Bollywood’s Australian yarn

 It’s 101 years since the birth of Bollywood, the world’s largest and most vibrant movie industry and, of course, that’s more than enough time to mature and alter, to grow arms and legs. For some time, but since the 1990s particularly, the connections between Australia and Bollywood have really taken hold. So sit back and enjoy a cinematic journey that’s sure to entertain. As a genre Bollywood has grown and developed over a period of 100 years, coloured by India’s history, politics, socio-economic conditions, culture, sensibilities, dreams, fantasies, hopes and expectations. The ever-increasing presence of the Indian diaspora in different parts of the world has helped to realise what we might think of as Bollywood’s cultural diplomacy project. Various Australian state tourism bodies have since supported Indian productions and used Bollywood stars as ambassadors to promote Australia as a welcoming nation. The 1996 film Indian has been credited for featuring the first appearance of kangaroos in Indian cinema. But I have noticed that as early as 1974, a Hindi film Majboor made first reference to Australia and its iconic boxing kangaroo. It featured Bollywood superstar Amitabh Bachchan with a poster captioned: ‘Just hop, skip and jump every Thursday to Perth Sydney’. Australia is now a hot destination for Bollywood as well as regional language film-makers, with a successful foray of films from Soldier (1998) to Bhaag Milkha Bhaag (2013). Over the past two decades, Australian films such as Holy Smoke! (1999), The Waiting City (2009), Save Your Legs! (2012), feature India, not just as a background location but as an integral part of the plot. Bollywood’s influence on Australia can be gauged by the direction of Australian film careers. Be it the Indian-Australian actress Pallavi Sharda (Besharam) or Australia’s bowling sensation Brett Lee (Asha and Friends), Mary Ann Evans – AKA Fearless Nadia, Louise Lightfoot, Tom Cowan, Bob Christo, Tania Zaetta (Salaam Namaste), Nicholas Brown (Kites), Tabrett Bethell (Dhoom 3), Rebecca Breeds (Bhaag Milkha Bhaag), Kristina Akheeva (Yamla Pagla Deewana 2), Emma Brown Garett (Yamala Pagla Deewana), Vimala Raman (Mumbai Mirror), Anusha Dandekar (Delhi Belly), and Maheep Sandhu (Shivam). In this paper I would focus on the journeys and stories of actors, chiefly Fearless Nadia, Bob Christo, and Pallavi Sharda; and also compare a few Bollywood films, particularly Kya Kehna (2000) and Salaam Namaste (2005) made on same theme but set in India and Australia respectively, to show how Australia as has been presented as sexually liberating, visually romantic, and fantastical land of beaches and beauties.

Innovation showcase : Performing beginning teachers' 'firsts'

Teacher identity work emphasises it is important beginning teachers understand their professional identity as something shifting, fluid and emerging – not fixed. These and other water metaphors – such as ‘washout’, ‘sink or swim’, and ‘thrown in the deep end’ – are often used to describe beginning teachers’ experiences. Such words and metaphors portray the fluid and unpredictable nature of identity transformation, while also highlighting that beginning teachers in particular find this transformation difficult, resulting in high levels of teacher attrition in the early years.Throughout 2011 twelve beginning teachers shared their experiences of identity transformation in semi-structured interviews with the researcher. Their interview data was analysed and scripted into an ethnographic performance, examining how ‘first’ experiences shape teachers’ future practice and identity. This presentation includes excerpts from the performance ‘The First Time’, and expands on the methodological approaches taken to generate data and knowledge that reflects the fluid and unpredictable nature of teachers’ identity. This eclectic approach combined an understanding of the self (Mead, 1934) with non-naturalistic theatrical conventions used to form the data into an ethnographic performance. The research is framed within a practice theory approach (Schatzki, 2001) with a focus on practices situated within a particular time and place.The research findings focus on the importance of developing creativity and flexibility as key beginning teacher attributes in order to ‘swim with the current’, and to counter the negative preconceptions beginning teachers are told to expect as rites of passage upon entering the profession. The outcomes of my research have implications for teacher educators and in-service teachers in assisting beginning teachers to negotiate the waters of an ever-changing profession.

