In this montage-essay I want to explore the co-being of two forms of visuality in contemporary culture: the photographic and the cinematographic. But this is not my main concern. The more important thing for me is to unravel the notion of translation as movement between them. For this purpose, I’ll focus on Stephen Poliakoff’s movie Shooting the Past [1] . I’ll also show that a similar translation/movement takes place in various sections of the text that makes this essay. I will examine translation, as an act/event, at three different but inter-related levels: at the level of the film, that is, within the cinematic narrative; at the level of this essay, that is, in the process of writing and reading this essay; and at the most general level, the level of signification. [1] British playwright and film director Stephen Poliakoff has so often used photographic images in his well-known television serials and films that it is described as a trademark of his style. They appear in films such as, The Tribe (1998), Perfect Strangers (2001), The Lost Prince (2003). For a comprehensive study of his work see, Nelson, Robin. Stephen Poliakoff on Stage and Screen , (London: Bloomsbury Publishing, Methuen Drama imprint, 2011).
在这篇蒙太奇文章中，我想探讨当代文化中两种视觉形式的共存:摄影和电影。但这不是我主要担心的。对我来说，更重要的事情是解开翻译作为两者之间移动的概念。为此，我将以Stephen Poliakoff的电影《Shooting the Past》为例[1]。我还将展示类似的翻译/移动发生在构成这篇文章的文本的各个部分。我将从三个不同但相互关联的层面来考察作为一个行为/事件的翻译:在电影层面，即在电影叙事层面;在这篇文章的层面上，即在写作和阅读这篇文章的过程中;在最一般的层面上，意义的层面。[1]英国剧作家和电影导演斯蒂芬·波利亚科夫在他著名的电视连续剧和电影中经常使用摄影图像，这被描述为他风格的标志。他们出现在《部落》(1998)、《完美陌生人》(2001)、《失落的王子》(2003)等电影中。有关他的工作的全面研究请见，纳尔逊，罗宾。斯蒂芬·波利亚科夫的舞台与银幕，(伦敦:布卢姆斯伯里出版社，梅休恩戏剧出版社，2011)。
{"title":"Translating the ‘Still’ and the ‘Silent’: Stephen Poliakoff’s Shooting the Past","authors":"S. Jaireth","doi":"10.1344/CO202130134-145","DOIUrl":"https://doi.org/10.1344/CO202130134-145","url":null,"abstract":"In this montage-essay I want to explore the co-being of two forms of visuality in contemporary culture: the photographic and the cinematographic. But this is not my main concern. The more important thing for me is to unravel the notion of translation as movement between them. For this purpose, I’ll focus on Stephen Poliakoff’s movie Shooting the Past [1] . I’ll also show that a similar translation/movement takes place in various sections of the text that makes this essay. I will examine translation, as an act/event, at three different but inter-related levels: at the level of the film, that is, within the cinematic narrative; at the level of this essay, that is, in the process of writing and reading this essay; and at the most general level, the level of signification. [1] British playwright and film director Stephen Poliakoff has so often used photographic images in his well-known television serials and films that it is described as a trademark of his style. They appear in films such as, The Tribe (1998), Perfect Strangers (2001), The Lost Prince (2003). For a comprehensive study of his work see, Nelson, Robin. Stephen Poliakoff on Stage and Screen , (London: Bloomsbury Publishing, Methuen Drama imprint, 2011).","PeriodicalId":10741,"journal":{"name":"Coolabah","volume":"8 12","pages":"134-145"},"PeriodicalIF":0.0,"publicationDate":"2021-06-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"91509282","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The poems translated have been selected from Vasile Baghiu’s debut poetry collection The taste of alienation. Published in 1994, the collection represents the genesis of Baghiu’s story of poetic chimerism that spans three decades and eight volumes of poems. But the first chimeric ideas materialised, quietly, six years before The taste of alienation saw the light of day, at the height of the totalitarian regime in his native Romania. At the time, the poet was working as a nurse in a tuberculosis sanatorium, consumed by a sense of isolation in the depths of which he had a life-altering, liberating epiphany that shaped his identity and his understanding of the world. He realised that he could be someone else, that he could escape the personal, geographical and intellectual constraints imposed by the regime, and could virtually live a parallel life. And so poetic chimerism was born, as a means of evading ‘les maux de la societe’, as a form of personal freedom made possible through imagination and the re-creation, in writing, of imaginary travels through space and time.
