Deadly unna blacky and clarence relationship poems

Deadly, Unna? by Phillip Gwynne

This poem has provided a rich basis for transformation into .. for these include the novel Deadly Unna and the film Australian Rules, or the novel .. creating a stronger relationship between Blacky and Clarence, Dumby Red's sister, the film. Deadly Unna? is the story of a young boy Blacky who is made to overcome with Dumby Red and his interactions with girls in particular with Clarence and .. singles, Billboard Hot Dance Club Songs number-one singles, Emotion . Start studying Deadly Unna? Dumby Red (Racism)/Graffiti Quotes. Big Mac saying a racist joke and Blacky realising something about Dumby. CLICK THE CARD TO . 'Right above where Clarence was sitting was some graffiti. ' BOONGS.

The streets weren't sealed and there were hardly any trees. Most of the houses were fibro, but there were a few brick ones as well. But that's not right, something's wrong. Then I realised what it was.

Deadly, Unna?

The houses all had doors and windows. And according to the front bar the first thing Nungas do when they move into a new house is rip the doors off their hinges and smash all the windows. So that was the image I had in my head. Well, not any more. Because here's the thing: Australians won't respect the Aborigines unless they make an effort to look and behave like us, but in actuality it doesn't matter what they do, we will always look down on them.

They can't win, in this equation. And the second thing is: They don't want to assimilate, and become "Australian" according to our white definition. Why should they have to? The problem lies in the sad fact that colonial Australia not only degraded them, but made sure there would be no place for them, regardless. They're stuck in a kind of racist Catch, and honestly, I can't blame them for being royally pissed about it.

The title Deadly Unna? The story is a quiet, fairly understated kind of tale, carried by Blacky's endearing and humorous narration. It has just the right amount of plot balanced by just the right amount of characterisation and character development to please me and keep me engaged.

Truly I found it to be very well written and beautifully told. Blacky's voice is convincing for his age, his demographic and his environment. I found the publisher's blurb to be rather misleading, in that it implies much more drama than actually happens and much more interplay between Blacky and Dumby. It does make your expectations go off in rather the wrong direction, sadly. As long as you take the story as it's told, you will get a lot out of it.

Alphaville Issue 5

There's a lot of subtlety and depth to this novel, tucked away within and without Blacky's observations. Much of it is sad and poignant, like Blacky's mum's life and marriage to his rather horrible father; the town's poverty; Mr Robinson's dead-end career; the way the "blacks" are ignored and treated like second-class citizens or barely citizens ; the poor state of the town library; the sense that this town and its people are largely forgotten - noticeable in the state of its community buildings, like the footy oval, and the local member's grandiose speech cataloguing his own achievements, none of which have any relevance to these people.

Yet Blacky's voice remains largely upbeat and optimistic, in an adolescent way, and his observations of other people and his world overall are both insightful and humorous, epitomising that other stereotypical quality Australians are known for: Uncategorized gnielsen16 You must choose 2 poems.

Choose the poem that you relate to the most. Explain WHY you can relate to it. Type it up as well. Explain WHY you think it relates to these texts and use evidence to support your claims. The reason why I found myself relating to this poem the best from our selection is because I myself have several amazing friends, and have been with them from years.

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This one reminds me the most of a girl named Erica, who I became friends with in year 5. I find we have almost everything in common, from the things we watch, to the music we listen to, our phones, the things we eat, even the amount of time we sleep.

PETER COCA at Unbuckled NOHO poetry

Also having gone to different schools we find it easy to talk to one another about problems with friends and school work. A while ago I was having difficulties with some of my friends that I go to school with a told her about it.

In the film, the two farm families are a microcosm of broader social divisions on the issue. Although initially in September these are the concerns of the adults, nevertheless the viewer knows that Ed and Paddy are also unwittingly affected by their external environment. Ed and Paddy, however, remain blissfully unaware, in a state of innocence.

The adult conflicts are more overt in Australian Rules than in September, and confrontation is an ever-present and powerful force in this film. Australian Rules references existing situations that reflect racial tension in Australia, which adds credibility to the fictional violence and hatred on-screen.

In another scene, a newspaper clipping of past right-wing federal politician Pauline Hanson is glimpsed under a pile of maggots. Hanson is emblematic of racist politics in Australia, in part a result of her claim that Aborigines enjoyed more privileges than non-Aborigines Hanson.

