The Tracker
- Code’s and conventions essay
The tracker (sic) is an Australian art house film that represents Australia’s history through the stereotypical associations of the 5 men: the tracker, The Fanatic, The Veteran, The Follower and The Fugitive. Rolf DeHeer’s film uses a broad range of feature film conventions, which help represent the Indigenous culture, in both a negative and positive lines of light. Traditional values of Indigenous culture dictate the culture as both un-knowledge and uncivilised with no right to power. While the colonist culture was viewed as a civilised society, which could control the actions of others, but as times progressed the Indigenous culture was given more right to power and is now viewed as an equal to the European society by the minority of the country.
Indigenous Australians were highly regarded to as the lower class citizens of Australia’s settlement, because their values and views were different to the Europeans as they could not read and write in English, but through time many aspects of the culture have grown in values of knowledge, language and rituals. These changes are represented through the film in varying scenes and chapters. The film is said to represent not individuals, but the whole of society (this is represented by the use of historical, metonymic characters). In a close up shot of the tracker’s hand, holding a mixture of bush tucker represents the idea of the knowledge the traditional Indigenous culture actually held.
The close up shot of the tracker’s hand filled with flowers, bugs and insects intertwined with the native bushes of South Australia reinforces the knowledge of the Indigenous culture. It represents the idea of the tracker being a strong, wise individual with the knowledge and persistence to create an anaesthetic to drug the follower at a safe level, causing no harm. The need to keep the follower uninvolved in the murder of the fanatic, illustrates the tracker as a cultural character as he doesn’t want
The tracker (sic) is an Australian art house film that represents Australia’s history through the stereotypical associations of the 5 men: the tracker, The Fanatic, The Veteran, The Follower and The Fugitive. Rolf DeHeer’s film uses a broad range of feature film conventions, which help represent the Indigenous culture, in both a negative and positive lines of light. Traditional values of Indigenous culture dictate the culture as both un-knowledge and uncivilised with no right to power. While the colonist culture was viewed as a civilised society, which could control the actions of others, but as times progressed the Indigenous culture was given more right to power and is now viewed as an equal to the European society by the minority of the country.
Indigenous Australians were highly regarded to as the lower class citizens of Australia’s settlement, because their values and views were different to the Europeans as they could not read and write in English, but through time many aspects of the culture have grown in values of knowledge, language and rituals. These changes are represented through the film in varying scenes and chapters. The film is said to represent not individuals, but the whole of society (this is represented by the use of historical, metonymic characters). In a close up shot of the tracker’s hand, holding a mixture of bush tucker represents the idea of the knowledge the traditional Indigenous culture actually held.
The close up shot of the tracker’s hand filled with flowers, bugs and insects intertwined with the native bushes of South Australia reinforces the knowledge of the Indigenous culture. It represents the idea of the tracker being a strong, wise individual with the knowledge and persistence to create an anaesthetic to drug the follower at a safe level, causing no harm. The need to keep the follower uninvolved in the murder of the fanatic, illustrates the tracker as a cultural character as he doesn’t want