'m a bigger noise
than you, man.

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-I\'m a small noise.
-Right.

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-I\'m a small cat.
-That\'s right.

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If I\'d have thrown
a fucking glass--

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You\'re anything
you say you are, man.

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I\'m nothing,
I\'m nothing.

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I believe you.

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-Nothing!
-I believe you, man.

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-Boys, boys...
-Listen, Bobby Dylan.

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Could we have a drink
over here?

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Boys?

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I\'m nothing.

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I didn\'t throw
any fucking glass

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in the street, man!

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You know, if I have,
and I wanted to believe it.

00:07:51.600 --> 00:07:52.600
Well, who did, man?

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And if you\'d have
wanted to come at me

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for fucking glasses,
you know...

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I\'d have had a go at you.

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This scene was removed
for several

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regulatory failures.

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The \"fucks\" and the \"shits,\"

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the intoxication,

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that threat of violence.

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Faced with one or two
of these infringements,

00:08:19.600 --> 00:08:22.480
the censor would have
executed a number of

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brief, sharp cuts.

00:08:25.560 --> 00:08:26.720
When unable to clean up

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all this countercultural
deviance,

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the censor deleted
the entire altercation,

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even when they make peace
at the end.

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-It\'s okay.
-I\'ll go down,

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I will go down.

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No, you don\'t have to,
just tell \'em

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we\'ll come down and do it.

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Be groovy, right?

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Yeah, either be groovy
or leave, man.

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You don\'t have to be
groovy for me,

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just be groovy for anybody
who you wanna be groovy for.

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♪

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Government censors
weren\'t able to silence

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lyrics from a song

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or rip a page from
every imported book.

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But celluloid could be
quietly altered

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when there were limited
prints to sanitize.

00:09:09.280 --> 00:09:10.480
Jean-Luc Godard declared,

00:09:10.480 --> 00:09:15.520
\"Cinema is truth
24 times per second.\"

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If he was right,

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it was a truth
easily tampered with.

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♪

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♪

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Censorship functioned
in absolute secret.

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For decades,
government editors

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sliced up
and reconstructed

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foreign stories
for Australian eyes.

00:12:25.720 --> 00:12:29.520
Some editors took pride in
making the cuts invisible,

00:12:29.520 --> 00:12:34.080
whereas others just hacked
the film back together.

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The public were never told
anything had been carved out.

00:12:39.600 --> 00:12:42.920
But what was there
to be afraid of?

00:12:42.920 --> 00:12:47.000
Which little man
with his little knife

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was the real threat?

00:12:49.560 --> 00:12:55.200
♪

00:12:55.200 --> 00:12:57.080
Easy, JoJo.

00:12:57.080 --> 00:12:58.120
You\'re crazy.

00:12:58.120 --> 00:13:00.160
Don\'t try it,
drop that bottle.

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You filthy skunk!

00:13:01.160 --> 00:13:03.120
You lousy
punch-drunk baboon!

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You\'re not feeling
so tough now, are you?

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Easy now, huh, JoJo?

00:13:07.360 --> 00:13:08.440
We\'re pals, aren\'t we?

00:13:08.440 --> 00:13:10.600
For a bright boy,
you didn\'t learn nothin\'.

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Well, take me down.

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Come on, step right up
and taste a little of this,

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daddy-o.

00:13:15.560 --> 00:13:17.680
♪

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Give me that knife, Wes.

00:13:19.720 --> 00:13:20.720
♪

00:13:20.720 --> 00:13:21.840
Where do you want it?

00:13:21.840 --> 00:13:23.080
You want it
in the belly?

00:13:23.080 --> 00:13:25.160
How \'bout in the face, huh?

00:13:25.160 --> 00:13:26.560
♪

00:13:26.560 --> 00:13:27.640
Gimme that knife.

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Here it is, all you gotta
do is take it.

00:13:29.120 --> 00:13:31.800
Now, come on, come on,
take it, come on.

00:13:31.800 --> 00:13:35.480
(shouting)

00:13:35.480 --> 00:13:36.680
(crash)

00:13:36.680 --> 00:13:46.920
♪

00:14:28.320 --> 00:14:36.720
♪

00:14:49.720 --> 00:14:54.000
(clock ticking)

00:14:58.480 --> 00:15:01.640
(orgasmic murmuring)

00:15:32.440 --> 00:15:36.080
How and where we watch
is just as meaningful

00:15:36.080 --> 00:15:38.520
as what we watch.

00:15:38.520 --> 00:15:41.640
I witnessed
many a sex scene alone,

00:15:41.640 --> 00:15:43.040
in the middle of the day,

00:15:43.040 --> 00:15:46.080
in a room
just like a censor.

00:15:46.080 --> 00:15:49.920
But these intimacies
were made for the cinema,

00:15:49.920 --> 00:15:51.840
warm bodies
thrust together

00:15:51.840 --> 00:15:54.360
to be entertained.

