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'Kristina Keneally was unapologetic in putting the place of women in our church front and centre. And so we should.' Tropical and Topical, 2018 National Catholic Principals' Conference, Cairns Convention Centre, 16 July 2018.
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.
Using memoir as a kind of litmus, Atkinson challenges the myth that traumatic events are socially 'out of character' and asks us to look at how by its very nature, patriarchy demands the abuse of its most vulnerable citizens.
The contrast between success and failure shows that successful independents and minor parties cannot just be based on major party disillusionment, creative election campaigns, or attractive candidates, but also on deep listening to and engaging with their communities which enable a positive and grounded alternative to be offered to voters.
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.
Many people, including on the left, talk about the centrality of work to our sense of purpose and dignity. Work is commonly understood as the method through which we acquire income, a sense of identity, make a contribution and find community, but for many, it has also become an extremely unreliable source of these things.
Tully is a funny film, with a serious core: a tribute to the labour of child rearing, a dissection of the substantial physical and emotional burden of this work, and a 'show-don't-tell' critique of the social norms that frequently sees that burden fall, still, primarily on women.
Philip Larkin spent 30 years as a librarian, but famously wrote a rebellious poem in which he asks plaintively: 'Why should I let/the toad work/Squat on my life?' Technology is not the only force that shapes our destinies, an idea I need to remind myself of whenever I start worrying about the future of my children and grandchildren.
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.
The commentary around the film's appropriation of Japanese culture has been sustained and substantial. At least these allusions are for the most part detailed and respectful; that the hero is named after a defunct American video game company is less palatable. Trickier still are the creative decisions related to language.
Is it any wonder that when I came to work in the press gallery I was cynical about arts policy? In those lockup hours scouring budget papers it was clear yet again the arts would not see any wins. It wasn't always this way. Prime ministers and arts ministers of yesteryear produced arts policy informed by their personal and political interest.
Louise, Aline and Kapinga are hardly household names in Australia. They are better known in Malawi, having received the prestigious Scientific and Technological Innovation Award at the Malawian National Schools Science Fair. Aline and Kapinga are all refugees residing at Malawi's Dzaleka Refugee Camp.
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