Conclusion : democratising the history of democracy

The aim of The Secret History of Democracy has been to open debate on a larger view of democratic practice than that encapsulated by its wellknown standard history. The book came about from a concern that, while democracy was experiencing an ascendancy that began in the aftermath of the Second World War and intensified with the end of the Cold War, the global uptake of this particular form of governance came at the very moment when its limitations were becoming clearer: in its European and American heartlands there was less interest in participating in democracy; Clinton began in hope but ended in scandal; 9/11 was a victory for intolerance precisely because Western democracy restricted its own freedoms; the Bush, Blair and Howard governments became less relevant to their constituents and waged unpopular wars; the global financial crisis revealed democracy’s dependence on a flawed economic model; and difficulties in dealing with the global impact of climate change showed the limitations of national democracies, hostage to sectional interests. The exemplars of democracy were not having an easy time.

The films of John Hughes: a history of independent screen production in Australia

ABSTRACTIn The Films of John Hughes: A history of independent screen production in Australia filmmaker and academic John Cumming tells the ongoing story of Hughes’ work illustrating the delicate balance of individual, collective and corporate agendas that many contemporary artists need to negotiate. This story begins in the 1960s with a generation of intelligent, socially engaged young people who challenge established power structures, conventions and stereotypes in art, politics and the media. Experiments were being made with grassroots democracy, with new social formations and new ways of seeing and communicating. The book also pays attention to earlier periods of cultural and political activism that captured Hughes’ imagination in the 1970s and became the subject of a number of his films over a period of nearly forty years. Through these films Cumming traces the outline of post-war film culture and production in Melbourne from the 1940s and sets this history within the context of international trends in independent filmmaking throughout the 20th Century and into the 21st.The work of an independent filmmaker has always included a great deal more than directing films. Working in an artisanal mode, he or she often performs, or has a hand in, every aspect of craft at the same time as engaging in discussion and organisation around the wider sphere of screen culture and industry. In addition to having proficiency as a producer, photographer, sound recordist, editor, distributor and exhibitor of films, there is research, organisation, lobbying, entrepreneurship and mentoring to be done. As an independent producer-director, John Hughes has engaged in all of these activities – often simultaneously. He is also a scholar, writer, organiser, activist and teacher. As a television bureaucrat he was both eminent and innovative, and through his filmmaking he has become a leading historian of Australian documentary cinema. ‘… that view – that art and politics are inherently at odds – is still lurking around. It is at the heart of cultural conservatism; and John Hughes’s film-making, from the 1970s to the present, confounds its proponents. His cinema is at once crowded, detailed, elegant and absolutely lucid; at the same time, it is shot through with political and historical understandings.’ Sylvia Lawson, ‘Such a Bloody Wonderful Place’, Inside Story, 28 April 2013.

The feasibility of implementing cross-curricular studies of Asia

The prioritising and mandating of cross-curricular studies of Asia in the Australian curriculum reflects public policy promoting the benefits of a citizenry able to engage in intercultural relationships with people living in and with links to Asian countries. However, widespread school-based implementation of this substantial mandate requires the addressing of several impediments. Firstly, teachers perceive themselves to be unprepared to respond to the mandate to incorporate teaching of Asia-related studies; and secondly, cross-curricular pedagogies are under-theorised, with a proliferation of forms, nomenclature and interpretations evident. Far from being singular, easily understood and widely accepted, cross-curricula approaches can be mapped as a continuum of possible pedagogies; from teachers remaining within their disciplinary areas to fully integrated, whole school, inquiry based approaches that cut across subject silos. Clarity about these pedagogies and their contextual affordances and teacher confidence in engaging students in studies of Asia are required for the profession to respond positively. This chapter explores theoretical literature on cross-curricular teaching approaches; analyses teacher perceptions of their preparedness and capacities for teaching studies of Asia; and investigates an exemplary teacher’s implementation of studies of Asia in light of theorisations of cross curricularity.

The interior of our memories: a history of Melbourne's Jewish holocaust centre

The Interior of Our Memories describes the development of the Centre within global Holocaust memorial activity, both during the Holocaust and in the following decades when many survivors made new lives for themselves in Melbourne. The story begins, not in March 1984 when it first opened its doors, but during the Holocaust, when survivors began gathering documents. The book provides a history of the Centre’s early days and examines its transformation from a collection of photos, documents and material objects into the modern, educationally focused organisation it is today. The book situates the Jewish Holocaust Centre within a broader context, exploring issues of memory, testimony, the role of the museum within contemporary society, and what we can learn from one of the worst tragedies in human history.