00:15:54.360 --> 00:15:58.320
What feels
more pornographic:

00:15:58.320 --> 00:16:01.080
watching sex alone
for work

00:16:01.080 --> 00:16:04.920
or with a group
of strangers for fun?

00:16:07.840 --> 00:16:10.800
(moaning)

00:16:37.800 --> 00:16:39.160
(whispering)

00:16:39.160 --> 00:16:41.280
(giggling)

00:17:06.480 --> 00:17:09.600
(panting, moaning)

00:17:48.760 --> 00:17:51.280
Censors weren\'t concerned
with whether a film

00:17:51.280 --> 00:17:55.160
was good or bad,
worthy or unworthy.

00:17:55.160 --> 00:17:59.760
It didn\'t take long for me
to understand the censor.

00:18:00.200 --> 00:18:02.360
They were following
procedure,

00:18:02.360 --> 00:18:04.240
wielding power
by enforcing

00:18:04.240 --> 00:18:08.120
simple, moralizing rules.

00:18:09.160 --> 00:18:11.080
♪

00:18:11.080 --> 00:18:14.320
But something else felt
more elusive.

00:18:14.320 --> 00:18:15.600
♪

00:18:15.600 --> 00:18:19.120
Why did these clips
make me feel so uneasy?

00:18:19.120 --> 00:18:29.360
♪

00:18:46.720 --> 00:18:48.920
Oh!

00:18:48.920 --> 00:18:49.560
Oh, wow!

00:18:49.560 --> 00:18:54.000
You know how to slap
a girl, don\'t you?

00:18:54.000 --> 00:19:04.240
♪

00:20:16.280 --> 00:20:20.440
(weeping, muttering)

00:20:20.440 --> 00:20:30.760
♪

00:20:34.120 --> 00:20:36.320
...or yourself.

00:20:36.320 --> 00:20:38.800
You\'re no good to anyone.

00:20:38.800 --> 00:20:49.080
♪

00:21:00.520 --> 00:21:01.680
(slamming)

00:21:01.680 --> 00:21:04.240
You\'re hurting me.

00:21:04.240 --> 00:21:06.320
No!

00:21:06.320 --> 00:21:08.360
♪

00:21:08.360 --> 00:21:10.320
Oh...

00:21:10.320 --> 00:21:16.000
♪

00:21:16.000 --> 00:21:17.640
Because I realize
the score\'s even now

00:21:17.640 --> 00:21:19.640
and I wanna know the story.

00:21:19.640 --> 00:21:20.280
No!

00:21:20.280 --> 00:21:21.160
Why won\'t you tell me?

00:21:21.160 --> 00:21:22.400
Afraid of
the consequences?

00:21:22.400 --> 00:21:25.000
Now, you\'re gonna tell me
exactly what happened to ya.

00:21:25.000 --> 00:21:25.640
You better talk.

00:21:25.640 --> 00:21:28.920
I wanna know exactly
why you became so sweet

00:21:28.920 --> 00:21:29.720
and gentle.

00:21:29.720 --> 00:21:31.600
How come you\'re so
affectionate now?

00:21:31.600 --> 00:21:34.720
Huh? Something happened,
something changed you inside

00:21:34.720 --> 00:21:35.720
and I wanna know what!

00:21:35.720 --> 00:21:38.000
You\'re gonna tell me
exactly what happened to you

00:21:38.000 --> 00:21:39.760
in those two days.

00:21:39.760 --> 00:21:50.040
♪

00:22:08.400 --> 00:22:11.000
(screams)

00:22:11.000 --> 00:22:18.800
♪

00:22:18.800 --> 00:22:20.880
I want you to obey me.

00:22:20.880 --> 00:22:22.600
Do you understand,
you hear me?

00:22:22.600 --> 00:22:25.520
I want obedience!

00:22:25.520 --> 00:22:35.760
♪

00:22:41.800 --> 00:22:45.000
-(she gasps)
-Want anymore?

00:22:45.000 --> 00:22:55.240
♪

00:23:09.760 --> 00:23:11.240
My edit was disciplining

00:23:11.240 --> 00:23:13.920
the chaos
of this collection,

00:23:13.920 --> 00:23:16.640
fusing clips together
that were never intended

00:23:16.640 --> 00:23:19.240
to be seen
in such a way.

00:23:19.240 --> 00:23:23.680
The work was to expose the
violence of censorship,

00:23:23.680 --> 00:23:26.000
but I was swerving
into the violence

00:23:26.000 --> 00:23:28.360
of these films,

00:23:28.360 --> 00:23:31.840
the sheer unoriginality
of these clips

00:23:31.840 --> 00:23:34.480
side by side.

00:23:34.480 --> 00:23:36.440
With every passing week,

00:23:36.440 --> 00:23:40.200
I could feel myself
hating this archive.

00:23:40.200 --> 00:23:50.440
♪

00:25:04.240 --> 00:25:05.080
I had been so intent

00:25:05.080 --> 00:25:08.560
on resuscitating these
clips from censorship,

00:25:08.560 --> 00:25:13.520
I never thought about what
I was breathing life into.

