'Jindabyne's' haunted alpine country: producing (an) Australian badland

Anthony Lambert, Catherine Simpson

Research output: Contribution to journalArticleResearchpeer-review

Abstract

We argue specifically that 'Jindabyne' is a product of “aftermath culture” (Gibson Transformations); a culture living within the ongoing effects of the past, where various levels of filmic haunting make manifest multiple levels of habitation, in turn the product of numerous historical and physical aftermaths. Colonial history, environmental change, expanding wire towers and overflowing dams all lend meaning in the film to personal dilemmas, communal conflict and horrific recent crimes. The discovery of a murdered indigenous woman in water high in the mountains lays bare the fragility of a relocated community founded in the drowning of the town of old Jindabyne which created Lake Jindabyne. Beatrix Christian (in Trbic 61), the film’s writer, explains “everybody in the story is haunted by something. […] There is this group of haunted people, and then you have the serial killer who emerges in his season to create havoc.” “What’s in this compulsion to know the negative space?” asks Gibson (Badland 14). It’s the desire to better know and more deeply understand where we live. And haunting gives us cause to investigate further.
LanguageEnglish
Number of pages8
JournalM/C journal
Volume11
Issue number5
Publication statusPublished - 2008

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Haunting
Colonial History
Water
Tower
Drowning
Causes
Physical
Writer
Environmental Change
Dams
Wire
Mountains
Crime
Serial Killer
Negative Space

Bibliographical note

Copyright 2008 Anthony Lambert and Catherine Simpson; licensee QUT Creative Industries. This is an open access article distributed under the terms of the Creative Commons Attribution-Noncommercial-No Derivative Works License
(http://creativecommons.org/licenses/by-nc-nd/3.0/), which permits unrestricted use, distribution, and reproduction in any medium, provided the original work is properly cited.

Cite this

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abstract = "We argue specifically that 'Jindabyne' is a product of “aftermath culture” (Gibson Transformations); a culture living within the ongoing effects of the past, where various levels of filmic haunting make manifest multiple levels of habitation, in turn the product of numerous historical and physical aftermaths. Colonial history, environmental change, expanding wire towers and overflowing dams all lend meaning in the film to personal dilemmas, communal conflict and horrific recent crimes. The discovery of a murdered indigenous woman in water high in the mountains lays bare the fragility of a relocated community founded in the drowning of the town of old Jindabyne which created Lake Jindabyne. Beatrix Christian (in Trbic 61), the film’s writer, explains “everybody in the story is haunted by something. […] There is this group of haunted people, and then you have the serial killer who emerges in his season to create havoc.” “What’s in this compulsion to know the negative space?” asks Gibson (Badland 14). It’s the desire to better know and more deeply understand where we live. And haunting gives us cause to investigate further.",
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'Jindabyne's' haunted alpine country : producing (an) Australian badland. / Lambert, Anthony; Simpson, Catherine.

In: M/C journal, Vol. 11, No. 5, 2008.

Research output: Contribution to journalArticleResearchpeer-review

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