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Thematische Bibliographien / Performing arts Australia / Zeitschriftenartikel

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Zeitschriftenartikel zum Thema „Performing arts Australia“

Autor: Grafiati

Veröffentlicht am 4. Juni 2021

Zuletzt aktualisiert am 20. Februar 2023

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1

Anderson, Margot. "Dance Overview of the Australian Performing Arts Collection." Dance Research 38, no. 2 (November 2020): 149–67. http://dx.doi.org/10.3366/drs.2020.0305.

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The Dance Collection at Arts Centre Melbourne traces the history of dance in Australia from the late nineteenth century to today. The collection encompasses the work of many of Australia's major dance companies and individual performers whilst spanning a range of genres, from contemporary dance and ballet, to theatrical, modern, folk and social dance styles. The Dance Collection is part of the broader Australian Performing Arts Collection, which covers the five key areas of circus, dance, opera, music and theatre. In my overview of Arts Centre Melbourne's (ACM) Dance Collection, I will outline

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2

Hadok, John. "Performing Arts Healthcare in Australia—A Personal View." Medical Problems of Performing Artists 23, no. 2 (June 1, 2008): 82–84. http://dx.doi.org/10.21091/mppa.2008.2016.

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In 2006, as part of a national regional-arts conference, I attempted to bring together health care workers with an interest in caring for performing artists. The plan was to gather in symposium, to share ideas and expertise, and inaugurate a network of practitioners across Australia. It was a good idea—at least I thought so at the time, and the generous experts who agreed to participate for free also seemed to think so. However, the exigencies of mounting a symposium in a regional city, in a field hitherto never organised in this country, with no finance, and only one assistant (albeit very ca

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3

Kelly, Veronica. "The Globalized and the Local: Theatre in Australia and Aotearoa/New Zealand Enters the New Millennium." Theatre Research International 26, no. 1 (March 2001): 1–14. http://dx.doi.org/10.1017/s0307883301000013.

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Late in 1999 the Commonwealth of Australia's Department of Communications, Information Technology and the Arts released Securing the Future, the final Report of the Major Performing Arts Enquiry chaired by Helen Nugent (commonly referred to as the Nugent Report). The operations of the committee and the findings of the Report occasioned considerable public debate in the Australian arts world in the late 1990s, as the Enquiry solicited and analysed information and opinion on the financial health and artistic practices of thirty-one national major performing arts companies producing opera, ballet

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HARRIS, AMANDA. "Representing Australia to the Commonwealth in 1965: Aborigiana and Indigenous Performance." Twentieth-Century Music 17, no. 1 (October 24, 2019): 3–22. http://dx.doi.org/10.1017/s1478572219000331.

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AbstractIn 1965, the Australian government and Australian Elizabethan Theatre Trust (AETT) debated which performing arts ensembles should represent Australia at the London Commonwealth Arts Festival. The AETT proposed the newly formed Aboriginal Theatre, comprising songmakers, musicians, and dancers from the Tiwi Islands, northeast Arnhem Land and the Daly River. The government declined, and instead sent the Sydney Symphony Orchestra performing works by John Antill and Peter Sculthorpe. In examining the historical context for these negotiations, I demonstrate the direct relationship between th

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Bereson, Ruth. "Advance Australia—Fair or Foul? Observing Australian Arts Policies." Journal of Arts Management, Law, and Society 35, no. 1 (April 2005): 49–59. http://dx.doi.org/10.3200/jaml.35.1.49-59.

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6

Fensham, Rachel. "Trajectories of the ‘Dead Heart’: Performing the Poetics of (Australian) Space." New Theatre Quarterly 24, no. 1 (January 30, 2008): 3–13. http://dx.doi.org/10.1017/s0266464x08000018.

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In this paper Rachel Fensham returns to the writings of Gaston Bachelard in order to examine the poetics of space from a non-European perspective. Spatial metaphors, such as the ‘dead heart’ that might evoke phenomenological and psychic dimensions of space in Australia, also register in historical and geographical imaginaries. However, postcolonial theories of space disturb visual metaphors and cartographic concepts in the mises en scène of theatrical performance. Here, Fensham analyzes two recent performances that radically reimagine the poetics of (Australian) space through the movement traj

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7

Morley, Michael. "A Critical State: Theatre Reviewing in Australia." New Theatre Quarterly 2, no. 5 (February 1986): 94–96. http://dx.doi.org/10.1017/s0266464x00001962.