00:25:13.520 --> 00:25:15.440
I didn\'t see the obvious:

00:25:15.440 --> 00:25:18.800
that all these films
were directed by men,

00:25:18.800 --> 00:25:20.520
that this was
a distilled collection

00:25:20.520 --> 00:25:26.240
of male fantasies,
imaginings, and desire.

00:25:26.240 --> 00:25:27.040
I was liberating

00:25:27.040 --> 00:25:30.600
a state-sanctioned
spank bank.

00:25:32.160 --> 00:25:42.320
♪

00:26:47.560 --> 00:26:49.840
The African female
has learned to be

00:26:49.840 --> 00:26:50.840
a modern woman.

00:26:50.840 --> 00:26:52.320
In the past,
when she walked nude,

00:26:52.320 --> 00:26:54.200
she was bought and sold
like cattle.

00:26:54.200 --> 00:26:56.360
That past she knows
works against her.

00:26:56.360 --> 00:26:58.440
Now she will be
wooed and courted,

00:26:58.440 --> 00:26:59.680
wondered at
and sought out.

00:26:59.680 --> 00:27:02.640
Now she hides herself
not from shame

00:27:02.640 --> 00:27:04.000
but from strategy.

00:27:04.000 --> 00:27:05.560
Bare, she was fair game.

00:27:05.560 --> 00:27:07.240
Covered, she\'s a mystery.

00:27:07.240 --> 00:27:08.080
Bare, she was bartered.

00:27:08.080 --> 00:27:10.280
Dressed, she can
decide for herself,

00:27:10.280 --> 00:27:12.840
aggressively,
like a tyrant,

00:27:12.840 --> 00:27:14.600
like the white woman.

00:27:14.600 --> 00:27:16.120
So, knowingly,

00:27:16.120 --> 00:27:18.760
the old Africa
covers itself

00:27:18.760 --> 00:27:20.640
and disappears.

00:27:20.640 --> 00:27:26.840
♪

00:27:27.880 --> 00:27:38.160
♪

00:27:54.760 --> 00:27:56.200
The law is quite clear.

00:27:56.200 --> 00:27:59.120
Any attempt at abortion
is a criminal offense,

00:27:59.120 --> 00:28:01.400
except in cases where
the mother\'s life

00:28:01.400 --> 00:28:02.120
is at stake.

00:28:02.120 --> 00:28:04.160
This is why the woman
who places herself

00:28:04.160 --> 00:28:07.080
in the hands of
an unqualified person

00:28:07.080 --> 00:28:10.600
endangers her health
and her life.

00:28:10.600 --> 00:28:12.240
With the help
of these illustrations,

00:28:12.240 --> 00:28:15.320
you will see the different
methods of abortion

00:28:15.320 --> 00:28:17.720
and their disastrous
consequences.

00:28:17.720 --> 00:28:20.600
The first is to introduce
a foreign body

00:28:20.600 --> 00:28:23.280
into the opening
of the uterus.

00:28:23.280 --> 00:28:25.080
When this is done
without taking

00:28:25.080 --> 00:28:27.680
the greatest
hygienic precautions,

00:28:27.680 --> 00:28:31.680
infection almost
inevitably results.

00:28:31.680 --> 00:28:35.040
This infection does not
remain localized.

00:28:35.040 --> 00:28:38.680
It spreads rapidly
into the fallopian tubes,

00:28:38.680 --> 00:28:39.360
the ovaries,

00:28:39.360 --> 00:28:41.320
and it can even reach
the peritoneum,

00:28:41.320 --> 00:28:43.320
the membrane enclosing
the intestines

00:28:43.320 --> 00:28:45.760
and vital organs.

00:28:45.760 --> 00:28:48.040
Another even more
dangerous way

00:28:48.040 --> 00:28:50.720
is to attempt to dislodge
the embryo

00:28:50.720 --> 00:28:53.200
by the use
of a sharp instrument,

00:28:53.200 --> 00:28:55.800
such as a knitting needle.

00:28:55.800 --> 00:28:57.640
This runs the risk
of piercing

00:28:57.640 --> 00:29:00.840
the intestinal wall...

00:29:04.840 --> 00:29:09.720
...or damaging the soft
membrane of the uterus...

00:29:11.760 --> 00:29:12.720
...and sometimes,

00:29:12.720 --> 00:29:14.760
puncturing the uterus wall
itself,

00:29:14.760 --> 00:29:17.520
injuring
the large intestine.

00:29:17.520 --> 00:29:21.840
The consequences
are terrible.

00:29:22.600 --> 00:29:32.840
♪

00:29:42.400 --> 00:29:45.680
When the birth passage
is fully expanded,

00:29:45.680 --> 00:29:47.040
the amniotic sac bursts

00:29:47.040 --> 00:29:50.840
and the amniotic fluid
is released.

