Abstract

From Joan Lindsay and cinematic master Peter Weir to Ted Kotcheff and Warwick Thornton, over past decades authors, screenwriters and filmmakers have produced films that depict the vast Australian landscape—simply referred to as terra nullius during colonial times by settlers literally confronting a continent vastly different from anything they were culturally and geographically accustomed to—as mysterious, impenetrable and ominous. Just like the dark cold of Scandinavia lends itself perfectly to contemporary Nordic Noir, the Australian New Wave or Australian Film Revival of the 1970s and 1980s saw the release of films that encapsulated the eeriness of this largely rugged, arid and windswept continent, which opens up possibilities for anything to happen within those very, limitless, territories. This article analyses Weir’s Picnic at Hanging Rock (1975), Kotcheff’s horror flick par excellence Wake in Fright (1971); "the best and most terrifying film about Australia in existence" and with a TV-series remake in 2017, and Thornton’s more recent portrayal of Aboriginal misery and poverty Samson and Delilah (2009) set against a hostile urban backdrop, from a Foucauldian perspective. In its theoretical framework it also draws primarily on Freud. Heterotopia is used as a term to refer to strange, bewildering spaces that are disturbing and undecipherable—also described as “an unimaginable space, representable only in language, and as a kind of semimythical real site” (as articulated in Knight, 2017, 141). Foucault’s concept is applied in a cinematic context and used in conjunction with Freud’s notion of the uncanny as a feeling of uneasiness; or, as has been explained in his seminal text “The Uncanny” (1919), “that class of the terrifying that leads back to something long known to us, once very familiar.” We argue that these eerie, fear-induced screened narratives represent a nation whose weather-beaten, freedom-loving yet at heart anxiety-ridden people are most definitely a product of their environment.