澳洲广播电台第十集：澳大利亚文化的地域性和全球性(页 1) - 澳洲留学移民 - 澳大利亚广播电台 -

澳洲广播电台第十集：澳大利亚文化的地域性和全球性

今天的澳大利亚人通过文学和电影等形式展现自己的文化，并且总是极力表现这一国度的独特之处。但是倘若澳大利亚电影业和出版业要在狭小的市场空间中求生存，所要付出的代价是：他们的图书和电影作品必须打入国际市场。

[color=Red]详细内容请看二,三,四楼[/color]

中文详细内容
[quote]
[b]苏·斯拉梅：[/b]

大家好，我是澳洲广播电台的主持人苏·斯拉梅。

在今天的节目中，我们将通过对书籍、电影和澳式足球的讨论来探讨 “澳大利亚文化的地域性和全球性”这一问题。

对于澳大利亚文化，存在着两种针锋相对的观点。一种观点认为，澳大利亚作为一个如此年轻的国家，可以说根本没有什么民族文化可言；另外一种相对正面的观点是，澳大利亚已经摆脱了“英国前哨”的身份，也不再是“美国的分支机构”；澳大利亚有能力成为崭新的、独具特色的“南方大陆”。

一九八八年，正值澳大利亚举行欧洲人定居二百周年纪念活动之际，约翰·里卡德出版了《澳大利亚文化史》一书。他在书中指出，澳大利亚短暂的历史很大程度上是一段不断探寻如何进行民族自我定位的历史……

[b]约翰·里卡德：[/b]

“理查德·怀特在其《构造澳大利亚》一书中把这叫做‘民族情结’。特别是二战之后，这些问题似乎受到越来越多的关注。例如，‘我们作为一个民族而存在的根本是什么’，‘我们依然实行君主立宪制，这是否意味着我们不是一个独立的国家’，等等，真是一场旷日持久的有趣论战。”

[b]黛布·费尔赫芬：[/b]

“世界各国的电影业总是在探寻此类问题，澳大利亚电影业也不例外。事实上我认为，澳大利亚电影业是最能体现这种自我审视的产业之一。我们的电影具有本土特征，抑或更具国际特征？我们与世界上其他成功的电影业，如美国电影业，是否有某种程度上的联系？在我国电影的发展初期，我们与英国电影业又有怎样的联系呢？”

[b]苏·斯拉梅：[/b]

黛布·费尔赫芬在皇家墨尔本理工学院讲授电影研究课程。她认为，澳大利亚的这种挥之不去的“自我定位”情结，普遍存在于后殖民地社会中。

[b]黛布·费尔赫芬：[/b]

“毫无疑问，这是一种对‘身世’的探寻。我是说，‘自身定位’归根结底都是在探寻诸如此类的问题——‘我们来自哪里’？‘我们是谁，同先辈和传承之间有着何种联系’？由于同英美两国经济上的联系以及历史上的殖民关系，澳大利亚电影经常揉进了美、英两个国家的元素。大多数人不会想到我们与美国的殖民联系。当然从史实的角度来看，我们与美国没有那种政治上的殖民隶属关系，但是经济上的殖民关系却体现在诸多方面。这一点对于澳大利亚自我定位过程中的身世探寻，具有十分重要的意义。这也使我想到，电影对于澳大利亚人来说，具有一种很有意思的功能：那便是我们通过电影这种方式讲述我们自己的创世神话和建国传奇故事。在别的国家里，这种传奇故事通过口头流传或文学作品的形式代代相传。在各种文化中，对于创世神话的讲述方式都不尽相同。就历史年代来说，澳大利亚的文化显得非常年轻。我们直到近代才发展形成一种民族文化——一种白人民族文化。从某种意义上讲，我们运用了现代科技手段来阐释这些传奇故事。”

[b]苏·斯拉梅：[/b]

自从二十世纪六十年代以来，历届澳大利亚政府一直对反映澳大利亚“国民性”的电影和电视节目提供资助。

正是如此，澳大利亚电影成为了向外国学生介绍澳大利亚研究的一种非常好的方式。

再次欢迎在哈佛大学讲授澳大利亚研究课程的约翰·里卡德来继续讨论这个话题。

[b]约翰·里卡德：[/b]

我特意从五部风格迥异的澳大利亚电影中选放了一些片断给学生看，比如电影《加利波利》和《普丽西拉--沙漠皇后》的片断。

[b]苏·斯拉梅：[/b]

您能不能简要地向那些从未看过这两部电影的听众讲述一下这两部电影的主要内容呢？还有，为什么我们把这两部电影看作是具有典型澳大利亚特征的电影呢？

[b]约翰·里卡德：[/b]

好的。《加利波利》讲述的是一九一五年发生在一战期间的加利波利战役。这场战役说到底是一场灾难，一场军事灾难。但这次战役被看成是澳大利亚士兵经历的第一次战争洗礼，同时也从某种意义上树立起了澳洲兵 的形象。

[b]苏·斯拉梅：[/b]

是不是因为电影中塑造了典型的澳大利亚人玩世不恭的形象，由此得出这是澳洲兵的特征之一？

[b]约翰·里卡德：[/b]

这点在电影中表现得淋漓尽致。这部影片向你展示了两种类型澳洲兵的形象。一位是乡下男青年，非常体面，很高贵，符合那种具有贵族气息的乡村人的形象；但他的朋友，他最要好的伙伴（由梅尔·吉布森饰演）是个城市小混混。他们俩结下了深厚的伙伴情谊，而这种伙伴关系恰恰象征了澳大利亚文化中这两种不同元素的融合。

[b]苏·斯拉梅：[/b]

那我们可以说他俩是最要好的伙伴，对吧？

[b]约翰·里卡德：[/b]

