Engaging with the Past Through Film in “Shine” and “Balibo”

The historical fiction and biopic genres are both burdened by the question of accuracy in storytelling. Felicity Collins and Therese Davis argue that these films should be understood through the lens of spectatorship and emotional resonance rather than in the context of accurate historical representation. In this essay, I will be viewing this argument along with Robert Rosenstone’s ideas regarding the personalization and dramatization of history through film. I will be looking at two films, “Shine” by Scott Hicks (1996), and “Balibo” by Robert Conolly (2009). These two films, which fit into different genre categories (biopic and political thriller), have something in common. They have both been highly criticized because of their representation and adaptation of real-life historical events. By looking at both of these films and the ways in which they differ, we will examine and understand the audience's engagement with the past through film and the way stylistic elements such as sound editing and cinematography impact it. However true it may be that film bends history, we cannot ignore that the narrative and intention most of the time stay true. Therefore, I believe it is important to explore the contemporary definition of the ‘biopic’ and ‘historical fiction’ and suggest that such should be reimagined by acknowledging the audience’s role and participation as consumers of such history and cinema.

"Shine," is a thought and emotion-provoking film released in 1996 and was incredibly directed by Scott Hicks, immersing viewers in the extraordinary life of the renowned Australian pianist, David Helfgott. This film delves deep into the resilience of people and the transformative effect that music can have in our lives. Through a captivating narrative, "Shine" takes the viewer on a journey spanning from Helfgott's awe-inspiring talent as a child, to his older years and his battles with mental illness in adulthood. The film intricately unravels the complex dynamics between David and his overbearing father, Peter, diving into the profound influence he has on his pursuit of musical greatness and his career later on. With a breathtaking performance by Geoffrey Rush and incredible storytelling, "Shine" paints the portrait of a man's determination to conquer adversity and rediscover his artistic brilliance. Hicks spoke about the abrupt start to the film and why he chose to open it in what is the aftermath of the film “ I always wanted that structure, for the audience to meet David at the point of his lowest depth. Then we would learn the back story, but keep operating this suspension, and eventually, the story would catch up with its own tail” (Pardon, 29). Ultimately, the film triumphantly celebrates the redemptive power of self-discovery and the profound healing that music bestows upon the human soul.

In the political thriller genre, "Balibo" is an impactful film that delves deep into a very important and often not talked about event in history. Directed by Robert Conolly and released in 2009, this remarkable film unpacks the horrifying events surrounding the Indonesian invasion of East Timor in 1975. The film focuses on the journey of what is famously known as the Balibo Five. The Balibo Five were a group of courageous Australian journalists who traveled into the heart of East Timor to report on the escalating conflict and shed light on this conflict only to meet a devastating fate. Through a mix of past and present narratives and the use of different cinematography elements, "Balibo" takes the viewer on an intense journey through the focus of a journalist named Roger East. The film is loosely based on Jill Jolliffe’s book "Cover-Up: The Inside Story of the Balibo Five". Jill Jolliffe is an Australian journalist who covered the events in East Timor during that time. Her book provides an in-depth account of the circumstances surrounding the deaths of journalists and the subsequent efforts to uncover the truth (Davidson, 2009). However, it is important to note that while it takes inspiration from the book, it also makes use of fictionalized elements and creative liberties. Robert Conolly employed the political thriller genre in order to “sugarcoat the politics within the genre” (Bye, 290). In the case of Balibo, Connolly uses this genre to effectively connect the audience, Australian specifically, to a narrative where their government and people are involved.

