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Journal articles on the topic 'Haunted places – Fiction'

Author: Grafiati

Published: 28 July 2024

Last updated: 31 July 2025

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1

Maleszka, Anna, and Mateusz Maleszka. "Supernatural or Material: Haunted Places in H.P. Lovecraft’s, M.R. James’s, A. Machen’s and A. Blackwood’s Horror Fiction." Theoria et Historia Scientiarum 14 (December 21, 2017): 181. http://dx.doi.org/10.12775/ths.2017.013.

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Safari Monfared, Mahdi, Erfan Zarei, and Shideh Ahmadzadeh Heravi. "Melancholia and Traumatic Reenactment in Contemporary American Fiction: A Caruthian Reading of Gillian Flynn's Novels." Journal of English Language Teaching, Literature and Culture 2, no. 2 (2023): 111–32. http://dx.doi.org/10.53682/jeltec.v2i2.7317.

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Gillian Schieber Flynn's fiction is laced with such recurring themes as dysfunctional nature of families, childhood abuse and neglect, and tragic murder of the loved ones. The current study, therefore, will set out to prove that the central characters of Flynn's Sharp Objects, Dark Places, and Gone Girl have been traumatized in their childhood, the effect of which still haunts them through hallucinations, traumatic flashbacks, and nightmares. It will be contended that the characters are still melancholic after many a year, thus fixated on past traumatic events, which they reenact through diver

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Lado-Pazos, Vanesa. "Of Black Boys and Haunted Houses: Spectrality and Historical Rewriting in Randall Kenan’s Short Fiction." Annales Universitatis Mariae Curie-Skłodowska, sectio FF – Philologiae 42, no. 1 (2024): 121–33. https://doi.org/10.17951/ff.2024.42.1.121-133.

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Since the so-called spectral turn of the 1990s, the ghost has been placed at the forefront of critical debates as a conceptual metaphor through which to destabilize the hegemonic discourses and values of modernity. Adopting the theoretical framework of spectrality studies, this paper seeks to interrogate the functions fulfilled by the ghost in “Tell Me, Tell Me” (1992) and “Resurrection Hardware or, Lard and Promises” (2018) by Randall Kenan. The comparative analysis of both narratives will render spectrality as a multi-layered metaphor of great socio-political import that allows for the artic

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Golubkova, A. A. "Yin Liu, Mikhaylova, M. (2018). Works of the lady owner of the ‘haunted apartment’, or The phenomenon of E. A. Nagrodskaya. Moscow: Common place." Voprosy literatury 1, no. 1 (2020): 288–91. http://dx.doi.org/10.31425/0042-8795-2020-1-288-291.

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The review focuses on the monograph co-written by Doctor of Philology Maria Mikhaylova and the Chinese scholar Yin Liu about Evdokia Nagrodskaya and her works. Contemporary critics dismissed her books as pulp fiction. Yet the researchers prove convincingly that Nagrodskaya’s works reveal a meaning deeper than was assumed by her contemporaries. Moreover, the transgender theme explored in Nagrodskaya’s acclaimed novel The Wrath of Dionysus [ Gnev Dionisa ] remains highly relevant a century upon the book’s first publication. Amongst the mo nograph’s noticeable merits is a detailed overview of mod

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Cicovacki, Borislav. "Zora D. by Isidora Zebeljan: Towards the new opera." Muzikologija, no. 4 (2004): 223–45. http://dx.doi.org/10.2298/muz0404223c.

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Opera Zora D., composed by Isidora Zebeljan during 2002 and 2003, and which was premiered in Amsterdam in June 2003, is the first Serbian opera that had a world premiere abroad. It is also the first Serbian opera that has been staged outside Serbia since 1935, after being acclaimed at a competition organized by the Genesis Foundation from London. Isidora Zebeljan was commissioned (granted financial backing) to compose a complete opera with a secured stage realization. The Dutch Chamber Opera (Opera studio Nederland) and the Viennese Chamber Opera (Wiener Kammeroper) were the co-producers of th

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Henningsen, Gustav, and Jesper Laursen. "Stenkast." Kuml 55, no. 55 (2006): 243–78. http://dx.doi.org/10.7146/kuml.v55i55.24695.

