Re-imagining legacy: A woman experimental filmmaker’s response to colonisation

This practice-led research project analyses the creative and critical processes that occur when women visual artists respond to the legacy of colonisation. The research investigates the practices of selected visual artists, interrogates the candidate's creative practice, and analyses interview data. The creative practice component of the research analyses the critical and artistic strategies undertaken to produce an original set of six moving image artworks entitled Sankɔfa Dreaming. The creative practice develops an original artist method, Re-imagining Legacy. This method produces multivalent artworks that express a dynamic set of integrated critical standpoints on legacy and re-imaginings of history.

Harry Potter and the lexicon of doom

In a three day trial in April 2008, the United States District Court for the Southern District of New York considered whether the Harry Potter Lexicon infringed the intellectual property rights of J.K. Rowling and Warner Brothers. The case has attracted great media attention. As John Crace, a reporter for The Guardian, observed: “On one side: global-celebrity author J.K. Rowling. On the other: an amateur fan site devoted to the world's favourite boy wizard. At stake: the soul of Harry Potter.” J.K. Rowling is the author of the seven book Harry Potter series, which tell the story of a young wizard, Harry Potter, and his battles with Voldemort, the Lord of Darkness. As the court papers noted, “The Harry Potter Books are a modern day publishing phenomenon and success story.” Warner Brothers sought and obtained the film rights to the series. The entertainment company has thus far produced five films; a sixth is due in November 2008; and the final instalment is planned. The Harry Potter Lexicon is a reference guide created by Steven Vander Ark, a former grade school teacher. He has organised a large volume of material on the Harry Potter books and the Harry Potter films on a website in an alphabetical listing, from “A-Z”. The founder of RDR Books, Roger Rapoport, approached Ark to publish the Harry Potter Lexicon in a book form. Ark agreed to this request, and provided the publisher with a condensed version of the web-site. After RDR Books announced its intention to publish the reference book, J.K. Rowling and Warner Brothers brought a legal action in the United States District Court for the Southern District of New York, alleging that the publishers of the Harry Potter Lexicon were in breach of various intellectual property rights. A spokesperson for Warner Brothers and J.K. Rowling observed: "A fan’s affectionate enthusiasm should not obscure acts of plagiarism. The publishers knew what they were doing. The problem remains that the Lexicon takes an enormous amount of Ms. Rowling’s work and adds virtually no original commentary of its own. As we’ve said in court, it takes too much and adds too little. Authors have a duty to prevent the exploitation of their works by people who contribute nothing original, creative or interpretive." The litigation involves the intersection of copyright law, trade mark law, and consumer protection law. It has a wider significance because it deals with the protection of authorial rights; the use of literary indexes, supplements and reference guides; and the clash between character merchandising and fan fiction.

The other country: A father's journey with autism

The memoir The Other Country and the essay Inspiration is Power examine i) contemporary experiences of autism and ii) the representation of autism disorder in scientific and autobiographical writing. The Other Country is a memoir of four years in the life of its author Michael Whelan, and his family, in the care of his son, Charlie. In February 1998, Charlie was diagnosed with autism, and in that moment Michael and his family's lives changed. The memoir describes in four parts a four-year journey through a father?s experiences: - Part 1, Welcome to Holland, the family's feelings of fear, grief and dislocation following diagnosis; - Part 2, Look at Me, the chaotic process of research and treatment, and intense early intervention programs; - Part 3, The Enchanted Cottage, the slow process of recovery that the family went through, and; - Part 4, The Long Way Home, the transformation of Charlie, Michael and his family and notions of home and normalcy. The title, The Other Country, in this context refers to the largely invisible parallel society inhabited by anyone who lives outside the mainstream. The accompanying critical essay, Inspiration is Power, examines the influence of the discourses of biomedical science and parental pathology on the representation and understanding of autism. Specifically, among autism narratives, the medical voice has an overwhelming authority and power in characterizing autistic disorder and experience for the lay reader. This discourse contests the moral authority of parental autobiographical writing, which, by contrast, characterizes autism as a personalized invading other and thief of their child. Through a critique of specific aspects of identity, narrative, evidence and authority, the essay suggests a register of rhetorical moves that may be employed to influence, and consequently empower, the reader of autism narratives.

