What does contemporary Australian comedy reveal about Australias national culture?

Comedy is a defining element of the Australian culture. An outward expression of culture and social activity; it can be the creator of conflict, or control. The very essence of comedy can reveal anxieties, tensions, and aspirations of individuals as well as challenge a nations conventions and social prohibitions. It holds the ability to create and re-create new social norms and can change the values of a nations culture. Described by some as dry witted, impertinent and iconic, it also holds a withstanding style of self-mockery- a tradition carried throughout the history of Australian media. Not only does the nature of Australian comedy stage in laconic form, it serves to provide a unique window into self identity of Australian citizens idiosyncratically and as a collective whole. The insecurities, trepidations and desires of individuals can be expressed, or even concealed in humor.

Many of Australias comedic artists often play along the borderline of tastelessness, and although not always politically correct, Australian humor holds the inclination to highlight cultural differences, a common theme that has remained a long tradition in Australian comedy and media. Australian comedy is an eclectic combination of sources from around the world. Embracing British comedic productions, such as Faulty Towers and The Office along with American television productions such as US The Office and M.A.S.H. From 1997 film, The Castle, to the suburban sitcom Kath and Kim, to Chris Lillys "mockumentary" Summer Heights High, the most merciless parodies on modern Australian life (BBC News, 2011), to recent television stints such as The Chasers and Thank God Your Here Australian, comedy has developed over time to be an iconic element of the Australian identity.

Comedy is at the heart of a nations distinctiveness. In relation to Australia as a nation, comedy is argued central to Australian cultural identity (Australian Government, 2007, pg. 1). Described as dry, impertinent, anti-authoritarian, ironic; the nature of Australian comedy is grounded in the Australian predisposition of self-mocking. Historic origins of these traits assigned to Australian humor have been traced from early convict colony to the influence of international comedy, through to the rise of black sense of humor. Psychologist theories have suggested black humor allows humans to cope with difficult situations as a release, deemed as 'catharsis release'. The convict age saw humor used as a release from emotional turmoil and has continued a prominent aspect of Australian comedy, coming to play an important role in defining the nations culture in the contemporary age. Contemporary Australian comedian, Julian Morrow co-founder of the popular television series, The Chaser is an example of black humor operating in Australian media today. Satirical natured, Morrows cynical take on politics and frequent use of black humor are defining to Morrows work, and have earned his show a branding as a pest to society. According to Morrow the way to create an original and interesting product is to not worry about what the audience will think (Morrow, 2009, pg.1) and enthuses pissing people off is part of the job... something that applies to both comedy and journalism (Morrow, 2009, pg.1). This kind of attitude remains as one of the most notable aspects of Australian comedy, deeply rooted in the convict history and culture of Australian black humor. Since the proliferation of Australian media, the growth of Australian comedy has permeated widely in the television media sphere, providing a new platform for national identity formation. According to Bosanquet, comedy reflects the changing nature of society better than any other TV genre (Bosanquet, 2006, pg.145). As a genre of comedy in television echoes a nations

culture more so genuinely through its representation of the nations taste in humor symptomatic to the cultural transformations that have occurred in the history of Australian media. From the 1970s ockerisms, as the success of Paul Hogan (Bosanquet, 2006, pg.145) to the 1980-90s emergence of multicultural comedy (Bosanquet, 2006, pg.145) to more contemporary mockumentary comedy such as the ABCs We Can Be Heroes (Bosanquet, 2006, pg.145) the changing nature of Australian culture can be evidently seen in its representation in television comedy, acting a critical role in forming national identity.

Transformations in comedy genres have occurred overtime since the proliferation of mass media, the foremost being, format. An evident move from the sitcom and straight sketch show to a new media dais has been prevalent since the advent of digital media, revealing a new age of Australian culture. According to Bosanquet, its obvious that Australia is more comfortable making comedy blends than an orthodox, straight-down- the-line (Bosanquet, 206, pg. 145) comedic play. With the dawn of digital media younger audience have access to comedy commodities; coming to transform Australian culture in terms of comedic content and formatting.

Contemporary Australian comedy could not be identified without an element of cringe-worthy banter- a common theme among the Australian humor sphere. According to McFarlane the characteristics of cringe-television McFarlane (2009, pg. 35) and the persuasive nature of comedic mockumentaries in mockery of serious documentaries, play an important role in creating the perceived national identity of Australia. Appealing to the inner curmudgeon (McFarlane, 2009, pg.160) satirist and black humor of Australians, these new mockdocumentary style comedies serve to strengthen identity of the nation and its culture.

The satirist nature of Chris Lilleys work We Can Be Heros and Summer Heights High along with Dame Edmas comedic act of racist and sexist remarks, can be highly questioned as politically incorrect. In McFarlanes words, these comedies fl[y] in the face of political correctness (McFarlane, 2009, pg.136) draw[ing] attention to some very questionable ethics (McFarlane, 2009, pg. 136). Although the utterly self-serving (McFarlane, 2009, pg.137) structure of the common Australian comedic character, such as the bragging, the racism, the wild incorrectness (I love disabled people,' Ja'mie gushes to the principal) [and] the sexism (McFarlane, 2009, pg.137) ingeniously woven into Lilleys narrative is an a evident characteristic of Australian black humor, it causes an apparent incapability of insensitivity- of which one can argue is not a true representation of the Australian identity as a nation. Most Australians, in McFarlanes words, pride [them]selves on liberal recoil from sexism, racism, fatism or any of the other isms (McFarlane, 2009, pg.136). The irony at play presented through a lack of sentimentality in this new genre reflects a contemporary new mode of comedy; it affronts viewers with cringe-worthy content, and reveals its interconnection with transforming cultural conditions.