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CairnsIn Denmark, the term stenkast (a ‘stone throw’) is used for cairns – stone heaps that have accumulated in places where it was the tradition to throw a stone. A kast (a ‘throw’) would actually be a more correct term, as sometimes the heaps consist of sticks, branches, heather, or peat, rather than stones – in short, whichever was at hand at that particular place. A kast could also consist of both sticks and stones.The majority of the known Danish cairns were presented by August F. Schmidt in 1929. Since then, numerous new ones have been discovered, and we now know of around 80 cairns, cf.

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Oulton, Carolyn W. de la L. "“Making Literature Ridiculous”: Jerome K. Jerome and the New Humour." Dickens Studies Annual 48, no. 1 (2017): 273–84. http://dx.doi.org/10.5325/dickstudannu.48.2017.0273.

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Abstract The New Humour of the 1890s was often depicted as a mania or disease attacking unreflecting or susceptible readers. However, like the figure of the New Woman (which it often attacked), New Humour both incurred and resisted simplistic definitions. As the most successful of the New Humourists, Jerome K. Jerome was uniquely placed to exploit the ambivalent status of fin de siècle comic fiction. His weekly journal To-day adroitly responds to press attacks, notably through provocative suggestions that he and his contributors are writing in the tradition of Dickens. Inviting readers to see

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Oulton, Carolyn W. de la L. "“Making Literature Ridiculous”: Jerome K. Jerome and the New Humour." Dickens Studies Annual 48, no. 1 (2017): 273–84. http://dx.doi.org/10.5325/dickstudannu.48.1.0273.

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Abstract The New Humour of the 1890s was often depicted as a mania or disease attacking unreflecting or susceptible readers. However, like the figure of the New Woman (which it often attacked), New Humour both incurred and resisted simplistic definitions. As the most successful of the New Humourists, Jerome K. Jerome was uniquely placed to exploit the ambivalent status of fin de siècle comic fiction. His weekly journal To-day adroitly responds to press attacks, notably through provocative suggestions that he and his contributors are writing in the tradition of Dickens. Inviting readers to see

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9

Knowles, Owen. ""Who's Afraid of Arthur Schopenhauer?": A New Context for Conrad's Heart of Darkness." Nineteenth-Century Literature 49, no. 1 (1994): 75–106. http://dx.doi.org/10.2307/2934045.

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Conrad's relationship to Schopenhauer and the nineteenth-century traditions of pessimism sponsored by the German philosopher has long been a contentious critical issue. This paper discovers a new shaping context for Kurtz, the Promethean outlaw-philosopher and ubiquitous "voice" of Heart of Darkness, not in Schopenhauer's own writings but in the secondary myths, legends, and icons that endowed the great philosopher with a potent cultural afterlife during the period from 1870 to 1900. The numerous consonances between this body of later Schopenhauriana and Heart of Darkness point to ways in whic

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MOHAMMADI, Marjan. "Weltliteratur and the Figure of Author-Translator in The Adventures Of Hajji Baba." Synthesis 3, no. 3 (2024): 81–99. https://doi.org/10.59277/synthe.2024.3.81.

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This paper focuses on the problem of “translatability” and the encounter of English as the medium of exchange with Persian in James J. Morier’s The Adventures of Hajji Baba (1824) and its sequel (1828). It approaches the question of translatability from two vantage points: First, it considers how the economic assumption of “equivalences”, where words and referents enter a relationship of commensurability, paradoxically creates a pseudo-discourse to uphold the validity of the travelogue as an “authentic” account of the “Orient” and a commodity that once rendered in English can circulate the boo

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Cooper, Annabel. "Nō Ōrākau: Past and People in James Cowan’s Places." Journal of New Zealand Studies, no. 19 (May 13, 2015). http://dx.doi.org/10.26686/jnzs.v0i19.3766.

