Perkins celebrates the role of the activist in society

Mabo is a film that honours the primary protagonist, Eddie Koiki Mabo’s position as an activist, challenging the conflagration of racial discrimination and oppression of the Indigenous people in society. Perkins portrays Eddie’s role in an optimistic manner, demonstrating the paramount importance of his role through the supportive attitudes displayed by other characters in the narrative. Addtionally, Perkins also evinces the positive and significant societal outcomes that Eddie achieves through his action in instigating change. However, Perkins illustrates the personal cost that Eddie incurs in assuming the role of the activist for the benefit of others in society. An array of filmic techniques such as low angled shots, lighting and suggestive music are employed to enhance these interpretations

Eddie’s individual role as an altruistic, tenacious activist is imperative for diminishing injustice for Indigenous people, and is portrayed as an admirable role that is worthy of the support of others, such as Netta and the community. Archival footage of “the Islanders” toiling away in large groups on the railway highlights the disadvantages and menial work conditions that Indigenous workers experience on “the mainland”. Yet these images are underlayed with an uplifting, motivational score, as Perkins reveals that “[Eddie has] been joining [these workers] up to the union” to ensure “[they] get a fair go”. The juxtaposition of the harsh images and music represents the hope that Eddie brings to the disadvantaged in society, amongst the dire circumstances of institutional racism. Moreover, a close up shot is employed to depict Eddie’s hopeful, eager gesture as he broaches the subject of “skilling up” the “Island boys”, which illustrates Eddie’s active action in using “his voice” to facilitate Indigenous involvement in the union, thus providing Indigenous workers with equality, as well as an opportunity to advance their societal standing

Moreover, Perkins elucidates the support displayed towards Eddie’s “troublemaking”. She employs a close up shot of Netta, who transitions from anger, hostility and her assertion that “[they] can’t afford to be troublemakers” to an empathetic, hopeful expression as she gazes up towards Eddie. This demonstrates that Netta has been persuaded by Eddie’s defiant, strong willed requests for action, and will now support his activistic ideals to “get together” and “fight to make things better”. Similarly, extreme close up shots of different hands inserting various forms of currency into Eddie’s money box illustrates multiple individuals in society uniting to contribute and support Eddie’s move in proceeding to the High court for “all the blackfellas”. The score that changes from a melancholic, empty tune to a choral, optimistic nature enhances the audience’s understanding of the sanguine attitudes held towards the actions of the activist in society.

In addition to Perkin’s favourable portrayal of Eddie’s role in society, she also underscores the indelible changes that “the road of the activist” has influenced for Indigenous and White Australians alike. Perkins employs a close up shot of the “Black Community School” emblem, which has been established as a result of Eddie’s “lobbying”, as well as an extreme close up shot of an eager, innocent Indigenous child in warm lighting, meticulously threading palm leaves. This directly illustrates the powerful outcome of Eddie’s activism, which is creating an opportunity for shaping and cultivating future Indigenous generations. Furthermore, medium shots of Netta, Mal and a White elderly Australian couple sitting together surrounding the radio as the “High Court [decides] in favour” of the Mabo claim is symbolic of Eddie’s land rights claim that is an advancement towards bridging the inequality between two races. Perkins imbues the audience with a heart warming

impression of the favourable outcome as she overlays medium shots of Netta, Mal and the White Australian couple embracing in warm sunlight with an upbeat, joyful score that incorporates a rhythmic Indigenous beat. This reiterates the idea that Eddie’s selfless decision to “forget [his own] appeal” in order to “destroy Terra Nullius” has not only allowed the recognition of “some form of Native Title” for all Indigenous people in Australia, but has also formed the “basis of a new relationship” between Indigenous and White Australians.

Conversely, Perkins demonstrates the adversities and hardships Eddie faces, as he undertakes the role of the activist at the expense and sacrifice of his father, Netta and his children. As Eddie is “not granted” permission to return to Murray to visit his dying father, a close up shot of his face, contorted with grief is juxtaposed against bright, high key lighting. This is symbolic of Eddie’s noble initiation of “troublemaking” for the greater benefit of other Indigenous people “right under the government’s [watch]” has caused himself to suffer great injustice, which has “denied [him]” his last chance to “look his father in the eye” before his death and “fulfil tradition”. Additionally, Perkins illustrates the plight of Netta and his children, who survive on “frozen fish and flour” and receive malevolent death threats from “the special branch”. This, coupled with an extreme close up of Eddie’s anguished expression as he regrets not “having spent more time at home” to “help [Netta] more” with raising the kids demonstrates that Eddie’s perseverance in “[proceeding] with the land rights claim” to pursue his goals causes him despair, emotional strain, as well as the heavy sacrifice of the wellbeing and safety of Netta and the Mabo children.