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By Stephen Adolphe Wurm
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Sheep accompany us in our explorations into the dimensions of an Australian ontology: If I crudely suggest that the Australian sheep films address Australians as animals, I don’t intend to deploy a disparaging metaphor (although in attending some Australian films it might feel as if one is being led like a lamb to the slaughter). Instead, I mean to point towards the way in which the encounter between the national cinema and its audience suggests an understanding or even an assumption of a supplementary subjectivity, a sense of being as an audience that exceeds and questions the everyday experience of identity.
Being ‘speaks’ on behalf of sheep. Sheep have no capacity to represent themselves—no language. The animal is passive in relation to all the dimensions of Being (even when metaphorically positioned as an absent figure of it). Being simultaneously erases and inscribes sheep—sheep that are always-already lost. indd 25 25 8/3/06 5:03:30 PM Sheep are outside Being in so much as they are obscured behind or underneath it (as if Being is a palimpsest). If you scratch away at the surface of Being long enough you might eventually uncover some patiently milling sheep.
4 Emmanuel Levinas, Existence and Existents, trans. Alphonso Lingis, Kluwer Academic Publishers, Dordrecht, 1988, p. 66. , p. 67. 6 Elias Canetti, Crowds and Power, Seabury Press, New York, 1978, p. 357. 7 Michel Serres, Genesis, trans. Genevieve James and James Nielson, University of Michigan Press, Ann Arbor, 1995, p. 14. 8 Alphonso Lingis, ‘The rapture of the deep’, in Excesses: Eros and Culture, State University of New York Press, Albany, 1983, p. 10. , p. 13. 10 Georges Bataille, Theory of Religion, trans.