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Artykuły w czasopismach na temat „Sydney Film Festival”

Autor: Grafiati
Data publikacji: 4 czerwca 2021
Data aktualizacji: 9 lutego 2022

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1

Popescu, Stefan. "Festival director's report: Sydney underground film festival – a community of cinema junkies." Studies in Australasian Cinema 9, no. 2 (May 4, 2015): 205–10. http://dx.doi.org/10.1080/17503175.2015.1058649.

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Myrda, Sønke. "“I Want to Ride My Bicycle”." Transfers 1, no. 3 (December 1, 2011): 122–28. http://dx.doi.org/10.3167/trans.2011.010309.

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The Bicycle Film Festival (BFF) has grown from a minor grassroots event to a global “Fest” staging urban cycling events in over two dozen cities worldwide. In its 11th year in New York City, the “BFF” New York (June 22–26, 2011) intends to provide its participants with a “weekend full of bike movies, music, art, street party and after parties,”1 before going on tour around the globe. Festival cities include Amsterdam, Athens, Lisbon, London, Los Angeles, Milan, Paris, Sao Paolo, Sydney, Taiwan, Tokyo, Vienna.
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Bennett, Jill, Lynn Froggett, and Lizzie Muller. "Psychosocial aesthetics and the art of lived experience." Journal of Psychosocial Studies 12, no. 1 (July 1, 2019): 185–201. http://dx.doi.org/10.1332/147867319x15608718111023.

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This article identifies the distinctive nature of arts-based psychosocial enquiry and practice in a public mental health context, focusing on two projects delivered as part of The Big Anxiety festival, in Sydney, Australia in 2017: ‘Awkward Conversations’, in which one-to-one conversations about anxiety and mental health were offered in experimental aesthetic formats; and ‘Parragirls Past, Present’, a reparative project, culminating in an immersive film production that explored the enduring effects of institutional abuse and trauma and the ways in which traumatic experiences can be refigured t
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Mayer, Sophie. "Pocahontas no more." Alphaville: Journal of Film and Screen Media, no. 10 (December 16, 2015): 113–28. http://dx.doi.org/10.33178/alpha.10.07.

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Sydney Freeland’s fiction feature Drunktown’s Finest (2014) represents the return of Indigenous women’s feature filmmaking after a hiatus caused by neoconservative politics post-9/11. In the two decades since Disney’s Pocahontas (1995), filmmakers such as Valerie Red-Horse have challenged erasure and appropriation, but without coherent distribution or scholarship. Indigenous film festivals and settler state funding have led to a reestablishment, creating a cohort that includes Drunktown’s Finest. Repudiating both the figure of Pocahontas, as analysed by Elise M. Marubbio, and the erasure of In
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Pratley, Gerald. "Melbourne 1995." Kinema: A Journal for Film and Audiovisual Media, November 20, 1995. http://dx.doi.org/10.15353/kinema.vi.771.

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WHAT A PLEASUR TO OPEN the catalogue of the 44th Melbourne International Film Festival to discover the absence of "welcoming messages" from the Prime Minister down to the local Mayor and introductions from the festival staff (complete with portraits) telling us how marvellous the program is and what great audiences we are! Melbourne runs at exactly the same time as Sydney's film festival. No one quite seemed to know why, or to think that this was odd; after all, no one in Melbourne expected moviegoers to come from Sydney and none from Melbourne was expected by Sydney to attend its festival. So
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Rangiwai, Byron. "The spectacle of the queer “Other”: Māori gay(zing) at the 41st Sydney Gay and Lesbian Mardi Gras 2019." Te Kaharoa 12, no. 1 (January 30, 2019). http://dx.doi.org/10.24135/tekaharoa.v12i1.267.

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This article will explore some of my observations of the 41st Sydney Gay and Lesbian Mardi Gras 2019. I travelled to Sydney on Thursday 28 February. Rather appropriately, I selected the 2018 biographical film, Bohemian Rhapsody, as inflight entertainment, all the while contemplating what sequin-encrusted experiences I might encounter during my stay in Sydney. I had booked accommodation at the Pullman Sydney Hyde Park Hotel months in advance. Like every other surface in and around Oxford Street, the hotel had been queered-up with rainbows and a life-sized bejewelled unicorn in the foyer. While
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Leishman, Kirsty. "And the Winner Is Fiction." M/C Journal 2, no. 1 (February 1, 1999). http://dx.doi.org/10.5204/mcj.1739.

