The pyjama girl mystery : a true story of murder, obsession and lies

The pyjama girl was an unknown woman, found dumped by a road nesrl Albury in 1934. She had been brutally murdered. Who was she, and who killed her, become Australia's great unsolved crime for decades. The body was preserved in formalin, her image circulated around the world. The mystery fascinated the nation and, for some, became an obsession. Ten years later, the body was identified and a man was convicted of her manslaughter. The case, it seemed, was neatlty solved. But this 'solution', advanced by police, accepted by the courts and the media, and since repeated endlessly, was a lie. Behind the lie is a troubling story of murder and obsession, of a wild conspiracy theory, of police corruption and a miscarriage of justice, and of a real killing which floated free from reality and became a myth.

In the realm of the hackers

In the late 1980s, Melbourne was the hub of the computer underground in Australia, if not the world. The hackers who formed the underground were not disgruntled computer professionals or gangs of organised criminals. They were disaffected teenagers who used their basic home computers to explore the embryonic Internet from inside their locked, suburban bedrooms. From this shadowy world emerged two elite hackers known as Electron and Phoenix, who formed part of an alliance called The Realm. In the Realm of the Hackers charts Electron's journey from his initial innocent explorations to his ultimate obsession. It vividly recreates the climate of the 1980s, before there was public access to the Internet. The program takes us headlong into the clandestine, risky but intoxicating world of the computer underground to uncover not only how the hackers did it but why.

Journal impact factors: implications for the nursing profession

Background: The journal impact factor (IF) has become widely used as an absolute measure of the quality of professional journals. It is also increasingly used as a tool for measuring the academic performance of researchers and to inform decisions concerning the appointment and tenure of academic staff as well as the viability of their departments/schools. In keeping with these IF-related trends, nurse researchers and faculty the world over are being increasingly expected to publish only in journals that have a high IF and to abandon all other forms of publishing (including books and book chapters) that do not attract IF rankings.

Issues: The IF obsession is placing in jeopardy the sustainability and hence viability of nursing journals and academic nursing publication lists (academic texts). If nurse authors abandon their publishing agenda and publish only in 'elite' journals (many of which may be outside nursing), the capacity of the nursing profession to develop and control the cutting edge of its disciplinary knowledge could be placed at risk.

Actions: Other means for assessing the quality and impact of nursing journals need to be devised. In addition, other works (such as books and book chapters) need also to be included in quality metrics. Nurse authors and journal editors must work together and devise ways to ensure the sustainability and viability of nursing publications.

Surrender to the market : thoughts on anthropology, the body shop, and intellectuals

The direction of anthropology over the last century is tied to the shifts from colonialism to postcolonialism and from modernism to postmodernism. These shifts have seen the thoroughgoing incorporation of the world population into the economic, political and juridical domain established through the last throes of colonialism and the transmutations of capitalism and the State. Anthropology, a discipline whose history shows close and regular links with colonial government, also transforms in association with the world it describes and partly creates. Two dominant trends in contemporary anthropology--applied consultancy and historicist self-reflexivity--are compared for the ways they represent the transmutation, which is characterised, following Fredric Jameson as 'the surrender to the market'. In this way it is asserted that just as the discipline had hitherto revealed its links to colonialism, it now reveals its links to globalisation through a form of commodified self-obsession. To illustrate this quality the paper considers the global chain of cosmetics stores, The Body Shop, as an example of 'late capitalism' and the moral juridical framework of globalisation. Finally, it treats these developments in anthropology as more generally affecting intellectuals and knowledge production through the promotion of intellectual 'silence'.

50 years of underground filmmaking in Melbourne: program 3

Program 3 of the 50 years of underground filmmaking in Melbourne, curated by Bill Mousoulis. A collection of John Cumming's films, including: Obsession, Recognition, and Sabotage. John also screened and discussed excerpts from some of his other works. The whole session was followed by discussion

One tweet does not a revolution make : technological determinism, media and social change

This paper discusses the problematic influence of technological determinism in popular news media coverage and analysis of the Arab Spring events of 2010-11.

The purpose is to develop insights into how and why elements of a ‘soft’ technological determinism inflect both journalistic practice and news discourse in relation to the Arab Spring. In particular it discusses how the ‘bias of convenience’ and a journalistic obsession with the ‘continuous present’ connect with this determinist inflection to create a potential distortion in the journalists’ ‘first rough draft’ of history in relation to significant and complex events such as social revolution.