{"title":"Translating alienation – between escapism and adventure","authors":"Cristina Savin","doi":"10.1344/CO20213073-102","DOIUrl":"https://doi.org/10.1344/CO20213073-102","url":null,"abstract":"The poems translated have been selected from Vasile Baghiu’s debut poetry collection The taste of alienation. Published in 1994, the collection represents the genesis of Baghiu’s story of poetic chimerism that spans three decades and eight volumes of poems. But the first chimeric ideas materialised, quietly, six years before The taste of alienation saw the light of day, at the height of the totalitarian regime in his native Romania. At the time, the poet was working as a nurse in a tuberculosis sanatorium, consumed by a sense of isolation in the depths of which he had a life-altering, liberating epiphany that shaped his identity and his understanding of the world. He realised that he could be someone else, that he could escape the personal, geographical and intellectual constraints imposed by the regime, and could virtually live a parallel life. And so poetic chimerism was born, as a means of evading ‘les maux de la societe’, as a form of personal freedom made possible through imagination and the re-creation, in writing, of imaginary travels through space and time.","PeriodicalId":10741,"journal":{"name":"Coolabah","volume":"69 1","pages":"73-102"},"PeriodicalIF":0.0,"publicationDate":"2021-06-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81620354","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Who was the ‘jolly swagman’ in Waltzing Matilda, Australia’s unofficial national anthem? In this essay I argue that the ghost of the swagman can be heard in a number of recent de-colonising crime narratives. Outback Noir is a relatively recent genre category that describes a new wave of Australian crime films that highlight Indigenous and white relations and take a revisionist approach to traditional history. These films often feature redemption stories that highlight effective collaborations between Indigenous and white policing practices. Uncovering a rural communities’ dark, repressed secrets in order to solve a current problem is a common trend in Outback Noir cinema. I examine Patrick Hughes’ 2010 film Red Hill as an early provocative example of Outback Noir and as modern reimaging of the Waltzing Matilda narrative with the swagman’s avenging ghost exposing the social fractures and corruption that are destroying rural communities. I argue that the Outback Noir genre with its focus on revenge-redemption narratives shapes the cultural dialogue around putting the ghosts of the colonial past to rest.
{"title":"Ghosting in the outback Noir","authors":"G. Dolgopolov","doi":"10.1344/CO2021294-16","DOIUrl":"https://doi.org/10.1344/CO2021294-16","url":null,"abstract":"Who was the ‘jolly swagman’ in Waltzing Matilda, Australia’s unofficial national anthem? In this essay I argue that the ghost of the swagman can be heard in a number of recent de-colonising crime narratives. Outback Noir is a relatively recent genre category that describes a new wave of Australian crime films that highlight Indigenous and white relations and take a revisionist approach to traditional history. These films often feature redemption stories that highlight effective collaborations between Indigenous and white policing practices. Uncovering a rural communities’ dark, repressed secrets in order to solve a current problem is a common trend in Outback Noir cinema. I examine Patrick Hughes’ 2010 film Red Hill as an early provocative example of Outback Noir and as modern reimaging of the Waltzing Matilda narrative with the swagman’s avenging ghost exposing the social fractures and corruption that are destroying rural communities. I argue that the Outback Noir genre with its focus on revenge-redemption narratives shapes the cultural dialogue around putting the ghosts of the colonial past to rest.","PeriodicalId":10741,"journal":{"name":"Coolabah","volume":"36 1","pages":"4-16"},"PeriodicalIF":0.0,"publicationDate":"2021-02-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79896112","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The present paper reads David Malouf’s 1996 novel The Conversations at Curlow Creek as portraying a vivid and realistic picture of events relating to crime and punishment in colonial Australia in the early nineteenth century. The depiction of death penalty accorded to the bushranger Daniel Carney under the supervision of the Irish sheriff Michael Adair in New South Wales thus resonates with numerous historical accounts of incidents that actually happened. The novel, however, does more than only provide accurate historical representation as it also presents Adair as having undergone a rather dramatic transformation in the process of conversing with Carney before the latter’s execution. The paper, drawing on the views of the German philosopher Martin Heidegger, argues that a realization of inevitable mortality, of facing certain death characterizes this change in Adair’s nature and worldview. It concludes by suggesting that Adair’s acceptance of his finitude intimates of a way of being in the world that not only subverts procedures of administering punishment to convicts in colonial Australia but also indicates the limits of polarized identity politics that shapes the country in the present times.