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In Australia, we are more prepared for the year 2000 than many. With regard to the technical difficulties that might be experienced, we have the honour of being the 12th most prepared nation in the event of worst predictions. In addition to the usual effects the impending millennium is wreaking however, Australia is also anticipating the year we will be hosting the Olympic games. The fervour that has seen religious cult members invest in matching pairs of Nike trainers (and coincidentally, buy plane tickets to Australia) has also infected this nation's official image-makers, who have been busy
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Petzke, Ingo. "Alternative Entrances: Phillip Noyce and Sydney’s Counterculture." M/C Journal 17, no. 6 (August 7, 2014). http://dx.doi.org/10.5204/mcj.863.

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Phillip Noyce is one of Australia’s most prominent film makers—a successful feature film director with both iconic Australian narratives and many a Hollywood blockbuster under his belt. Still, his beginnings were quite humble and far from his role today when he grew up in the midst of the counterculture of the late sixties. Millions of young people his age joined the various ‘movements’ of the day after experiences that changed their lives—mostly music but also drugs or fashion. The counterculture was a turbulent time in Sydney artistic circles as elsewhere. Everything looked possible, you sim
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Ryan, Robin, and Uncle Ossie Cruse. "Welcome to the Peoples of the Mountains and the Sea: Evaluating an Inaugural Indigenous Cultural Festival." M/C Journal 22, no. 3 (June 19, 2019). http://dx.doi.org/10.5204/mcj.1535.

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IntroductionFestivals, according to Chris Gibson and John Connell, are like “glue”, temporarily sticking together various stakeholders, economic transactions, and networks (9). Australia’s First Nations peoples see festivals as an opportunity to display cultural vitality (Henry 586), and to challenge a history which has rendered them absent (587). The 2017 Australia Council for the Arts Showcasing Creativity report indicates that performing arts by First Nations peoples are under-represented in Australia’s mainstream venues and festivals (1). Large Aboriginal cultural festivals have long thriv
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Goggin, Gerard. "Conurban." M/C Journal 5, no. 2 (May 1, 2002). http://dx.doi.org/10.5204/mcj.1946.

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Conurbation [f. CON- + L. urb- and urbs city + -ation] An aggregation of urban areas. (OED) Beyond the urban, further and lower even than the suburban, lies the con-urban. The conurban: with the urban, partaking of the urbane, lying against but also perhaps pushing against or being contra the urban. Conurbations stretch littorally from Australian cities, along coastlines to other cities, joining cities through the passage of previously outlying rural areas. Joining the dots between cities, towns, and villages. Providing corridors between the city and what lies outside. The conurban is an accre
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Siemienowicz, Rochelle. "Diary of a Film Reviewer." M/C Journal 8, no. 5 (October 1, 2005). http://dx.doi.org/10.5204/mcj.2409.

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 All critics declare not only their judgment of the work but also their claim to the right to talk about it and judge it. In short, they take part in a struggle for the monopoly of legitimate discourse about the work of art, and consequently in the production of the value of the work of art. (Pierre Bourdieu 36).
 
 
 As it becomes blindingly obvious that ‘cultural production’, including the cinema, now underpins an economy every bit as brutal in its nascent state as the Industrial Revolution was for its victims 200 years ago, both critique and cinephilia see
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12

Uhde, Jan, and Yvonne Ng. "Singapore Cinema: Director Eric Khoo Speaks Up." Kinema: A Journal for Film and Audiovisual Media, September 19, 1999. http://dx.doi.org/10.15353/kinema.vi.889.

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ERIC KHOO was born in 1965 to a well-to-do family in Singapore. According to Khoo, his mother started taking him to the movies at the age of two, developing in him a love for the cinema (delete sentence- repeated in main text). According to Khoo, when he was about eight years old, he (chanced upon) his mother's Super 8 camera, started making "little animated films" on it and has since been unable to put his camera down. Khoo's interest led him to study cinematography at the City Art Institute in Sydney, Australia. Back in Singapore, he began making award-winning short films before venturing in
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Hope, Cathy, and Bethaney Turner. "The Right Stuff? The Original Double Jay as Site for Youth Counterculture." M/C Journal 17, no. 6 (September 18, 2014). http://dx.doi.org/10.5204/mcj.898.

