Managerialism and the arts : a complete and utter bloody waste of time

Managerialism has been adopted with alacrity by Australian government agencies across multiple sectors. Studies of managerialism in concept and practice have been undertaken in some public sectors but not from a critical management perspective. This position paper examines the contribution of organization theory to an understanding of managerialism. Here we challenge the appropriateness and effectiveness of new managerialism generally, and for the arts in particular, through an analysis of conflict between an Artistic Director, General Manager and Board in a key Australian community arts organization. We call for further research into the appropriateness of management theory and practice for the arts; and seek better ways of managing our cultural capital.

'Just bloody fat!' : a qualitative study of body image, self esteem and coping in obese adults

The rise of the ‘obesity epidemic’ in Western societies has led to an increased public gaze on obese individuals. Yet there is limited research that explores through qualitative methods the increased impact it has had on obese individuals’ perceptions of self, body image and coping strategies, using their own words. This paper presents the findings of interviews with a community sample of 142 obese adults in Australia. We examined how obese individuals felt about themselves and their bodies, what influenced these feelings, and the subsequent coping strategies employed. While participants were able to identify many positive characteristics about their inner self, the vast majority used negative language to describe their physical appearance. Many participants described feelings of ‘guilt’, ‘shame’ and ‘blame’ associated with their weight. Coping strategies included striving for perfection in other areas of their life, social isolation, maximising aspects of their appearance and ‘fat’ acceptance. This study shows that, while different groups of obese adults experience, cope with and compensate for the influence of weight-based stereotyping in many different ways, they still feel an unrelenting otherness and difference associated with their weight.

Lost in translation : Tourism Australia's 'Where the bloody hell are you?" campaign

Where issues and crises management intersect an converge with risk and reputaiton is one of the most dynamic and challenging areas of professional communcation. This study examines how poor research lead to message  misunderstanding  and ultimately internaitonal ridicule of the national image.

Masochistic marketing : not one of Volvo Australia's safest strategies?

The marketing approach used by Volvo to debunk the stigma of "Bloody Volvo Driver" in the Australian marketplace appears to be a rare approach and could be perceived to some extent as being 'masochistic'. A masochistic marketing approach, as coined by the authors of this paper, is a high-risk venture. It is a challenging and a demanding initiative because it plays on the humiliation of the corporate image itself. The core idea of the masochistic marketing approach violates, or at least appears to oppose, the fundaments of marketing. The underlying idea is to tum a stigmatised image in the marketplace into something useful and valuable in forthcoming marketing and business activities, however, in the process that corporate image may deteriorate even further.

Fresh garlic : a possible vehicle for Salmonella Virchow

A sustained increase in Salmonella enterica serovar Virchow notifications in South Eastern Australia between September 1997 and May 1998 instigated a case-control study and environmental investigations. Cases were defined as having locally acquired culture-confirmed S. Virchow phage-type 8 infection and diarrhoeal disease. Matched controls were selected by progressive digit dialling based on cases telephone numbers. An exposure and food history questionnaire was administered by telephone. Phage typing and pulse field gel electrophoresis were performed on case and environmental isolates. Thirty-two notifications of S. Virchow infection met the case definition, 37% reported bloody diarrhoea and S. Virchow was isolated from blood in 13% of cases. Twelve patients were admitted to hospital and one died. Fresh garlic (OR 4·1, 95% CI 1·3-12·8) and semi-dried tomatoes (OR 12·6, 95% CI 1·5-103·1) were associated with these cases. The associations remained significant after adjusting for sex and age. S. Virchow (PT 8) was cultured from two brands of semi-dried tomatoes associated with cases in two different states. We provide sufficient evidence for semi-dried tomatoes and fresh garlic to be considered as potential risk foods in future Salmonella outbreak investigations.

