The runaway weight gain train: too many accelerators, not enough brakes

Obesity seems to be perpetuated by a series of vicious cycles, which, in combination with increasingly obesogenic environments, accelerate weight gain and represent a major challenge for weight management

Risk and resilience, knowledge and imagination: the enlightenment of David Almond's Skellig

In what Ulrich Beck calls "risk society," and Anthony Giddens a "runaway world," a climate of fear and insecurity has been created by scientific progress, leading to a loss of confidence in the ability of experts to manage risk. Resilience is at the forefront of psychology research informing child-rearing strategies (Luthar, et al.); it entails an approach to child welfare that focuses on fostering internal (psychological) and external (cultural) assets that develop a child's ability to triumph over adversity in the form of individual, familial, and cultural stresses.

Boom and bust in Australian screen policy: 10BA, the Film Finance Corporation, and Hollywood's 'race to the bottom'.

In recent years, a narrative has emerged in the Australian popular media about the box office 'unpopularity' of Australian feature films and the 'failure' of the domestic screen industry. This article explores the recent history of Australian screen policy with particular reference to the '10BA' tax incentive of the 1980s; the Film Finance Corporation of Australia (FFC), a government screen agency established in 1988 to bring investment bank-style portfolio management to Australia's screen industry; and local production incentive policies pursed by Australian state governments in a chase for Hollywood's runaway production.

We argue the 10BA incentive catalysed an unsustainable bubble in Australian production, while its policy successor, the FFC, fundamentally failed in its stated mission of 'commercial' screen financing (over its 20-year lifespan, the FFC invested 1.345 billion Australian dollars for 274.2 million Australian dollars recouped - a cumulative return of negative 80 percent). For their part, private investors in Australian films discovered that the screen production process involved high levels of risk.

Foreign-financed production also proved highly volatile, due to the vagaries of trade exposure, currency fluctuations and tax arbitrage. The result of these macro and micro-economic factors often structural and cross-border in nature was that Australia's screen industry failed to develop the local investment infrastructure required to finance a sustainable, non-subsidised local sector.

"My blarsted greenstone throne!" Māori princesses and nationhood in New Zealand fiction for girls

This chapter focuses on Isabel Peacocke’s The Runaway Princess (1929) and Mona Tracy’s short story collection, Piriki’s Princess and Other Stories of New Zealand (1925), which incorporates a swathe of princesses, Māori and Pākehā. The princesses to be discussed in this chapter occupy liminal states: between Māori and Pākehā, child and adult, individual and collective subjects. Whether Māori and Pākehā, they figure in narratives of identity-formation that implicitly or explicitly incorporated comparisons between Māori and Pākehā. This chapter tracks this continuum of representations working from Māori to Pākehā and beginning with two Māori princesses who feature in Tracy’s stories ‘A Deserted Settlement’ and ‘Four Tons of Flax’.