Richard Neville, a self-declared futurist and Aussie author referred to ‘ockerism’ as dealing with about cordiality: companionship with a stroke of warm-hearted sexism’. It is majorly fairly unbiased, even demonstrative, although it may be used in a derogatory meaning, specifically by Aussies who regard themselves as enlightened and cultured. Such people are usually regarded as ‘wowsers’. Several politicians, including Kevin Rudd, former Australian prime minister was noted to take on frequently ‘ocker’ cultural components like using slangs to generate an affectionate appeal to the audience.
A much-hyped multiplayer video game known as Team Fortress 2 refers to the sniper as a ‘ready crack shot rugged ocker hailing from Aussie outback.’ The character is sort of portrayed as a conventional Australian, flaunting stubble, sideburns, an Akubra hat, and is tended towards swearing on frequent occasions. ‘Is it a mere coincidence that the literary and film renaissance of ‘new nationalism’ during the 1970s that revived the Anzac and bush legends – relating Australian identity with a radical, narrow nationalist ‘beach and bush’ masculinity – should have occurred at the time that intersected with the period when initial multicultural strategies were being instigated by the federal government’ (Teo 2007:171).
The period of Australian film renaissance that took off during the 1970s produced numerous films, which were promoted as ‘ocker comedies’ of the 1970s were marketed as ‘ocker comedies’, portraying a ‘populist, masculine, and joyful vulgar perspective of contemporary Australian society’. Such movies were latterly denoted with the term ‘Ozploitation‘. Such films were widely popular with audiences but revoked by most critics. Stork, Alvin Purple and The Adventures of Barry McKenzie released during the 1970s are considered most prominent films of the genre. An updated variation of ‘ockerism’ was reportedly portrayed in the 1997 film, The Castle.