As this book attests, there are many positive culturallegacies of the Mabo judgement, including theadoption of the protocol of Acknowledgement ofCountry in our parliaments, educational institutionsand community and cultural contexts; protestsagainst Australia Day and the national anthem;changes in terminology in national histories, suchas replacing ‘settlement’ with ‘invasion’; and whatGeoff Rodoreda calls ‘the Mabo turn’ in Australianfiction (2018, 7). This chapter looks at mainstreamfilmmaking in the post-Mabo era. In addition to therevising of national narratives in Australian screencontent in the immediate aftermath of Mabo (Collinsand Davis 2004), the legacies of Mabo are encoded incurrent Australian film production practices, suchas the implementation of cultural heritage laws forlocation shooting, greater roles for IndigenousAustralians as cultural consultants and translators,and acknowledgement of traditional owners incredits. In response to the Queensland Heritage Act(2003), TheProposition (2005) hired Indigenouscoordinator Pearl Eatts to guide the production onhow to engage with the local Indigenous communityrespectfully and responsibly. In an accompanyingdocumentary we see Eatts instruct the productioncrew not to film in a particular location due to itbeing a massacre site and the likelihood ofupsetting Indigenous peoples of the area (Hillcoat2006). Undoubtedly, however, the most importantchange to the Australian screen industry in thepost-Mabo era is the phenomenal growth and successof the Indigenous screen production sector. AsSandra Levy, chief executive of the Australian Film,Television and Radio School, has commented, the‘rise and rise’ of Indigenous filmmaking

In a similar vein to Rodoreda's study of the novels ofIndigenous author Alexis Wright and others, we arguethat Indigenous screen production as an alwaysalready sovereign cinema operates ‘beyond Mabo’(Rodoreda 2018, 5).