ORCID Profile
0000-0002-3573-2637
Current Organisation
Flinders University
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Publisher: Intellect
Date: 10-2022
DOI: 10.1386/JDMP_00042_1
Abstract: This article presents a case study of media literacy deployment in contemporary media regulation through interviews with New Zealand’s Chief Censor and other key staff members in the Office of Film and Literature Classification. The interviews offer an account of how media literacy came to be adopted as a prominent strategy within their policy remit. This article explores how the institutional narrative reconciles their media literacy approaches and core classification work, finding four key discursive and practical strategies: integrating, expanding, reconceptualizing and reasserting relevance . The analysis also reveals how the standpoint of media as a site of potential harm shapes the meaning of media literacy in this institutional context. This case study provides insight into the utility of media literacy for contemporary media regulation, examining how a classification agency navigates change and continuity in the face of a challenging and rapidly evolving media landscape.
Publisher: Informa UK Limited
Date: 02-10-2019
Publisher: Oxford University PressNew York
Date: 22-06-2023
DOI: 10.1093/OSO/9780197538562.001.0001
Abstract: From artificial intelligence (AI) to climate change, recent technological, ecological, cultural, and social transformations have unsettled established assumptions about the relationship between the human and the more-than-human world. Screening the Posthuman addresses a heterogenous body of twenty-first-century films that turn to the figure of the “posthuman” as a means of exploring this development. Through close analyses of films as erse as Air Doll (dir. Hirokazu Koreeda, 2009), Woman at War (dir. Benedikt Erlingsson, 2018) and Fast Color (dir. Julia Hart, 2018), the book shows that, while often identified as the remit of science fiction, the “posthuman on screen” crosses filmic genres, national contexts, and industrial settings. In the process, posthuman cinema emphasizes humanity’s entanglement in broader biological, technological, and social worlds, and exposes new models of subjectivity, politics, community, relationality, and desire. In advancing these arguments, Screening the Posthuman draws on scholarship associated with critical posthumanist theory—an ongoing project unified by a decentering of the figure of the “human” and driven by critics such as Donna Haraway, Rosi Braidotti, Cary Wolfe, N. Katherine Hayles, and Stacy Alaimo. As the first systematic, full-length application of this body of scholarship to cinema, the book advocates for a rigorous posthumanist critique that avoids both humanist nostalgia and transhumanist fantasy in its attention to the excitements and anxieties of posthuman existence.
Publisher: Informa UK Limited
Date: 10-11-2020
Publisher: Palgrave Macmillan UK
Date: 2013
Publisher: Elsevier BV
Date: 2016
Publisher: Informa UK Limited
Date: 16-03-2023
Publisher: University of St. Andrews Library
Date: 18-02-2022
Abstract: [CENSORED] (2018) is a feature-length collage of clips excised from international films by the Australian Film Censorship Board between 1958 and 1971, which historian and artist Sari Braithwaite uncovered in the National Archives of Australia. While the censored clips were archived alphabetically, Braithwaite curates them by motif, capturing the numbness generated by archivists’ and censors’ processes through repetitive bombardment of similar imagery in various categories of sex and violence. Compiling and re-categorising this trove of censored fragments produces a new perspective not only into past practices of censorship but more insightfully, into patterns of gendered dynamics and action in narrative cinema. Through feminist critical practice, Braithwaite deploys a ‘layered gaze’ and expands a critique of censorship to a critique of cinema. Braithwaite’s film mobilizes ‘productive misuse’ (Baron 2020), not for her original goal of damning censorship, but to reflect on cinematic fixations (including female nudity and sexual violence) and spectatorial implication. By suturing the censors’ excisions, Braithwaite draws attention to her own growing feminist ‘disenchantment’ (Elsaesser 2005) with cinema culture as she engages with the censors’ offcuts. [CENSORED] documents an awakening of – and from – the censors’ archive. The film evolves through sensory engagement with this archive, and in doing so, provides insight into the comparable – and sometimes complicit – processes of film spectatorship, censorship, and audio-visual archival research.
Publisher: Springer International Publishing
Date: 2017
Publisher: Palgrave Macmillan US
Date: 2014
Publisher: Palgrave Macmillan UK
Date: 2012
Publisher: Palgrave Macmillan US
Date: 2014
Publisher: Palgrave Macmillan US
Date: 2014
Publisher: No publisher found
Date: 2014
Publisher: Palgrave Macmillan US
Date: 2014
Publisher: Walter de Gruyter GmbH
Date: 12-2018
DOI: 10.1515/CULTURE-2018-0044
Abstract: Across her six feature films since 1994, American director Kelly Reichardt has taken time as a mechanism to reveal and question social, political, and economic structures. This article looks closely at how her films display a range of temporal interventions and resistances to features of capitalist temporalities. While film theorists and critics often locate Reichardt’s films within “slow cinema,” this article expands the range of temporal concepts applied to her films to explore the sociopolitical critique at work through this auteur’s aesthetics. The analysis focuses on time in three of Reichardt’s feature films, starting with commodified and metaphysical time in Old Joy (2006), then addressing impatience, entropy, and environmentalism’s temporalities in Night Moves (2013), and ending with an exploration of disconnection-and denial of coevalness-in Certain Women (2016). This article applies close scene analysis-along with a range of philosophical, political, and sociological concepts of time-to demonstrate how Reichardt elucidates and resists the temporal tensions underpinning social relations within capitalist culture.
Publisher: Palgrave Macmillan US
Date: 2014
Publisher: Informa UK Limited
Date: 09-2013
Publisher: Palgrave Macmillan US
Date: 2014
Publisher: Palgrave Macmillan US
Date: 2014
Publisher: BRILL
Date: 29-04-2010
Location: United Kingdom of Great Britain and Northern Ireland
No related grants have been discovered for Claire Henry.