Jindabyne

killings. Carver’s plot took advantage of the hysteria of the 1970’s to set up the theme of serial killings within the hypotext. Juxtaposingly, Ray Lawrence adapted Carver’s short story (2006) and transformed it into the hyper Australian gothic film Jindabyne. Juxtaposed to the hypotext that [focused] on the serial killings and the oppression of woman, Lawrence’s adaptation focuses on the theme of Aboriginal treatment and the spiritual beliefs of the Aboriginal culture. There are inevitable contextual

some two days later. Carver examines what ‘men owe women’ and what ‘the living owe the dead’ (Byrnes, 2006). Director Ray Lawrence and his screenwriter Beatrix Christian attempt to develop these themes further in their 2006 Australian adaptation, Jindabyne. While there have been many alterations to the narrative, the film still closely revolves around Carver’s concept of responsibility. Although both Carver and Lawrence have explored societal and moral issues, Jindabyne’s more modern observations may

of serial killings. Carver’s plot used the hysteria of the 1970’s to set up the theme of serial killings within America. Juxtaposingly, Ray Lawrence adapted Carver’s short story in [2006] and [transformed] it into the hyper Australian gothic film Jindabyne. Lawrence adaption of the hypotext focuses on the theme of Aboriginal treatment and the beliefs of the aboriginal treatment. The benefits of adaptation studies lies within their ability to highlight changing societal ideas, attitudes and values.

Jindabyne reinforces and challenges the relationships between cultures and genders through sound, establishing the reconciliation of characters. The haunting music and cinematography create a sense of timelessness. The opening shot of the ominous ‘landscape’ is highlighted with somber and minimal music, adding to the scene’s tension and hostility. Furthermore, Susan’s light-hearted, energetic singing and non-diegetic soundtrack of grass swaying in the wind is contrastingly cast with the looming image

Joanne Hyppolite is a young girl that successfully jumps “between worlds with the same ease that you slide on your nightgown in the evening.” (Koppelman, “Perspectives”, p. 82) By defining herself as Dyaspora, “a scattered people originally located in one place” (Hyppolite, 2013) she acknowledges her Haitian homeland and heritage as well as her disconnection from its “physical landscape.” (Koppelman, “Perspectives”, p. 80) She consistently refers to her native country while describing Haitian language

a nearby river. The group refuses to alert the local authorities until the adventure has finished due to claiming fatigue from an abundant amount of traveling on foot and as a result cause several family complications once they return. The film Jindabyne (2006) directed by Ray Lawrence is a 21st-century adaptation of the hypotext “So Much Water So Close to Home”. This motion picture

‘Jasper Jones’ and ‘Jindabyne’ are two influential texts that raise questions about issues that are affecting many Australians past and present. The texts highlight the issue of racism using the characters Jasper in ‘Jasper Jones’ and Susan in ‘Jindabyne’. The texts are able use these characters to successfully challenge the audience views on racism and how it effects individuals and society. ‘Jasper Jones’ is a novel written by Craig Silvey in 2009, set in 1965 in a small town named Corrigan

In an ideal world, everyone would be treated equally, regardless of race or gender. Craig Silvey’s novel Jasper Jones and the film Jindabyne directed by Ray Lawrence are challenging texts with relation to representation of differences and tension in race and gender within Australian society. Both texts challenge their respective audiences to reflect on how Australian society treats individuals and challenges the constant misjudgment of Indigenous Australians. Silvey uses historical context to impose

There is no doubt that men dominate movie roles. According to Polygraph, in an analysis of approximately 2000 movie scripts, just 22% of actresses had the majority of dialogue over their male co-stars. Albeit, the most abysmal statistic is only 18% of films have women occupying at least 2 of the top 3 roles in the film, while the same scenario in men occurs in about 82% of films. Tracks, a 2013 movie directed by John Curran, is an Australian dramatic biography film adapted from Robyn Davidson’s memoir

The wide rage of emotions that a person can feel while reading is what distinguishes a simple book from a captivating story. When one reads a story, a good one will take you away from the reality you are in and delivers a new experience for you through the eyes of other. The way that authors are able to convey another world to you is through emotion, they build off the elements around them and everything has to do with the tone they are trying to set. Raymond Carver uses the elements around the characters