00:29:50.840 --> 00:29:51.880
Occasionally,
it is necessary

00:29:51.880 --> 00:29:56.520
for the doctor himself to
rupture the amniotic sac.

00:29:56.520 --> 00:29:59.000
Now, breathe out.

00:29:59.000 --> 00:30:01.240
The actual birth
now begins,

00:30:01.240 --> 00:30:02.280
and the nurse
tells the mother

00:30:02.280 --> 00:30:06.160
how to breathe
during the contractions.

00:30:06.160 --> 00:30:07.240
Out...

00:30:07.240 --> 00:30:08.560
I questioned what to do

00:30:08.560 --> 00:30:11.200
with an educational film.

00:30:11.200 --> 00:30:14.680
Can I show this without
the woman\'s consent?

00:30:14.680 --> 00:30:17.720
Was it more ethical
to blur out her face?

00:30:17.720 --> 00:30:21.720
She can\'t be identified
by her vagina.

00:30:21.720 --> 00:30:24.400
But isn\'t it more
important to reveal

00:30:24.400 --> 00:30:26.360
what was denied?

00:30:26.360 --> 00:30:28.160
Abortion and childbirth
were both deemed

00:30:28.160 --> 00:30:32.160
so offensive that women\'s
reproductive bodies

00:30:32.160 --> 00:30:35.320
just vanished.

00:30:36.760 --> 00:30:38.560
This is the second stage
of childbirth

00:30:38.560 --> 00:30:41.040
and the pains are of
a different character.

00:30:41.040 --> 00:30:43.680
The pains caused by
dilation of the uterus

00:30:43.680 --> 00:30:45.160
are replaced
by the pains

00:30:45.160 --> 00:30:46.920
of expelling the baby.

00:30:46.920 --> 00:30:47.760
With her knees drawn up,

00:30:47.760 --> 00:30:51.400
the mother pushes the baby
toward the pelvis.

00:30:51.400 --> 00:30:52.800
Once more.

00:30:52.800 --> 00:30:53.520
That\'s it, good.

00:30:53.520 --> 00:30:54.880
I believe she\'s ready now,
doctor.

00:30:54.880 --> 00:30:57.600
She\'s very close, you can
prepare for the birth now.

00:30:57.600 --> 00:31:00.440
Breathe deeply, please.

00:31:00.440 --> 00:31:03.440
(straining)

00:31:09.520 --> 00:31:12.640
(deep exhalation)

00:31:16.240 --> 00:31:16.760
Good.

00:31:16.760 --> 00:31:18.360
Check the heartbeats,
please.

00:31:18.360 --> 00:31:20.360
When the nurse checks
the baby\'s heartbeat,

00:31:20.360 --> 00:31:22.720
she feels the mother\'s
pulse at the same time

00:31:22.720 --> 00:31:25.160
to avoid confusing
the two rhythms.

00:31:25.160 --> 00:31:28.120
The baby\'s heartbeats are
around 140 per minute,

00:31:28.120 --> 00:31:30.320
whereas the mother\'s pulse
is about

00:31:30.320 --> 00:31:32.040
80 beats per minute.

00:31:32.640 --> 00:31:35.560
The baby\'s head moves down
toward the floor

00:31:35.560 --> 00:31:36.280
of the pelvis

00:31:36.280 --> 00:31:39.000
and begins to emerge
from the vaginal opening.

00:31:39.000 --> 00:31:40.720
This movement
turns the head slightly

00:31:40.720 --> 00:31:44.160
so that it comes out
sideways.

00:31:44.160 --> 00:31:45.400
The head is forced through,

00:31:45.400 --> 00:31:46.760
pressing back
the pelvic muscles,

00:31:46.760 --> 00:31:49.080
which can no longer
hold back the baby,

00:31:49.080 --> 00:31:51.600
so strong are
the mother\'s contractions.

00:31:51.600 --> 00:31:53.720
Once the head is free,
the rest of the body

00:31:53.720 --> 00:31:57.160
will slip out
relatively easily.

00:31:57.160 --> 00:31:58.320
Bear down.

00:31:58.320 --> 00:32:02.320
This phase can be
a very dangerous one.

00:32:02.320 --> 00:32:05.520
The slower the baby\'s
head comes through,

00:32:05.520 --> 00:32:08.280
the less chance
of tearing.

00:32:08.280 --> 00:32:10.520
That\'s it,
it\'s coming.

00:32:10.520 --> 00:32:13.400
The nurse protects
the baby\'s head

00:32:13.400 --> 00:32:16.120
by directing it so that
it can pass through

00:32:16.120 --> 00:32:19.040
with the least resistance.

00:32:19.040 --> 00:32:21.120
Once the head\'s
outside the vagina,

00:32:21.120 --> 00:32:22.600
the baby\'s head
turns toward

00:32:22.600 --> 00:32:24.680
one of the mother\'s
thighs.

00:32:24.680 --> 00:32:27.000
Then the shoulders turn
and move through

00:32:27.000 --> 00:32:29.560
the birth canal.