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As in most English-speaking nations, the success or otherwise of a production in Australia is heavily dependent upon its critical reception: yet, argues Michael Morley, much Australian reviewing is both ill-equipped and ill-informed for such a responsibility. Michael Morley is himself currently theatre critic of The National Times, and has also written for The Advertiser, Theatre Australia, and the Sydney Morning Herald. A Brecht-Weill scholar, who has worked as musical director on a number of productions in Sydney and Adelaide, Michael Morley is Professor of Drama at Flinders University in So

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Pollard, Vikki, and Emily Wilson. "The “Entrepreneurial Mindset” in Creative and Performing Arts Higher Education in Australia." Artivate 3, no. 1 (2014): 3–22. http://dx.doi.org/10.1353/artv.2014.0009.

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9

Stone, Richard. "The show goes on! Preserving performing arts ephemera, or the power of the program." Art Libraries Journal 25, no. 2 (2000): 31–35. http://dx.doi.org/10.1017/s0307472200011585.

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Collecting and preserving heritage materials across the broad spectrum of the performing arts on a national scale is a daunting task. Much of the material is as ephemeral and as transitory as the theatrical experience itself. In Australia there is a realistic acceptance of the need for a distributed national collection. An active network of individuals and institutions are working to ensure the preservation of the country’s performing arts heritage and to enhance access to those collections, increasingly by electronic means.

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10

Meyrick, Julian. "Accounting for the Arts in the Nineties: The Growth of Performing Arts Administration in Australia, 1975–1995." Journal of Arts Management, Law, and Society 26, no. 4 (January 1997): 285–307. http://dx.doi.org/10.1080/10632921.1997.9942967.

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11

Bannigan, Phillip, and Sue Harris. "An Electronic Arts Network for Australia." Leonardo 24, no. 2 (1991): 227. http://dx.doi.org/10.2307/1575305.

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12

St Leon, Mark Valentine. "Presence, Prestige and Patronage: Circus Proprietors and Country Pastors in Australia, 1847–1942." Alternative Spirituality and Religion Review 12, no. 1 (2021): 39–73. http://dx.doi.org/10.5840/asrr2021122179.

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Christianity and circus entered the Australian landscape within a few decades of each other. Christianity arrived with the First Fleet in 1788. Five years later, Australia’s first church was opened. In 1832, the first display of the circus arts was given by a ropewalker on the stage of Sydney’s Theatre Royal. Fifteen years later, Australia’s first circus was opened in Launceston. Nevertheless, Australia’s historians have tended to overlook both the nation’s religious history and its annals of popular entertainment. In their new antipodean setting, what did Christianity and circus offer each ot

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Bridgstock, Ruth. "Australian Artists, Starving and Well-Nourished: What Can we Learn from the Prototypical Protean Career?" Australian Journal of Career Development 14, no. 3 (October 2005): 40–47. http://dx.doi.org/10.1177/103841620501400307.

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Recent literature documents the demise of traditional linear careers and the rise of protean, boundaryless, or portfolio careers, typified by do-it-yourself career management and finding security in ongoing employability rather than ongoing employment. This article identifies key attributes of the ‘new career’, arguing that individuals with careers in the well-established fields of fine and performing arts often fit into the ‘new careerist’ model. Employment/career data for professional fine artists, performing artists and musicians in Australia is presented to support this claim. A discussion

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Mason, Matthew J. "Out of the Outback, into the Art World: Dotting in Australian Aboriginal Art and the Navigation of Globalization." ARTMargins 11, no. 3 (October 1, 2022): 67–88. http://dx.doi.org/10.1162/artm_a_00326.

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Abstract In recent decades, the popularity of Australian Aboriginal dot painting overseas has exploded, with works by some of Australia's leading artists selling for millions of dollars at auction, as well as featuring in major international exhibitions like the Venice Biennale and documenta. While this carries with it the risk of Aboriginal art and culture becoming diluted or commodified, this essay explores the origins and use of the ‘dotting’ typical of much Australian Aboriginal art of the Western and Central Deserts of Australia, as well as Aboriginal dot painting's circulation internatio

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Mummery, Jane, and Debbie Rodan. "Discursive Australia: Refugees, Australianness, and the Australian Public Sphere." Continuum 21, no. 3 (August 3, 2007): 347–60. http://dx.doi.org/10.1080/10304310701460672.

