The Australian Legend Essay

For much of the last four decades the dominant model for understanding Australian film has revolved around ‘national identity’; a framework which has shaped film output, culture, policy and criticism (Ryan, 2012). Australian film industry has been developed and supported by cultural policies and public subsidy that promote Australian stories, or rather the “representation and preservation of Australian culture, character and identity” (Maher, 1999). Subsequently, Australian films tended to emphasise “Australianness”, focusing on quality, culture and content, rather than entertainment’ and ‘commercialism’. Reflected through cultural themes, characters, use of landscape and cinematic style, numerous Australian filmmakers have developed national

and local stories that successfully represent “Australianness” and the “National Character”.

Australian cinema in the 1990’s was a period considered as a time of vibrancy, colour, outspoken films that embraced and celebrated individual Australian identities. Along with The Adventures of Priscilla Queen of the Desert (1994) and Strictly Ballroom (1992), Muriel’s Wedding (1994) launched the careers of its cast and crew, making us laugh, sing, dance and later on cry. Considered as “quirky comedies”, these three films are grouped together in the “Mature Phase” (1990-2010) as they were released within “two years of each other, have achieved commendable box office and international success” (Bucknell, 2012). In comparison to films produced in earlier years, there has since been a vast shift in Australian cinema, whereby a balance of cultural themes, content, quality and entertainment forms the basis of measuring a films success. In terms of box office performance, the most successful Australian films of all time value the ideal of “Australianness” in the marketplace, combining a fine balance between Australian identity, culture and audience appeal. These iconic films, Strictly Ballroom, Muriel’s Wedding and The Adventures of Priscilla Queen of the Desert, utilize Australian landscapes, characters, culture, themes and cinematography to deliver their story’s of performance, singing, dancing, costumes, identity, stereotypes and marriage.

CULTURAL THEMES
Depicting "Australianness" had been somewhat enlarged over the years to accommodate shifts in Government policy and society. Evident in the 1990’s was a trend towards reconsidering of the national identity and the true meaning of the settler culture under the influence of multiculturalism (O'Regan, 1996). Most prominent of the three films, Baz Luhrmann's Strictly Ballroom can potentially be seen as yet another nationalist "celebration", however closer examination reveals a key idea or theme of multicultural unity amongst diversity.

A further extension of "Australianness" is represented through the mainstreaming of homosexual lifestyles as in Stephen Elliott’s The Adventures of Priscilla, Queen of the Desert. Similar to Stephen Elliott’s Muriel’s Wedding, Priscilla also steps away from past films, like Crocodile Dundee (1986), with the intention to recognise and value cultural diversity as part of Australian culture. Additionally, another common trait in themes of these three films is the modern form of a national character and tolerant society coming together to value difference (O'Regan, 1996). Regardless of class, race, religion or status, characters like Muriel or Felecia emphasize this idea of unity through diversity.

What is important to note is that all Australian films have in one way or another influenced filmmaking as well as viewing of re-presentations and expectations of "Australianness" in film and on screen. Following these past influences and developments of generic and stylistic trends in Australian film production, another prominent underlying feature can be identified in the light of recent critical and commercial success. The utilization of humour, narrative situations and quirkiness of characters are evident attributes of Australian films. Reflective of this are comedic narratives, Strictly Ballroom, Muriel’s Wedding and The Adventures of Priscilla Queen of the Desert, that explore such key themes, as well as cultural meaning and problematic aspects that address ethnic, familial, social and national identity with comedic yet optimistic resolutions.

USE OF LANDSCAPE
Since Russell Ward’s “The Australian Legend” (1958) described the typical Australian as “a practical man, rough and ready in his manners”, a mere 60 years on and there is still no more agreement about the Australian identity.

But one element that is common to all interpretations of identity is landscape that includes everything from Flora to Fauna. With 90% of Australians living in cities by the coast, foreigners to this day still consider Australia and its inhabitants to live in a vast and desolate landscape. “As we globalise, this will become our great national advantage, the one thing that defines us” (Watson, 2003) – which it

has.

In regards to the use of landscape in Australian films, directors have used Australia’s bush and outback scenery to their advantage. This not only provided the iconography and values for identifying distinctive characteristics, but also a strong and consistent basis for developing the modern Australian identity. The use of the bush and city as binary opposites are somewhat evident in Muriel and Priscilla, if not all three films. Using these contrasting landscapes of the outback and city, the audience is effectively positioned in the stories small rural towns. Specifically using small towns and rural areas like Uluru (Ayres Rock) in many of Australian films is to address stereotypes and reinforce national values of mateship, sport, physical labour, and egalitarianism, all of which apply to Strictly Ballroom, Muriel’s Wedding and The Adventures of Priscilla, Queen of the Desert.

Analyses of landscape across these films highlight its importance and ability to assist other elements that involve characters in each of the stories.

The landscapes of each film not only provides a clear contrast against the characters themselves, but also what the Australian identity, character and masculinity is considered to be from societies point of view. Mentioned previously, the Australian identity is strongly built upon and linked with nature. Looking back on settler culture, ones ability to master surrounding environments suggests a strong representation of masculinity. Priscilla’s understanding of homosexuality challenges these ideas of masculinity, but does so whilst maintaining the differences between homosexuals and modern society. Both Ballroom and Priscilla share a conflict that is used to reiterate the ideas of Australian masculinity. Specific to Priscilla is the fact that homosexual men in drag costumes have the ability to accomplish the same as any other heterosexual or masculine men. These films put out a statement, that a homosexuality can possess the same levels of masculinity, whilst continuing to respectfully celebrate their difference in modern

society.

CINEMATIC STYLE
The final aspects worth mentioning regard the aesthetic and style of cinematography used in all 3 films. Just like Priscilla and Ballroom, the “Australianness” of Muriel's Wedding and identity is established through the use of several film techniques. The most frequent techniques used include acting, design, music, framing and editing. Critical to successfully representing individual and national identity, acting and music elements are evidently the most effective as they collaborate together and aid in creating “Australianness”. Muriel's acting throughout the film gives the audience a glimpse of her true identity and alter-ego. Common in all three films is a journey of self discovery and understanding, reflecting a new paradigm in our national identity. These metaphorical journeys and literal road trips saw additional film techniques that further complemented their desired effects. A perfect example that demonstrates this combination of film techniques can be best captured during the musical-dance scenes in each of the films (See Image).

(IMAGE)

Priscilla, more specifically the scene of Guy Pearce’s (Felicia) on top of the bus, against a vast bush background, forms a memorable contrasting scene. Not only creating a visually pleasing and humorous scene, the effects of juxtaposing the landscape of Broken Hill, its rich colours and vast emptiness against drag queen costumes reveals the minority homophobic attitudes of society in small towns and rural areas.

Although many past Australian films (Crocodile Dundee, Gallipoli & The Man From Snowy River) were thought to accurately reflect the national throughout their stories, many more films to this date repeatedly influence our interpretation of “Australianness” and national identity. Regardless of the residual effects such films may leave on us, the “Australianness”, national identity and masculinity will continue shifting towards a new age of masculinity that revolves around the ability to adjust and exist with other cultures. Reflected in all three films, Priscilla most prominent of the group however, uses the relationship between Mitzi (Hugo Weaving) and his son to address acceptance, masculinity and identity. The awareness and acceptance of Hugo Weaving’s character and friends highlights the possibility of future change and is later reiterated by his son who states “morals are a choice, and he’ll decide his own when he’s good and bloody well ready”.