Tuesday, March 12, 2013

Australia

IN MANY WAYS, Baz Luhrmanns Australia portrays a range of aspects of primal experience with surprising depth. As two historians based in the Australian Centre for Indigenous History at the Australian National University, we were buoyed by the way in which this mainstream, blockbuster epic poem could portray such a many-sided view of primordial taradiddle. But we were somewhat disappointed by the initial frequent debates about it, which generally elided its complexities and rehashed familiar arguments about historical truth versus cinematic licence. We thought the rent was worth a to a greater extent penetrating look, and so have convened a conference in collaboration with the National Museum of Australia.
After its release in tardy 2008, critical responses to Australia tended to focus on the question of its historical accuracy or otherwise. Outrage at the films historical misrepresentation was the tenor of Germaine Greers lengthy response to Marcia Langtons positive review of the film in the Age.

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Whereas Langton celebrated the films self-conscious national apologue-making, arguing that it had leaped over the ruins of the news report wars and given Australians a new past a myth of national origin that is disturbing, thrilling, heartbreaking, hilarious and touching and an alternative history from the one John Howard and his followers constructed, Greer criticised the film for romanticising both Aborigines and our blue frontier. She complained that Aboriginal peoples exploitation as workers in the pastoral industry was not properly portrayed. The camera, she wrote, does not decease to where the Aboriginal workers would have lived with their extended families in a collection of humpies shelters made of bark and branches with no clean water, no sanitisation and no electricityĆ¢€¦ The Aboriginal workers would not have been paid, tho simply given poor-quality rations, because the station owner claimed the whole biotic community as dependents.
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