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On 19 January 1975, Australia’s first youth station 2JJ (Double Jay) launched itself onto the nation’s airwaves with a NASA-style countdown and You Only Like Me ‘Cause I’m Good in Bed by Australian band Skyhooks. Refused airtime by the commercial stations because of its explicit sexual content, this song was a clear signifier of the new station’s intent—to occupy a more radical territory on Australian radio. Indeed, Double Jay’s musical entrée into the highly restrictive local broadcasting environment of the time has gone on to symbolise both the station’s role in its early days as an enfant t
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Garbutt, Rob, Jacqueline Dutton, and Johanna Kijas. "Counterculture." M/C Journal 17, no. 6 (December 10, 2014). http://dx.doi.org/10.5204/mcj.930.

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What does counterculture do? This is the question we asked ourselves repeatedly in curating this issue for M/C Journal. While incredible examples of countercultural lives—collective and individual—were described in articles we received, what we have tried to do is bring together research on how counterculture is both theorised and practised in local and international contexts. At the heart of this issue is a two-day conference in May 2013 titled “Aquarius and Beyond: 40 years on…” (Southern Cross University) that marked the 40th anniversary of the 1973 Nimbin Aquarius Festival, held in the nor
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Lavers, Katie, and Jon Burtt. "Briefs and Hot Brown Honey: Alternative Bodies in Contemporary Circus." M/C Journal 20, no. 1 (March 15, 2017). http://dx.doi.org/10.5204/mcj.1206.

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Briefs and Hot Brown Honey are two Brisbane based companies producing genre-bending work combining different mixes of circus, burlesque, hiphop, dance, boylesque, performance art, rap and drag. The two companies produce provocative performance that is entertaining and draws critical acclaim. However, what is particularly distinctive about these two companies is that they are both founded and directed by performers from Samoan cultural backgrounds who have leap-frogged over the normative whiteness of much contemporary Australian performance. Both companies have a radical political agenda. This
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Starrs, D. Bruno. "Enabling the Auteurial Voice in Dance Me to My Song." M/C Journal 11, no. 3 (July 2, 2008). http://dx.doi.org/10.5204/mcj.49.

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Despite numerous critics describing him as an auteur (i.e. a film-maker who ‘does’ everything and fulfils every production role [Bordwell and Thompson 37] and/or with a signature “world-view” detectable in his/her work [Caughie 10]), Rolf de Heer appears to have declined primary authorship of Dance Me to My Song (1997), his seventh in an oeuvre of twelve feature films. Indeed, the opening credits do not mention his name at all: it is only with the closing credits that the audience learns de Heer has directed the film. Rather, as the film commences, the viewer is informed by the titles that it
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Treagus, Mandy. "Not Bent At All." M/C Journal 5, no. 6 (November 1, 2002). http://dx.doi.org/10.5204/mcj.2001.

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Gurinder Chadha’s Bend It Like Beckham has shown to delighted audiences around the world. Released during the soccer World Cup (and just before it in Britain in case the Brits did poorly), the film capitalised on interest in the game with its good-humoured look at a young 18 year old’s passion for playing soccer. Where the film would seem to break new ground is that the 18 year old is not only a girl, but also of Indian Sikh background. In allowing Jess (Jasminder) to follow her sporting dreams to professionalism rather than the path her parents initially expect of her (university then marriag
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Dutton, Jacqueline. "Counterculture and Alternative Media in Utopian Contexts: A Slice of Life from the Rainbow Region." M/C Journal 17, no. 6 (November 3, 2014). http://dx.doi.org/10.5204/mcj.927.

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Introduction Utopia has always been countercultural, and ever since technological progress has allowed, utopia has been using alternative media to promote and strengthen its underpinning ideals. In this article, I am seeking to clarify the connections between counterculture and alternative media in utopian contexts to demonstrate their reciprocity, then draw together these threads through reference to a well-known figure of the Rainbow Region–Rusty Miller. His trajectory from iconic surfer and Aquarian reporter to mediator for utopian politics and ideals in the Rainbow Region encompasses in a
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Hancock, Grady Clare. "Alternative." M/C Journal 20, no. 1 (March 15, 2017). http://dx.doi.org/10.5204/mcj.1227.

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Unconventional, uncommon, irregular, off-beat, counter to as in contradistinction to the popular. Here we look to the margins of film and media, practice and industry to explore alternative approaches to popular modes of thinking and doing. The theme of ‘alternative’ was borne from the 2016 Revelation Perth International Film Festival’s academic conference, a wonderful two days of discussion with an emphasis on fringe film and media. A number of the authors who have contributed to this issue were a part of this conference, with others contributing from the wider academic community.Finding the
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Sheridan, Alison, Jane O'Sullivan, Josie Fisher, Kerry Dunne, and Wendy Beck. "Escaping from the City Means More than a Cheap House and a 10-Minute Commute." M/C Journal 22, no. 3 (June 19, 2019). http://dx.doi.org/10.5204/mcj.1525.

