Through a discussion of Agnès Varda's career from 1954 to 2008 that focuses particularly on La Pointe Courte (1954), L'Opéra-Mouffe (1958), The Gleaners and I (2000), and The Beaches of Agnes (2008), this article considers the connections between Varda's filmmaking and her femaleness. It proposes that two aspects of Varda's cinema—her particularly perceptive portrayal of a set of geographical locations, and her visual and verbal emphasis on female embodiment—make a feminist existential-phenomenological approach to her films particularly fruitful. Drawing both directly (...) on the work of Maurice Merleau-Ponty and on some recent film- and feminist-theoretical texts that have employed his insights, it explores haptic imagery and feminist strategy in The Gleaners and I, the materialization of space characterizing Varda's blurring of fiction and documentary, and the dialectical relationship of people with their environment often observed in her cinema. It concludes that both Varda's female protagonists and the director herself may be said to perform feminist phenomenology in her films, in their actions, movement, and relationship to space, and in the carnality of voice and vision with which Varda's own subjectivity is registered within her film-texts. (shrink)

This article reassesses the concept of identification in line with the increased importance phenomenology has taken on in film-philosophy of the 1990s and 2000s. In the 1970s and 1980s, a Lacanian psychoanalytic interpretation of identification dominated film theory and criticism, and spectatorial engagement with elements of films was understood as what psychoanalysis calls secondary identification – the identification with stable subject-positions (characters) in the film-text. But non-Lacanian psychoanalysis and Merleau-Ponty’s existential phenomenology offer film-philosophy a very different (...) understanding of identification as a non image-based, ‘blind’, bodily affective tie that is established between spectators and what Vivian Sobchack describes as ‘the sense and sensibility of materiality itself’ (Sobchack 2004, 65). By first exploring how this more bodily (for psychoanalysis, primary ) identification is theorized by psychoanalysts (Freud, Paul Schilder, Henri Wallon) and by film theorists (Kaja Silverman), the article proposes that film criticism make greater use of it in order to engage more meaningfully with the visible cultural specificities – size, skin colour, age, sex – of the images of bodies viewed on cinema screens. It is not just ‘the’ body that needs bringing back into thinking about film spectatorship, but culturally differentiated bodies , both on the screen and in the auditorium. A psychoanalytic and phenomenological film criticism of embodied cultural identity, one that attends to the materiality of the film and of the body-images and objects on the screen, may be the most culturally and politically useful successor to ‘screen’ theory of the 1970s and 1980s. (shrink)

This article introduces some contemporary philosophical approaches to vulnerability including that of Judith Butler, while focusing on feminist legal theorist Martha Albertson Fineman's concept of the vulnerable subject, developed out of Fineman's earlier critiques of the autonomous, self-sufficient subject of liberal political philosophy. It then looks closely at the different forms of vulnerability exhibited by the leading protagonists of Mia Hansen-Løve's All Is Forgiven, Father of My Children, Goodbye First Love, Eden and Maya, all of whom except one are men, (...) drawing on Lawrence Schehr's writing about French postmodern masculinities and work by Geneviève Sellier on the changing dynamics of heterosexual gender relations in French cinema in order to forge an account of vulnerable male bodies and masculinities appropriate to the contemporary context of the films discussed. To conclude, it returns to Fineman to suggest that her at least implicitly feminist concept of the vulnerable subject can offer a more persuasive account of the gendered character of vulnerability in Hansen-Løve's films than can Butler's recent ethical writings. (shrink)

This article adds philosopher Judith Butler to the list of thinkers whose work underpins the interest in ethics and/in film that began in earnest in the 2000s. Beginning with Precarious Life: Powers of Mourning and Violence, Butler has published several volumes that blend ethical thinking with moral theory and political philosophy, focusing on the concepts of precariousness and vulnerability. This article suggests that two films directed by Abderrahmane Sissako, Bamako and Timbuktu, as dramas of precariousness and vulnerability respectively, can (...) inform thinking about cinematic ethics: the staging of a trial of global institutions in Bamako dramatizes the possible universalization of an ethic of precarity, while in Timbuktu the condemnation to death of a Tuareg shepherd by Ansar Dine, the militant Islamist group that occupied parts of Mali in 2012, allows Sissako to give full rein to his talent for filming the vulnerability of both victims and oppressors. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Time Together and Time ApartNeha Choksi (bio)The drawings to scale on the following pages depict multiple views I outlined while holding in my hand a single, small particolored stone. The silhouette leaves a hole for the stone to inhabit, were it still to exist. The colored pigment that shapes the absence of the stone is made by pulverizing this same stone.I pushed the pigment aside on the recto to (...) create the evacuated silhouette. Imagining the hole bored through to the other side, I colored the verso, too. All the pigment from the stone was used up in painting these multiple views.________The Crete Senesi area in Tuscany, where I found the stone, is formed from tiny fragments of small shells and sea organisms compacted with sediments of clays and sands from a sea that covered it millions of years ago. I fancy the stone contains evidence of the missing sea.I dislocated this stone during one of my multiple walks on a local strada bianchi near my temporary residence in a tiny village in Tuscany. I shared a summer there with six other artists and the coordinator as part of the Amant Residency Siena. I painted one stone view per member of our group. I made these drawings as a gift for them, for us, for our time together, and our time apart.October 11, 2023 Mumbai7 cotton paper sheets with stone pigment paint on recto and verso Each 7 ¾ x 5 inches [End Page 64] Click for larger view View full resolution[End Page 65] Click for larger view View full resolution[End Page 66] Click for larger view View full resolution[End Page 67] Click for larger view View full resolution[End Page 68] Click for larger view View full resolution[End Page 69] Click for larger view View full resolution[End Page 70] Click for larger view View full resolution[End Page 71] Click for larger view View full resolution[End Page 72] Click for larger view View full resolution[End Page 73] Click for larger view View full resolution[End Page 74] Click for larger view View full resolution[End Page 75] Click for larger view View full resolution[End Page 76] Click for larger view View full resolution[End Page 77] Click for larger view View full resolution[End Page 78]Neha Choksi Neha Choksi, in her work across performance, moving image, sculpture, and installation, probes lived experiences that negotiate relationships in unconventional settings. Harnessing stone to plant, animal to friends, publics to philosophy, her materially bound art engages the terms of our existence in ways personal and planetary. Choksi’s work has been widely exhibited, screened, or performed in the United States, Asia, the Middle East, Australia, the UK, and Europe; and is in notable public collections worldwide. Recent honors include the Amant Siena Studio & Research Residency, the City of Los Angeles Individual Artist Fellowship, the California Community Foundation Fellowship for Visual Artists, and the India Today Best New Media Artist of the Year Award. A monograph on a single artwork, Dismantling, was published in 2018. She currently co-edits Mimesis: Film as Performance Magazine. She lives and works in Los Angeles and Bombay.Copyright © 2023 Johns Hopkins University Press and SubStance, Inc... (shrink)

