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Journal articles on the topic 'Motion pictures Australia'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

Jóźwiak, Marek, Brian Po-Jung Chen, Bartosz Musielak, Jacek Fabiszak, and Andrzej Grzegorzewski. "Social Attitudes toward Cerebral Palsy and Potential Uses in Medical Education Based on the Analysis of Motion Pictures." Behavioural Neurology 2015 (2015): 1–8. http://dx.doi.org/10.1155/2015/341023.

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This study presents how motion pictures illustrate a person with cerebral palsy (CP), the social impact from the media, and the possibility of cerebral palsy education by using motion pictures. 937 motion pictures were reviewed in this study. With the criteria of nondocumentary movies, possibility of disability classification, and availability, the total number of motion pictures about CP was reduced to 34. The geographical distribution of movie number ever produced is as follows: North America 12, Europe 11, India 2, East Asia 6, and Australia 3. The CP incidences of different motor types in

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Zvegintseva, Irina A. "The Theme of Apocalypse in Australian Cinema." Journal of Flm Arts and Film Studies 7, no. 4 (2015): 111–20. http://dx.doi.org/10.17816/vgik74111-120.

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The article analyses the Australian apocalypse films. Apocalypse is often used as a synonym to the worlds end or a world scale catastrophe. The world knows hundreds of motion pictures of different talent and artistry, where the set takes place either before, during or after a global catastrophe. Reasons for the apocalypse vary: nuclear war, alien invasion, riot of the machines, a gigantic meteor, a disease unknown to science, etc. Nevertheless, the result always remains the same: humanity ceases to exist. Australian filmmakers, too, have not stood out of their foreign colleagues and made a lar

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MCKENZIE, JORDI. "Bayesian Information Transmission and Stable Distributions: Motion Picture Revenues at the Australian Box Office*." Economic Record 84, no. 266 (2008): 338–53. http://dx.doi.org/10.1111/j.1475-4932.2008.00495.x.

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McKenzie, Jordi. "Revealed word-of-mouth demand and adaptive supply: survival of motion pictures at the Australian box office." Journal of Cultural Economics 33, no. 4 (2009): 279–99. http://dx.doi.org/10.1007/s10824-009-9104-4.

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CONSIDINE, MARK, SIOBHAN O’SULLIVAN, MICHAEL MCGANN, and PHUC NGUYEN. "Locked-in or Locked-out: Can a Public Services Market Really Change?" Journal of Social Policy 49, no. 4 (2019): 850–71. http://dx.doi.org/10.1017/s0047279419000941.

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AbstractAustralia’s welfare-to-work system has been subject to ongoing political contestation and policy reform since the 1990s. In this paper we take a big picture look at the Australian system over time, re-visiting our earlier analysis of the impact of marketisation on flexibility at the frontline over the first ten years of the Australian market in employment services. That analysis demonstrated that marketisation had failed to deliver the service flexibility intended through contracting-out, and had instead produced market herding around a common set of standardised frontline practices. I

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Helmholz, P., S. Zlatanova, J. Barton, and M. Aleksandrov. "GEOINFORMATION FOR DISASTER MANAGEMENT 2020 (Gi4DM2020): PREFACE." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLIV-3/W1-2020 (November 18, 2020): 1–3. http://dx.doi.org/10.5194/isprs-archives-xliv-3-w1-2020-1-2020.

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Abstract. Across the world, nature-triggered disasters fuelled by climate change are worsening. Some two billion people have been affected by the consequences of natural hazards over the last ten years, 95% of which were weather-related (such as floods and windstorms). Fires swept across large parts of California, and in Australia caused unprecedented destruction to lives, wildlife and bush. This picture is likely to become the new normal, and indeed may worsen if unchecked. The Intergovernmental Panel on Climate Change (IPCC) estimates that in some locations, disaster that once had a once-in-

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Helmholz, P., S. Zlatanova, J. Barton, and M. Aleksandrov. "GEOINFORMATION FOR DISASTER MANAGEMENT 2020 (GI4DM2020): PREFACE." ISPRS Annals of Photogrammetry, Remote Sensing and Spatial Information Sciences VI-3/W1-2020 (November 17, 2020): 1–2. http://dx.doi.org/10.5194/isprs-annals-vi-3-w1-2020-1-2020.