Australian films at large: expanding the evidence about Australian cinema performance

International markets have in recent years become a critical component of the business model for Hollywood cinema, opening up a renewed interest in the global dimensions of film diffusion. Smaller film-producing nations such as Denmark have similarly emphasised global distribution as a key component of the industry's success. Typically, however, claims for Australian film industry success rely almost exclusively on a film's domestic box office performance. This paper considers the possibilities for an expanded approach to measuring success and failure in the Australian film industry. Adopting analytic methods from cinema studies, cultural economics and geo-spatial sciences, this paper will examine the international theatrical circulation of Australian films using a unique global database of cinema showtimes. This data set captures all formal film screenings in 47 countries over an 18-month period ending 1 June 2014 and enables detailed empirical study of the locations visited by Australian-produced films. In conjunction with relevant box office data and contextual critical commentary, we propose a revised and expanded ‘film impact rating’ for assessing the reported performance of Australian films.

Ecosystem relevance of variable jellyfish biomass in the Irish Sea between years, regions and water types

Monitoring the abundance and distribution of taxa is essential to assess their contribution to ecosystem processes. For marine taxa that are difficult to study or have long been perceived of little ecological importance, quantitative information is often lacking. This is the case for jellyfish (medusae and other gelatinous plankton). In the present work, 4 years of scyphomedusae by-catch data from the 2007-2010 Irish Sea juvenile gadoid fish survey were analysed with three main objectives: (1) to provide quantitative and spatially-explicit species-specific biomass data, for a region known to have an increasing trend in jellyfish abundance; (2) to investigate whether year-to-year changes in catch-biomass are due to changes in the numbers or in the size of medusa (assessed as the mean mass per individual), and (3) to determine whether inter-annual variation patterns are consistent between species and water masses. Scyphomedusae were present in 97% of samples (N=306). Their overall annual median catch-biomass ranged from 0.19 to 0.92gm-3 (or 8.6 to 42.4gm-2). Aurelia aurita and Cyanea spp. (Cyanea lamarckii and Cyanea capillata) made up 77.7% and 21.5% of the total catch-biomass respectively, but species contributions varied greatly between sub-regions and years. No consistent pattern was detected between the distribution and inter-annual variations of the two genera, and contrasting inter-annual patterns emerged when considering abundance either as biomass or as density. Significantly, A.aurita medusae were heavier in stratified than in mixed waters, which we hypothesize may be linked to differences in timing and yield of primary and secondary productions between water masses. These results show the vulnerability of time-series from bycatch datasets to phenological changes and highlight the importance of taking species- and population-specific distribution patterns into account when integrating jellyfish into ecosystem models.

D.A. Pennebaker: Interviews

This wide-ranging and insightful collection of interviews with D. A. Pennebaker (b. 1925) spans the prolific career of this pioneer of observational cinema. From the 1950s to the present day, D. A. Pennebaker has made documentary films that have revealed the world of politics, celebrity culture, and the music industry. Following his early collaborations with Robert Drew on a number of works for television, his feature-length portrait of Bob Dylan on tour in England in 1965 (the landmark film Dont Look Back) established so-called direct cinema as a form capable of achieving broad theatrical release. With Monterey Pop, Pennebaker inaugurated the popular mode of rock concert film (or "rockumentary"), a style of filmmaking he has expanded on through a number of films, including Ziggy Stardust and the Spiders from Mars and Depeche Mode: 101. Pennebaker has always regarded collaboration as an integral part of his filmmaking methods. His long-running collaboration with Richard Leacock and subsequently his work with Chris Hegedus have enriched his approach and, in the process, have instituted collaboration as a working practice integral to American direct cinema. His other collaborations, in particular, with Jean-Luc Godard and Norman Mailer, resulted in innovative combinations of observational techniques and fictional aesthetics. Such films as The War Room, which was about the 1992 Democratic primaries and was nominated for an Academy Award, and the 2009 Kings of Pastry continue to explore the capacities of observational documentary. In 2012 Pennebaker was the first documentary filmmaker to be awarded an Academy Honorary Award by the Academy of Motion Picture Arts and Sciences.