In comparison to activist films with an “in your face” aesthetic, Food, Inc. seems positively tame. Rather than shock viewers with direct images of distasteful, disgusting, immoral, and outrageous practices in the food industry, it provokes and performs physical and moral disgust by its paradoxical (and perhaps quintessentially documentary) combination of proximity and immediacy with distance and delay. This close textual analysis reveals the film’s use of images to defer, deflect, and dodge, in such a way as to emphasize (...) the temporal ‘lag time’ that Sara Ahmed argues is intrinsic to disgust and that connects as well to what Malin Wahlberg calls ‘documentary time.’. (shrink)

Held on Monday 12th October 2009, 5.30 - 7.00 pm, University of St Andrews, Scotland. Participants Dr Robert Sinnerbrink (Philosophy, Macquarie University, Sydney, Australia) Dr John Mullarkey (Philosophy, University of Dundee) Professor Berys Gaut (Philosophy, University of St Andrews) Dr David Martin-Jones (Film Studies, University of St Andrews) Dr William Brown (Film Studies, University of St Andrews)Over the course of at least the last hundred years the intellectual study of cinema has experienced a number of shifts towards (...) and away from theoretical or philosophical attempts to understand the moving image. The twenty-first century sees film-philosophy resurgent, in part due to the interest in cinema that has flourished recently in disciplines like philosophy, and in part due to the interdisciplinary nature of Film Studies. At a time when it is increasingly in vogue to return to theoretical questions previously pushed off the agenda by the dominance of historical approaches to cinema, such as the perennial "What is Cinema?", we are taking this opportunity to ask, "What is Film-Philosophy?" In a context that is witnessing the rise of digital cinema, the global dominance of multi-national media conglomerates, and the worldwide spread of "world cinemas", what role does theory or philosophy play in helping us understand cinema, and indeed, what role can cinema play in transforming philosophy? [The audio recording is of variable quality as we have had to remove a lot of background hiss and static. Please accept our apologies] Thanks to Rachel Brewster at Liverpool John Moores University for extracting the original audio. (shrink)

This paper considers Western Australia (WA) as a sign, comparing what it meant during the America’s Cup campaign of 1986–7, when world media attention was focused on the state, with what it represents 30 years later. In the 1980s, it is argued (Part I), WA was hard to represent at all, with natural, governmental and social horrors bespeaking a place unable to signify itself. These realities had to be ‘forgotten’ if a ‘politics of euphoria’ suitable to the Cup festival (...) – and to the mood of credit-fuelled capitalist deregulation – was to prevail. The media, popular culture and tourism were on hand for that task. They far outstripped official efforts to represent WA as a symbol of mobility, globalization and the progressive development of state and capital, arm in arm. Returning after a generation (Part II), it seems clear that the state apparatus is motivated by a will to control, but that the same horrors attend the lives and deaths of first-nation citizens. What has changed is that policy has shifted from deregulation to privatization, which means an authoritarian state leaves both development and social justice to individuals. The progressive individualism of the ‘WA Inc.’ era has given way to what might be called ‘tradie individualism’ – signalling sociality with a boat of one’s own, a funny car rego or a coin in the charity donation box. Now, if you want to express euphoria, then you must paddle your own canoe. (shrink)

In his 2007 PESA keynote address, Paul Smeyers discussed the increasing regulation of child‐rearing through government intervention and the generation of ‘experts’, citing particular examples from Europe where cases of childhood obesity and parental neglect have stirred public opinion and political debate. In his paper (‘Child‐Rearing: On government intervention and the discourse of experts’, this issue), Smeyers touches on a number of tensions before concluding that child‐rearing qualifies as a practice in which liberal governments should be reluctant to intervene. In (...) response, I draw on recent experiences in Australia and argue that certain tragic events of late are the result of an ethical, moral and social vacuum in which these tensions coalesce. While I agree with Smeyers that governments should be reluctant to ‘intervene’ in the private domain of the family, I argue that there is a difference between intervention and support. In concluding, I maintain that if certain Western liberal democracies did a more comprehensive job of supporting children and their families through active social investment in primary school education, then schools would be better equipped to deal with the challenges they now face. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:100 Feminist Studies 45, no. 1. © 2019 by Feminist Studies, Inc. Carla Pascoe Leahy From the Little Wife to the Supermom? Maternographies of Feminism and Mothering in Australia since 1945 Men didn’t do anything.... The mother did for the child. The father went out to work.... I was a very determined, modern woman, but I didn’t mind being the little wife. —Marjorie, 1950s mother1 There were competing (...) narratives. One was a woman’s place is full time mothering in the home.... And then there was the feminist movement which said women can do it all.... There was level of unreality about both of them. I did feel really conflicted. —Sally, 1970s mother I read a headline today that said I send my kids to childcare and I refuse to feel guilty.... I feel the guilt a little bit but not enough to stop me from sending them, and I still know that in the long run... it’s far better for me to work and... I don’t want to be a stay at home mum for the rest of my life. —Ariana, 2010s mother 1. All interviewees are referred to by pseudonyms. Where permission is granted by the interviewee, interview material is preserved at Museums Victoria in Melbourne, Australia. All interviews are in the possession of the author. “Marjorie” was interviewed by the author on June 27, 2014; “Sally” was interviewed by the author on March 8, 2014; “Ariana” was interviewed by the author on April 5, 2017. Carla Pascoe Leahy 101 The daily lives and long-term aspirations of Australian mothers have undergone significant changes over the past seventy years, alongside shifting cultural and personal concepts of mothering, employment, and female identity. At face value, these quotes from three generations of Australian mothers imply a trajectory of shifting understandings of care, work, gender, and subjectivity, with women’s self-identity increasingly associated with paid work outside the home. Each of these women positions herself in relation to the dominant gender culture at the time she experienced matrescence.2 Marjorie, who had her children in the 1950s, characterizes herself as “the little wife” and recalls being contented with her role as a stay-at-home mother. Sally, who became a mother in the late 1970s, remembers wanting to believe that “women can do it all” without sacrificing family or career, but she experienced this radical ideal as conflicted at both a cultural and personal level. Ariana, a twenty-first-century mother, feels ambivalent about sending her children to childcare, but had always assumed that she would combine paid work with mothering. Despite this seemingly linear progression from a female identity centered on mothering to one focused on paid work, I argue that closer attention to these maternal narratives reveals that changing gender discourses were experienced as riven with internal contradictions by individual mothers. Drawing on a new collection of fifty-six oral history interviews co-created with Australian women about their experiences of becoming mothers, I will analyze the ways in which changing cultural understandings of selfhood, work, care, and gender have played out in the lives of mothers from 1945 to the present. When I started this project, I envisaged it partially as a history of my grandmother’s, my mother’s, and my own maternal generations. In this sense, it is a record of the living memory of Australian mothering; an archive of the maternal memories still circulating in contemporary Australia. But it is also a history of Australian mothering before, during, and after the women’s liberation movement of the 1970s. The women’s movement initiated fundamental shifts in the ways Australians thought about women’s role in society, 2. Matrescence is a term coined by Dana Raphael to describe the experience of becoming a mother for the first time. See Dana Raphael, “Matrescence, Becoming a Mother, a ‘New/Old’ Rite de Passage,” in Being Female: Reproduction, Power, and Change, ed. Dana Raphael (Berlin: De Gruyter, 1975). 102 Carla Pascoe Leahy their relationships to men and children, and their capabilities in relation to paid and unpaid work. My contention is that the women’s liberation movement unsettled and complicated Australian women’s relationships to... (shrink)

