Conflict and Conspiracy: Public and Personal Memory in Australian Film‪.‬

When history is rendered as the subjective experience of fictive individuals, it is often meant to be representative of a universal response, or, at least, a response representative of a gender, nationality, or class. Generalization and stereotyping, when coupled with narrative and cinematic techniques that encourage audience identification, urge us to assume that the subjective reaction of a fictional individual somehow constitutes a collective subjectivity, a shared experience. (Turim 103) **********