IMAGES AND IDENTITY
This essay will explore the question of wether there is a typically Australian animated image that can be identified and wether it is necessary to develop a distinctly Australian identity for animation produced in this country (
By identifying uniquely Australian cultural references within locally produced animation it will be argued that there is a typically Australian animated image. “Cane Toad” (2002) by Andrew Silke and Dave Clayton is an animation that draws on a distinctly Australian vocabulary. Alan Froud (2003), Director of the National Gallery of
This paper will also make the argument that it is not necessary “to develop a distinctly Australian identity for all animation produced in this country” so much as as to provide an environment that supports the realization of animation with a uniquely Australian vocabulary.
This paper acknowledges that although one of the oldest indigenous populations on the planet had been inhabiting the continent for over 50,000 years (some argue that it could be more like 150,000 years) they were not officially recognised and the principle of “Terra Nullius”, a 17th century European Legal concept was enforced so as to claim possession of the continent that would become Australia. To this day no treaty has been signed with the indiginous people. It can be said that the lack of a civil treaty with the indigenous people of the Australian continent severely undermines the validity of a complete concept of Australian identity. For the purpose of this essay the Australian identity will be treated as it is prescribed by the mainstream Australian media sources.
Animated texts that can be read as Typically Australian draw upon and utilize a broad range of signs, stereo types, codes and conventions that form the visual language of the nebulous Australian national identity which is rooted in both the real and mythic history of
One animation that can be read as typically Australian is Cane Toad (2003), an award winning Australian short Film starring cane toads. It is an interesting text as it utilizes numerous typically Australian references to create a comedic look at some aspects of Australian culture. The world that the toads inhabit is depicted as typically Australian and the toads as stereo typical Australian personalities with distinct Australian accents.
The animation opens with a text description of the cane toad; “Poisonous pest introduced to
immediately after the opening titles the audience is introduced to a cane toad character ’Daza’, relaxing in a dog bowl with a bottle of beer, He is talking about his mate ‘Baza’ (fig. 1) who is wearing a blue shearers Singlet and stubbies shorts, this is a depiction of a certain stereotype of Australian male.
The use of iconic Australian language idioms is used throughout the text, beginning when ‘Daza’ addresses the audience “G’day mate”. This use of language continues throughout the animation with such expressions as; “Pickle me Grandmother”, “The silly old bugger”, “Seeing the bludger still owes me a six – pack”, “I’m happy to blow the froth of a few coldies”, He’d only have the time it takes to shot gun a tinny”, and “his ass is grass”. These expressions help define the characters as uniquely Australian as they are representative of unique National attitudes that have developed within the culture since the arrival of the first fleet.
There is also a use of iconic landscapes such as the ‘Aussie backyard’, and the dessert landscape of the outback (fig. 2), There is a classic Australian souvenir shop with a corrugated tin roof (fig. 3), Australian flags, didgeridoos, a stuffed koala and boomerangs. There are other key signs that firmly place this animation in the realm of being typically Australian such as the images of the
Another significant sign that this is an Australian animation is the “product placement’ of an iconic Australian commercial product, the Victa lawnmower (fig.2). Victa is a brand of local origin that's still ‘proudly made in
Andrew Silke (2003), one of the co-creators of Cane toad States “Cane-Toad is certainly an Australian film and the Australian audiences connect with the humour. And whilst Cane-Toad is doing well in the overseas festivals the reaction hasn't been quite the same as it is here in Oz.” This highlights the issue, that animations of a uniquely Australian vocabulary may not be well understood or well received by an international audience. Australian films then must operate within limited markets which in turn limits the profit that is able to be generated, which in turn negatively impacts the viability of actually producing Australian animation that may reach only a limited audience.
There has, since the earliest days of animation in
Australia has a relatively small population of consumers in terms of world screen markets, 20,100,000 people compared with the USA which has 294,390,000 (US census beurea). Due to economies of scale, the notion of wether it is necessary to develop a distinctly Australian identity for animation produced in this country is a question of cultural and political importance as the outcome is largely bound to the idealogical forces within the government that determine implementation of government policy. As Australia is a democracy this question can only be answered to the extent that the Australian population of voting citizens value access to a sovereign Australian screen Culture. One that is created by a local Australian industry and that reflects themes and issues of National origin that tell Australian stories.
Recently the Australian government attempted unsuccessfully to include
On
It becomes apparent that there is a complex relationship of opposing forces that are currently shaping the international media environment and that although there is a typically Australian animated image that can be identified, that may be relevant locally there are serious economic questions that need to be addressed about a projects viability if it does not succeed in the international marketplace. It is not reasonable to force Australian content onto animation producers in Australia but it is resonable to support Ausralian production through financial assistance, tax benefits, and the maintenance of the already existing Australian content quota. There is the potential within animation in
Andrew Silke (2003), retrospective, one year later, http://www.cane-toad.com
Wendy Keys, (1999), Childrens television: A Barometer of the Australian Media Policy Climate, Children’s Television Policy:International Perspectives, Media International Australia, Australian Key centre for cultural and media policy, faculty of arts, Giffith University, Nathan
Alan Froud - Director, National Gallery of
Lauren Martin, (
Michael Winkler (
Prime Time Animation
INTERNET REFERENCE
http://www.aph.gov.au/house/committee/cita/film/report.htm
Parliamentary Inquiry into the future opportunities for
http://www.cultureandrecreation.gov.au/articles/australianhistory/
Australian Government culture and recreation portal
http://www.census.gov/main/www/popclock.html
US Census Beureau
Official site of Cane Toad animation
http://www.bca.com.au/content.asp
Business Council of
Fig. 1
Baz, the cane toad can be seen wearing a classic Aussie ‘Shearers singlet’ with a Victa Lawnmower in the background.
Fig. 2
Baz, lost ‘out past the Black Stump’ in an iconic Australian landscape
Fig. 3
An Aussie Souvenir shop complete with stereo typical iconic Australian imagery. Gum leaves in the foreground further enforce the Australianess of the scene
Fig.4
An original image of the character Freddo frog who became the star of the first animated series on Australian television. A precedent of how commercial intersests have shaped Australian animation.
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