The art of nationalism: Artists' perspectives on the Latvian Centenary film programme

In the aftermath of several decades of neoliberalism in Eastern Europe, the social fabric of post-socialist societies is frayed. In this context, nationalist cultural policies and everyday displays of national belonging have emerged as key instruments of social solidarity. There has recently been a drive of state initiatives in Latvia in the field of cultural policy aimed at strengthening national identity. In this paper, we focus our attention on one particular cultural policy initiative, Latvian Films for Latvian Centenary. Drawing on qualitative interviews with 16 film directors who participated in the Centenary film programme, the paper explores how artists and cultural operators involved in this programme are mobilised as national(ist) subjects and how they see their work within such a framework. We argue that nationalist cultural policy can be successfully implemented because the artists, themselves formed as responsible political and moral subjects in the tradition of Latvian cultural nationalism, share a regard for culture and the arts as a resource for sustaining the political statehood and the national community. However, the artists also recognise the limitations of their work as a source of social cohesion and solidarity in a society that is ethnically divided.     

As Basket and Papu: Making Manus Social Fabric

Between 2012 and 2019, Manus Island, Papua New Guinea, hosted Australia's offshore detention centre for asylum seekers and refugees, known as the Regional Processing Centre (RPC). This paper analyses some of the social impacts of the RPC on Lorengau town, the urban centre of Manus, through the analytical lens of the Manus idiom, as basket (Tok Pisin). Materially this refers to the everyday Manus basket whilst metaphorically, it refers to an individual's or community's social, cultural, political and economic base. First, I examine asylum seekers and refugees as a social category that emerged during this period when they were referred to as papu by locals. Papu is an honorific kinship term for grandfather or elder man; for men who are symbols for family identity, social belonging, and rights to land. Second, I examine the changing materiality of Lorengau's markets as indicative of wider societal transformations and dissonance brought about by the RPC. My ethnographic data are based on long term involvement in Manus, including three recent visits to Lorengau in 2017, 2018, and 2019 where I studied the social impacts and the changing social practices of Manus people in response to the RPC.     

史前漆膜的分析鉴定技术研究

研究了漆膜分析的三种主要方法：裂解质谱,红外光谱,裂解色谱。通过大量实验比较了各种方法的适应性和可靠性,建立了以裂解色谱／富里叶红外光谱联用技术来鉴定漆膜,并对影响裂解反应的因素及色借条件进行了深入的研究,获得了可以重复,具有特征性的漆膜高分辨裂解色谱图,同时对裂解色谱图中主要组分作了定性鉴定,提高了裂解色谱法分析漆膜的可靠性。该方法具有灵敏度高,样品用量小,共存杂质影响小,操作简便等优点。应用核分析技术对河姆渡,良诸庙前遗址出土的二件红色涂料样品进行了鉴定。分析结果证实了河姆渡出土的红色涂料木碗上的涂料是我国至今发现的最早的生漆漆膜。     

Captain Everill’s Error: Mapping the Upper Strickland River in Papua and New Guinea, 1885–1979

An error dating from 1885 in mapping the upper Strickland River, Papua New Guinea, was reinforced and extended by government officer Charles Karius in 1929 when reporting results from a lengthy exploratory patrol. Detailed maps produced by the US Army and the Royal Australian Survey Corps in, respectively, 1942 and 1966 perpetuated these errors. It was not until 1979, with release of a series of 1:100,000 topographic maps, that long-standing errors were finally put to rest. Throughout these years, the contributions of well-informed people tended to be ignored in favour of the opinions of those whose status implied authority.     

Film distribution as policy: current standards and alternatives

Much recent scholarship has identified an urgent need to address distribution opportunities for Australian cinema in a digital age. In trying to understand why Australian film policy has been beleaguered by complacency for distribution, this paper looks abroad to see what precedents and attitudes exist in distribution-related cultural policy. Why hasn’t support for distribution and exhibition been the touchstone of cultural policy for national cinemas? Why has policy support for the production sector prevailed, when distribution is the film industry’s key zone for profit? This paper surveys international policy examples of what governments are doing beyond the production realm. It examines legal interventions into the distribution realm, including direct state measures such as subsidies, levies, quotas and import restrictions, indirect state aid, and cultural initiatives by film funding bodies that stimulate audience engagement in the distribution and exhibition sectors. The paper combines these primary sources of film policy information with film historians’ accounts to provide a comparative analysis of national film distribution policies. It then examines the politics underlying the various policy frameworks, before mapping out an alternative strategy for the future of policy in Australia that is equipped to deal with the huge changes in digitalisation.     