White tribe: echoes of the Anzac myth in Cronulla

Since the publication of Fiske, Hodge and Turner’s Myths of Oz: Reading Australian Popular Culture (1987), Australian Cultural Studies has turned to the beach as a primary site for examining national identity and the myths of Australian culture. In the text the beach is read as a liminal site between ‘culture’ and ‘nature’, represented respectively by lifesaver and surfer. The meanings of anti-authoritarianism attached to the surfer are significant to the reading. And yet Fiske, Hodge and Turner also locate a heritage of authoritarianism, discipline and civic duty in the figure of the lifesaver: 

'Lifesavers have drills, march-pasts and patrol squads, while exercising a conservative pastoral interest in their members’ moral health. They are agents of social control. Further, they see themselves as servants of the community, sacrificing their weekends for others—a tradition of sacrifice dear to a nation which twice voted no to conscription in the Great War.' (Fiske et al. 1987, 64–65) 

A tissue of denials: film retrospective (1979-2016)

My abstract moving image making has provided a foundation for my practice since I first started processing and solarizing my own 16mm film in one of those LOMO Russian processing tanks in 1973. Feyers, Zoomfilm (1976) and Running (1976) rework some of those early strips of black and white film. Whenever funding dried up I always fell back on my abstract direct on film work. It was cheap. Like knitting, it gave me a space to process the dilemmas and incongruities of daily life and to escape its clutches. I also began to understand that these forces were still there, embedded implicitly in the work. Now, more than ever, I understand this as a survival response to corporate doublespeak. I would never throw anything away. New scratching, painting, taping or bleaching strategies could be added later. Intensive cluster editing of single frames became an obsession. The translated difference between what you saw over a light-box and what was projected drew me in. Like the migrant position I was allocated from childhood I survived in the space between these two territories. As well as an archive of images and movement I collect optical effects. The flash frame. The trail of afterimages resulting from flickering between positive and negative images. At their liveliest these images float above the screen. Now the digital allows me to amplify the material presence of 16m and 35mm film and a whole new world opens up before me. I cobble together found footage films from my own archive of discarded data and unfinished sentences.

Star struck

With poems ranging from the confessional to the mock-autobiographical, from imagism to a strange storytelling, from the comic and satirical to the plangent and disturbing, Star Struck startles us with the many faces of lyric poetry.This book of poems by the award-winning poet David McCooey is made up of four sections. The first documents an alienating encounter with a life-threatening illness. The second plays out an unforgettable obsession with darkness and light. The third brings together popular music and the ancient literary mode of the pastoral. In this highly original sequence we find, among other things, Bob Dylan singing Virgil, Joni Mitchell reflecting on life in Laurel Canyon, a lab monkey pondering the sound of music, and a bitter, surreal rewriting of ‘Down Under’ for our times. In the final section, narrative poetry is cast in an intensely new and uncanny light.

Manifesto of a defeated poet

This feature-length experimental film is the result of an intimate collaboration between Bosnian filmmaker/poet/painter/musician/performace artist Saidin Salkic (On Karasevdah: Srebrenica Blues, 2007 & Konvent 2010) and veteran Australian experimental filmmaker and film educator John Cumming (Obsession, Recognition & Sabotage 1985-87, First time Tragedy Second Tome Farce, 1989, The Hollow Centre 1999). Created over a period of four years it draws on the traditions and possibilities of improvisation – in cinematography, experimental cinema, dance, music and performance – with moments of intensity and repose, fluidity and halting re-composure. Cumming’s camera and Salkic’s movement work in front of it are at once expressionistic and in dialectical tension as are Salkic’s poetry, his haunting improvisations on piano and melodica and Cumming’s industrial soundscapes. SYNOPSIS: In the midst of fascist-capitalist madness, the Foreigner (a poet/dancer with sun on his palms and blood from his dreams on his face) hovers in neon twilight with last whispers of sanity on his lips, guarding and protecting the world – forever. REVIEW: ‘Full of mystery and beauty, punctuated by strange eruptions of silent cinema, of Chaplin, of film history made personal … not the film of a dance but a dance itself around pure presence … something unique and precious.’ Maximilian Le Cain, http://lecain.blogspot.com.au/2015/11/a-few-reflections-on-manifesto-of.html