For the Creative Spirits Out There: BioéthiqueOnline Inaugurates a Publication Venue for Creative and Artistic Works in Bioethics / Pour les esprits créatifs émergents: BioéthiqueOnline inaugure une section spéciale pour les travaux créatifs et artistiques en matière de bioéthique

Éditoral / Editorial

Party 25

Party 25 involved the conception and public launch of a radically new form of political party during that year’s Australian general election. The entire project was also intentioned as a conceptual artwork. Party 25 avoided conventional party-political approaches and was neither a protest group nor an advocacy organisation, but rather a new form of political association that confronted what we understood as the debilitating limits and impotence of contemporary parliamentary democracies in transitioning our societies towards ecological sustainability.----- Party 25 was based on responding to one fundamental question which all of its policies served - “how does humanity get to the 25th century?” By basing itself on a dramatically long-term approach uncommon within conventional politics it raised the proposition that humanity does not have an assured future. Party25 therefore shaped its agendas around the idea that any future now lies in human hands and so how humanity treats the ecologies on which it depends innately determines the quality of the inseparable relationship between its being, and the being of the biophysical world.----- The project was conceived through a number of discussion papers, workshops and creative works and was launched publicly at the Judith Wright Centre Brisbane accompanied by a full length showing of evocative imagery, text and sound, a series of speeches and the launch of a succinct web presence. Through the website and this party launch a community of interested participants and creative practitioners was sought who then would form the basis of a nascent community of change.

Not like my mother : truth and the author in creative nonfiction

This exegesis examines how a writer can effectively negotiate the relationship between author, character, fact and truth, in a work of Creative Nonfiction. It was found that individual truths, in a work of Creative Nonfiction, are not necessarily universal truths due to individual, cultural, historical and religious circumstances. What was also identified, through the examination of published Creative Nonfiction, is a necessity to ensure there are clear demarcation lines between authorial truth and fiction. The Creative Nonfiction works examined, which established this framework for the reader, ensured an ethical relationship between author and audience. These strategies and frameworks were then applied to my own Creative Nonfiction.

The new lows : representing Asian-Australians on television

This project utilises creative practice as research, and involves writing and discussing four sample episodes of a proposed six-part dramatic, black-comedy1 television mini-series titled The New Lows. Combined, the creative project and accompanying exegesis seeks to illuminate and interrogate some of the inherent concerns, pitfalls and politics encountered in writing original Asian-Australian characters for television. Moreover, this thesis seeks to develop and deliberate on characters that would expand, shift and extend concepts of stereotyping and authenticity as they are used in creative writing for television. The protagonists of The New Lows are the contemporary and dysfunctional Asian-Australian Lo family: the Hong Kong immigrants John and Dorothy, and their Australian-born children Wendy, Simon and Tommy. Collectively, they struggle to manage the family business: a decaying suburban Chinese restaurant called Sunny Days, which is stumbling towards imminent commercial death. At the same time, each of the characters must negotiate their own personal catastrophes, which they hide from fellow family members out of shame and fear. Although there is a narrative arc to the series, I have also endeavoured to write each episode as a selfcontained story. Written alongside the creative works is an exegetical component. Through the paradigm of Asian-Australian studies, the exegesis examines the writing process and narrative content of The New Lows, alongside previous representations of Asians on Australian and international television and screen. Concepts discussed include stereotype, ethnicity, otherness, hybridity and authenticity. However, the exegesis also seeks to question the dominant cultural paradigms through which these issues are predominantly discussed. These investigations are particularly relevant, since The New Lows draws upon a suite of characters commonly considered to be stereotypical in Asian-Australian representations.

Trace, a novel and exegesis

Trace concerns writing-walking and walking-writing. The multiple voices of both novel and exegesis assemble a rhizomic map of a walk and create a never-entirely-certain wandering look upon a woman walking, rather than a single cocksure gaze. Trace explores the aesthetics of Western walking literature and the various nostalgias inherent in that tradition. Trace wonders how lost a character can become on a walk and whether a walk is itself a kind of becoming. In the undefined liminal space where the urban bleeds into the rural, Trace challenges the singular perspective of the dominating gaze with a wandering look, which aims to make an original contribution to both the walk in literature and to exegetical form.

Contribution to the Pamela Croft Sandhills Studio Consultancy for the Yeppoon Public Art Project in 2000

A small collection of creative works developed to acompany some of the artistic images developed by visual artist Dr Pamela Croft for the Yeppoon Public Art Project in 2000.

Frank and Stein : from research scientist to creative writer (a screenplay and exegesis)

The screenplay, “Perfect Blood” (Frank and Stein), is the first two-hour episode of a two-part television miniseries Frank and Stein. This creative work is a science fiction story that speculates on the future of Western nations in a world where petroleum is scarce. A major theme that has been explored in the miniseries is the tension between the advantages and dangers of scientific progress without regard to human consequences. “Perfect Blood” (Frank and Stein) was written as part of my personal creative journey, which has been the transformation from research scientist to creative writer. In the exegetical component of this thesis, I propose that a key challenge for any scientist writing science fiction is the shift from conducting empirical research in a laboratory-based situation to engaging in creative practice research. During my personal creative journey, I found that a predominant difficulty in conducting research within a creative practice-led paradigm was unleashing my creativity and personal viewpoint, practices that are frowned upon in scientific research. The aim of the exegesis is to demonstrate that the transformative process from science to art is not neat and well-structured. My personal creative journey was fraught with many ‘wrong’ turns. However, after reflecting on the experience, I realise that every varied piece of research that I undertook allowed me to progress to the next stage, the next draft of Frank and Stein. And via the disorder of the creative process, a screenplay finally emerged that was both structured and creative, which are equally essential elements in screenwriting.