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Abstract. Across the world, nature-triggered disasters fuelled by climate change are worsening. Some two billion people have been affected by the consequences of natural hazards over the last ten years, 95% of which were weather-related (such as floods and windstorms). Fires swept across large parts of California, and in Australia caused unprecedented destruction to lives, wildlife and bush. This picture is likely to become the new normal, and indeed may worsen if unchecked. The Intergovernmental Panel on Climate Change (IPCC) estimates that in some locations, disaster that once had a once-in-

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McGowan, John J. "From “Eve in Ebony” to a “Bran Nue Dae”: The Representation of Aboriginal and Torres Strait Islander People in Australian Motion Pictures ‒ A Synopsis." Zeitschrift für Australienstudien / Australian Studies Journal 28 (2014): 8–27. http://dx.doi.org/10.35515/zfa/asj.28/2014.03.

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MCNABB, ALEX. "A CONCEPTUAL MODEL FOR THE ORIGINS OF GEOTHERMAL AND VOLCANIC ACTIVITY IN THE NORTH ISLAND OF NEW ZEALAND." ANZIAM Journal 50, no. 3 (2009): 421–25. http://dx.doi.org/10.1017/s1446181109000182.

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AbstractThe current geothermal and volcanic activity in the North Island of New Zealand is explained as a consequence of Pacific and Australian plate interactions over the last 20 million years. The primary hypothesis is that the Kermadec subduction zone has for the last 20 million years or more been retreating in a south-easterly direction at about five centimetres per year. It is surmised that this motion and interaction with another subduction zone almost at right angles to it under the North Island resulted in plate tearing due to the incompatibility of the plate geometry where these subdu

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Ghafele, Roya. "Reply to George S. Ford’s ‘A Counterfactual Impact Analysis of Fair Use Policy on Copyright Related Industries in Singapore: A Critical Review’." Laws 9, no. 1 (2020): 2. http://dx.doi.org/10.3390/laws9010002.

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Ford’s ‘Comments (Laws 2018, 7(4), 34; https://doi.org/10.3390/laws7040034, https://www.mdpi.com/2075-471X/7/4/34)’ are biased by a partisan approach to the issues at stake and cannot be based on scientific evidence. The article “A Counterfactual Impact Analysis of Fair Use Policy on Copyright Related Industries in Singapore”, which Gibert and Gafelle wrote together nearly a decade ago, came under heavy criticism by George S. Ford from an organization named the Phoenix Centre for Advanced Legal and Economic Public Policy Studies in an article ‘A Counterfactual Impact Analysis of Fair Use Polic

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Galli, P. A. B., H. Bouy, J. Olivares, et al. "Lupus DANCe." Astronomy & Astrophysics 643 (November 2020): A148. http://dx.doi.org/10.1051/0004-6361/202038717.

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Context. Lupus is recognised as one of the closest star-forming regions, but the lack of trigonometric parallaxes in the pre-Gaia era hampered many studies on the kinematic properties of this region and led to incomplete censuses of its stellar population. Aims. We use the second data release of the Gaia space mission combined with published ancillary radial velocity data to revise the census of stars and investigate the 6D structure of the Lupus complex. Methods. We performed a new membership analysis of the Lupus association based on astrometric and photometric data over a field of 160 deg2

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Flann, Christina, John McNeill, Fred R. Barrie, et al. "Report on botanical nomenclature—Vienna 2005. XVII International Botanical Congress, Vienna: Nomenclature Section, 12–16 July 2005." PhytoKeys 45 (February 2, 2015): 1–341. https://doi.org/10.3897/phytokeys.45.9138.