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16

Mitchell, Tony. "Doppio: a Trilingual Touring Theatre for Australia." New Theatre Quarterly 8, no. 29 (February 1992): 70–75. http://dx.doi.org/10.1017/s0266464x00006333.

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Doppio is a theatre company which uses three languages – English, Italian, and a synthetic migrant dialect it calls ‘Emigrante’ – to explore the conditions of the large community of Italian migrants in Australia. It works, too, in three different kinds of theatrical territory, all with an increasingly feminist slant – those of multicultural theatrein-education; of community theatre based in the Italian clubs of South Australia; and of documentary theatre, exploring the roots and the past of a previously marginalized social group. The company's work was seen in 1990 at the Leeds Festival of You

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Caust, Jo. "Arts and Business: The Impact of Business Models on the Activities of Major Performing Arts Organisations in Australia." Media International Australia 135, no. 1 (May 2010): 32–44. http://dx.doi.org/10.1177/1329878x1013500106.

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18

Barber, Susan. ": Images of Australia: 100 Films of the New Australian Cinema . Neil Rattigan." Film Quarterly 46, no. 3 (April 1993): 60–61. http://dx.doi.org/10.1525/fq.1993.46.3.04a00130.

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19

BOLLEN, JONATHAN. "‘As Modern as Tomorrow’: Australian Entrepreneurs and Japanese Entertainment, 1957–1968." Theatre Research International 43, no. 2 (July 2018): 147–64. http://dx.doi.org/10.1017/s0307883318000275.

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This article compares the efforts of two Australian entrepreneurs to import Japanese entertainments for theatres in mid-twentieth-century Australia. David N. Martin of the Tivoli Circuit and Harry Wren, an independent producer, were rivals in the business of touring variety-revue. Both travelled to Japan in 1957, the year that the governments of Australia and Japan signed a landmark trade agreement. Whereas Martin's efforts were hampered by the legacy of wartime attitudes, Wren embraced the post-war optimism for trade. Wren became the Australian promoter for the Toho Company of Japan, touring

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Blaylock, Malcolm. "Subsidy, Community, and ‘Excellence’ in Australian Theatre." New Theatre Quarterly 2, no. 5 (February 1986): 75–79. http://dx.doi.org/10.1017/s0266464x00001937.

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The Australian Labour government elected in 1972 (and sacked in highly controversial circumstances by the Governor-General in 1975) instituted under the premiership of Gough Whitlam a policy of greatly increased subsidy for the arts. But this was succeeded by a period of neglect, culminating in a drastic policy of cutbacks in 1981; and the election of a new Labour government in 1983 thus coincided with a major debate over both the nature and the distribution of arts subsidy, which has resulted in a wider spread of funding for culturally diverse forms of theatre. Malcolm Blaylock works both as

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Frankland, Richard. "Climate Report from Australia." Performance Research 23, no. 3 (April 3, 2018): 134. http://dx.doi.org/10.1080/13528165.2018.1495959.

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22

Watt, David. "‘Art and Working Life’: Australian Trade Unions and the Theatre." New Theatre Quarterly 6, no. 22 (May 1990): 162–73. http://dx.doi.org/10.1017/s0266464x00004231.

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In the feature on Australian theatre in NTQ5 (1986). Peter Fitzpatrick pointed to a burgeoning community theatre movement, made possible by the shifts in arts funding which were the subject of Graham Ley's interview with Malcolm Blaylock in the same issue – while Tom Burvill's article on Sidetrack Theatre described one of the emergent companies. His concentration on Sidetrack's workplace shows, and on Loco in particular, highlighted an area in which the community theatre movement had made some strides in the construction of a popular political theatre. These have been achieved since the Austra

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Ryan, Robin, Jasmin Williams, and Alison Simpson. "From the ground up: growing an Australian Aboriginal cultural festival into a live musical community." Arts and the Market 11, no. 2 (August 16, 2021): 92–108. http://dx.doi.org/10.1108/aam-09-2020-0038.

