'Cum together' : spectatorship, presence and La Fura Baus' XXX

Based on the Marquis De Sade's novel, Philosophy in the Bedroom, XXX, a controversial work by the Spanish Performance group La Fura Dels, has divided critics and audiences in Europe and Australia. On the one hand, the performance has been chastised for its lack of intellectual coherence and tedium. On the other hand, it has been lauded as a piece of innovative theatre that addresses the audience's senses through a variety of theatrical and multi-media devices in order to challenge their preconceptions about the connections between sex and politics in contemporary culture. Writing in the Sydney Morning Herald, Stephen Dunne asks "Why is this so desperately-naughty show so dull to watch?"

This paper challenges Dunne's assessment of the performance by examining the relationship between the performers and spectators in terms of what Susan Melrose calls theatre's specular and somatic economies in order to analyse the specific ways in which XXX simultaneously challenges and confounds traditional notions of theatrical spectatorship.

Anglo-Indians in Hollywood, Bollywood and arthouse cinema

Apart from a few disparaging remarks about offensive stereotypes by Anglo-Indian writers and politicians such as Gloria Jean Moore, Frank Anthony and Gillian Hart, critics have paid very little attention to the representation of “mixed-race” Anglo-Indians in the cinema. Drawing on screen theory and recent theories of cinema spectatorship, this essay provides a comparative analysis of how Hollywood, Bollywood and arthouse films represent Anglo-Indians. More specifically, it analyses three paradigmatic films: Bhowani Junction (1956), Julie (1975), and 36 Chowringhee Lane (1981). Combining formal analysis of narrative structure, mise-en-scegravene and genre with historical analysis, the paper examines the ideological work performed by these texts, which use Anglo-Indians to dramatise specific political conflicts in India such as those generated by the British partition of India in 1947 and the more recent issue of globalisation.

Clichéd gaze of the migrant on the Australian screen

The thesis takes up the question of the representation of the migrant on the Australian screen in terms of a specific set of concerns around the notions of stereotype and self-reflexivity. The stereotype is read as a self-referential image: hence, as a question of film spectatorship and identity; in short as an unconscious reflex or self image. The text of the thesis is in two parts: part one, comprises the production of the film ‘Italians at home’. It is the major component of research and text which, for this purpose, has been copied and submitted hereto on VHS video cassette. Part two, includes an analysis and discussion of the television documentary ‘The migrant experience’, and an exegesis, of the production, narrative and reception of the film ‘Italians at home’. The migrant experience is read and discussed as an exemplary text of dominant, stereotyped discourse of cultural difference; while ‘Italians at home’ is proposed as a parallel text and a self-reflexive reading and criticism of such a text. Both the television documentary and the film, deal with the representation and problematic of homogenised representations of ethnicity. In the case of ‘The migrant experience’, it is argued, that the figure of the migrant as other and self-image, functions as an object of Australian culture and discourse of national identity within a logic of representation of binary structures; while the film ‘Italians at home’, the question of self-referentiality is seen in terms of the viewing subject and a problematic of film representation; thus, the film attempts to make such signifying structures, visual codes and agreed assumptions of otherness visible, while, at the same time, attempting to displace them or pose them as a problem of representation or reading for the viewer.

Women as consumers of a male domain : Australian Rules Football and its female fans

Looked at from a global perspective, sports are mostly male preserves. Those played by women seldom attract a large spectatorship and the numerous at-ground viewers of men’s play mostly are men. An exception is Australian Rules Football (AFL), a male sport that since the 19th century has drawn a considerable female following, with women accounting for about half of the ‘live’ crowds. From single-person and focus group interviews conducted with female AFL fans, we examine how women voice their support for a sport characterised by hyper-masculinity in players’ on-field and off-field behaviours, in the organisation and control of the sport, and in the ‘natural’ authority credited to men’s voices in commentary and interpretation of it. Given their marginalisation in AFL and in sports generally, what do women fans gain from their avid support of AFL and how does this influence the construction of their identities as women? We examine these issues from a perspective supporting the idea of multiple, fragmented identities.

The future of football is female : a case of fan-tastic imaginings?

Consistent with FIFA president Sepp Blatter’s proclamation that the future of football is female, the Australian Football League (AFL) has instituted a range of initiatives in an attempt to present a ‘female friendly’ face and garner women’s support for the national game. Given the large number of women who follow the AFL, especially in comparison to other football codes nationally, it’s worth considering the motivations behind the AFL’s tactics. To what extent does what the AFL think women want correlate with women supporters’ experiences and realities of being a football fan? This paper presents findings from semi-structured and focus group interviews with female AFL fans to gauge their perceptions of being an Australian rules football supporter and its impact on their lived experiences and sense of self. The responses of women supporters are critically assessed in order to contemplate how women negotiate gender identity through their support of a male dominated sport. As well as offering insights into the role gender plays in leisure pursuits such as sport spectatorship, this paper considers how femininity and masculinity might be contested and/or remade through the practice of following football in the Australian context. By demonstrating the range and diversity of women’s experiences, this research has the capacity to generate alternative imaginings of fanship and sporting community beyond gender stereotypes.

Finding footy : female fan socialization and Australian rules football

The question of how, irrespective of gender, a person becomes a sports fan has been absent in sociological studies of sports supporters. Distinct from other studies of sport spectatorship that focus on the practices of already existing (and overwhelmingly male) fans, our research is the first to consider how women become supporters, and in doing so, it begins to redress the significant under-representation of women in sports fan research. From interviews with female supporters of the Australian Football League (AFL), this article identifies and critically assesses the modes by which women come to support sport. We propose four categories to explain the different ways women accomplish fandom, focusing on the importance of strong social ties and doxic actions in this process. The events, experiences and social relations that inform women's first encounters with AFL offers a template for the wider consideration of women as social agents in the sporting landscape.

Oh yes, he is hot : female football fans and the sexual objectification of sportsmen’s bodies

The past decade has witnessed a growing focus on the study of women sports fans within the social sciences and related disciplines. Emerging from and responding to the historical marginalization of women in sport and the bias towards the male fan in literature on sports spectatorship, critical research on women spectators serves the valuable function of illuminating “women’s everyday experiences of being a sports fan” (Gosling 2007: 250). This chapter considers one aspect of women’s participation as followers of male sports, namely, the extent to which female fans partake in the sexual objectification of sportsmen. We aim to assess how looking at male athletes in sexually desiring ways impacts on the individual and collective construction of women’s gender and sports fan identities.

Seeing, sensing sound: eye tracking soundscapes in saving private Ryan and monsters inc.

Drawing largely on cinematic theories of sound, film aesthetics, and neuroscientific understandings of the eye and the gaze, we undertake a comparative analysis of two film sequences to address these questions: the chase sequence" from the animated film, Monsters, Inc. (Pete Docter, David Silverman, and Lee Unkrich, 2001); and the Omaha Beach landing sequence from Saving Private Ryan (Steven Spielberg, 1998).