{"title":"Crime, punishment, and death: Reading finitude and the self in David Malouf’s ‘The Conversations at Curlow Creek’","authors":"C. Thakur","doi":"10.1344/CO20212932-42","DOIUrl":"https://doi.org/10.1344/CO20212932-42","url":null,"abstract":"The present paper reads David Malouf’s 1996 novel The Conversations at Curlow Creek as portraying a vivid and realistic picture of events relating to crime and punishment in colonial Australia in the early nineteenth century. The depiction of death penalty accorded to the bushranger Daniel Carney under the supervision of the Irish sheriff Michael Adair in New South Wales thus resonates with numerous historical accounts of incidents that actually happened. The novel, however, does more than only provide accurate historical representation as it also presents Adair as having undergone a rather dramatic transformation in the process of conversing with Carney before the latter’s execution. The paper, drawing on the views of the German philosopher Martin Heidegger, argues that a realization of inevitable mortality, of facing certain death characterizes this change in Adair’s nature and worldview. It concludes by suggesting that Adair’s acceptance of his finitude intimates of a way of being in the world that not only subverts procedures of administering punishment to convicts in colonial Australia but also indicates the limits of polarized identity politics that shapes the country in the present times.","PeriodicalId":10741,"journal":{"name":"Coolabah","volume":"06 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-02-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86020573","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Few scholars of Australian history need reminding that Colonial Australia began as a British prison. The detrimental effect these origins had, and arguably still have, on Indigenous Australia is unambiguous. The extent to which this brutal background shaped the modern nation merits re-evaluation. In this issue of Coolabah, we aim to extrapolate and explore the links stretching from the First Fleet, and assess how much of a role this past plays in the building of the modern Australian nation.
{"title":"An Introduction to Crime & Punishment","authors":"Lorne Walker-Nolan","doi":"10.1344/CO2021291-3","DOIUrl":"https://doi.org/10.1344/CO2021291-3","url":null,"abstract":"Few scholars of Australian history need reminding that Colonial Australia began as a British prison. The detrimental effect these origins had, and arguably still have, on Indigenous Australia is unambiguous. The extent to which this brutal background shaped the modern nation merits re-evaluation. In this issue of Coolabah, we aim to extrapolate and explore the links stretching from the First Fleet, and assess how much of a role this past plays in the building of the modern Australian nation.","PeriodicalId":10741,"journal":{"name":"Coolabah","volume":"12 1","pages":"1-3"},"PeriodicalIF":0.0,"publicationDate":"2021-02-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86075215","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
After almost 25 years of mass media coverage on the Claremont Serial Killings, Perth audiences were informed in December 2020 that Bradley Robert Edwards would serve two life sentences for murdering two of the young women. This article draws on interviews with journalists to discuss media practices in the case that shocked Perth while shaping audience understandings of women as victims. The article describes how the term ‘serial killer’ came into use to bolster the importance of Western Australian news; how the status and resources of victim’s family influenced media coverage and, consequently, the police investigation; and, how the position of a journalist as an unbiased observer became untenable in the case.
{"title":"Enigma of the Dark: Reflections while Researching Journalism and the Claremont Serial Killings","authors":"Mary-Anne Romano","doi":"10.1344/CO20212917-31","DOIUrl":"https://doi.org/10.1344/CO20212917-31","url":null,"abstract":"After almost 25 years of mass media coverage on the Claremont Serial Killings, Perth audiences were informed in December 2020 that Bradley Robert Edwards would serve two life sentences for murdering two of the young women. This article draws on interviews with journalists to discuss media practices in the case that shocked Perth while shaping audience understandings of women as victims. The article describes how the term ‘serial killer’ came into use to bolster the importance of Western Australian news; how the status and resources of victim’s family influenced media coverage and, consequently, the police investigation; and, how the position of a journalist as an unbiased observer became untenable in the case.","PeriodicalId":10741,"journal":{"name":"Coolabah","volume":"19 1","pages":"17-31"},"PeriodicalIF":0.0,"publicationDate":"2021-02-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77685915","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Poetry provides valuable and insightful ways to explore and record social and political experiences and engagements. The plight of refugees and people seeking asylum in Australia is well known. Community groups such as the Ballina Region for Refugees provide support to refugees and asylum seekers both in Australia and offshore. To help raise awareness and validate the experience of refugees and asylum seekers, the Ballina Region for Refugees runs an annual Poetry Prize. The 2020 Ballina Region for Refugees Poetry Prize theme was Seeking Asylum—Holding Patterns. This article presents the winning and highly commended poems, along with poems by refugee and asylum seeker poets. Poems from both insider witnesses – refugees and asylum seekers – and outsider witnesses – poets who seek to express an empathy with the plight of refugees and asylum seekers – have contributed to this collection. From haunting statements of human dissolution that should strike fear into anyone’s heart, through glimpses of hope, the poems explore the trails of asylum seeking and the dysfunctionality of the aftermath.
