The Second Journey

当摄像机轻轻地从远处移动到巨石的心脏时，土著^{自编x2150004}最神圣的地方的魔力^{自编x2150001}微光中展现^{自编x2150009}来。

拍摄于一天中不同的时间，特写镜头和全景照^{自编x2150006}，这超过5亿年的石头形成结合了沉默和声音改变的鸟鸣，以传达一种永恒的感觉，其中也有一种失落的感觉。夜空中幽暗的月亮升起，似乎是一幅抽象的绘画，但它是真实的。影片中刻意保留了电影素材中由发展过程中的问题引起的变色区域，以此来比喻丛林火灾和旅游业对自然环境的威胁迫在眉睫。

第二次旅行（到乌鲁鲁）是感人的地球电影的延续，在这部电影中亚瑟和科林·坎特里尔将^{自编x2150003}们的全部注意力转向了澳大利亚的风景。这些电影在制作时几乎没有引起共鸣，对内地的这种赞扬在形式上和主题上都显得过于令人不安和不安：表明了电影的政治层面。

As the camera moves gently from afar into the very heart of the monolith, the magic of the holiest site of the Aborigines unfolds in shimmering nuances of light.

Shot at different times of day, the close-up and panorama shots of this more than 500-million-year-old stone formation combine silence and acoustically altered birdsong to convey a feeling of timelessness into which a sense of loss is also inscribed. The somnambulistic moonrise in the great sky seems almost like an abstract painting and yet it is real. The areas of discolouration in the film material caused by problems in the developing process were deliberately left in the film as a metaphor for the looming threat to this natural environment through bushfires and tourism.

The Second Journey (To Uluru) is a continuation of the Touching the Earth films, in which Arthur and Corinne Cantrill turned their full attention to the Australian landscape. The films found little resonance at the time they were made, with this tribute to the outback coming across as too disconcerting and unsettling, both formally and thematically: an indication of the political dimension of the film.