On China at Copenhagen

I was reading this piece by Thomas Friedman on China and the Green Revolution. Basically, it illustrates the sheer size and scope of China's renewable energy expansion and investment in the last year. And its further plans for nuclear expansion as well.

As Friedman notes, of course, China is doing all this for domestic reasons: energy security, and the fact that their cities are too polluted already to cope with the largest rural-urban migration in global history.

Though Friedman doesn't speculate on this in the article, it got me thinking again about China's tactics and strategy at Copenhagen. How does it all add up? The Chinese scotching a deal, not only for the world (worried it might limit their growth) - but also scotching the advanced economies setting targets for themselves, that reportedly so angered Merkel and others?

Now, I'm aware the US also played a deeply problematic role (by not playing ball on Kyoto) but it seems to me quite clear what is going on: China intends to sell us green technology down the line, not the other way around.

They don't want any competition from more advanced economies. Their diplomatic game in Denmark supported this aim - a simple old-school, realist game aim of scotching the industrial competition. The failure of Copenhagen is a long term investment in their export-income generating, industrial future. Note also the only position they did strongly advance - that there should be no trade sanctions to enforce any international deal.

I think they correctly assessed that key Western polities would - with the slightest encouragement- get stuck in a partisan cycle of inaction, and award China a big market niche by default. Influential players in the advanced economies would literally jump at the chance to come last in the green tech race, and all they needed was a bit of obstruction to fall over. China didn't even mind playing the villain - all the better, since falling over is so much easier when you aren't blamed for it. Cui bono?

Friedman's article points out there are now so many solar operators in China now the price of solar has dropped 70%. They're weak on R&D though. They know the West has the advantage there, but they also know there are big players who didn't want to see change. So they were most helpful in encouraging the West to delay any serious moves.

So, US, UK, EU and Australian mugs - you want China to get the leg-up on the 'Green Revolution'? Because that was quite probably their plan at Copenhagen.

And you fell for it.

'Brulliant rivolution: Two guys shitting themsulves un the bush'

Haha! New Zealand, 1982.

If those two concepts aren't exciting you already, make sure you see Sleeping Dogs (1982), starring Sam Neill.

The premise is that a general strike occasions the rise of an authoritarian military government in New Zealand.

Repression and general mayhem ensue.

Sam Neill is your reluctant hero in the resistance. As it happens, its ekshually a great film, and the first NZ film ever screened in the US of Ay, Bro.

Natal Feliz

Yes, it's that time of year when I offer BmL readers a hearfelt awkward blokey handshake/forced backslap/ "how about them [insert sports team]" combo.

Which is about as warm as it gets in the highly competitive and ever-so-slightly Aspergic Portuguese Forts in Asia scene.

As you know, we aim to make your blogging experience every bit as comfortable as meeting your new dad-in-law at the Cronulla RSL.

But seriously: Natal Feliz.

May all your forts be Luso-Asian.

The Parting Glass: Vale Liam Clancy

Sad news from Ireland that Liam Clancy, of the Clancy Brothers and Tommy Makem, has died. They made Irish music roll like no-one before or since, and Liam was their mainstay. Bob Dylan was a huge fan, and said of Liam “I never heard a singer as good as him ever. He was just the best ballad singer I ever heard in my life, still is probably.” Those who saw the Scorcese doco on Dylan will have seen him recalling Liam Clancy's exhortation to the young singer, then starting out in Greenwich Village: "No fear, no malice, no envy".

Great advice. (Not that Bob followed it.)

In any case, my old man played the Clancy Brothers over and over through my childhood, and I grew to love their rollicking, twee-free, passionate sound - and also the native wit and literary sensibility of their stage humour between tracks on the live albums. And at the old man's funeral, at his oft-repeated request,were sung Shoals of Herring and Fields of Athenry. The Liam Clancy versions.

And so, a parting glass, to the magnificent Liam Clancy. Slán agus beannacht leat.

Oh, all the comrades e'er I had,
They're sorry for my going away,
And all the sweethearts e'er I had,
They'd wish me one more day to stay,
But since it falls unto my lot,
That I should rise and you should not,
I gently rise and softly call,
Good night and joy be with you all.

Sir Henry Casingbroke on Wake in Fright (1971)

Well, its Wake in Fright revival week here at BmL! Larvatus Prodeo regulars will no doubt be familiar with frequent contributor Sir Henry Casingbroke. His comment on my previous post was such an interesting reflection - not only on the film, but also on the outback 1960s/70s Australia it dissects - that I went ahead and got his ok to do it up as a guest post: the very first here at Chez Fortaleza! And if you're among (the happy few) to have been following recent posts on 70s Ozfilm, you'll already know Sir Henry had a minor speak role in an earlier film of Michael Thornhill's - director of The FJ Holden. Hat tip also to Sir H for linking to this marvellous review of Wake in Fright by Kate Jennings.

Sir Henry writes:

Wake in Fright is magic realism. Wake in Fright's central idea is that in certain parts of Australia (and surely elsewhere), away from cities, there can be a "magnetic" metaphysical anomaly that keeps people tethered in place is spite of a lot of good reasons why they should leave - inexplicably they can't, hence the nightmare.