00:32:34.040 --> 00:32:36.560
All right,
its head is out.

00:32:37.720 --> 00:32:39.720
The nurse disengages
the first shoulder

00:32:39.720 --> 00:32:42.080
so the baby
can pass through.

00:32:42.080 --> 00:32:46.840
She now draws the baby
out of the birth canal.

00:32:48.680 --> 00:32:51.240
There, come on.

00:32:51.240 --> 00:32:53.640
Now...now.

00:32:53.640 --> 00:32:55.440
It\'s over.

00:32:58.200 --> 00:33:01.200
(baby cries)

00:33:09.200 --> 00:33:12.320
I searched for information
about this film,

00:33:12.320 --> 00:33:14.800
but the only clues
were other scenes

00:33:14.800 --> 00:33:17.920
cut from the same title,

00:33:17.920 --> 00:33:19.760
which was this...

00:33:19.760 --> 00:33:24.880
♪

00:33:24.880 --> 00:33:26.720
Look, she\'s naked.

00:33:26.720 --> 00:33:29.120
(laughing)

00:33:29.120 --> 00:33:33.320
♪

00:33:33.320 --> 00:33:35.200
...and this.

00:33:41.200 --> 00:33:43.240
And this.

00:33:43.240 --> 00:33:44.600
♪

00:33:44.600 --> 00:33:46.800
People say I\'m a lesbian.

00:33:46.800 --> 00:33:48.840
Well, what of it?

00:33:48.840 --> 00:33:52.480
♪

00:33:52.480 --> 00:33:55.080
Now I\'m happy.

00:33:56.640 --> 00:33:57.360
The truth is,

00:33:57.360 --> 00:33:59.160
this birth belongs
to a film that,

00:33:59.160 --> 00:34:02.840
in other, less restrictive
parts of the world,

00:34:02.840 --> 00:34:05.400
would have played at
skeezy red-light cinemas

00:34:05.400 --> 00:34:09.360
to male audiences,
to titillate.

00:34:09.360 --> 00:34:11.200
(projector snaps off)

00:34:11.200 --> 00:34:13.520
Putting a scene
back in its context

00:34:13.520 --> 00:34:17.520
had made a clip that
I thought was miraculous,

00:34:17.520 --> 00:34:21.080
something I wanted
to be seen,

00:34:21.080 --> 00:34:24.680
into something grubby.

00:34:26.280 --> 00:34:36.520
♪

00:34:46.920 --> 00:34:57.200
♪

00:36:04.840 --> 00:36:07.840
Whaddya want to look at
a couple of flat birds

00:36:07.840 --> 00:36:09.200
like that for?

00:36:09.200 --> 00:36:11.520
If you want a strip,
I\'ll give you one

00:36:11.520 --> 00:36:14.800
you\'ll never forget.

00:36:17.160 --> 00:36:20.760
(crowd chanting \"Strip!\")

00:36:20.760 --> 00:36:31.040
♪

00:37:33.280 --> 00:37:37.480
The onscreen spectator
lurks in so many of

00:37:37.480 --> 00:37:40.280
these deleted frames.

00:37:40.280 --> 00:37:44.200
These captivated
men and women are staring,

00:37:44.200 --> 00:37:48.600
jeering,
applauding participants.

00:37:48.600 --> 00:37:50.400
♪

00:37:50.400 --> 00:37:52.080
There is no performance,

00:37:52.080 --> 00:37:54.640
no theater
without a crowd.

00:37:54.640 --> 00:37:56.400
♪

00:37:56.400 --> 00:38:00.320
They are the mirror
being held up to us.

00:38:00.320 --> 00:38:01.880
♪

00:38:01.880 --> 00:38:04.080
What is their pleasure,

00:38:04.080 --> 00:38:06.200
our pleasure,

00:38:06.200 --> 00:38:08.480
to watch?

00:38:08.480 --> 00:38:18.720
♪

00:38:34.320 --> 00:38:38.080
(whistles, catcalls)

00:38:38.080 --> 00:38:40.240
♪

00:38:40.240 --> 00:38:42.280
Good to see you, Greg.

00:38:42.280 --> 00:38:43.480
Where\'d you find her?

00:38:43.480 --> 00:38:46.640
Gladding picked her up
in a laundromat,

00:38:46.640 --> 00:38:48.520
do you believe it?

00:38:48.520 --> 00:38:51.720
(cheers, catcalls)

00:38:51.720 --> 00:38:53.720
♪

00:38:53.720 --> 00:38:56.560
Do you see Ambrose
over in the corner?

00:38:56.560 --> 00:38:58.440
He\'s stoned.

00:38:58.440 --> 00:39:00.040
See?

00:39:00.040 --> 00:39:02.760
♪

00:39:02.760 --> 00:39:05.200
(thud)

00:39:09.640 --> 00:39:12.760
I christen thee
Queen Pig.

00:39:12.760 --> 00:39:15.920
(laughter)

00:39:15.920 --> 00:39:16.880
Don\'t do that.

