ABSTRACT This paper examines Rolf de Heer’s 2002 film, ‘The Tracker’, in the context of the ‘history war’ debates relating to frontier violence that were rehearsed in the Australian public sphere during the 1990s/2000s. I examine how ‘The Tracker’ challenges the very terms underpinning conventional forms of historiography, wedded to discourses of ‘fact’ and ‘truth’, in the way it investigates what it means to ‘screen’ memory within the context of the politics of the present. Focusing on ‘The Tracker's' self-conscious use of Peter Coad's arresting paintings of frontier violence, I argue that ‘The Tracker’ develops a nuanced engagement with frontier history in the way it highlights the dialectics of ‘revealing’ and ‘concealing’ – rupture and disavowal – at play in the nation’s ‘screening’ of frontier violence.

中文翻译：

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屏幕记忆：《追踪》中电影的认识和历史创伤

摘要本文考察了罗尔夫·德·海尔（Rolf de Heer）2002年的电影《追踪者》，结合了1990年代/ 2000年代在澳大利亚公共领域演练的与边境暴力有关的“历史战争”辩论。我研究了“追踪者”如何挑战传统史学形式的基本术语，并结合了“事实”和“真相”的论述，探讨了“追踪者”在政治政治背景下“筛选”记忆的意义。当下。我着眼于“跟踪者”对彼得·科德的逮捕性边境暴力绘画的自觉使用，我认为“跟踪者”与边境历史发展出一种细微的互动，强调了“揭示”和“隐藏”-破裂的辩证法。和拒绝-在国家对边境暴力的“筛查”中发挥作用。