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PrefaceThis is the official Report on the deliberations and decisions of the ten sessions of the Nomenclature Section of the XVII International Botanical Congress held in Vienna, Austria, from 12–16 July 2005. The meetings of the Section took place on these five consecutive days prior to the Congress proper. The Section meetings were hosted by the Institute of Botany, University of Vienna, Austria. Technical facilities included full electronic recording of all discussion spoken into the microphones. Text of all proposals to amend the <i>Code</i> was displayed on one screen allowing suggested a

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Dziekan, Vince. "The Synthetic Image." M/C Journal 5, no. 4 (2002). http://dx.doi.org/10.5204/mcj.1970.

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Author's Note: The Theme of the Loop: Image, Exhibition and Networkability In his contribution to the anthology, The Digital Dialectic, George P. Landow inventories a set of characteristics that define digital media. These defining traits result from a hybrid mixture of ideas relating hypertext writing to the visual language of collage. Included in this list is the quality of "networkability".1 It is through reading into this particular element that I will focus on the character of the digital image itself as multi-dimensional and how, by extension, this enmeshes notions of the image within a

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Watson, Robert. "E-Press and Oppress." M/C Journal 8, no. 2 (2005). http://dx.doi.org/10.5204/mcj.2345.

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   From elephants to ABBA fans, silicon to hormone, the following discussion uses a new research method to look at printed text, motion pictures and a teenage rebel icon. If by ‘print’ we mean a mechanically reproduced impression of a cultural symbol in a medium, then printing has been with us since before microdot security prints were painted onto cars, before voice prints, laser prints, network servers, record pressings, motion picture prints, photo prints, colour woodblock prints, before books, textile prints, and footprints. If we accept that higher mammals such as elepha

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"Language learning." Language Teaching 39, no. 2 (2006): 108–17. http://dx.doi.org/10.1017/s026144480622370x.

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06–235Akinjobi, Adenike (U Ibadan, Nigeria), Vowel reduction and suffixation in Nigeria. English Today (Cambridge University Press) 22.1 (2006), 10–17.06–236Bernat, Eva (Macquarie U, Australia; Eva.Bernat@nceltr.mq.edu.au) & Inna Gvozdenko, Beliefs about language learning: Current knowledge, pedagogical implications, and new research directions. TESL-EJ (www.tesl-ej.org) 9.1 (2005), 21 pp.06–237Cheater, Angela P. (Macau Polytechnic Institute, China), Beyond meatspace – or, geeking out in e-English. English Today (Cambridge University Press) 22.1 (2006), 18–28.06–238Chen, Liang (Lehigh U, P

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Kelen, Christopher. "How fair is fair?" M/C Journal 5, no. 3 (2002). http://dx.doi.org/10.5204/mcj.1964.

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Thou art of purer eyes than to behold evil, and canst not look on iniquity: wherefore lookest thou upon them that deal treacherously, and holdest thy tongue when the wicked devoureth the man that is more righteous than he? - Habakkuk 1:13 Australia's official national anthem since 1984 has been a song entitled 'Advance Australia Fair'1. This paper asks, very simply, what is the meaning of the word fair in the title and the song. The song is about a collective effort, not so much at being a nation as at being seen to be one, being worthy of the name. The claim is justified on two grounds: posse

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Brown, Adam, and Leonie Rutherford. "Postcolonial Play: Constructions of Multicultural Identities in ABC Children's Projects." M/C Journal 14, no. 2 (2011). http://dx.doi.org/10.5204/mcj.353.

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In 1988, historian Nadia Wheatley and indigenous artist Donna Rawlins published their award-winning picture book, My Place, a reinterpretation of Australian national identity and sovereignty prompted by the bicentennial of white settlement. Twenty years later, the Australian Broadcasting Corporation (ABC) commissioned Penny Chapman’s multi-platform project based on this book. The 13 episodes of the television series begin in 2008, each telling the story of a child at a different point in history, and are accompanied by substantial interactive online content. Issues as diverse as religious diff

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Brien, Donna Lee. "The Real Filth in American Psycho." M/C Journal 9, no. 5 (2006). http://dx.doi.org/10.5204/mcj.2657.

