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Film buffs might regret there's not a more detailed technical breakdown of Bilcock's craft. Still it it is a warm-hearted tribute to the art of editing, the process by which a film takes its final form, often as different from what was shot as the footage isfrom the original script; and to one editor whose sense of character and audience is hailed by these directors as defining their films.
The slow, heartbreaking realisation that unfolded over a year or more was that none of this — the heavy glass trophy, breathing the same air as popular TV hosts, sitting at those fancy tables — would change anything. It was an elaborate farce, and I was still a nobody in a struggling ecosystem.
With the downfall of white society, Thoomi and other Aboriginal people have abandoned their white-established communities, to return to the land. Through embracing ancient communal practices, they are proving far more resilient than their white counterparts. It is through them that Andy may ultimately discover the key to survival.
The Ramsay Centre was an agenda-laden venture at the outset. It has now been left hanging after ANU withdrew from negotiations, with Vice-Chancellor Brian Schmidt saying that a difference of vision led to the decision. The Ramsay Centre's focus on western 'civilisation' was never neutral to begin with. The people involved gives that away.
The pressure starts to get to Annie when she begins to suspect her mother is haunting her. This exacerbates pre-existing tensions; her husband is caring in a mildly condescending way, but is more concerned with the wellbeing of their children. Is the haunting real, then, or just a symptom of Annie's reluctance to let go?
The evidence, from one line onwards, was unmistakeable Doyle. Imitation was impossible, self-parody ditto. Gore Vidal loved to say that Tennessee Williams knew how to do only one thing, but he did that thing better than anyone else. Brian Doyle's poetry was a bit like that.
Progressive Australians want a process that restores a sense of moral legitimacy to the nation. But far from concern about settler Australia's moral legitimacy, Aboriginal and Torres Strait Islander peoples seek treaty as recognition of their political difference. Treaties on these terms are unlikely to be acceptable to the settler state.
On the surface budgets are exercises in financial accountability. At a deeper level they are best understood as a yearly ritual; one of the ways in which rulers acknowledge and try to manipulate truths about state power. We should evaluate these less on their stated intentions but with what the show of competence and generosity reveals.
A thread of male entitlement binds the American literary world to a shepherd's world in India's Kashmir valley. Days ago, the American author Junot Diaz left the Sydney Writers Festival amid allegations of sexual abuse. In India there is another, more sinister and tragic manifestation, woven with the use of rape as a weapon of war.
The flagship cultural measure in the budget is, strangely, a flagship: the Endeavour. The government announced '$48.7 million over four years to commemorate the 250th anniversary of James Cook's first voyage to Australia and the Pacific'. A permanent presence on the first site of local trauma is not a vision for a nation.
As someone who has a language background which will in all likelihood not make it past one more generation in my family here in Australia, I've long understood the way language loss can occur as a result of migration, to say nothing of acts like colonisation. These are great forces that are difficult but, as I've found, not impossible to resist.
Whatever city development process is to be adopted, the spirit of community is key: landscape to networks to streets to public spaces to buildings. The approach ought to center on the fact that human needs and behaviours vary, and so cities automatically take the shape of the sensibilities of people.