This term paper deals with the film "The Tracker" and will focus on the representation of the black tracker role as a subversive person and character and not as a victim. The film was produced and directed by Rolf de Heer in 2002. It is set in 1922 in the Australian outback where three policemen follow their chained aboriginal tracker.
He is not presented as a victim but as a suppressed black man who tricks the white men. The man uses his tracking abilities to find the man who apparently raped a white woman who the policemen thus want to capture and execute. The names of the men refer to their characters and not their names. There is the Fanatic, the Follower, the Veteran and the Fugitive. The film takes a look at a fictional tracker’s everyday working life and is based on Aboriginal tracking skills, which they learn from a very early age. Particular information about Trackers will be given further on.
There are many reasons to deal with the film and the topic; in the first place it recaptures how Aboriginal people were used by the white Australian government. The topic of the film is also essential for the Australian population and the Aboriginal people, since the British settled down in Australia in 1788. The indigenous people were not always treated in a humanitarian manner. The first contact between black and white people was in the beginning sometimes peaceful, as the story of Bennelong shows. Bennelong was “the first Aboriginal [man who was] introduced to [the] English culture”.
Nevertheless, the first contact between the settlers and the Aboriginal were also marked by brutality and repression, “physical and cultural violence’’.
The paper will also deal with the concepts of Mimicry and Primitive, since these are important effects of the Colonization. Likewise, they play a role for the black tracker character in the film, which will be demonstrated further in the paper. Also, it will show the contrasts and similarities in clothing between the tracker and the officers, which will give evidence for mimicry.
Furthermore, the paper will point out what trackers do and the importance of tracking in the aboriginal culture. Trackers are of huge importance in the aboriginal culture. Also it gives an outlook into their culture and living.
Table of Contents
1. INTRODUCTION
DAVID GULPILIL
2. WHAT IS A TRACKER?
TRACKERS IN HISTORY - EDWARD JOHN EYRE
3. CONCEPT OF MIMICRY
CONCEPT OF PRIMITIVE
4. CHARACTERS: THE FANATIC, THE FOLLOWER, THE VETERAN, THE FUGITIVE
IMAGE OF THE TRACKER’S ROLE
5. CONCLUSION
Research Objectives and Themes
This paper examines the representation of the black tracker in the 2002 film "The Tracker," directed by Rolf de Heer, arguing that the character functions as a subversive figure rather than a passive victim. It explores how the tracker navigates colonial power structures, utilizes cultural knowledge to manipulate his captors, and challenges the stereotypical colonial perceptions of indigenous people.
- Representation of the black tracker as a subversive character
- Postcolonial concepts of Mimicry and the Primitive
- The significance of traditional Aboriginal tracking skills
- Analysis of power dynamics between colonizers and the colonized
- The film's function as a critique of colonial historical injustices
Excerpt from the Book
Image of the Tracker’s role
First of all, the Tracker wears a uniform at the beginning of the film. This is the first hint of mimicry. The uniform is made of a blue jacket, a beige shirt, beige trousers and black shoes as well as a blue hat. During the film he takes off more and more of these garments, for example in minute 8:07-8:10 when he firstly throws away the hat of his uniform. This shows that he does not feel well in the role of the policeman. On the one hand, he is considered a black primitive tracker without rights or power. On the other hand, he is part of the civilized white Australians.
Secondly, he has a good command of English and Latin. He speaks with an accent but leaves out some words, for instance verbs or pronouns. He often speaks factually and in a down-to-earth way without showing many emotions. He does not inflect his voice very often but he also speaks positively about actions. All in all he understands everything the white men tell him. The Fanatic doubts the statements about the Fugitive in minute 29:30 and says that “[the Tracker] is not telling [him] everything’’ and “how [it] comes [the Fugitive is] half a day away?’’ A few moments later in minute 29:41, the Fanatic continues and asks: “are we so slow, that he has time even to satisfy his unholy desires?’’ The Tracker responds “I don’t know what you’re saying boss’’ (29:47-29:48). Before this conversation, the Tracker understood everything perfectly fine and gave answers to the questions.
Chapter Summary
1. INTRODUCTION: Provides an overview of the film and its central themes, introducing the role of the tracker within the historical context of Australian colonialism.
DAVID GULPILIL: Discusses the prominent Aboriginal actor who portrays the title character and his significance in Australian cinema.
2. WHAT IS A TRACKER?: Defines the historical role of Aboriginal trackers as guides for explorers and police, emphasizing their unique skill sets.
TRACKERS IN HISTORY - EDWARD JOHN EYRE: Examines early historical examples of tracker usage and the establishment of colonial police corps.
3. CONCEPT OF MIMICRY: Explores postcolonial theoretical frameworks regarding the imitation of colonizers by the colonized.
CONCEPT OF PRIMITIVE: Analyzes the colonial construction of the "primitive" and how it was used to justify the oppression of Aboriginal people.
4. CHARACTERS: THE FANATIC, THE FOLLOWER, THE VETERAN, THE FUGITIVE: Profiles the main characters of the film, highlighting how their portrayals reflect colonial power dynamics.
IMAGE OF THE TRACKER’S ROLE: Analyzes the tracker's behavior, use of language, and subtle resistance against the policemen throughout the narrative.
5. CONCLUSION: Summarizes the key findings, reinforcing the argument that the tracker is a subversive agent of change rather than a victim.
Keywords
The Tracker, Rolf de Heer, Aboriginal, Colonialism, Mimicry, Primitive, Postcolonialism, David Gulpilil, Tracking Skills, Power Dynamics, Resistance, Indigenous Rights, Australian History, Subversion, Identity.
Frequently Asked Questions
What is the core focus of this research paper?
The paper focuses on analyzing the film "The Tracker" to demonstrate that the black tracker character is represented as a subversive agent who undermines colonial authority, rather than a stereotypical victim.
What are the central thematic fields?
The central themes include postcolonial studies, specifically the concepts of "Mimicry" and the "Primitive," the impact of colonial violence, and the vital importance of Aboriginal tracking culture.
What is the primary research goal?
The primary goal is to provide evidence that the tracker in the film uses his cultural knowledge and intelligence to manipulate and resist his white captors, effectively challenging colonial narratives.
Which scientific methods are employed?
The author uses a qualitative film analysis approach, integrating postcolonial theoretical frameworks with historical context to interpret character roles and narrative developments.
What is covered in the main section of the paper?
The main section covers character profiles, the historical background of Aboriginal trackers, and a detailed analysis of specific scenes that illustrate the tracker's mimicry and subversive resistance.
Which keywords characterize the work?
Key terms include "Postcolonialism," "Mimicry," "Aboriginal," "Subversion," "Colonialism," and "The Tracker."
How does the tracker use mimicry as a tool?
The tracker uses mimicry by adopting the behaviors and language expected by the white officers to gain their trust, all while secretly leading them away from the fugitive and subverting their power.
Why is the "Primitive" concept relevant here?
It is relevant because the European settlers viewed the Aboriginal people through a "primitive" lens, which the tracker expertly exploits by playing the role of someone who is simple or uneducated to confuse his captors.
- Citation du texte
- Belgin Yücel (Auteur), 2014, Rolf de Heer's 'The Tracker'. Its Role in Australian Postcolonial Narratives and the Concepts of Mimicry and Primitive, Munich, GRIN Verlag, https://www.grin.com/document/303032