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PurposeThe purpose is to review the formation, event management, performance development and consumption of South East Australia’s inaugural 2018 Giiyong Festival with emphasis on the sociocultural imaginary and political positionings of its shared theatre of arts.Design/methodology/approachA trialogue between a musicologist, festival director and Indigenous stakeholder accrues qualitative ethnographic findings for discussion and analysis of the organic growth and productive functioning of the festival.FindingsAs an unprecedented moment of large-scale unity between First and non-First Nations

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24

Barber, Susan. "Review: Images of Australia: 100 Films of the New Australian Cinema by Neil Rattigan." Film Quarterly 46, no. 3 (1993): 60–61. http://dx.doi.org/10.2307/1212909.

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25

Johnson, Paul-Alan. "COMPLIANCE, SUBVERSION AND THE AUSTRALIA-BRITAIN NEXUS: Theoretical Dilemmas for Australian Architecture and Urbanism." Architectural Theory Review 4, no. 1 (April 1999): 34–50. http://dx.doi.org/10.1080/13264829909478358.

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26

Carfoot, Gavin. "‘Enough is Enough’: songs and messages about alcohol in remote Central Australia." Popular Music 35, no. 2 (April 14, 2016): 222–30. http://dx.doi.org/10.1017/s0261143016000040.

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AbstractThis article examines some of the ways in which Australia's First Peoples have responded to serious community health concerns about alcohol through the medium of popular music. The writing, performing and recording of popular songs about alcohol provide an important example of community-led responses to health issues, and the effectiveness of music in communicating stories and messages about alcohol has been recognised through various government-funded recording projects. This article describes some of these issues in remote Australian Aboriginal communities, exploring a number of comp

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Franklin, Adrian Stephen. "Performing Acclimatisation: The Agency of Trout Fishing in Postcolonial Australia." Ethnos 76, no. 1 (March 2011): 19–40. http://dx.doi.org/10.1080/00141844.2010.537759.

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28

Potter, Michelle. "The Dandré-Levitoff Russian Ballet, 1934–1935: Australia and beyond." Dance Research 29, no. 1 (May 2011): 61–96. http://dx.doi.org/10.3366/drs.2011.0005.

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This article explores the year-long tour of the Dandré-Levitoff Russian Ballet between 1934 and 1935. The company performed in South Africa, Singapore, Java, Australia, Ceylon, India and Egypt and was led by two sets of principals, Vera Nemchinova and Anatole Oboukhoff in South Africa and then Olga Spessivtseva and Anatole Vilzak with Spessivtseva being replaced by Natasha Bojkovich following Spessivtseva's decline mid-way through the Australian season. The company performed works largely drawn from the Pavlova repertoire and used Pavlova's name and her commitment to classical ballet to justif

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WOODHAM, J. M. "Design in Australia 1880 1970." Journal of Design History 12, no. 2 (January 1, 1999): 173–76. http://dx.doi.org/10.1093/jdh/12.2.173.

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30

Nugent, Maria, and Shino Konishi. "Baz Luhrmann's Australia Reviewed." Studies in Australasian Cinema 4, no. 2 (January 2010): 93–96. http://dx.doi.org/10.1386/sac.4.2.93_2.

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Clarke, Robert, and Andrea Adam. "Digital storytelling in Australia." Arts and Humanities in Higher Education 11, no. 1-2 (June 20, 2011): 157–76. http://dx.doi.org/10.1177/1474022210374223.

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This project explored the experiences of a small sample ( N = 6) of Australian academics with the use of digital storytelling as a pedagogical tool in higher education contexts. This article describes two case studies of academic uses of digital storytelling, along with interpretive analysis of six semi-structured interviews of academics working within media and communication studies and their reflections on the potential of digital storytelling to enhance student learning and the student experience. Three consistent themes emerged, based around issues of definition, the need for ‘constructive

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SAUTER, WILLMAR. "Introduction: Festival Culture in Global Perspective." Theatre Research International 30, no. 3 (October 2005): 237–39. http://dx.doi.org/10.1017/s0307883305001483.

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According to the Australia Council, the 152 arts festivals held in that country during the season of 1993–4 had a combined operating expenditure of Australian $58.3 million and were attended by 2.2 million visitors. At the same time, these festivals provided 32,000 paid engagements for Australian artists. Considering this massive expansion of festivals in terms of artistic arena, national marketplace and international industry, the scholarly interest in this phenomenon has taken new directions. To study the productions seemed not to be enough, nor was it satisfactory to survey audience attenda

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Mollenhauer, Jeanette. "‘What's in a Name?’ Taxonomic Choices in the Field of Dance Studies." Dance Research 39, no. 1 (May 2021): 89–105. http://dx.doi.org/10.3366/drs.2021.0322.

