Domestic destinies: colonial spatialities, Australian film and feminist cultural memory workстатья из журнала
Аннотация: AbstractElsa and Charles Chauvel's 1955 film Jedda was the first Australian feature film to cast Aboriginal actors in lead roles. The film was also unusual in the context of Australian film of the time for its rural domestic setting. Because the film explored the experiences of its lead character – Jedda – as an Aboriginal child adopted by a white woman, it is also one of the few films of the period to deal with colonial legacies in its attention to policies and practices of assimilation. The twin processes of racialisation and gendering of space in Jedda have been responded to by Tracey Moffatt in her surrealist short film Night Cries. This article uses the notion of intimate geographies to examine the production of relationships of power within domestic space that both films explore. The temporal and spatial practices deployed by the female figures within each film make visible a set of possible transformations of, as well as continuities within, enduring colonial power relations. Moffatt's retelling and respatialising of the Jedda narrative, however, is ultimately understood as a specifically feminist practice of cultural memory work, suggesting that struggles over memory are also struggles over place.Destinos domésticos: espacialidades coloniales, el cine australiano y el trabajo de memoria cultural feministaLa película Jedda, de 1955, de Elsa y Charles Chauvel, fue la primera película australiana en la que participaban actores aborígenes en roles protagónicos. El film fue también inusual en el contexto del cine australiano de ese tiempo debido a su ambientación rural y doméstica. Debido a que la película exploraba las experiencias de su personaje principal – Jedda– como una niña aborigen adoptada por una mujer blanca, es también una de las pocas de ese período que trata del legado colonial en su atención a las políticas y prácticas de asimilación. Los procesos gemelos de racialización y generización del espacio en Jedda han sido respondidos por Tracey Moffatt en su cortometraje surrealista Night Cries. Este artículo utiliza la noción de geografías íntimas para examinar la producción de las relaciones de poder dentro del espacio doméstico que ambos films exploran. Las prácticas temporales y espaciales desplegadas por las figuras femeninas dentro de cada film visibilizan un conjunto de transformaciones posibles de relaciones de poder coloniales duraderas, así como también continuidades dentro de esas relaciones de poder. La respacialización y el recontar de la narrativa de Jedda por parte de Moffat, sin embargo, es en última instancia entendida como una práctica específicamente feminista del trabajo de memoria cultural, sugiriendo que las luchas por la memoria son también luchas por el lugar.家庭生活的命运：殖民空间性、澳大利亚电影与女性主义文化记忆工作1955年由艾尔沙与查尔斯．查维尔所执导的电影《吉达》，是第一部以原住民演员为主角所拍摄的澳大利亚电影。此部电影因其郊区家庭的背景设定，在当时的澳大利亚电影脉络中亦非比寻常。由于这部电影探讨主角吉达——位被白人女性所领养的原住民儿童的经验，它同时也是当时几部探讨殖民遗续、关注同化政策与实践的电影之一。由翠西．莫法特所拍摄的超现实短片《夜泣》，则回应了《吉达》中的种族化及性别化空间之双元过程。本文运用亲密地理学的概念，检视两部电影共同探讨的家户空间中的权力关係生产。两部电影中，女性角色各自展开的时间及空间实践，使得持久的殖民权力关係中一系列的可能转变及持续性得以被看见。而莫法特对吉达叙事的转述与再空间化，最终被理解为特定的女性主义文化记忆工作实践，意味着对于记忆的斗争同时也是对于地方的斗争。Keywords:: domesticityintimate geographiesfeminismcultural memory workAboriginality in filmgender relationsPalabras claves:: domesticidad colonialgeografías íntimasfeminismotrabajo de memoria culturalaboriginalidad en el cinerelaciones de género关键词::: 殖民居家性亲密地理学女性主义文化记忆工作电影中的原住民性性别关係 AcknowledgementsThe author thanks the anonymous reviewers for their generous and perceptive comments.Notes 1. Moffatt's artistic process in this respect is evident in her other films such as Bedevil (1993), and her recent collaborations with film editor Gary Hillberg which sample and remix Hollywood tropes in image and sound compilations exhibited as continuously looped multimedia ‘installations’ such as Lip (1999), Artist (2000) and Revolution (2008). 2. Rowse commented in 1983 in an important article on the pluralisation of Australian legal institutions that the shift from a national discourse of assimilation to ‘self-management’ for Aboriginal people of the Northern Territory was one of ‘[t]hree developments [which] … dramatically interrupted what has always seemed to be an inexorable process of closure, of reconstituting the Australian continent's geography in European terms’ (Rowse 1983, 71). 3. Exceptions can be found in the documentary genre and especially the work of the Waterside Workers' Federation Film Unit which began in 1953 and produced films on urban housing and working conditions; see Australian Screen Online Citation2012 and Milner Citation2003. 4. Ushered in by the Whitlam Labour government during the early 1970s, the AFC was established in 1975 and explicitly funded films which articulated dominant cultural codes of nationalism. 5. The phrase ‘disturbed local culture’ comes from excerpts from Hinde Citation1981, which is quoted extensively by Jacka (1988, 67). 6. See, for example, Mr Chedworth Steps Out (Citation1939), dir. Ken Hall. While the film was filmed in Sydney most scenes are set outdoors, either at the racetrack or the semi-rural suburb of Lapstone, where Mr Chedworth goes to escape his nagging wife. 7. This figuring of spatiality and power of intimacy has been made less obvious over time (although this shadow meaning is more prominent in other European languages such as French and Spanish). 8. Jane Mills in her recent essay on the film published in the ‘Australian Screen Classics’ series describes this section of the film as infused with ‘Social Darwinism’ (Citation2012, 34) and notes that when she first saw the film it ‘almost startled me out of my chair, so overt is Sarah and Doug's [McMann] racism’ (Citation2012, 31). 9. Also quoted in Johnson (Citation1987, n.p.).10. Australian welfare policy now includes a neoliberal discourse that has seen ‘shared obligation’ agreements extend to Aboriginal communities' responsibilities to ensure their children shower daily and wash their faces twice a day in order to receive social benefits as well as an ‘intervention’ in the form of abrogation of land rights in the name of child protection. See Metherell, Mark, and Kate Gauntlett. 2004. “Aborigines Strike Fuel for Hygiene Deal.” (Sydney Morning Herald December 9. Accessed July 2011) http://www.smh.com.au/news/National/Aborigines-strike-fuel-for-hygiene-deal/2004/12/08/1102182364537.html and Altman and Hinkson (Citation2007).Additional informationNotes on contributorsJustine LloydJustine Lloyd is a lecturer in Sociology at Macquarie University, Sydney. She has published in the areas of feminist cultural history and media studies including the co-authored book with Lesley Johnson, Sentenced to Everyday Life: Feminism and the Housewife (Oxford: Berg, 2004). Other research interests are media and spatiality, particularly community and alternative media. She is a joint editor of the journal Space and Culture and was a member of the ARC Cultural Research Network (CRN) 2007–2009. She is a co-convenor of The Listening Project, which was initiated under the auspices of the CRN. She has been a visiting fellow at the Department of Sociology, University of Lancaster, UK, and was a visiting scholar at the Katholische Universität Eichstätt-Ingolstadt, Germany, in 2010.
Год издания: 2013
Авторы: Justine Lloyd
Издательство: Taylor & Francis
Источник: Gender Place & Culture
Ключевые слова: Cinema and Media Studies, Australian History and Society, Media, Gender, and Advertising
Открытый доступ: closed
Том: 21
Выпуск: 8
Страницы: 1045–1061