00:39:16.880 --> 00:39:19.080
-Take off, man.
-Don\'t do that!

00:39:19.080 --> 00:39:20.640
Hey!

00:39:20.640 --> 00:39:21.640
If you were
a brother, man,

00:39:21.640 --> 00:39:24.280
I coulda cleaned you
for that.

00:39:24.280 --> 00:39:25.840
You all right?

00:39:25.840 --> 00:39:27.640
(derisive shouting)

00:39:27.640 --> 00:39:29.160
Come on, man,
she could have

00:39:29.160 --> 00:39:31.040
busted something!

00:39:31.440 --> 00:39:34.400
-Are you all right?
-Give him a ride!

00:39:34.400 --> 00:39:37.560
(shouting, laughter)

00:39:41.280 --> 00:39:43.040
♪

00:39:43.040 --> 00:39:44.080
Where you going, Greg?

00:39:44.080 --> 00:39:46.200
Come on back, Greg!

00:39:46.200 --> 00:39:52.240
♪

00:39:52.240 --> 00:39:54.880
Am I no different
to the filmmakers

00:39:54.880 --> 00:39:57.120
in this archive?

00:39:57.120 --> 00:39:58.560
Repeating an onslaught,

00:39:58.560 --> 00:40:03.600
an assault of butchered,
brutal images?

00:40:03.600 --> 00:40:05.080
To what end?

00:40:05.080 --> 00:40:08.000
To what purpose
does this serve?

00:40:08.000 --> 00:40:09.240
♪

00:40:09.240 --> 00:40:13.520
There are hundreds of
clips in this collection.

00:40:13.520 --> 00:40:16.000
Most were dull
and unmemorable,

00:40:16.000 --> 00:40:17.240
instantly forgotten

00:40:17.240 --> 00:40:20.520
unless I played them
over and over again.

00:40:20.520 --> 00:40:25.640
Some clips felt so
intolerably vile to watch,

00:40:25.640 --> 00:40:29.160
so dark and ugly
that I don\'t dare

00:40:29.160 --> 00:40:32.240
grant them exhibition.

00:40:32.440 --> 00:40:34.120
If I had the opportunity,

00:40:34.120 --> 00:40:37.840
I think I would have
destroyed those clips.

00:40:37.840 --> 00:40:39.560
♪

00:40:39.560 --> 00:40:42.360
Are these the actions
of a filmmaker

00:40:42.360 --> 00:40:44.280
or a censor?

00:40:44.280 --> 00:40:45.800
♪

00:40:45.800 --> 00:40:48.120
But maybe they aren\'t
so different,

00:40:48.120 --> 00:40:52.240
these forces that we
imagine in opposition.

00:40:52.240 --> 00:40:53.600
♪

00:40:53.600 --> 00:40:55.480
Both filmmaking
and censoring

00:40:55.480 --> 00:40:57.920
are expressions of power.

00:40:57.920 --> 00:41:01.760
Both dictate what is seen.

00:41:01.760 --> 00:41:03.680
(projector switches off)

00:41:04.600 --> 00:41:08.600
Right now,
I hold the power.

00:41:08.600 --> 00:41:11.360
I control the image.

00:41:11.360 --> 00:41:16.080
I will tell you what you
can and can\'t look at.

00:41:16.080 --> 00:41:26.320
♪

00:41:28.000 --> 00:41:28.680
In the archive,

00:41:28.680 --> 00:41:32.600
this is the only scene
directed by a woman.

00:41:32.600 --> 00:41:34.920
♪

00:41:34.920 --> 00:41:39.480
Welcome, Agnès Varda,
to censorship.

00:41:39.480 --> 00:41:43.560
♪

00:43:04.560 --> 00:43:10.000
♪

00:43:10.000 --> 00:43:13.200
Only people who are given
permission to make films

00:43:13.200 --> 00:43:17.080
can be victims of
government censorship.

00:43:17.080 --> 00:43:20.760
Most are censored by
the powers that determine

00:43:20.760 --> 00:43:23.840
what story is
worth telling.

00:43:23.840 --> 00:43:27.320
This is a kind
of censorship,

00:43:27.320 --> 00:43:28.840
a negation,

00:43:28.840 --> 00:43:30.840
that the Australian
government

00:43:30.840 --> 00:43:33.280
played no part in.

00:43:33.280 --> 00:43:34.560
♪

00:43:34.560 --> 00:43:37.080
This archive is
only the artifacts

00:43:37.080 --> 00:43:40.680
of what had
the privilege to be made,

00:43:40.680 --> 00:43:44.440
the artifacts that expose
how men have always

00:43:44.440 --> 00:43:46.880
told their stories.

00:43:46.880 --> 00:43:57.160
♪

00:44:06.600 --> 00:44:16.840
♪

00:44:31.360 --> 00:44:34.840
Well, come on,
you zombies, kill him!

00:44:34.840 --> 00:44:45.120
♪

00:45:23.320 --> 00:45:27.640
To be a man is reduced
to one of two things:

00:45:27.640 --> 00:45:32.440
either take a beating
or deliver one.