{"title":"Seeking Asylum—Holding Patterns: The 2020 Ballina Region for Refugees Poetry Prize","authors":"Bill Boyd, E. Doolan, Ruth Henderson","doi":"10.1344/CO20212947-72","DOIUrl":"https://doi.org/10.1344/CO20212947-72","url":null,"abstract":"Poetry provides valuable and insightful ways to explore and record social and political experiences and engagements. The plight of refugees and people seeking asylum in Australia is well known. Community groups such as the Ballina Region for Refugees provide support to refugees and asylum seekers both in Australia and offshore. To help raise awareness and validate the experience of refugees and asylum seekers, the Ballina Region for Refugees runs an annual Poetry Prize. The 2020 Ballina Region for Refugees Poetry Prize theme was Seeking Asylum—Holding Patterns. This article presents the winning and highly commended poems, along with poems by refugee and asylum seeker poets. Poems from both insider witnesses – refugees and asylum seekers – and outsider witnesses – poets who seek to express an empathy with the plight of refugees and asylum seekers – have contributed to this collection. From haunting statements of human dissolution that should strike fear into anyone’s heart, through glimpses of hope, the poems explore the trails of asylum seeking and the dysfunctionality of the aftermath. ","PeriodicalId":10741,"journal":{"name":"Coolabah","volume":"23 1","pages":"47-72"},"PeriodicalIF":0.0,"publicationDate":"2021-02-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74994613","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Smith’s poetry asks questions of crime and punishment from the victims’ and perpetrators’ perspectives. In “Mugs” an easy victim reflects on the burglar of his house. In “Rehabilitation” a former prisoner returns to his prison, converted into gentrified townhouses. In “Stitched” Up the boredom, inanity, banality, and a soft pain of prison life is exposed.
{"title":"“Mugs”, “Rehabilitation”, and “Stitched Up”","authors":"Ian C. Smith","doi":"10.1344/CO20212943-46","DOIUrl":"https://doi.org/10.1344/CO20212943-46","url":null,"abstract":"Smith’s poetry asks questions of crime and punishment from the victims’ and perpetrators’ perspectives. In “Mugs” an easy victim reflects on the burglar of his house. In “Rehabilitation” a former prisoner returns to his prison, converted into gentrified townhouses. In “Stitched” Up the boredom, inanity, banality, and a soft pain of prison life is exposed.","PeriodicalId":10741,"journal":{"name":"Coolabah","volume":"10 1","pages":"43-46"},"PeriodicalIF":0.0,"publicationDate":"2021-02-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90324701","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
A brief account of how Geoff Davis came to found the highly successful Cross/Cultures series published by Rodopi together with Hena Maes-Jelinek and Gordon Collier. His active participation in the journal Matatu is also remembered.
{"title":"Honouring Geoff Davis","authors":"Christa Stevens","doi":"10.1344/co20202867-68","DOIUrl":"https://doi.org/10.1344/co20202867-68","url":null,"abstract":"A brief account of how Geoff Davis came to found the highly successful Cross/Cultures series published by Rodopi together with Hena Maes-Jelinek and Gordon Collier. His active participation in the journal Matatu is also remembered.","PeriodicalId":10741,"journal":{"name":"Coolabah","volume":"15 1","pages":"67-68"},"PeriodicalIF":0.0,"publicationDate":"2020-04-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89247724","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
A tribute to the warm personality of Geoff Davis and his pioneering work in postcolonial studies.
向杰夫·戴维斯热情的个性和他在后殖民研究方面的开创性工作致敬。
{"title":"Remembering Geoff Davis","authors":"B. Lindfors","doi":"10.1344/co20202819-20","DOIUrl":"https://doi.org/10.1344/co20202819-20","url":null,"abstract":"A tribute to the warm personality of Geoff Davis and his pioneering work in postcolonial studies.","PeriodicalId":10741,"journal":{"name":"Coolabah","volume":"125 1","pages":"19-20"},"PeriodicalIF":0.0,"publicationDate":"2020-04-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77563736","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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