The evolving narrative of denial: the Fraser government and the Timorese genocide, 1975–1980

As research by the Commission for Reception, Truth and Reconciliation in East Timor documents, the years 1975–1980 constituted the worst period of the Indonesian occupation of East Timor, during which grave human rights took place involving a high loss of life. In Australia, the government headed by Prime Minister Malcolm Fraser (1975–1983) sought to present itself as a supporter of human rights and the international rule of law. It also prioritized relations with the Suharto regime, which it saw as key to its policy position in Southeast Asia. These two positions came into conflict due to the Indonesian invasion of East Timor. The Fraser government therefore worked to propagate a narrative concerning East Timor which denied the seriousness of the situation, distorted the historical narrative, deflected blame from Indonesia, and depicted the Australian position as principled and realistic. This paper examines the development of this narrative as events progressed and information concerning the crisis in East Timor came to the attention of the outside world. It also examines how the Fraser government employed this narrative internationally in order to protect the Suharto regime from scrutiny.     

Gender and Modernity in Post‐War British Cinema; a case study of Young Wives’ Tale (1951)

This article explores the interrelationship between gender and modernity within the context of post‐war Britain, focusing upon the representation of women in the popular film genre of the ‘marriage comedy’. It uses a case study of the 1951 film Young Wives’ Tale to explore post‐war ideas about the ‘companionate marriage’ and the emergence of a ‘modern’ British society. Critical examination of female performance style and the gendered negotiation of domestic space within the film suggests the ways in which anxieties about the ‘new’ and the ‘modern’ are displaced onto the female protagonists. The article explores the ways in which ‘tradition’ is usurped in the film and concludes that it was a box office failure because it was out of step with the cultural consciousness of post‐war cinema audiences. The film’s lack of success demonstrates the extent and manner to which gender relations could be challenged in the early 1950s.