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Challenges in Australian culture
Challenges in Australian culture
Features of the Australian aboriginal identity
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Australia has the terrible condition of having an essentially pointless and prefabricated idea of “Aussiness” that really has no relation to our real culture or the way in which we really see ourselves. We, however subscribe to these stereotypes when trying to find some expression of our Australian identity. The feature film, The Castle, deals with issues about Australian identity in the 1990’s. The film uses techniques like camera shots, language and the use of narration to develop conflict between a decent, old fashioned suburban family, the Kerrigans and an unscrupulous corporation called Airlink. Feature films like The Castle are cultural products because they use attitudes, values and stereotypes about what it means to be Australian. The suburban house, as the film’s setting and sphere of action, is extraordinary partly because it is ‘next-door’ to an airport. The odd layout of this backyard is underlined because their suburb meets the kind of architectural cast-offs often found at the margins of big cities. This mix of the humble backyard with the international vectors of travel, tourism and international trade plays out in the film’s narrative which connects the domestic and the distant. The Castle displays many locations and landscapes easily identified as being unique of Australia- The ‘Aussy’ barbeque and patio setup, greyhound racetrack and poolroom, just to name a few. The neighbours of the Kerrigan’s are a symbol representing the multicultural diversi...
Gary’s House, Debra Oswald, features the story of an Aussie couple facing the reality of adversity. Oswald has represented common beliefs and representations through the four protagonists mainly focusing on Gary and Dave. Many beliefs and values in the book symbolize the dominant stereotypes of an average Australian. Oswald explores the concept of an Aussie battler and how it perpetuates and challenges the common stereotype of Australians.
The main theme and meaning behind Ian Strange’s “Corrine terrace’ is home. The house is a painting along with a documentation transforms an image of suburban architecture into something much more. The reaction of the viewers is to the icon of the home, not
Jedda, Australia’s first colour film, created in 1955 by Charles Chauvel deals with an Aboriginal child adopted by a white grazing family. As she grows up, Jedda is tempted more and more to return to her people. Seduced by the wild Marbuck, she partakes in the film's tragedy, played out against a spectacular landscape. This essay seeks to discuss the representations of the Australian landscape as portrayed in the film Jedda, highlighting the use of filmic techniques in these representations.
Anne Zahalka cleverly presents her intentions and interests in the world clearly throughout her artworks, more specifically her series ‘Welcome to Sydney’. Through the creation of this series Zahalka was interested in the changing multicultural nature of Australian society, closely drawing the audiences attention to the cultural frame. She effectively does this by portraying the subjects with dignity and respect by deliberately positioning them in an area in which they connect with. In doing so, Zahalka acknowledges her own experience, as the daughter of immigrant parents has influenced her conceptual practice. She uses cultural symbols to show the individuals are different, yet making them as one being put into Australian locations. In the image ‘Guangan Wu, Market Gardens, Kyeemagh’ a chinese immigrant stands in a panoramic landscape of market garden...
Portchester Castle Portchster Castle is a concentric castle, dating from Roman times situated at the top of Portsmouth harbour. It has a 9-acre site and was built from flint and stone. The castle had bastions and a tidal moat, at the centre of the castle would have been accommodation. Portchester Castle was originally built by the Romans to protect the South coast of England from invasion by the Saxons. Portchester was one of a series of forts built around the country and was typical of Roman forts.
Both ‘The Drover’s Wife’ and ‘The Loaded Dog’ depict life as an Australian during the Colonial period. ‘The Drover’s Wife’ depicts the everyday life of a bush woman and her
The Castle, directed by Rob Sitch, is an Australian comedy, which delves into the lives of a stereotypical Australian family, the Kerrigans. The film touchs on issues close to home in a humourous way. The audience is introduced to the classic Aussie family, narrated in the viewpoint of the youngest of the Kerrigans, Dale.
This movie was filmed among Australian land and in each shot the outback was clean, healthy and wasn’t proposed in any way dirty. The extreme wide and broad shots shown in this film capture the aspects of Australia which aren’t always seen. The visual of the panning camera and the bird’s eye view shots show Australian for its true natural beauty, which should not be taken for granted. If people at this year’s film festival notice how beautiful our country is and truly can be, this could help to promote discussion on how to keep Australia alive and
• How does a hard working, arrogant, and self centred city cinema owner, Matthew Wilcox, overcome his prejudices about rural Australian life? When confronted with an elongated stay in a rural town in Mid-West NSW, will he allow himself to live the life of a rural man, or stay secluded to himself?
