Writers as performers : developing reflexive and creative writing identities

Writing is a complex and learned activity in that it requires us to shape our thoughts into words and texts that are appropriate for the purpose, audience and medium of a variety of communicative forms. Writers must constantly make decisions about how to represent their subject matter and themselves through language. In this way, writing can be conceptualised as a performance whereby writers shape and represent their identities as they mediate social structures and personal considerations. In this paper I use theories of reflexivity and discourse to analyse interviews and writing samples of culturally and linguistically diverse Australian primary students for evidence of particular kinds of writing identities. Findings indicate a clear influence of particular teaching strategies and contexts on the writing identities of students. I argue that making students aware of their writing choices, the influences on, and the potential impact of those choices on themselves, their text and their audience, is a new imperative in the teaching of writing.

Introduction: Reflective and Reflexive Approaches in Higher Education : A Warrant for Lifelong Learning?

In our complex and incongruous world, where variety produces more variety, and there is no blueprint for dealing with unprecedented change, it is imperative that individuals develop reflexive approaches to life and learning. Higher education has a role to play in guiding students to be self-analysts, with the ability to examine and mediate self and context for improved outcomes. This chapter elucidates the catchphrase of lifelong learning and its enactment in higher education. Theories of reflexivity and personal epistemology are utilised to provide the conceptual tools to understand the ways in which individuals manage competing influences and deliberate about action in their learning journey. The case is made for the integral role of higher education teachers in developing students’ capacities for reflective thinking and reflexive approaches to learning as a life project.

Education paths for documentary distribution: DAF, ATOM and the study guides that bind them

An expanding education market targeted through ‘bridging material’ enabling cineliteracies has the potential to offer Australian producers with increased distribution opportunities, educators with targeted teaching aids and students with enhanced learning outcomes. For Australian documentary producers, the key to unlocking the potential of the education sector is engaging with its curriculum-based requirements at the earliest stages of pre-production. Two key mechanisms can lead to effective educational engagement; the established area of study guides produced in association with the Australian Teachers of Media (ATOM) and the emerging area of philanthropic funding coordinated by the Documentary Australia Foundation (DAF). DAF has acted as a key financial and cultural philanthropic bridge between individuals, foundations, corporations and the Australian documentary sector for over 14 years. DAF does not make or commission films but through management and receipt of grants and donations provides ‘expertise, information, guidance and resources to help each sector work together to achieve their goals’. The DAF application process also requires film-makers to detail their ‘Education and Outreach Strategy’ for each film with 582 films registered and 39 completed as of June 2014. These education strategies that can range from detailed to cursory efforts offer valuable insights into the Australian documentary sector's historical and current expectations of education as a receptive and dynamic audience for quality factual content. A recurring film-maker education strategy found in the DAF data is an engagement with ATOM to create a study guide for their film. This study guide then acts as a ‘bridging material’ between content and education audience. The frequency of this effort suggests these study guides enable greater educator engagement with content and increased interest and distribution of the film to educators. The paper Education paths for documentary distribution: DAF, ATOM and the study guides that bind them will address issues arising out of the changing needs of the education sector and the impact targeting ‘cineliteracy’ outcomes may have for Australian documentary distribution.

Learning to lead: The development and testing of a model of leadership learning

Drawing upon an action learning perspective, we hypothesized that a leader’s learning of project leadership skills would be related to facilitative leadership, team reflexivity, and team performance. Secondly, we proposed that new and experienced leaders would differ in the amount they learn from their current and recent experience as project managers, and in the strength of the relationship between their self-reported learning, facilitative leadership, and team reflexivity. We conducted a 1-year longitudinal study of 50 R&D teams, led by 25 new and 25 experienced leaders, with 313 team members and 22 project customers, collecting both quantitative and qualitative data. We found evidence of a significant impact of the leader’s learning on subsequent facilitative leadership and team performance 8 and 12 months later, suggesting a lag between learning leadership skills and translating these skills into leadership behavior. The findings contribute to an understanding of how leaders consolidate their learned experience into facilitative leadership behavior.

