Showing posts with label cultural left. Show all posts
Showing posts with label cultural left. Show all posts

Saturday, April 24, 2010

Cultural warriors launch a new attack on ANZAC


And surprise, surprise. It's the usual discredited suspects, people such as historians Marilyn Lake and Henry Reynolds.

Reynolds of course is the "historian" who made up fabricated accounts of the numbers of aboriginal people killed on the frontier, hiding them behind footnotes that were later shown to be fake.

But he's a Lefty, and for them even lies are true if they say the "right" things.

As Merv Bendle points out in an article in the April issue of Quadrant magazine, the cultural left is employing the same tactic that they used quite successfully in the lead up to the 1988 celebration of the bicentennial of the founding of British Australia and thus the start of our history as a modern nation state. (To be clear here, this is no dismissal or denigration of Aboriginal Australia nor a denial of its sufferings that followed. You don't have lie or make things up as too many historians have done to be able to honestly acknowledge this. However, Australia as we know it today as a socio-political entity was the creation of the British, and did not exist until they came here.)

Naturally enough, the ABC and the SBS love Reynolds and company. so remember to question everything he and they say when you inevitably see them on one documentary or other.

These are people who reject the notion that we should strive to apprehend the truth, (okay, through a glass darkly admittedly), and to tell it honestly and without fear. History for them is an ideological weapon to be used to achieve political ends. And you'd have to say they have been enormously successful in this project.

The "black armband" view of Australian history is still the accepted version within government, academia and large sections of the media.

The cowardice of the Hawke Labor government is resisting those who wanted to turn the Bicentennial into an occasion of bitter atonement for our shameful sins, as we put on sackcloth and ashes and apologised to Heaven through teary eyes for our crime of being here, was a disgrace.

And these people still exert great influence on school history courses. Though it is interesting to see how so many young people have pushed back against this effort to make them feel ashamed to be Australians.

The sensitive inner-city Green-voting latte drinkers bore us all every year with their tut-tutting about "bogans" wearing the flag. Well, get fucked I say. I feel closer the the African immigrant down at the Nollamara shops who had just as proudly put an Aussie flag on his car for Australia Day.

Anzac in Ashes

Mervyn F. Bendle

 

The attack by the left on the Anzac tradition has escalated. As I predicted last year (“Gallipoli: Second Front in the History Wars”, Quadrant, June 2009; “The Intellectual Assault on Anzac”, Quadrant, July-August, 2009), the centenaries in 2014 of the outbreak of the Great War, and in 2015 of the Gallipoli campaign, will see an intensifying debate about the war as people seek to come to grips with the meaning of the seminal event of the twentieth century. Pushing itself to the centre of this struggle will be the intelligentsia, which historically has depicted these events in simplistic ideological terms and as exercises in futility. The intelligentsia is also infuriated by the Anzac legend, which is a dynamic cultural force over which it has little control, and for which it has very little sympathy, empathy or understanding.

In my earlier articles I detailed how a number of prominent academics and other members of the intelligentsia were mounting a wide-ranging ideological attack on Gallipoli and Anzac, publishing books and articles, and delivering speeches undermining and ridiculing the tradition, and how its leading members were preparing a collection of critical essays to carry forward their iconoclastic program. This has now appeared (Marilyn Lake and Henry Reynolds (eds.), What’s Wrong With Anzac?: The Militarisation of Australian History (WWWA). Sydney: New South Books, 2010). This is an explicitly polemical book, brought out in time to capitalize not only on Anzac Day 2010, but also to play the type of ‘spoiling’ role with respect to the upcoming centenaries that the four-volume, A People’s History of Australia Since 1788, played prior to the 1988 Bicentennial.

That earlier far-left collectivist effort was meant to ensure that Australians had no illusions about the historical depravity of their nation, spelling out its sins in the Introduction to every volume: “This history is critical not celebratory. It rejects myths of national progress and unity. It starts from a recognition that Australian settler society was built on invasion and dispossession [and that] the last two hundred years [was] but a brief, nasty interlude”. Consequently, as Mark McKenna recalls smugly in his chapter on how Anzac Day became Australia’s de facto national day, public support for the Bicentennial was systematically undermined by the “impact of the new critical histories of the last two decades”, which generated “an increasingly polarized debate” as Aboriginal groups declared 1988 a ‘Year of Mourning’, “feature articles discussed white guilt and national shame”, and newspaper editorials deplored the “ideological vacuum at the heart of the Bicentennial”. The Hawke government capitulated to the intelligentsia and refused to support the First Fleet re-enactment, in a servile betrayal of a nation that can only happen once a century. Ironically, the intelligentsia’s deliberate spoiling of the Bicentennial led to a renewed interest in the Anzac tradition, as Australians embraced it as an alternative foundation for a positive national identity. Consequently, as McKenna concedes, by 1990 “the connection between the failure of the Bicentennial celebrations and the new embrace of Anzac Day was … abundantly clear” (WWWA, pp.114-9).

