Introduction Wirritt Wirritt (1957) is a hitherto-unexamined short film by the Australian modernist artist James Cant (1911–82) in collaboration with the filmmaker Malcolm Otton (b. 1917) and the poet, writer, and collector of Aboriginal legends, Roland Robinson (1912–92). The film’s experimental aspects included Cant ‘performing Aboriginality’ by painting imitations of Aboriginal motifs directly onto the walls of coastal sandstone cliffs in Sydney. This article reveals how the hybrid artefacts of Cant’s paintings were produced at the intersection of modernism, anthropology and commercialisation, at a time of increasing popular interest in Aboriginal art in the 1950s, and how they were facilitated by the postwar circulation of film, photographs and audio recordings that brought Aboriginal rock art and performance from remote regions into the purview of a group of white, urbanbased bohemians. The hybrid artefacts of Cant’s rock art are recorded in photographs by Otton and by Cant’s wife, Dora Chapman (1911–95), an artist in her own right. Using these photographs as a departure point, the article examines the cultural context and circumstances of production and circulation that informed the making of the film: how Cant ‘discovered’ Aboriginal art, the sources available to him, his experiments in producing works in other media inspired by rock art, and how this experimentation formed part of a tradition going back to the nineteenth century of incorporating Aboriginal art within settler art practice. Directly inspired by the globally-promoted anthropological film recordings of rock art by Charles Mountford and with an intended circulation as an educational film directed to an audience of schoolchildren, Wirritt Wirritt brought this tradition of incorporating Aboriginal art within settler art practice up to date by tapping into the ways in which Aboriginal art of the 1950s was being increasingly packaged, marketed and encountered through film and other performative art forms, such as theatre

中文翻译：

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“一种新电影”：在詹姆斯·坎特 (James Cant) 的《威瑞特·威瑞特 (Wirritt Warritt)》(1957) 中表现原住民

简介 威瑞特威瑞特 (1957) 是澳大利亚现代主义艺术家詹姆斯坎特 (1911-82) 与电影制片人马尔科姆奥顿 (生于 1917 年) 以及诗人、作家和土著传说收藏家罗兰合作的一部迄今为止未经审查的短片罗宾逊 (1912–92)。这部电影的实验方面包括通过将原住民图案的模仿物直接绘制到悉尼沿海砂岩悬崖的墙壁上来“表演原住民”。这篇文章揭示了康特绘画的混合艺术品如何在现代主义、人类学和商业化的交叉点产生，在 1950 年代人们对土著艺术的兴趣日益浓厚，以及战后电影的流通如何促进了它们，照片和录音将偏远地区的土著岩石艺术和表演带入了一群以城市为基础的波西米亚白人的视野。奥顿和康特的妻子多拉·查普曼（Dora Chapman，1911-95 年）的照片记录了康特岩石艺术的混合人工制品，她本身就是一位艺术家。文章以这些照片为出发点，考察了电影制作的文化背景和生产和流通环境：无法“发现”土著艺术、他可用的资源、他在其他媒体上制作作品的实验受到岩石艺术的启发，以及这种实验如何成为 19 世纪将土著艺术融入定居者艺术实践的传统的一部分。