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In tracing the interconnections of place and people in James Cowan's writing, this article argues that his widely-disseminated body of work complicates current orthodoxies and warrants more consideration in the study of settlement than it has had to date. Analyses of newspaper features and short non-fiction narratives, and of book chapters which centre on the prototype for Cowan’s cultural landscapes, Ōrākau, provide the basis for an argument that even in an era when the picturesque appeared to have wrought a division between scenic and inhabited landscapes, Cowan’s writing refused that distin

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Lundberg, Anita. "Tropical Imaginaries in Living Cities." eTropic: electronic journal of studies in the tropics 17, no. 2 (2018). http://dx.doi.org/10.25120/etropic.17.2.2018.3651.

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This is the second part of the eTropic special issue theme on Tropical Imaginaries and Living Cities. While the first part of this series concentrated predominately on concrete cities and the material imagination, this second issue explores notions of the tropics and cities through literary and artistic works. Thus in this collection of papers the tropical imaginary comes to the forefront while the metropolis provides the space or canvas for the imagination.Many of the cities called up in this collection have physical presence, places such as Darwin, Singapore, Hong Kong, Shanghai, Paris, Berl

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Lambert, Anthony, and Catherine Simpson. "Jindabyne’s Haunted Alpine Country: Producing (an) Australian Badland." M/C Journal 11, no. 5 (2008). http://dx.doi.org/10.5204/mcj.81.

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“People live here, they die here so they must leave traces.” (Read 140) “Whatever colonialism was and is, it has made this place unsettling and unsettled.” (Gibson, Badland 2) Introduction What does it mean for [a] country to be haunted? In much theoretical work in film and Cultural Studies since the 1990s, the Australian continent, more often than not, bears traces of long suppressed traumas which inevitably resurface to haunt the present (Gelder and Jacobs; Gibson; Read; Collins and Davis). Felicity Collins and Therese Davis illuminate the ways Australian cinema acts as a public sphere, or “

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Piatti-Farnell, Lorna. "Words from the Culinary Crypt: Reading the Cookbook as a Haunted/Haunting Text." M/C Journal 16, no. 3 (2013). http://dx.doi.org/10.5204/mcj.640.

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Cookbooks can be interpreted as sites of exchange and transformation. This is not only due to their practical use as written instructions that assist in turning ingredients into dishes, but also to their significance as interconnecting mediums between teacher and student, perceiver and perceived, past and present. Hinging on inescapable notions of apprenticeship, occasion, and the passing of time—and being at once familiar and unfamiliar to both the reader and the writer—the recipe “as text” renders a specific brand of culinary uncanny. In outlining the function of cookbooks as chronicles of t

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Masson, Sophie Veronique. "Fairy Tale Transformation: The Pied Piper Theme in Australian Fiction." M/C Journal 19, no. 4 (2016). http://dx.doi.org/10.5204/mcj.1116.

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The traditional German tale of the Pied Piper of Hamelin inhabits an ambiguous narrative borderland, a liminal space between fact and fiction, fantasy and horror, concrete details and elusive mystery. In his study of the Pied Piper in Tradition and Innovation in Folk Literature, Wolfgang Mieder describes how manuscripts and other evidence appear to confirm the historical base of the story. Precise details from a fifteenth-century manuscript, based on earlier sources, specify that in 1284 on the 26th of June, the feast-day of Saints John and Paul, 130 children from Hamelin were led away by a pi

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Brabon, Katherine. "Wandering in and out of Place: Modes of Searching for the Past in Paris, Moscow, and St Petersburg." M/C Journal 22, no. 4 (2019). http://dx.doi.org/10.5204/mcj.1547.

