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• W27355673 abstract "Australian literary fiction has been distinctly cautious in its use of highly generic narrative forms. Australian novels have tended to exploit natural structures of family saga and documentary formal codes of an under-narrativised social realism in order to efface means through which they construct their Fictions. This tendency has been particularly long lasting. Even in contemporary Australian fiction, while many novels do set themselves outside such a tradition, some of most formally adventurous-Peter Carey's Illywhacker, Rod Jones's Julia Paradise, Rodney Hall's Just Relations-could still be said to fall into such a pattern. It is a pattern which is repeated in Australian narrative films made since revival of 1970s. Like their counterparts in literary fiction, producers of these Australian Films have been suspicious of, and resistant to, production of genre films-that is, Films structured by narrative codes and conventions of mainstream commercial cinema. While this resistance began breaking down in 1980s, examples of such Films are still infrequent. Among reasons for such a formal preference, one could nominate particular industrial and economic factors which have reinforced Filmmakers' resistance, but they are countered by equally powerful alternative industrial considerations which, one would think, might have prevailed. To explain persistence of Australian narrative's wariness of established generic forms we need to refer to more culturally based considerations. This essay addresses such considerations initially in relation to literary Fiction before focussing on problem of contemporary genre Film and climate of its critical reception in Australia. Arguments for a dominant or even a significant strain within a literary tradition tend to build up momentum, escalating their claims and extending their explanatory regime. In proposing dominance of certain kinds of formal structure-the historical family saga, and documentary-realist novel in this case-I am not denying existence of other formal patterns. Indeed, history of Australian literary production reveals a rich vein of popular melodrama and romance writing in nineteenth century employing formal structures entirely antithetical to those I am concentrating on in this discussion. This vein does run out, however, as does popular tradition itself. The twentieth century has witnessed virtual disappearance of an Australian popular fiction; popular colonial romance has only survived by switching media-from novel to film to television. My interest is in specifying a particular concentration of formal strategies in Australian narrative as evidence of cultural production of distinct national narrative traditions. The specific tradition I wish to follow here is marked, I argue, by a significant proportion of literary fiction which eschews strongly generic formal structures in favour of more contingent, more historical and thus more apparently natural structures as determining influence on their characters' fortunes. This formal preference carries with it larger, wider, and ultimately ideological, effects. Among markers of body of work I have in mind is a reluctance to wield shaping hand, to leave signature of authorship (and thus of fiction) upon finished narrative. Ken Gelder talks of family saga as a form which presents events realistically and in a straightforward chronological order.1 Although he refers to novels which are less than straightforward in their chronology (for instance. Just Relations), it is privileging of the over the imaginary, of history over fiction, on which he seems to be focussing. The deference toward history and real might also lie behind formal shapelessness, episodic narrative development and prodigious length of most of key works in current canon of Australian fiction. …" @default.
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• W27355673 date "1993-01-01" @default.
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• W27355673 title "The genres are American: Australian narrative, Australian film, and the problem of genre" @default.
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