School of Historical and Philosophical Studies - Theses
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ItemZazou, Zazou Zazou-hé: a youth subculture in Vichy France, 1940-44( 2007)In the late 1930s, French singer Johnny Hess launched his career in the cabarets ofParis. In 1939, he released the hit song “Je Suis Swing”. The catchy chorus proclaimed: “Je suis swing, je suis swing, dadou dadou je m'amuse comme un fou, je suis swing, je suis swing, zazou zazou zazou-hé”. In the winter of 1941, an eccentric group of young people began to gather in cafes on the Champs-Elysées and in the Latin Quarter of Nazi occupied Paris. They called themselves Zazous. This thesis is a history of the Zazou youth subculture in press, film and literature. It uses contemporary popular culture to explain a socio-cultural phenomenon which emerged under the Vichy regime and the Nazi Occupation. Three case studies each introduce a different representation of the Zazous. The first case study is the caricature of the Zazou in the collaborationist press. The second case study is Richard Pottier's 1942 film Mademoiselle Swing. The third case study is the Zazou as literary subject in Boris Vian's Cent Sonnets and Vercoquin et le plancton. In reading the Zazou through a cultural prism, each chapter details a different element of the subculture's function within the "parent" culture. The collaborationist press were writing for supporters of the Vichy regime and actively promoting the values of the National Revolution. Mademoiselle Swing was a popular representation seeking a wide, perhaps even a mass, audience. Boris Vian wrote his novel and poetry from within the subculture itself; his intended audience was familiar. These case studies reveal as much about the Vichy regime as they do the Zazous: the subculture is a mirror in which Occupation culture is reflected. The Zazous posed real ideological problems for Vichy. However, in reacting so vehemently, the regime in fact magnified the Zazous' social influence. In examining the Zazous, not only does a defined "world" of youth emerge, but we also uncover the incoherent nature of the Vichy regime. The thesis also traces a chronological evolution of the Zazous from “Je Suis Swing” in 1939 to their effective dissolution with the introduction of the Service du Travail Obligatoire (STO) in the winter of 1942-43.
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ItemThe role of Australia's cultural council 1945-1995( 2000)This thesis examines the concept of a cultural council as it was expressed in Australian public debate over the fifty years between 1945 and 1995. It aims to draw out the discrepancy between the concept of such a council- its potential contribution and relation to Australian political, social and cultural development - and the form in which the council has been institutionalised as the Australia Council. The thesis was written in a context of increasing government interest in cultural policy, and increasingly pro-active policies. This resulted in a recognised need for more research into the relationship between cultural activities and public policy, which has become an issue of interest within the disciplines of cultural studies, economics, history and political science. The Australia Council has been one focus of such interest. Research has concentrated on its administration, its funding priorities and, more recently, the extent to which it has reflected government cultural policy objectives. Yet such research has tended to neglect the extent to which the function of the Council has reflected and interpreted broader social and political concerns. Throughout the period examined in this thesis, understandings of a cultural council's appropriate responsibilities have included a wide range of social, cultural and political concerns experienced as a consequence of post-war development. The council has provided an important, but often overlooked, axis around which public recognition of and debate about such concerns has occurred. Its function has thus been 'cultural' not just in the sense of providing funds for artists and arts organisations, but in providing a focus for public debate. There are two key implications of these findings. Firstly, behind the institution of the Australia Council lies a more complex history than previous policy studies might suggest, a history that reveals a unique aspect of common social concerns and ideals over the post-war period and that might make a significant contribution to broader studies of Australian history. Secondly, the contribution of the council to public debate - rather than to cultural development in the more narrow sense of arts development - might usefully be considered in future political or administrative assessments of the cultural council's worth.