The Cove, Mine, and Food, INC. each use the documentary genre to advocate for change, whether in regards to mass wild animal kills, companion animals in natural disasters, or the modern food industry. The films, however, present views of human-nonhuman animal relations that vary greatly. Where The Cove regards dolphins as beings who deserve freedom, Mine explores the view of companion animals as property. Food, INC., finally, treats farm animals solely as a food source.

Engaging philosophy with history, literature, film and testimony, this book examines the critical relationship between white Australian identity and the cultural priority of childhood in Australia.

Hastings reads the novel Comme dans un film des frères Coen by Bertrand Gervais as addressing both the midlife and the blank page crisis. Indeed, the main character of this novel is a writer in his fifties who still suffers from the failure of his last novel ignored by the critics. Disenchanted, he slowly enters a world of fantasy, and falls in love with the voice of his GPS he called Gwyneth “parle trop” therefore recalling the name of the (...) actress with the same name. He gradually loses contact with his wife and his son, a successful painter, and is transformed into “the man who was not there” another character from a movie by the Coen brothers entitled The Barber: the man who was not there. Hastings asks: How could one get lost with a GPS? After the main character had initially bought his GPS for a trip in Australia in order to find his way, it started to go beyond its role as a road guide and questioned where he was in his relationship with his wife, in his career as a writer, and in his skin as a mature man. Not only was the GPS not fulfilling its purpose but also it started to ruin a fragile relationship hoping to find its way back to love during a last minute trip in Australia. Even after destroying the annoying talkative GPS, it continued to disrupt the couple in the plane on the way back to Canada. As much as Gwyneth the GPS is synonymous with escape and freedom, it is also showing the main character the wrong way, the way out of his reality, out of his family and out of his life. His attempts to free himself from Gwyneth are worthless, her image is still there, haunting his thoughts like images from a movie. But the displacement happens at another level than just the diegetic one. The confrontation of the text with moving images has consequences on the shape of the text itself. The mapping of the text on the page is influenced by this amalgam. The white page becomes a space where words are rearranged in different ways, some of which suggest poetry, other cartoons or cinematic images. The displacement of literature in areas that were previously foreign to it is at the heart of creative activity, and determines its renewal. Hastings presents the consequences resulting from the confrontation with the GPS, both on the mapping of one’s identity as well as the mapping and the shaping of the text itself. (shrink)

Australia is thought of as the home of marsupials, but South America has 60 or so species of these interesting mammals. The genome of one of these, the South American grey short-tailed opossum, Monodelphis domestica, has just been sequenced and published in June.1 The high quality 6× coverage is the first marsupial genome completed, pipping the 2× coverage of the Australian tammar wallaby at the post by half a year. The opossum genome has an unusual structure with fewer chromosomes (...) than the human genome (9 pairs versus 23 pairs) but a longer total length (3.4 billion versus 3 billion bases). The opossum autosomes, like those of all marsupials, are extremely large but, in contrast, the X chromosome is only 76 Mb long. The opossum genome has turned up several surprises and provided critical new information on the evolution of mammalian genomes2-6. BioEssays 29:1073–1076, 2007. © 2007 Wiley Periodicals, Inc. (shrink)

Over the past 50 years, rock music has been the prime mover of an emergent national recording industry in Australia. This is a story in turn of increasing size, complexity, diversity, and sophistication, before its ultimate decline into the 21st century. This story has not been told in full previously and this article is a first step to make good this gap in the historical and cultural sociology of popular music. In this study, which has two parts, we survey (...) record labels, recording techniques and forms, and the music that was bought and sold. In Part One (published in Thesis Eleven 109, 2012: 71–88) we chronicled the emergence of modern record production, the rise of rock music, and the development of a local recording industry in Australia between 1945 and 1970. In Part Two we narrate the rise and fall of Australian local, regional and national rock music cultures and the ebb and flow of independent labels and their labyrinthine relations to the transatlantic centre of the world-system of rock music industry. In particular we focus on four aspects: 1) technological change: the dominance of the vinyl album in the 1970s but its eventual usurpation by cassettes and then compact discs before the ultimate decline of all formats in the rise of the internet and the i-pod; 2) infrastructure: the development of the recording industry as a system of recording studios and record factories; as a system of impresarios and musician management; and also as a system that integrates performance circuits, radio, television, film, and eventually computer, product placement, advertising, and promotion through the cultivation and manipulation of taste markets in consumer culture etc.; 3) business logistics and markets: the tracking of the record labels, their struggles for markets and copyright control, local and global; and 4) musical production and repertoire. Since the digital revolution started eating away firstly and most conspicuously at the recording industry, the 50 years from 1945 to 1995 can now more clearly be seen as the rise and fall of rock music and its major technological form, the vinyl record. This is why we call it ‘the vinyl age’. (shrink)

The short experimental film Shifting Perspectives stems from a collaborative research project initiated in 2019 in Sydney, Australia, during the 'Choreographic Hack Lab-a week-long laboratory co-presented by Critical Path and Sydney Festival in partnership with the Museum of Applied Arts and Sciences (MAAS), which asked artists and academics to rethink and respond to the idea of the Anthropocene (Pini & George, 2019). The film was later developed in 2020 during a Responsive Residency at Critical Path, Sydney, awarded (...) to anthropologist and choreographer Sarah Pini in collaboration with Jestin George, biotechnologist and visual artist, and Melissa Ramos, visual artist and filmmaker. This work aims to open a multivocal interdisciplinary dialogue across screendance, performance and synthetic biology. Inspired by a recent conversation between two leaders in the field of synthetic biology (Sarah Richardson and Tom Knight) and their divergent approaches to working with microbial life (Agapakis, 2019), the film invites to consider how collaborating with microorganisms can reshape our future in a more-than-human world. (shrink)

In the film The Corporation* (Mark Achbar, Jennifer Abbott and Joel Bakan, 2004, http://www.thecorporation.com/) there are several scenes taken from an interview with Ray Anderson, CEO of Interface, Inc., the largest commercial carpet manufacturing firm in the world. Anderson had founded the company twenty one years earlier with a bank loan of $5000, and had built it up to its present size. In this interview the camera focuses in a close up on Anderson’s face so that he is speaking (...) directly to the viewer. This is filmed in such a way as to capture the candor with which he describes a vivid experience which led him to a sudden appreciation for the enormous value of the natural world and.. (shrink)

Garrett Stewart _Between Film and Screen: Modernism's Photo Synthesis_ (Chicago and London: University of Chicago Press, 1999) ISBN 0226774120 (pbk) xi + 386 pp. (inc. illustrations).

