Fateful moments and the discourses of grief

This paper is concerned with the ways in which language functions in our making sense of death and loss, not only with the use of euphemisms for death, but also the wider discourses which frame meanings and understandings. Many bystanders and commentators on September 11, 2001, for example, likened the impact of the planes on the towers, and their subsequent collapse as “just like a movie ... I couldn’t believe it was happening”. From a culture whose primary experience of death and violence is mediated by film and television, the issue of how these experiences are communicated and understood – by the families of those who died, by the rescue workers and police, by the politicians and the military, and also importantly, by the media and their audiences – is crucial in understanding the ways in which what seem like natural responses are socially and culturally constructed.

It's not only rock and roll: rockumentary, direct cinema and performative display

The documentary form commonly referred to as rockumentary has become, since its inception in the early 1960s, a staple of American direct cinema. In keeping with its associations with observational direct cinema, rockumentary emphasizes showing over telling; that is, rockumentary privileges the visual capacities of documentary over patterns of exposition. While the ‘documentary display’ of rockumentary is comparable to certain features of  the early ‘cinema of attractions’ it exceeds such features in its focus on  performance. Typically, an emphasis within documentary theory on unmediated and unreconstructed access to the real as the basis of documentary film has not admitted a place for notions of performance before the camera. Rockumentary, with its relentless foregrounding of the performing body and the performance of musicians, revises this  understanding. This essay examines rockumentary within the context of direct cinema as a mode centred on a documentary performative display as it operates within selected works from the 1960s to the present. The film theorist Brian Winston has claimed that ‘[d]irect cinema made the rock performance/tour movie into the most popular and commercially viable documentary form thus far.’ The inverse of this assessment may be closer to the mark: the rockumentary turned direct cinema into a commercially and widely available form, one which the rockumentary has at times returned to and superseded in its scopic attention to performative display.

Identity territory: Pamela Allen's picture books in the Australian psyche

Parsons examines the dialogic space of the picture book reading, and its co-opting of the authority of the "significant other" in relation to Pamela Allen's picture books. Mapping Australian identity theory in Allen's picture books involves recognizing Australian-ness as both formed and performed at a point of intersection between colonial, migrant, and patriarchal tropes. Each of these tropes is readable through the dynamics of theater semiotics, and each is mirrored by child maturation as embodied by a movement toward adult authority.

Exploration of a first year university multimedia module on field geology

As part of the teaching programme within a first year university unit on the earth’s physical systems, a ‘virtual reality’ field trip has been developed to support field studies relating to geological materials and landscape history. This module aims to increase student understanding of the use of geological features in the evaluation of geological / landscape history. The module has various applications in the curriculum. For students attending a weekend excursion, the module is available as an adjunct to actual field studies and can be used by students as either a digital pre-lab or as an excursion review tutorial. For students not attending a weekend excursion (i.e. off campus students), it is used as a digital ‘virtual reality’ substitute for field site inspection. The module has simple linked interactive and dynamic image base digital media that provide a framework in which the geology and landscape history of excursion sites can be explored. This module is delivered as a website via CD, but can also be integrated with the 'online interface' for this unit via a QuickTime reference movie loaded inside a relevant 'Deakin (University) Studies Online’ web page. The latter strategy enables assimilation of large multimedia files into online teaching formats

Voices of dissent in the age of emperor Kennett

Celebrates the company's artistic achievements and successes over the last two decades through interviews, essays and high quality images of key productions, and recounts its history, its evolving relationship with the embattled trade union movement, and its on-going engagement with working class, indigenous and migrant communities.

Providing a practical education for off-campus engineering students

This paper considers the provision of laboratory-practicals for distance-education students in engineering degree programmes. The authors discuss the role of laboratory-practical work in the curriculum and reflect on five methods that can be used to ensure off-campus students have an equivalent practical experience as the traditional on-campus cohort. On-campus sessions, videotapes (or ‘on-line’ movie-clips), computer simulations, home experiment kits and laboratories controlled over the internet are covered. Some examples are given to show how these can be incorporated into the curriculum. A case study then discusses the problem of (and an exemplar solution to) delivering the laboratory-practical components of two microcontroller units offered at Deakin University – a leading provider of distance-education in Australia. In doing so, it leads the reader through the solution process and cites some constraints that drive the choice of model - for example, cost considerations and the need for relevant didactic materials.

