ORCID Profile
0000-0001-8530-5361
Current Organisation
University of Tasmania
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Publisher: University of Rhode Island
Date: 24-05-2021
Publisher: Stedelijk Museum Amsterdam
Date: 09-2015
DOI: 10.54533/STEDSTUD.VOL003.ART05
Abstract: Imagine this. Parting a heavy curtain, you enter a vast space. Ceiling high and pitched, austere columns down two long sides—it’s a kind of post-industrial basilica painted black. Sound is a resounding murmur. Light flickers across video monitors and projection screens. You pause for your senses to adjust. First scanning the room and then moving within it, your perception sharpens to your surroundings… Figures, mostly women: in landscapes, with animals, mirrors, and masks cones of white paper or galvanized tin nearly twice your height line drawings in sand or chalk, on paper or in video sounds of wind, foghorns, whistling, footsteps images in facets, shadows, reflections, prisms… You walk through the space, gathering perceptions. Eventually, your experiences of aural and visual echoes cohere to form an internal syntax, a meaningful order, in which no external references pertain. Like a dream or a foreign place, the environment is immersive and so impossible, later, to fully recall or describe. What remains with you is an impression, an image that dwells in your mind.
Publisher: Informa UK Limited
Date: 05-08-2022
Publisher: Springer International Publishing
Date: 2017
Publisher: University of Iowa Press
Publisher: Elsevier BV
Date: 05-2023
Publisher: Transformative Works and Cultures
Date: 15-03-2012
Abstract: In the lead-up to the release of some feature films, fake and fan trailers are created by users and uploaded to YouTube and other Web sites. These trailers demonstrate that users are literate not only in the form of the trailer itself, but also in the Hollywood system and how it markets products to audiences. Circulating in a networked environment online, these texts, which play with the form of the trailer, perform and embody users' and fans' desire to see not just the feature film but also the official trailer itself. I discuss these fake and fan trailers in relation to cinematic anticipation and describe how they navigate both spatial and temporal bounds. Using the architectural concept of the desire line, I argue that spatial frameworks can be usefully employed to consider how users navigate online spaces, media, and concepts through the form of the trailer.
Publisher: Equinox Publishing
Date: 12-2021
DOI: 10.1017/QRE.2022.10
Abstract: The likelihood that climate change may destroy the Great Barrier Reef has been a central motif in Australia’s climate change politics for more than a decade as political ideologies and corporate and environmental activism draw or refute connections between the coal industry and climate change. The media fuel this debate because in this contest, as ever, the news media always do more than simply report the news. Given that the Reef has also been central to the evolution of Australia’s environmental laws since the 1960s, it is not surprising that the Reef is now a leading actor in efforts to test the capacity of our environmental laws to support action on climate change. In this contribution, we examine the news coverage of the Australian Conservation Foundation’s (ACF) 2015 challenge to Adani’s Carmichael coal mine to observe the discursive struggle between the supporters and opponents of the mine. Our analysis of the case shows that while the courts are arenas of material and symbolic contest in the politics of climate change in Australia, public interest environmental litigants struggle both inside and outside the courts to challenge the privileging of mining interests over the public interest.
Publisher: MDPI AG
Date: 11-05-2021
DOI: 10.3390/LAWS10020035
Abstract: Conflicts over environmental sustainability are increasingly being fought in court, such as the use of Public Environmental Litigation (PEL) to challenge developments impacting the environment in Australia and elsewhere. News media coverage of PEL introduces legal actors to the dynamics of mediatized environmental conflict, which provides a platform for conflict actors to gain mediated visibility for their cause to influence public debate. When legal opportunities, such as PEL, are used as a c aign tactic, the dynamics of contest are exposed and, while courts have some power over legal actors, parties seek news media to favorably translate legal outcomes to the public. This article explores the nexus of PEL, news media, and communication strategies to find greater understanding of who gains from the mediated visibility that occurs when transnational environmental c aigns take their claims to court. Using content analysis and discourse analysis of news texts and semi-structured interviews relating to eight PEL cases instigated to stop the Adani Carmichael coal megamine in Australia, we seek better understanding of the mechanisms at play when PEL c aigns appear in news media, and find that the dominance of outside court sources in news coverage not only privilege the political aspects of PEL over the legal, but highlights how strategic litigation, such as PEL, can be used to influence public opinion and, therefore, a political response, regarding environmental conflict.
Publisher: University College Cork
Date: 10-02-2017
DOI: 10.33178/ALPHA.12.04
Abstract: This article explores the various manifestations of analogue video in digital culture. Introducing the framing concept of an aesthetics of remanence, it argues that the “society of the spectacle” (Debord) has entered an age of retrospectacle, a dominant signifier of which is the remediation and/or simulation of analogue videography. The concept of remanence connects the material conditions of magnetic tape with analogue video’s aesthetic expressions, and the cultural situation in which analogue video finds itself today. By looking at three different cases related to retro gaming, contemporary hip hop, and “old skool” rave, the article shows how the aesthetics of remanence remains highly susceptible to subcultural sensibilities—while it also functions as their shared visual variable. The short film Kung Fury (David Sandberg, 2015) is a playfully post-ironic recuperation of failed media technologies. The music video “Fromdatomb$” (David M. Helman, 2012) is a complex exploration of the idea(l) of the historical real. And the work of video art Fiorucci Made Me Hardcore(Mark Leckey, 1999) is a creative treatment of nostalgia which invites us to reconsider the medical origins of the term.
No related grants have been discovered for Kathleen Williams.