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Americanisation of australian culture with film and tv
Americanisation of australian culture with film and tv
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Comparative study of films accentuates eras of transition and their values to represent how the idea of Australianness was created. This is seen within the film The Adventures of Barry McKenzie as Bruce Beresford’s context is one of universally enforced values of Australianness in regards to men. For Beresford, he uses characters as different paradigms of his time. With the main character Barry being the embodiment of Australia’s national culture as an ocker, defined in Crawford’s (2009) article as a male who. Meanwhile, Aunt Edna embodied the patriarchal notions of the seventies, as for the consumption of alcohol. Through the characterization of these two individuals and their relationship, Beresford satirizes his context by contrasting these
The movie depicts what it was like to be Australian in the decades of the 50’s and 60’s and the decisions of the Australian government over this period, through the journey of four Aboriginal women and one Irish man. The movie explores the treatment of indigenous people living in this era in comparison to white Australians. The unique ways in which the characters made their living provided for scrutiny, judgement and vulnerability. In the movie you see just how differently the Aboriginal community was treated compared to the white Australians during these era’s.
All three authors recognize that difference constructs discrimination. The concept of othering (Hall 1997) and Anglo dominance presented by Moreton-Robinson (2015) help understand Judith Butler’s findings as to why oppression and exclusion cannot be reduced completely. It is same fear of the ‘other’ and white dominance in Australia that keep Australian institutions from reaching integration and equality—film being one these institutions. The filmmakers of The Sapphires attempt to tell the Aboriginal narrative. The scenes mentioned in the previous paragraphs, educate a diverse audience about Aboriginal discrimination in Australia in the 1960s. However, even though the filmmakers reveal some truths of Aboriginal discrimination, they do it in a way which the Aboriginal narrative is suppressed and Anglo dominance is maintained. “The Sapphires” plot is not centered on Aboriginal discrimination, rather a story of how four Aboriginal girls learn about love and friendship. Aboriginal discrimination in the 1960s forms only a small part of the journey to entertain American Troops in Vietnam. By presenting a musical comedy-drama film, the filmmakers sugar coat Australia’s dark past. The movie also ends on a good note. Cousin Kay who at some point rejected her Aboriginal roots, overcomes her prejudice and gets more in touch with the Aboriginal culture by partaking in an Aboriginal ceremony. By the end of the film the audience barely recalls the discrimination scenes and only remembers a happy ending. This is dangerous, as the film deceives its white Australian audience to believe that racial inequality in Australia is an issue of the past not the present. Therefore, promoting the idea that the Australia does not continue to privilege white people over Aboriginals
Good evening and welcome to The History of Television. On tonight’s show we will focus on how and
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 film Australia by Baz Luhrmann displayed numerous misrepresentation of Indigenous Australians. King George or better known as the “magic man” according to Nullah demonstrates an inaccurate and stereotypical view of Aboriginal Australians as being mysterious and spiritually powerful. Australia depicts Aboriginal Australians as being in touch with nature which is a positive stereotype. Nature plays an important role in the Aboriginal culture since they live off of the land by hunting, gathering, and farming the land. Aboriginal Australians were also portrayed as the “other” in this movie and their culture was viewed as being primitive compared to that of the white culture. Movies portraying Aboriginal Australians as being exotic, mysterious,
American animation has influenced Australian animation to a small extent. Australian Animators adopted their animation techniques from America. The time from the Sound Era to the time when television animation became popular was the beginning of a rise in the creation of Australian animation. The Australian producer Yoram Gross produced some of Australia’s most well recognised and well known Australian animations. The Lego Movie produced by an Australian animation studio, Animal Logic, in collaboration with various American animation producing companies should be recognised as an Australian animation film.
The screenplay itself accomplishes gaining the audience’s interest and attention by using humour to capture the essence of Australian character letting viewers relate and later sympathise with all characters as well as highlighting Australian spirit. Combined with breathtaking visual imagery, this is a remarkable combination.