Cinema Cities, Media Cities: The Contemporary International Studio Complex

This report, written for the Australian Film Commission (now Screen Australia) is the first major study of the development and role of studio complexes in the spread of film production around the world. The report is divided in to five chapters. First, it examines policy-making around studios, including government support for new facilities around the world. Second, it situates the phenomenon of the contemporary studio complex within the international production ecology. Third, it provides examples of the three types of studio complex: production precinct; cinema city; and media city. Fourth, it describes the networks of production that sustain studios. And fifth it explores the place of the studio in the relationship between 'local' and international production.

Comparative exploration of narrative processes for better and poorer outcomes for depression

Background Contemporary psychotherapy research demonstrates that whilst most clients respond positively to psychological interventions, a small, but significant proportion of clients fail to experience the expected benefits of therapy. Although methodologies exist that enable the identification of successful and unsuccessful therapy, we have a limited understanding of the processes associated with these outcomes. Aim The current study sought to examine the relationship between therapeutic outcome and therapeutic language. Methodology: The therapeutic outcomes of 42 trainee-therapists who provided psychotherapy to 173 clients were tracked with the OQ-45.2 over a 5 year period with the view of identifying the client/ trainee-therapist dyads with the best and poorest outcomes. The 6 best outcome and 6 poorest outcome client/ trainee-therapist dyads were identified in order to examine the characteristics of therapeutic conversations associated with better and poorer therapy outcomes. Therapeutic conversations were analysed with the Narrative Process Coding System. Findings The best outcome client/ trainee-therapist dyads demonstrated significant increases in reflexive conversation over the course of psychotherapy. Implications Examining the practices of the best and poorest outcome client/ trainee-therapist dyads with objective measures of therapy outcome provides an important first step in understanding how therapeutic language may contribute to the greatest therapeutic improvement or deterioration.

The iconic and the critical

Theodor Adorno was opposed to the cinema because he felt it was too close to reality, and ipso facto an extension of ideological Capital, as he wrote in 1944 in Dialectic of Enlightenment. What troubled Adorno was the iconic nature of cinema – the semiotic category invented by C. S. Peirce where the signifier (sign) does not merely signify, in the arbitrary capacity attested by Saussure, but mimics the formal-visual qualities of its referent. Iconicity finds its perfect example in the film’s ingenuous surface illusion of an unmediated reality – its genealogy (the iconic), since classical antiquity, lay in the Greek term eikōn which meant “image,” to refer to the ancient portrait statues of victorious athletes which were thought to bear a direct similitude with their parent divinities. For the postwar, Hollywood-film spectator, Adorno said, “the world outside is an extension of the film he has just left,” because realism is a precise instrument for the manipulation of the mass spectator by the culture industry, for which the filmic image is an advertisement for the world unedited. Mimesis, or the reproduction of reality, is a “mere reproduction of the economic base.” It is precisely film’s iconicity, then, its “realist aesthetic . . . [that] makes it inseparable from its commodity character.”...

Mary and Max

Synopsis and critique of Australian film in animation, comedy, and drama genres.

The Great Gatsby and Ned Kelly: Telling national iconic stories through a transnational lens

This chapter will examine how transnational film making allows national and iconic stories to shift outside their imposed national boundaries, freeing them from “nation building” constraints and predetermined ideological motivations. Each interpretation creates one more dimension to the story’s complexity and hybridity assuring its continuance and relevance into the future. Each new film version, and in the case of iconic stories, each new transnational film version, breathes new energy and life into the stories and also stops monolithic ownership of them. What is also of interest in this chapter is the judgement cast upon each of the retelling and adaptations of these iconic stories. Every adaptation is weighed up and judged against a mythic ideal, and as such, each always falls short of imagined expectations. But in a paradoxical fashion, it is this failure to capture that provides the impetus for the story’s future retellings.

