‘What she captured is just gold’, says Dallas Phillips. She is talking about the photographs taken by her mother, Mavis Phillips, née Walley, one of Australia’s earliest known Indigenous photographers. Representing an extremely rare perspective of life during protectionist and Native Welfare times from a Ballardong Noongar point of view, the Mavis Walley Collection (MWC) existed for decades as negatives kept in an old chocolate tin before coming to light at an oral histories workshop in Goomalling, Western Australia. By way of its knowledge-based digital archive, Storylines, the State Library of Western Australia worked with Mavis Phillips’s family to restore and disseminate 325 of these negatives in 2015. This article argues that the MWC significantly differs from heritage photographs taken by non-Indigenous photographers in subject, composition, and style, expressing the joy and spontaneity of the photographer and her sitters. A product of intercultural collaboration between an Indigenous family and a non-Indigenous state institution, the MWC disrupts the pictorial record of Western Australian Indigenous history, shedding light on the rich past of a connected and thriving Ballardong Noongar family in Goomalling.

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Just Gold：Mavis Walley 系列

“她捕捉到的只是金子”，达拉斯菲利普斯说。她正在谈论她的母亲 Mavis Phillips 拍摄的照片，原名 Walley 是澳大利亚最早知名的土著摄影师之一。从 Ballardong Noongar 的角度来看，Mavis Walley Collection (MWC) 在保护主义和土著福利时代代表了极其罕见的生活视角，作为底片存在于旧巧克力罐中，然后在 Goomalling 的口述历史研讨会上曝光， 澳洲西部。2015 年，西澳大利亚州立图书馆通过其基于知识的数字档案 Storylines 与 Mavis Phillips 的家人合作修复和传播了其中的 325 张底片。 本文认为 MWC 与非土著拍摄的遗产照片有很大不同主题、构图方面的摄影师，和风格，表达了摄影师和她的保姆的快乐和自发性。作为土著家庭和非土著国家机构之间跨文化合作的产物，MWC 打破了西澳大利亚土著历史的图画记录，揭示了 Goomalling 一个相互联系且蓬勃发展的 Ballardong Noongar 家庭的丰富过去。