School of Culture and Communication - Research Publications
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ItemMuscles, hybrids and new bad futures( 1994)Since Arnold Schwarzenegger and Sylvester Stallone made their respective debuts onto the cinematic screen the muscle phenomenon has become a dominant factor in the cinema of the 1980s and 1990s. Muscle, in all its hard and sweaty glory, has found a market especially in the big budget extravaganzas whose narratives centre around the spectacle of the built bodies of male stars such as Schwarzenegger, Stallone, Lundgren, Van Damme, Snipes and Seagal, and the more padded forms of actors such as Bruce Willis and Mel Gibson. This new brand of cinema whilst harking back in part to an American tradition of genre cinema (the Western, Detective films, War Films etc.) appears to owe more to genres that emerged outside America: the Italian `gladiator' pictures of the 1950s and 1960s which retold the adventures of Hercules and other mythic heroes via the forms of bodybuilding stars such as Steve Reeves and Reg Park; and the martial arts action films popularized by Hong Kong Cinema and which found a very profitable market in the West ‐ and which also saw the migration of the genre into American cinema starring a series of martial arts experts including Chuck Norris, Bruce Lee and Jean‐Claude van Damme. Both genres revealed an unabashed display of the spectacle of action and the spectacle of the male body in action. The camera found any excuse to unapolegetically caress the bodies of the stars with pans, tracks and close‐ups of various fragmented body parts in ways that always denoted strength, agility and power.
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ItemMuscle, excess and rupture: female bodybuilding and gender construction( 1995-02)In recent years bodybuilding culture has provided the backdrop to a series of debates centering around issues surrounding representations of gender and in particular the potential inherent in bodybuilding bodies to rupture preconceived notions regarding 'norms' of masculinity and femininity; for the meticulously controlled, predetermined construction and definition of mass and muscle on the bodybuilding figure has shifted the body from an arena dominated by assumptions centering around the natural to a sphere which exposes the body itself - and with it the power structures that impose meaning onto it - as informed by culture. The bodybuilding physique reveals the body as a socially determined construct, or to cite Kuhn, with the willed construction of bodies in bodybuilding, 'nature becomes culture'. (Kuhn 1988, 5) The question of marketability has, over the years, emerged as a key concern in bodybuilding. Of all sports, due to its tendency towards things excessive, bodybuilding tends to stand outside the mainstream appealing primarily to a select, cult following. There have been some exceptions of bodybuilders who successfully escaped the margins and entered mainstream culture, the most successful being Arnold Schwarzenegger (seven time Mr. Olympia) who opened the doors to big-time muscle in action cinema. More recently, female muscle has also started to make itself felt in the popular sphere, with Cory Everson (six time winner of the Ms. Olympia) appearing in films such as Double Impact alongside Jean Claude van Damme, and professional bodybuilders Raye Hollitt, Shelley Beattie and Tonya Knight starring in the successful U.S. television show American Gladiators. Despite breaking through to mainstream culture, however, these bodybuilders have served as examples of 'freaks' in a world of 'norms'; they signal a moment of excess allowed to seep through into the dominant, but these moments are always about controlled forms of excess - they, in a sense, constitute an orderly disruption.
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ItemBut, Who, Derrida?( 1990)This essay investigates the politics of reading and interpretation using the critical framework articulated by Jacques Derrida. It argues against hasty dismissal of Derrida’s work by those who claim to be supporting ‘face-to-face social relations'. Instead, it suggests that a critical understanding of contemporary culture, characterized by the heightened importance of media technologies, should begin from Derrida’s critique of the philosophy of presence, including the social relations of time in which it is implicated.
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ItemDigital dialectics: the paradox of cinema in a studio without walls( 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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Item"Causa di stravaganze": order and anarchy in Domenico Gargiulo's Revolt of Masaniello( 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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ItemThe uncanny home: television, transparency and overexposure( 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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Item'The go-for-broke game of history': the camera, the community and the scene of politics( 1994)Contemporary transformations in communication technologies – such as the digitalization of traditional photography, the proliferation of new delivery systems for television, the merging of camera, computer and television systems in fully ‘interactive’ media, Virtual Reality – have generated considerable debate. The fact that these debates now extend across was are often isolated discourses, linking technical manuals to corporate agendas and government policies, while granting cultural theory its place in the sun of the popular media, registers the extent to which these shifts are perceived to intervene at the fundamental levels of social life.
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ItemDoing justice to Pauline: strategies of representation in television current affairs( 1999)While condemnation of Australia's One Nation Party president, Pauline Hanson, and the media coverage of her, have gone hand in hand, much of this criticism has failed to adequately address the complexity of Hanson's status as a celebrity politician. This has been compounded by a failure to provide an adequate explanation of the basis on which accusations of irresponsibility, targeted at both Hanson and the media, have been mounted. This paper examines the treatment Hanson has received in two current affairs programs in Australia in relation to both the criticisms of her and of media reportage of her It identifies, in both cases, a tendency in both the programs themselves and in criticisms of them to essentialise what constitutes legitimate media representation. Finally, the paper explores the possibilities of a radical democratic approach to issues of media representation.
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ItemInformation technology as cultural capital( 1998)In this paper we explore the relevance of the concept of cultural capital - understood here as an alternative to the more traditional measures of socio-economic disadvantage - in the context of a discussion of the significance of information technology in contemporary societies.
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ItemMulticulturalism: the politics of cultural diversity( 1998)This paper addresses the proposition that multiculturalism in Australia is not primarily a cultural phenomenon but should be understood, rather, as being framed by local demographico-political considerations, by a set of strategies of nation formation, and by the politics of Asian regionalism. By this I don’t mean that it has no cultural effects, both at the level of high culture and of everyday social interactions, but that it cannot be accounted for in terms of the discourse of cultural attitude with which it is officially described.