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There's a bagel character, coded as Jewish, and a lavash (Armenian flatbread), coded as Palestinian, who clash because they have to share an aisle. 'Isn't the aisle big enough for both of you?' asks Frank. In this and other ways the film points to the destructive power of religious belief corrupted by self- or socio-political interest. On the other hand it ignores the role religion can play in developing robust ethical thinking about the ways in which we can interact meaningfully with others and the world.
The recent Chilcot report on British participation in the Iraq War elicited embarrassing responses by British and Australian leaders and apologists of the time. Specious justifications were accompanied by a failure to take responsibility. The defects of the invasion and the moral irresponsibility of those who collaborated in it did not flow solely from its procedural inadequacies. The crudity now attributed to Donald Trump and his obiter dicta on war flourished before him among Washington insiders.
The interviewees regard Vertigo with awe, waxing lyrical about its psychosexual subtext; but not a word is said about the inherent misogyny of a film that is explicitly about a man's objectification of a woman. The film's most interesting segment however concerns the pre-eminence of guilt in Hitchcock's films, and the role it plays in shaping human activity. This, says Martin Scorsese (a filmmaker similarly preoccupied with guilt and sin), may define Hitchcock as an essentially Catholic filmmaker.
Inspired by the person Ignatius, inspired by the person Jesus, we are motivated to make a difference; we are passionate to seek justice for all, especially the poor and the marginalised; we are convinced that we can find God in all things, even in the Don Dale Detention Centre; we know that all persons are called to a deep interior freedom, even those prison guards with hardened hearts; we are convinced that the law of the Lord teaches us right from wrong and that the ways of the Lord inspire us to do and proclaim what is right and to denounce what is wrong, especially when the wrong is done by the powerful upon the powerless.
Though the internet has stretched and expanded the number of people and places we have access to, it has also constrained the range of ideas and opinions to which we're exposed. Research has found that Facebook users tend to read and share information that reinforces their own beliefs. This phenomenon has been particularly noticeable in the past month, with the emotion whipped up by the Brexit campaign, the election, and a spate of shocking, apparently Isis-related killings.
The violence at the pastoral frontier of the British colonies here in Australia was all pervasive. 228 years after it commenced, we are still experiencing the after-effects. When I started advocating Aboriginal rights here in Australia almost 40 years ago, the prevailing wisdom was that the missions and missionaries were all bad news. It will come as no surprise that I have always doubted that Aborigines were well rid of religion and the missionaries in all circumstances.
Across the political spectrum, Australia's major and minor parties are failing to reflect the multicultural Australia of the 21st century. We have fallen far behind similar nations like Canada, who elected 19 Indian-Canadians alone, and ten indigenous parliamentarians, at their last election. Who we elect to our parliament is not just about the gesture, it is also a reflection of where power lies within our society, and whose voices are given the space to be heard to represent the community.
In one scene, as Taylor and Davis argue, the dialogue comes down and the score comes up; her voice is literally taken from her. When Davis then physically assaults her, the message is clear: his music and his violence are notches on the same spectrum. This conflation of creativity with destructiveness is a typical error of mainstream biopics about great artists who were not nice people. Yet applied in the context of spousal abuse it is not only specious but ethically dubious, even dangerous.
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