ABSTRACT

This paper uses Neil Campbell’s definition of post-Westerns as films ‘coming after and going beyond the traditional Western whilst engaging with and commenting on its deeply haunting assumptions and values’ (Post-Westerns, 2013) in order to expand it to a transnational, post-colonial context and focus on two films made by Australian director Ivan Sen (Mystery Road [2013] and Goldstone [2016]) that can be considered Australian post-Westerns. These two films make references not only to American Westerns, but also to the less known genre of Australian Westerns or ‘bushranger films’, and they use, on the one hand, an aboriginal protagonist as reminder of the ‘black tracker’ typical of Australian Westerns, and on the other, the Australian outback to question the country’s identity and foundational myths. By establishing a complex dialogue both with American Westerns and their Australian counterpart, Ivan Sen articulates a discourse which refutes the country’s foundational myth as a terra nullius, and proposes a new sense of national identity that is inclusive of the Indigenous experience.

摘要

本文使用尼尔·坎贝尔（Neil Campbell）对后西方的定义，认为电影“是继传统西方之后并超越传统西方，同时又参与并评论了其深深困扰的假设和价值”（《后西方》，2013年），以将其扩展到跨国，后殖民时期的背景，并聚焦于澳大利亚导演伊万·森（Mystery Road [2013]和戈德斯通[2016]），可以认为是澳大利亚的后西方人。这两部电影不仅提及美国西部片，还提及了鲜为人知的澳大利亚西部片或“ bushranger电影”，并且一方面使用了土著主角来提醒澳大利亚人典型的“黑色追踪者”西方人，另一方面，澳大利亚人在内地质疑该国的身份和基本神话。通过与美国西部人和澳大利亚人进行复杂的对话，伊万·森阐明了一种话语，驳斥了该国作为地主的基本神话，并提出了一种包括土著经验在内的新的民族认同感。