Kings Of Summer Analysis

As a WW1 correspondent, Hurley becomes forced to rediscovered himself as his old perceptions towards life become shattered by the general disregard for human life, re-inviting the pessimism that once consumed him. Nasht justify this change in perception through Hurley’s archival photography and footage of the gruesome scenes of war. Such horrors of war, could not capture the full extent on how he wanted to theatre the discovery of this loss in humanity, as Hurley states “One photograph is not enough to capture the bloody effect of this war.” Such hostility within his high modality language and desire for innovation, led to him achieving his motto “near enough, is not good enough” pioneering reality with his super imposed composite images which combines “the notion of cinema, photography and
history” (Dr. Martin Jolly from the Australian National University). To effect these composite images immortalised ANZAC legends, yet undermined its historical value. However, Hurley’s discovery of his new self though composite photography was not completely accepted as Australia’s official wartime historian, Charles Bean, challenged the authenticity of this composite photography, and symbolically Hurley, branding them as ‘fake’. Although Hurley legacy lives on (at the same time undervalued), his work has matched his perception, as such self discovery of himself in the manipulation of principles in photography, much like the teenager of ‘Kings of Summer’ catalyst of freedom and independence, helped Hurley to envisage a more realistic impression towards life.

Almost as an modern counterpart, Roberts ‘Kings of Summer’ explores the re-discovery of self, which prompts a change in perceptions and perspectives as the teenage boys look to become independent men.
As a result of their successful effort in escaping their emotionally wounding relationship with their parents, they assert their new found independence and transformation into men by swearing a pledge which is voiced over by a highly saturated overview shot of the all three boys jumping into the lake, symbolic of their happiness and freedom. The pledge reads “We do swear to never speak of this enterprise to any adult under pain or friendship lost...from this day forward we will build our own house, eat our own food and be our own men.” The high modality and repetition mirrors Hurley’s motto “near enough is not good enough”, as such language techniques are used to emphasis passion to the objective, renewing the perceptions of the now acclaimed men through the process of self-discovery. Thus, it becomes evident that self-discoveries have the power to change an individuals perception of themselves, and their attitude towards life mimicked by both composers in their respected
texts.

Conceptually, it is the cathartic effect of discoveries as well as the uncertainty and desire, which reflects the human condition to discover the unknown, forcing a change in any individual perception. Undoubtedly, it can bee seen in the interpretations of Frank Hurley’s photographic legacy by Nasht and the revolutionary coming of age story by Roberts, that discovery is an ideology which allows us to revaluate the world, namely the natural world and ourselves, thus, explicitly having the power to change people’s perception.