Who Is Australian Identity In Robert Drewe's The Drowner

The fact that Australia was considered as a global nation, which was ‘open to multiple international cultural, political and economic influences (pp.222), was very contentious. Sheridan makes it clear that Asia involvement has shaped Australia, acknowledging the positive and necessary changes in areas including culture, economy, education, defence and more. Knight indicates that Australia was encouraged to begin the desire for economic gain and civilisation. He states ‘Australia thus inherited from Britain a European country, its sense of cultural identity and its feeling of superiority towards Asia and Asians’(pp.223). This demonstrates that Australia views towards Asia were constantly changing leading to an increase in problems examples including smuggling and entering legally from other states.

The author uses patriotism as a technique when stating, “There was a time when it would have been unthinkable for Australians to stand by while an elected government physically and psychologically mistreated people whose only crime was to arrive by boat without an invite.” By criticising his target audience, he appeals to their sense of patriotism in a pursuit to make them feel guilty. This argument is connected to Letch’s illustration in the top left corner, which features a figure holding a sign, which reads ‘GO BACK’. Gittins provided his target audience with a visual reference on his argument by showing Australia as the villain with a frowning and disapproving facial expression and the refugee looking upset sitting in a puddle of water with his head down. In relation to the mistreatment of welfare precipitants, the author uses the technique of mocking when he referred to the Australian Prime Minister, Malcolm Turnbull as “Mr Harbourside Mansion” to provide a preliminary opinion before stating his argument.

This foundation determined the themes that underpin political, social and economic policies Australia’s experience of whiteness historically comes from colonisation, Federation and White Australia policy. Hage argues that White Australia policy was has not been fully abolished and never became obsolete I argue that whiteness was created and built as a foundation for Australia as a successful nation, by the inclusion of White Australia Policy in the nation’s Constitution of 101, and it solidly and securely exited until the mid 1970s. multiculturalism in europe and australia PM Curtin corroborates with Arthur Calwell’s theory of populate or perish to introduce the mass migration Corroborates with Pauline Hanson in her Maiden Speech exemplifying

Reynolds reveals the moderate and censorship of historic writings in the 19th and 20th century, which achieved for government representation and agendas, in order to ignore the destruction of Indigenous Australian life and culture but praise the lives and pioneering spirits of the explores and colonizers. This Eurocentric vision is exposed as weak and racist and only a facade for foreign affairs. The situation of Australian history, violence, massacre, murder, rejection and dispossession that emphasises the idea that history has been repressed to serve the white political agenda, an “abuse of arbitrary power”. Reynolds uses adjective statements to make the audience question the political motivation for the government’s actions and the purpose of its active policies. Reynolds acknowledges the disillusionment of education, he exposes and counters with evidence that is irrefutable, exposing the atrocities of ‘White invasion’.

Introduction: Australia Day. For most Aussies it is a day off work, a reason to whip out the Barbie and have a few too many beers on the beach. It’s a day where communities across the nation come together in celebration, watch the glorious fireworks, and play a few rounds of backyard cricket on the blistering asphalt. But for many Indigenous Australians, January 26 does not represent this supposed ‘Australian Dream,’ but rather the recollection of a nightmare. Australia Day to them marks the beginning of a harrowing 229 years of slaughtering, criminalisation, and torture of thousands of their people.

The Australian culture and national identity are shaped by rich and diverse elements. Australian literature and film have played a powerful role in capturing and reflecting unique aspects of Australian life. This essay explores the cultural element of the Australian outback, which is deeply ingrained in Australia’s cultural fabric and identity, and how its meaning is conveyed across the iconic Australian films Wake In Fright and Picnic At Hanging Rock. The films Wake In Fright (1971), directed by Ted Kotcheff, and Picnic At Hanging Rock (1975), directed by Peter Weir, are iconic Australian cinema works that have left an enduring mark on global audiences. The films convey profound insights into the essence of the Australian outback, an element deeply ingrained in Australia’s cultural identity.