的确是最要好的伙伴。这部影片以乡村男青年的壮烈牺牲结尾，而他的伙伴这个时候正试图将那个本可避免这场战斗、挽救整个军团的重要命令及时送达目的地。但他最终没有成功，当然并不是他的过错。在这种背景下，影片严肃地塑造了澳大利亚“乡下人”的形象和澳洲兵的形象。而《普丽西拉--沙漠皇后》是一部与之对比鲜明的影片，因为这部电影讲述的是一伙男扮女装的同性恋者走进丛林的故事。其中有个非常经典的场景，这群身着女性盛装的男同性恋们来到位于布罗肯山脚下的一个小酒吧，他们的出现使在场的当地人大吃一惊。但他们最终还是被当地人所接受。这是一部喜剧娱乐片，但同时又刻意向传统意义上的男性形象提出了质疑。

[b]苏·斯拉梅：[/b]

澳大利亚日益城市化，其文化也越来越多元化，这为电影导演们提供了探讨国民性的新领域。

[b]维基·皮尔：[/b]

“从二十世纪八十年代末到九十年代，我们注意到一种偏离丛林神话和男性话题的趋势，关于城市主题的电影开始出现。《死于布朗思维克》、《城堡》、《无法无天》，这些都是以城市生活为重点的影片。这正是因为澳大利亚本质上就是一个很城市化的国家。”

[b]苏·斯拉梅：[/b]

维基·皮尔博士来自莫纳什大学全国澳大利亚研究中心。

[b]维基·皮尔：[/b]

“我们还发现移民和移民经历也是以一种前所未有的方式来展现的，《寻找阿里布兰蒂》这部电影就是一个很好的例子。此外，澳大利亚原住民现在也广泛地参与到电影制作的方方面面。他们不仅创作、制作电影，还在其中扮演角色，这可是五年、十年前都不会有的事。二十世纪八十年代以前的电影所塑造的澳大利亚原住民形象千篇一律，而现在的电影如《末路小狂花》（另译《防兔篱笆》、《孩子要回家》）和《球赛背后》等，所采取的角度就突破了以往人们思维的固定模式。”

[b]苏·斯拉梅：[/b]

澳大利亚社会越来越多地体现出其民族多样化的特性，原住民和新移民在我们的电影中都得到了反映，我想这一主题会引起海外其他多民族国家的观众在这方面的共鸣，是吧？比如说《舞出爱火花》这部电影在法国戛纳电影节首映的时候不就产生了很大的反响嘛！

[b]维奇·皮尔：[/b]

“《舞出爱火花》是一个正义战胜邪恶的故事，这是一个普遍的主题。影片中，一个名叫斯科特的青年，想要赢得泛太平洋地区国际标准舞锦标赛的冠军，他不顾父母以及在舞蹈界颇有影响的保守派的反对，最终决定和他的梦中女孩弗兰——一位西班牙移民——携手共舞。”

﹙插播音乐：约翰·保罗·杨的《云霄恋曲》﹚

[b]苏·斯拉梅：[/b]

澳大利亚的欧洲移民历史虽然短暂，但在电影史中发挥的作用却不容小觑——也许很多人都不知道，澳大利亚是世界上最早拍摄故事片的国家之一，早在一九〇六年就拍摄了故事片《凯利帮的故事》，这部影片讲的是一个丛林大盗的故事，他是澳大利亚家喻户晓的传奇人物。

在二十世纪上半叶，澳大利亚电影业规模虽小但成就斐然；然而从二战后一直到二十世纪六十年代，一些国外大型连锁电影公司使澳大利亚小规模的电影业在国际上很难占据一席之地，让我们听听维基·皮尔的解释。

[b]维基·皮尔：[/b]

“由于资金和发行的困难，澳大利亚在一九五九年到一九六六年期间没有制作出一部故事片。这其中还涉及到发行商的问题，比如在二十世纪四十年代，里奇公司就不想参与到制作过程中来，以至于连澳大利亚人自己都不愿意再参与制作。”

[b]苏·斯拉梅：[/b]

那么在您看来，这是否和我们所说的“文化自卑心理”有关？也就是说，二十世纪中很长一段时间里，澳大利亚一直推崇英国或国外的世界性文化，因此在某种程度上，他们认为自己的文化不够优秀。您认为这种情况从什么时候开始有所改观的呢？

[b]维奇·皮尔：[/b]

与这个事情有关的一些问题一直存在于二十世纪。相对于制作精良的进口美国影片，人们觉得澳大利亚的电影作品不够优秀。发行商传达给公众和政府这样一种观念，那就是美国影片才是大家想看的。然而，到二十世纪七十年代之前，电影界一直是如此的混乱，以至于事实是否真的如此，并没有得到有效的验证。”

[b]苏·斯拉梅：[/b]

在二十世纪七十年代，由于澳大利亚政府对本土影视制片商的大力支持，电影业开始复兴。

自从二十世纪七十年代以来，澳大利亚共拍摄了六百三十部故事片，并且目前许多的澳籍演员、制片人以及技术人员在好莱坞风头正劲。

到一九九八、一九九九年为止，澳大利亚电影业的生产总额达六亿七千八百万澳元，但是九十年代的增长主要是归功于在澳大利亚制作的好莱坞影片，例如《谍中谍2》以及关于多重身份的《黑客帝国》。

这些电影淡化了本土性和国际性之间的区别，我采访了约翰·理查德，问他我们是否还能够看到所谓的澳大利亚电影。

[b]约翰·理查德：[/b]

