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On Saturday 19 August at a gathering in Port Adelaide, two modern beleaguered groups, one Aboriginal, one non-Aboriginal, shared their current experiences in striving to protect their own lands and ways of life. Like the Gurindji, their struggle is with the federal government and, indirectly, with another big business: the nuclear industry. In contrast to the Gurindji struggle however, modern day communities and even families are being torn apart by enticements and pressures.
In the last few years, vested interests have changed their strategy for opposing action on climate change. Where they once focused on denying the problem, they’re now putting their efforts into sabotaging the solutions. Instead of funding fake experts to say the ‘science isn’t settled’, fossil fuel companies and their political backers have been running a smear campaign against renewable energy technologies like wind turbines, solar panels and batteries.
One lone man daring to interfere with the evil plans of the rich and powerful: it’s not exactly a new angle, but there are a few scraps of satisfaction to be found in Joel Hopkin’s latest film Hampstead – just not in the realm of originality. It’s a sleepy story that meanders along with a mildly pleasant mediocrity.
'The evening news has become like a nature hike through the Book Of Revelations,' says Al Gore, the politician-cum-climate activist who made waves with his Oscar-winning 2006 documentary An Inconvenient Truth.
About one in six newlyweds in the United States is involved in a ‘mixed marriage’, according to the Pew Research Center. At home, the percentage is higher; in 2009 approximately 42 per cent of marriages involved at least one partner who was not born in Australia.
It was recently announced that the thirteenth iteration of the main character in Doctor Who will be played by Jodie Whittaker. A woman. In 2017, the casting of a white woman in a major TV role is hardly revolutionary, except that the role is the Doctor, a regenerative alien who can take on the appearance of anyone, but has for 12 iterations tended towards the persona of a quirky British white man.
I came to the Planet of the Apes films a little late, thinking it was just a bit too far on the silly side for my tastes. But with time to kill on a holiday in 2014, I watched Rise of the Planet of the Apes and Dawn of the Planet of the Apes and found myself surprisingly invested in the emotions of the characters. Released in Australia today is the latest episode: War for the Planet of the Apes.
This is a deliberate subversion of typical, destructive Western tropes by Coppola, in which it is the male character who is objectified by the female gaze. In this she probes how this particular man either thrives under or is stymied by such objectification. John is more than aware of the sexual and romantic stirrings he has aroused among his new companions. But in his assumption that his objectification is empowering, he has utterly underestimated the emotional and psychic complexities of those doing the objectifying.
C is waiting for something; for the meaning of his truncated life, perhaps, and of his marriage to M, to become clear. Divorced from linear perceptions of time, he rushes into the future, to witness the cityscape that replaces the suburban neighbourhood; and into the past, where he views the aftermath of the massacre of a colonial family. Amid this in-folding of time, and the evidence of death and transience, the partygoer's nihilistic prognostications echo fiercely. But they do not satisfy the truth-seeking C.
Malcolm X famously delineated two types of slave: the 'house Negro' and the 'field Negro'. Although a 'house slave' is closer to their oppressor and receives special privileges, they are still a slave. Chocolat in his role as the clown Auguste seems to be just another kind of house slave. Despite his success he is still maligned and at the mercy of masters. While rubbing shoulders with the rich and famous, he is routinely denigrated. Attention, he learns, is not the same as respect.
Some films seem custom made for the high school English curriculum. First Girl I Loved should be essential viewing and a conversation starter for teenagers and their parents, for its sensitive and authentic exploration of the lived experiences of young people coming to terms with their sexuality in a high school context.
Catherine arrives a new bride, with husband Alexander, to take up residence in his luxurious rural home. Quickly we get a sense of how little control she has over her destiny. Alexander demands she remain inside the house at all times; when one evening she wishes to go to bed early, her father-in-law orders her to remain awake for her husband. In the life of the household, she is merely an attractive object. Yet like her Shakespearean forebear, she is not averse to manipulation and violence in pursuit of her goals.
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