Australia as a nation has always had a complex and often underdeveloped sense of national identity, due to its complicated history, and multitude of cultural influences. As such, finding a common thread in its national cinema has always been a challenge for Australia as a nation. While there are a multitude of different kinds of Australian film, often seemingly unconnected, there are common themes which are used throughout many ‘typically Australian’ films. Two films in which this can be seen are ‘Lantana’ (Lawrence, 2001) and ‘Beautiful Kate’ (Ward, 2009). Both films deal with the theme of isolation - which is prevalent in a lot of Australian films.

Tim Winton’s 2004 ‘The Turning’ is a collection of short stories that provide an insightful and thought-provoking exploration of Australian identity, place, and culture. Each of the stories can be read and analysed individually, however many of the characters and plots have been interwoven with one another, allowing Winton to explore complex ideas on a deeper and more intricate level. Through his vivid and evocative descriptions of the Australian landscape and its people, use point of view, and symbolism throughout, Winton in many ways challenges the habitual ways Australians think about themselves as a nation, whilst also reinforcing certain aspects of Australia’s national identity. ‘The Turning’ focuses heavily on the character of Vic Lang,

Andrew McGahan’s historical fiction novel, ‘The White Earth’ published in 2004, depicts the interrogation of racial, proprietorial, and cultural politics of 20th century Australia, as it recounts the protagonist, William and his mother migrating to Kuran station; a land of rich, black soil, with a House filled with sinister overtones but the inheritance of the land proves to be the character’s downfall. Set in 1992, the novel demonstrates qualities of gothic elements to bring forward the attitudes and actions of post-colonial Australia and articulates the significance of the Mabo decision and its legacy for social and legal changes. This idea of land and place results in a spiritual relationship with its inhabitants; this is prevalent in ‘The

The Australian Dream and After Darkness overall reveal the truth behind Australia and how it runs under a racism-based prejudiced system that dehumanises outsiders who challenge the status

Originally titled, Core of My Heart, Mackellar’s poem is best known for its second verse which has become one of the most well-known pieces of Australian poetry. She begins with a stanza devoted to a traditional English landscape of “field and coppice … green and shaded lanes [and] ordered woods and gardens” as Australia’s cultural heritage came from England, before launching into five stanzas of unbridled passion for the Australian landscape. Having become an Australian expatriate, the inspiration for Mackellar’s poem undoubtedly came from time spent on her family’s substantial country properties in New South Wales as a child. She clearly identifies herself with all aspects of rural Australia, from a drought ravaged “sunburnt country” with “sweeping plains [and] ragged mountain ranges” to “ring-barked forest[s] [and] sapphire-misted mountains”.

Australian identity and what constitutes Australian culture are prominent ideas explored by Peter Goldsworthy’s Maestro. Throughout the novel, there is a strong sense of cynicism towards Australian culture as it is painted as ambiguous and indefinite. This is established through the analogy of Paul representing Australian society and his parents representing the British influence on Australian culture. Goldsworthy also explores the European influence on Australia through Kellar’s character. Goldsworthy’s broader message is that Australian identity is in fact quite complex and open to interpretation due how culturally diverse it is.

This change in the 1960’s led to a change in Australian identity and the idea of a white Australia. One literary text that reflects the issues and challenges faced in the 1960’s is Michael Gow’s play, Away. Dealing with the challenges of this time, Away focuses on the lives of three different families and the idea of reconciliation and self-discovery. Through themes, language and characterisation Away challenges ideas

No matter what changes are made, as long as their skin colour isn’t pure white, they will never be regarded as “Australian”. This puts stress on the requirement for migrants to completely dispose of their own identity for an “Australian” identity. The fact that the protagonist claims that he or she has provided the migrants with equality is also ironic. “Learn English to Distinguish ESL from RSL”, the utilisation of assonance and internal rhyme

Looking for Alibrandi provides valuable insights into the struggles faced by individuals like Josephine in navigating cultural identity and assimilation within Australia's multicultural landscape. By addressing themes of cultural heritage, societal expectations, and the challenges experienced by immigrant communities, the novel deepens our understanding of multiculturalism and its complexities. It sheds light on the need for a more nuanced and inclusive portrayal of Australia's multicultural society (Marchetta, 1992). Moreover, the representation of diverse experiences in popular culture, as depicted in Looking for Alibrandi and its film adaptation, contributes to a more inclusive and representative portrayal of Australia's multicultural