“我们曾有一些非常好的导演，虽然他们中的很多人去了海外发展，但我们并不能因此而指责他们。现在我们还有许多优秀的导演在不断地涌现，他们制作出优秀的影片。但是事实是，我们现在发展澳大利亚电影业主要是在这里制作好莱坞电影，你提到了《黑客帝国》，这就是一个典型的在澳大利亚制作的好莱坞电影。好莱坞在这里制作电影，雇佣当地的技术人员等等，这对于澳大利亚的经济来讲可能十分重要，但是也带来了一个隐患，那就是，这样做的结果可能是把本土电影业挤出去。所以我认为将本土电影维持在一定的水平上十分重要。现在我们的导演未必想拍那些过去澳大利亚电影业认准的‘老一套’，如丛林故事和历史题材等。他们的目光可能更多地还是投向了国际性的主题，即便如此也是很自然的，但拥有我们澳大利亚自己的电影制作方式，讲述我们自己想要讲述的故事，仍然十分重要。”

[b]苏·斯拉梅：[/b]

大家都十分关注本土影视业，那些自由贸易谈判者都寄希望通过政府的补贴和专门的管制手段来推广澳大利亚文化。

乔克·吉文来自墨尔本斯温伯恩科技大学，目前正在撰写一部关于澳大利亚电影业发展历史的专著。

[b]乔克·吉文：[/b]

"不论是在世界贸易组织的谈判桌上，澳大利亚作为约一百四十个成员国之一，和大家一起举行谈判和协商，还是在正在进行的新一轮澳美双边关系谈判中，澳大利亚都承受着要做出让步的巨大压力。澳大利亚影视业的经济实力并不雄厚。相反，我觉得是很脆弱，尤其在和美国的双边谈判中显得非常脆弱。因为美国的娱乐产业是一个庞大的经济巨头，而且目前具有举世无双的战略实力。所以和美国打交道可不是一件轻松的事。

[b]苏·斯拉梅：[/b]

但是，任何人，包括美国人在内，看一眼澳大利亚的免费电视节目,尤其是商业电视频道，便会觉得这里铺天盖地几乎都是美国肥皂剧和其他节目。美国人还能有什么其它要求呢？

[b]乔克·吉文：[/b]

现在电视节目的播放时段是有规定的，早晨六点到午夜十二点之间的免费电视频道节目中，澳大利亚的节目要占到百分之五十五。这也就意味着美国或者其它任何国家最多只能拿到百分之四十五的时段。他们显然想得到更多的时间。可能的话，他们想要得到百分之五十五或者六十五甚至百分一百。他们清楚要拿到那么多时段很难。限定原则限制了美国电视节目在国际市场上的购买和播放。这对他们来说是一条至关重要的原则，于是只要发现存在这一类的限制，他们就会想方设法突破这种限制。”

[b]苏·斯拉梅：[/b]

在一个像澳大利亚这么小的市场内，如果没有启动资金的话，首部电影的拍摄或者首部小说的出版，一定会困难重重。

澳大利亚的文学作品或许能在两千万左右的人口中找到自己的读者群，但这却往往得不偿失。

所以，当麦克斯·巴里决定写他的第一部小说时，他精明地选择了把可口可乐公司当作创作背景。一个势单力薄的澳大利亚勇士就这样打开了美国的市场。

[b]麦克斯·巴里：[/b]

“每天我都在午餐时间偷偷溜走，躲到我那辆价值两百五十澳元的车里花四十分钟奋笔疾书赶小说。我的处女作就是这么写出来的。所以完稿时，就像其他作家一样，我也积极投稿，希望某个出版商能看中我的作品，期待将来有一天我的书能摆在书架上。我把书稿投给几位澳大利亚的出版商。同时，我又想，我的小说有点美国味儿，因为这是发生在洛杉矶可口可乐公司里的故事，因为洛杉矶一直是浅显得脱离现实的故事发生的理想场所。所以我就往美国的文学作品代理公司寄信，寄了几十封。只有一个公司给我回了信，接受了我的书稿。有一天他们打电话给我说，‘你好，麦克斯，我很乐意为你的书做代理。’终于，我通过这个人把小说卖给了一个美国出版商，他买下了该书在全世界的版权，然后又把在澳大利亚的出版权转卖给了澳大利亚的出版商。就这样，作为一位澳大利亚作家，而我的出版商却是美国人。”

[b]苏·斯拉梅：[/b]

这是一部喜剧作品，也就是我们在澳大利亚所说的讽刺性调侃。您是否觉得这恰恰是因为作者是澳大利亚人，而且要不是这一点这本书也就没有什么澳大利亚特色了呢？

[b]麦克斯·巴里：[/b]

这就是我们平时所说的“调侃”了。就是那种幽默感吸引了澳大利亚读者。有些读者告诉我，他们读了这本书，而且非常喜欢。他们并不知道我是澳大利亚人，因为书中并没有流露出这一点来。但是读者得知这一点后，他们会觉得原来如此，他们早就领会了其中似曾相识的幽默感。

[b]苏·斯拉梅：[/b]

是的，麦克斯。在幽默感这方面，让我们尝尝《糖浆》给人们带来的调侃marketing的甜头。还有，书中的那位“鬼鬼祟祟的彼得”，他本身也是一位推销员，我觉的他身上简直彻头彻尾地反映了有关市场marketing的一切，是吗？

[b]麦克斯·巴里：[/b]

“‘鬼鬼祟祟的彼得’是我迄今为止见过的最酷的人了。一个原因是他令人惊叹的绝对前卫的时尚感，但最主要的原因是他一向沉默寡言。这样他就保持着一种略带神秘、自然而且自信的翩翩风度。我上学期在加州大学的市场marketing班的一次酒会上邂逅了‘鬼鬼祟祟的彼得’，之后我们成为了朋友。想来这是多么神奇的事啊，因为他是那么寡言少语。随后我们要同心协力地在洛杉矶找住所便成了顺理成章的事，尤其因为‘鬼鬼祟祟的彼得’的门路要比我广得多。我曾经看到过这么一个说法，平均每个成年人每年会有三个价值百万美元的点子，有了这三个点子你就可以在一年之内成为百万富翁。我觉得，可能有些人的这种点子多一些，有人就少一些。不过，这么说可能不过分，最愚蠢的人在一生中也一定会想到至少一个这样的大点子。我的点子呢，就是推出一种新的可乐。这个点子非常重要，因为碳酸饮料的市场非常庞大。因此，一种新产品即使只有很小的市场占有率，收入都是上百万美元！所以推出一种新可乐的想法十分令人兴奋。”