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IntroductionWe five friends clinked glasses in our favourite wine and cocktail bar, and considered our next collaborative writing project. We had seen M/C Journal’s call for articles for a special issue on ‘regional’ and when one of us mentioned the television program, Escape from the City, we began our critique:“They haven’t featured Armidale yet, but wouldn’t it be great if they did?”“Really? I mean, some say any publicity is good publicity but the few early episodes I’ve viewed seem to give little or no screen time to the sorts of lifestyle features I most value in our town.”“Well, seeing a
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Starrs, Bruno. "Publish and Graduate?: Earning a PhD by Published Papers in Australia." M/C Journal 11, no. 4 (June 24, 2008). http://dx.doi.org/10.5204/mcj.37.

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Refereed publications (also known as peer-reviewed) are the currency of academia, yet many PhD theses in Australia result in only one or two such papers. Typically, a doctoral thesis requires the candidate to present (and pass) a public Confirmation Seminar, around nine to twelve months into candidacy, in which a panel of the candidate’s supervisors and invited experts adjudicate upon whether the work is likely to continue and ultimately succeed in the goal of a coherent and original contribution to knowledge. A Final Seminar, also public and sometimes involving the traditional viva voce or or
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Hackett, Lisa J. "Dreaming of Yesterday: Fashioning Liminal Spaces in 1950s Nostalgia." M/C Journal 23, no. 1 (March 18, 2020). http://dx.doi.org/10.5204/mcj.1631.

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The 1950s era appears to hold a nostalgic place in contemporary memories and current cultural practices. While the 1950s is a period that can signify a time from the late 1940s to the early 1960s (Guffey, 100), the era is often represented as a liminal space or dream world, mediated to reflect current desires. It is a dream-like world, situated half way between the mediated vision of the 1950s and today. Modern participants of 1950s culture need to negotiate what is authentic and what is not, because as Piatti-Farnell and Carpenter remind us ‘history is what we want it to be’ (their emphasis).
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Marshall, P. David. "The Fiction of Public Life." M/C Journal 2, no. 1 (February 1, 1999). http://dx.doi.org/10.5204/mcj.1738.

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One of Woody Allen's first jobs was as a gag/joke writer indirectly for New York gossip columnists. To coordinate with the appearance of famous people at grand openings, Allen would write appropriately witty lines that a star's press agent would work hard to get placed in a newspaper column like Walter Winchell's. The lines would be treated as authentic quotes as the star entered the premiere, club or ceremony (Lax 71). His reputation grew from this ability to see what would be humorous to say in a very public setting, or just generally what would make a particular star look more engaged, more
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Marsh, Victor. "The Evolution of a Meme Cluster: A Personal Account of a Countercultural Odyssey through The Age of Aquarius." M/C Journal 17, no. 6 (September 18, 2014). http://dx.doi.org/10.5204/mcj.888.

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Introduction The first “Aquarius Festival” came together in Canberra, at the Australian National University, in the autumn of 1971 and was reprised in 1973 in the small rural town of Nimbin, in northern New South Wales. Both events reflected the Zeitgeist in what was, in some ways, an inchoate expression of the so-called “counterculture” (Roszak). Rather than attempting to analyse the counterculture as a discrete movement with a definable history, I enlist the theory of cultural memes to read the counter culture as a Dawkinsian cluster meme, with this paper offered as “testimonio”, a form of q
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Burns, Alex, and Axel Bruns. ""Share" Editorial." M/C Journal 6, no. 2 (April 1, 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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Page, John. "Counterculture, Property, Place, and Time: Nimbin, 1973." M/C Journal 17, no. 6 (October 1, 2014). http://dx.doi.org/10.5204/mcj.900.

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Property as both an idea and a practice has been interpreted through the prism of a liberal, law and economics paradigm since at least the 18th century. This dominant (and domineering) perspective stresses the primacy of individualism, the power of exclusion, and the values of private commodity. By contrast, concepts of property that evolved out of the counterculture of the 1960s and early 1970s challenged this hegemony. Countercultural, or Aquarian, ideas of property stressed pre-liberal, long forgotten property norms such as sociability, community, inclusion and personhood, and contested a p
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Munster, Anna. "Love Machines." M/C Journal 2, no. 6 (September 1, 1999). http://dx.doi.org/10.5204/mcj.1780.