Matthew Rimmer, ACIPA, The Australian National University, College of Law, Canberra, ACT, 0200, Australia. Tel.: (02) 61254164; Email: matthew.rimmer{at}anu.edu.au ' + u + '@' + d + ' '//--> Abstract This article considers the significance of the first export of essential medicines under the WTO General Council Decision 2003. In July 2007, Rwanda became the first country to provide a notification under the WTO General Council Decision 2003 of its intent to import a fixed-dose, triple combination HIV/AIDS drug manufactured (...) by the Canadian generic pharmaceutical manufacturer Apotex, Inc. In September 2007, Apotex was granted the first compulsory licence application under Canada's Access to Medicines Regime. This article considers the convoluted and protracted negotiations between the Government of Rwanda, Apotex and three patent holders, GlaxoSmithKline, Boehringer Ingleheim Canada and Shire BioChemical, Inc. It questions the efficiency of this process. This article considers the review of the Jean Chrétien Pledge to Africa Act 2004 (Canada). It is critical of the refusal of the Conservative Government of Canada to make any amendments to the legislation to improve the cost-effective delivery of essential medicines. This article queries the proposed Hong Kong Amendment to the TRIPS Agreement 1994, given the concerns of the Africa Group. It is submitted that it is undesirable to codify the WTO General Council Decision 2003, given its failure to provide a speedy, efficient and cost-effective delivery of essential medicines. CiteULike Connotea Del.icio.us What's this? (shrink)

‘It is much more difficult than is often admitted to make a strong case for the ownership of computer software.’ This closely argued study of the strengths and weaknesses of the case for intellectual property rights and against software piracy is based on material contained in the author’s joint work with Douglas Adeney, Computer and Information Ethics, Greenwood Press, an imprint of Greenwood Publishing Group, INC., Westport, CT, forthcoming May, 1997. The author is a member of the School of Information (...) Studies at Charles Sturt University, PO Box 588, Wagga Wagga, NSW 2650 Australia; tel 61 69 33 2372; fax 61 69 33 2733; email [email protected] wishes to acknowledge the contribution to this paper of Douglas Adeney of the University of Melbourne. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Remembering Lewis E. HahnGeorge C. H. Sun, President, John Howie, Professor Emeritus, Thomas Alexander, Professor and Director of Graduate Studies, Kenneth W. Stikkers, Professor and Chair, Randall Auxier, Professor, Robert Hahn, Professor, Joseph Wu, Professor Emeritus, Elizabeth R. Eames, Professor Emeritus, Martin Lu, Professor of Philosophy, George Kimball Plochmann, Professor Emeritus, Matt Sronkoski, Philosophy Graduate and Academic Adviser, Dave Clarke, Professor Emeritus, Eugenie Gatens-Robinson, Professor Emerita, Hans H. Rudnick, (...) Professor Emeritus, Stephen Bickham, Professor EmeritusPresident, and Don Mikula (bio)The following testimonials were offered on the occasion of a memorial gathering for Dr. Lewis E. Hahn held on February 19, 2005, and were compiled for presentation here by Sharon (Hahn) Crowell.A Tribute to Dr. Lewis E. Hahn (1908-2004) from a Global PerspectiveGeorge C. H. Sun President, Thomé H. Fang Institute, Inc., Mobile, AlabamaAmong the philosophical community in both the East and the West, no word of introduction is needed for our beloved Master, who was the recipient of numerous distinctions and honors, with titles that included "Man of the Year in Philosophy" and "Award of Lifetime Achievement." The very name "Lewis E. Hahn" itself already stands now for genuineness, dedication, and fulfillment.A great work is a dialogue with eternity; a great person is such a work. In less than thirty years he succeeded in developing Carbondale from what had been a small college town in the Midwest into the Mecca of American philosophy. His most important achievements were the Dewey Center and the Pepper Archives that he helped install at SIUC These, among other such institutions, will remain a unique contribution, a glory of American philosophy, and a monument in the history of human thought.For posterity Lewis E. Hahn will remain an object of wonder and amazement. How is it possible for one human being to have accomplished so much, so well, and in so short a span of time—less than one century—in breadth, depth, and diversity? Some one hundred years ago, by bridging the gap between the New World and the Old, William James was hailed as the great genius of international friendship among philosophical thinkers, but we now find a greater genius in Lewis E. Hahn, who succeeded in bringing together the peoples of East and West from at least four continents: Europe, Australia, America (both North and Latin America), and Asia. To my knowledge, few of his predecessors and contemporaries have been half so widely read and liberal-minded as he was, in view of the range and scope of the Library of Living Philosophers that he helped continue after the passing of its founder, Dr. Paul A. Schilpp.What type of man was Hahn, our younger generation will wonder? Only a pluralist approach can help us understand the true character of such a legendary pluralist-contextualist. In short, he was "a full personality." As I recall, while working on my dissertation with him in the 1970s, we had a brief discussion on Confucius, the sage of ancient China. "A full personality!" was his laconic assessment. Suddenly I realized, to quote the Analects: "The Master is talking about himself!" For, as the Buddhists put it, only a Buddha can understand a Buddha. Or, as William James put it, only one who has philosophy can appreciate philosophy. Many friends [End Page 1] of my generation admire him so much; Te Chen of Hong Kong calls him "a great Confucian in America." Those who regret the loss of many precious Confucian virtues in China today have now rediscovered them in the person of Lewis E. Hahn! If Nietzsche called Kant "a great Chinese in Königsberg," it is simply because he had not encountered our own Master.A paradigm of academic leadership, Dr. Hahn is simply irreplaceable—this is a tribute I personally heard in Carbondale in the late 1960s. It is not an exaggeration to say that he was a superb administrator, and he could have been the best Secretary of the State we ever had, for he possessed more in the way of philosophical wisdom than all his predecessors put together! As a great teacher, he was no less "serene, good, learned, wise, and ardent" than... (shrink)

Redner (politics, Monash U., Melbourne, Australia) builds on the thesis that crucial changes in human cultural history correlate with fundamental transformations in modes of representation. He traces human development from primitive culture to that of the present age to construct a comprehensive theory of culture. His theory challenges some established approaches in disciplines such as philosophy, semiotics, sociology, political theory, aesthetics, and history itself. Annotation copyright by Book News, Inc., Portland, OR.