[b]苏·斯拉梅：[/b]

麦克斯·巴里由市场marketing员改行成了全职作家，他的新作《珍妮弗的管理》是关于全球化的问题。

但是他这种“博人一笑的故事”在澳大利亚文坛上是很少见的。

约翰·阿诺德在澳大利亚出版界工作多年，同时也是莫纳什大学社会政治调查学院的院长。

[b]约翰·阿诺德：[/b]

“这是一个很好的故事。但我觉得，这只是个例外，并不是澳大利亚文学作品一贯的文风。而且麦克斯自身的市场marketing经验可能起了很大的作用。现在，出版商一般不会接受作者自发投稿的作品，作者必须先通过文学作品代理公司。在澳大利亚要出版小说非常困难，因为你想，澳大利亚的人口少，仅仅两三千本的印刷量便能满足小说的需求量，而这个印数正是盈亏的临界点。经过他们会计部门的预算，出版商们一般都采用更为稳妥的小说，而不是那些实验性的作品。尽管那些实验性小说可能会像麦克斯的或者其他人的小说那样，再版三版都持续火爆。

[b]苏·斯拉梅：[/b]

那您怎么看待现在澳大利亚出版业的现状呢？目前是不是处于健康状态？市场上是不是有足够的在澳出版的澳大利亚作家的作品，不论文学类的，还是纪实性的？

[b]约翰·阿诺德：[/b]

我觉得澳大利亚出版业发展情况尚好。因为，虽然近几年大家一直津津乐道于网络图书和电子图书的巨大潜力，但是如果你走进书店，还是可以看到有许许多多的澳大利亚图书。其中有的专门评述澳大利亚书籍的《澳大利亚图书评述》，还有体现一个国家特征的各种文字作品，诗歌和小说等等。人们常说，一个国家的文学作品能够反映一个国家的特点。所以，澳大利亚的特色通常在文学作品中得到反映。”

﹙插播音乐： 卢卡诺·帕瓦罗蒂的《今夜无人入眠》﹚

[b]苏·斯拉梅：[/b]

足球，尤其是令大男人们为之疯狂的椭圆形“澳式足球”，是澳大利亚大众文化不可分割的一部分。

我们来看看约翰·阿诺德是如何定义“文化”的……

[b]约翰·阿诺德：[/b]

“给‘文化’下定义挺难的。雷蒙德·威廉姆斯在他的《关键字词》这本书中对文化下了五种不同的定义。我们可以有大众文化，高雅文化，还可以有某种一般意义上的文化，比如澳大利亚文化和美国文化，还可以有一种文化视角。我觉得，在澳大利亚大家一直认为文化是一种文学的或者是创造性的产物，但我们也有大众文化，而且从学科研究来说，现在文化研究也很乐于将那些低级庸俗小说及杂志、那些花哨的杂志和体育当作是文化的一部分。”

﹙插播音乐：克里斯·多尼的《超越运动》﹚

[b]苏·斯拉梅：[/b]

“澳式足球”可称得上是一种真正的澳大利亚土生土长的运动。

虽然这一运动面临像板球、英式足球和橄榄球这些在世界上广泛流行的运动的激烈竞争，但是墨尔本的一个作家约翰·哈姆斯对这一运动未来的发展充满信心，因为“澳式足球”蕴含着丰富的本土文化。

[b]约翰·哈姆斯：[/b]

“如果大家都是铁杆球迷，就会根据当时发生在足球界的事情来记忆我们的生活片断。我们家就是这样。所以，许许多多对家庭往事的回忆都和足球世界发生的点点滴滴联系在一起。我觉得，正是这一点强化了我们对足球的感情。特别是，如果你由于家庭的熏陶而加入足球俱乐部，其实澳大利亚很多人都是这样的。这就像基因遗传一样，你从父母、祖父母和曾祖父母那儿遗传了爱好足球的基因。你看，我的家在吉朗，我对足球爱得如痴如醉，无法自拔了，足球已经成为我生命的一部分。

[b]苏·斯拉梅：[/b]

刚才你提到了你的家庭，就像那首盎格鲁裔澳大利亚人很熟悉的歌中所唱的那样，实际上“澳式足球”已不仅仅是一种运动，而是那些雅号为“新澳大利亚人”或者“初来者”的重要休闲活动。我想，您的曾曾祖父也应该属于那一辈人吧？

[b]约翰·哈姆斯：[/b]

“是的，当然了，如果纵览“澳式足球”的历史，从十九世纪中叶一直到二战，澳大利亚的足球迷绝大多数是盎格鲁－凯尔特人，当时他们在澳大利亚人口中占主导地位。当然了，后来我们才有了二战后的移民。”

（插播球迷在现场热情高涨的欢呼场面）

[b]苏·斯拉梅：[/b]

足球运动员托尼·利贝拉托雷，出生于战后意大利移民家庭，同许多移民后代一样，他踢澳式足球，也是澳式足球忠实的追随者。

托尼·利贝拉托雷为“牛头犬”队效力十七年，被足球迷昵称为“利贝”。他退役那天，他的球迷感慨万千……

（插播足球运动员和意大利籍澳大利亚球迷的画面）

"利贝真的太棒了。因为他我们才追随‘牛头犬’队，简直棒极了。现在利贝退役了，尽管我们失去了个头最小的球员，但他的形象在我们球迷心中是最高大的。利贝，你将与泰迪·怀登一样流芳百世。利贝，你真的太棒了。干得好，伙计。我们真心的享受你在场上的每一分钟。"