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A new device, sure to inspire technological bedazzlement, has been installed in Hong Kong shopping malls. Called simply The Love Machine, it functions like a photo booth, dispensing on-the-spot portraits1. But rather than one subject, it requires a couple, in fact the couple, in order to do its work of digital reproduction. For the output of this imaging machine is none other than a picture of the combined features of the two sitters, 'morphed' together by computer software to produce a technological child. Its Japanese manufacturers, while obviously cashing in on the novelty value, neverthele
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Lombard, Kara-Jane. "“To Us Writers, the Differences Are Obvious”." M/C Journal 10, no. 2 (May 1, 2007). http://dx.doi.org/10.5204/mcj.2629.

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 Introduction It appears that graffiti has begun to clean up its act. Escalating numbers of mature graffiti writers feel the removal of their graffiti has robbed them of a history, and are turning to legal projects in an effort to restore it. Phibs has declared the graffiti underground “limited” and Kano claims its illegal aspect no longer inspires him (Hamilton, 73). A sign of the times was the exhibition Sake of Name: Australian Graffiti Now which opened at the Wharf 2 Theatre in January 2001. The exhibition was commissioned by the Sydney Theatre Company and comprised twe
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Michael, Rose. "Out of Time: Time-Travel Tropes Write (through) Climate Change." M/C Journal 22, no. 6 (December 4, 2019). http://dx.doi.org/10.5204/mcj.1603.

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“What is the point of stories in such a moment”, asks author and critic James Bradley, writing about climate extinction: Bradley emphasises that “climatologist James Hansen once said being a climate scientist was like screaming at people from behind a soundproof glass wall; being a writer concerned with these questions often feels frighteningly similar” (“Writing”). If the impact of climate change asks humans to think differently, to imagine differently, then surely writing—and reading—must change too? According to writer and geographer Samuel Miller-McDonald, “if you’re a writer, then you hav
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West, Patrick. "Regionalism, Well-Being, and Domestic Violence in Tony Birch’s “The Red House”." M/C Journal 22, no. 3 (June 19, 2019). http://dx.doi.org/10.5204/mcj.1526.

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Introduction: The Creative Arts and Regional Well-BeingThe relationship between regionalism, well-being, and the creative arts has enjoined significant attention from community activists, commercial entrepreneurs, policy analysts, artists, and researchers over recent years (Australia Council for the Arts, “Living Culture”; Australia Council for the Arts, “The Arts in Regional Australia;” Drummond, Keane, and West; Elg; Warren, and West; Woodward, Bremner, and Cahalan). Underpinning most of the activity and research in this area is the understanding (occasionally bordering on an un-critical pre
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Hill, Clementine Ruth. "Enthusiasm, the Creative Industry and the 'Creative Tropical City: Mapping Darwin’s Creative Industries' Project." M/C Journal 12, no. 2 (May 9, 2009). http://dx.doi.org/10.5204/mcj.137.

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I love Darwin, I love it up here, I love the north, I love the swamp. It’s the energy; it’s unpredictable, totally unpredictable. Whether that’s because people are coming and going… It’s probably because of the changeability of the weather; I love the wet season, it’s a dynamic place. I am eventually planning to move down south for a while, I have to, I’ve got family commitments and so on and the thing that worries me most is that it’s all so predictable down there. So Darwin has an energy, it’s alive, I absolutely love it, I absolutely love it. The people that come up here come here because t
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Sturm, Ulrike, Denise Beckton, and Donna Lee Brien. "Curation on Campus: An Exhibition Curatorial Experiment for Creative Industries Students." M/C Journal 18, no. 4 (August 10, 2015). http://dx.doi.org/10.5204/mcj.1000.

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Introduction The exhibition of an artist’s work is traditionally accepted as representing the final stage of the creative process (Staniszewski). This article asks, however, whether this traditional view can be reassessed so that the curatorial practice of mounting an exhibition becomes, itself, a creative outcome feeding into work that may still be in progress, and that simultaneously operates as a learning and teaching tool. To provide a preliminary examination of the issue, we use a single case study approach, taking an example of practice currently used at an Australian university. In this
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Martin, Sam. "Publish or Perish? Re-Imagining the University Press." M/C Journal 13, no. 1 (March 21, 2010). http://dx.doi.org/10.5204/mcj.212.

