The night Dixie came to town : The Shenandoah and the American Civil War in Ballarat
- Authors: Moll, Nicholas
- Date: 2016
- Type: Text , Book chapter
- Relation: Goldfields and the gothic : A hidden heritage & folklore p. 116-129
- Full Text: false
- Reviewed:
- Description: That the American Civil War occurred exclusively within North America and affected specifically United States affair is a common misconception. Whilst the majority of the infantry conflict occured within and between the United and then Confederate States of America, the clash was such that it and its effects spread accross the globe. Also engaged in the American Civil War were Prussian military observers; political entanglements with the United Kingdom and Russia; Canadian volunteers within the Union army; smuggling and blockade running from the Bahamas into the Confederate States; cotton shortages in French industries that were heavily reliant on raw materials imported from the southern states; merchant raiding in the Pacific and Atlantic; along with countless other entanglements to Europe and their colonies into the conflict through one means or another. The tyranny of distance notwithstanding, Australia was no exception to the overflow of conflicts and consequences that resulted from the American Civil War.
“Be Careful, Cowboy” : The translation and mutation of the western genre in Red Hill
- Authors: Moll, Nicholas
- Date: 2017
- Type: Text , Journal article
- Relation: Critical Arts Vol. 31, no. 5 (2017), p. 115-127
- Full Text: false
- Reviewed:
- Description: The western genre has long been hailed as an iconic expression of the United States’ history and culture. However, the 2010 Australian film Red Hill (dir. Patrick Hughes, 2010) actively engages the genre’s tropes, styles, and conventions. In doing so, the film converts the ideas of a ruggedly individualistic frontier, key to the western genre and the popularised notions of nineteenth-century United States expansion, to the contemporary Australian context, providing a translation and mutation of the western genre. This paper argues that, through disassociation of the western genre from the United States, Red Hill’s frontier is made Australian over the course of the film, exploring the lingering traumas and ongoing violence of a specific colonisation process. Drawing on theories of genre, history, and postcolonialism, this paper investigates the exploration of national character, history, and boundaries through the western genre. In doing so, this paper situates the western genre as having a nationalistic function in general, rather than one associated with any particular nation, and as providing a touchstone for ideas of history and themes of colonial expansion in a contentious landscape of class, race, and society.