Reference Type |
chapter
|
Title |
The New Australian Cinema |
Chapter/Web article title |
Chapter 2: Social Realism |
Author(s) | Keith Connolly |
Editor(s) | Peter Beilby,Scott Murray |
Town |
West Melbourne |
State |
VIC |
Country |
Australia |
Publication Date |
00-00-1980 |
Citation Date |
|
Page Number |
27-45 |
Comments |
Connolly provides interesting comment upon Social Realist films of the late 70's, particularly in his juxtaposition of the immaterial with the material - how the central protagonists live their lives via their car.
Connolly discusses claims that Walkabout is not an Australian film and concludes with the view that Roeg's vision of 'our' outback provides a sufficiently impressive treatment to qualify. |
Synopsis |
Keith Connolly provides a detailed overview of the social realist films of the 1970ââ¬â¢s. A variety of films are used to illustrate the political, social and moral attitudes that emerged during that era. The films vary in scope; groups and individuals, city and country and age group are all looked at. The sub-genres include: Rural Life, The ââ¬ËOckaââ¬â¢ Australian, Australian workers, the unemployed, sexism, alienation and isolation, Working class-suburbia, Australian Youths, Migrants and Aboriginals, Women, Drugs, Alcoholism and human rights. A Brief synopsis of the film is given yet
the information of the director and people involved is limited.
Connolly discusses the films anti-heroes, and how under their loving hands the F.J. Holden, in a sense the nucleus of the film "...blossoms from rust-bucket to hot-rod showpiece".(32) However, once this transformation is complete, the boys "lapse into apathetic vacuity"(32)
Walkabout is contextualised in terms of being a realist text by its representation of two opposed cultures and their interaction. The Australian landscape is used to indicate a connection or dislocation, from the land or society. Walkabout is described as being a "haunting metaphysical parable on the interaction between man and his environment"(30). |
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