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   1991 An afternoon in late 1991 found me on a Sydney bus reading Brett Easton Ellis’ American Psycho (1991). A disembarking passenger paused at my side and, as I glanced up, hissed, ‘I don’t know how you can read that filth’. As she continued to make her way to the front of the vehicle, I was as stunned as if she had struck me physically. There was real vehemence in both her words and how they were delivered, and I can still see her eyes squeezing into slits as she hesitated while curling her mouth around that final angry word: ‘filth’. Now, almost fifteen years later, the

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Carty, Breda. "Interpreters in Our Midst." M/C Journal 13, no. 3 (2010). http://dx.doi.org/10.5204/mcj.257.

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When deaf people work in professional environments and participate in public events, we are often accompanied by sign language interpreters. This usually means wonderfully enhanced access – we can learn, participate and network in ways which are difficult if not impossible on our own. But while we often try to insist that our interpreters are ‘invisible’, that we are the ones learning, engaging in dialogue and consuming services, we are regularly bemused by the public fascination and focus on our interpreters – sometimes at the expense of their attention to us. When interpreters are in our mid

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Brammer, Rebekah. "Dark Laughs." M/C Journal 28, no. 1 (2025). https://doi.org/10.5204/mcj.3152.

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Introduction: From Classic Noir Parody to Aussie Comedy Noir However you choose to identify noir – as a genre, style, or cycle – over its 80 years from classic American film noir to neo-noir, neon-noir, national noirs, and television noir, it has undeniably seeped into popular culture. Exemplary of this is the way noir has hybridised with other genres and styles, true of comedy as much as its more serious pairings with science fiction, Western, and Gothic. This is not a new phenomenon: Sue Short points out that pastiche noir began appearing at the end of the classic cycle, citing Kiss Me Deadl

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Delaney, Elizabeth. "Scanning the Front Pages." M/C Journal 8, no. 4 (2005). http://dx.doi.org/10.5204/mcj.2399.

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   Gunther Kress and Theo van Leeuwen argue that in “contemporary Western visualization central composition is relatively uncommon” (Reading Images 203). In fact, “most compositions polarise elements as Given and New and/or Ideal and Real” (Reading Images 203). This is the regular situation on the front pages of Australia’s national and capital city dailies; but not on May 28. Rather than the favoured front page structures of left (Given) and right (New) and/or top (Ideal) and bottom (Real), on this morning the layouts in the newspapers centralised the Schapelle Corby judgmen

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Nolan, Huw, and Jo Coghlan. "Mutating a Better Man." M/C Journal 28, no. 2 (2025). https://doi.org/10.5204/mcj.3170.

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Introduction Michael Gracey's Better Man (2024) presents an innovative biographical representation of British pop star Robbie Williams through a radical visual strategy—depicting its subject as a CGI primate rather than through a human actor. Filmed in Australia and partially funded by the Australian Government, the film follows a relatively standard biopic narrative tracing Williams’s trajectory from his Stoke-on-Trent childhood through his tumultuous Take That tenure to solo stardom, mapping his struggles with addiction, familial relationships, and mental health crises. What distinguishes Be

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Gregg, Melissa. "Affect." M/C Journal 8, no. 6 (2005). http://dx.doi.org/10.5204/mcj.2437.

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   It seems not insignificant that the cult film Donnie Darko is set in the final stages of the Bush-Dukakis election campaign, which had the twin effects of inaugurating the Bush presidential dynasty and making “liberal” an insurmountably derogatory term in American politics. Donnie’s gift of seeing into the future is, at least superficially, a reaction to his medication for “emotional problems”. But the count-down to his apocalyptic date with a giant bunny-rabbit also coincides with the demise of any remaining hope for a certain kind of progressive Left politics. With the o

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Burns, Alex, and Axel Bruns. ""Share" Editorial." M/C Journal 6, no. 2 (2003). http://dx.doi.org/10.5204/mcj.2151.

