Thesis (B.A.Hons. 1973) from the Depts. of French and History, University of Adelaide, 1973.

France and Australia possess such distinctive national traits that they are not habitually compared in relation to their history, identity and culture. However, their national cinemas reveal that they have much in common. A significant number of recent films from both nations bear the mark of a similar obsessional quest for national identity that is linked to the exploration of a troubled colonial past. This shared preoccupation constitutes the starting point for this thesis, which compares the representation of colonial history in the cinema of France and Australia since 1970. It is of course evident that the two nations have had widely differing experiences of colonisation. Modern France is among the ranks of the major empire builders, and Australia is the product of one of Great Britain's most successful colonies. If neither nation can forget its colonial past, it is also for different reasons: France is the principal destination of migrants from her former colonies, and Australia faces landrights claims from her indigenous populations. If these differences provide the distinct social, political and geographical contexts of French and Australian cinema, they do not, however, impinge upon the stylistic and ideological analysis of their colonial thematics. For the purposes of this thesis, three fundamental criteria determine the inclusion of a film in the corpus: it must have an historical colonial setting; its narrative must focus principally on aspects of the colonisation process; and its director must be a descendant of the former colonisers. Around a dozen films released since 1970 in each country have been identified as matching these criteria and, for the purposes of the thesis, have been called postcolonial films. The content and structures of the films dictate the analytical approach and theories are drawn upon as tools when needed. These theories are widely varied across the disciplines and the theorists include Pierre Sorlin, Edward Saïd and Albert Memmi. The approach to representing colonial issues varies widely, with the majority of the films in the corpus neither appearing to confront openly nor to support the ideology of colonialism. Two exceptions are Coup de torchon (Tavernier, France, 1981) and The Chant of Jimmie Blacksmith (Schepisi, Australia, 1978). More typical of the ambivalent treatment of colonialism are the popularly attended films such as Indochine (Wargnier, France, 1991) and Picnic at Hanging Rock (Weir, Australia, 1975). In the first chapter an analysis of the relationship of the films to documented history demonstrates that French films are frequently set during the period between 1910 and 1950, and Australian films during the last half of the nineteenth century. The following chapter examines the relationship of the colonisers to their colonised lands and asks if the exceptional attention paid in all the films to the colonial geography has the effect of assimilating an alien landscape into the Western settlers’ culture and mythology. The following two chapters address the core element of colonial life - in Franz Fanon's terms - its division into two worlds. The first of these chapters examines the interaction between the coloniser and the colonised through individual relationships between the two, and addresses the problem that all of these relationships end in permanent separation. The following chapter explores the interaction between coloniser and colonised as social groups that are divided by notions of race and discusses the general epistemological problem of the representation of the Other. The fifth chapter analyses the symbolic mechanisms being used to structure the films and manipulate the unconscious effect on the viewer. For example, there are a number of films with journeys of some kind, orphan-like characters and characters with strong noble savage qualities. Finally, the sixth chapter compares two of the films to the books from which they are derived. The object of this double comparison is to isolate differences in the films which are better explained by changing colonial politics than by inherent differences between cinema and literature. In the conclusion, it is argued that there appear to be few sustained attempts at confronting and resolving the problematic aspects of colonialism’s legacy. This is especially evident from the predominance of fictitious stories over the depiction of actual documented events. This tendency in both the French and Australian cinemas to contain the representation of the colonial past within a fictional framework has the inevitable consequence of masking history and thus avoiding the necessity of dealing with it. A further notable tendency was the preference for selecting certain periods and avoiding others, hence stripping the colonial past of its most embarrassing aspects. For example, no film could be found which showed the initial phase of the establishment of a colony. Despite the rarity of films released in France and Australia that openly challenge colonialism as a whole, many signs are evident throughout these films that the practices and values defending or justifying colonisation are nevertheless being questioned. / Thesis (Ph.D) -- School of Humanities, 2003