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Dance genres sometimes require categorisation and this article addresses a collective for which no universally-accepted terminology has been located. Using the example of the author's doctoral research in Australia, four alternatives are examined in turn: ‘folk’, ‘ethnic’, ‘world’ and ‘traditional’, with analysis of the advantages and problems embedded in each term. Discussion of the Australian social and political environment exemplifies pertinent location-specific issues that need to be addressed when making taxonomic choices. The article aims to stimulate further discursive commentary and e

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Crisp, Rosalind, and Lisa Roberts. "Reflections on Stony Creek Collective." Journal of Dance & Somatic Practices 13, no. 1 (December 1, 2021): 231–34. http://dx.doi.org/10.1386/jdsp_00052_1.

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A photo essay reflecting on Stony Creek Collective ‐ a multi-art form project in response to the destruction of the South-East Australian foothill forests. In 2019, Australia was in an extinction crisis. In the summer of 2019/2020, 85 per cent of Australia’s south-east forests burnt. Billions more plants, animals, birds, insects, lizards perished. Clear fell logging, removing all living things from the forest, resumed six months later. My flat surfaces all laid down in the cool dirt. I dance, she photographs. How to live with this ruin?

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Cox, Emma. ""What's past is prologue": Performing Shakespeare and Aboriginality in Australia." Multicultural Shakespeare: Translation, Appropriation and Performance 8, no. 23 (November 30, 2011): 71–92. http://dx.doi.org/10.2478/v10224-011-0006-5.

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36

Douglas, James. "Kennedy Miller Mitchell and the relationality of Australian cinema – global film practice in Australia." Studies in Australasian Cinema 15, no. 1-2 (May 3, 2021): 17–30. http://dx.doi.org/10.1080/17503175.2021.1921405.

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37

Kelly, Veronica. "Beauty and the Market: Actress Postcards and their Senders in Early Twentieth-Century Australia." New Theatre Quarterly 20, no. 2 (April 21, 2004): 99–116. http://dx.doi.org/10.1017/s0266464x04000016.

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A hundred years ago the international craze for picture postcards distributed millions of images of popular stage actresses around the world. The cards were bought, sent, and collected by many whose contact with live theatre was sometimes minimal. Veronica Kelly's study of some of these cards sent in Australia indicates the increasing reach of theatrical images and celebrity brought about by the distribution mechanisms of industrial mass modernity. The specific social purposes and contexts of the senders are revealed by cross-reading the images themselves with the private messages on the backs

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ARRIGHI, GILLIAN. "Circus and Sumo: Tradition, Innovation and Opportunism at the Australian Circus." Theatre Research International 37, no. 3 (September 4, 2012): 265–82. http://dx.doi.org/10.1017/s0307883312000910.

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This article examines an early example of martial arts performance in Australia occasioned by the tour of – purportedly – the first team of sumo wrestlers to leave Japan. By examining the performances and reception of the Japanese sumo wrestlers against the backdrop of international political relations, which included the Russo-Japanese War of 1904–5, this study contributes to our understanding of the transnational circulation of the martial arts on popular stages, and to our understanding of the circus as a politically dynamic site that nurtured performative transnational encounters. The case

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Ferres, Kay, David Adair, and Ronda Jones. "Cultural indicators: assessing the state of the arts in Australia." Cultural Trends 19, no. 4 (December 2010): 261–72. http://dx.doi.org/10.1080/09548963.2010.515002.

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Elfving-Hwang, Joanna, and Jane Park. "Deracializing Asian Australia? Cosmetic surgery and the question of race in Australian television." Continuum 30, no. 4 (February 22, 2016): 397–407. http://dx.doi.org/10.1080/10304312.2016.1141864.

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41

Brown, Allan. "Pay TV for Australia?" Continuum 4, no. 1 (January 1990): 172–88. http://dx.doi.org/10.1080/10304319009388188.

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Miller, Toby. "When Australia became modern." Continuum 8, no. 2 (January 1994): 206–14. http://dx.doi.org/10.1080/10304319409365676.

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Loreck, Janice, Sian Mitchell, Whitney Monaghan, and Kirsten Stevens. "Looking Back, Moving Forward." Camera Obscura: Feminism, Culture, and Media Studies 35, no. 2 (September 1, 2020): 159–69. http://dx.doi.org/10.1215/02705346-8359640.