[b]“澳式足球”球迷：[/b]

我是一九五五年来的，五六年我才真正参与其中。我几乎没错过什么比赛，这么久以来也就错过十五到二十次吧。那时我们家的丹尼·德尔罗伊正为‘牛头犬’队效力，我们是德尔罗伊家族，丹尼·德尔罗伊是我们的侄子，我们一家都会踢球。

[b]苏·斯拉梅：[/b]

所以你和足球俱乐部之间建立了一种血缘关系……

如果有许许多多非盎格鲁裔澳大利亚人也为这一运动而痴狂，那澳大利亚原住民就更不用说了，他们当中出了许多最优秀的球员。

巴里·贾德有原住民血统，目前在莫纳什大学的原住民文化研究中心任教。他曾研究整理了“澳式足球” 早期原住民球星之一——西德·杰克逊的传记。

[b]巴里·贾德：[/b]

“西德在西澳州一所名为罗兰兹的教会机构里长大。这个地方一直鼓励发展体育运动，所以教会里的原住民孩子球都打得相当好，因为他们老在练习。在当时的环境下，许多原住民都在教会机构中长大，这也使得“澳式足球”成为独具魅力的运动。这种运动甚至可以在城市中的围场里进行，所以你也不需要什么资源，一个球就足够了。从这个角度来说，原住民从事足球运动比参加我们其它的民族运动，比如板球等，要容易得多了。许多体育历史学家还认为，也许现代足球的发展在一定程度上源于一种原住民的游戏。这种原住民游戏用袋貂皮做球套，里边填满了压碎的木炭。这种传统运动的显著特征就是高高跃起，抢球得分，这一点仍然体现在现代足球之中。”

﹙插播音乐：格雷格·钱皮恩的《这就是足球》﹚

[b]苏·斯拉梅：[/b]

巴里·贾德撰写了西德·杰克逊的传记，书名为《黑与蓝》。在他之前，约翰·哈姆斯也写了一本关于“澳式足球”的书，题为《处处有闲人》。

下周的节目是……“澳大利亚政治面面观”。

又到了和大家说再见的时间了。我是苏·斯拉梅。感谢赖安·厄甘提供的技术制作以及莫纳什大学全国澳大利亚研究中心提供的学术指导。
[/quote]

英文详细内容
[quote]
[b]SUE SLAMEN:[/b] G'day, I'm Sue Slamen from Radio Australia.

In today's program we take a look at 'Australian Culture - the Local and the Global'… through books, film and even Aussie Rules Football.

There are often two conflicting points of view about Australian culture: one that such a young country can hardly be seen to have a national culture at all, and another more positive view that Australia's no longer a British outpost nor is it a branch office of the United States and it can build something new and different, 'Down Under'!

When Australia commemorated 200 years of European settlement in 1988, John Rickard published 'A Cultural History of Australia', and he makes the point that much of Australia's brief history has been preoccupied with a quest for a national identity….

[b]JOHN RICKARD:[/b] "Richard White called it a national obsession in his book 'Inventing Australia', and particularly since the Second World War we seem to have been increasingly absorbed with identifying what it is that makes us a nation, even the question as to whether we are an independent nation given that we still have the monarchy. So it's been a continuing and absorbing kind of debate."

[b]DEB VERHOEVAN:[/b] "The film industry sets itself up very well for those sorts of questions and the Australian film industry is no exception, in fact I think it's probably one of the best industries at that kind of self-questioning - are we Australian, are we international, do we have a relationship to other successful cinemas like the American cinema? And even earlier in our history - how do we relate to the British cinema?"

[b]SUE SLAMEN:[/b] Deb Verhoevan teaches cinema studies at Melbourne's RMIT University and suggests that Australia's preoccupation with 'identity' is common to post-colonial societies.

[b]DEB VERHOEVAN:[/b] "Without a doubt it's about parentage, I mean all searches for identity in the end are about where do we come from, who we are in relation to our parental metaphors or figures? The constant negotiation between the American and the British for the Australian cinema, that's very closely tied to our economic but also our colonial relationships to those two countries. And most people wouldn't think we have a colonial relationship to America, of course we don't literally have a political colonial relationship to America but we certainly have an economic colonial relationship to America in many ways. And I think that sense for the parentage of Australian identity is quite important. That to me leads me also then to think that the cinema has a very interesting function for Australians, it's where we tell our creation myths or our foundation stories. Other cultures do that through oral histories or through literature, there are many different ways that cultures talk about creation myths or creation stories. Australia is a very late culture in historical terms, we didn't develop as a national culture, a white national culture until very late in the piece, so we're in a sense using or deploying a very contemporary technology to wonder about our creation stories."

[b]SUE SLAMEN:[/b] Since the late 1960's successive Australian governments have provided some funding assistance to film and television programs that reflect Australian identity.

That's why Australian movies are a good way to introduce overseas students to Australian Studies…

John Rickard again, John taught Australian Studies at Harvard University.

[b]JOHN RICKARD:[/b] "I chose excerpts from about five Australian movies deliberately contrasting say an excerpt from a film like 'Gallipoli' with an excerpt from a film like 'Priscilla, Queen of the desert'.

[b]SUE SLAMEN:[/b] And for those who haven't seen those films, perhaps you could share with us just in brief what their main themes were and why we do see them as quintessentially Australian?

[b]JOHN RICKARD:[/b] Well 'Gallipoli' of course is a film about the Gallipoli campaign in the First World War in 1915, which was ultimately a disaster, a military disaster, but which was seen as the first experience of the Australian soldier in combat in a war such as that and where the Australian "digger" was created in a sense.

[b]SUE SLAMEN:[/b] Was the quintessential Australian larrikin tested and certainly found to be up to the mark as a digger?

