The Humour Studies Digest
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Australian & International Posters
Australian & International Posters Collectors’ List No. 200, 2020 e-catalogue Josef Lebovic Gallery 103a Anzac Parade (cnr Duke St) Kensington (Sydney) NSW p: (02) 9663 4848 e: [email protected] w: joseflebovicgallery.com CL200-1| |Paris 1867 [Inter JOSEF LEBOVIC GALLERY national Expo si tion],| 1867.| Celebrating 43 Years • Established 1977 Wood engra v ing, artist’s name Member: AA&ADA • A&NZAAB • IVPDA (USA) • AIPAD (USA) • IFPDA (USA) “Ch. Fich ot” and engra ver “M. Jackson” in image low er Address: 103a Anzac Parade, Kensington (Sydney), NSW portion, 42.5 x 120cm. Re- Postal: PO Box 93, Kensington NSW 2033, Australia paired miss ing por tions, tears Phone: +61 2 9663 4848 • Mobile: 0411 755 887 • ABN 15 800 737 094 and creases. Linen-backed.| Email: [email protected] • Website: joseflebovicgallery.com $1350| Text continues “Supplement to the |Illustrated London News,| July 6, 1867.” The International Exposition Hours: by appointment or by chance Wednesday to Saturday, 1 to 5pm. of 1867 was held in Paris from 1 April to 3 November; it was the second world’s fair, with the first being the Great Exhibition of 1851 in London. Forty-two (42) countries and 52,200 businesses were represented at the fair, which covered 68.7 hectares, and had 15,000,000 visitors. Ref: Wiki. COLLECTORS’ LIST No. 200, 2020 CL200-2| Alfred Choubrac (French, 1853–1902).| Jane Nancy,| c1890s.| Colour lithograph, signed in image centre Australian & International Posters right, 80.1 x 62.2cm. Repaired missing portions, tears and creases. Linen-backed.| $1650| Text continues “(Ateliers Choubrac. -
The Aboriginal Version of Ken Done... Banal Aboriginal Identities in Australia
This may be the author’s version of a work that was submitted/accepted for publication in the following source: McKee, Alan (1997) The Aboriginal version of Ken Done ... banal aboriginal identities in Aus- tralia. Cultural Studies, 11(2), pp. 191-206. This file was downloaded from: https://eprints.qut.edu.au/42045/ c Copyright 1997 Taylor & Francis This is an electronic version of an article published in [Cultural Studies, 11(2), pp. 191-206]. [Cultural Studies] is available online at informaworld. Notice: Please note that this document may not be the Version of Record (i.e. published version) of the work. Author manuscript versions (as Sub- mitted for peer review or as Accepted for publication after peer review) can be identified by an absence of publisher branding and/or typeset appear- ance. If there is any doubt, please refer to the published source. https://doi.org/10.1080/09502389700490111 "The Aboriginal version of Ken Done..." Banal Aboriginality in Australia This writing explores the ways in which representations of blackness in Australia are quite specific to that country. Antipodean images of black Australians are limited in particular ways, influenced by traditions, and forming genealogies quite peculiar to that country. In particular, histories of blackness in Australia are quite different that in America. The generic alignments, the 'available discourses' on blackness (Muecke, 1982) form quite distinct topographies, masses and lacunae, distributed differently in the two continents. It is in these gaps, the differences between the countries — in the space between Sale of the Century in Australia and You Bet Your Life in the USA — that this article discusses the place of fatality in Australian images of the Aboriginal. -
What Killed Australian Cinema & Why Is the Bloody Corpse Still Moving?