In lieu of an abstract, here is a brief excerpt of the content:Remembering Lewis E. HahnGeorge C. H. Sun, President, John Howie, Professor Emeritus, Thomas Alexander, Professor and Director of Graduate Studies, Kenneth W. Stikkers, Professor and Chair, Randall Auxier, Professor, Robert Hahn, Professor, Joseph Wu, Professor Emeritus, Elizabeth R. Eames, Professor Emeritus, Martin Lu, Professor of Philosophy, George Kimball Plochmann, Professor Emeritus, Matt Sronkoski, Philosophy Graduate and Academic Adviser, Dave Clarke, Professor Emeritus, Eugenie Gatens-Robinson, Professor Emerita, Hans H. Rudnick, (...) Professor Emeritus, Stephen Bickham, Professor EmeritusPresident, and Don Mikula (bio)The following testimonials were offered on the occasion of a memorial gathering for Dr. Lewis E. Hahn held on February 19, 2005, and were compiled for presentation here by Sharon (Hahn) Crowell.A Tribute to Dr. Lewis E. Hahn (1908-2004) from a Global PerspectiveGeorge C. H. Sun President, Thomé H. Fang Institute, Inc., Mobile, AlabamaAmong the philosophical community in both the East and the West, no word of introduction is needed for our beloved Master, who was the recipient of numerous distinctions and honors, with titles that included "Man of the Year in Philosophy" and "Award of Lifetime Achievement." The very name "Lewis E. Hahn" itself already stands now for genuineness, dedication, and fulfillment.A great work is a dialogue with eternity; a great person is such a work. In less than thirty years he succeeded in developing Carbondale from what had been a small college town in the Midwest into the Mecca of American philosophy. His most important achievements were the Dewey Center and the Pepper Archives that he helped install at SIUC These, among other such institutions, will remain a unique contribution, a glory of American philosophy, and a monument in the history of human thought.For posterity Lewis E. Hahn will remain an object of wonder and amazement. How is it possible for one human being to have accomplished so much, so well, and in so short a span of time—less than one century—in breadth, depth, and diversity? Some one hundred years ago, by bridging the gap between the New World and the Old, William James was hailed as the great genius of international friendship among philosophical thinkers, but we now find a greater genius in Lewis E. Hahn, who succeeded in bringing together the peoples of East and West from at least four continents: Europe, Australia, America (both North and Latin America), and Asia. To my knowledge, few of his predecessors and contemporaries have been half so widely read and liberal-minded as he was, in view of the range and scope of the Library of Living Philosophers that he helped continue after the passing of its founder, Dr. Paul A. Schilpp.What type of man was Hahn, our younger generation will wonder? Only a pluralist approach can help us understand the true character of such a legendary pluralist-contextualist. In short, he was "a full personality." As I recall, while working on my dissertation with him in the 1970s, we had a brief discussion on Confucius, the sage of ancient China. "A full personality!" was his laconic assessment. Suddenly I realized, to quote the Analects: "The Master is talking about himself!" For, as the Buddhists put it, only a Buddha can understand a Buddha. Or, as William James put it, only one who has philosophy can appreciate philosophy. Many friends [End Page 1] of my generation admire him so much; Te Chen of Hong Kong calls him "a great Confucian in America." Those who regret the loss of many precious Confucian virtues in China today have now rediscovered them in the person of Lewis E. Hahn! If Nietzsche called Kant "a great Chinese in Königsberg," it is simply because he had not encountered our own Master.A paradigm of academic leadership, Dr. Hahn is simply irreplaceable—this is a tribute I personally heard in Carbondale in the late 1960s. It is not an exaggeration to say that he was a superb administrator, and he could have been the best Secretary of the State we ever had, for he possessed more in the way of philosophical wisdom than all his predecessors put together! As a great teacher, he was no less "serene, good, learned, wise, and ardent" than... (shrink)

The case of Dr. Nancy Olivieri, the Hospital for Sick Children, the University of Toronto, and Apotex Inc. vividly illustrates many of the issues central to contemporary health research and the safety of research participants. First, it exemplifies the financial and health stakes in such research. Second, it shows deficits in the ways in which research is governed. Finally, it was and remains relevant not only in Toronto but in communities across Canada and well beyond its borders because, absent appropriate (...) policies, what happened in Toronto could have happened (and could well still happen) elsewhere. In Part One of this paper, we review the facts of the Olivieri case relevant to the issues we wish to highlight: first, the right of participants in a clinical trial to be informed of a risk that an investigator had identified during the course of the trial and the obligation of the investigator to inform participants (both her own and those of other investigators); and second, the obligation of institutions to protect and promote the well-being of research participants as well as academic freedom and research integrity, the obligations of research sponsors to inform participants, research regulators, and others about unforeseen risks, and the obligations of research regulators to ensure that participants are informed of unforeseen risks and to otherwise protect and promote research integrity. In Part Two, we relate these facts and issues to New Zealand and Australia. We also make detailed recommendations for changes to the various instruments used for the governance of research involving humans in Australasia. (shrink)