00:45:32.440 --> 00:45:33.920
The censors would write,

00:45:33.920 --> 00:45:37.320
\"Delete scene
of held man.\"

00:45:37.320 --> 00:45:38.920
Such a tender
turn of phrase

00:45:38.920 --> 00:45:42.080
for beating the shit
out of each other.

00:45:42.080 --> 00:45:43.640
♪

00:45:43.640 --> 00:45:47.240
All these rituals
to make contact.

00:45:47.240 --> 00:45:51.440
♪

00:45:51.440 --> 00:45:54.120
Go on, hit him already,
hit him.

00:45:54.120 --> 00:45:55.240
♪

00:45:55.240 --> 00:45:58.480
Maybe all they need
is a group hug.

00:45:58.480 --> 00:46:01.760
♪

00:46:01.760 --> 00:46:03.880
Masculinity is
a performance

00:46:03.880 --> 00:46:08.600
which created by men
diminishes them.

00:46:08.600 --> 00:46:18.840
♪

00:47:52.280 --> 00:47:54.240
(projector clicks off)

00:47:55.520 --> 00:48:00.000
When does the voyeur
finally turn away?

00:48:00.000 --> 00:48:03.920
Can you know
when you\'ve had enough?

00:48:04.520 --> 00:48:06.520
Sometimes,
I wanted to pretend

00:48:06.520 --> 00:48:09.360
this archive never existed,

00:48:09.360 --> 00:48:12.200
that it shouldn\'t
have been censored,

00:48:12.200 --> 00:48:16.840
that I would not be
its only witness.

00:48:19.880 --> 00:48:21.440
♪

00:48:21.440 --> 00:48:24.720
And when I felt
there were no surprises,

00:48:24.720 --> 00:48:26.640
no respite from this work,

00:48:26.640 --> 00:48:32.680
something remarkable
would catch my weary eye.

00:48:32.680 --> 00:48:35.600
A sex scene with no sex,

00:48:35.600 --> 00:48:37.440
a sex scene with no men,

00:48:37.440 --> 00:48:40.000
directed by a man.

00:48:40.000 --> 00:48:44.600
Cinema is no monolith,
no one thing.

00:48:44.600 --> 00:48:54.000
♪

00:51:47.880 --> 00:51:53.680
♪

00:51:53.680 --> 00:51:58.320
No one in Australia saw
sex and violence on screen

00:51:58.320 --> 00:52:00.640
before 1971.

00:52:00.640 --> 00:52:03.520
Censors may have thought
that they were protecting

00:52:03.520 --> 00:52:06.400
the nation
from the outside world,

00:52:06.400 --> 00:52:08.240
ensuring Australia
would thrive

00:52:08.240 --> 00:52:13.240
as a friendly island
of harmonious virgins.

00:52:13.240 --> 00:52:16.080
But weren\'t they
just in denial?

00:52:16.080 --> 00:52:19.400
Purging the screen
didn\'t purge it

00:52:19.400 --> 00:52:21.800
from people\'s lives.

00:52:21.800 --> 00:52:32.080
♪

00:52:40.080 --> 00:52:41.280
Nope.

00:52:41.280 --> 00:52:42.840
Please.

00:52:42.840 --> 00:52:44.840
There\'s nobody but you,
there never was.

00:52:44.840 --> 00:52:46.800
No.

00:52:46.800 --> 00:52:47.440
No, no!

00:52:47.440 --> 00:52:49.640
I love you.
Don\'t you love me?

00:52:49.640 --> 00:52:52.360
I hate you, you bastard!

00:52:52.360 --> 00:53:02.600
♪

00:54:06.920 --> 00:54:09.240
Now, you listen to me.

00:54:09.240 --> 00:54:10.480
You listen to me.

00:54:10.480 --> 00:54:12.720
I can get rough with you
if I have to.

00:54:12.720 --> 00:54:14.360
Where\'s Eddie?

00:54:14.360 --> 00:54:16.040
Let me go!

00:54:16.040 --> 00:54:20.800
♪

00:54:20.800 --> 00:54:23.360
Why, you little wildcat,
you...

00:54:23.360 --> 00:54:33.600
♪

00:54:34.840 --> 00:54:36.520
Let go!

00:54:36.520 --> 00:54:46.760
♪

00:55:24.560 --> 00:55:26.520
(projector clicks off)

00:55:27.160 --> 00:55:28.320
Everywhere I looked,

00:55:28.320 --> 00:55:31.840
men producing,
directing, filming,

00:55:31.840 --> 00:55:34.200
and performing rape.

00:55:34.200 --> 00:55:38.480
Hours of footage
from hundreds of films.

00:55:38.480 --> 00:55:41.280
The archive is stained
with gorgeous,

00:55:41.280 --> 00:55:44.240
terrified women.