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Does the arrival of the network society mean we are now a culture of collectors, a society of sharers? We mused about these questions while assembling this M/C Journal issue, which has its genesis in a past event of ‘shared’ confusion. Alex Burns booked into Axel Bruns’s hotel room at the 1998 National Young Writer’s Festival (NYWF) in Newcastle. This ‘identity theft’ soon extended to discussion panels and sessions, where some audience members wondered if the NYWF program had typographical errors. We planned, over café latte at Haddon’s Café, to do a co-session at next year’s festival. By then

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Matthews, Nicole. "Creating Visible Children?" M/C Journal 11, no. 3 (2008). http://dx.doi.org/10.5204/mcj.51.

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I want to argue here that the use of terms like “disabled” has very concrete and practical consequences; such language choices are significant and constitutive, not simply the abstract subject of a theoretical debate or a “politically correct” storm in a teacup. In this paper I want to examine some significant moments of conflict over and resistance to definitions of “disability” in an arts project, “In the Picture”, run by one of the UK’s largest disability charities, Scope. In the words of its webpages, this project “aims to encourage publishers, illustrators and writers to embrace diversity

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Phillips, Dougal, and Oliver Watts. "Copyright, Print and Authorship in the Culture Industry." M/C Journal 8, no. 2 (2005). http://dx.doi.org/10.5204/mcj.2340.

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   Historically the impact of the printing press on Western culture is a truism. Print gave rise to the mass reproduction and circulation of information with wide reaching consequences in all fields: political, social, and economic. An aspect that this paper wishes to focus on is that this moment also saw the birth (and necessity) of copyright legislation, to administer and protect this new found ability to package and disseminate text. The term copyright itself, used freely in debates surrounding contemporary topics such as iTunes, DVD piracy, and file-sharing, is not only s

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Stockwell, Stephen. "The Manufacture of World Order." M/C Journal 7, no. 6 (2005). http://dx.doi.org/10.5204/mcj.2481.

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   Since the fall of the Berlin Wall, and most particularly since 9/11, the government of the United States has used its security services to enforce the order it desires for the world. The US government and its security services appreciate the importance of creating the ideological environment that allows them full-scope in their activities. To these ends they have turned to the movie industry which has not been slow in accommodating the purposes of the state. In establishing the parameters of the War Against Terror after 9/11, one of the Bush Administration’s first stops wa

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Maxwell, Richard, and Toby Miller. "The Real Future of the Media." M/C Journal 15, no. 3 (2012). http://dx.doi.org/10.5204/mcj.537.

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When George Orwell encountered ideas of a technological utopia sixty-five years ago, he acted the grumpy middle-aged man Reading recently a batch of rather shallowly optimistic “progressive” books, I was struck by the automatic way in which people go on repeating certain phrases which were fashionable before 1914. Two great favourites are “the abolition of distance” and “the disappearance of frontiers”. I do not know how often I have met with the statements that “the aeroplane and the radio have abolished distance” and “all parts of the world are now interdependent” (1944). It is worth revisit

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Macken, Marian. "And Then We Moved In." M/C Journal 10, no. 4 (2007). http://dx.doi.org/10.5204/mcj.2687.

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   Working drawings are produced, when a house is designed, to envisage an imagined building. They are a tangible representation of an object that has no tangible existence. These working drawings act as a manual for constructing the house; they represent that which is to be built. The house comes into being, therefore, via this set of drawings. This is known as documentation. However, these drawings record the house at an ideal moment in time; they capture the house in stasis. They do not represent the future life of the house, the changes and traces the inhabitants make upo

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Leotta, Alfio. "Navigating Movie (M)apps: Film Locations, Tourism and Digital Mapping Tools." M/C Journal 19, no. 3 (2016). http://dx.doi.org/10.5204/mcj.1084.

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The digital revolution has been characterized by the overlapping of different media technologies and platforms which reshaped both traditional forms of audiovisual consumption and older conceptions of place and space. John Agnew claims that, traditionally, the notion of place has been associated with two different meanings: ‘the first is a geometric conception of place as a mere part of space and the second is a phenomenological understanding of a place as a distinctive coming together in space’ (317). Both of the dominant meanings have been challenged by the idea that the world itself is incr

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Champion, Katherine M. "A Risky Business? The Role of Incentives and Runaway Production in Securing a Screen Industries Production Base in Scotland." M/C Journal 19, no. 3 (2016). http://dx.doi.org/10.5204/mcj.1101.