According to Robert Rosenstone, historical films are not impartial records of the past, but rather subjective interpretations influenced by the filmmakers' biases (52). When crafting a historical film, directors make conscious decisions about what to include or leave out, how to depict historical figures, and how to structure the narrative. These choices are heavily influenced by the filmmakers' cultural, social, and political perspectives. Rosenstone suggests that viewers should approach historical films as interpretations of history, understanding that they reflect the filmmaker's viewpoint rather than objective truth. This highlights the importance of critically analyzing historical films and recognizing their limitations as historical sources. There is a preconceived notion regarding historical films, which in the past and somewhat in our present, have distorted events by fictionalizing, trivializing, romanticizing, and falsifying history (Rosentone, 50). Regardless of the film’s attempts to correctly frame historical events and celebrities, achieving complete accuracy would be an impossible task. Another argument often raised in the context of biopics is the idea of mythmaking and narrative construction. Biopics frequently simplify complex lives and events into a structured narrative that fits into conventional storytelling techniques. This easily cuts and distorts complex history in order to fit the mold. 

Scholars sometimes refer to the biopic genre as “heavy armor that constrains filmmaker's creative movements” (Vidal, 10). The responsibility attached to the genre occasionally prevents artists from their creative practices, therefore the fictionalization of these films often happens in order to create a film that challenges these constraints. This process of narrative construction can shape the audience's perception of historical figures and events, and whether it is problematic or necessary for creating engaging cinematic experiences. Critics argue that this myth-making tendency restricts the creative freedom of filmmakers, compelling them to adhere to a formulaic template. This heavy armor of narrative construction can limit their ability to present a more nuanced and authentic portrayal of historical events and figures. It can perpetuate a one-dimensional view, ignoring the complexities, contradictions, and controversies that may exist in real life (Vidal, 4). On the other hand, proponents of biopics argue that this simplification is necessary for creating engaging cinematic experiences. They contend that audiences often expect a coherent and structured narrative, and without it, biopics may struggle to hold their attention. By distilling complex lives into a digestible story, biopics can introduce a wider audience to historical figures and events, sparking curiosity and encouraging further exploration.

More importantly, we need to recognize that the historical film and biopic genre have an impact on the social construction of the world, and the ways in which we understand our history. This is all dependent on the piecing together of events, written works, and in itself the interpretation of narratives. Rosentone argues that there is a need to assess these films, there are always contradictions in the accuracy of historical films. I believe that in this realm of film, it is essential to think critically when consuming historical motion pictures and be able to question the elements involved as can be fiction and invention. Why consider history books as content and historical films as reflections? (Rosentone, 51) Historical films are nuanced and complex and need to be treated as such, given that these have the ability to be harmful and reinforce biases and miscontruct our collective history. Rosentone argues that we need to recognize the role of these films that choose to showcase events in history and create an accurate depiction of history, have an effect on our culture, and can cause great harm by using elements of “fiction” and “invention.” 

By examining "Shine" and "Balibo," this essay will explore how the films utilize spectatorship, emotionalization, and specific stylistic elements to facilitate an audience's engagement with the past. This essay will explore the controversy regarding accuracy within the biopic and historical fiction genre, and asses and think of ways in which this concern can be resolved.  Firstly, when looking at "Shine" as an example, the film which engages with the past and portrays a historic figure, recognizes that biopics have a tendency to blend facts with artistic elements, creating a captivating narrative that deeply engages viewers. This genre is highly popular in the film industry because it allows audiences to imaginatively relive historical events. The act of recreating the past onscreen allows spectators to feel like witnesses to these events (Vidal, 3). Additionally, biopics often present significant challenges to filmmakers but these films often lead to performances that earn recognition and even nominations from The Academy. However, the biopic genre does not exist without its controversy and criticism, primarily due to its potential impact on historical discourses. Many argue that filmmakers should prioritize accuracy by conducting thorough research (Inglis, 78). 

