Containment of fragments from a runaway reactor : final report /

"Contract No. AT(04-3)-115 ; Project Agreement No. 2."

Technical report no. 2 : containment of fragments from runaway reactor /

"UC-80, Reactors--General ; TID-4500 (14th Edition) and Supplement."

Summary progress report : containment of fragments from runaway reactor /

"Contract AT(04-3)-115."

Technical report no. 3 : containment of fragments from runaway reactor /

"UC-80, Reactors--General ; TID-4500 (15th Edition) and Supplement."

Summary progress report no. 2 : containment of fragments from a runaway reactor /

"SRI Project No. GU-2164."

Technical report no. 4 : containment of fragments from a runaway reactor /

"SRI Project No. GU-2164."

Runaway pony, runaway dog.

Mode of access: Internet.

Ceres' runaway & other essays,

Mode of access: Internet.

The runaway: a story for the young.

Mode of access: Internet.

Daddy Jake the runaway, and short stories told after dark,

Mode of access: Internet.

Whither culture? Australian horror films and the limitations of cultural policy

Cultural policy that attempts to foster the Australian film industry’s growth and development in an era of globalisation is coming under increasing pressure. Throughout the 2000s, there has been a substantial boom in Australian horror films led by ‘runaway’ horror film Saw (2004), Wolf Creek (2005), and Undead (2003), achieving varying levels of popularity and commercial success worldwide. However, emerging within a national cinema driven by public subsidy and valuing ‘quality’ and ‘cultural content’ over ‘entertainment’ and ‘commercialism’, horror films have generally been antithetical to these objectives. Consequently, the recent boom in horror films has occurred largely outside the purview and subvention of cultural policy. This paper argues that global forces and emerging production and distribution models are challenging the ‘narrowness’ of cultural policy – a narrowness that mandates a particular film culture, circumscribes certain notions of value and limits the variety of films produced domestically. Despite their low-culture status, horror films have been well suited to the Australian film industry’s financial limitations, they are a growth strategy for producers, and a training ground for emerging filmmakers.

Artful shaping : the ethics of fictionalising oral history

The paper documents the development of an ethical framework for my current PhD project. I am a practice-led researcher with a background in creative writing. My project invovles conducting a number of oral history interviews with individuals living in Brisbane, Queensland, Australia. I use the interviews to inform a novel set in Brisbane. In doing so, I hope to provide a lens into a cultural and historical space by creating a rich, textured and vivid narrative while still retaining some of the essential aspects of the oral history. While developing a methodology for fictionalising these oral histories, I have encountered a derserve range of ethical issues. In particular I have had to confront my role as a writer and researcher working with other people’s stories. In order to grapple with the complex ethics of such an engagment, I examine the devices and stratedgies employed by other creative practioners working in similar fields. I focus chielfy on Miguel Barnet’s Biography of a Runaway Slave (published in English in 1968) Dave Eggers’What is the what: The autobiography of Valentino Achek Deng, a novel (2005) in order to understand the complex processes of mediation invloved in the artful shaping of oral histories. The paper explores how I have confronted and resolved ethical considerations in my theoretical and creative work.