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• W37194240 abstract "So many things fail to interest us, simply because they don't find in us enough surfaces on which to live, and what we have to do then is to increase the number of planes in mind, so that a much larger number of themes can find a place in it at the same time. Jose Ortega y Gasset We are what we pretend to be, so we must be careful about what we pretend to be. Kurt Vonnegut Jr. Ben Anderson defined a nation as an imagined political community, imagined, because the members of even the smallest nation will never know most of their fellow members, yet in their minds, he stresses, lives the image of their communion.1 Communion is a strong word here, but an appropriate one-it has affective, even religious connotations. I will use it in this discussion to invoke the depth of the ties involved and their ritual character. The nation is imagined as a community, says Anderson, because, regardless of the actual inequality and exploitation that may prevail, it is always conceived as a deep, horizontal comradeship. Ultimately, it is this fraternity, he says, which makes it possible for so many to kill and be killed for such limited, such shrunken, imaginings. The notion of fraternity, brotherhood, is not, of course, accidental. The communion is usually gendered. And in Australia, as elsewhere, it has usually been coloured.2 Anderson criticizes Ernst Gellner's formulation that nationalism is not the awakening of nations to self-consciousness but the of nations where they do not exist. For Anderson, Gellner is so anxious to show that nationalism masquerades under false pretences that he assimilates the idea of invention to fabrication and falsity, rather than imagining and creation.3 There is a place called Australia, it is where I am writing from. But is at the same time an idea, or rather, an ambiguous and complicated cluster of ideas which have emotional and political resonances and profound emotional and political consequences.4 It is a cluster of ideas premised on exclusions as much as it is on inclusions. Half of the people who live in this place called Australia are women, but whether or not women can be real Australians, on the screen or in everyday life, remains an open question. The idea of the Australian nation has historically been linked with racism. The Bulletin, a journal established in 1880 and, in a different form, still going today, had no small role in representing the idea of the Australian nation as a unity of white men.5 The early Australian film industry also did its share in representing white Australia-threatened, particularly, by Asiatic hordes.6 Those of us who live here now inherit this semi-imaginary Australia, with all its ambiguity and differential kindness. Whether we like it or not, we eat, sleep, work, celebrate, fight, dream and express ourselves generally in ways offered by national, ethnic and cultural groupings which have some claim on us, which we embrace or negate in varying degrees, but to which we are irrevocably related. Whether we are cerebral, individualistic academics or all-for-the-side football hooligans, we express ourselves in ways which still relate to our group-and we are often unaware of the political and ethical implications of expression. The consequences of communion can be dire, but I would argue, are not by nature so. Not all collectivities lead to Nazism-but some have.7 The our always has to be embraced, questioned, struggled over. I want to look here at some Australian films 8 I care about (Breaker Morant [1980], Sunday Too Far Away [1975], Mad Max [1979] and Mad Max 2 [1982, released in the United States as The Road Warrior]), in relation to notions of community, expression and politics. They are very different kinds of films. The first two presume a past, the second two posit a future. Breaker and Sunday evoke naturalistic histories, Mad Max and Mad Max 2 fantasized, surreal futures, but they all involve visions of collectivity and exclusion, all depict imagined Australian communities. …" @default.
• W37194240 created "2016-06-24" @default.
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• W37194240 date "1993-01-01" @default.
• W37194240 modified "2023-09-28" @default.
• W37194240 title "The soldier, the shearer and the mad man: Horizons of community in some Australian films" @default.
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