What Killed Australian Cinema & Why is the Bloody Corpse Still Moving? A Thesis Submitted By Jacob Zvi for the Degree of Doctor of Philosophy at the Faculty of Health, Arts & Design, Swinburne University of Technology, Melbourne © Jacob Zvi 2019 Swinburne University of Technology All rights reserved. This thesis may not be reproduced in whole or in part, by photocopy or other means, without the permission of the author. II Abstract In 2004, annual Australian viewership of Australian cinema, regularly averaging below 5%, reached an all-time low of 1.3%. Considering Australia ranks among the top nations in both screens and cinema attendance per capita, and that Australians’ biggest cultural consumption is screen products and multi-media equipment, suggests that Australians love cinema, but refrain from watching their own. Why? During its golden period, 1970-1988, Australian cinema was operating under combined private and government investment, and responsible for critical and commercial successes. However, over the past thirty years, 1988-2018, due to the detrimental role of government film agencies played in binding Australian cinema to government funding, Australian films are perceived as under-developed, low budget, and depressing. Out of hundreds of films produced, and investment of billions of dollars, only a dozen managed to recoup their budget. The thesis demonstrates how ‘Australian national cinema’ discourse helped funding bodies consolidate their power. Australian filmmaking is defined by three ongoing and unresolved frictions: one external and two internal. Friction I debates Australian cinema vs. Australian audience, rejecting Australian cinema’s output, resulting in Frictions II and III, which respectively debate two industry questions: what content is produced? arthouse vs. -
ABC TV 2015 Program Guide
2014 has been another fantastic year for ABC sci-fi drama WASTELANDER PANDA, and iview herself in a women’s refuge to shine a light TV on screen and we will continue to build on events such as the JONAH FROM TONGA on the otherwise hidden world of domestic this success in 2015. 48-hour binge, we’re planning a range of new violence in NO EXCUSES! digital-first commissions, iview exclusives and We want to cement the ABC as the home of iview events for 2015. We’ll welcome in 2015 with a four-hour Australian stories and national conversations. entertainment extravaganza to celebrate NEW That’s what sets us apart. And in an exciting next step for ABC iview YEAR’S EVE when we again join with the in 2015, for the first time users will have the City of Sydney to bring the world-renowned In 2015 our line-up of innovative and bold ability to buy and download current and past fireworks to audiences around the country. content showcasing the depth, diversity and series, as well programs from the vast ABC TV quality of programming will continue to deliver archive, without leaving the iview application. And throughout January, as the official what audiences have come to expect from us. free-to-air broadcaster for the AFC ASIAN We want to make the ABC the home of major CUP AUSTRALIA 2015 – Asia’s biggest The digital media revolution steps up a gear in TV events and national conversations. This year football competition, and the biggest football from the 2015 but ABC TV’s commitment to entertain, ABC’s MENTAL AS.. -
Micro Nation – Micro-Comedy
Giuffre: Micro Nation – Micro-Comedy MICRO NATION - MICRO-COMEDY Situation comedy and post-broadcast television Liz Giuffre University of Technology Sydney <[email protected]> Abstract This article considers how the concept of micronationality served as a launching pad for a broadcast comedy, the 2012 Australian television series, Micro Nation, set on the fictional island of Pullamawang. I argue that by setting the series within a fictional micronational environment, the creators were able to develop a distinct type of situation for the comedy, embedding the theme of relative size and isolation as a key aspect of the show’s content and utilising unusual production and broadcast techniques. The article’s analysis draws on literature from Television and Broadcast Studies, Island Studies and Genre Studies and reflects on the media representation of micronations more generally. Keywords Television; online television; comedy; micronations, Pullamawang Island Introduction Micro Nation is a short form Australian