Aboriginals, representation of, 26–8, 70, 101
Adventures of Barry McKenzie, The, 141
All the Rivers Run, 29
Alvin Purple, 100
Anderson, Benedict, 154
Andrews, Barry, 61–2 passim
Australian cultural studies, 148
Australian Film Reader, 147
Australian film studies, 3–5, 147
Australian humour and naturalisation, 140–2
Australian Journal of Cultural Studies, 147
Australian Journal of Screen, 147
Australian literary studies, 2–3, 146
Australian Screen, The, 147
Barrett, Robert G., 150
Bliss (film), 138; (novel), 111, 135–7, 149
Brady, Veronica, 3, 52, 74, 83
Breaker Morant, 103, 114–15, 124–5
Bring Larks and Heroes, 31, 51, 59, 67–8, 80
Bryan Brown, 103
Burstall, Tim, 79
Campion, Jane, 153
Carey, Peter, 111, 135–6, 139, 149; ‘The Fat Man in History’, ‘Chance’, ‘American Dreams’, 139
Cars That Ate Paris, The, 101
Carroll, John, 83
Carter, Paul, 147
Chant of Jimmie Blacksmith, The (film), 70–1, 114; (novel), 29, 49, 51, 59
characterisation in Australian narrative, 87, 105; in fiction, 93–7; in film, 100–3; as icons of Australianness, 103–5; as ideology, 104–5; modes of representation, 87–105; theory of, 88–90; view of the self, 90
Chatman, Seymour, 89
Chambers, Iain, 154
Cinema Papers, 147
Clarke, Marcus, 26
Clinic, The, 133
Commandant, The, 51
convictism in Australian narrative, 51–2, 62–75; Hergenhan’s view, 60–1; history, 60–1; as ideology, 75–6, 81–4; as metaphor, 60
Corris, Peter, 150
country versus city in Australian narrative, 28 see also nature and society
Crocodile Dundee, 151
Culler, Jonathon, 88
Dark Side of the Dream, 147
Dead Calm, 152
Death in Brunswick, 153
Devil’s Playground, The, 51, 71–2, 75
Discipline and Punish, 60, 69, 75
Docker, John, 2–3, 21, 26, 54–7, 121
documentary realism, 98, 105, 132–4
Drysdale, Russell, 111
Ellis, John, 7
exeistentialism in Australian narrative, 79–80
film criticism and literary criticism, 13–16
film and fiction as narrative, 17–19
film and literature, formal differences, 16–17
For The Term of His Natural Life (film), 61; (novel), 59, 61–5, 68
Fortunes of Richard Mahony, The, 59, 75
Foucault, Michel, 60, 69, 75, 81
Fringe of Leaves, A, 138
Furphy, Joseph, 83, 90–2, 97, 99, 110, 149
Gallipoli, 100–2 passim, 114, 115
Garner, Helen, 149
Gelder, Ken, 151
Getting of Wisdom, The (film), 59, 71, 73–5
passim’, (novel), 73–5
Going Down, 134–5
Goodbye Paradise, 139
Green Card, 152
Heath, Stephen, 142
Hebdidge, Dick, 138–9
Heidelberg School, 26, 110; influence on film, 112
Hergenhan, Laurie, 20, 60–1, 82
Heseltine, H.P, 3, 25, 26, 28, 30–1, 122
Hodge, Bob, 147
Illywhacker, 149
Imaginary Life, An, 137–8
individual in Australian narrative, 21–2, 59–84, 105; in comparison to America, 76–8; in films of Peter Weir, 101; history, 78; image of the battler, 119 ; as a national type, 103–5
individualism in Australian narrative, 99; democracy, 90; ideology, 105; mateship, 93–7; nationalist myth, 90–1; ‘type of the individual’, 103–5
Jacka, Elizabeth, xiii, 147, 154
Jameson, Frederic, 123, 144, 145, 151
Jolley, Elizabeth, 149
Kiernan, Brian, 3, 25, 28, 30–1, 33, 46, 51, 79
Kostas, 133
Landtakers, 43–6
Lawson, Henry, 26, 90–1, 93–7, 110; ‘The Shearing of the Cook’s Dog’, 92; ‘The Bush Undertaker’, 26, 92; ‘Send Round the Hat’, 92; ‘Telling Mrs Baker’, 94–5; ‘The Union Buries its Dead’, 96
legend of the nineties, 25–6, 29; cultural currency of, 107–23; ideological function of, 123–5
Levi-Strauss, Claude, 9, 18, 19, 35–6, 142
literary criticism and film criticism, 13–15
Louisa, 147
Macherey, Pierre, 33
Mad Max II, 78
Malcolm, 152
Malouf, David, 60
Man From Snowy River, The, 49–50, 59, 112, 117–21, 138, 151, 153
Man of Flowers, 140
Man Who Loved Children, The, 51, 75
Mango Tree, The, 29
Marquez, Gabriel Garcia, 149
Mast, Gerald, 15
mateship, literary convention of, 93–100
Mayer, Geoff, 148
Merry Go Round in the Sea, 75
metaphysics and ideology, 81–3
Mishra, Vijay, 147
Moffat, Tracy, 153
Molloy, Bruce, 148
Monkey Grip, 133
Moorhouse, Jocelyn, 153
Moran, Albert, 147
Moving Out, 133
My Brilliant Career, 29, 51, 71, 114
My First Wife, 140
narrative and culture, 8–9, 18–20, 75–8, 142
narrative closure, 71–5, 78, 79, 105
narratology, 5–6
nationalism, xiii, 105; in Australian film, 109–21; conservative critiques, 121–2; ideological function, 108–21; myths, 107–8; in opposition toBritain, 112–13; representation of, 107–23
nature and society in Australian narrative, see also country and city; centrality of the land, 32; culture into nature, 34–5; ideology, 33–5; myth, 35–7, 50–2; traditional views, 25–31
Odd Angry Shot, The, 140
Oscar and Lucinda, 149
Parker, David, 152
Picnic at Hanging Rock, 29, 101, 102, 114
Picture Show Man, The, 103
Pike, Andrew and Ross Cooper, 3
Power Without Glory, 5
Proof, 153
Ralph Rashleigh, 61
Rikki and Pete, 152
Road to Botany Bay, The, 147
Robbery Under Arms, 25
Rowe, Jennifer, 150
Ryan, Tom, 57–8
Salzman, Paul, 151
Savage Crows, The, 75
Scarlet Letter, The, 93
Schaffer, Kay, 147
Schepisi, Fred, 70
Seven Poor Men of Sydney, 51, 61
Sinnett, Frederick, 78
Smiley, 114
stars as signs, 104–5
Starstruck, 138
Strictly Ballroom, 153
style in Australian film, 79; contemporary directions, 130–5; in Australian narrative, 138–9
Sunday Too Far Away, 29, 51, 75, 98–100, 140–1
Taine, H., 30
Tass, Nadia, 152
Tax Inspector, The, 149
Three Cheers for the Paraclete, 51
Tulloch, John, 3, 5, 7, 15, 28, 29, 36, 111
Turner, Ann, 153
Ultima Thule, 46–9
Unknown Industrial Prisoner, The, 51, 68–70, 75
Vivisector, The, 51
Walkabout, 75
Wilkes, G.A., 32, 121–2, 141–2
Williamson, David, 141–2
Windsor, Gerard, 150
Winter of Our Dreams, 75, 104, 133
Woman of the Future, 51
Women and the Bush, 147