France and Australia possess such distinctive national traits that they are not habitually compared in relation to their history, identity and culture. However, their national cinemas reveal that they have much in common. A significant number of recent films from both nations bear the mark of a similar obsessional quest for national identity that is linked to the exploration of a troubled colonial past. This shared preoccupation constitutes the starting point for this thesis, which compares the representation of colonial history in the cinema of France and Australia since 1970. It is of course evident that the two nations have had widely differing experiences of colonisation. Modern France is among the ranks of the major empire builders, and Australia is the product of one of Great Britain's most successful colonies. If neither nation can forget its colonial past, it is also for different reasons: France is the principal destination of migrants from her former colonies, and Australia faces landrights claims from her indigenous populations. If these differences provide the distinct social, political and geographical contexts of French and Australian cinema, they do not, however, impinge upon the stylistic and ideological analysis of their colonial thematics. For the purposes of this thesis, three fundamental criteria determine the inclusion of a film in the corpus: it must have an historical colonial setting; its narrative must focus principally on aspects of the colonisation process; and its director must be a descendant of the former colonisers. Around a dozen films released since 1970 in each country have been identified as matching these criteria and, for the purposes of the thesis, have been called postcolonial films. The content and structures of the films dictate the analytical approach and theories are drawn upon as tools when needed. These theories are widely varied across the disciplines and the theorists include Pierre Sorlin, Edward Saïd and Albert Memmi. The approach to representing colonial issues varies widely, with the majority of the films in the corpus neither appearing to confront openly nor to support the ideology of colonialism. Two exceptions are Coup de torchon (Tavernier, France, 1981) and The Chant of Jimmie Blacksmith (Schepisi, Australia, 1978). More typical of the ambivalent treatment of colonialism are the popularly attended films such as Indochine (Wargnier, France, 1991) and Picnic at Hanging Rock (Weir, Australia, 1975). In the first chapter an analysis of the relationship of the films to documented history demonstrates that French films are frequently set during the period between 1910 and 1950, and Australian films during the last half of the nineteenth century. The following chapter examines the relationship of the colonisers to their colonised lands and asks if the exceptional attention paid in all the films to the colonial geography has the effect of assimilating an alien landscape into the Western settlers’ culture and mythology. The following two chapters address the core element of colonial life - in Franz Fanon's terms - its division into two worlds. The first of these chapters examines the interaction between the coloniser and the colonised through individual relationships between the two, and addresses the problem that all of these relationships end in permanent separation. The following chapter explores the interaction between coloniser and colonised as social groups that are divided by notions of race and discusses the general epistemological problem of the representation of the Other. The fifth chapter analyses the symbolic mechanisms being used to structure the films and manipulate the unconscious effect on the viewer. For example, there are a number of films with journeys of some kind, orphan-like characters and characters with strong noble savage qualities. Finally, the sixth chapter compares two of the films to the books from which they are derived. The object of this double comparison is to isolate differences in the films which are better explained by changing colonial politics than by inherent differences between cinema and literature. In the conclusion, it is argued that there appear to be few sustained attempts at confronting and resolving the problematic aspects of colonialism’s legacy. This is especially evident from the predominance of fictitious stories over the depiction of actual documented events. This tendency in both the French and Australian cinemas to contain the representation of the colonial past within a fictional framework has the inevitable consequence of masking history and thus avoiding the necessity of dealing with it. A further notable tendency was the preference for selecting certain periods and avoiding others, hence stripping the colonial past of its most embarrassing aspects. For example, no film could be found which showed the initial phase of the establishment of a colony. Despite the rarity of films released in France and Australia that openly challenge colonialism as a whole, many signs are evident throughout these films that the practices and values defending or justifying colonisation are nevertheless being questioned. / Thesis (Ph.D) -- School of Humanities, 2003

Thesis (Ph.D.)--University of Adelaide, Centre for European Studies and General Linguistics, 2003. / Includes filmography: leaves 252-256. Bibliography: leaves 241-251.