[b]JOHN RICKARD:[/b] The movie made that quite clear. The movie presented you with two versions of the digger, the country boy who was thoroughly decent and so forth and quite a noble type, very much in line with the imagery of the noble bushman, but his mate, his best mate was the urban larrikin played by Mel Gibson. And the two of them form a kind of partnership, which really brought together these two elements in Australian culture.

[b]SUE SLAMEN:[/b] We would say they were the best of mates wouldn't we?

[b]JOHN RICKARD:[/b] The best of mates indeed, and the film ends tragically with the death of the young boy from the bush and the other character is trying to bring the message, which would have saved the division or the company and of course fails to, not through his own fault, to deliver the message in time to prevent the battle starting. So that movie was a very serious evocation of "the bushman", of "the digger" in that context. 'Priscilla Queen of the desert', was a total contrast because it's about drag queens, they're going out into the bush and there's this marvellous scene in Broken Hill, in a pub, initially they walk in, the drag queens walk into this bar and totally astonish the locals, but in the end they win acceptance. So you know it's a feel good kind of movie, while at the same time it's deliberately questioning these male stereotypes."

[b]SUE SLAMEN:[/b] The increasing urbanisation and cultural diversity of Australian society has provided filmmakers with new identities to explore.

[b]VICKI PEEL:[/b] "Come the late 1980's and into the 1990's we're starting to see a movement away from the bush mythology and certainly on male stories, and we're seeing urban stories start to emerge, films like 'Death in Brunswick', 'The Castle', 'Romper Stomper' are very much urban focussed films. And this is right of course because Australians are essentially an urban nation."

[b]SUE SLAMEN:[/b] Dr Vicki Peel from the National Centre for Australian Studies at Monash University.

[b]VICKI PEEL:[/b] "We also see migration and immigrant experience being represented in ways that hadn't occurred before, films like 'Looking for Alibrandi' for example. And indigenous Australians both writing, producing and also appearing in films in ways that they hadn't done even five to ten years before now. Films such as 'Rabbit Proof Fence', 'Australian Rules' present indigenous Australians in a different light from the stereotypical depictions that were common before the 1980s.

[b]SUE SLAMEN:[/b] As society itself becomes more reflective about the diverse nature of the Australian people, both indigenous Australians and more recent arrivals, that's been reflected in our film and I guess they're themes that overseas audiences, too, in their own ethnically diverse societies can identify with equally can't they? I'm thinking say of 'Strictly Ballroom' that I think made quite a splash when it was first played in France at Cannes?

[b]VICKI PEEL:[/b] 'Strictly Ballroom' is essentially the story of good triumphing over evil, and that IS a universal theme. It is a story of a young boy, Scott, who sets out to win the Pan Pacific Ballroom Dancing Championships, and he defies his parents and the powers that be who are influencing his dancing style to finally dance with the woman of his dreams, who is a migrant Australian girl; a Spanish girl called Fran."

(Music: Love Is In The Air by John Paul Young)

[b]SUE SLAMEN:[/b] While Australia's history of European settlement is short, it's role in the history of cinema is significant - it's not widely known that Australia produced one of the world's first feature films, 'The Story of the Kelly Gang' in 1906, and that was about a bushranger who became something of a folk hero.

For the first half of the twentieth century Australia had a small but successful film industry, but after the Second World War right up till the nineteen sixties mostly foreign owned cinema chains made it impossible for smaller Australian films to even get a screening, as Vicki Peel explains:

[b]VICKI PEEL:[/b] "Certainly for the period from 1959 until 1966 no feature films were made in Australia and this was mainly due to problems with funding and also to do with distribution. There was also the issue of distribution houses such as Ridge in the 1940s not wishing to assist with production processes at all, so that even Australians were not willing to actually assist in production anymore.

[b]SUE SLAMEN:[/b] Was that in part do you think because of what we have termed 'the cultural cringe' that for long periods in the 20th century Australians looked to England or outside for more cosmopolitan culture, they somehow looked at the local product as inferior. When did that begin to change do you think?

[b]VICKI PEEL:[/b] There are certainly aspects of that issue being raised throughout the 20th century, a sense that the Australian industry was producing inferior films because of the sophistication that was being displayed with US imports. The distribution houses were informing the public and governments that it was what the public wanted to see. Now whether this was actually the case or not was not effectively tried because the industry was in such disarray for much of the twentieth century before the nineteen seventies."

[b]SUE SLAMEN:[/b] The nineteen seventies saw a revival of the film industry when Australian governments began to actively support local film and TV producers.

Since 1970 Australia has produced 630 feature films and many local actors, producers and technicians have now hit the big time in Hollywood.

By 1998 to 99 - total film production in Australia was worth $678 million dollars but growth in the nineties has largely been accounted for by Hollywood productions that have been made in Australia: movies like MISSION IMPOSSIBLE 11/ and THE MATRIX that was appropriately about multiple identities.

They're films that blur the lines between the local and the global and I asked John Rickard whether we can any longer talk about Australian films.

[b]JOHN RICKARD:[/b] "We've produced some very good directors, many of those directors have gone overseas to work and no one can blame them for that. But we still keep on producing new directors who have been doing interesting films. Now the fact that we are developing an industry for doing Hollywood movies here, you mentioned 'The Matrix', which is essentially a Hollywood movie made in Australia, this is going to be maybe quite important economically for Australia to be able to do this that Hollywood can actually make films here and employ local technicians and so forth, but that does bring with it the threat that it might crowd out our own real native industry. So I think it's very important that that be sustained. Now our directors may not necessarily want to make the kind of movies that the Australian film industry used to be identified with, films about the bush, historic movies. They are perhaps interested themselves in more global themes, and that's fine if that happens, but it's still important that we have the capacity in Australia for finding our own way in the making of films and the kind of stories that we want to tell."