comedy series, set in a fictional micro- nation/state (see discussion below) first broadcast in 2012. Written by Andrew Garrick and funded by a grant issued as part of the national funding body, Screen Australia (through its ‘All Media Program’), the series consisted of 15 five minute episodes that were broadcast on week nights on digital television channel Eleven, and also made available online via the broadcast network’s website, Tenplay.com.au.1 The series also engaged directly with online audiences with the addition of production and story extras on the Tenplay.com.au site and the creation of a fictional Tumblr account for the micronation’s population, entitled The Pullamawang Tribune (2015). -
Wogs Still out of Work: Australian Television Comedy As Colonial Discourse
Wogs Still Out of Work: Australian television comedy as colonial discourse Mitchell, Tony “Wogs still out of work: Most representations of non-Anglo-Saxon Australian television comedy as colonial migrant groups in Australian comedy, both on discourse”, Australasian Drama Studies, No. 20, stage and television, confirm received Anglo- 1992, pp119-133. Australian negative stereotypes, whether generated by Anglo (or autochthonous, to use by Tony Mitchell van Dijk's term) or non-Anglo (or alecthonous) comics. (In terms of the dominant Anglo-Saxon In his studies of the representation of ethnic culture of Australia, Aboriginal groups, despite minorities in the news media, the Dutch being autochthonous, or Indigenous, must be sociologist Teun A. van Dijk has suggested that included in the alecthonic group.) the reader or viewer of mass media texts stores "hidden information" about the world and A Note on Con the Fruiterer other nationalities in the form of "models" and "scripts". The former are personal impressions Between 1988 and 1990, the entirely Anglo- based on individual experience, while the latter dominated TV show The Comedy Company are "culturally shared, and hence more social... became the most highly rating Australian TV which feature the stereotypical information comedy series. Arguably its most popular members of a culture or group share about character was Mark Mitchell in the role of Con everyday events and episodes". (1) These the Fruiterer, conceived as an attempt at notions, in so far as they relate to ethnic "proportional representation" -
'Aussie Bloke': Gender, Class and Contextualizing a Hegemony Of
Looking out for the ‘Aussie Bloke’: Gender, Class and Contextualizing a Hegemony of Working-Class Masculinities in Australia. Kirsty Whitman School of Humanities and Social Science Discipline of Gender Studies and Social Analysis (60%) and Politics (40%). Submitted for the degree of Doctor of Philosophy June 2013. Contents Abstract …..v Declaration ….. vi Acknowledgements ….. vii Introduction …..1 Contextualizing a Hegemony of Centralizing Working-Class Masculinity ….. 5 Gender and Legitimate Australian-ness ….. 10 Format and Structure ….. 12 Chapter 1: Theorizing the ‘Aussie Bloke’: Gender, Masculinities, Class and the Hegemony of Centralizing Working-Class Masculinities Introduction ….. 21 Gender and Masculinity ….. 23 Modern and Postmodern Accounts of Gender: Masculinity Theory, Sexuality and Discourse ….. 25 Masculinity/Masculinities: Debates and Clarifications ….. 28 Recognizing Variations and Fluidity: Multiple Masculinities ….. 33 Contextualizing Hegemonic Masculinity/Masculinities, Hegemony and Men ….. 37 Hegemony, Gender and Class ….. 46 Intersections of Class and Gender ….. 49 Class: Moving Beyond Economic Categories ….. 50 Theoretical Conclusions and Use of Terms ….. 61 Conclusion ….. 64 Chapter 2: It’s Not Just Something Working-Class Men Do: The Methodological Journey to a Discursive Approach to Centralizing Working-Class Masculinities Introduction ….. 67 Identifying as a Working-Class Woman ….. 70 Terminology: The Methodological Journey to Centralizing Working-Class Masculinity ….. 73 Qualitative Methodology and Feminist Research ….. 75 ii Critical Discourse and Textual Analysis ….. 78 Recruitment of Participants ….. 83 The Reflexive Standpoint of the Participants: Gender, Class and Mistrust of Academic Elites ….. 87 Gender as an Issue ….. 88 Culture and Class ….. 91 Telephone Interviews ….. 92 Question Choice ….. 95 Reading the Unsaid ….. 96 Changes in Scope and Methodology: The Eventual Structure of this Study …. -
Australian Comedy