Anthology

This research is a practice led investigation of large-scale site specific performance installation works that respond to local and historical trauma, place making, and belonging for communities and audiences. The research is part of an ongoing PhD which is primarily questioning how layers of history and lived experience manifest or ‘imprint’ upon natural landscapes and urban sites using the driving concepts of landscape, archaeology, and community immersion to inform the practice. The site of the primary research investigation was Anthology www.anthology.net.au- a major site-specific theatrical journey through Westlake, now known as Stirling Park – Ngunawal land, a traditional pathway and the site of one of the camps created to house the workers building the new city of Canberra. Tents and a hall were erected followed by 61 cottages built in 1923, for married tradesmen building the infrastructure for the new Federal Capital of Australia. These families lived at Westlake for 50 years until the 1960’s when the families were relocated, the houses sold and removed. A community demolished. Westlake is now parkland (and prime real estate), nestled between the lake and the Embassies of Yarralumla. The event took place between 26th November and the 6th December 2014. The performance installation was created and produced over a 3-year period with $45,000.00 in funding provided by ArtsACT and the Centenary of Canberra. Anthology alluded to the power of immersive, site-sympathetic performance as a regenerative force for communities right now. What lies in wait for artists in sites, in places…to be uncovered…with its final form revealed through careful excavation? Anthology centralised rituals of remembrance and the importance of place as vital to the restoration and regeneration of community through processing and transcending what has been lost, hidden, suppressed or in the case of Westlake or Stirling Park ‘vanished’.

Tales of mystery and the mundane: children’s books in 2013

Part of a commissioned series reviewing notable cultural productions of 2013

On a neglected argument in French philosophy: Sceptical humanism in Montaigne, Voltaire and Camus

This paper wants to draw out a common argument in three great philosophers and littérateurs in modern French thought: Michel de Montaigne, Voltaire, and Albert Camus. The argument makes metaphysical and theological scepticism the first premise for a universalistic political ethics, as per Voltaire's: "it is clearer still that we ought to be tolerant of one another, because we are all weak, inconsistent, liable to fickleness and error." The argument, it seems to me, presents an interestingly overlooked, deeply important and powerful contribution to the philosophical discourse of modernity. On one hand, theological and post-structuralist critics of "humanism" usually take the latter to depend either on an essentialist philosophical anthropology, or a progressive philosophy of history. The former, it is argued, is philosophically contestable and ethically contentious (since however we define the human "essence," we are bound to exclude some "others"). The latter, for better or worse, is a continuation of theological eschatology by another name. So both, if not "modernity" per se, should somehow be rejected. But an ethical universalism - like that we find in Montaigne, Bayle, Voltaire, or Camus - which does not claim familiarity with metaphysical or eschatological truths, but humbly confesses our epistemic finitude, seeing in this the basis for ethical solidarity, eludes these charges. On the other hand, philosophical scepticism plays a large role in the post-structuralist criticisms of modern institutions and ideas in ways which have been widely taken to license forms of ethics which problematically identify responsibility, with taking a stand unjustifiable by recourse to universalizable reasons. But, in Montaigne, Voltaire and Camus, our ignorance concerning the highest or final truths does not close off, but rather opens up, a new descriptive sensitivity to the foibles and complexities of human experience: a sensitivity reflected amply, and often hilariously, in their literary productions. As such, a critical agnosticism concerning claims about things "in the heavens and beneath the earth" does not, for such a "sceptical humanism," necessitate decisionism or nihilism. Instead, it demands a redoubled ethical sensitivity to the complexities and plurality of political life which sees the dignity of "really-existing" others, whatever their metaphysical creeds, as an inalienable first datum of ethical conduct and reflection. After tracking these arguments in Montaigne, Voltaire, and Camus, the essay closes by reflecting on, and contesting, one more powerful theological argument against modern agnosticism's allegedly deleterious effects on ethical culture: that acknowledging ignorance concerning the highest things robs us of the basis for awe or wonder, the wellspring of human beings' highest ethical, aesthetic, and spiritual achievements.

Seeing Sarah Bernhardt: performance and silent film

The most famous stage actress of the nineteenth century, Sarah Bernhardt enjoyed a surprising renaissance when the 1912 multi-reel film Queen Elizabeth brought her international acclaim. The triumph capped her already lengthy involvement with cinema while enabling the indefatigable actress to reinvent herself in an era of technological and generational change. Placing Bernhardt at the center of the industry's first two decades, Victoria Duckett challenges the perception of her as an anachronism unable to appreciate film's qualities. Instead, cinema's substitution of translated title cards for her melodic French deciphered Bernhardt for Anglo-American audiences. It also allowed the aging actress to appear in the kinds of longer dramas she could no longer physically sustain onstage. As Duckett shows, Bernhardt contributed far more than star quality. Her theatrical practice on film influenced how the young medium changed the visual and performing arts. Her promoting of experimentation, meanwhile, shaped the ways audiences looked at and understood early cinema.