This piece, included in the drift special issue of continent. , was created as one step in a thread of inquiry. While each of the contributions to drift stand on their own, the project was an attempt to follow a line of theoretical inquiry as it passed through time and the postal service(s) from October 2012 until May 2013. This issue hosts two threads: between space & place and between intention & attention . The editors recommend that to experience the (...) drifiting thought that attention be paid to the contributions as they entered into conversation one after another. This particular piece is from the BETWEEN INTENTION & ATTENTION thread: Jeremy Fernando, Sitting in the Dock of the bay, watching... * R.H. Jackson, Reading Eyes * Gina Rae Foster, Nyctoleptic Nomadism: The Drift/Swerve of Knowing * Bronwyn Lay, Driftwood * Patricia Reed, Sentences on Drifitng * David Prater, drift: a way * * * * * Australia, Summer, 2012. …. essential humanity exists, and runs its course, within a system whose first principle is the preservation of balance. And arching over it all, is the logos of The Dreaming. How shall we state this when we fully understand it I do not know, but I should think we are more likely to ennoble it than not. Equilibrium ennobled is abidingness.” 1 On return to birthplace I write. Caught between jetlag and surprise, a relentless sun cracks my skin. Upright words fall under cockatoo roars. The attempt to settle, to be attentive, is shaken. Some kind of Dreaming surrounds and elements intrude without consent. Homeless at home. Exhausted, I fight sleep’s hard currents. Their victory would confuse the body clock, so the in-between wins. Half-there — half-awake — here in this place — I am driftwood. Driftwood: wood floating in or washed ashore by a body of water. A severed limb set adrift from the birthing body. Tossed from home it’s cast into processes of wind, water, sand, bacteria, decay and movement. Driftwood is orphaned members at the mercy and agency of weather, currents, submersion, and being thrown into dry world. Driftwood — singular plural. White man got no dreaming. Him go ‘nother way. White man, him go different Him got road belong himself. 2 photo: Bronwyn Lay The old man comes from the northern rivers. A while ago, he could no longer pay attention to wage slavery, so retreated north to be with dead redgum that lay abandoned in dry riverbeds. Derived from driftwood peoples tossed here by the sea, he followed the fragile river veins of his birth. He walked along water bodies and through country’s lungs. Some kind of displaced ancestral song compelled his leathered hands to pick up centuries old driftwood from flood plains. It emerged from under muddy creeks, was flung up by salt soaked coves, pushed underground by cracks in the claypan and lay embedded in mud and salinized soil. Smoothed and grooved in equal measure, the branches were marked by an organic alphabet that preceded him. As he held the wood, he touched decomposing circles that started with a blast and never ceased writing into abandoned flesh. When the ute was full the old man returned home having been away with the stuff that ‘growed him up’. His shed filled with red sawdust and the sound of tools at labour. His hands sculptured driftwood. History carved into itinerant skin. I sit opposite the old man. His body no longer holds the repetition of carpentry. He can no longer gift driftwood its detail. Outside redgum bits lie scattered around the fence line and beside the dam. He crouches over an unreliable computer researching the massacres of indigenous peoples that occurred along the same river veins that ‘growed him up’ long ago. Staring into the remnants of frontier resistance that he and I inherit, his eyes nurture fire. He discovers severed limbs and the slicing of tribes. In the ashes of sentences he sifts the lies that smoulder into our histories. In the 30’s the anthropologist Stanner said that due to certain factors — lack of change and isolation — the ideal and real come very close together in indigenous Dreaming. They are a people who were able to defeat history. 3 “If the Ideal and the Real drift too far away from one another (as they did at the end of the middle ages and seem increasingly to do this century) men face some difficult options. They have to change their way of life, or their philosophy, or both, or live unhappily somewhere in-between.” 4 Stanner says Indigenous Dreaming is blackfella thinking. 5 Dreamtime is not ethereal, not utopic, or otherworldly. It’s fused with the real and it’s not mine. I might never understand, but it’s the substance of my home. This here place ‘growed me up’. Is driftwood the unhappy in-between? Is it a radical itinerant written upon by currents? Where are we? The settler restless? photo: Alison Pouliot I return to the bush late one night, tired from high talk in city cafes, to find the old man at his computer. He’s either researching his white farming ancestors, or tracing unrecorded massacres of blackfellas. I laugh, “You know Dad, if you were indigenous you might go out by the dam and sing up your ancestors rather than try find them on a screen.” He peers over his glasses. His stare delivers an ancestral scold. He’s white man. Of course he archives. This is our way. One may see that, like all men, he is a metaphysician in being able to transcend himself. With the metaphysician goes a mood and spirit, which I can only call a mood or spirit of assent, neither despair nor resignation, optimism not pessimism, quietism nor indifference. The mood, and the outlook beneath it, make him hopelessly out of place in a world in which the renaissance has triumphed only to be perverted, and in which the products of secular humanism, rationalism and science challenge their own hopes, indeed their beginnings.” 6 The clinamen sometimes comes abstract — the rarefied swerve of possibility. But in the place we gather &mdash where this text has landed — in the heart of settler colony denial — the clinamen reminds of familiar violence and goes maximum. The earth’s swerve. Topography’s tip. Physics gone violent. Here, drift is initiated by the tear of flesh, scurvy voyages, frontier blood and the deracination from belonging. Here, war precedes drift. We all got tossed. Here. Pay attention. The country has its own gaze. ‘Lest we forget’. The seasonal turn on aborescent substances starts with a fall, an upwards rupture, a drop, a cut, a storm, a violence, a loss, forced migration, refugees, agricultural imperialism, settler wheat and poisoned rations. Pay attention to aftermath debris. Don’t drift too far from the real. History hasn’t settled into the water. It still tosses limbs back and forth. Surrounded by the backdrop of Dreaming country the old man archives and dreams. Both ways of settling into the real. But lest we forget, time, in this place, has no textual tick — tock. Our bodies know this, even though we persist with shipwreck illusions. It’s difficult being here. Here. Pay inattention. I walk through eucalyptus, over dried out clay pans and under kookaburras. It’s been two years in-between. This time country speaks strong underfoot. Forget books, forget texts, forget other lands and times, beginning and end. Be here. All falls raw. Leaves drop and refuse to compost. Bark untethers quick. Light denudes worlds. The heated horizon melts monoliths. It’s enough to make Cartesians shiver. Awake. Refuse the temptation to run. Have enough courage to drift into here. Love with a gum tree. Stand with her whole and dissolving. She moves light between our limbs, tossing them to wind. She — the original romance — is the dream that dares touch flesh and reaches over nightmares with elemental desire. I gaze and lose me. There’s no distance. The land that ‘growed me up’ speaks with symbiotic breath. There’s no division, no separation, no other. The gum is plastic arborescence. You be my body for me, always were. …..but I wake to driftwood histories and recall slaughters. Drifted, wicked fellow citizen — the other is someone else’s blind sleep. Betrayal maintains the other as mine. Archives reveal this place doesn’t belong to me. Body articulates that it became here. Gumtree cares not………her arms take me in anyway. “Like all men he is a philosopher in being able to use his power of abstract reason. His genius, his metier, and in some sense — his fate is that because of endowment and circumstance this power has channelled itself mainly into one activity, making sense out of social relations among men living together.” 7 The old man excavates seven generations of settler ancestors. They’re an ordinary lot with written-upon skin. He records genocides that occurred alongside his peoples fertility. Bodies rise from riverbeds like sovereign sacrifices. It hurts. It disrupts. He labours at the past with gestures that might go unnoticed in a country suffocated by rich amnesia. Inside walls, he seems attentive to historical details. Outside he seems inattentive to time, lost to us and embedded in a family of active matter — the bush. His driftwood skin appears around my eyes - grooves of experience, the rush of cruel sun, the push of blind winds, and the love of everything. The sovereign’s reluctant children are thrown here by, with and through blood, but country gets in and sculpts us here. photo: Chris Corrigan “But his abstractions do not put him at war with himself.” 8 The kangaroo family appears at dusk. When the sun is soft I follow the old man into the back paddock. Children skip behind us. In-between generations, I step into the old man’s driftwood leanings. My feet find traces of his understanding – the archivist that reads trees. Here, on home dirt, inattention and attention collapse as we wander into where we are. The roo family gaze at us. Through the grass the old man’s wooden finger articulates kin’s details. He points to the head male, the mother holding a joey in pouch and the young warriors side by side. My children, quieter than ever, meet the laser - eyed silence of another family. In half-light Dad, me, and the kids mirror the kangaroo constellation and stand gentle together. At the bushblock’s limit we encounter ancestral desires. White peoples are subject to driftwood histories. We’re severed limbs attempting to fuse here now, with what was, only to discover our skin becomes racked and embedded with the weather. Into the shelter and fissures of this difficult and ambiguous inheritance, I fall into dream light until balance saturates. Light breaks when the kangaroos move. They bounce someplace else without effort or impact. We turn and tread through the dark towards home. It’s time to sleep. Driftwood skin covers the country. Dreaming is still. photo: Bronwyn Lay NOTES W.E.H. Stanner, The Dreaming and Other Essays , (Melbourne: Black Inc. Agenda, 2009), 72. Ibid., 56. Stanner is recalling one intelligent old man who said to him, “with a cadence almost as though he had been speaking in verse.” Ibid., 60. Ibid., 69. Ibid., 58. Ibid., 67. Ibid., 68. Ibid., 59.  . 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Over the past century, the tremendous concentration of power in the modern state has frequently been a threat to the life and liberty of individuals and social groups. Liberal democracy seeks to harness state power to the causes of individual freedom and public benefit - through such means as constitutional limits on and separation of powers, free and regular elections, and the vigilance of citizens, parliaments and media. This collection of essays offers perspectives on the difficulties of establishing and sustaining (...) a modern liberal democratic state. These themes are pursued through subjects ranging from the extreme abuses of power by Nazi regime to the misuse of power by executive government in the "WA Inc" years, from the quest for a genuinely republican Australia to the role of trust and suspicion in liberal democracy, from the alleged decline of the state in a globalizing world to the construction of a new state in East Timor, and from the importance of free scholarship to the role of deliberative polling in enhancing the democratic process. The late Patrick O'Brien, scholar, teacher, public intellectual and political activist, believed passionately in the importance of personal liberty and in the firm and transparent regulation of the exercise of power. This book celebrates O'Brien's life and intellectual engagements, and demonstrates the enduring importance of the key themes of his work. (shrink)