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IntroductionThe wandering narrator is a familiar figure in contemporary literature. This narrator is often searching for something abstract or ill-defined connected to the past and the traces it leaves behind. The works of the German writer W.G. Sebald inspired a number of theories on the various ways a writer might intersect place, memory, and representation through seemingly aimless wandering. This article expands on the scholarship around Sebald’s themes to identify two modes of investigative wandering: (1) wandering “in place”, through a city where a past trauma has occurred, and (2) wande

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Hanscombe, Elisabeth. "A Plea for Doubt in the Subjectivity of Method." M/C Journal 14, no. 1 (2011). http://dx.doi.org/10.5204/mcj.335.

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Photograph by Gonzalo Echeverria (2010)Doubt has been my closest companion for several years as I struggle to make sense of certain hidden events from within my family’s history. The actual nature of such events, although now lost to us, can nevertheless be explored through the distorting lens of memory and academic research. I base such explorations in part on my intuition and sensitivity to emotional experience, which are inevitably riddled with doubt. I write from the position of a psychoanalytic psychologist who is also a creative writer and my doubts increase further when I use the autobi

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Mercer, Erin. "“A deluge of shrieking unreason”: Supernaturalism and Settlement in New Zealand Gothic Fiction." M/C Journal 17, no. 4 (2014). http://dx.doi.org/10.5204/mcj.846.

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Like any genre or mode, the Gothic is malleable, changing according to time and place. This is particularly apparent when what is considered Gothic in one era is compared with that of another. The giant helmet that falls from the sky in Horace Walpole’s Castle of Otranto (1764) is a very different threat to the ravenous vampires that stalk the novels of Anne Rice, just as Ann Radcliffe’s animated portraits may not inspire anxiety for a contemporary reader of Stephen King. The mutability of Gothic is also apparent across various versions of national Gothic that have emerged, with the specificit

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Cantrell, Kate, Ariella Van Luyn, and Emma Doolan. "Wandering." M/C Journal 22, no. 4 (2019). http://dx.doi.org/10.5204/mcj.1598.

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Wandering is an embodied movement through a landscape, cityscape, or soundscape; it is a venture that one may undertake voluntarily or reluctantly. It is similar to wayfaring and roaming, and different to walking. As a metaphor and as a figuration of subjectivity, wandering allows for a number of non-linear engagements: loitering, overhearing, wildflowering, meandering, even time travel. When coupled with an act of memory or imagination, wandering can instigate wondering, and vice versa. It can refer to the physical movement of the body through space or the abstract wandering of the mind throu

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West, Patrick Leslie. "Towards a Politics and Art of the Land: Gothic Cinema of the Australian New Wave and Its Reception by American Film Critics." M/C Journal 17, no. 4 (2014). http://dx.doi.org/10.5204/mcj.847.

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Many films of the Australian New Wave (or Australian film renaissance) of the 1970s and 1980s can be defined as gothic, especially following Jonathan Rayner’s suggestion that “Instead of a genre, Australian Gothic represents a mode, a stance and an atmosphere, after the fashion of American Film Noir, with the appellation suggesting the inclusion of horrific and fantastic materials comparable to those of Gothic literature” (25). The American comparison is revealing. The 400 or so film productions of the Australian New Wave emerged, not in a vacuum, but in an increasingly connected and inter-mix

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Marshall, P. David. "Seriality and Persona." M/C Journal 17, no. 3 (2014). http://dx.doi.org/10.5204/mcj.802.

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No man [...] can wear one face to himself and another to the multitude, without finally getting bewildered as to which one may be true. (Nathaniel Hawthorne Scarlet Letter – as seen and pondered by Tony Soprano at Bowdoin College, The Sopranos, Season 1, Episode 5: “College”)The fictitious is a particular and varied source of insight into the everyday world. The idea of seriality—with its variations of the serial, series, seriated—is very much connected to our patterns of entertainment. In this essay, I want to begin the process of testing what values and meanings can be drawn from the idea of

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Irwin, Hannah. "Not of This Earth: Jack the Ripper and the Development of Gothic Whitechapel." M/C Journal 17, no. 4 (2014). http://dx.doi.org/10.5204/mcj.845.