A Mouthful of Pins : questioning constructionist therapy frameworks in theatre-making

A Mouthful of Pins constitutes the practical component (50 per cent) of a practice-led Master of Arts through the Creative Industries Faculty of Queensland University of Technology. This research reports on the attempt to create a constructionist/collaborative theatre-making process by incorporating postmodern constructs borrowed from the therapy room. The study asserts that, when applied with awareness, therapeutic frameworks can help members of the creative team . including the director, performers, writer, designers and technicians . to fulfil their artistic capacity, thereby enriching their process, their performance and their collaborative relationship with each other. For this to occur, it is imperative that the director/facilitator stay curious and aware of how they lead their creative team, with particular care around their use of language, as well as an increased awareness of the multiple stories (including the sometimes invisible social, historical, political, theatrical and leadership discourses) that surround and impact the artist.s process. This research is designed to assist students of theatre, as well as established professional practitioners, to find an alternative approach for collaboration that can result in longevity of practice, while at the same time embracing best practice for their outgoing creativity.

Sharing with Creative Commons : a business model for content creators

Creative Commons (CC) is often seen as a social movement, dismissed by critics as a tool for hobbyists or academics who do not sell their creations to make a living. However, this paper argues that the licensing of creative copyright works under a CC licence does not preclude commercial gain. If used wisely, CC licences can be a useful tool for creators in their quest for commercial success. In particular, this paper argues that the sharing of creative works online under a CC licence allows creators to circumvent traditional distribution channels dominated by content intermediaries, whilst maintaining a level of control over their copyright works (i.e. explicitly reserving some rights but not all rights). This will be illustrated by case studies on how CC is being used by content creators and intermediaries respectively, and how successful their respective methods are in harnessing this tool.

Xavier Herbert

As a biographical documentary concept develops, its intention and its form are impacted and may be transformed by market demands. The documentary idea about the life of Xavier Herbert has been in development through a number of iterations within the shifting landscape of the Australian documentary industry from the mid- 1990s to 2009. This study is, on the one hand, an endeavour to find a workable way to express and practise the multi-layered complexity of creative work, a long-form documentary script on Herbert, an Australian literary icon. On the other hand, this thesis represents a cumulative research exercise, whereby my own experiences in the documentary industry in Queensland, Australia and overseas are analysed in an effort to enlighten the broader documentary community about such a complex, even labyrinthine, process.

Regimes and rebels

The end of the recent Communist occupation of the many countries bordering Russia marked an end to the tyranny of illegal and forced annexation. Amid these countries are my parents’ homelands, the small Baltic nations of Latvia and Estonia. Their occupation contravenes many of the numerous Articles listed by The Office of the High Commissioner for Human Rights in The Universal Declaration of Human Rights (2008), constituting many acts of violation. As a filmmaker, I was unusually incognizant of these events, despite my relationship to them. My parents never discussed the war, while during the ensuing Communist era, information was conspicuously absent. However, this lack of knowledge provided the incentive that compelled a journey of discovery that resulted in the making of Regimes and Rebels. This Masters project is presented is two parts. The film equates to 70% of the project (52 minutes in length), whilst the exegesis represents the remaining 30%. The film is a ‘human rights’, ‘video diary’ styled documentary film about the Communist occupation of my parents’ homelands, Latvia and Estonia, and the resonating effect of the occupation on our family living in Australia and family still living in the homelands. The production of the video diary is contextualised by this exegesis, which concurrently discusses the burgeoning video diary format as the basis for making a ‘human rights’ documentary film. A discussion about the latter genre of documentary film ensues, encompassing modes of representation, followed by various issues related to production including: issues of aesthetics, styles, digital media, lack of evidence and subjectivity analogous with both filmmaker and audience. Next, work by other filmmakers in the ‘human rights’ genre, linked to the proliferation of Communism in Europe, is discussed and analysed in terms of production and modes of representation. The exegesis ends with my experience as filmmaker and an analysis of factors that arose in making Regimes and Rebels.

Unravelling design : fashion, dressmaking, ethos

Discourses on ethical fashion are usually geared toward finding solutions—or right outcomes—to ethical problems, based on a teleological model of design and a positioning of the designer as an autonomous and isolated design authority. This practice-led project argues, however, that considerations of design ethics must take into account not only the outcome of a design, but also the ongoing, lived experience of designing as a making located in pre-existing social, historical and cultural conditions. Through an exploration of my own dressmaking practice and a reading of ethos as location, I argue for two things: one, for the designer as a located entity rather than an autonomous "author", and, two, against design-asplan and the original design object, and for the circular and conditioned character of design. Through a connection to ethos, understandings of design ethics shift from an end object focus to something situated, and invested in, everyday lived experience—and always in the making.