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Adele is a single mother suffering the debilitating after-effects of past trauma. But her story offers no robust consideration of mental illness. In stark contrast to her male counterparts, Adele is merely pitiable and helpless, and lacks the agency to raise herself from despondency. Weakness is thus conflated with femaleness. Only the arrival of a strong, practical and violent man serves to raise her Adele from her stupor.
Chief of Army Lt Gen David Morrison summed it up well. In condemning the culture of 'permission' that allowed defence officers to exploit women, he said: 'The standard you walk past is the standard you accept.' Framing sexism in terms of permission should sharpen the way we respond to abuse of women — the same compulsion to conform presents us with opportunities to disrupt tacit permissions.
Stéphanie loses her legs in a workplace accident. Alain is a single father who becomes her confidante. Their sexual encounters are shown to restore and affirm her dignity; they highlight the physicality of the act, particularly how Stéphanie's confidence in her own changed body flourishes through it.
It is commonly thought that men represent both the main producers and consumers of pornography. Germaine Greer points out that men are also its victims. In the case of gay porn, just because there is no woman involved doesn't mean that it is not exploitative.
A few weeks ago Tim Winton's Breath was awarded this year's Miles Franklin Literary Award. This video trailer is a poetic combination of strong images, haunting music, quotes, and eloquent interview with the author.
Australia Day comes this year shortly after Obama's entry into the White House. Like the child in Australia — a film that captures something of the mixed history of our Australian footprint — Obama embodies the possibility of healing across racial and other divides.
After nearly 40 years living in Indigenous communities, Brian McCoy manages to move through difficult terrain with the sure-footedness of an ancient Aboriginal tracker, and a confidence founded on years of sitting, listening, observing and quietly healing.
Undercover female soldiers are sent into enemy territory during World War II to protect one of the Allies' best-kept secrets. The women must subject themselves to being exploited in order that they might exploit their opponent.
Kiera Lindsey reviews Craig McGregor’s Australian son: Inside Mark Latham and Brian Costar and Jennifer Curtin’s Rebels with a cause: Independents in Australian politics.
Adolescent boys of Western Kenya's Bukusu tribe are ushered to the threshold of manhood by participating in rituals in which they must endure all without exhibiting pain. Western society lacks procedures in which boys can transform and emotionally re-emerge, ready to carry the burden of male responsibility.
The reactions of many Australians to the deaths of a crocodile showman and a racing car driver suggest that media images canonise our secular saints. Meanwhile the fictional Chris Anderson's love for his family and friends, and his integrity and humility, are very appealing characteristics.
Ray Lawrence’s Jindabyne presents more challenges than resolutions. For the questions asked in this film there are no simple answers. This is a film which cautiously reveals a grace in the honesty, pain and acceptance that can come in life, and partnership. It also intimates that there is still a darkness at the heart of this town, and of this nation.
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