00:55:44.240 --> 00:55:46.200
The malevolent eye leers,

00:55:46.200 --> 00:55:48.680
hovering over
women\'s flesh,

00:55:48.680 --> 00:55:54.040
signaling rape as a taboo,
as a transgression,

00:55:54.040 --> 00:55:57.720
but also gratifying,
enticing,

00:55:57.720 --> 00:56:03.720
a spectacle of cruelty
fueling men\'s arousal.

00:56:07.720 --> 00:56:18.000
♪

00:57:06.400 --> 00:57:10.480
(gunshots, screaming)

00:57:10.480 --> 00:57:20.720
♪

00:57:36.680 --> 00:57:38.680
Just relax, \'cause
you\'re gonna thank me.

00:57:38.680 --> 00:57:41.240
You gonna thank me
when it\'s all over, honey.

00:57:41.240 --> 00:57:43.840
It\'s gonna be different,
you hear me?

00:57:43.840 --> 00:57:47.600
(woman whimpering)

00:57:47.600 --> 00:57:57.840
♪

00:58:05.600 --> 00:58:07.200
Tell me.

00:58:07.200 --> 00:58:08.600
Tell me!

00:58:08.600 --> 00:58:10.800
No, pig!

00:58:10.800 --> 00:58:12.640
Tell me!

00:58:12.640 --> 00:58:16.000
Tell me, tell me.

00:58:16.000 --> 00:58:17.800
♪

00:58:17.800 --> 00:58:19.200
Let her go.

00:58:19.200 --> 00:58:20.520
Let her go!

00:58:20.520 --> 00:58:21.840
Let her go!

00:58:21.840 --> 00:58:22.840
Tell me, tell me!

00:58:22.840 --> 00:58:26.280
I show you,
I show you!

00:58:26.280 --> 00:58:32.480
I show you what I do
with (unintelligible)

00:58:32.480 --> 00:58:34.080
in my house.

00:58:34.080 --> 00:58:36.600
♪

00:58:36.600 --> 00:58:41.560
Aw, you\'re getting
cold on me.

00:58:41.560 --> 00:58:44.280
What are you crying for?

00:58:44.280 --> 00:58:49.080
Don\'t tell me you don\'t
feel anything?

00:59:08.240 --> 00:59:18.480
♪

00:59:20.480 --> 00:59:22.840
I battled this collection.

00:59:22.840 --> 00:59:25.640
I despaired
and raged through it

00:59:25.640 --> 00:59:28.040
year after year.

00:59:28.040 --> 00:59:31.760
There is no natural ending
for this film.

00:59:31.760 --> 00:59:36.280
No single clip could reveal
the archive\'s complexities,

00:59:36.280 --> 00:59:42.320
and no combination of scraps
delivered catharsis.

00:59:42.320 --> 00:59:45.840
Even death offered
no resolution.

00:59:45.840 --> 00:59:47.160
♪

00:59:47.160 --> 00:59:50.000
This archive is
a never-ending loop

00:59:50.000 --> 00:59:54.120
of more and more
of the same.

00:59:54.120 --> 01:00:04.360
♪

01:01:02.040 --> 01:01:03.480
I did not show these clips

01:01:03.480 --> 01:01:06.880
as the censors
collected their archive,

01:01:06.880 --> 01:01:08.880
A through to Z.

01:01:08.880 --> 01:01:11.240
I did not restore these clips,

01:01:11.240 --> 01:01:14.280
returning these orphan frames
to the films

01:01:14.280 --> 01:01:17.600
where they once belonged.

01:01:17.600 --> 01:01:20.800
I revived these
hidden relics,

01:01:20.800 --> 01:01:21.720
and in doing so,

01:01:21.720 --> 01:01:26.280
I became complicit in
problems I could not solve

01:01:26.280 --> 01:01:30.080
and questions that
I still cannot answer.

01:01:30.080 --> 01:01:31.200
♪

01:01:31.200 --> 01:01:35.920
Despite all my intentions
all those years ago,

01:01:35.920 --> 01:01:41.640
I could not liberate these
films from censorship.

01:01:41.640 --> 01:01:43.320
Tear down one power

01:01:43.320 --> 01:01:47.160
and another power
reveals itself.

01:01:47.160 --> 01:01:48.520
♪

01:01:48.520 --> 01:01:51.560
This archive,
once denied,

01:01:51.560 --> 01:01:54.000
now lives on the screen.

01:01:54.000 --> 01:01:58.040
We have permission
to look, to watch,

01:01:58.040 --> 01:01:59.920
to observe.

01:01:59.920 --> 01:02:03.000
We can see
what was unseen,

01:02:03.000 --> 01:02:08.280
but then, we can\'t unsee
all of this.

01:02:08.280 --> 01:02:11.160
We can only ask ourselves,

01:02:11.160 --> 01:02:16.040
what is it
that we are spectators to?

01:02:16.040 --> 01:02:26.280
♪

01:03:34.360 --> 01:03:36.520
(projector clicks off)

01:03:36.520 --> 01:03:46.760
♪