Space,time and history in the Polish People’s Republic: the trilogy Sami swoi,Nie ma mocnych,Kochaj albo rzuć

Abstract

The article discusses the meanings of popular culture, authenticity and history in People’s Republic of Poland. As an example it uses a popular film trilogy. The trilogy Sami swoi, Nie ma mocnych and Kochaj albo rzu? (‘All friends here’, ‘Take it easy’ and ‘Love or leave me’) was shown in Polish cinemas between 1967 and 1977. The reviews were written just after the premières. The article uses the concepts of time and space elaborated by Mikhail Bakhtin and Doreen Massey to analyze the different chronotopes of the films. It analyses both the films and the reviews as strategies of creating authenticity and creating cultural meanings: the meaning of history and the meanings of rurality. I will show how history and present, memory and society are interwoven in the light of popular production. In addition, I will emphasize the diverse interpretation possibilities resulting from this micro-historical view and the transnational critique of modernism highlighting the small and local which emerged throughout Europe in the 1970s.     

Australia’s Colombo Plans,old and new: international students as foreign relations

This article draws on recent research and policy developments to make a case for considering international students as an important component of Australian foreign relations. It links historical and contemporary Australian experiences of international students, especially in the Colombo Plan and New Colombo Plan, to the field of public diplomacy, and sets an agenda for further research in this direction. It highlights the need to recover student voices and to be sensitive to the emergence of everyday or ‘vernacular’ internationalism, as a phenomenon of international students visiting, traveling and otherwise encountering different groups of Australians. It suggests a need to take up anew this form of inquiry for both earlier postwar student experiences and the post-1980s period, in which international students’ voices are frequently silenced by debates over commodification, funding needs, and neo-liberal economics.     

The Jaws Effect: How movie narratives are used to influence policy responses to shark bites in Western Australia

This article examines the way political actors use film narratives to influence policymaking following shark bites. To analyse these relationships I propose the concept of the Jaws Effect, where film-based historical analogies are used as a political device to frame real-life events in ways that make the events governable and prejudice certain policy options. Three elements of the Jaws Effect are reviewed including the intentionality of the shark, perception that these events are fatal and the belief that ‘the shark’ must be killed. These elements are applied to a case study of policy responses to shark bite episodes in Western Australia in 2000, 2003, 2011 and 2014. The reasons why this political device may not always work are also suggested.

本文研究了政治主体以什么方式使用电影叙事来影响鲨鱼咬人之后的政策制定。笔者提出“《大白鲨》效应”的概念,也就是以取自电影的历史类比为政治手段来言说现实生活中的事件,让事件根据言说者的需要,不利于某些政策选择。本文分析了《大白鲨》效应的三要素：鲨鱼的目的性;现实生活的事件性命攸关;鲨鱼必须被杀死。笔者将三要素用于研究2000、2003、2011和2014年西澳大利亚鲨鱼要人事件之后的政策反应。文章也探讨了为什么这种政治手法并不总能凑效。     

International relations and foreign policy in the Australian Journal of Political Science: A review

The Australian Journal of Political Science (AJPS) has evolved from a publication that deliberately relegated articles in international relations (IR) to a secondary status to one that has defined and encouraged leading-edge contributions to that field. This development can be attributed to successive AJPS editorial teams’ realisation that contemporary political problems are increasingly interconnected and that emerging approaches to IR reflect this condition. Several recent and key IR debates that have emerged within the journal’s pages are assigned special attention here: the linking of Australia’s domestic politics to that country’s foreign policy interests and behaviour; in-depth discussions that relate to ongoing trends in the international political economy; critical analysis of national defence and regional security postures; and diverse theoretical perspectives that are increasingly shaping the IR field’s paradigmatic identity. It is concluded that the AJPS is now a leading source of IR thought and discourse.     

The Last of Australian Imperial Dreams for the Southwest Pacific: Paul Hasluck,the Department of Territories and a Greater Melanesia in 1960

This paper is a study of the vision held at the beginning of the 1960s by Paul Hasluck, the minister for external territories, and his department of the path to decolonisation for Melanesia. Faced by the ongoing West New Guinea crisis, Hasluck and his officials proposed to keep the western part of New Guinea out of Indonesian hands by expanding Australia’s empire, step by step, to include most of Melanesia. This greater Melanesian empire would eventually be guided to self-government. The proposal stood in a long line of ideas by Pacific-minded Australians going back for 100 years for an expanded Australian empire in the southwest Pacific. Consequently the Menzies cabinet’s rejection of Hasluck’s proposal was not just an important step towards changing its policy towards WNG; it marked the end to a century of Australian dreams and designs of a greater formal empire in the southwest Pacific.