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The Melbourne Women in Film Festival (MWFF) is a four-day event in Melbourne, Australia, that supports and celebrates the work of Australian women filmmakers. Launched in 2017, the festival emerged from our desire as screen academics to increase the visibility of both professional and amateur women filmmakers and their work. Despite a strong history of grassroots and state-supported women’s creative cultures in Australia, women have remained marginal within the domestic screen industry. Women filmmakers are also underrepresented within the global festival circuit. This article traces the curat

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Best, Susan. "Repair in Australian Indigenous art." Journal of Visual Culture 21, no. 1 (April 2022): 190–205. http://dx.doi.org/10.1177/14704129221088289.

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This article examines artworks by three emerging Australian Indigenous artists who are revitalizing Indigenous cultural traditions. The author argues that their work is reparative in the manner described by queer theorist Eve Kosofsky Sedgwick; that is, their art addresses the damage of traumatic colonial histories while being open to pleasure, beauty and surprise. The artists are all based in Brisbane and completed a degree in Contemporary Australian Indigenous Art at Queensland College of Art – the only degree of this nature in Australia. The artists are Carol McGregor, Dale Harding and Robe

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Ross, Imogen, and Tanja Beer. "Ecoscenography conversations¹." Scene 9, no. 1 (December 1, 2021): 37–50. http://dx.doi.org/10.1386/scene_00042_1.

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The global ecological crisis calls for a new approach to theatre making that overturns the ‘take, make and dispose’ production model that has become so intrinsic to the performing arts. Ecoscenography is a burgeoning movement that interweaves creative, environmental, social and cultural aspects of performance design to produce ecologically sensitive and evocative spatial experiences. The neologism has its roots in Australian fringe theatre and freelance design practices, many of which take pride in shoe-string budgets, site-specific, ad hoc and non-traditional forms of theatre making. Ecologic

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Margalit, Harry. "The State of Contemporary Architecture in Australia." Architectural Theory Review 11, no. 1 (April 2006): 7–16. http://dx.doi.org/10.1080/13264820609478551.

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47

Gallasch, Keith. "Promise and Participation: Youth Theatre in Australia." New Theatre Quarterly 2, no. 5 (February 1986): 90–93. http://dx.doi.org/10.1017/s0266464x00001950.

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If theatre-in-education achieved its impact by taking theatre to the young in the 'seventies, then the developing youth theatre movement might be seen as part of the reaction to that initiative in the 'eighties. Here Keith Gallasch, artistic director of the State Theatre Company in South Australia, himself a writer, recalls his first involvement with youth theatre, and goes on to sketch some of its dilemmas and prospects.

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Pollock, Benjin. "Beyond the Burden of History in Indigenous Australian Cinema." Film Studies 20, no. 1 (May 2019): 36–53. http://dx.doi.org/10.7227/fs.20.0003.

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How Indigenous Australian history has been portrayed and who has been empowered to define it is a complex and controversial subject in contemporary Australian society. This article critically examines these issues through two Indigenous Australian films: Nice Coloured Girls (1987) and The Sapphires (2012). These two films contrast in style, theme and purpose, but each reclaims Indigenous history on its own terms. Nice Coloured Girls offers a highly fragmented and experimental history reclaiming Indigenous female agency through the appropriation of the colonial archive. The Sapphires eschews su

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Sussman, Sally, and Tony Day. "Orientalia, Orientalism, and The Peking Opera Artist as ‘Subject’ in Contemporary Australian Performance." Theatre Research International 22, no. 2 (1997): 130–49. http://dx.doi.org/10.1017/s030788330002054x.

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As brochures for the January 1996 Sydney Festival blare out ‘Feel the Beat. Feel the Heat!’ to draw the crowds of summering Sydney folk to performances of the National Dance Company of Guinea (already appropriated and stamped with approval by reviewers in San Francisco and London, who are quoted on the same flyer), the chairman and former artistic director of Playbox Theatre in Melbourne, Carrillo Gartner, worries about the strength of popular Australian opposition to Australia's expanding links with Asia. In an article on the holding of the 14th annual Federation for Asian Cultural Promotion

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Jayamanne, Laleen. "On Teaching Cinema Studies in Australia." BioScope: South Asian Screen Studies 2, no. 1 (January 2011): 5–9. http://dx.doi.org/10.1177/097492761000200102.

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