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What’s in a Name?

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Last week, the Weekender Herald published a very amusing article entitled “Looking at Life.” The article, written by John Ovenden, lampooned one of the more absurd (and that’s saying something) discussions between the members of the so-called “local progress association.”

The topic of discussion was name changes for the various townships in the Adelaide Hills. What John Ovenden was lampooning was the pretentiousness of these groups and just how out of touch they are with the common people.

The fact that our supposed “social betters” are willing to change the names of townships to suit their own ideological needs is hardly new. Today, only those with an interest in local history would know about Adelaide Hill’s rich German heritage. Anti-German sentiment generated by the First World War (1914 – 1918) caused the authorities to change the names of many German settlements. As a consequence, Blumberg was changed to Birdwood, Grunthal was changed to Verdun, Hahndorf was briefly changed to Ambleside (though it was changed back in 1935), and Germantown Hill was changed to Vimy Ridge (it was later absorbed into Bridgewater with the road being renamed ‘Germantown Hill’).

The same thing appears to be occurring today, albeit for entirely different reasons. The general distaste for Germanness had developed into a general revulsion for all of western culture.

A perfect example of this is the Mount Barker District Council and their attempts to modernise Mount Barker. Given that the population of the township is estimated to reach almost sixty-thousand by 2036, there can be little doubt that this modernisation is largely necessary.

However, one cannot help but worry that this modernisation will be used as an excuse to dismantle much of the town’s heritage. I worry that this modernisation will be used to remove statues and demolish old buildings. There are signs of this happening already. Take, as an example, the statue installed at the top of Gawler Street. Like virtually all modern art, it is a travesty which fails to connect people with their heritage let alone represent anything.

Fortunately, most of the Adelaide Hills has rejected this pernicious call to change. Instead, they have clung onto their traditions and their heritage. When one drives through the Adelaide Hills, one sees old farmhouses, old Churches, and open fields.

This is partially natural and partially deliberate. It is certainly true that the country is always more conservative than the city. On the other hand, however, local heritage has been preserved thanks to the tireless work of numerous local historical societies.

What is more, it is perfectly possible to bring a township into the modern age without destroying its heritage. Hahndorf is a case in point. Australia’s “oldest German settlement” has managed to modernise itself without sacrificing its traditional façade. Furthermore, it has even managed to capitalise on its German character and heritage. Along its main street, one can find boutique stores, small cafes, restaurants, and pubs that one would expect to find in old townships. Yet along that main street one can also find Asian restaurants, tattoo parlours, and other more modern venues.

Why are some local councils so hell-bent on destroying the heritage of the towns they have been elected to govern? Part of the answer can be found in their nature. Local councils, like most bureaucratic bodies, are left-wing by nature. As such, they eschew heritage and tradition. The impetus is on progress not on preserving local heritage.

The Mount Barker Council, for example, has signalled their commitment to so-modern “values” over adherence to tradition and stability. Rather than occupying one of the township’s historical building, the local Council has instead decided to occupy an ugly, multi-storeyed office building.

There is a darker reason, however. There are those who wish to alienate people from their heritage by destroying their cultures and traditions. Among the tactics they employ is the defamation of local and national history, the abolition of holidays such as Christmas and Australia day, and the demolition of old buildings, statues, and other historical sites. They hope that by dismantling a town or nation’s heritage, they can remould society along their ideological lines.

Fortunately, a great deal of work has been done to protect local heritage. Local historical societies, the History Trust, and other similar organisations have worked tirelessly to protect and preserve local history.

It is our culture and our heritage that has made us who we are. We must resist attempts to destroy it. What’s in a name? Everything.

MUCH ADO ABOUT NOTHING: COMPARING TWO SHAKESPEARE FILMS

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The 1993 and 2012 adaptations of Much Ado About Nothing reveal what can be gained and what can be lost when Shakespeare’s plays are adapted to the silver screen. Namely, the 1993 adaptation maintains the integrity of Shakespeare’s literary genius, whilst the 2012 adaptation violates it.

Joss Whedon’s 2012 adaptation attempts to modernise Shakespeare’s works while maintaining its eloquent language. The setting – time and location – of the film do not suit the dialogue spoken. It may be preferable to retain Shakespeare’s original dialogue, but that dialogue can only work if the audience can be made to believe that the characters in that situation would actually talk that way. Otherwise, it distracts from the film’s plot. It would have been advisable to retain Shakespeare’s story but to utilise modern parlance. Joss Whedon’s 2012 adaption of Much Ado About Nothing comes across as a high school media production, and a poorly made one at that. It is precisely what happens when the plays of William Shakespeare are poorly adapted to the screen.

By contrast, Kenneth Branagh’s 1993 adaptation is grand and lavish, being like a breath of fresh air to Shakespeare’s play. Its setting – periodic, though the exact period is hard to confirm, and expansive location (though it takes place in one village, it feels much larger) – means that the audience is more willing to accept the decision to retain the play’s original dialogue. The audience can and does, believe that the characters in the film would actually speak the way they are depicted as speaking. Kenneth Branagh’s adaptation of Much Ado About Nothing is precisely what happens when Shakespeare’s plays are adapted properly to the screen.