Published August 2009
Anna Wallace and Bernadette Cantrall
In the nineteen twenties, a British police officer was found brutally murdered in a quiet country lane. The wide media coverage that followed this crime shows the marked influence of the Golden Age detective novels that were popular throughout this time. By analysing these reports, we can find the ideological attitudes towards crime and criminality that were shared by between the two forms. Emerging from nineteenth-century attitudes regarding criminal punishment as a theatrical moral lesson this emergent ideology moves towards the ratiocinative role of the detective in uncovering the narrative links that lead from the discovery of the body to the revelation of the mystery.
What sensations does a non-white body living in a white zone evoke? Using a range of theoretical approaches to unpack how sensation (de)forms intercorporeal convergences within Australia, I tackle this question in relation to the wrongful deportation of Filipino-Australian, Vivian Alvarez-Solon from the corpus of the Australian nation.
This paper examines Terrence Malick’s visually and aurally sumptuous films Badlands and The Thin Red Line in terms of their unique voice-over narration. As Malick assumes his viewers’ savoir-faire regarding filmic storytelling conventions, his complex, ethereal narrative tone constitutes “anti-voice-over,” voice-over in tension with its own expectations, traditions and possibilities. A polyphonic sensory landscape is created in which our essential experience of film itself is called into question.
Published in August 1851 as part of Dickens’ weekly journal Household Words, “A Flight” narrates the sensations that Dickens experiences on a train (and steamboat) journey from London to Paris. This paper examines how, instead of focusing on the dangers of rail travel or its role in revealing and creating urban blight (as in Dombey and Son), “A Flight” offers something quite different, namely an altered visual and literary aesthetic driven by the speed of steam — an aesthetic that inflects itself in Dickens’ innovative narrative form, or what might be called “steam of consciousness.”
Gabrielle Lorraine Fletcher
Introducing the story of seven minutes under dirty glass. Pace, rhythm and image seduce the confidence of witness and criminalise the punishment. It is an awful kind of alphabet: a bible of unthinkable dreams – the perfidious bitch-slap at the Johnny Panic in us all…
A palindromic, tautological squib reflecting on how we sometimes attempt to communicate. Or not.
Tea Time In Limbo [pdf]
The sinister side of domestic rituals and how they obfuscate as much as they reveal.
The Yellow Sarong [pdf]
“The Yellow Sarong” is created from various sections of Loaded Hearts, re-written as a short story. Trying to rebuild his life in London in 1973 after the Vietnam War, Tommo relives his relationship with a Vietnamese woman, Kim, his happy furloughs in her village and the ending of their affair after the village is raided by Viet Cong.
Poems to Great Affairs [pdf]
Jessica L. Wilkinson
These three poems are extracted from a long creative work on the lives of early cinema actress Marion Davies and her media-tycoon lover William Randolph Hearst. ‘M’ and ‘SanSimeon’ draw upon myth and various artworks in order to contemplate the dynamics of their relationship. ‘Notes in a Crisis’ is an attempt to appease the (social) anxiety thrown up by Hearst and Davies’s 30-year affair.