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There are more than 200 results, only the first 200 are displayed here.
The interviewees regard Vertigo with awe, waxing lyrical about its psychosexual subtext; but not a word is said about the inherent misogyny of a film that is explicitly about a man's objectification of a woman. The film's most interesting segment however concerns the pre-eminence of guilt in Hitchcock's films, and the role it plays in shaping human activity. This, says Martin Scorsese (a filmmaker similarly preoccupied with guilt and sin), may define Hitchcock as an essentially Catholic filmmaker.
Perhaps what will ultimately convince media and entertainment companies that it is in their interest to be sincere about diversity is that there's money in it. A UCLA study found that in 2014, eight films that had diverse casts (out of 163) also had the highest median global revenues and returns on investment. In addition, TV shows with majority non-white casts rated extremely well, even among white households. This challenges conventions around what media consumers find appealing.
The neoliberal right is losing political power to the populist right, which isn't filled with the same ideological zeal for free-market capitalism. Suddenly debates can expand beyond the narrow confines of economic growth. Moral and social arguments won't be relegated to the intellectual fringes anymore. Mainstream parties of the left and right, both of which bought into the neoliberal agenda, will have to break their bipartisan dismissal of discontent with the side effects of globalisation.
Wednesday night's ABC 7.30 program carried allegations against Cardinal George Pell which, if true, are devastating: life ruining for victims like Damian Dignan and Lyndon Monument; confronting for all citizens committed to the wellbeing of children; and earth shattering for Catholics who still have faith in their church. The report is also troubling for those of us concerned about due process and the rule of law - not as academic notions for lawyers but as the secure bulwarks of a society in which everyone's rights and interests are protected.
When confronted by violent killings we should be appalled, identify sympathetically with the victims and with those affected indirectly by these tragedies, and also take a respectful interest in the complex lives of the perpetrators and the relationships that contributed to the shootings. The pause before making larger judgments respects the complexity of motivation and of social interactions involved in the killings, and offers a base for reflecting on how we may lessen the possibility of them happening in future.
When the democratic exercise is no longer the aggregate of informed, reasoned choices, but a matter of mood, then the business of persuasion - politics - becomes far less about ideas and more about momentary catharsis. This shifts the function of politicians and government, from leading and dispensing equity to masturbatory aid. Even so, there are questions worth asking. But at whose expense are public moods assuaged? After catharsis, what happens next?
This strange and engrossing Italian film proffers an unsettling rumination upon the rituals of mourning, and upon a mode of grief which itself is a kind of death. It opens with a sweeping close-up of an imposing crucifix, and the fine musculature of a graven Christ. A mass of mourners is then revealed, and before them a woman, immobile and weeping silently. The camera angle cuts to calf level, to reveal a trail of urine more copious than her tears, running down her leg to her shoes.
That McGuire, eventually, and presumably under pressure from the club's board and a major sponsor, offered what seemed to be a sincere apology, barely diminishes the fact that the comments were made in the first place, compensates for the lack of real repercussions, or excuses the time and effort that was required to get the incident on the agenda at all. Like a good parable, Mustang illuminates the ethical deficit of such a scenario, where women can so readily be bulldozed by powerful male voices.
In one scene, as Taylor and Davis argue, the dialogue comes down and the score comes up; her voice is literally taken from her. When Davis then physically assaults her, the message is clear: his music and his violence are notches on the same spectrum. This conflation of creativity with destructiveness is a typical error of mainstream biopics about great artists who were not nice people. Yet applied in the context of spousal abuse it is not only specious but ethically dubious, even dangerous.
There is little doubt that the means to dramatically reduce the amount of pollution produced by developed economies is already theoretically available. It is perfectly possible to redesign industrial systems so that they do not pollute and do not consume finite resources at a rate that is unsustainable. But it requires a radical shift - and the biggest barrier to that shift occurring, the financial markets, is barely even mentioned in discussions of the challenge.
Vice-principal Rickard claims the credit for having lifting the status of the once struggling public school, and sees in the smart but troubled new student Mark both the potential to do well and a danger to his own legacy. For his own part Mark, who was previously kicked out of the private school to which he had earned a scholarship, sees in Rickard a misguided do-gooder and, later, something a little more dangerous: an ambitious man whose ego is the flipside of insecurity.
It's the last chance for Ricky, who has been through a lot of other foster homes before winding up at Bella and Hector's. We don't know the detail of these experiences, but it is telling that the natural nurturer Bella's smallest gestures - cooking breakfast for Ricky, or putting a hot water bottle in his bed at night - are kindnesses like none he has ever known. It contrasts with the child welfare worker''s mantra of 'No child left behind', which on her lips becomes menacing, or at best a bureaucratic inanity.
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