The proposed volumes are aimed at a multidisciplinary audience and seek to fill the gap between law, semiotics and visuality providing a comprehensive theoretical and analytical overview of legal visual semiotics. They seek to promote an interdisciplinary debate from law, semiotics and visuality bringing together the cumulative research traditions of these related areas as a prelude to identifying fertile avenues for research going forward. Advance Praise for Law, Culture and Visual Studies This diverse and exhilarating collection of essays explores the (...) many facets both historical and contemporary of visual culture in the law. It opens a window onto the substantive, jurisdictional, disciplinary and methodological diversity of current research. It is a cornucopia of materials that will enliven legal studies for those new to the field as well as for established scholars. It is a 'must read' that will leave you wondering about the validity of the long held obsession that reduces the law and legal studies to little more than a preoccupation with the word. Leslie J Moran Professor of Law, Birkbeck College, University of London Law, Culture and Visual Studies is a treasure trove of insights on the entwined roles of legality and visuality. From multiple interdisciplinary perspectives by scholars from around the world, these pieces reflect the fullness and complexities of our visual encounters with law and culture. From pictures to places to postage stamps, from forensics to film to folklore, this anthology is an exciting journey through the fertile field of law and visual culture as well as a testament that the field has come of age. Naomi Mezey, Professor of Law, Georgetown University Law Center, Washington, D.C., USA This highly interdisciplinary reference work brings together diverse fields including cultural studies, communication theory, rhetoric, law and film studies, legal and social history, visual and legal theory, in order to document the various historical, cultural, representational and theoretical links that bind together law and the visual. This book offers a breath-taking range of resources from both well-established and newer scholars who together cover the field of law's representation in, interrogation of, and dialogue with forms of visual rhetoric, practice, and discourse. Taken together this scholarship presents state of the art research into an important and developing dimension of contemporary legal and cultural inquiry. Above all, Law Culture and Visual Studies lays the groundwork for rethinking the nature of law in our densely visual culture: How are legal meanings produced, encoded, distributed, and decoded? What critical and hermeneutic skills, new or old, familiar or unfamiliar, will be needed? Topical, diverse, and enlivening, Law Culture and Visual Studies is a vital research tool and an urgent invitation to further critical thinking in the areas so well laid out in this collection. Desmond Manderson, Future Fellow, ANU College of Law / Research School of Humanities and the Arts, Australian National University, Australia. (shrink)

This paper is about what counts as a photograph and what does not. One way in which this question arises stems from new technologies that keep changing our way of producing photographs, such as digital photography, which not only has now widely replaced traditional film photography but also challenges the very limits of what we count as a photograph. I shall discuss below at some length different aspects of digital photography, but also want to focus here on a new (...) striking type of photographic camera, announced in early 2012 by Lytro, Inc., namely, the so-called ?Light Field Camera?, which is said to represent a revolution in the photographic world. Indeed, unlike in the case of any previously available cameras, the photographs produced by a Light Field Camera can be re-focused after the photograph has been taken, which harbours many interesting consequences with regard to the resulting image and the way we interact with it. But of course, the initial question also arises in the case of traditional film photography as well as ?traditional? digital photography. The question amounts to asking about what the essential features of photographs are ? in short, what their nature is. (shrink)

This chapter explores the practice of Body Weather (BW), a postmodern dance methodology, addressing how BW performers experience and enact agency in this context of practice. Adopting a cognitive ecological, ethnographic, and phenomenological approach, this work focuses on the creation of AURA NOX ANIMA (2016) – a short dance film directed by Sydney-based visual artist Lux Eterna and filmed on the sandy dunes in Anna Bay, New South Wales, Australia – to underscore the role played by the physical (...) and cultural environment in shaping BW performers’ sense of agency. Through the analysis of salient features of BW methodology, that include the practice of bisoku, slow movement, and the cultivation of an attention to the changing ‘weather’ of the performance ecology, this chapter suggests an ecological notion of agency as a key concept in the study of embodied cognition in performance. The chapter emphasises the relevance of addressing the environment-culture-context situatedness in the study of performance practices. (shrink)

