School of Culture and Communication - Research Publications
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ItemDiscourses of affinity in the reading communities of Geoffrey Chaucer(Ohio State University Press, 1999)
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ItemWinner and waster(Garland, 1998)
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ItemFair exchange in Measure for Measure(Deakin University Press, 1990)
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ItemSpeaking with the dead(English Department, University College, Australian Defence Force Academy, 1990)
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Itemlntertextuality and ontology(Manchester University Press, 1990)The concept of intertextuality requires that we understand the concept of text not as a self-contained structure but as differential and historical. Texts are shaped not by an immanent time but by the play of divergent temporalities. Texts are therefore not structures of presence but traces and tracings of otherness. They are shaped by the repetition and the transformation of other textual structures. These absent textual structures at once constrain the text and are represented by and within it; they are at once preconditions and moments of the text.
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Item"Evil will walk once more": phantasmagoria - the stalker film as interactive movie?(New York University Press, 1999)Two distinct tales of horror. Two heroines. Two psycho-killers. Two small-town communities. In the first story, the horror begins when a deranged murderer (possibly also the bogeyman himself) interrupts the peace of a small town. Lurking in the shadows, he emerges only to butcher a stream of unsuspecting young victims. At the end of the tale, the story's victimized and only surviving character, Laurie, rises to status of hero as she confronts the "bogeyman" head-on. Trapped in a house with him, her life balancing on a fine line, she has no option but to bring him out in the open and lure him to his own destruction. In the second story, the horror emerges when the heroine-to-be's husband develops psychotic, serial killer tendencies. The peace of their idyllic home and community is shattered and the psycho-killer's victim list builds up. Then Adrienne, the killer's wife, is left with no other option: she must engage him in final battle and, likewise, set him up for his own bloody annihilation. Two defeated psycho-killers. Two female victors.
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ItemDocumentary meanings and interpretive contexts: observations on Indian 'repertoires'(Arnold, 1998)My main concern in this chapter is to elaborate on a particular aspect of a larger project examining the interpretation of environmental documentaries by audiences in India and Britain, the empirical part of which was designed to illustrate/substantiate theoretical interventions aiming to rectify a perceived lacuna in the attempts in communication research to make a connection between the socially culturally situated audiences and their interpretive practices. In this chapter, I isolate for closer inspection a specific strand from the web of data, with the intention of demonstrating both the presence of different interpretive repertoires in India, as well as the role of higher education as a relevant factor in the creation of these repertoires. This chapter examines the possible links between cultural contexts and the reception of documentaries, and interrogates en route the idea of culture as context. What is postulated here is a conceptualization of context based on phenomenological hermeneutics, which it is argued, accommodates the complexity and diversity of collectivities within 'national cultures'.
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ItemStyle, spectacle, excess and The bold and the beautiful( 1994)Much of the writing on daytime soap opera has focused on the genre's melodramatic form with particular emphasis being placed on the idea of excess: the excess of emotion, narrative form and style. John Fiske, among others, has argued that the hyperbolic excess that dominates the genre has the potential for opening up numerous and complex interpretative positions that reject the 'singular' meanings favoured by the classic realist text that has dominated Hollywood cinema. Among the American soap operas currently broadcast on Australian daytime television , 'The Bold and the Beautiful' epitomises the genre's capacity for producing a form that tests the boundaries, not only of the classical narrative, but of the soap form itself.
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ItemIntroduction(Cambridge University Press, 1997)As a collection of British colonies and then a nation, Australia came into existence as a product of both colonialism and modernity; proud of its fancied youth and eager for the fruits of civilisation, enamoured with progress yet yearning for tradition. Historical accounts of Australia have equally been products of colonialism and modernity. More often than not, the mission of history has been to remember the triumph of colonising a continent and forming a modern nation state with destiny on its side. While the historical legacies of colonialism and modernity remain palpable, many of the dreams of colonialism and modernity lie in ruins. This is a book from these 'ruins' in the sense that it discusses both the colonial past of former colonies and the colonising of indigenous people in Australia. But ruins are never simply gone or in the past; ruins are enduring traces; spaces of romantic fancies and forgetfulness where social memories imagine the persistence of time in records of destruction. Thus this book is about the past in the present, it is written from within contemporary cultures of history. It moves from Aboriginal and non-Aboriginal accounts of Captain Cook, jumps to the installation of history in museums and school curricula, glides through the historiography of archetypal historical events. This is a book with strong hopes for history and social memory. My interest is not in hammering home the constructedness of history, nor in the important task of diversifying and proliferating accounts of neglected historical actors but in thinking historically about existing social memory. It is a gesture towards learning to inhabit landscapes of memory which are, in part, landscapes littered with ruins; some archaic and others nightmarish, some quaint simulations and others desperate echoes. I imagine such a landscape of memories not as homeless place for lost souls but a ground from which new flights of historical imagination might depart and to which they might return, differently.
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ItemThe day the Smiths made a baby(Fremantle Arts Centre Press, 1990)