Full house theory: A new theory for assessing demand for arts centers

In this article I will establish an underpinning theory to apply in measuring demand for a new arts center (theater, museum, gallery, multipurpose space, tourism destination, or cultural precinct). The new theory is called "Full House Theory"-so called because it aims to provide an equation among the factors that result in maximum occupancy and use of an arts center or cultural facility. Existing theories used in the retail sector offer a distance-and-time analysis of expected customer demand but do not include differentiated product-demand analysis. Cultural planning literature examines community need in relation to cultural development but fails to provide a formula to predict sustainable demand. In addition, I will analyze the theories and methodologies in current use as well as their weaknesses in assessing cultural facility demand.

Class act : Melbourne Workers Theatre, 1987-2007

Celebrates the company's artistic achievements and successes over the last two decades through interviews, essays and high quality images of key productions, and recounts its history, its evolving relationship with the embattled trade union movement, and its on-going engagement with working class, indigenous and migrant communities.

Hunt angels

Rupert Kathner (Ben Mendelsohn) always had stars in his eyes. He wanted to make movies and wanted the whole world to see them. It was at a screening of a pilot for one of his films to studio execs that he met a woman who would change his life. Alma Brooks (Victoria Hill) was working as a secretary at the studio when she met Rupe. When they paired up, a revolutionary filmmaking duo was born. Despite opposition from the Police Commissioner himself, they produced the first true crime movie ever made in Australia: 'The Pyjama Girl Murder Case'. In the end, even the Commissioner gave it his blessing and it was an instant success. In fact, every film they ever made was shown on the big screen. Over the course of 15 years together, these mavericks managed to make a remarkable nineteen movies

Dirk de Bruyn : Ancient damage

The Ancient damage program screened at Lux Salon, London, Kino Kommunales, Frankfurt and Off-Cinema, Ghent in 2004, and included Running,  Boerdery, Rote movie and Analog stress, 

A transformation model for heterogeneous servers

One of the characteristics of the current Web services is that many clients request the same or similar service from a group of replicated servers, e.g. music or movie downloading in peer-to-peer networks. Most of the time, servers are heterogeneous ones in terms of service rate. Much of research has been done in the homogeneous environment. However, there is has been little done on the heterogeneous scenario. It is important and urgent that we have models for heterogeneous server groups for the current Internet applications design and analysis. In this paper, we deploy an approximation method to transform heterogeneous systems into a group of homogeneous system. As a result, the previous results of homogeneous studies can be applied in heterogeneous cases. In order to test the approximation ratio of the proposed model to real applications, we conducted simulations to obtain the degree of similarity. We use two common strategies: random selection algorithm and Firs-Come-First-Serve (FCFS) algorithm to test the approximation ratio of the proposed model. The simulations indicate that the approximation model works well.

Gender and national identity : the people's theatre in the Philippines (1967-2000)

The Philippine Education Theater Association (PETA), the People’s Theatre in the Philippines was founded within the bounds of the nationalist leftist tradition. Its origin therefore determines to a great extent the contours of the discourse on the feminist movement in the Philippines, its participation within the cultural movement and the founding years of the pioneering People’s Theatre in the country. As a grass roots theatre from a Third World nation, the PETA theatre model responded to the needs in raising socio-political and economic consciousness and can therefore serve as an alternative tool to formal education for other Third World countries. This thesis argues, the People’s Theatre development is determined within the matrix of gender, class, politics and the nationalist movement to which it is intertwined or inextricably linked. The feminist, nationalist and radical movements have become superimposed upon the history of the People’s Theatre and have nurtured its development as a consciousness raising educational tool.

Do young children get the message? The effects of repeated video viewing on explicit and implicit information

The aim of this study was to explore the effects of repeat viewing on comprehension of explicitly and implicitly presented information in an animated movie. Seventy-three pre-school children watched an animated film and were tested for comprehension after either their single or fifth viewing. Only children’s comprehension of explicitly presented information was facilitated by repeat viewing. However, post hoc analyses revealed that children’s explicit and implicit comprehension of a central character Thunderbolt significantly increased across viewing conditions, whereas, repeat viewing only facilitated children’s explicit comprehension of the central character Patch. The theoretical and practical implications of these findings are discussed.