Coming of age in September and Australian Rules is a time when the idealism, innocence and romanticism of the golden age of youth comes directly into contact with the adverse realties of adult life. He misses boxing practice with Paddy to be with Amelia, and a long, slow shot of Paddy standing alone, waiting in the ring, his back to the camera as he stares out across the empty paddock, captures the abandonment he feels.

Secondly, Paddy starts having to work longer hours on the farm. Instead of meeting Ed when his bus arrives at the gate, Rick keeps him working, which means they spend less time together in the spaces of their idyllic youth: Ed never owns up to his involvement and neither does Paddy tell.

It is a shameless betrayal by Ed, and one would think unforgivable. A series of changes are triggered by this event: Rick tells Ed he has to stop spending time with Paddy; Paddy refuses to keep working on the farm; and the boxing between the two young men becomes angry. Visually, the sky darkens or disappears from shot, and the landscape narrows and loses its aesthetic significance to signal instead impending conflicts. Blacky, Dumby and Clarence are also unable to remain detached from the conflicts that surround them, and eventually there is a severe and final end to their innocence.

In the week preceding the Grand Final, tensions within the football team escalate, before erupting on the Premiership award night. The snub is interpreted as racist and Dumby leaves in a rage with Pretty. Meanwhile Blacky and Clarence are becoming increasingly more physically and emotionally intimate. He verbally abuses Clarence and beats Blacky when he finds his son in bed with her.

At his most aggressive, he kills Dumby during a botched break-in at the football clubrooms. In an earlier conversation, Blacky asks the scruffy but wise old maggot collector, Darcy Martin Vaughanif white boys can have a girlfriend from the Mish. These cinematic transitions to adulthood reveal a dilemma embedded in the notion of youth as a golden age.

When young, the qualities of innocence and purity are admirable and even desirable, but as an adult they signify immaturity and ignorance. The adults tolerate innocence only to a point, but as the youth age innocence is considered to be a problem. This may stem from what Anneke Meyer suggests is an adult need to protect young people from their own vulnerability: The discourse of the innocent child, which emerged with Romanticism, constructs children as inherently virtuous, pure, angelic and innocent.

This innocence makes children immature, ignorant, weak and vulnerable, and creates a need for protection. The message is nonetheless delivered with regret: In September, this is poignantly illustrated in a scene when both families ride into town in the truck together. The same compositional techniques are employed in Australian Rules.

In the changing room, the football team is divided between Aboriginal and non-Aboriginal players, but Blacky and Dumby sit with each other, between the two groups. The culturally demarcated change rooms. Blacky also traverses the segregated areas of the pub, conversing with both black and white drinkers through the hole in the wall between the rooms. Thus these young people occupy not only physical but also metaphorical postcolonial interstitial spaces.

Paddy refuses to keep working, and instead leaves to join the Jimmy Sharman Boxing Troupe when it finally arrives.

Although it is left open, the film suggests that Ed too will choose a different path in life to that of his father. Rejecting this shaky logic, Blacky and Clarence instead plan to leave the town so they can continue to be together. Through the young people, the films explore the impact of the belief that racial characteristics render Aborigines inferior to non-Aborigines in order to repudiate such an idea.

The youths, who are depicted as having more social and moral insight than the adults in these films, accept that racial categories are socially constructed and situational, as Ella Shohat and Robert Stam explain: Australian Rules sends an overt message that biological determinism is antediluvian and for ignorant thugs alone. It associates this belief with other undesirable characteristics to create intensely unlikable, unredeemable characters, subscribing to the view that: The most extreme example is Bob, the most blatantly racist character in the film who is also an unintelligent, violent, misogynist rapist.

Bob is almost a caricature of a working-class Australian male and, as a result, appears too extreme to be plausible; as Brian McFarlane observes of racist characters in Australian cinema in general: Nevertheless, the film takes a strong ideological standpoint.

Smart and mobile, Clarence and Blacky traverse the barriers that Bob wants to retain, and their actions render those boundaries arbitrary and collapsible.

Whereas the adults in the films justify the existence of cultural inequities because of unavoidable differences, the youths instead focus on the similarities between themselves. The cultural differences so prominent between the young people in Walkabout are absent in these films, and instead they are each alike in temperament, physicality, interests and abilities.