The inadequacy of Western media theory in third world internal conflicts : the case of military censorship in Sri Lanka

Research on media production and on media effects under military censorship has centred primarily on cross-border conflicts being waged by Western regimes. There is a noticeable void in understanding internal conflicts, particularly so within the Asian region. To help address this lacuna, we content-analyse Sri Lankan newspaper samples of two critical military campaigns within the Sri Lankan separatist conflict to gain insight into an Asian internal conflict within the context of military censorship and culture. We discover that supposedly stringent censorship regulations and the rules of the official communication systems have almost no effect on Sri Lankan newspapers, which demonstrate a unique talent to circumvent these strictures. During these bloody internal conflicts, the Sri Lankan press enjoyed freedom of expression, flaunted social responsibility and their watchdog instincts, and, most interestingly for us, demonstrated the failure of the Western propaganda model and other theoretical perspectives. The importance of understanding cultural dimensions before theorizing media behaviour in order to obtain a more rational understanding of the sociology of media is posited by this study. We conclude with discussion of a new model of media censorship which has more relevance in Asian internal conflicts.

Cultural destruction and identity politics : targeting the history of Iraq

Since its inception in 1921, a number of successive regimes have sought to politicize Iraq‟s cultural history in order to develop national identity and foster social cohesion across this rich and complex nation. Foremost among these were the Baath party, particularly under the rule of Saddam Hussein, who used much of the nation‟s Oil wealth to undergo an extensive nation-building campaign. However, identity in Iraq is far from monolithic and various factions have long resisted the state sanctioned version of “Iraqi” identity and asserted alternative histories and narratives to underpin their own identity politics. With the invasion of Iraq by Coalition forces in 2003, however, came an unprecedented era of cultural destruction. Following the devastation of the battle phase of the war, there were further attacks on Iraq‟s cultural heritage including everything from the carefully choreographed removal of the giant bronze statue of Saddam in Firdos square, through to military bases set up at sensitive archaeological sites such as the ancient city of Babylon. In addition, Iraqi civilians targeted the cultural history of their nation with wanton looting and arson, as well as systematic attacks on sites of archaeological or ethno-religious significance. More recently, the Shia and Kurdish dominated Iraqi Government have organised the “Committee for Removing Symbols of the Saddam Era” and drew up plans to purge the state of its Sunni dominated past.

This paper argues that the unprecedented scale and magnitude of the destruction of Iraq‟s cultural history has played a part in eroding the various intersecting and overlapping versions of identity politics in Iraq. In turn, this has provided fertile ground for terrorists and sectarians to plant the seeds of their own narrow and deadly ideologies. This has brought about the rise of ethno-religious based violence and seen a series of bloody and protracted conflicts emerge between previously peaceful and compatible factions. In this way, Iraq serves as a powerful case study in furthering academic discussion on the complex inter-relationships between cultural and historical destruction and identity politics, sectarianism, violence and democracy.

Family tries

My younger brother , you know, was the best one of us. Yeah, he frigging was, so no one say a word about him and what he done, right. H e got onto an A-grade Rugby League club team and we used to see him real as life on the telly on Sunday. Yep, there he was in all his glory in all our glory. H e even got into the papers too. Got a great shot of him still. There he lies stretched out full length along the ground, the soles of his boots showing, his arms fully out though with the elbows bent just a little to ease his fall, but you know what, his effing face is turned to the camera. H e knows that that was good. It was too, the try of the week. Great picture, that's why I keep it, as does mum and dad. H e was bloody brilliant, but with his fame came the girls from better suburbs than ours can ever hope to be. Finally, got himself hitched to a fancy bitch whose folks had money in the bank and possibly owned the bloody thing too. Well, it was like that, but he should've stuck with his own kind, though they ain't much better. I should know, because of what lately happened to me. By the way, my name is Rose, and I've got thorns as more than one has found out to his grief...

Australia, Papua New Guinea, and a communal blindness in our history education

The teaching of history to Australians has been under the spotlight in recent years as experts, commentators, and politicians vie for command of the uses to be made of the past. This was very evident in the — one hopes — now concluded ‘history wars’ of the last decade or so. But the old warriors are oiling their rusty swords in preparation for what may be yet another battle, perhaps one that will be particularly bloody in this election year. The field for this battle will be broadly centred on the new national history curriculum, being developed by the Australian Curriculum, Assessment, and Reporting Agency (ACARA).

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.