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On the night of 31 August, 1888, Mary Ann ‘Polly’ Nichols was found murdered in Buck’s Row, her throat slashed and her body mutilated. She was followed by Annie Chapman on 8 September in the year of 29 Hanbury Street, Elizabeth Stride in Dutfield’s Yard and Catherine Eddowes in Mitre Square on 30 September, and finally Mary Jane Kelly in Miller’s Court, on 9 November. These five women, all prostitutes, were victims of an unknown assailant commonly referred to by the epithet ‘Jack the Ripper’, forming an official canon which excludes at least thirteen other cases around the same time. As the Ri

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Mead, Amy. "Bold Walks in the Inner North: Melbourne Women’s Memoir after Jill Meagher." M/C Journal 20, no. 6 (2017). http://dx.doi.org/10.5204/mcj.1321.

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Each year, The Economist magazine’s “Economist Intelligence Unit” ranks cities based on “healthcare, education, stability, culture, environment and infrastructure”, giving the highest-ranking locale the title of most ‘liveable’ (Wright). For the past six years, The Economist has named Melbourne “the world’s most liveable city” (Carmody et al.). A curious portmanteau, the concept of liveability is problematic: what may feel stable and safe to some members of the community may marginalise others due to several factors such as gender, disability, ethnicity or class.The subjective nature of this t

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Piatti-Farnell, Lorna. "What’s Hidden in Gravity Falls: Strange Creatures and the Gothic Intertext." M/C Journal 17, no. 4 (2014). http://dx.doi.org/10.5204/mcj.859.

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Discussing the interaction between representation and narrative structures, Anthony Mandal argues that the Gothic has always been “an intrinsically intertextual genre” (Mandal 350). From its inception, the intertextuality of the Gothic has taken many and varied incarnations, from simple references and allusions between texts—dates, locations, characters, and “creatures”—to intricate and evocative uses of style and plot organisation. And even though it would be unwise to reduce the Gothic “text” to a simple master narrative, one cannot deny that, in the midst of re-elaborations and re-interpret

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Mills, Brett. "What Happens When Your Home Is on Television?" M/C Journal 10, no. 4 (2007). http://dx.doi.org/10.5204/mcj.2694.

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   In the third episode of the British sci-fi/thriller television series Torchwood (BBC3, 2007-) the team are investigating a portable ‘ghost machine’, which allows its users to see events which occurred in the past. After visiting an old man whose younger self the device may have allowed them to witness, the team’s medic, Owen Harper, spots Bernie Harris, who’d previously been in possession of the machine. A chase ensues; they run past a park, between a gang of kids playing football, over a railway bridge, through a housing estate, and eventually Bernie is cornered in a back

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Culver, Carody. "My Kitchen, Myself: Constructing the Feminine Identity in Contemporary Cookbooks." M/C Journal 16, no. 3 (2013). http://dx.doi.org/10.5204/mcj.641.

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Sometimes ... we don’t want to feel like a post-modern, post-feminist, overstretched woman but, rather, a domestic goddess, trailing nutmeggy fumes of baking pie in our languorous wake (Nigella Lawson, How to be a Domestic Goddess vii). IntroductionFor today’s female readers, the idea of trailing “nutmeggy fumes” of home-baked pie through their kitchens could be as much a source of gender-stereotyping outrage as one of desire or longing. Regardless of personal response, there seems little doubt that the image Lawson’s words create prevails even in the 21st century: an apron-clad, kitchen-bound

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Joseph, Kaela. "Gays Burying Ourselves." M/C Journal 28, no. 1 (2025). https://doi.org/10.5204/mcj.3140.

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Introduction Jane Schoenbrun’s I Saw the TV Glow (ISTTVG) is a psychological science fiction/horror film which draws upon audiences’ associations between serialised television and queer identity development to ask a terrifying question: would you bury yourself alive to solve the mystery of a parallel life not yet lived? The film is an allegory for queer experiences of internalised heteronormativity and concealment in which the villain is not the typical monster of the week, but our own selves, suffocating under the mundanity of surroundings we have yet to break free from. Neon noir elements ar

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Mudie, Ella. "Unbuilding the City: Writing Demolition." M/C Journal 20, no. 2 (2017). http://dx.doi.org/10.5204/mcj.1219.

