'Brutal' and 'Grisly': exploring the (non-Indigenous) critical reception to two Australian postcolonial films of the frontier, The Nightingale (2018) and The Proposition (2005). Issue 1 (2nd January 2020)

• Record Type: Journal Article
• Authors: Elder, Catriona
• Is Part Of: Studies in Australasian cinema. Volume 14:Issue 1(2020)
• Page Start: 47
• Page End: 62
• Publication Date: 2020-01-02
• Subjects: Motion pictures -- Australasia -- Periodicals; Motion pictures -- Australia -- Periodicals; Motion pictures -- New Zealand -- Periodicals; Motion picture industry -- Australia -- Periodicals; Motion picture industry; Motion pictures; Australasia; Australia; New Zealand; Periodicals; 791.43099
• DOI: 10.1080/17503175.2020.1757836
• Languages: English
• ISSNs: 1750-3183

Abstract

ABSTRACT: This article explores the marketing and non-Indigenous critical responses to the film The Nightingale (2018) by reading it alongside the reception and responses to a similar film, made over a decade earlier, a film that also studies the multi-layers of colonial violence. Using the film The Proposition (2005) as a foil this article considers the ways that violence figured by two non-Indigenous directors working in a postcolonial Australian context is interpreted by the critics reviewing films. The articles considers the different tropes, non-Indigenous critics offer viewers of the film. How do they suggest consumers interpret or experience the film? The argument is that the tropes, and cues can be understood both in terms of the immediate film experience, but also, for Australian viewers in terms of two 'events' – Reconciliation and the Uluru Statement – that help shape what national and counter histories of Australia have power at different times. The objectives of the article are therefore twofold. The first is to catalogue some of the ways each films' marketing machine and then some key critics explained or described the plot and narrative of the two films, in particular how they explained the idea of colonial trauma in relation to the two events. The second objective is to examine how the reviewers/marketing material explained how each film deployed these ideas in order to challenge historically powerful understandings of history and belonging – in its multiple meanings – in Australia.