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3 Notes

S 1 On the 'violent innocence' of emergent nation-states, see Marilyn Lake, 'History and z the nation'. In Robert Manne (ed.), Whitewash: On Keith Windschuttle's Fabrication u of Aboriginal History', Melbourne: Black Inc. Agenda, 2003, pp. 164-6.

^ 3 On the restoration ofthe Koori name Gariwerd to a mountain range named by settlers

£ as The Grampians, in Victoria in 1989, see Tony Birch, '"Nothing has changed":

a the making and unmaking of Koori culture'. In Michele Grossman (ed.), Blacklines:

^ Contemporary Critical Writing by Indigenous Australians, Melbourne University Press,

4 On the different meanings of reconciliation in relation to Aboriginal sovereignty see Patrick Dodson, 'Lingiari: until the chains are broken'. In Michelle Grattan (ed.), Reconcilation: Essays on Australian Reconciliation, Melbourne: Black Inc, 2000, pp. 264-74.

5 On the role of'the bush' in a national history written as the story of modern nationbuilding, see Russel Ward, The Australian Legend, Melbourne: Oxford University Press, 1958. On the bush as a key figure in Australian cinema, see John Tulloch, Australian Cinema: Industry, Narrative and Meaning, Sydney: Allen & Unwin, 1982, and Graeme Turner, National Fictions: Literature, Film and the Construction of Australian Narrative, Sydney: Allen & Unwin, 1993.

6 Mick Dodson, 'Indigenous Australians'. In Robert Manne (ed.), The Howard Years, Melbourne: Black Inc. Agenda, 2004, p. 139.

7 Tim Flannery, 'Beautiful lies', Quarterly Essay, no. 9, 2003, pp. 4-16.

8 Fabienne Bayet-Charlton, 'Overturning the doctrine: Indigenous people and wilderness - being Aboriginal in the environmental movement'. In Grossman, Blacklines, pp. 171-80.

9 See Germaine Greer, 'Whitefella Jump Up', Quarterly Essay, no. 11, 2003.

10 William D. Routt claims that the bush comedy or 'backblocks farce' of 1920-40, like the bushranger film, may well be one of Australia's few local genres. See W. D. Routt, 'Always already out of date: Australian bush comedy', paper presented at Seriously Funny: 2004 National Screenwriters' Conference, Melbourne, 2 April 2004.

11 See Mark McKenna, Looking for Blackfellas Point: An Australian History of Place, Sydney: UNSW Press, 2002.

12 On the politics of defining Aboriginality in non-essentialist terms, see Michael Dodson, 'The end in the beginning: re(de)finding Aboriginality'. In Grossman, Blacklines, pp. 25-42.

13 'Practical reconciliation' is a contentious term. Our use of it here is influenced by Noel Pearson on community initiatives and partnerships, rather than John Howard's assimilationist policies. See Noel Pearson, 'Aboriginal disadvantage', pp. 165-75, and John Howard, 'Practical reconciliation'. In Grattan, Reconciliation, 2000, pp. 88-96.

14 Cathy Caruth, 'An Interview with Jean Laplanche', Postmodern Culture, 11(2) 2001. <http://muse.jhu/edu/journals/postmodern_culture/vol11/11.2caruth.html>

17 Marcia Langton, Well, I Heard It on the Radio and I Saw It on the Television: An Essay O for the Australian Film Commission on the Politics and Aesthetics of Filmmaking by l and about Aboriginal People and Things, Sydney: Australian Film Commission, 1993, g pp. 23-40. r

18 See discussion of'afterwardness'in Chapter 5. o

19 See Cathy Caruth, 'An Inteview with Jean Laplanche', paras 25-33. Laplanche H describes this 'extraneity, or strangeness' as foundational for the ego which is formed ® as an internal structure to process 'the reality of the other and his message'. For C Laplanche messages from the other are always enigmatic because the other has an c internal other, the unconscious. t

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