The Scottish and International Film Industry's Contribution to the Development of Scottish Identity in the Last Part of the Twentieth Century
Australia is a very unique place, along with our multiculturalism there is also a strong heritage surrounding us. At first thought of Australian heritage we think about such landmarks as Uluru, The Sydney harbour bridge and The Sydney opera house, The Great Barrier reef and other internationally recognised places. But our heritage goes much deeper than that; it is far more than outstanding icons. Along with these icons there are also unsung places like the old cattle stations, Aboriginal missions, migrant hostels, War memorials, our unique wetlands and the towns and cities we have built. Adding all of these things together, helps to tell the story of who we are and how we have shaped this land in the unique identity it has today.
The Aussie “underdog” theme is one of the most overused genres of Australian film and television. Whilst it is overused, some of the messages that are conveyed are both extremely motivational and providers of false hope. Take for instance the three films: “The Castle”, “Crackerjack” and “Ned Kelly”. Three classic Australian films that all follow the tried and tested formula of the Aussie “underdog” to differing extents. All three of these films can provide great levels of motivation whilst also promoting a sense of false hope at times.
office does have an impact on the end result. We have to first look at
It was the beginning of actual “teenagers”. The first Australian subculture that developed in the post-World War Two period was that of the ‘bodgies’ (and their female counterparts ‘widgies’, who modeled themselves based on the Americans who had frequented Australia during the War. Bodgies took on the ‘James Dean look’, after the young American actor who became a cultural icon of teenage disillusionment. This led to them being seen as the cause of teenage delinquency, violent, destructive and antisocial, and in the latter half of the 1950s, apprehension that teenage delinquency was becoming more and more frequent soon reached a crescendo. A ‘moral panic’ went throughout the Australian community, as more sensationalist media reports fueled the opinion that many Australian youth were out of control. Some promoted punishments such as sending them “to sea under a tough [navy] skipper” (Perth Daily News, 16/10, 1957). The social climate of the 1950s didn’t help the community paranoia, as many lived in fear of a nuclear World War. At the time, two thirds of Australian adults believed peace could not, and would not last beyond 1958. For the elderly, who had lived through the Great Depression and World War Two, the rebelliousness of these teenagers was treacherous. Youth were, after all, the hope for creating a different world, and the Australian youth of the 1950s did not instill much hope in the Australian
When asked to name some typical characteristics of Asian people, what comes to mind? Chopsticks or a strong belief in cultural heritage? How about American families? Based on many different facets, you probably feel as though you know what ideologies your culture believes. If we look at the media through time, it has evolved through a dependency on the growth of technology. As technology advances, old forms fade while content shifts with the culture. The most popular form of entertainment, that provides an escape from the real world, film has a tremendous amount of influence on the way in which we perceive our world. As these ideas spread, our beliefs become warped and mold into forms that we have been taught to strive for. With rapid expansion comes a fast paced lifestyle in America. As we rely so heavily on the media to keep us up to date on societal norms, the content for which the media decides to display needs to be calculated and thoughtful. We learn from what we observe. That being said, this project focuses on the evolution of film through time and explores the negative cultural influences that film has had on American culture, more specifically on race, gender, and class.
In the book American Film a History Jon Lewis focused on the beginning of cinema, the effect war took on propaganda and the major controversy’s that occurred with famed celebrities. Despite its history, cinema is still growing today. The end of cinema is just retiring specific techniques and old technology because its main technology is improving constantly!
Gazing up, my eyes set upon the powerful red, black and yellow Aboriginal flag hoisted above the class. I leaned my shaggy blonde head on my arms and felt the cloud of sleep engulfing me. My eyelids became too heavy; the attraction between them was like a magnetic force. The tip of a pencil poked the side of my skull like a dart on a board; my lids snapped open. The boy’s with wide toothy grins sniggered at my defencelessness. I starred at the over-sharpened pencil, and examined the small characters embedded into its wood exterior, 100% Aboriginal made HB. The projectile caught the sharp eye of the class teacher, her wide nostrils flared as she sucked in the room’s air, her angular body manoeuvred swiftly between the desks. The dark curly head beside mine muttered, ‘Wanjibaayn’ yet as usual I didn’t understand. Ms Kalinda was furious at the disturbance, a screeching roar made the class judder like hitting a speed bump, “Roger! If you disturb this class one more time, the rest of your day will be spent sitting in the principal’s office! Am I clear?”