Understanding Production, Humour and Political Context through Nice
Coloured Girls (1987) and The Sapphires
How Indigenous Australian history has been portrayed and who has been empowered
to define it is a complex and controversial subject in contemporary Australian
society. This article critically examines these issues through two Indigenous
Australian films: Nice Coloured Girls (1987) and The
Sapphires (2012). These two films contrast in style, theme and
purpose, but each reclaims Indigenous history on its own terms. Nice
Coloured Girls offers a highly fragmented and experimental history
reclaiming Indigenous female agency through the appropriation of the colonial
archive. The Sapphires eschews such experimentation. It instead
celebrates Indigenous socio-political links with African American culture,
‘Black is beautiful’, and the American Civil Rights movements of
the 1960s. Crucially, both these films challenge notions of a singular and
tragic history for Indigenous Australia. Placing the films within their wider
cultural contexts, this article highlights the diversity of Indigenous
Australian cinematic expression and the varied ways in which history can be
reclaimed on film. However, it also shows that the content, form and
accessibility of both works are inextricably linked to the industry concerns and
material circumstances of the day. This is a crucial and overlooked aspect of
film analysis and has implications for a more nuanced appreciation of Indigenous
film as a cultural archive.
This paper considers the impact of extra-filmic elements on the cultural
decision-making behaviours of a small rural Australian cinema audience, focusing on
the rural New South Wales village of Cobargo in the late 1920s. In considering how
why such fragile rural picture show operations either failed or became successful, it
is critical to take account of rural geographies, particularly in terms of early road
development, and the nature and state of road bridges in flood-prone areas. The paper
argues that these elements are part of a broad ecosystemic framework for cultural
decision-making which can assist in our interpretation of early newspaper advertising
and promotion for picture show programs.
Linda Leung (2018) Technologies of Refuge and Displacement: Rethinking
Digital Divides (Lanham, MA: Lexington Books), hardcover, 141 pages;
ISBN: 978-1-14985-0002-9 In her book Technologies of Refuge and Displacement: Rethinking Digital
Divides , Linda Leung – a researcher at University of Technology
Sydney, Australia – provides a systematic empirical analysis of data collected
between 2007 and 2011, which involved more than 100 interviews with individuals from
Four Decisive Challenges Confronting Humanitarian Innovation
Gerard Finnigan and Otto Farkas
28 , 998 , doi: 10.1353/hrq.2006.0039 .
ACFID ( 2016 ), Innovation for Impact: How Australian NGOs Nurture
and Scale Up New Ideas ( Deakin :
Australian Council for International
Age and Disability Capacity Programme
(ADCAP) ( 2018 ),
Standards for Older People and People with Disabilities: Age and
Disability Consortium ( London
Sandvik , K.
B. ( 2018 ), ‘ Technology, Dead
Male Bodies, and Feminist Recognition: Gendering ICT Harm
Theory’ , Australian Feminist Law
Journal , 44 : 1 ,
49 – 69 .
Sandvik , K.
B. ( 2019 ), ‘ Technologizing the
Fight against Sexual Violence: A Critical Scoping’, PRIO
Paper (Oslo: PRIO) , www
The aim of this paper is to investigate the nature of the postcolonial Gothic through a focus on Black Australian literature (Plains of Promise by Alexis Wright and Mudrooroo‘s tetralogy, Master of the Ghost Dreaming, The Undying, Underground and The Promised Land). This paper focuses on the process of repossession of the European Gothic intertext and in particular canonical texts like Stoker‘s Dracula, which allows Mudrooroo to revive the subversive potential of the Gothic genre and use it to debunk the colonial discourse. It analyses the workings of the postcolonial Gothic and shows that instead of producing hybrid monsters through intertextual replays, Mudrooroo‘s and Alexis Wright‘s texts seem almost naturally Gothic, as if there was a certain Gothicism inherent in the postcolonial experience.