Cette thèse de doctorat démontre pourquoi et comment la France et l’Australie sont actuellement engagées dans un processus de renforcement mutuel, diplomatiquement et économiquement, dans le cadre de leurs propres stratégies de « smart power ». Ce rapprochement a été possible grâce à trente ans d’efforts diplomatiques pour dépasser tensions et incompréhensions culturelles entre acteurs diplomatiques français et australiens. Cette recherche met en lumière les dynamiques historiques de cette relation bilatérale ambiguë. L’analyse se porte sur les acteurs, mécanismes et résultats de la transformation de la relation bilatérale franco-australienne, depuis 1985, années de vives tensions entre Paris et Canberra en raison de la politique française dans le Pacifique, jusqu’au temps présent où les deux pays n’ont jamais été aussi proches depuis la signature de leur partenariat stratégique approfondi en 2017. Cette thèse met en œuvre une approche originale : elle est fondée sur l’étude d’archives françaises et australiennes ainsi que sur des entretiens avec les acteurs principaux de la relation bilatérale. Ces sources sont étudiées à la lumière des théories constructivistes des Relations Internationales et du concept de « smart power » mis au point par Joseph Nye. Cette thèse affirme que la stratégie franco-australienne de renforcement mutuel est la réponse de deux puissances moyennes, une mondiale et l’autre régionale, face aux menaces du contexte international. Il s’agit également d’un outil de modernisation des diplomaties française et australienne. Ce renforcement progressif a été possible grâce à la résolution des trois principaux conflits qui empoisonnèrent la relation bilatérale, liés à la Politique Agricole Commune (PAC), aux essais nucléaires français dans le Pacifique Sud et à la politique française liée aux tensions en Nouvelle-Calédonie. Cependant, cette thèse démontre que le rapprochement progressif de la France et de l’Australie a été possible parce que leurs acteurs diplomatiques ont mis en œuvre de nombreuses opportunités de dialogue et de coopération afin de dépasser leur méfiance traditionnelle. La coopération franco-australienne, soutenue tout d’abord par les intérêts de leurs communautés économiques, a désormais la sécurité pour enjeu principal. Canberra et Paris partagent de plus en plus de menaces traditionnelles et non-traditionnelles, dans un contexte de transformation du concept de puissance par son déplacement à de nouveaux acteurs étatiques et sa diffusion à des acteurs non-étatiques. L’approfondissement du partenariat stratégique franco-australien constitue une réponse à ce défi mondial et témoigne du réengagement des deux pays dans l’aire Indo-Pacifique. Cette thèse permet de comprendre un enjeu crucial des Relations Internationales actuelles : l’adaptation des puissances moyennes aux enjeux régionaux et mondiaux par des processus de renforcement mutuel et la mise en œuvre de stratégies de « smart power ». / This thesis demonstrates why and how France and Australia are currently engaged in a process of diplomatic and economic mutual empowerment as part of their smart power strategies. This rapprochement has been possible owing to thirty years of diplomatic efforts to overcome ongoing culturally and historically constructed misunderstandings and conflicts. The research investigates the historical dynamics behind this ambiguous relationship. It analyses the actors, mechanisms and outcomes relevant to the transformation of the French-Australian bilateral relationship between 1985, a moment of strong tensions between both countries because of France’s Pacific policies, and the present time when Paris and Canberra are closer than they have ever been since the creation of their Enhanced Strategic Partnership in 2017. This thesis follows an original approach. It encompasses constructivist theories and Joseph Nye’s concept of “smart power”, and it is based on the study of French and Australian archives and on expert interviews. This thesis argues that mutual empowerment is the response of two different middle powers, one global and one regional, to global threats and is a modernising tool for France and Australia’s diplomacies. This progressive empowerment has been possible because of the settlement of three main conflicts between France and Australia pertaining to the Common Agricultural Policy (CAP), French nuclear testing as well as Australia’s opposition to French policies in New Caledonia. However, the progressive rapprochement between France and Australia has primarily been possible because French and Australian policy-makers have instituted constructive opportunities for dialogue and cooperation in order to overcome their ongoing misperceptions. French-Australian cooperation, originally supported by the economic interests of its business communities, primarily aims to tackle common security issues. Canberra and Paris increasingly share the same traditional and non-traditional threats to their security due to the current context of power transition among states and power diffusion to non-state actors. The enhancement of the French-Australian Strategic Partnership is a response to this challenging global context and takes part into Australia and France’s reengagement in the Indo-Pacific region. This thesis provides insight into a significant trend in International Relations: middle powers’ adaptation to regional and global challenges through mutual empowerment and smart power strategies.