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2014.01.09
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some thoughts on the movie, australia  submitted by min-suk jin  
more than any other things, i would like to articulate that this movie is hard to understand by the tool of binarism; what is more civilized or less savage is quite ambiguous in the movie.because within the characters, there have been lots of ambivalence and hybridity; sarah ashley tenaciously shows an obsessive-compulsory tendency toward the mix-raced nullah and sarahs criminal conversation id est sexual intercourse with the unkempt cattle drover(or hailed drover).even if her extramarital affair is quite polemical and debatable, personally i suppose that she needs the place germane to the place, i would like to mention some view of michel foucault.(foucault, michel.the history of sexuality, vol 2.vintage press, 1990.) the dissociation-or partial dissociation at least-of this ensemble would later become one of the basic features of the ethics of the flesh and the notion of sexuality.this association was to be remarked, on the other hand, by a certain elision of pleasure (a moral devaluation through the injunction given in the preaching by the christian clergy against the pursuit of sensual pleasure as a goal of sexual practice; a theoretical devaluation shown by the extreme difficulty of finding a place for pleasure in the conception of sexuality); it would also be marked by an increasingly intense problematization of desire (in which the primordial sign of a fallen nature or the structure characteristic of the human condition would be visible).(42)
to vent her hedonist choline to¡®the other¡¯half.
also, based on the movie, she has an inborn nature which is aspiring for¡®savage liberty as alexander pope mentioned this term on his literary work, an essay on criticism in 1711 as for sarah, which is to drink strong alcohol rum after finishing driving her own cattle to the business land.though she has inner savage-prone feature, wholly through the movie, she has shown her imperial and hegemonic power in the form of fabric; this agent could be called fabric power: which is the sine quo non unique-difference between herself and the subaltern class, whose wretched garment is just going native.

her imperialist fabric power has been tangibly reincarnated through her various formal attires in the movie-consistently. on the other hand, she takes up the role of the iconoclast against the established social decorum; inviting drover to the outdoor party, as well as without any reluctance, being soaked by the unexpected rain shower at the respectable party occasion

according as michael j. sandel insisted through his political and philosophical document, justice, libertarian do not care about moral issue or moral dilemma; as he mentioned as an typical example: the¡®improper relationship between former u

s. president bill clinton and monica lewinsky

with such an intensity, sarah ashley had also broken the cycle of the dichotomy¡¯of civilization-race culture and uncivilized one evidently; which triggers the hybridity after all in the movie.

both nietzsche and thomas more had insisted on this: the former has a view; slavery system and class society are the universal prerequisite for the human dignity and human elevation, and the latter has an ideological landscape that communist society a category of equal and egalitarian community is quite inferior system for achieving¡®self-actualization. however, sarahs deed and conduct plays a ground-breaking part in deconstructing the superstructure combined with subaltern base; which means that she seeks for authentic equality, as well as she illuminates and destabilizes the vicious circles within a political spectrum

in one angle, her moral declasse and clash with subaltern stratum can be rationally reduced to the another breakthrough of humanistic closure for both racial minority and colonial one. lastly but not least, ultimately-at least in this film-sarah ashley totally has overthrown and disintegrated the ugly and shameful categories of lexicon-miscegenation, octoroon, quadroon and finally mulatto
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