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Mckee, Alan (1996) Making Race Mean : the Limits of Interpretation in the Case of Australian Aboriginality in Films and Television Programs

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Mckee, Alan (1996) Making Race Mean : the Limits of Interpretation in the Case of Australian Aboriginality in Films and Television Programs McKee, Alan (1996) Making race mean : the limits of interpretation in the case of Australian Aboriginality in films and television programs. PhD thesis. http://theses.gla.ac.uk/4783/ Copyright and moral rights for this thesis are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Glasgow Theses Service http://theses.gla.ac.uk/ [email protected] Making Race Mean The limits of interpretation in the case of Australian Aboriginality in films and television programs by Alan McKee (M.A.Hons.) Dissertation presented to the Faculty of Arts of the University of Glasgow in fulfilment of the requirements for the Degree of Doctor of Philosophy University of Glasgow March 1996 Page 2 Abstract Academic work on Aboriginality in popular media has, understandably, been largely written in defensive registers. Aware of horrendous histories of Aboriginal murder, dispossession and pitying understanding at the hands of settlers, writers are worried about the effects of raced representation; and are always concerned to identify those texts which might be labelled racist. In order to make such a search meaningful, though, it is necessary to take as axiomatic certain propositions about the functioning of films: that they 'mean' in particular and stable ways, for example; and that sophisticated reading strategies can fully account for the possible ways a film interacts with audiences. These sophisticated readings can then by rendered as ontological statements, prefaced by such non­ negotiable phrases as: 'Jedda is ... .' This thesis suggests that such approaches fail to take account of the work involved in audiences making sense of these texts. Although the possible uses of a film or a television program are not infinite, neither is it possible to make final statements about a text's status. Rather, it is necessary to take account of various limits which are placed on the interpretations of texts, for different audiences at different moments. Moving the focus of attention away from feature films (which have traditionally encouraged the idea of a spectator constructed by the text) to include television programs (which have proven more difficult to write into such a project) facilitates this move to an understanding of Aboriginal representation more concerned with the work involved in its interpretations. This thesis addresses three main areas. Firstly, favoured modes of Page 3 spectatorship validate particular practices of consumption. These have implications for the readings which will be made of Aboriginality. Secondly, sets of validated intertexts circulated as 'genres' and 'oeuvres' enable meaning to be made in particular ways. Finally, secondary texts (including academic work) which explicitly purport to explicate films and television programs provide frameworks within which interpretation can be made. Each of these limits works to close down the radical polysemy of television and film texts, enabling meaning to be made of them, and of the Aboriginality they purport to represent. , I , I r! Page 4 I I I Contents Acknowledgements ..................................................................................... 5 Declaration ....................................................................................................... 7 Introduction .................................................................................................... 8 Part A: Introduction .................................................................................... 3 1 Chapter A.1: V ISlblhty .................................................................... 3 4 Chapter A.2: Banality ...................................................................... 5 6 Part B: Introduction ..................................................................................... 7 6 Chapter B.1: Horror .......................................................................... 8 3 Chapter B.2: Soapies ........................................................................ 1 13 Chapter B.3: Director ....................................................................... 135 Chapter B.4: Star ............................................................................... 161 ! I Part C: Introduction ..................................................................................... 1 86 Chapter C.1: Realism ........................................................................ 1 90 Chapter C.2: Fantasy ........................................................................ 205 Chapter C.3: Performance .............................................................. 226 Chapter C.4: Absences ..................................................................... 25 3 Conclusion ........................................................................................................ 278 Appendix A: Selected teleography ...................................................... 285 Bibliography ................................................................................................... 294 Page 5 Acknowledgements First place must go to Dr Ian Craven, without whose encouragement I I I would never have been a PhD student in the first place. Also to the other staff members at the Department of Film and Television Studies, University of Glasgow. Research was funded by a Studentship from the Scottish Office Education Department, for which a large thanks. Travel was made possible by grants from the Marshall Trust (Glasgow), the Northcote Scholarship (administered by the Menzies Foundation), a special travel grant from the Scottish Office, and a set of long-suffering parents. Thanks to all these. Particular thanks also to those people whose jobs are not to help PhD students, but who nevertheless made time and material available to me. Wendy Borchers at the ABC provided not only a fascinating archive of Aboriginal television, but also support and entertainment. Susan Bowers and Robyn Sinclair at JNP put up with a nosy student poking around the library of A Country Practice; Liz Harvey and Anne Warren at Grundy organised screenings of old episodes of Prisoner and of Boney; Don Sameulenok at Crawfords provided unlimited access to all The Flying Doctors that I could watch; and Artists Services must be thanked for allowing access to the first season of Fast Forward. At the Australian Institute for Aboriginal and Torres Strait Islander Studies, Michael Leigh and Nick Richardson were knowledgeable and good natured. Of the production crew of Heartland, thanks to Ro Hume and Bruce Best, Ernie Dingo, and especially to Kristine Nehm, all charming beyond the call of duty. At the AFC, Walter Saunders and Darrin Ballingary were helpful and hospitable. Page 6 In the academic arena, thanks to everyone who took the time to talk over the work, and point in me in the right direction. Particular thanks to Stephen Muecke, Tom O'Regan, Michael McDaniel, Marcia Langton, Karen Jennings (and for breakfast), David Hollinsworth, Adam Shoemaker, and Steve Mickler. Special thanks to John Hartley, for being an inspiration when it was just too late. I I And always, thanks to my husband, Dr John William Sentry, who made me the man I am today, and without whom, none of this would have been, etc etc etc. Page 7 Declaration I certify that this work is the result of my own study and investigation, and that wherever possible I acknowledge the authors of references used, and of views expressed which are other than my own. I also certify that none of this work has been previously submitted, nor is concurrently submitted, in candidature for any other degree. Alan McKee Introduction Making Race Mean Today, Jedda is sickening, and at the same time, laughable in its racism (Marcia Langton, 1993: 47) ... the most successful representation of Aborigines by Whites in Australian cinema is still Charles Chauvel's Jedda of 1954 (Robert Hodge and Vijay Mishra, 1991: 64) 1 Who's right and who's wrong? Marcia Langton is a respected Aboriginal academic whose paper for the AFC, Well I Heard it on the Radio ... (1993) remains one of the most serious attempts to address the representation of Aboriginality in Australian films; Bob Hodge and Vijay Mishra are well-known in the fields of anthropology and post-colonial writing, with no lack of theoretical credibility in such areas. But the quotations given above cannot both be correct, in their own terms and at the same time. Jedda cannot simultaneously be, ontologically and without qualification, 'sickening .. .in its racism' and 'the most successful representation of Aborigines by Whites in Australian cinema'. These quotations are chosen to draw attention to the dominant mode of writing on Aboriginality in Australian film and television. Academic work on this subject has been, and continues to be, assertive and uncompromising, concerned with 'the correctness of representation' (Muecke, 1992: 12). Statements are made without qualification; readings are presented as inescapable and final. In this arena, there is no space for uncertain probabilities: I I In troduction Page 9 interpretations need not be hedged around with maybes,
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