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GCSE Film Studies - Focus Film Factsheet
Rabbit-Proof Fence
(Phillip Noyce, 2002)
Component 2: Global Film -
Narrative, Representation
and Film Style
Focus Area: Narrative
PART 1: Key Sequence(s) and
timings and/or links
Sequence 1 - Neville’s inspection
00:20:38 – 00:23:55
Sequence 2 - Hunted 00:35:31 – 00:38:45
PART 2: STARTING POINTS - Key Elements
of Film Form (Micro Features)
Cinematography (including Lighting)
• In one scene, the three protagonists sit, just off
centre, in dirty robes in contrast to the other
girls who stand to attention in pure white robes,
waiting to be told to begin eating. This highlights
the difference between the new arrivals and
those girls who have already been conditioned
to behave in a manner approved of by the camp
(and by white Australian society). The other
girls have been ‘cleansed’ of their ethnic identity
in a way the three protagonists haven’t yet.
• Sequence 1: Symmetrical ELS of the children
gathered ready for inspection. This framing
implies ‘order’ and the imposed ‘civilisation’
of white culture. Throughout the scene there
is a separation between the characters on the
left and right-hand side of the frame which
suggests an ideological gap between the two
groups: the children separate from Neville plus
the ‘headmaster’, or in other shots, Nina (the
dorm monitor) and the three protagonists.
• Like much of the film, the camera is positioned
at the eye-level of the children. This forces
the audience to empathise with their view of
things, and makes the adults seem towering
and powerful, intimidating even if their tone of
voice attempts kindness. As Molly approaches
Neville, a steadicam tracking shot is used to
directly place the audience in her position.
• Sequence 2: As with Sequence 1, most of the
shots are from a child’s eye-level (even those
of Moodoo), again encouraging the audience
to see the narrative from their perspective.
There is a combination of tightly framed
group shots of the girls huddled together
(emphasising both their vulnerability and
their close bond) and ELS of the river. These
panoramic shots show us the scale of the
Australian landscape - mixing a feeling of
intimidating vastness, but also suggesting
places the girls can hide from their pursuers.
Mise-en-Scène
• Sequence 1: The colour schemes is divided
between the blue sky and the bright green of
the trees (familiar as being Australian) and
the unblemished white of the church, huts,
matron’s uniforms and children’s smocks.
This symbolises the school/camp’s aim to
‘cleanse’ the indigenous people of their ethnic
identity. Neville’s black suit and book recall
the costume of a priest, and though he has
no religious authority, this does reflect his
‘missionary zeal’ to ‘civilize the natives’.
• Sequence 2: The location of the Australian
landscape is used by the girls to aid their
escape on a number of occasions. This stresses
the Aboriginal connection to the land and
nature. Though this also used a device to
build tension, as Moodoo is able to look at
innocuous-seeming twigs and mud, and detect
signs of the girls’ path. The prop of Gracie’s
bag is used to try to throw him off their trail.
Editing
• Sequence 1: There is consistent use of shot-
reverse-shot to show Molly’s viewpoint
(and those of other children) and responses
to this new life. There is also an eye-line
match between Nina and Molly, to show
their shared heritage - but when she refers
to the fairer children as ‘cleverer’ the girls
are separated by cutting, showing how they
are also very different in their beliefs.
• Sequence 2: There is cross-cutting between
the girls and Moodoo that is typical of the
‘chase movie’: as the scene progresses, the
