ABSTRACT Marshall’s Walkabout and Nicolas Roeg’s adaptation of that novel appeared at different points in Aboriginal trauma narrative constructions. Works often appear before a trauma narrative is complete. In this article, I employ an analysis of the imperial gaze as a way of evaluating the two works. I investigate Nicolas Roeg’s 1971 adaptation of the novel in the context of the evolving Australian Aboriginal trauma narrative and also in the context of the Aboriginal narrative being one narrative among many in the larger global civil rights narrative. The source novel is itself the product of a stage in the Aboriginal trauma narrative. As the trauma narrative evolves, it opens up new definitions of the experience represented in the novel. Roeg examines and engages these developments in his adaptation. Roeg revises the racial and domestic logic of the novel, exposing its civil rights ethics as a product of arrested development. His film is best understood if one understands that it exists as part of the building of a larger trauma narrative.

中文翻译：

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原住民创伤叙事与罗格的游走

摘要马歇尔的《行刑指南》和尼古拉斯·罗格对该小说的改编出现在原住民创伤叙事结构的不同地方。作品通常在创伤叙述完成之前就出现。在本文中，我将对帝国的凝视进行分析，以此作为评估这两件作品的一种方式。我在不断发展的澳大利亚土著创伤叙事的背景下，以及在更大范围的全球民权叙事中，土著叙事是众多叙事中的一种时，我研究了尼古拉斯·罗格（Nicolas Roeg）1971年对这本小说的改编。原始小说本身就是原住民创伤叙事阶段的产物。随着创伤叙事的发展，它为小说所代表的体验开辟了新的定义。罗格（Roeg）审视并参与了这些发展。罗格（Roeg）修改了小说的种族和家庭逻辑，将其民权伦理暴露为发展停滞的产物。如果人们理解这部电影是作为更大的创伤叙事的一部分而存在的，那他的电影将是最好的理解。