School of Culture and Communication - Research Publications

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    Discourses of affinity in the reading communities of Geoffrey Chaucer
    TRIGG, STEPHANIE (Ohio State University Press, 1999)
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    Winner and waster
    TRIGG, STEPHANIE (Garland, 1998)
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    Literature, culture, mirrors
    FROW, JOHN ( 1997)
    John Frow responds to Simon During Simon During proposes – as I read it – six sets of reasons for the shift within departments of English from traditional literary studies towards cultural studies. The first is the academic appropriation of a tradition of Romantic anti-academicism stretching from Wordsworth to Dada. The second is a new mode of subject formation by which students are trained as consumers of cultural goods. The third is the valorization of social identities perceived as marginal within a traditional academic framework. The fourth is the development of new regimes of student choice, reflected in changed patterns of enrolment. The fifth is the emergence of a policy framework designed to enhance national economic competitiveness. The sixth is a regime of training which prepares students for jobs in the cultural sector.
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    A politics of stolen time
    FROW, JOHN ( 1998)
    This is a story about acts of telling that are true and acts that are false. It is about being told things and not being heard. It is about the relation between telling stories and existing, or about being made not to exist. Millicent’s story is a part of the Report of the National Inquiry into the Separation of Aboriginal and Torres Strait Islander Children from Their Families, entitled Bringing Them Home. Delivered to the Australian Federal Government in 1997, the Report is a record of the history of forcible removal of indigenous children, usually of mixed descent, from their families and communities, and it makes recommendations about current laws, practices and policies, about compensation for the victims of past laws, practices and policies, and about the services that are or should be available for those victims.
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    Digital dialectics: the paradox of cinema in a studio without walls
    MCQUIRE, S. ( 1999)
    This essay presents a brief history of the impact of digital technology on cinema. Drawing on original interviews with leading Australian film makers, it firstly examines how changes in technology are affecting contemporary film production. It then extends this analysis to consider the implications of such changes for contemporary film theory.
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    "Causa di stravaganze": order and anarchy in Domenico Gargiulo's Revolt of Masaniello
    Marshall, Christopher R. ( 1998)
    Three paintings by Domenico Gargiulo of the revolt of Masaniello in 1647 have been interpreted as an anti-Spanish commentary. Close analysis of the events depicted in Gargiulo's major painting of the revolt and of the political sympathies of his patrons, however, reveals the contrary to be the case. In this and other paintings, Gargiulo reinforces conventional stereotypes of the Neapolitan lower classes as fundamentally capricious and irrational. These negative visions of popular anarchy are to be contrasted with the propriety, unity, and stability displayed by the establishment in Gargiulo's other pictures of contemporary events.
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    "Evil will walk once more": phantasmagoria - the stalker film as interactive movie?
    NDALIANIS, ANGELA (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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    Documentary meanings and interpretive contexts: observations on Indian 'repertoires'
    HARINDRANATH, RAMASWAMI (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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    The uncanny home: television, transparency and overexposure
    MCQUIRE, SCOTT ( 1997)
    I recently read a description of the house which is currently being built for Microsoft cyber-baron Bill Gates. Gates conceived his new residence as a state of the art merging of computer technology with architecture. At an estimated cost of $50 million, the house will naturally boast all the standard automated functions such as climate control and electronic security systems, as well as a few extras like a hot tub which switches itself on as soon as the master's car enters the grounds.
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    Introduction
    Healy, Chris (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.