[b]SUE SLAMEN:[/b] There's been a lot of concern in the local Film and TV industry that free trade negotiators have targeted government subsidies and regulation designed to promote Australian culture.

Jock Given from Melbourne's Swinburne University is writing a history of the Australian film industry …

[b]JOCK GIVEN:[/b] "Both in the World Trade Organisation where Australia is one of the 140 or so countries back at the table negotiating arrangements there and also in the new negotiations going on about a bilateral deal with the United States, I think those are both areas where Australia will be under pressure to make concessions. Australia's Film and TV industry is not a particularly large industry economically, it's I think quite vulnerable in that it's particularly vulnerable in a bilateral negotiation with the United States for whom entertainment programming is such a huge economic sector, and of course their own strategic power in the world at the moment is unparalleled. It's not an easy time to be doing deals with the Americans.

[b]SUE SLAMEN:[/b] But anyone, Americans included who took a look at Australian free to air television and commercial TV in particular couldn't help but come away thinking it seems almost wall to wall American soaps and programming anyway. What else can the Americans possibly want?

[b]JOCK GIVEN:[/b] Well the quotas at the moment on free to air television say that 55 per cent of programming between six in the morning and 12 midnight has to be Australian, so that means the maximum that America or any other country can get is 45 per cent. Clearly they would like to get something more than that, they would love to get 55 or 65 or 100 per cent if possible. They recognise that it's very unlikely that they'll get that, but the principle of restrictions which prevent American programmes being bought and transmitted on TV services, internationally, is a very important principle for them and they would like to attack that wherever they find it."

[b]SUE SLAMEN:[/b] Making your first film or getting your first novel published without any funding assistance to get you started is an up-hill battle in a market as small as Australia's.

And while an Australian story might find a niche among Australia's 20 or so million people it doesn't always pay the bills.

So when Max Barry decided to write his first novel he shrewdly set it in the Coca Cola company. This is how one little Aussie battler cracked the American market…

[b]MAX BARRY:[/b] "I'd sneak away at lunchtimes and spend 40 minutes writing my novel in my $250 car, and that's how I came up with this novel. So when I was done, like any other writer I was looking to flog it to a publisher somehow and hopefully see myself on the shelves one day, and I sent the manuscript off to a few Australian publishers. At the same time I thought because it was an American kind of story, it was set in Los Angeles in the Coca Cola company, LA being the ideal place of course to set a story about superficiality and image over reality. And so I sent off letters to American literary agents, dozens and dozens of letters, and one of them wrote back and accepted me, called me up one day and said, "Hey Max, I'd love to represent your book". So I ended up through him getting sold to an American publisher who bought world rights to the book, and then sold Australian rights back to people in Australia. So that's how I ended up being an Australian writer with an American publisher.

[b]SUE SLAMEN:[/b] It's a comic book; it's what we in Australia call "a send-up". Do you think that's what marks it out as having an Australian writer, otherwise there's not much that you would say perhaps is distinctly Australian about it?

[b]MAX BARRY:[/b] It's what we call a piss-take, yes, and it's the kind of book that did appeal to Australian people because of that sense of humour. There were some people who told me they read the book and really enjoyed it, didn't know that I was Australian because there's not much about the book to really identify it as such, but when they found out it made a lot of sense. They recognised that sense of humour.

[b]SUE SLAMEN:[/b] Well I think on that note Max let's hear a little bit from 'Syrup' that gives people a flavour of the kind of send-up of marketing, and the characters in the book I think 'Sneaky Pete', himself a marketing man, I think he epitomises in an over the top way what marketing's all about?

[b]MAX BARRY:[/b] "Sneaky Pete is the coolest person I've ever met, this is partially due to his amazingly snappy fashion sense, but mainly because he rarely says anything, which allows him to preserve a slightly mysterious air of smooth confidence. I met Sneaky Pete at a marketing function during my last semester at Cal State, and we became friends, surprisingly easily considering his lack of conversation. So it was logical that we should pool our resources to find an LA apartment, especially since Sneaky Pete's resources are much larger than mine. I read somewhere that the average adult has three, million dollar ideas per year, three ideas a year that could make you a millionaire. I guess some people have more of these ideas and some people less, but it's reasonably safe to assume that even the most idiotic of us has to score at least one big idea during our lifetimes. My idea is for a new cola, this is important because the soda market is very big. It's so big that if a new product captures even a tiny percentage of the market, the revenues are into the millions of dollars. So a good idea for a new cola is pretty exciting."

[b]SUE SLAMEN:[/b] Max Barry, a marketing man turned full-time writer whose next book, JENNIFER GOVERNMENT is about globalisation.

But while his is a 'feel-good story' it's quite the exception on the Australian literary scene.

John Arnold has worked in Australian publishing and is Head of the School of Social and Political Inquiry at Monash University.

[b]JOHN ARNOLD:[/b] "It's a great story but I think it is the exception rather than the rule and I think Max's own marketing background perhaps helped him there. These days publishers would not accept an unsolicited manuscript, you have to go through a literary agent, and it's very hard to get fiction published because the demand in Australia, given its small population can be you know a print line of two or three-thousand copies, and it's a fine line between success and failure. And publishers with accounting people behind them and budgets to look at tend to go for the safer novel rather than sometimes the more experimental, which then might take off like Max's and others and sell very well in second and third editions.

[b]SUE SLAMEN:[/b] So what would you say about the state of the Australian publishing industry, is it healthy at the moment, are we seeing sufficient Australian titles, whether it's literature or non-fiction produced by Australians in Australia?

[b]JOHN ARNOLD:[/b] I think it's reasonably healthy. For a couple of years people have been talking about the potential demise of the book through the internet and electronic means, but you go into bookshops and there's lots of Australian books, there's the Australian Book Review, which is devoted solely to reviewing Australian books, and there will always be books and writing, poetry, novels etc., which will help define a country. And a country, it's often argued, can be defined by its literature, what is distinctive about Australia can often be found in its literature."