For example, some films face criticism for their tendency to exaggerate events in order to enhance audience engagement. Director Scott Hicks, for instance, acknowledged the difficulties of portraying mental illness in a film and made a concerted effort to consult with medical professionals and specialists to ensure a nuanced portrayal of this character's struggles (Pardon, 29). This approach aimed to accurately represent the complexities of the condition while emphasizing the character's humanity. Furthermore, criticisms have been raised regarding the portrayal of Australian culture and its people in a specific biopic, particularly in relation to David's family. Some viewers questioned the film's reliance on cultural stereotypes, which detracted from the authenticity of the representation (Rosen, Walter, 240). Although biopics offer an immersive and compelling experience, they also face challenges related to historical accuracy and cultural representation. The controversies surrounding this genre highlight the importance of thorough research and thoughtful portrayal to ensure a respectful and meaningful engagement with history and culture. However, “Shine” is not a documentary, and a line in the opening credits  " a story by  Scott Hicks" acknowledges a certain fictional license” within the film (Williams, 56).

In "Shine" the film utilizes sound editing techniques in order to engage with the audience. Sound editing is an important component of all films, matching scenes and moods to the appropriate songs is essential to better connect with the audience and further the narrative. Sound editing is arguably the most important aspect of this film, not only because David Helfgott’s character is musically gifted, but because at times the film lacks dialogue and highlights actions and emotions through sound. To better understand sound editing as a stylistic element in the film and visualize the criticism of the biopic, I will be looking into the concerto/breakdown scene in “Shine” 58:39-1:05. In the film, the mention of Rachmaninoff’s 3rd concerto is a pivotal moment of the film. David’s dad encourages him to learn and execute the piece to perfection, so after David leaves home years later, and is exiled by his family for attending college in London his goal is to perform this piece. In instances, “music can directly express its participation in the feeling of the scene, by taking on the film's rhythm, tone, and phrasing” (Chion, 8). Shine uses all realms of sound, it utilizes empathetic and anempathetic effects in order to create suspense and unfold events by creating a stronger sense of emotional conflict. Scott Hicks talked about the challenge that is using sound as the central element of the film, he wanted to commit to showcasing David’s personality and various music tastes through the soundtrack. The film, therefore, attempts to use sound as an extension of the characters, their emotions, and their personalities. 

 The scene opens up with the camera being positioned to David’s eye level, there is an establishing shot presenting us with the scene, the orchestra, and in a one-shot motion, we enter the concert. The scene then, has three focal points, David, his piano, and his mentor. The scene has isolated sound, we hear several different elements at once, the audience clapping and the orchestra moving their instruments. We can observe closeup shots of David’s hands on the piano, where Rachmaninoff’s 3rd concerto starts playing. We are introduced to a different setting when the camera cuts to a close-up of David’s mentor, the camera continues to focus on David and his emotions as the music grows in intensity. The camera then cuts to an establishing shot of David’s dad, Peter in Australia, listening to the performance. The sound intensifies as does the pace and speed of all different shots, creating an unsettling feeling for the audience. The camera solely focuses on David and the keys as the sound comes to a halt, the sound and shot continue in slow-motion creating suspense and angst in the audience as they preface the events that are about to unfold. Sound editing details focus on David’s heartbeat, his sweatdrops, and his breathing. The movement slows down and comes to a halt, right before we are thrown into a speedy, loud, and unsettling atmosphere. The song ends, the audience stands and claps in awe, and the camera cuts to a close-up of Peter, crying as the sound becomes muffled, creating a deafening effect. Once David stands to take a bow, the primary sounds all become background noise. We then are set to focus on David, we can only hear his loud breathing and the clicking of his glasses as he collapses after suffering what would be his mental breakdown. The sound in this sequence not only tells a story but creates a sense of anxiety and emotion for the audience as they engage with the characters and their motivations and journey, without the sound in this sequence and in the film the audience would not feel empathy nor relate to the pressures the protagonist lives under.

