Stereotyping the Australian Aboriginals in Film Representation - Movie Review Example

Stereotyping the Australian Aboriginals through filmic representation Introduction With regard to cinematography, representations have been established based on realities contained in preceding shared ideas as well as meanings. Racial discrimination is significantly sustained through stereotypes. According to Hall’s arguments, stereotyping disintegrates individuals into specific simple and fundamental characteristics with their representations considered fixed by nature (Hall 257). In addition, stereotypes exhibit disparities in authority and those with lesser cultural powers are discriminated against such as the aboriginal Australians. In so doing, stereotypes enhance diversities among different individuals (Hall 257). The film, “Australia”, has been extensively analysed in order to establish an over-all representation of the stereotyping associated with Australian Aborigines. The “Australia” Film “Australia” is a film produced in northern Australia before the Second World War. The director of the film was Baz Luhrmann, the scriptwriter was Stuart Beattie and the main actors include Hugh Jackman, Nicole Kidman as well as Shea Adams. This film entails the relationship and interaction of White Australians and the Aboriginal Australians. The film revolves around but not limited to inheritance of an extensive ranch by an English aristocrat, protection of the ranch and the attacks by Japanese forces (Kidman, Jackman and Adams). Stereotyping the Australian Aboriginals in “Australia” Filmic representations effectively depict Australian aboriginals’ stereotypes. The film, “Australia”, effectively portrays racial discrimination as experienced by the indigenous Australian population. The film relatively challenges stereotypes of the Australian aboriginals. It has slightly addressed issues of aborigines’ spirituality, “black fella magic”, and has indicated aborigines as uncivilized as well as unattractive individuals. The non-indigenous actors in “Australia” support the prevalent racial ideologies through replacement, insinuation as well as subordination of the Aborigines. In addition, the film portrays Australian norms and myths as they are acknowledged regardless of their appropriateness and accuracy. The premise of the “Australia” film can be identifiable as the approval of white Australians dominance over the nation, superiority of their identity as well as history. From the title, it is evident that the film’s claim concerning the Australian nation represents Australia. Correspondingly, the film demonstrates the facade of Australia through film promotion as tourism commodity while portraying Australian population, landscape, and history. Stuart Hall et al. states that ideas of filmic narratives pertaining to inferential racism are used in word representation as well as in emphasising Australian stereotypical practices (Kidman, Jackman and Adams). It is a common belief that films generate information from ideas set in meanings portrayed through discursive practices of objects. Stuart Halls’ argument indicates that “nothing can exist outside discourse and that all knowledge is somehow related and connected to it” (Hall 44). In most instances, films and film making process significantly influence core narratives of a film. Michel Foucault, a French philosopher, considers dissertation as fundamental since it is central to human existence. Additionally, Foucault refers to discourse as individuals understanding in culture and creation of shared meaning over time (Hall 49). “Australia’s” distinctive feature is the presentation as well as allusion of authenticity as designated by consistent maintenance of subjectivity. The film has established essential stereotypical identities. These stereotypes include association of aborigines with the natural as well as supernatural world and white identity superiority related to attractive characteristics, authority, intellect as well as accomplishments. As a result, there has been racial discrimination with inobservance of Aborigines. Saussure, a Swiss linguist, argues that language is comprised of signifiers, which are supposed to be categorized into a scheme of differences to give meaning. In the film, there is a white man living among the aborigines known as Drover, whose responsibility is to help Britain (Lady Ashley) save Australia and restore hope in times of uncertainties. Drover distances himself from the local white Australians and exhibits sympathy as well as understanding of the Aboriginal codes. Drover symbolizes the quintessential Australian stereotype: outback, egalitarian, independent and rough, although there is quality performance of duties. Drover is portrayed as belonging to the civilized and uncivilised world as well as heroic and spiritual worlds. He does not embrace racism as evidenced by the request to Lady Ashley to let Nullah go and the explanation that “if he doesn’t go through ceremony, he’ll have no country, no story, no dreaming. He’ll be alone” (Australia 2008). It is noticeable that Drover not only represents Australia but also represents Aborigines as unable to stand for themselves. In so doing, the film partially presents “aboriganness” as a social practice, which white Australians can connect to or depart from as they pleases. Another character used to portray stereotypical identities in the film is Magarri, a friend, companion and a servant to Drover who faithfully follows Drover’s commands. Magarri exhibits total subordination and willingness of assisting white man in his