Bioethics at the Movies explores the ways in which popular films engage basic bioethical concepts and concerns. Twenty philosophically grounded essays use cinematic tools such as character and plot development, scene-setting, and narrative-framing to demonstrate a range of principles and topics in contemporary medical ethics. The first section plumbs popular and bioethical thought on birth, abortion, genetic selection, and personhood through several films, including The Cider House Rules, Citizen Ruth, Gattaca, and I, Robot. In the second section, the contributors examine (...) medical practice and troubling questions about the quality and commodification of life by way of Dirty Pretty Things, Eternal Sunshine of the Spotless Mind, and other movies. The third section's essays use Million Dollar Baby, Critical Care, Big Fish, and Soylent Green to show how the medical profession and society at large view issues related to aging, death, and dying. A final section makes use of Extreme Measures and select Spanish and Japanese films to discuss two foundational matters in bioethics: the role of theories and principles in medicine and the importance of cultural context in devising care. Structured to mirror bioethics and cinema classes, this innovative work includes end-of-chapter questions for further consideration and contributions from scholars from the United States, Canada, the United Kingdom, Israel, Spain, and Australia. Contributors: Robert Arp, Ph.D., Michael C. Brannigan, Ph.D., Matthew Burstein, Ph.D., Antonio Casado da Rocha, Ph.D., Stephen Coleman, Ph.D., Jason T. Eberl, Ph.D., Paul J. Ford, Ph.D., Helen Frowe, M.A., Colin Gavaghan, Ph.D., Richard Hanley, Ph.D., Nancy Hansen, Ph.D., Al-Yasha Ilhaam, Ph.D., Troy Jollimore, Ph.D., Amy Kind, Ph.D., Zana Marie Lutfiyya, Ph.D., Terrance McConnell, Ph.D., Andy Miah, Ph.D., Nathan Norbis, Ph.D., Kenneth Richman, Ph.D., Karen D. Schwartz, LL.B., M.A., Sandra Shapshay, Ph.D., Daniel Sperling, LL.M., S.J.D., Becky Cox White, R.N., Ph.D., Clark Wolf, Ph.D. (shrink)

A collection of 17 important readings provide those unfamiliar with Cavell's work with an overview of its strategic purpose, its central themes, and its argumentative development. The readings are taken from every one of the major fields in which Cavell has been involved--aesthetics, philosophy of religion, philosophy of Wittgenstein, Austin, Emerson, literary criticism, film theory, and psychoanalysis. Brief editorial introductions to each piece are included. A previously unpublished essay on Wittgenstein serves as an epilogue. Annotation copyright by Book News, (...) Inc., Portland, OR. (shrink)

Ex/in Australia--anonymous architecture -- In/editorial --In/interviews: F. Soler, J. Ferrier, W.J. Neutelings & M. Riedijk, R. Ricciotti, J. Moussafir, P. Gazeau, C. Hauvette, F. Seigneur, MVRDV, J. Nouvel, D. Lyon & P. du Besset, M. Vitart & J-M Ibos, ACTAR Arquitecura, M. Fuksas, A. Gigon & M. Guyer ,F. Druot, J. Herzog & P. de Meuron -- Ex/exteriors--Road movie -- In/reflexion on the peripherical stance--Paul Ardenne --Ex/exhibitions: Cécile Paris, Stalker, Access local, Anne Frémy --In/interests: University Paris 8 St.-Denis, garden (...) shed, Café musiques, etc. (shrink)

Popular interest in the topic of food has exploded in the past decade. Due in part to books by Michael Pollan, Barbara Kingsolver, and Eric Schlosser and films such as Food, Inc., Super Size Me, and Forks over Knives, people are starting to think critically about where their food originates, how it is processed, and how their consumption choices affect the environment, nonhuman animals, and other people. At the same time, there is rising concern about the dangers of obesity. Although (...) the voices raising these concerns are by no means monolithic, one of the most common solutions offered to various food-related issues is the suggestion that people educate themselves and make.. (shrink)

Siguiendo el desarrollo reciente de los estudios sobre adaptación, que tienden a interrogar la relación intertextual entre el medio escrito y el cinematográfico, este artículo analiza la película Generación robada (Noyce, 2002), destacando la compleja intertextualidad que la compone: el libro que constituye el texto-fuente, Follow the Rabbit-Proof Fence (1996) de Doris Pilkington-Garimara; el informe Bringing Them Home (1997) sobre la separación forzada de niños aborígenes; los textos y actos políticos de la reconciliación nacional australiana y, finalmente, las biografías y (...) la participación de las actrices aborígenes y sus comunidades. Todos ellos contribuyen a la traslación visual y la articulación de un film en el que la imbricación entre historia y arte es un elemento constitutivo. (shrink)

This essay seeks to unsettle feminist philosophy through an encounter with Aboriginal artist Tracey Moffatt, whose perspectives on intergenerational relationships between white women and Indigenous women are shaped by her experiences as the Aboriginal child of a white foster mother growing up in Brisbane, Australia during the 1960s. Moffatt's short experimental film Night Cries provides an important glimpse into the violent intersections of gender, race, and power in intimate life and, in so doing, invites us to see how (...) colonial and neocolonial policies are carried out through women's domestic labor. Seeing cross-generational and cross-racial intimacy through Moffatt's lens, I suggest, helps us to unsettle both feminist theories of motherhood and feminist practices of mentoring. (shrink)

Cancer patienthood and survivorship are often narrated as stories about hair and wigs. The following article examines cultural representations of cancer in mainstream memoirs, films, and on TV across Western European and American contexts. These representations are both the ideological substrate and a subtly subversive staging of a newly globalized cancer culture that expresses itself as an embodied discourse of individual experience. Wigs have become staples of an alternative story of especially women’s cancer experience, one that contrasts with the advertising (...) slogans of what has been termed ‘Cancer Inc.’ But wigs are also a prop for consumerist self-(re)invention and can be appropriated stereotypically, with regard to stock gendered expectations – despite and alongside their subversive potential. (shrink)

From Joan Lindsay and cinematic master Peter Weir to Ted Kotcheff and Warwick Thornton, over past decades authors, screenwriters and filmmakers have produced films that depict the vast Australian landscape—simply referred to as terra nullius during colonial times by settlers literally confronting a continent vastly different from anything they were culturally and geographically accustomed to—as mysterious, impenetrable and ominous. Just like the dark cold of Scandinavia lends itself perfectly to contemporary Nordic Noir, the Australian New Wave or Australian Film (...) Revival of the 1970s and 1980s saw the release of films that encapsulated the eeriness of this largely rugged, arid and windswept continent, which opens up possibilities for anything to happen within those very, limitless, territories. This article analyses Weir’s Picnic at Hanging Rock (1975), Kotcheff’s horror flick par excellence Wake in Fright (1971); "the best and most terrifying film about Australia in existence" and with a TV-series remake in 2017, and Thornton’s more recent portrayal of Aboriginal misery and poverty Samson and Delilah (2009) set against a hostile urban backdrop, from a Foucauldian perspective. In its theoretical framework it also draws primarily on Freud. Heterotopia is used as a term to refer to strange, bewildering spaces that are disturbing and undecipherable—also described as “an unimaginable space, representable only in language, and as a kind of semimythical real site” (as articulated in Knight, 2017, 141). Foucault’s concept is applied in a cinematic context and used in conjunction with Freud’s notion of the uncanny as a feeling of uneasiness; or, as has been explained in his seminal text “The Uncanny” (1919), “that class of the terrifying that leads back to something long known to us, once very familiar.” We argue that these eerie, fear-induced screened narratives represent a nation whose weather-beaten, freedom-loving yet at heart anxiety-ridden people are most definitely a product of their environment. (shrink)