Australian comedy is not a genre that developed independently from its exterior cultural context; the USA is an influential component of Australian culture. Referring to Baron Cohens characters in Ali G and Borat, according to McFarlane these characters are sexist, racist protagonist[s] McFarlan (2009, pg. 137). The international appeal of these films have taken effect on the frequency of cringe-worthy Australian comedy. Due to transnational television flows these international films have taken influence over the identity formation of Australian

culture. In addition, McFarlan evaluates US Television production delivered on Australian television, The Office. Self-depreciated and laconic, the series offers fleeting glimpses of the protagonists' insecurities (McFarlane, 2009, pg.138) takes us beyond the cringe (McFarlane, 2009, pg.138) in an unconventional form. Although confronting for viewers, the content provides a unique insight into identity, idiosyncratically and collectively.

Chris Lilleys mockumentary production, Summer Heights High, hugely satirical fictional documentary offers a new element to Australian comedy and the contemporary national identity. According to OHara contemporary mockumentaries rework comic genres in ways that allow us to see the world differently OHara, (2007, pg.70) and proposes Chris Lilleys Summer Heights High offers something both funnier and more serious OHara, (2007, pg.70). Although satirical in nature, the content portrays Australian life with more authenticity than immediately perceivedbecause it is in the form of a carefully constructed and accurate in its portrayal of school life (OHara, 2007, pg.68) and most importantly because it provides a hilarious and accurate picture of a lot of what happens in schools today (OHara, 2007, pg.72). The series offers a truly reflective insight into the Australian school system- a crucial and defining element of the Australian culture.

Exploring the facets of a typical Australian public high school, Summer Heights High plays on serious and relevant issues such as social cliques, profanity, teenage slang, stereotyping, racism, and homophobia. Wilson delves into Lilleys usage of racism, profanity and social stereotyping and links these back to the Australian identity. According to Wilson, an educational paradigm Wilson (2009, pg.172) that exists in Australian culture in which citizens such as the likes of

characters of Summer Heights High, Jonah and Helen in are immersed in. This paradigm of culture is due to the rise of the neo-liberal movement. Wilson argues the marketisation of public schools in Australia is due to the neo-liberal economic/ political paradigm prevailing in Western societies Wilson, (2009, pg. 177) and this has come into the form of comedic play. Wilson evaluates one of the main protagonist, Jonahs enactment of hegemonic masculinity Wilson, (2009, pg. 173) as well as his characters frequent employment of racism and profanity. She focuses on the notion of self-identity; alluding to cultural belonging as an important issue present in Australia, and this is depicted through the clash of cultures Wilson, (2009, pg. 175) Jonah faces throughout the series.

Well known academic, Sue Turnbull, argues the notion of national identity of Australia is due to the proliferation of media and cross-cultural television flows, taken form in modern Australian comedies such as iconic suburban comedy skits Kath and Kim and Dame Edma. In alignment with Andersons notion of imagined communities, the suburbia comedy constructs a national imaginary (Turnbull, 2008, pg. 15) one which the nation identifies with. With this in mind, comedy plays a critical role in representing the real Australia (Turnbull, 2008, pg. 15) through constructing this national imaginary (2008, pg. 15). In the sitcom Kath and Kim, the vast and unexplored suburban tundra Turnbull, (2008, pg. 15) develops a national imaginary or representation of contemporary Australian culture for the nation. In this Turnbull supports the ideology of well known satirist, Barry Humphries. Humphries claims the true representation of an Australian lies in the vast and unexplored suburban tundra (Turnbull, 2008, pg. 15). As a result of the newly exposed suburban comedy to transnational television flows, the anti-suburbia nation came appreciate the little suburban things (Turnbull,

2008, pg. 16). Comedy can be influenced by changes in culture, and culture can influence comedy content. Turnbull makes an interesting observation, between in her statement, Australian culture... has always been in conversation with the wider world Turnbull (2008, pg. 17)- reflecting the interrelated connection between comedy, media, the suburbia and Australian identity. Due to the absorbent nature of culture, comedy plays an important role in communicating, representing and revealing not national identity. Aside from racist humor, multiculturalism on its own is a prominent element of Australian comedy, shaping it into a new form. The frequency of comedic play on ethnicity is increasing with the rise of transnational flows in the media sphere. Wogsploitation films are coming to redefine Australian culture and restructure the traditional ocker Australian stereotype. Lesly defines the genre of wogsploitation as a crude, obvious, vulgar and unsophisticated, full of broad caricatures and send-ups of suburban kitsch (Lesly, 2005, pg. 139). Wogsploitation films, otherwise self-defined as Oz-ploitation such as SBS productions, Pizza, Fat Pizza and Wog boy are comical productions that depict the ethnic minorities of Australia. The comedic stereotypes at play creating identity for social groups reveals socio-political concepts that may not be obvious in Australian comedy, however indeed when critically evaluated do permeate within. Lesly argues Australia has embraced wogsploitation films, and invitations to the laugh at the expense of familiar social groups Lesly (2005, pg. 141) is due to increased involvement of ethnic minorities in comedy, film and television. Australian comedy is constantly transforming in alignment to the cultural grounds it permeates within.