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Articoli di riviste sul tema "Aboriginal Australians in motion pictures"

Autore: Grafiati

Pubblicato: 4 giugno 2021

Ultima modifica: 30 luglio 2024

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1

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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2

Norris, Ray P., and Duane W. Hamacher. "The Astronomy of Aboriginal Australia." Proceedings of the International Astronomical Union 5, S260 (January 2009): 39–47. http://dx.doi.org/10.1017/s1743921311002122.

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AbstractThe traditional cultures of Aboriginal Australians include a significant astronomical component, which is usually reported in terms of songs or stories associated with stars and constellations. Here we argue that the astronomical components extend further, and include a search for meaning in the sky, beyond simply mirroring the earth-bound understanding. In particular, we have found that traditional Aboriginal cultures include a deep understanding of the motion of objects in the sky, and that this knowledge was used for practical purposes such as constructing calendars. We also present

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3

Malcolm, Ian G. "Embedding cultural conceptualization within an adopted language." Cultural Linguistic Contributions to World Englishes 4, no. 2 (December 14, 2017): 149–69. http://dx.doi.org/10.1075/ijolc.4.2.02mal.

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Abstract Although a minority of Indigenous Australians still use their heritage languages, English has been largely adopted by Aboriginal and Torres Strait Islander people as their medium of communication both within and beyond their communities. In the period since English first reached Australia in 1788, a dialect has emerged, drawing on English, contact language, and Indigenous language sources, to enable Aboriginal and Torres Strait Islander speakers to maintain cultural conceptual continuity while communicating in a dramatically changed environment. In the perspective of Cultural Linguist

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4

Soldatic, Karen. "Policy Mobilities of Exclusion: Implications of Australian Disability Pension Retraction for Indigenous Australians." Social Policy and Society 17, no. 1 (October 26, 2017): 151–67. http://dx.doi.org/10.1017/s1474746417000355.

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There is growing concern surrounding the retraction of disability social provisioning measures across the western world, with state fiscal policy trends foregrounding austerity as a central principle of welfare provisioning. This is occurring within many of the nation-states that have ratified and legislated rights enshrined by the United Nations Convention on the Rights of Persons with Disabilities (CRPD). This article undertakes a critical analysis of disability income retraction in Australia since the early 2000s and examines these changes for Aboriginal and Torres Strait Islander Australia

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5

Norris, Ray P. "Dawes Review 5: Australian Aboriginal Astronomy and Navigation." Publications of the Astronomical Society of Australia 33 (2016). http://dx.doi.org/10.1017/pasa.2016.25.

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AbstractThe traditional cultures of Aboriginal Australians include a significant astronomical component, perpetuated through oral tradition, ceremony, and art. This astronomical knowledge includes a deep understanding of the motion of objects in the sky, which was used for practical purposes such as constructing calendars and for navigation. There is also evidence that traditional Aboriginal Australians made careful records and measurements of cyclical phenomena, recorded unexpected phenomena such as eclipses and meteorite impacts, and could determine the cardinal points to an accuracy of a fe

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6

Kelen, Christopher. "How fair is fair?" M/C Journal 5, no. 3 (July 1, 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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7

Brown, Adam, and Leonie Rutherford. "Postcolonial Play: Constructions of Multicultural Identities in ABC Children's Projects." M/C Journal 14, no. 2 (May 1, 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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8

Warner, Kate. "Relationships with the Past: How Australian Television Dramas Talk about Indigenous History." M/C Journal 20, no. 5 (October 13, 2017). http://dx.doi.org/10.5204/mcj.1302.

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In recent years a number of dramas focussing on Indigenous Australians and Australian history have appeared on the ABC, one of Australia's two public television channels. These dramas have different foci but all represent some aspects of Australian Indigenous history and how it interacts with 'mainstream' representations of Australian history. The four programs I will look at are Cleverman (Goalpost Pictures, 2016-ongoing), Glitch (Matchbox Films, 2015-ongoing), The Secret River (Ruby Entertainment, 2015) and Redfern Now (Blackfella Films, 2012), each of which engages with the past in a unique

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9

Starrs, Bruno. "Hyperlinking History and Illegitimate Imagination: The Historiographic Metafictional E-novel." M/C Journal 17, no. 5 (October 25, 2014). http://dx.doi.org/10.5204/mcj.866.

