The Aussie, 1918-1931: cartoons, digger remembrance and First World War identity

Feelings of community, cultural definition and memory were kept alive through the soldiers’ mass circulation tabloid, the Aussie, examined here in the light of theorization of memory and representation, applied to both text and cartoons. The publication’s aim for veterans’ values to become shared national values is analysed in the light of its high profile usage of soft cartoon humour and also of nostalgia – highlighting the limitations as well as the effectiveness in terms of Australia’s evolving national identity. When the post-war economic situation worsened, deeper issues of national tension were glossed over by the use of scapegoats such as ‘profiteers’ and ‘lazy workers’. The armed forces were obliged to take on a political role of lobbying for their cause, but the Aussie as ‘cheerful friend’ experienced its own identity crisis that proved to be terminal

Missing the Zeitgeist. "Alanna", by Alan Saunders. [review]

As a satire of the pretension, gullibility and downright silliness of contemporary Australian cultural politics, "Alanna" is highly diverting entertainment. But its textual ‘playfulness’ is, frankly, a bit passé. Good satire posits, either overtly or covertly, an alternative ethical system. I couldn’t detect one here; ultimately, the novel runs the risk of being viewed as just as vacuous as the world it scrutinises and represents. The gung-ho theorist Karl opines at one point that ‘the free play of intertextual multivocalities effectively de-centres the discursive practice through which polymorphous identity is mediated’. This is the hideous jargon of an artistic environment that has lost its intellectual as well as aesthetic way. Pity is, it’s the kind of language that a novel such as "Alanna" encourages as well as lampoons

The bomb in the museum: Nuclear technology and the human element

This article examines the commemorative role played by museums of nuclear technology in the United States, particularly those supported by the government agency responsible for the nation’s nuclear weapons and reactor programs, the Department of Energy. The management of public perceptions of America’s nuclear history in these museums reflects national defence and security imperatives in the post 9/11 era. The legacy of American nuclearism is complex and contradictory, and presents a daunting challenge to curators in museums sanctioned by vested interests. The many beneficial civilian applications of nuclear technology have be balanced by the recognition of the dire destructiveness of nuclear weapons; the compulsion to celebrate American technological achievement has to be checked by the acknowledgement of the damage wrought by the military use of nuclear energy both at home and abroad. A comparison with the Hiroshima Peace Memorial Museum suggests that nuclear ‘victory’ is more problematic to exhibit than nuclear victimhood

Pacific Exposures: Photography and the Australia–Japan Relationship

Photography has been a key means by which Australians have sought to define their relationships with Japan. From the fascination with all things Japanese in the late nineteenth century, through the era of ‘White Australia’, the bitter enmity of the Pacific War, the path to reconciliation in the post-war period and the culturally complicated bilateralism of today, Australians have used their cameras to express a divided sense of conflict and kinship with a country that has by turns fascinated and infuriated. The remarkable photographs collected and discussed here for the first time shed new light on the history of Australia’s engagement with its most important regional partner. Pacific Exposures argues that photographs tell an important story of cultural production, response and reaction—not only about how Australians have pictured Japan over the decades, but how they see their own place in the Asia-Pacific. ‘Pacific Exposures presents the first study of the photographic exchanges between Australia and Japan—its photographers, personalities, motivations, anxieties and tensions—based on a diverse range of archival materials, interviews, and well-chosen photographs.’ — Dr Luke Gartlan, University of St Andrews ‘[Pacific Exposures] will become a key text on Australia’s interactions with Japan, and the way that photographs can inform cross-cultural relations through their production, consumption and circulation.’ — Prof. Kate Darian-Smith, University of Tasmani

Pacific Exposures

"Photography has been a key means by which Australians have sought to define their relationships with Japan. From the fascination with all things Japanese in the late nineteenth century, through the era of ‘White Australia’, the bitter enmity of the Pacific War, the path to reconciliation in the post-war period and the culturally complicated bilateralism of today, Australians have used their cameras to express a divided sense of conflict and kinship with a country that has by turns fascinated and infuriated. The remarkable photographs collected and discussed here for the first time shed new light on the history of Australia’s engagement with its most important regional partner. Pacific Exposures argues that photographs tell an important story of cultural production, response and reaction—not only about how Australians have pictured Japan over the decades, but how they see their own place in the Asia-Pacific. ‘Pacific Exposures presents the first study of the photographic exchanges between Australia and Japan—its photographers, personalities, motivations, anxieties and tensions—based on a diverse range of archival materials, interviews, and well-chosen photographs.’ — Dr Luke Gartlan, University of St Andrews ‘[Pacific Exposures] will become a key text on Australia’s interactions with Japan, and the way that photographs can inform cross-cultural relations through their production, consumption and circulation.’ — Prof. Kate Darian-Smith, University of Tasmania

Pacific Exposures

"Photography has been a key means by which Australians have sought to define their relationships with Japan. From the fascination with all things Japanese in the late nineteenth century, through the era of ‘White Australia’, the bitter enmity of the Pacific War, the path to reconciliation in the post-war period and the culturally complicated bilateralism of today, Australians have used their cameras to express a divided sense of conflict and kinship with a country that has by turns fascinated and infuriated. The remarkable photographs collected and discussed here for the first time shed new light on the history of Australia’s engagement with its most important regional partner. Pacific Exposures argues that photographs tell an important story of cultural production, response and reaction—not only about how Australians have pictured Japan over the decades, but how they see their own place in the Asia-Pacific. ‘Pacific Exposures presents the first study of the photographic exchanges between Australia and Japan—its photographers, personalities, motivations, anxieties and tensions—based on a diverse range of archival materials, interviews, and well-chosen photographs.’ — Dr Luke Gartlan, University of St Andrews ‘[Pacific Exposures] will become a key text on Australia’s interactions with Japan, and the way that photographs can inform cross-cultural relations through their production, consumption and circulation.’ — Prof. Kate Darian-Smith, University of Tasmania