Hindi cinema and its other

 Wider understandings of popular, commercial Hindi (Indian) cinema centre on discourses surrounding the ‘Bollywood’ machine. In these discussions, a critical exploration of Adivasi (Indigenous) representation in Hindi cinema is often left unexplored. Popular Hindi cinema as a World Cinema exerts tremendous influence in India, and indeed South Asia. However, it continues to provide essentialist representations of Adivasi communities in India. This paper discusses some of these representations in commercial Hindi cinema, by looking at examples of film texts with Adivasi characters. It also examines the difficulties involved in cinematic representations which are blind to multiple identities within the nation-state, in this case, how Adivasis are constructed within popular Hindi cinema as the ‘Other’, to an already existing ‘Other’ subaltern (Indian) mass.
This paper additionally explores some examples of how, rather than be ‘swamped’ by Hindi film’s cultural dominance, local audiences, particularly in Adivasi communities, are negotiating with it to their advantage. It is in these peripheral and under-represented communities, that local media traditions are blending with popular Hindi cinema to produce creative results. How such results are re-invigorating the Adivasi film and music industries is examined.

Museum and performing arts marketing: the age of discovery

Trends in museum and performing arts marketing from 1975 to 1994 were analyzed and suggested that a third period was emerging; the data in this article confirm that claim. Among the latest arts marketing articles, there is a significantly greater focus on marketing strategy than on the other two categories--marketing as culture and marketing as tactics.

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.

A creative twist: management theory, creativity and the arts

For many theorists and practitioners in the area of organizational theory, HRM, marketing and other domains of organization studies, organizational creativity is something to be distilled and managed as an element of organizational performance. The article argues, however, that this process of appropriation from the creative arts is subject to a number of problematic transitions. The article's starting point is the notion of creativity itself. Within the creative arts, the question of what constitutes creativity and its relationship to artistic practice is subject to considerable debate. This debate centers on the question of whether creativity represents an essentialist and inexplicable (even spiritual) component of artistic practice or whether creativity is a trait of work and cannot be attributed as a unique aspect of art. The mantra of creativity provides nothing more than a means to control individuals and provide them with a false hope that contributing to the success of business will provide a means to self fulfillment.

Aggregating data for social linking in the humanities and creative arts : the "Humanities Networked Infrastructure (HuNI)"

This paper reports on the development of the Humanities Networked Infrastructure (HuNI), a service which aggregates data from thirty Australian data sources and makes them available for use by researchers across the humanities and creative arts, and more widely by the general public. We discuss the methods used by HuNI to aggregate data, as well as the conceptual framework which has shaped the design of HuNI’s Data Model around six core entity types. Two of the key functions available to users of HuNI – building collections and creating links – are discussed, together with their design rationale.

Inquiry into broadcasting, online content and live production to rural and regional Australia : submission 19. Deakin University submission to Standing Committee on Communications and the Arts

Deakin University's submission to the inquiry into 'Bringing the arts, news and other services to rural and regional Australia' by the Standing Committee on Communications and the Arts of the Parliament of Australia. The submission was one of fifty-five submissions and twelve supplementary submissions presented to the committee. The article contributed to the final report 'Arts and the news to rural and regional Australia: inquiry into broadcasting, online content and live production to rural and regional Australia’ published by The Parliament of the Commonwealth of Australia.

The politics of exclusion: political censorship and the arts-as-industry paradigm

In Australia from 1992 to 1999 Jeff Kennett led the Liberal state government in Victoria. Under his leadership an important vision statement for the arts was produced, and ambitious redevelopments of Victoria’s major cultural institutions were undertaken. Kennett’s ‘vision’ included reforms to Arts Victoria (the state-based arts funding agency) and a radical revision of how the arts were to be subsidised. This represented a wholesale adoption of a new policy approach which saw the arts and culture as an industry which could benefit, in particular, the development of cultural tourism for the state of Victoria. This paper argues that while the arts could be seen to have benefited from the Kennett government’s largesse, some parts of the arts sector were excluded and subjected to censorship. Based on both primary and secondary sources, we argue that in this period, the work of artists which expressed a politically dissenting view was actively discouraged.

Relationship marketing, audience retention and performing arts organisation viability

Marketing strategy in performing arts organisations has become particularly important in the increasingly competitive environment in which the arts operate. Since the late 1980s there has been a necessary shift in focus to audience development away from product development. This change in focus is being encouraged to ensure the long-term viability of performing arts organisations (PAOs) and micro-economic reform. While government reports have recommended strategies aimed at building audience based recognition, this is an expensive approach for many PAOs and does not produce short term returns. Little attention has been paid to building enduring relationships with existing audiences as a way if having a more dramatic impact on PAOs' long-term viability. This paper explores this theme through relationship marketing and the implication of retaining existing audiences. The paper identifies the changing cultural environment which has led to the importance if marketing. It then explains the concepts if relationship marketing and its pertinence to PAOs' viability by presenting a loyalty ladder. The structure is modelled as a dynamic conceptualisation of the relationships (audience and organisation) to assist arts managers to decide whether to focus their efforts on catching or keeping customers to maximise earned income.

Ethics and electronic commerce

Ethics is an important element in all aspects of computing, but proves to be a real problem in the development and delivery of electronic commerce systems. There are many aspects of ethics that can affect electronic commerce systems, but perhaps the most notable and worrying to both consumers and developers is that of trust.

In a world where so much information is transmitted and shared electronically, ethical standards that in general society are applied to this medium, are often ignored or forgotten. This paper will discuss some of the ethical considerations that should be considered in electronic commerce and offer the possible solutions that can encourage developers to consider ethical considerations and prove excellence and trust to the consumer.

A brief review of PhDs in creative and performing arts in Australia

This paper reports on an aspect of a pilot project conducted in 2003 by the authors comprising a bibliographic analysis of all (approximately 51,000) Australian PhDs. The pilot work is both a data and methodological basis for a larger project that investigates the nature and development of PhDs in Australia as they evolved in the context of national economic, social and educational changes. This paper reviews the evidence from the bibliographic data held in library catalogues of PhDs in each Australian university. After considering the definitional properties and their operationalisation, the paper provides an overview of the first instances, locations and frequencies of PhDs in the creative and performing arts in Australia, fields which are relatively new to doctoral study and which pose challenges in terms of doctoral pedagogy and scholarship. This is contextualised in terms of the development of the contemporary university sector during the 1990s, including the growth in the creative and performing arts therein.

Steric and electronic factors influencing recognition by a simple, charge neutral norbornene based anion receptor

Based on 1H NMR studies, subtle electronic factors rather than pre-organisation dictate the binding stoichiometry of the new, norbornene based, anion hosts 1 and 2 with acetate, however, the binding of dihydrogenphosphate appears to be based solely on steric constraints.