Undead yakuza: The Japanese zombie movie, cultural resonance and generic conventions

The zombie has long been regarded as a “fundamentally American creation” (Bishop 2010) and a western monster representing the fears and anxieties of Western society. Since the renaissance of the zombie movie in the early 2000s, a subsequent surge in international production has seen the release of movies from Norway, Cuba, Pakistan and Thailand to name a few. Although Japanese zombie movies have been far more visible for Western cult audiences than in mainstream markets, Japanese cinema has emerged as one of the more prolific producers of zombie films outside of Anglophone or Western European countries in recent years. Films such as Helldriver (2010), Zombie TV (2013), Versus (2000), Tokyo Zombie (2005), Happiness of the Katakuris (2001) and anime television series High School of the Dead (2010) have generated varying degrees of popularity and critical attention internationally. At first glance Japanese zombie films, with musical zombie interludes, undead yakuza henchmen and revenge-seeking yūrei zombies, appear fundamentally different to their Western counterparts. Yet, on closer examination, the Japanese zombie movie could be regarded as a hybrid and intertextual generic form drawing on syntactic conventions at the core of a universal zombie sub-genre established by Western filmmaking traditions, while also distilling culturally specific tropes unique to various Japanese horror cinema sub-genres. Most importantly, the Japanese zombie film extracts, emphasises and revises particular conventions and motifs common within Western zombie films that are particularly relevant to Japanese audiences. This chapter investigates the cultural resonance of key generic motifs identifiable in the Japanese zombie film. It establishes a production context and the influence of Japanese horror cinema on style and thematic concerns. It then examines the function of prominent narrative conventions, namely: the source, outbreak and spread of infection; mutation and the representation of the monster; and the inclusion of supernatural and religious motifs.

Australian feature films and distribution: Industry or cottage industry?

Feature films remain critical flagships to any national film industry. Australian feature films can be highly commercial endeavours that also perform symbolic functions by embodying the national imaginary in big screen based sound and imagery. They conduct a dialogue with domestic audiences as well as showcase key aspects of Australia in the global film festival circuit. As the pre-eminent filmmaking form, feature films also serve as important launchpads for the careers of many Australian writers, directors, actors and technical crew. In the wake of over a decade of diminished share of local box office obtained by Australian feature films, Australian Feature Films and Distribution: Industry or cottage industry, examines issues in the production sector affecting the performance of Australian feature films and some responses by the central funding and support screen agency, Screen Australia.

Construing and Defining the Out of Control : Addiction in the Media 1968-2008.

The four scientific articles comprising this doctoral dissertation offer new information on the presentation and construction of addiction in the mass media during the period 1968 - 2008. Diachronic surveys as well as quantitative and qualitative content analyses were undertaken to discern trends during the period in question and to investigate underlying conceptions of the problems in contemporary media presentations. The research material for the first three articles consists of a sample of 200 texts from Finland s biggest daily newspaper, Helsingin Sanomat, from the period 1968 - 2006. The fourth study examines English-language tabloid material published on the Internet in 2005 - 2008. A number of principal trends are identified. In addition to a significant increase in addiction reporting over time, the study shows that an internalisation of addiction problems took place in the media presentations under study. The phenomenon is portrayed and tackled from within the problems themselves, often from the viewpoint of the individuals concerned. The tone becomes more personal, and technical and detailed accounts are more and more frequent. Secondly, the concept of addiction is broadened. This can be dated to the 1990s. The concept undergoes a conventionalisation: it is used more frequently in a manner that is not thought to require explanation. The word riippuvuus (the closest equivalent to addiction in Finnish) was adopted more commonly in the reporting at the same time, in the 1990s. Thirdly, the results highlight individual self-governance as a superordinate principle in contemporary descriptions of addiction. If the principal demarcation in earlier texts was between us and them , it is now focused primarily on the individual s competence and ability to govern the self, to restrain and master one's behaviour. Finally, in the fourth study investigating textual constructions of female celebrities (Amy Winehouse, Britney Spears and Kate Moss) in Internet tabloids, various relations and functions of addiction problems, intoxication, body and gender were observed to function as cultural symbols. Addiction becomes a sign, or a style, that represents different significations in relation to the main characters in the tabloid stories. Tabloids, as a genre, play an important role by introducing other images of the problems than those featured in mainstream media. The study is positioned within the framework of modernity theory and its views on the need for self-reflexivity and biographies as tools for the creation and definition of the self. Traditional institutions such as the church, occupation, family etc. no longer play an important role in self-definition. This circumstance creates a need for a culture conveying stories of success and failure in relation to which the individual can position their own behaviour and life content. I propose that addiction , as a theme in media reporting, resolves the conflict that emanates from the ambivalence between the accessibility and the individualisation of consumer society, on the one hand, and the problematic behavioural patterns (addictions) that they may induce, on the other.