To the very ground of meaning, to vary the ground of meaning

Parody may be understood as the absorption of a revolutionary impulse into the everyday production of meaning as continuous variation and soft subversion. Considered in this way, parody is transformative because it operates on the components within a system of meaning and/or the context, logic or spatial perspective that grounds the possibility of meaning. It is the conditions under which shared meaning, sense and sensation depend that I aim to unpack in order to suggest the ways in which parody can alter a person’s relationship to the world. By approaching parody as a mode of lived abstraction and as an embodied approach to affective self-organisation, body-environment co-construction and a challenge to identity, it becomes possible to move from formal concerns that have characterised parody to a set of transformative practices. Thus parody indicates where the anchors of embodied, embedded, extended, enacted and affective are dug in and hold identity and the ground of meaning in a steady state. This paper will examine how parody moves from the impulse to overthrow and invert — ‘Beneath the street, The beach’—to a collective impulse that moves the ground of meaning into a reconfigurative process that is allows totalised systems of meaning to collide and intersect. What is left is not the rubble and ruins of meaning but revitalised fragments, stems cells of meaning ready-to-be-remade.A lineage of parodic works will be paraded and discussed that directly address the tacit relation of ground, horizon, orientation and position. This parody parade will form the basis of a critique and the analysis of the ontological orientations that for example, opposing systems of perspective insert as the very ground of meaning. The implication of this line of inquiry leads to the assertion that all descriptions of the world, universe and the cosmos are parodies in search of an origin. Totalised or unified images of the ground of meaning are already parodies of a/the set of conditions by which meaning operates that also produce a trajectory that as a lived-abstraction directs or hijacks subsequent productions of meaning

Seven seas of memory

Seven Seas of Memory, in partnership with Lembrança Productions and in collaboration with Australian Unity Aged Care Facilities. Artist residency 15 July – 15 September with Performances on 15/9/2015 at Victoria Grange Vermont South

Cyborg presence in narrative theatre

New technologies are transforming the shape and function of contemporary performance practice. Dance in particular has been at the forefront of dissolving the boundaries between humans and technology. In Australia alone, works such as Gideon Obarzanek's GLOW (Chunky Move) and Garry Stewart's Proximity (Australian Dance Theatre) have offered technology a role traditionally preserved only for the live human performer. As these technologies infiltrate theatre practice and their capacity to be co-actors with humans on stage increases, we need to carefully interrogate the notion of the actor's presence. For an overwhelming number of scholars and critics, presence is the defining quality of theatrical performance. Theatre has been privileged as the site where people witness other people together in the same physical space. Digital technologies can be seen as a threat to this and to the actor's presence. Cormac Power's Presence in Play provides a comprehensive analysis of theatrical presence that encapsulates a poststructuralist critique of presence while maintaining the notion of 'presence' as a key aspect of theatre. In this article, I take up Power's category of the literal mode of presence and examine three case studies that use digital technology in ways that disturb traditional conceptions of presence. I investigate the impact that digital technologies in live performance have on theatre's claims to literal presence. I also investigate the indirect impact that these technologies have on forms of fictional and auratic presence (these are Power's terms, which I will define shortly). First, I will establish the centrality of presence to the vast body of commentary on theatre; then, I will draw on Derrida's analysis of the metaphysics of presence to unsettle dominant assumptions about the function of presence in theatre, arguing that such a privileging of presence demonises projected media as a form of contamination that impedes theatre's ability to represent 'truth'. I use Jennifer Parker-Starbuck's term 'Cyborg Theatre' to discuss three examples of digital performance that have used technology to question and challenge our relationship to technology in everyday life. These works challenge traditional notions of selfhood and force us to interrogate the borders between the live and the mediated.

The “voix d’or” on silent film: the case of Sarah Bernhardt

Sarah Bernhardt is a paradigmatic case study for the joining of voice and silent film. This is because she was famous for her 'voix d'or' on the theatrical stage and because she was highly visible in the nascent period of the cinema's development. Traditionally considered an example of actress in the silent period who was 'silenced' by film, she has also been considered an anachronistic and ineffective on-screen performer. I argue instead that Bernhardt's films were not mute records of her live stage action but works that further promoted and developed her polymorphous body at the opening of the twentieth century.