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In a TEXT essay in 2004, Philip Edmonds wrote about the publication prospects of graduates of creative writing programs. He depicted the publishing industry of the 1970s and 1980s as a field driven by small presses and literary journals, and lamented the dearth of these publications in today’s industry. Edmonds wrote that our creative writing programs as they stand today are under-performing as they do not deliver on the prime goal of most students: publication. “Ultimately,” he wrote, “creative writing programs can only operate to their full potential alongside an expanding and vibrant publis
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Makeham, Paul Benedict, Bree Jamila Hadley, and Joon-Yee Bernadette Kwok. "A "Value Ecology" Approach to the Performing Arts." M/C Journal 15, no. 3 (May 3, 2012). http://dx.doi.org/10.5204/mcj.490.

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In recent years ecological thinking has been applied to a range of social, cultural, and aesthetic systems, including performing arts as a living system of policy makers, producers, organisations, artists, and audiences. Ecological thinking is systems-based thinking which allows us to see the performing arts as a complex and protean ecosystem; to explain how elements in this system act and interact; and to evaluate its effects on Australia’s social fabric over time. According to Gallasch, ecological thinking is “what we desperately need for the arts.” It enables us to “defeat the fragmentary a
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Barry, Derek. "Wilde’s Evenings." M/C Journal 10, no. 6 (April 1, 2008). http://dx.doi.org/10.5204/mcj.2722.

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 According to Oscar Wilde, the problem with socialism was that it took up too many evenings. Wilde’s aphorism alludes to a major issue that bedevils all attempts to influence the public sphere: the fact that public activities encroach unduly on citizens’ valuable time. In the 21st century, the dilemma of how to deal with “too many evenings” is one that many citizen journalists face as they give their own time to public pursuits. This paper will look at the development of the public citizen and what it means to be a citizen journalist with reference to some of the writer’s o
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Barry, Derek. "Wilde’s Evenings: The Rewards of Citizen Journalism." M/C Journal 11, no. 1 (June 1, 2008). http://dx.doi.org/10.5204/mcj.29.

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According to Oscar Wilde, the problem with socialism was that it took up too many evenings. Wilde’s aphorism alludes to a major issue that bedevils all attempts to influence the public sphere: the fact that public activities encroach unduly on citizens’ valuable time. In the 21st century, the dilemma of how to deal with “too many evenings” is one that many citizen journalists face as they give their own time to public pursuits. This paper will look at the development of the public citizen and what it means to be a citizen journalist with reference to some of the writer’s own experiences in the
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Risson, Toni. "Sugar Pigs: Children’s Consumption of Confectionery." M/C Journal 13, no. 5 (October 17, 2010). http://dx.doi.org/10.5204/mcj.294.

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Sugar pigs are traditional confections shaped like sugar mice with little legs and no tail. One might, therefore, nibble the trotters of a sugar pig or suck delicately upon the nose of a sugar pig, but one must never eat one’s sugary treats like a pig. As an imagined border between the private world inside the body and the public world outside, the mouth is an unstable limit of selfhood. Food can easily cause disgust as it passes through this hazardous terrain, and this disgust is produced less by the thought of incorporation than by socially constructed boundaries such as the division between
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Lymn, Jessie. "Migration Histories, National Memory, and Regional Collections." M/C Journal 22, no. 3 (June 19, 2019). http://dx.doi.org/10.5204/mcj.1531.

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IntroductionThis article suggests extensions to the place of ‘national collections’ of Australia’s migration histories, and considers the role of regional libraries and museums in collecting, preserving, and making accessible the history of migration. The article describes a recent collaboration between the Bonegilla Migrant Experience site, the Albury LibraryMuseum and the regionally-based Charles Sturt University (CSU) to develop a virtual, three-dimensional tour of Bonegilla, a former migrant arrival centre. Through this, the role of regional collections as keeping places of migration memor
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Green, Lelia. "No Taste for Health: How Tastes are Being Manipulated to Favour Foods that are not Conducive to Health and Wellbeing." M/C Journal 17, no. 1 (March 17, 2014). http://dx.doi.org/10.5204/mcj.785.

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Background “The sense of taste,” write Nelson and colleagues in a 2002 issue of Nature, “provides animals with valuable information about the nature and quality of food. Mammals can recognize and respond to a diverse repertoire of chemical entities, including sugars, salts, acids and a wide range of toxic substances” (199). The authors go on to argue that several amino acids—the building blocks of proteins—taste delicious to humans and that “having a taste pathway dedicated to their detection probably had significant evolutionary implications”. They imply, but do not specify, that the evolutio
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