The Aboriginal trauma narrative and Roeg’s Walkabout

IF 0.4 0 FILM, RADIO, TELEVISION Studies in Australasian Cinema Pub Date : 2017-05-04 DOI:10.1080/17503175.2017.1385136
P. Hanson
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引用次数: 1

Abstract

ABSTRACT Marshall’s Walkabout and Nicolas Roeg’s adaptation of that novel appeared at different points in Aboriginal trauma narrative constructions. Works often appear before a trauma narrative is complete. In this article, I employ an analysis of the imperial gaze as a way of evaluating the two works. I investigate Nicolas Roeg’s 1971 adaptation of the novel in the context of the evolving Australian Aboriginal trauma narrative and also in the context of the Aboriginal narrative being one narrative among many in the larger global civil rights narrative. The source novel is itself the product of a stage in the Aboriginal trauma narrative. As the trauma narrative evolves, it opens up new definitions of the experience represented in the novel. Roeg examines and engages these developments in his adaptation. Roeg revises the racial and domestic logic of the novel, exposing its civil rights ethics as a product of arrested development. His film is best understood if one understands that it exists as part of the building of a larger trauma narrative.
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原住民创伤叙事与Roeg的漫游
摘要马歇尔的《漫游》和尼古拉斯·罗格对该小说的改编在原住民创伤叙事结构中出现在不同的位置。作品往往出现在创伤叙事完成之前。在这篇文章中,我运用了对帝王凝视的分析来评价这两部作品。我在不断发展的澳大利亚原住民创伤叙事的背景下,也在原住民叙事是更大的全球民权叙事中众多叙事之一的背景下调查了尼古拉斯·罗格1971年对小说的改编。源小说本身就是原住民创伤叙事的一个阶段的产物。随着创伤叙事的发展,它为小说中所代表的经历开辟了新的定义。罗格在他的改编作品中审视并运用了这些发展。罗格修正了小说的种族和家庭逻辑,揭露了其民权道德是停滞发展的产物。如果人们理解他的电影是作为一个更大的创伤叙事的一部分而存在的,那么他的电影就最好被理解。
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来源期刊
Studies in Australasian Cinema
Studies in Australasian Cinema FILM, RADIO, TELEVISION-
CiteScore
0.50
自引率
0.00%
发文量
7
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