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IntroductionUtopian and forward looking in tenor, official narratives of urban renewal and development implicitly promote normative ideals of progress and necessary civic improvement. Yet an underlying condition of such renewal is frequently the very opposite of building: the demolition of existing urban fabric. Taking as its starting point the large-scale demolition of buildings proposed for the NSW Government’s Sydney Metro rail project, this article interrogates the role of literary treatments of demolition in mediating complex, and often contradictory, responses to transformations of the b

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Speakman, Blair Ian. "“Poor creature, trapped in existential solitude forever”: Gothic Dreams of the Uncanny, Repetition, Temporal Loops, and the Double in The Chilling Adventures of Sabrina." M/C Journal 23, no. 1 (2020). http://dx.doi.org/10.5204/mcj.1642.

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IntroductionAccording to Sigmund Freud (A General Introduction to Psychoanalysis 90), dreams can be seen as a “substitute for something else, unknown to the dreamer”. In Freud’s theory, dreams are regarded as a “depiction of the subconscious, a screen onto which the subconscious projects its suppressed desires and hallucinations about their fulfilment” (Khapaeva & Tweddle 6). It is likely due to these aspects that dreams and dreaming have become prevalent in contemporary literature, film and television, and an outlet for a greater examination of Freud’s work on the origins and nature of th

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Mac Con Iomaire, Máirtín. "Coffee Culture in Dublin: A Brief History." M/C Journal 15, no. 2 (2012). http://dx.doi.org/10.5204/mcj.456.

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IntroductionIn the year 2000, a group of likeminded individuals got together and convened the first annual World Barista Championship in Monte Carlo. With twelve competitors from around the globe, each competitor was judged by seven judges: one head judge who oversaw the process, two technical judges who assessed technical skills, and four sensory judges who evaluated the taste and appearance of the espresso drinks. Competitors had fifteen minutes to serve four espresso coffees, four cappuccino coffees, and four “signature” drinks that they had devised using one shot of espresso and other ingr

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Rattray, Chloe T., and Katie Ellis. ""I Love Every Part of You"." M/C Journal 26, no. 5 (2023). http://dx.doi.org/10.5204/mcj.2997.

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Introduction The Owl House is an animated television series that aired on the Disney Channel from 2020 to 2023. The series follows Luz, a teenage Dominican-American human who finds a portal to the Demon Realm. She lands on the Boiling Isles, an island archipelago populated with magical creatures. There, Luz befriends a middle-aged witch named Edalyn “Eda” Clawthorne (also known as Eda the Owl Lady), and her housemate/adoptive son King, a cute dog-like demon with a skull for a head. Eda agrees to teach Luz magic. Magic is then used as a narrative prosthesis (McReynolds) to explore themes of inc

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Tregoning, William. "'Very Solo'." M/C Journal 7, no. 5 (2004). http://dx.doi.org/10.5204/mcj.2411.

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This article treads a fine line. I want to discuss the way that particular contemporary pop soloists talk about, and are talked about in terms of, authentic identity. And I want to use this to make an argument about the significance of those claims within a broader cultural dialogue about identity; specifically: that they demonstrate the persistent popular desirability of “authentic identity” in the face of its perceived theoretical indefensibility and supposed loss of significance. But I want to do all this without perpetuating the tendency for popular music scholarship to engage “authenticit

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Comerford, Chris, and Tracey Woolrych. "Becoming the Shadows." M/C Journal 28, no. 1 (2025). https://doi.org/10.5204/mcj.3142.