The longer you stay there the more difficult it is to escape this gravitational pull, and soon, like Doc, you look back on a weirdly wasted lifetime. This becomes the in-joke of The Yabba where Wake in Fright takes place.

I spent 1969 in a mining camp just south of Darwin near Pine Creek and what happened to me was similar, including the spotlight shoot.

When I first arrived in the Top End people asked me how long I was staying - this was trick question - I said: until the Wet, it would be about 9 months; I was there to get a quick quid and get out. They looked at each other winked and laughed. Everyone arrived there just for a few months and end up staying 20 years.

The metaphysical reality layer superimposed on mundane reality (nothing is quite what it seems) brings with it the temptation to step away from normally accepted social mores.

In 1970 Australia was still rather Victorian in its outlook on the surface. But the more pissed you got, the wider the two realities moved apart. All sorts of things could be countenanced, including murder (if it was deserved), hence, out there another set of moral and legal rules kicked in. Hence the ambiguous and ambivalent character of the police sergeant played by Rafferty. Rafferty the actor no doubt perfectly well understood the metaphysical reality, as many Australians in the outback experienced it themselves as I did.

Films made around then dealt with that metaphysical duality were: Cars That Ate Paris, Homesdale, Picnic at Hanging Rock, and The Last Wave, probably others.

This other world is now much submerged and a lot of people do not understand what is being discussed in Wake in Fright. Therefore they waffle on, not being aware that it is a documentary. And not seeing why a lot of Australians found the film uncomfortable at the time - they knew what it revealed and they wished it was kept under wraps, especially to outsiders.

Wake in Fright (1971)

Since I was a kid I've had a recurring dream of being on a beach, in light so bright I can barely open my eyes to see. This newly released on DVD classic of Australian cinema somehow captures that feeling - everything is yellow, red, light disturbs the characters, scrutinising their dark, more brutal sides. I've waited years to see Ted Kotcheff's film, and finally tracked it down on DVD. No lesser figures than Peter Weir, Bruce Beresford and Fred Schepisi regard Wake in Fright as the film that sparked the 1970s reniassance in Australian film making. The Cannes Film Festival has only ever screened two films twice: Antonioni's L'Avventura, and Kotcheff's Wake in Fright.

Though a critical success, it was apparently met by ambivalent public acclaim in Australia, with some audiences taking it all too personally, and a general feeling of "this isn't us". It certainly shines a light on male-dominated frontier towns of rural Australia - where men outnumber women and the stranger creates a rip in the fabric.

The performances are outstanding: as one critic rightly put it, Chips Rafferty as the local cop - in his final screen role before his death in 1971 - "exudes an unnerving intensity with a deceptively menacing and disturbing performance that ranks among the best of his career." Donald Pleasance is brilliant as an alcoholic doctor - and also claims my "best Australian accent by a foreign actor" award. Jack Thompson, Gary Bond and John Meillon round out the Australian all-star cast. This one will stay with me for a while. Would love to see it on the big screen.

Australian Screen Online

You know, the Australian Screen Online site really is ace. Loads of great clips you can check - from all eras. And you can search via film type, decade, or by title. See the short hand-cranked Lumiere Cinematographe clips of Queen St Brisbane in 1899, or Kanakas working on the cane fields of North Qld, or the 1896 Melbourne Cup.

Or check the later clips of hard to find Australian cinema classics like Wake in Fright (1971). I could be lost in here for days. Send cheezels and jaffas!

Our Lady of Prosciutto

Pure Shit (1975)

Well let's face it, who isn't a little curious to see this film - banned then abandoned for a generation - about Carlton junkies in the mid-70s? Raided by vice-squad at its own premiere, this little underground film stayed that way longer than Ramos-Horta lived in hotel rooms. Its got it all: gritty intravenous realism, chase scenes, chemist break-ins, and excellent pre-fame cameos from Greig Pickhaver and Max Gillies. For all that, the scene-stealer is actually Helen Garner's hilarious appearance as a speed-addict, with advanced psychosis of the obsessive cleaning variety. There's even a social commentary poke at the earliest manifestations of the methadone program.

Australian 70s cinema. When will it be matched, let alone topped? I'm not holding my breath.

See the DVD trailer here.

Carpe pm: seize the afternoon

Yes, if I can't sleep in, it ain't my revolution! etc. I don't know about you, but early's never been my scene. Indeed, I was just recalling the other day, when I was younger, in me carefree 20s with fewer responsibilities to other humans, my normal hours of sleep were 4am to 12pm.

Time and circumstance has modified all that, of course; now its 2am to 8.30am. Cutting back on sleep hasn't really led to any productivity gains though - I rarely have a sentient thought before 10am. My brain still gets 8 hours, though the body has learned sleep-dressing and transport management.

I can't really help it, and to be honest, I don't want to change. These hours of solitude and focus have been the most productive of my life. I reckon I wrote most of my PhD between 10pm and 1am. I guess I'd like to know there are others out there still staying up, despite careers and so on. Perhaps well into middle age!

For example, I suspect my men HET here, princes of Dutch 60s freakbeat, still kick it late*. Now that semester two is nearly done I'm hoping to be back here (at Fort Segue) more often. Check it out!


* Hat tip to my bro, aka The World of Yentl, for putting me on to this ace track.