Crocodile Hunt

'Crocodile Hunt' is a short story, based on archival research, that emerged from my practice-led PhD thesis.

'The Australian we all aspire to be' : commemorative journalism and the death of the Crocodile Hunter

This article examines the news coverage the death of Steve Irwin, widely known as the Crocodile Hunter, generated in Australia. In line with past research on commemorative journalism, the study demonstrates the dominant discourses employed in the reporting of Irwin's death. It is argued that Australia's newspapers invoked a number of national myths, such as mateship, larrikinism and anti-elitism, in order to re-assert notions of Australian identity and social values and to deal with the grief over his loss. Most importantly, the study sheds new light on how news media deal with challenges to the dominant memorialising discourse. Past studies had not been able to investigate in much detail alternative discourses, but in examining Irwin's death, we are able to see how the media deal with such an unwanted interruption. It is argued that newspapers appropriated the alternative perspective within the mythical terms of their memorialising discourse, thereby not allowing it to disrupt the memorialisation itself and in fact further strengthening the process of mythologising the Crocodile Hunter.

New Voices, New Visions

New Voices, New Visions brings together a collection of papers that engage with the ideas of nation, identity and place. The title New Voices, New Visions harks back to earlier scholarship that endeavoured to explore these issues. It therefore makes links between old and new stories of Australian identity, tracing the continuities, shifts and changes in how Australia is imagined. The collection is deliberately interdisciplinary, gathering work by historians, literary and film scholars, communication and cultural theorists, political scientists and sociologists. This mixed perspectives enables the reader to trace ideas, concepts and theories across a range of disciplines and understand the distinctive ways in which different disciplines engage with ideas of nation, space and Australian identity. The book is written in an engaging and accessible manner, making it an excellent text for undergraduate and postgraduate students in the fields of Australian Studies. It will be especially useful for the growing number of students living outside Australia who engage with Australian literature and culture. The book provides a range of topics that introduces students to key issues and concepts. It also situates these ideas in historical context. New Voices, New Visions engages with key contemporary issues in everyday Australian life: environment and climate change, immigration, consumerism, travel and cities. It explores these various topics by considering case studies, both contemporary and historical. For example the issue of attitudes to Asia are analysed through art; the topic of national symbols through the case of the crocodile; approaches to immigration via a popular reality television programme.

Catchment-specific element signatures in estuarine crocodiles (Crocodylus porosus) from the Alligator Rivers Region, northern Australia

The concentrations of Na, K, Ca, Mg, Ba, Sr, Fe, Al, Mn, Zn, Pb, Cu, Ni, Cr, Co, Se, U and Ti were determined in the osteoderms and/or flesh of estuarine crocodiles (Crocodylus porosus) captured in three adjacent catchments within the Alligator Rivers Region (ARR) of northern Australia. Results from multivariate analysis of variance showed that when all metals were considered simultaneously, catchment effects were significant (P≤0.05). Despite considerable within-catchment variability, linear discriminant analysis (LDA) showed that differences in elemental signatures in the osteoderms and/or flesh of C. porosus amongst the catchments were sufficient to classify individuals accurately to their catchment of occurrence. Using cross-validation, the accuracy of classifying a crocodile to its catchment of occurrence was 76% for osteoderms and 60% for flesh. These data suggest that osteoderms provide better predictive accuracy than flesh for discriminating crocodiles amongst catchments. There was no advantage in combining the osteoderm and flesh results to increase the accuracy of classification (i.e. 67%). Based on the discriminant function coefficients for the osteoderm data, Ca, Co, Mg and U were the most important elements for discriminating amongst the three catchments. For flesh data, Ca, K, Mg, Na, Ni and Pb were the most important metals for discriminating amongst the catchments. Reasons for differences in the elemental signatures of crocodiles between catchments are generally not interpretable, due to limited data on surface water and sediment chemistry of the catchments or chemical composition of dietary items of C. porosus. From a wildlife management perspective, the provenance or source catchment(s) of 'problem' crocodiles captured at settlements or recreational areas along the ARR coastline may be established using catchment-specific elemental signatures. If the incidence of problem crocodiles can be reduced in settled or recreational areas by effective management at their source, then public safety concerns about these predators may be moderated, as well as the cost of their capture and removal. Copyright © 2002 Elsevier Science B.V.

Wolf Creek, rurality and the Australian gothic

As with Crocodile Dundee before it, the recent Australian film Wolf Creek promotes a specific and arguably urban-centric understanding of rural Australia. However, whilst the former film is couched in mythologized notions of the rural idyll, Wolf Creek is based firmly around the concept of rural horror. Wolf Creek is both a horror movie and a road movie, one which relies heavily upon landscape in order to tell its story. Here we argue that the film continues a tradition in the New Australian Cinema of depicting the outback and its inhabitants as something the country's mostly coastal population do not understand. Wolf Creek skilfully plays on popular conceptions of inland Australia as empty and harsh. But more than this, the film brings to the fore tensions in the rural idyll associated with the ownership and use of rural space. As an object of urban consumption, rural space may appear passive and familiar, but in the context of rural horror iconic aspects of the Australian landscape become a source of fear – a space of abjection.