A couple of years ago, The Sunday Age asked me to write some reflections on Australia Day. At the time, I was quite perplexed - nationalism isn’t an issue I dedicate a whole lot of time to thinking about. In any case, the resulting article ended up being quoted by Gerard Henderson (see if you can guess which phrase). Reprinted for public holiday relevance below. 
Last year on Australia Day, a man peed on my foot. He was sitting on the seat in front of me on the bus into the city, where he’d been clutching a bottle of wine in a clichéd paper bag and shouting obscenities at our fellow passengers; telling the women in front of him they were “sluts” and the Asian students to his left that they didn’t know “the true meaning of Australia Day”. Then came the trickle of liquid down the seat, settling in a puddle beneath my quickly raised thongs.
A few minutes later, as I waited in the CBD for a friend, a reveller threw a beer bottle into the bushes behind me. I exchanged a grimace with the girl standing next me and we cursed our poor judgment for choosing to leave the house on Australia Day.
I’d asked similar questions of my judgment the day before at the Big Day Out in Sydney, which seemed filled with people in flag-printed attire and T-shirts reading “if you don’t love it, leave it”. They were no doubt spurred on by the media circus around the festival “banning” the Australian flag and the Daily Telegraph’s urges to rebel against the organisers, but as a friend put it, there’s something about Australia Day that some people embrace with “the same shithead opportunism with which they treat footy matches and racial riots”.
You’ve probably guessed that I’m not the most enthusiastic patriot around.
And you’d be right. I can’t remember the last time I watched a football game. I’ve been to the cricket once, when I was eighteen, and I took a magazine with me and asked in all seriousness why the players took so long to “pitch” (for the information of fellow non-cricket fans, the correct term is “bowl”).
Possessing the pale skin of my Irish heritage, I go to the beach approximately once each year and leave with dry, pink shoulders no matter how much sunscreen I put on. I prefer cities to the bush. I only drink beer when there’s nothing else available.
Lest it sound as though I’ve wholeheartedly and elitistly rejected the core tenets of Australian culture, I should point out that those particular tenets of Australian culture rejected me first.
I was a child too short-sighted to catch a ball, who spent her weekends borrowing out the maximum allowed number of books from the local library. Sporty, bronzed, anti-intellectualist Australia and I just didn’t mesh.
Which isn’t to say that I was ever particularly bothered by it. I learned early, as most people do, to find people who were “like me” to hang around with and block out the noise of everyone else. If the beer bottle chucking, bus seat pissing, flag waving folks wanted to claim the mantle of “Australian” for themselves, they could go right ahead and take it. I’d just sit over here and be unAustralian then, thank you very much.
But, as you’re probably thinking right about now, that’s kind of stupid. Because while the people who drape the Australian flag over their shoulders at music festivals — or who cheer “Aussie Aussie Aussie, oi oi oi” at the cricket — might be the showiest about their nationality, they don’t have a monopoly on what being Australian is. And nor should they.
The guy who yelled out obscenities on the bus last year was a self-announced Australian, sure, but so were the girls who wrote “there’s piss on this seat” on a piece of paper I’d torn out of the magazine I was reading, to warn others not to sit there. Cheek, consideration of fellow passengers, and a disregard for cheap paper binding are all very positive — and very Australian — traits. He was just the loud one.
The Big Day Out might have looked like a sea of misdirected nationalism in recent years, but the flag wearers were well outnumbered by music lovers dressed in fairy wings or band T-shirts. They were just the more visible ones.
Conservative commentators have been harping on for years about how the so-called Left “elite” need to make room for the voices of “ordinary Australians” — such as themselves. I would suggest that we similarly need to make room for versions of “Australianism” that deviate from the same old book of myths.
No doubt, there are a lot of people in this country who take pleasure in and identify with the larrikinism of Steve Irwin, the athleticism of Cathy Freeman, the girl-next-door-made-good quality of Kylie Minogue or the beachy beauty of Jennifer Hawkins.
But there are a whole lot of others (and many of those in the former group) who enjoy — or even prefer — the grace and intelligence of Cate Blanchett; the devil-may-care rebelliousness of Germaine Greer or Peter Singer; the soaring creativity of silverchair’s Daniel Johns or fashion designer Akira Isogawa; the compassion of former Young Australian of the Year Hugh Evans; the wit of Chris Lilley; or even the delightful nerdiness of our new Prime Minister.
It’s obvious that we appreciate and take pride in these people and their accomplishments. But for whatever reason, they haven’t become as much a part of our national story as our athletes and larrikins — even though, in many ways, they better reflect the country’s diversity and reality than the myth.
In part, this is because Australia has always had a difficult time defining itself. Put it down to our post-European settlement culture being born too late in the game and evolving in insufficient isolation to become truly culturally distinct. But it’s also because it’s part of the very nature of national mythologies to be a pile of crap. I mean, does anyone seriously think that the French are all snobs who wear stripes, or that Americans are all brainless cowboys?
And maybe that’s the point. Not particularly liking Australia’s national mythology is not the same thing as not liking Australia. Just as criticising elements of your country’s behaviour is not in itself disrespectful — and certainly not grounds to be told to “leave it”.
There are a myriad of ways to respect and appreciate one’s country. Some of us might drape a flag over our shoulders, others (okay, me) might have been known to skip down the street on the way to the ballot box on election day. Some of us get goosebumps when Australia wins the cricket, others got them when we signed the Kyoto protocol.
This is a country for all types, even wanker Diet Coke Lefties like me. It’s Australian to call yourself a wanker, isn’t it?