This new book now explicitly targets Anzac as the centennials approach, pursuing the same iconoclastic agenda and polemical strategy that was so effective in the 1980s.
Read it all.

But really, do any of you seriously believe that Australia is being militarised? Do you really think that comes anywhere close to the reality of this country?

You have to wonder about how disconnected from reality some clearly very clever people have become.

Here's a review of the same book. You'll recall to mind that wonderful observation by George Orwell about an earlier group of intellectuals and their ability to believe absurdities - only an intellectual would believe something like that. No ordinary person would be so foolish.

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Monday, May 4, 2009

Australia's cultural rent seekers

Same tired old, (and not a little pretentious and self-important), justifications below from a sector that imagines it deserves special treatment at tax-payer's expense.
 
Really, the insufferable arrogance of these people! Australians were just helpless acceptors of whatever British publishers decided they should read? What planet is this woman on?
 
We had no "authentic...cultural identity" prior to 1972?
 
In relation to the Australian film industry, you can see the studied and willful blindness that so characterises the cultural left. As Blair points out, there is no shortage of Australian films being made. That isn't the reason that so few people decide to spend their hard earned money on them when making a choice about what to see.
 
No, she'll ignore the very simple explanation - most Australian films are unwatchable self-indulgent rubbish that noone in their right mind would pay to see. Vide stage plays that are little more than leftist agitprop, such as the one that had the luvvies sponteineously orgasming over that had a character clearly supposed to be Peter Costello by any other name giving orders to the Navy not to rescue people on a sinking refugee vessel! I mean, really.
 
As Orwell so perceptively observed so many years ago - only an intellectual could believe that. No ordinary person would be so foolish.
 
And poor Ms Adler obviously doesn't understand the Market. Bit like K R Puff'n'Fluff in that regard. Even evil multinationals want to make money and know that they can only do that if they offer people what they want to buy. It really is that simple out in the real world. But not for for folks like her it seems. But then, she's got her own interests to look after
 

Tim Blair

Monday, May 04, 2009 at 04:14am
 

 
Louise Adler, publisher of gibberish, defends the Australian book industry’s cultural protectionism:
Until the 1970s, British publishers decided the reading habits of Australians … With the advent of the Whitlam and Fraser governments, an authentic Australian cultural identity was brought into being by fiat, with the establishment of such agencies as the Australia Council and the Film Commission. Overnight, Australian stories told by Australians in Australian accents were available to Australian consumers.
 
So much for pre-70s Australian writers Henry Lawson, Miles Franklin, Ray Lawler, Hal Porter, John O’Grady, Banjo Patterson
By the 1990s, the Australian publishing scene had matured sufficiently to view itself as local in origin and global in practice.
 
What did the “scene” think it was previously? Adler next contrasts the thriving “publishing scene” to the moribund film sce … industry, which only a few words earlier she’d associated with Whitlamite cultural triumph:
We have witnessed the demise of the local film industry. In 2007, Australian films represented a paltry 4 per cent (of which 2 per cent was delivered by Happy Feet) of total box-office revenue. How can it be in the national interest for Australian consumers to be deprived of Australian content?
 
Revenue is a guide to how many people saw those films, not to the availability of Australian content. As it happens, there were many Australian releases in 2007. Almost all of them were rubbish, which is why local audiences avoided them.
The consequences of an open market on the cultural landscape are obvious and verifiable. Exhibit A is surely the local music scene, which has been decimated by the abolition of territorial copyright.
 
The top 100 singles in 2008 contained 20 Australian songs. The top 100 album chart contains 24 local works. “Decimated”?
A marketplace that abolishes the principle of territorial copyright will wind back the clock on a proud and profitable publishing culture, reduce the availability of Australian stories and hand back a monopoly to multinational publishers to make decisions about our market far removed from local realities.
 
Like the “reality” of a “decimated” local music “scene”? More on this fear of alien cultural influences from Bob Carr:
Publishers say they need this protection to support local culture. This is garbage. The truth is Australians will always want to buy good Australian writing.

Posted via email from Garth's posterous