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IntroductionDespite claims that the importance of distance has been reduced due to technological and communications improvements (Cairncross; Friedman; O’Brien), the ‘power of place’ still resonates, often intensifying the role of geography (Christopherson et al.; Morgan; Pratt; Scott and Storper). Within the film industry, there has been a decentralisation of production from Hollywood, but there remains a spatial logic which has preferenced particular centres, such as Toronto, Vancouver, Sydney and Prague often led by a combination of incentives (Christopherson and Storper; Goldsmith and O’Re

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D'Aloia, Alessandro. "Paraliminal Conceptuality and the Abstract of Infinity, or Film Philosophy into LLMs Will Do Fine." M/C Journal 27, no. 5 (2024). http://dx.doi.org/10.5204/mcj.3098.

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This article questions whether there exists a difference between the actuality and the virtuality of land as a means of image or scapeness with regard to Ben Koder’s Looking Glass Quilt and John Power’s work on generative ambient screens in public spaces as encounters. It also challenges, but more along the lines of plays with, Jeff Malpas’s contestation of space as a concept that is central to the notion of geographical thinking in the absence of a geography, but with an emphasis on the relational view of space that has come to dominate geography and the social sciences as an elucidation of s

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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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Juckes, Daniel. "Walking as Practice and Prose as Path Making: How Life Writing and Journey Can Intersect." M/C Journal 21, no. 4 (2018). http://dx.doi.org/10.5204/mcj.1455.

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Through my last lengthy writing project, it did not take long to I realise I had become obsessed with paths. The proof of it was there in my notebooks, and, most prominently, in the backlog of photographs cluttering the inner workings of my mobile phone. Most of the photographs I took had a couple of things in common: first, the astonishing greenness of the world they were describing; second, the way a road or path or corridor or pavement or trail led off into distance. The greenness was because I was in England, in summer, and mostly in a part of the country where green seems at times the onl

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Hodge, Bob. "The Complexity Revolution." M/C Journal 10, no. 3 (2007). http://dx.doi.org/10.5204/mcj.2656.

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   ‘Complex(ity)’ is currently fashionable in the humanities. Fashions come and go, but in this article I argue that the interest in complexity connects with something deeper, an intellectual revolution that began before complexity became trendy, and will continue after the spotlight passes on. Yet to make this case, and understand and advance this revolution, we need a better take on ‘complexity’. ‘Complex’ is of course complex. In common use it refers to something ‘composed of many interrelated parts’, or problems ‘so complicated or intricate as to be hard to deal with’. I

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Cantrell, Kate Elizabeth. "Ladies on the Loose: Contemporary Female Travel as a "Promiscuous" Excursion." M/C Journal 14, no. 3 (2011). http://dx.doi.org/10.5204/mcj.375.

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In Victorian times, when female travel narratives were read as excursions rather than expeditions, it was common for women authors to preface their travels with an apology. “What this book wants,” begins Mary Kingsley’s Travels in West Africa, “is not a simple preface but an apology, and a very brilliant and convincing one at that” (4). This tendency of the woman writer to depreciate her travel with an acknowledgment of its presumptuousness crafted her apology essentially as an admission of guilt. “Where I have offered my opinions,” Isabella Bird writes in The Englishwoman in America, “I have

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Lavis, Anna. "Consuming (through) the Other? Rethinking Fat and Eating in BBW Videos Online." M/C Journal 18, no. 3 (2015). http://dx.doi.org/10.5204/mcj.973.

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A young woman in bikini bottoms and a vest top scrunched up to just below her breasts stands facing the camera. Behind her lies the neatened clutter of domestic space with family photographs arranged next to a fish tank. As this gently buzzes in its fluorescent pool of light, she begins to speak: I’ve just finished eating my McDonald’s meal, which was one of the new quarter pounders with the bacon and the cheese and ten nuggets and a large fries but I have not finished my drink. Pausing to hold up her drink to the camera, she shakes the takeaway cup to assess how much remains inside. With her

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