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‘Historiographic Metafiction’ (HM) is a literary term first coined by creative writing academic Linda Hutcheon in 1988, and which refers to the postmodern practice of a fiction author inserting imagined--or illegitimate--characters into narratives that are intended to be received as authentic and historically accurate, that is, ostensibly legitimate. Such adventurous and bold authorial strategies frequently result in “novels which are both intensely self-reflexive and yet paradoxically also lay claim to historical events and personages” (Hutcheon, A Poetics 5). They can be so entertaining and

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10

McDowall, Ailie. "You Are Not Alone: Pre-Service Teachers’ Exploration of Ethics and Responsibility in a Compulsory Indigenous Education Subject." M/C Journal 23, no. 2 (May 13, 2020). http://dx.doi.org/10.5204/mcj.1619.

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Aunty Mary Graham, Kombu-merri elder and philosopher, writes, “you are not alone in the world.” We have a responsibility to each other, as well as to the land, and violence is the refusal of this relationship that binds us (Rose). Similarly, Emmanuel Levinas, a French-Lithuanian Jewish teacher and philosopher who lived through the Holocaust, writes that, “my freedom does not have the last word; I am not alone” (Levinas, Totality 101). For both writers, the recognition that one is not alone in the world creates an imperative to act ethically. For non-Indigenous educators working in the Indigeno

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11

Watson, Robert. "E-Press and Oppress." M/C Journal 8, no. 2 (June 1, 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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12

Franks, Rachel. "A True Crime Tale: Re-imagining Governor Arthur’s Proclamation to the Aborigines." M/C Journal 18, no. 6 (March 7, 2016). http://dx.doi.org/10.5204/mcj.1036.

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Special Care Notice This paper discusses trauma and violence inflicted upon the Indigenous peoples of Tasmania through the process of colonisation. Content within this paper may be distressing to some readers. Introduction The decimation of the First Peoples of Van Diemen’s Land (now Tasmania) was systematic and swift. First Contact was an emotionally, intellectually, physically, and spiritually confronting series of encounters for the Indigenous inhabitants. There were, according to some early records, a few examples of peaceful interactions (Morris 84). Yet, the inevitable competition over r

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13

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 (July 24, 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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14

Brien, Donna Lee. "Demon Monsters or Misunderstood Casualties?" M/C Journal 24, no. 5 (October 5, 2021). http://dx.doi.org/10.5204/mcj.2845.

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Over the past century, many books for general readers have styled sharks as “monsters of the deep” (Steele). In recent decades, however, at least some writers have also turned to representing how sharks are seriously threatened by human activities. At a time when media coverage of shark sightings seems ever increasing in Australia, scholarship has begun to consider people’s attitudes to sharks and how these are formed, investigating the representation of sharks (Peschak; Ostrovski et al.) in films (Le Busque and Litchfield; Neff; Schwanebeck), newspaper reports (Muter et al.), and social media

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15

O'Hara, Lily, Jane Taylor, and Margaret Barnes. "We Are All Ballooning: Multimedia Critical Discourse Analysis of ‘Measure Up’ and ‘Swap It, Don’t Stop It’ Social Marketing Campaigns." M/C Journal 18, no. 3 (June 3, 2015). http://dx.doi.org/10.5204/mcj.974.

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BackgroundIn the past twenty years the discourse of the weight-centred health paradigm (WCHP) has attained almost complete dominance in the sphere of public health policy throughout the developed English speaking world. The national governments of Australia and many countries around the world have responded to what is perceived as an ‘epidemic of obesity’ with public health policies and programs explicitly focused on reducing and preventing obesity through so called ‘lifestyle’ behaviour change. Weight-related public health initiatives have been subjected to extensive critique based on ideolog

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16

Cantrell, Kate Elizabeth. "Ladies on the Loose: Contemporary Female Travel as a "Promiscuous" Excursion." M/C Journal 14, no. 3 (June 27, 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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