Choosing the Arranged One, Arranging the Chosen One – Imagining an Indian Modernity: Reconciling Love, Marriage and Family On and Off the Screen

This is a study on the changing practices of kinship in Northern India. The change in kinship arrangements, and particularly in intermarriage processes, is traced by analysing the reception of Hindi popular cinema. Films and their role and meaning in people´s lives in India was the object of my research. Films also provided me with a methodology for approaching my other subject-matters: family, marriage and love. Through my discussion of cultural change, the persistence of family as a core value and locus of identity, and the movie discourses depicting this dialogue, I have looked for a possibility of compromise and reconciliation in an Indian context. As the primary form of Indian public culture, cinema has the ability to take part in discourses about Indian identity and cultural change, and alleviate the conflicts that emerge within these discourses. Hindi popular films do this, I argue, by incorporating different familiar cultural narratives in a resourceful way, thus creating something new out of the old elements. The final word, however, is the one of the spectator. The “new” must come from within the culture. The Indian modernity must be imaginable and distinctively Indian. The social imagination is not a “Wild West” where new ideas enter the void and start living a life of their own. The way the young women in Dehra Dun interpreted family dramas and romantic movies highlights the importance of family and continuity in kinship arrangements. The institution of arranged marriage has changed its appearance and gained new alternative modes such as love cum arranged marriage. It nevertheless remains arranged by the parents. In my thesis I have offered a social description of a cultural reality in which movies act as a built-in part. Movies do not work as a distinct realm, but instead intertwine with the social realities of people as a part of a continuum. The social imagination is rooted in the everyday realities of people, as are the movies, in an ontological and categorical sense. According to my research, the links between imagination and social life were not so much what Arjun Appadurai would call global and deterritorialised, but instead local and conventional.

Incorporating American Dreams into Australian Stories: Political Erasure and cultural transference in film adaptations of Australian Literary Classics

Eterio Pajares, Raquel Merino y José Miguel Santamaría (eds.)

Os dois Orfeus, representações da paisagem favela no cinema: o olhar estrangeiro e o olhar de pertencimento

Esta dissertação apresenta uma reflexão focada na análise geográfico-cultural da paisagem favela na cidade do Rio de Janeiro e em sua representação no cinema, pelo discurso fílmico presente nas obras Orfeu negro (1959), de Marcel Camus e Orfeu (1999) de Carlos Diegues. Tal discurso emerge como instrumento de compreensão do processo evolutivo que gerou uma espécie de linhagem da favela na cidade. Os quarenta anos passados entre os dois Orfeus e as paisagens reais e ficcionais, da favela neles presentes espelham um rico contínuo espaço-tempo. Quarenta anos de mudanças na história do mundo, da cultura, da cidade, da favela e das técnicas do cinema possibilitaram a gestação de duas obras fílmicas diferentes, inclusive em função dos olhares estrangeiro e de pertencimento que balizam a visão de seus respectivos diretores. A nova geografia cultural, com sua feição interdisciplinar, fornece instrumental apropriado para estudar, analisar e entender a complexa teia de relações políticas, econômicas, sociais e culturais presentes na paisagem favela, hoje um dos signos mais conhecidos da cidade do Rio de Janeiro polo da dualidade entre a inclusão e a exclusão social.