The Sydney Film Festival starts tonight and, as my Facebook status puts it, I’m kind of ‘amped’. Like most festivals, it always seems to fall at a busy time of year (perhaps because every time of year is a busy one), but it also offers an opportunity to see a calibre of interesting films that normally only screen around Oscar season.
As you’ll see below, my picks are kind of mainstream as far as film festivals go. If you’re after something on the more esoteric or experimental side of things, try my film critic buddies here (no pun intended) and here.
OMFGG, WILD HORSES WON’T KEEP ME AWAY FROM THIS
The September Issue
Anna Wintour, editor of Vogue for 20 years, is the most powerful and polarising figure in fashion. Larger than life and more complex than fiction, Wintour embodies a fascinating contradiction of passion and perfectionism as she reigns over a dizzying array of designers, models, photographers, and editors. Director R.J. Cutler delivers a rare insider account of the nine months leading up to the printing of the highly anticipated September issue of the magazine, which promises to be the biggest one ever.
OTHER FILMS I’M HOPING TO CHECK OUT
The Private Lives of Pippa Lee
Wright Penn delivers a rounded performance as the eponymous Pippa: happily married to a legendary publisher 30 years her senior (Alan Arkin, in scene-stealing form) she embarks on a journey of self discovery when circumstance transports her from urban Manhattan to a Connecticut retirement community. Wry, funny and emotionally charged, this adult love story — cited by Screen International as tantamount to a female take on a Philip Roth novel – features a stellar ensemble cast including Winona Ryder, Keanu Reeves, Julianne Moore and Monica Bellucci.
Food Inc
Discover the truth about the US food industry; the chemicals, the hidden truths and the hope for the future.
Cleo From 5 to 7
Cleo, a deliciously frothy chanteuse, kills a couple of hours on the streets of Paris, banters with her maid, jams with fellow musicians and bickers with her older lover, all the while waiting to receive test results for cancer. Romance blossoms at her most despairing moment and everything that seemed terminal suddenly begins to breathe again. Blending her keen documentary shooting style with pop aesthetics and editing techniques that would come to define the French New Wave, Varda turns her portrait of a ditzy ingénue inside-out, revealing a more complex character than the pretty, pampered surfaces imply.
Cedar Boys
Sydney’s western sprawl, alien to many harbour city-dwellers, is home to a trio of youthful Lebanese-Australian mates. A panel-beater with dreams of more under the bonnet, Tarek (Chantery) is the least confident of the three, while Nabil (Dannoun) seems, at first, a steadier sort. Drug dealer Sam (Sari) is definitely the hotheaded one. Clubbing in the city, Tarek meets a hot eastern suburbs girl (Taylor) and their east-west relationship triggers his shift into crime. Caradee, in his feature debut, has crafted a forceful city drama that provides an insight into Sydney’s multicultural underbelly.
We Live In Public
At the turn of the millenium, [internet pioneer Josh] Harris… created an artificial society in an underground bunker in the heart of New York City. More than 100 artists moved in and lived in pods under 24-hour surveillance in what was essentially a human terrarium. On January 1, 2000, after 30 days, the project was busted by FEMA as a ‘millennial cult’. Undeterred, Harris struck again, this time as his own subject. Rigging his loft with 32 motion-controlled cameras, he convinced his girlfriend to allow him to record streaming video of every moment of their lives… Sundance award winner Ondi Timoner chronicled Harris for a decade, culling through thousands of hours of Harris’ own footage and coupling it with rousing vérité of her own. The result is a fascinating, sexy, yet cautionary, tale where we all become Big Brother.
The Girlfriend Experience
Combining a relaxed, freewheeling style with a fragmented temporal structure, Steven Soderbergh breathes out after the grand scale project of Che Parts 1 & 2 with this nimble, deceptively sophisticated film. Chelsea (adult film star Sasha Grey) is an expensive escort with taste and intelligence to match. Focused on her business success, she aims to provide her clients with the true, well rounded ‘girlfriend experience’. For most of her stressed-out customers she functions as therapist more than sex toy and indeed very little is seen of their physical encounters. Wedged in a particular historical moment just prior to the 2008 American elections (stay until the end of the credits for the post-election payoff),the onset of the Global Financial Crisis permeates almost every scene. The savvy and energetic script (co-written by the writers of Oceans 13 working in a very different mode) parallels the nature of transaction and exchange — alternately consequential and meaningless — in both the worlds of fi nance and the high-class sex trade. Soderbergh’s own fluid camerawork (using the digital Red camera) vividly captures the pulse of New York City.
An Education
Lone Scherfig (Italian For Beginners, Wilbur Wants to Kill Himself SFF03) astutely directs this celebration of intuitive intelligence from Nick Hornby’s sprightly script, itself an adaptation of a short memoir by British celebrity journalist Lynn Barber. Heralded by critics at the Sundance (where the film won the Audience Award) and Berlin film festivals as the new Audrey Hepburn, Carey Mulligan is sparkling as 16-year old Jenny, a schoolgirl whose thirst for knowledge strays from the academic to the experiential when she falls for David (Sarsgaard), a charming scoundrel twice her age. Flaunting her new-found adult style in the schoolyard by day, and eagerly consuming the education David and his dashing (if somewhat dubious) associates dish-up by night, Jenny begins to neglect her goal of an Oxford scholarship, much to the concern of her uptight teacher and stuffy parents. It’s 1961, and post-war conservatism is about to give way to the swinging sixties, and it’s a London bristling with the promise of change; there can be no doubt that with a few lifelessons under her belt, our heroine will be leading the charge.
What about you? What are your SFF picks?
Pierre Bourdieu, 1984.
My Saturday night reading. 10K word thesis chapter due in 5.5 days.
Gawker commenter crotchety
Hear, hear.