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• W3022882571 abstract "We conceived of the story as a kind of a ghost story. Everybody in the story is haunted by something, whether it's somebody who's died, or whether it's a past they would like to change, or whether it's the person they thought they might have been but never became. There is this group of haunted people, and then you have the serial killer who emerges in his season to create havoc. [...] In our film, when Gregory comes out and kills, people suddenly become haunted by the future. And that becomes the imperative for them to deal with some of the things that have risen up from the past.- Beatrix Christian (jindabyne 7). . .there is a constant struggle over the meanings that are attached to places. And these meanings are not trivial ones, either. [. . .] They clearly lie at the core of our identity as part of a sense of belonging to a community of like-minded people, an ws which can be distinguished from a them. [. . .] Places form a of meanings which people can draw upon to tell stories about and therefore define themselves.(Thrift 160)THRIFT'S CLAIM CANNOT BE SURPRISING TO ANYONE WHO inhabits or studies the discourse of Australianness; has, for a long time, been a central component of this discourse and continues to exert pressure on anyone who would seek to define what it means to be Australian. In this paper I am reading Jindabyne as significant place and its sustained filmic representation in Ray Lawrence's Jindabyne (2006) in order to consider how we might begin to understand Australianness as a kind of haunted subjectivity but also as one that might be reframed within or by a politics of becoming. Just as Thrift calls up a trope of water on land in his reservoir of meanings, so too does Lawrence's film consider the symbolic meanings and results that come of Australian water on/and Australian land.For those who have not seen the film, the plot - drawn from Raymond Carver's short story Much Water So Close To Home - is relatively simple: a group of male friends leave their homes to enjoy homosocial bonding on a fishing trip. Upon arriving in a remote location, they discover the body of a woman in their fishing waters, and rather than immediately reporting this to the police, they elect to secure the body from drifting by tying it up and enjoy their fishing trip as planned. When they return home, they must face the approbation of the general community; must expose their actions to the political gaze. In Carver's story, Claire, the wife of one of the fishermen, offers the reader second-hand accounts of the events of the fishing trip, signaling a lack of narrative authority despite her privileged speaking position as firstperson narrator. Claire becomes subject to multiple forms of symbolic patriarchal violence until finally she psychologically and emotionally distances herself from her husband, seeing in him complicity with the murder of the young woman, Susan. Claire attends Susan's funeral but obtains no comfort from it even as she identifies with Susan:Then I imagine her journey down the river, the nude body hitting the rocks, caught at by branches, the body floating and turning, her hair streaming in the water. Then the hands and hair catching in the overhanging branches, holding, until four men come along to stare at her I can see a man who is drunk (Stuart?) take her by the wrist. Does anyone here know that? What if these people knew that? I look around at the otJier faces. There is a connection to be made of these things, these events, these faces, if I can find it. My head aches with the effort to find it. (Carver 175)2As this quotation reveals, even if Carver's plot is simple, the questions it raises are not, and include those of duty, respect, responsibility, agency, and authority. Given the psychological and relational foci of Carver's fiction, it is unsurprising that his works have been adapted into film several times, beginning in 1987 with the Australian film Feathers; perhaps more surprising is the fact that the provenance of the vast majority of the filmic adaptations is outside the United States, with short films emerging from countties as varied as the Czech Republic (Pracfi, 1999), France (Du bois our l'hiver, 2004), Israel (Autumn of the Leaves, 1995), and Cuba (Bailar sobre aqujas, 1999) amongst others. …" @default.
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• W3022882571 date "2009-12-01" @default.
• W3022882571 modified "2023-09-23" @default.
• W3022882571 title "Everything's Turning to White: Palimpsestuous Revelations Made in the Journey from Jindabyne to Jindabyne1" @default.
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