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Introduction The dark silhouette of Batman (Robert Pattinson) emerges from the shadows on a rainy night, confronting a gang at a train station. One of their members asks, “what the hell are you supposed to be?”, before moving to attack. Batman quickly disarms the gang member, but in contrast to many of the character’s incarnations – on the screen and the comic book page – who would knock the criminal out before moving on, this Batman pummels the gang member even after he’s been knocked to the ground. With a throaty growl Batman responds, “I’m vengeance”, then proceeds to violently assault the

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Ahn, Sungyong. "On That <em>Toy-Being</em> of Generative Art Toys." M/C Journal 26, no. 2 (2023). http://dx.doi.org/10.5204/mcj.2947.

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Exhibiting Procedural Generation Generative art toys are software applications that create aesthetically pleasing visual patterns in response to the users toying with various input devices, from keyboard and mouse to more intuitive and tactile devices for motion tracking. The “art” part of these toy objects might relate to the fact that they are often installed in art galleries or festivals as a spectacle for non-players that exhibits the unlimited generation of new patterns from a limited source code. However, the features that used to characterise generative arts as a new meditative genre, s

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Dewsbury, John-David. "Still: 'No Man's Land' or Never Suspend the Question." M/C Journal 12, no. 1 (2009). http://dx.doi.org/10.5204/mcj.134.

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“Say a body. Where none. No mind. Where none. That at least. A place. Where none. For the body. To be in. Move in. Out of. Back into. No out. No back. Only in. Stay in. On in. Still” (Beckett, Short Fiction 471). 1. Introduction – Wherefore to ‘still’?HIRST: As it is?SPOONER: As it is, yes please, absolutely as it is (Pinter, 1971-1981 77). These first lines of Harold Pinter’s play No Man’s Land are indeed the first lines: they were the first lines that came to Pinter, existing as the spark that drove the play into being. Pinter overhead the words ‘As it is’ whilst in a taxi cab and was struck

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Hackett, Lisa J., and Jo Coghlan. "Why <em>Monopoly</em> Monopolises Popular Culture Board Games." M/C Journal 26, no. 2 (2023). http://dx.doi.org/10.5204/mcj.2956.

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Introduction Since the early 2000s, and especially since the onset of COVID-19 and long periods of lockdown, board games have seen a revival in popularity. The increasing popularity of board games are part of what Julie Lennett, a toy industry analyst at NPD Group, describes as the “nesting trend”: families have more access to entertainment at home and are eschewing expensive nights out (cited in Birkner 7). While on-demand television is a significant factor in this trend, for Moriaty and Kay (6), who wouldn’t “welcome [the] chance to turn away from their screens” to seek the “warmth and conne

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Murphy, Ffion, and Richard Nile. "The Many Transformations of Albert Facey." M/C Journal 19, no. 4 (2016). http://dx.doi.org/10.5204/mcj.1132.

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In the last months of his life, 86-year-old Albert Facey became a best-selling author and revered cultural figure following the publication of his autobiography, A Fortunate Life. Released on Anzac Day 1981, it was praised for its “plain, unembellished, utterly sincere and un-self-pitying account of the privations of childhood and youth” (Semmler) and “extremely powerful description of Gallipoli” (Dutton 16). Within weeks, critic Nancy Keesing declared it an “Enduring Classic.” Within six months, it was announced as the winner of two prestigious non-fiction awards, with judges acknowledging Fa

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Sexton-Finck, Larissa. "Violence Reframed: Constructing Subjugated Individuals as Agents, Not Images, through Screen Narratives." M/C Journal 23, no. 2 (2020). http://dx.doi.org/10.5204/mcj.1623.

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What creative techniques of resistance are available to a female filmmaker when she is the victim of a violent event and filmed at her most vulnerable? This article uses an autoethnographic lens to discuss my experience of a serious car crash my family and I were inadvertently involved in due to police negligence and a criminal act. Employing Creative Analytical Practice (CAP) ethnography, a reflexive form of research which recognises that the creative process, producer and product are “deeply intertwined” (Richardson, “Writing: A Method” 930), I investigate how the crash’s violent affects cri

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