(Music: Nessun Dorma by Luciano Pavarotti)

[b]SUE SLAMEN:[/b] Football - and in particular Aussie Rules football where the big men fly for an oval ball - is an integral part of Australian popular culture.

Here's how John Arnold defines 'CULTURE' …

[b]JOHN ARNOLD:[/b] "It's a difficult one. Raymond Williams in his book called 'Key Words' gives five different meanings to culture. And you can have popular culture, high culture, you can have a sort of a culture generally, the Australian culture, the American culture, you can have a cultural viewpoint. In Australia I think you tend to think of culture as literary or creative output, but you've also got popular culture, and these days cultural studies as a discipline is quite happy to look at pulp fiction, magazines, glossy magazines, sport as an example of culture."

(Music: More Than A Game by Chris Dohney)

[b]SUE SLAMEN:[/b] Aussie Rules football can claim to be Australia's one truly local, homegrown game.

And though the footy faces stiff competition from sports like cricket, soccer and rugby, that have a global following, Melbourne writer, John Harms is confident about the future of the game precisely because it is so embedded in local culture.

[b]JOHN HARMS:[/b] "We tend to remember things in our lives alongside of what was happening in football at that time if we're real mad keen footy followers, and certainly our family was. So a lot of our family memories are hooked up with footy memories, and I think that intensifies our feeling for football, especially if that's the way that you've come to your footy club through your family, which for a lot of people in Australia is the case. It's almost genetic; you inherit it from your parents and your grandparents and great-grandparents. So I'm from a Geelong family, and there's not much I can do about it, it's very much part of me for all those reasons.

[b]SUE SLAMEN:[/b] Now you mention your own family, Australian Rules is not just more than a game, in the words of that famous song to many Anglo-Australians, but it's become quite an important pastime for what we used to call quaintly 'new Australians' or new arrivals, which would have included I think your own great great-grandparents?

[b]JOHN HARMS:[/b] Yes certainly that if you look at the history of footy say from the mid-19th century right through to the World War Two, you get that largely Anglo-Celtic, well that was the predominant element of the population. And of course you then get the post-war migration."

(SFX: Football Crowd Effects)

[b]SUE SLAMEN:[/b] Footballer, Tony Liberatore, the son of post-war Italian migrants is one of many second-generation Australians who play AND follow Aussie Rules football.

It was an emotional day for footy fans when the player they call "Libba" retired after 17 years of playing for 'the Bulldogs'…

(SFX: Footy FX and Italian Australian Fan)

"Good onya Libba, it's been fantastic following the Bulldogs with Libba we lost the smallest player but he's got the biggest heart of the whole lot of them. You'll go down in history together with Teddy Whitten I reckon, good onya Libba, well done mate, we enjoyed every minute of the ride."

[b]FOOTY SUPPORTER:[/b] "I came in '55 and I started barracking in 1956, and I've never missed many games, about 15 to 20 games I've missed all this time. We also we had Danny Delroy playing for the Bulldogs, so we had the Delroy family, Danny Deroy that's our nephew, playing.

[b]SUE SLAMEN:[/b] So you've got the family links with the footy club….

Yeah…"

And if many non-Anglo Australians are mad about the game so too, are many indigenous Australians who feature among its best players.

Barry Judd who has an Aboriginal heritage himself, and teaches at the Centre for Indigenous Studies at Monash University, has researched a biography about one of football's pioneering indigenous stars, Syd Jackson:

[b]BARRY JUDD:[/b] "Syd grew up on a Mission called Rowlands in Western Australia, a place where sport was encouraged and where the Aboriginal children in that institution became very good at playing football because they constantly practised, and the context in which many indigenous people were brought up on missions and so forth made Australian football an attractive thing. It's a game that is played on paddocks even in the city, so you don't need many resources to play the game, just a football. So in that respect it's been easier for Aboriginal people to play football than say our other national game, cricket, and many sports historians now believe that perhaps our modern codified game of football is a derivative in part from an indigenous game, which involved a ball usually made out of possum skin filled with crushed charcoal, and the defining characteristic of the traditional game was the overhead mark, which remains a feature of the modern game."

(Music: That's The Thing About Football by Greg Champion)

[b]SUE SLAMEN:[/b] Barry Judd's biography of Syd Jackson is called BLACK and BLUE, and before him, John Harms - whose book about footy is called LOOSE MEN EVERYWHERE.

Next week… 'The Changing Face of Australian Politics'.

Until then it's bye from me - Sue Slamen, with thanks to Ryan Egan for technical production and the National Centre for Australian Studies at Monash University for academic advice.
[/quote]

**** Hidden Message *****

[color=Red]回复可下载广播[/color]

thanks

:(我报名下载

up~

fans~

up

回复 #3 城市童话 的帖子

:)

感谢，thank for so kind of you

:D :D

hh

回复 #4 城市童话 的帖子

:)

en!great to see this

thanks

:)

:)

:')

thank you

have a watch

hihi

thanks

ding!!!!!!!!!!!!!!!!!!!!!!!

十

嘿嘿

从事的工作、生活的家园和休闲方式；为您解读他们赖以生存的环境、管理国家的政治体制以及他们是如何待人处事以及在本地区发展睦邻友好关系的。
转载请注明出自澳洲中文网,本贴地址：[url]http://www.ozchinese.com/bbs/viewthread.php?tid=50404[/url]

上

发

fd

fad

tks

tks

谢谢了

UP

GREAT

非常不容易！

ta

ta

坚持听了一个星期了，感觉对澳洲口音适应了不少，更重要的是，这个系列解答了我许多有关澳洲的疑惑，谢谢分享

:monkey1

thank you

ding

jjghjfghdcfghsdfx

回复 #3 城市童话 的帖子

:monkey17