As fi lmgoers, do you When, I wondered, was the last Australian fi lm enough premise and a suffi ciently confi dent sometimes wonder if comedy that seemed genuinely funny, as if sense of the comic spirit to sustain audience inspired by a viable narrative agenda and with involvement in a feature-length comedy? the phrase ‘Australian a screenplay that could articulate this—and comedy’ is an oxymoron? keep up the work until the very end? It’s near- Writing about ‘Comedy’ in The Oxford Certainly, as I watched ly twenty years since Crocodile Dundee (Peter Companion to Australian Film (1999), Felicity Faiman,1986) became the highest-grossing Collins claimed that, after the international in a concentrated burst Australian fi lm ever, milking every stereotype successes of the early 1990s (Ballroom, Mu- over a couple of weeks a of the superiority of bush innocence over riel, The Adventures of Priscilla, Queen of the half-dozen fi lms from the urban sophistication for all it was worth. Then Desert [Stephan Elliot, 1994]) ‘Australian cine- there were admittedly very funny sequences ma has become synonymous with comedy’.1 last fi ve years, it did quite in, and aspects of, Strictly Ballroom (Baz She was able then to argue a case for such often seem to me that Luhrmann,1992) and Muriel’s Wedding (P.J. a view that would be hard to mount now. the phrase was yoking Hogan, 1994), but their real distinction lay Some of the same thematic preoccupations together two concepts elsewhere. Was The Castle (Rob Sicth, 1997) underlie the fi lms I am concerned with here: the last Australian fi lm that had a strong there are still ‘little guys’ taking on corpora- with little common ground. -
Suburban Space and Multicultural Identities in Christos Tsiolkas's the Slap
Suburban Space and Multicultural Identities in Christos Tsiolkas's The Slap N1CHOLAS DUNLOP University of South Wales, UK ince the first publication of Christos Tsiolkas's fourth novel, The Slap, in 2008, it S has received a great deal of commercial and critical attention both domestically and, in more recent years, internationally. This popularity and rapid subsequent en• rollment into the literary mainstream is, it could be argued, in large part due to the accessible prose and book-club compatibility of its core narrative trajectory, which traces a topical and thought-provoking depiction of conflicting sets of generational "family values," domestic politics, and explicit and implicit class conflict, the drama unfolding among an eclectic range of frequently unsympathetic yet believable, iden• tifiable, and compelling characters. This narrative accessibility has been further em• phasized by the production of two distinct episodic adaptations for television. The first, a successful ABC adaptation in 2011, preserved much of the contemporary flavor and cultural specificity of the original text and starred a number of familiar Australian actors including Jonathan LaPaglia, Essie Davis, and Melissa George. A much less successful US remake followed in 2015, featuring American actors in each of the major roles and, somewhat inexplicably, relocating the action from the suburbs to the brownstones of the New York borough of Brooklyn. Despite the geographic differences between the two adaptations, both retain the key narrative thrust of Tsiolkas's -
Bogan-Ville: Reframing Class and Place Through Humour
University of Wollongong Research Online Faculty of Science, Medicine and Health - Papers: part A Faculty of Science, Medicine and Health 19-2-2013 Welcome to Bogan-ville: reframing class and place through humour Chris Gibson University of Wollongong, [email protected] Follow this and additional works at: https://ro.uow.edu.au/smhpapers Part of the Medicine and Health Sciences Commons, and the Social and Behavioral Sciences Commons Recommended Citation Gibson, Chris, "Welcome to Bogan-ville: reframing class and place through humour" (2013). Faculty of Science, Medicine and Health - Papers: part A. 173. https://ro.uow.edu.au/smhpapers/173 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] Welcome to Bogan-ville: reframing class and place through humour Abstract On August 4, 2009, Australian online news commentary website the Punch announced that Albion Park, in the Australian industrial city of Wollongong, was one of the nation's top ten “most bogan” places. This paper explores what it means to be bogan in