Masculinity, victimhood and national identity in 1970s Australian ocker cinema

Barnett, C

Masculinity, victimhood and national identity in 1970s Australian ocker cinema

Barnett, C

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Publisher:: Taylor & Francis
Publication Type:: Journal Article
Citation:: History Australia, 2023, 20, (1), pp. 118-136
Issue Date:: 2023-01-01

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Field	Value	Language
dc.contributor.author	Barnett, C https://orcid.org/0000-0002-1631-1503
dc.date.accessioned	2024-02-23T22:37:41Z
dc.date.available	2024-02-23T22:37:41Z
dc.date.issued	2023-01-01
dc.identifier.citation	History Australia, 2023, 20, (1), pp. 118-136
dc.identifier.issn	1449-0854
dc.identifier.issn	1833-4881
dc.identifier.uri	http://hdl.handle.net/10453/175858
dc.description.abstract	Historians have long understood ocker cinema in terms of a more distinct and assertive national identity in Whitlam’s 1970s, yet only recently have begun to consider the context of the women’s liberation movement unfolding at the time. Adding to this emerging body of scholarship, this article reads the rise of ocker cinema both in the context of, and as a response to, second-wave feminism. Turning to the films Stork (1971), The Adventures of Barry McKenzie (1972) and Alvin Purple (1973), this article argues that the cinematic articulation of the ocker in the 1970s not only asserted a masculinist national identity, but also positioned this national masculinity as the victim of (and in danger from) threatening feminist challenges.
dc.language	en
dc.publisher	Taylor & Francis
dc.relation.ispartof	History Australia
dc.relation.isbasedon	10.1080/14490854.2022.2125328
dc.rights	info:eu-repo/semantics/closedAccess
dc.subject	2003 Language Studies, 2103 Historical Studies
dc.subject.classification	4302 Heritage, archive and museum studies
dc.subject.classification	4303 Historical studies
dc.title	Masculinity, victimhood and national identity in 1970s Australian ocker cinema
dc.type	Journal Article
utslib.citation.volume	20
utslib.for	2003 Language Studies
utslib.for	2103 Historical Studies
pubs.organisational-group	University of Technology Sydney
pubs.organisational-group	University of Technology Sydney/Faculty of Arts and Social Sciences
utslib.copyright.status	closed_access	*
dc.date.updated	2024-02-23T22:37:40Z
pubs.issue	1
pubs.publication-status	Published
pubs.volume	20
utslib.citation.issue	1

Abstract:

Historians have long understood ocker cinema in terms of a more distinct and assertive national identity in Whitlam’s 1970s, yet only recently have begun to consider the context of the women’s liberation movement unfolding at the time. Adding to this emerging body of scholarship, this article reads the rise of ocker cinema both in the context of, and as a response to, second-wave feminism. Turning to the films Stork (1971), The Adventures of Barry McKenzie (1972) and Alvin Purple (1973), this article argues that the cinematic articulation of the ocker in the 1970s not only asserted a masculinist national identity, but also positioned this national masculinity as the victim of (and in danger from) threatening feminist challenges.

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http://hdl.handle.net/10453/175858