quest of providing “basic folk wisdom. Magarri subordination is apparent through patience especially by waiting outside the pub for Drover while he goes to drink at the restricted ‘a white men’s only’ pub. Maraggi displays concerns over Drover by his advice to Drover to stop drinking and to engage in a new relationship with Lady Ashley. In addition, Magarri honestly accepts to serve Lady Ashley. Magarri is extremely dedicated to assisting Drover develop his instincts and helps the white man resolve his dilemma’s. Additionally, Magarri’s death is attributed to his commitment in the savage responsibility and he dies in his efforts to rescue Drover and his orphans. Regardless of Magarri’s efforts, Drover is accredited for saving his children. In a similar manner King George, a mystical Aboriginal man, dutifully saves Drover from a white villain’s bullet. This displays the compassionate, devotional and caring nature of Aborigines. On the other hand, Lady Ashley signifies the stereotypical British woman who manages to revive the land based on her intelligence and regardless of being deficient in basic survival skills as well bush knowledge. She is renamed “rainbow serpent by a half-caste boy and is role is identified as healing the land, on her arrival at the aborigine land. In addition to healing the land, Ashley owns and rules over the land. Ashley’s popularity and land healing powers alienates her from the bad white Australians and makes her a justified European colonizer. Ashley has relative sympathy and understanding for aborigines particularly the half-cast Aborigine boy. Ashley’s property (Faraway) is desired by two white Australian men with the intentions of possessing it through purchase. Fletcher contests for the eligibility to ownership of the property although the film fails to indicate any claim to the land by Ashley and Fletcher. Ashley represents the dominance of white Australian with regard to power, intellect and qualities as well as the deceptive nature of white Australian. In addition, she denotes the excessive and unattainable quest for property ownership between white Australians (Kidman, Jackman and Adams). King George, a character acted by David Gulpilil, closely represents the male aborigine. The character displays animal like traits, atypical physiognomy that resembles neither the aborigine race nor the white race. King George is portrayed as an introverted ghostly figure that travels quietly across the landscape chanting. To represent the uncivilized nature of aborigines, King George is displayed posing on one leg to provide a background spectacle of un-civilisation regardless of former claims against his origin as an Aborigine. In the film, perspectives of passive religion are displayed throughout, which suggests the existence of the supernatural. It is apparent that King George’s major role is to convey a number of his magical skills to his grandson through a rite of passage referred to as walk about. In addition, King George watches over his people from a cliff and he is responsible for carrying out rites as well as forecast the future such as the arrival of the rainbow serpent woman who will heal the land. Furthermore, King George is entitled to relieve heroes from imminent disaster, for example, cattle stampede. In this view, King George has been used to portray aborigines’ stereotypical identities, which include aborigines’ spirituality, aborigines as being uncivilised, superstitious, and their belief in the natural as well as supernatural (Kidman, Jackman and Adams). Aboriginal females are involved with the well-fitted non-racist Australian, Drover as well as white men considered to be bad such as Fletcher. The film displays Aboriginal female having sexual affairs with married white men such as Fletcher, father to Nullah. This establishes the stereotype of female aboriginals as sexual beings perverted by desires to sleep with white men due to benefits that they may accrue. The sexual affairs between Fletcher and an aboriginal woman result to birth of half-cast boy Nullah. It is notable that Nullah represents the likelihood of bridging the gap between aborigines and white Australians. However, this was retaliated after the death of his mother following the claim by Lady Ashley concerning the separation of aboriginal children from their families. This exhibits the intense racial discrimination deeply rooted among the white Australians that they cannot to be associated with aborigines (Kidman, Jackman and Adams). Conclusion Foucault among other linguists, have identified the media as an influential means of establishing histories as well as characteristics and providing the truth. Strategically, Baz Lurman utilizes authority and knowledge in Aborigines’ stereotyping through the exclusion, reduction as well as categorizing them. This film, “Australia”, elaborately emphasizes the common racial disparities presentations as have been exhibited in several discursive areas. Correspondingly, the film re-addresses issues concerning myths of “white men burden”. It presents conflicting images of the Aboriginals. At one point, Aboriginals are portrayed as having elemental instincts, agility, magic, speed and mysticism while sometimes are considers as being helpless, immature, inexperienced as well as possessing poor leadership qualities. This justifies their dependence on the white men’s intellect. Work cited Australia. Dir. Bauz Luhramann. Perf. Nicole Kidman, Hugh Jackman and Shea Adams. 2008. Film. Hall, Stuart. Representation: cultural representations and signifying practices. London: Sage, 1997. Read More