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The corporations have had it their own way for most of this century but two recent events have startled them. One is the election of a US president who says he is an economic nationalist. The other was Brexit. The battle lines have been drawn between a unipolar, American dominated world and a multipolar world.
Murray and Frijters detail what they call Australia's 'grey corruption': the grubby nexus between 'James' (corrupt business people) and governments or regulators. The Jameses thrive at the expense of the 'Bruces': ordinary working people. The games of the corrupt elite now cost the 'Bruces' about half their wages.
Hannah Gadsby's Nanette critiques comedy as an imperfect tool for processing and transcending trauma. Funny Cow, about a woman comedian in 1970s northern England, attempts something similar. Both say something about the intersection of comedy and trauma and what it reveals about how we relate to each other as human beings.
Trump's destruction of the architecture of international trade agreements and reversion to protectionism will expose the complexity of globalisation, but is unlikely to have the effect he is aiming at, which is to bring investment capital, and jobs, back to his country.
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 imposition of 'managerialism' or 'marketisation' on universities is disastrous. So why are academics so passive when their working lives are being immiserated by the imposition of ideas, mostly derived from business or economics, that are either patently false or poor?
The views of Kevin 'Bloody' Wilson and Rodney Rude can be summed up in the quote: 'The soft new generation of PC-wary comedians need to grow some balls.' There seems to be a sense that comedy isn't funny nowadays unless it's offensive. But it's more than possible to create comedy that avoids this. In fact, it can be better.
As the world economy groans under soaring levels of debt, the place to look is Japan, whose current government debt-to-GDP ratio is an eye watering 253 per cent. It is Japan, which led the developed world into this mess, that is likely to lead the world out of it by cancelling debt. The consequences of such a move would be far reaching.
As the West flirts with starting World War III in Syria, it is worth examining some of the financial and business dynamics behind the US 'military industrial complex'. War may not be good business, but it is big business. And in contrast to Russia and China, the industry in the US is heavily privatised, including the use of mercenaries.
The recent furore about Donald Trump's imposing of tariffs on steel, from which Australian companies have been exempted, raises an interesting question about the economics discipline. Which is better, an oxymoron or a tautology?
The rush to pay tribute to the cosmological colossus had an air of reflex about it. People paid respects, but many were not entirely sure why. He'd be missed, but in what way? Such is the way of celebrity, even those rare intellectual ones who burst the barrier of mass marketing. They become symbols in their time, ciphers of an age.
The practice of appointing business people to oversee arts bodies is as questionable as referring to the arts as an 'industry'. Business and the arts work on almost diametrically opposed rationales. Understanding this might go a long way towards assessing the art world more intelligently.
121-132 out of 200 results.