We can observe the ways in which sound plays a big role in resonating with the audience emotionally and sonically as well as conveying the narrative that is being told. Cinematography on the other hand, also plays “an important role in the audience’s perceived empathy towards onscreen characters” (Lotman, 88). In “Balibo” cinematography plays an essential role in engaging with the audience and conveying an emotional and gutwrenching narrative. In order to understand the role that this stylistic element plays in strengthening the film, I will be looking at the attack/invasion sequence 1:16-1:23. In this sequence, we see the Australian journalists known as The Balibo Five in their brave decision to document the invasion of East Timor. The scene starts when they are told to leave but they decide to try and get footage and proof of the invasion. When it comes to cinematography as a stylistic element in this film, we are immediately placed in the scene through the camera movements, shots, and positioning. The Balibo Five are attempting to document this with their own cameras, therefore there we see a clear transition in the film from an omniscient point of view to a documentary style pov. The filter and coloring of the images in the sequence all place us inside their cameras, this gives the audience a much more empathetic connection to their situation as it looks like real raw footage of this historical event. 

The camera movement is not polished, instead, it becomes a bit shaky and the camera focuses on closeups of the journalist and their facial expressions throughout the invasion. The shakiness of the camera with the dialogue and background noise of the tapes rolling create suspense in preparation for the following events. The mix of establishing shots and the documentary style filming, give the scene so much dimension and focal points, allowing the viewer to take in the tragic scene from all angles and devices. Choosing to focus on the cinematography and have different stylistic elements involved was a smart move, as the cinematography in “Balibo” has a more humanizing effect that moves the audience. These stylistic devices help both of these films in their portrayal of historic figures and events by visualizing feelings of joy, anguish, despair, adventure, and suffering. Both of these sequences are what we consider the “climax” of these films, and without the sound editing in “Shine” and the cinematography in “Balibo” these films would have had less of an impact on their audiences. These films set out to engage the audience with the past and immerse them in the time of such, Vidal argues that “the reenactment of historical lives speaks of the ways we remember the past across cultures and nations” (Vidal, 20). 

Film genres are defined by both semantic and syntactic elements. Semantic elements refer to the themes, settings, and characters of a film, while syntactic elements refer to the film's formal qualities, such as editing, cinematography, and sound. Scholar, Rick Altman, highlights the importance of these two elements in the construction and evolution of film genres and their history. His approach acknowledges that genres are not concrete and set in stone, but are constantly changing and transforming. By focusing on these elements, we propose a different framework for understanding how film genres are constructed and how they evolve over time (Altman, 33). It goes without saying that both of these films within their criticism of dramatization and accuracy, both moved and initiated a conversation surrounding the past. This is what cinema does and that is the appeal of the historical fiction and biopic genre, the ability to relive events people cannot envision. We have to understand that these films, like written works or other media, will never be able to achieve full accuracy. Therefore, once again we have to single out the audience and give them a responsibility to critically analyze these films and not take them as factual works but as thought-provoking and creative representations of history. There is always so much more to each story, and it would be wrong to disregard the role of the audience in understanding and consuming films like “Balibo” and “Shine”.

Altman, R. (2012). “A Semantic/Syntactic Approach to Film Genre”, in Film genre reader iv. University of Texas Press. https://ebookcentral.proquest.com/lib/nyulibrary-ebooks/detail.action?docID=3443619#

Bye, S. (2019). An Independent Spirit: Robert Connolly as Auteur‐Producer. A Companion to Australian Cinema, 285-312.Chion, M. (1994). Audio-vision: Sound on Screen. Columbia University Press.
Collins, F., & Davis, T. (2006). Disputing history, remembering country in The Tracker and Rabbit‐Proof Fence. Australian Historical Studies, 37(128), 35-54.
Davidson, R. (2009). Balibo: A Film with Something to Say. Metro, (162), 22–27. https://search.informit.org/doi/10.3316/ielapa.799007107861368Inglis, I. (2007). Popular music history on screen: the pop/rock biopic. Popular Music History, 2(1).
Lotman, E. (2016). Exploring the ways cinematography affects viewers’ perceived empathy towards onscreen characters. Baltic Screen Media Review, (4), 88-105.