Australian politics, society & culture


Illustration by Jeff Fisher.
Amelia Lester
By Christine Kenneally
David Michôd’s 'Animal Kingdom' and Banksy’s 'Exit Through the Gift Shop'
By Luke Davies
Red carpet at 81st Annual Academy Awards in Kodak Theatre, Los Angeles, 22 February 2009. Photo copyright: Flickr, Greg in Hollywood (Greg Hernandez)
Australian Film
By Louis Nowra
Ted Kotcheff's 'Wake In Fright'.
Revisiting 'Wake in Fright'
By Kate Jennings
WEH Stanner & "An Appreciation of Difference"
By Inga Clendinnen
WEH (‘Bill') Stanner, 1905-1981, Australian anthropologist, is known to most of us through his 1968 Boyer Lectures, titled After the Dreaming. Those lectures were and remain electric, charged with anger for the physical and psychological misery inflicted on Aboriginal Australians by a collection of latecomers who
The search for the next generation of public intellectuals
By Drusilla Modjeska
It’s a symptom, I think, of the unease we feel that over the last few years there has been sporadic debate about what an intellectual is, and in particular what a “public intellectual” is. At the high end, the literary journal Meanjin gave an issue to it last year. There, the optimists rejoiced at the opportunities
The Work of Mutlu Çerkez
By Justin Clemens
Born in London in 1964 to Turkish Cypriot parents, Çerkez finished his studies at the Victorian College of the Arts, Melbourne, in 1987. He had his first solo exhibitions the next year, at City Gallery in Melbourne and the Australian Centre for Photography in Sydney. He has exhibited regularly in major group and solo
Charles MacKarras and the quest for authenticity
By Stephen Fay
Sir Neville Cardus, the legendary cricket writer and music critic, chose to spend the World War II years in Sydney rather than London. Young Australian musicians would seek him out at his home in Kings Cross and ask if he thought they would be able to make a career in Europe when the war was over. One young oboist
Jonathan Caouette's 'Tarnation'
By Helen Garner
The first person to appear on screen in Jonathan Caouette’s documentary, Tarnation, is a mad-looking middle-aged woman with thick dark hair and a frighteningly handsome face. She grins, bobs up and down like a toddler, and warbles, in a pretend-childish voice, the old Sunday school song: “This little light of mine / I