Australia, tracing historical antecedents, local debate at the time of this media event, and the manner in which the politics of class and place identity are negotiated through humour. Some local residents railed against associations with “lower-class” culture or feared damaged reputations for their neighbourhoods; others responded in sometimes unexpected and creative ways—through humour, and by claiming bogan as an alternative source of legitimacy for working-class identity. I reflect on this case for how humour operates ambiguously in an age of email, blogs, and social media technologies—building on previous norms of media dialogue and on established understandings of class polarisation in Australian cities. -
Abc-Comedy-Press-Kit-30-October.Pdf
1 ABC COMEDY - We’re serious about comedy From Monday 4 December, get ready for a new comedy destination, on your TV, your devices and your social feeds, bringing together the best of Australian comedy and entertainment to make you laugh anytime you like, day or night. At the centre of this new line-up on the ABC COMEDY channel will be the world premiere of Tonightly with Tom Ballard, a nightly comedy show hosted by Tom Ballard alongside Greta Lee Jackson, Greg Larsen and Bridie Connell. They promise to deliver the best bits of news, trends, life hacks and occasional gossip with a wry and anarchic bent, weeknights at 9pm. Expect the highlights in your social feed. Other premiere Australian content includes the second season of the acclaimed Comedy Next Gen, including stand-up shows from Tom Walker, Aaron Chen, Becky Lucas, Sam Taunton, Demi Lardner, Sami Shar, Greg Larsen and Geraldine Hickey. And on iview, you’ll find a bumper crop of Aussie short-form series to keep you entertained including the premieres of Kiki and Kitty from the outrageously talented Nakkiah Lui; #CelesteChallengeAccepted from comedian and Instagram star Celeste Barber; The Chinaboy Show from YouTube sensation John Luc (aka MyChonny); Neel Kolhatkar’s Virgin Bush; the charming Other People’s Problems; new Indigenous comedy Aussie Rangers; plus the next series of When TV Was Awesome as well as 60 new bite-sized films from the new batch of Fresh Blood teams. Sounds awesome, right? Well there’ll be more to come... In launch week there’ll be plenty of opportunities to catch Aussie favourites, weeknights at 8pm, including Gruen (the XL version), Upper Middle Bogan, Ronny Chieng: International Student, The Ex PM, Stop Laughing This is Serious and Hard Quiz. -
A Study Guide by Marguerite O'hara
CHARTING A COURSE THROUGH THE STORY OF AUSTRALIAN COMEDY … … A THREE-PART DOCUMENTARY NARRATED BY ERIC BANA. © ATOM 2015 A STUDY GUIDE BY MARGUERITE O’HARA http://www.metromagazine.com.au ISBN: 978-1-74295-568-1 http://www.theeducationshop.com.au Introduction Stop Laughing…this is serious is a three-part television series charting a course through the story of Australian performances, featuring insight and the Australian History curriculum as a comedy, featuring over 60 interviews anecdotes from what Barry Humphries way of understanding how Australians with the men and women who make calls ‘the cheering up business’. have come to express themselves us laugh. Through a blend of social both at home and abroad. This pro- history, extensive archive material and The series explores how comedy gram goes to the heart of Australian intimate interviews with the country’s ties us together as a nation, travers- cultural studies and entertainment, most loved comedians, we travel via ing generations and bridging cultural exploring issues of class, ethnicity, stand up, radio, television, theatre and divides. We Aussies love to laugh language and identity and how these film from indigenous comedy to new at ourselves, our politics, our fellow aspects of Australian life have been viral media jokers of today, revealing Australians – are there are no sacred responded to and shaped by a range how humour, laughter and comedy are cows? Along the way the viewer will of writers, artists and performers over integral to our national identity. laugh but also come to appreciate time. Is it the case that Australians the craft of our greatest comedians love to laugh at themselves and oth- By unpicking our cultural cringe, who ultimately reveal important truths ers, that their larrikin qualities are poking fun at our national identity, about the world in which we live.