As I read the Glass Castle, the way Rose Mary behaves, thinks and feels vary greatly and differently throughout the memoir. The immediate question that pops up in my mind is to ask whether Rose Mary carries some sort of mental illness. Fortunately, given the hints and traits that are relevant to why Rose Mary lives like that in the memoir, we, the readers, are able to make some diagnosis and assumptions on the kind of mental illness she may carry. To illustrate, one distinctive example is when Rose Mary blames Jeannette for having the idea to accept welfare. “Once you go on welfare, it changes you. Even if you get off welfare, you never escape the stigma that you were a charity case.” (188). In my opinion, Rose Mary is being nonsense and contractive in her criticism, because of Rose Mary’s resistances to work and to accept welfare, it often causes a severe food shortage within the family that all four little children have to find food from trash cans or move on with hunger, which could lead to a state of insufficient diet. More importantly, having welfare as a way to solve food shortage, it can certainly improve those young Walls children’s poor nutrition and maintain their healthy diet, but Rose Mary turns it down because she thinks it is a shame to accept welfare despite their children are suffering from starvation. Another example will be when Rose Mary abandons all of her school work for no reason. “One morning toward the end of the school year, Mom had a complete meltdown. She was supposed to write up evaluations of her students’ progress, but she’d spent every free minute painting, and now the deadline was on her and the evaluations were unwritten” (207). This is one of the moments when Rose Mary shifts all of her attentio...
...atures that make Australia what it is today. He uses the words “sunlit plain”, “vision splendid” and “wondrous glory” to provide the reader with an image that represents Australia’s reminiscent landscape. This is done to capture the reader’s thoughts in an attempt to persuade them. Paterson silences the negative aspects of rural life and the positive aspects of city life.
Have you ever seen an Australian movie where the Australian was the bad guy and afterwards you just though to yourself. The Australian film industry has a long history dating back to 1955, in creating Australians represented as people who discriminate. These two films particularly are perfectly set up for the underdog type of story. In Wayne Blair’s 2012 Film of the year, The Sapphires, presented 4 young talented aboriginal females that have a goal of performing in Vietnam War Troops while constantly being looked down upon by the white community. While in Phillip Noyce’s 2002 film Rabbit Proof Fence, three aboriginal young girls are taken away by an organization that takes I in young aboriginal children also known as the re-education camp and teaches them to grow up as “proper white”. Rabbit Proof Fence and The Sapphires uses many film devices such as character construction, mise en scene and sound techniques to make the main protagonist as the underdog.
Humanity, since the dawn of time, fears anything they have little knowledge about. Instead, humans create superstitious beliefs based on fear and curiosity. In Shirley Jackson’s We Have Always Lived in the Castle, Constance Blackwood, Mary Katherine, Merricat, Blackwood, and Julian Blackwood are a wealthy family that live just outside the town. Six years ago, the rest of the Blackwood family is murdered at the dinner table with arsenic. The townspeople blame Constance because she cooks the food for the family and is an expert with herbs, but she is acquitted of the murder. Despite being acquitted, the townspeople abuse both Constance and Merricat simply because they believe that Constance was the only one who could have killed the family.
The film prevails as a reflection of the Australian culture of the 90s in all its crass, gaudy and over-the-top suburban ways. Despite this unique and iconic look at urban Australia and Australian characters, the story highlights universal themes with Hogan saying of the film’s international success, “that was a big lesson to me: if you have the right story there is no such thing as 'too parochial’.” (Lowenstein, 2000) Though the popularity of films portraying a new urban “Australian-ness” in this era influenced films like The Castle (Chocolate & Sitch, 1997) for years to come, this new cultural identity was not embraced by all. There has been significant backlash towards Australian film within Australia, with many finding the ideas of Australia portrayed on screen limited and stereotypical, rather than portraying the full breadth and multi-cultured nature of Australia.
Crocodile Dundee (1986) directed by Peter Faiman and The Adventures of Priscilla, Queen of the Desert (1994) directed by Stephan Elliott are two Australian films that have unique plots. The expositions of both films have various similarities and differences in the context of quirky ‘Aussie’ characters, stereotypical Australian language, themes and the vast outback setting. The exposition of each film reaffirms typical Australian stereotypes.