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There are more than 200 results, only the first 200 are displayed here.
So considerable are its strengths that Blade Runner 2049 is a future classic, to be discussed and dissected for decades. That it will become so while blithely reinforcing the primacy of the white male gaze in popular culture is to be regretted.
Some quick research can reveal whether a company has a good track record with LGBTI and other human rights. Do they donate to LGBTI charities? Do they have an inclusion and diversity policy on their website? It doesn't benefit equality in the long run if we allow businesses to brand themselves pro-same sex marriage when their support for human rights runs only as deep as a rainbow poster.
The anti-Russian frenzy in the United States amounts to little more than a great deal of evidence that the intelligence community suspects there might be a great deal of evidence that the Russians have been meddling. It has to rank as one of the biggest, and most orchestrated, blind alleys of modern media coverage. When a journalist says an anonymous ‘respected source’ thinks the Russians are up to something, this writer is always left wondering: respected by whom? His dog?
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.
With ongoing celebrations in Baghdad and scenes of devastation in Mosul, Iraqi Prime Minister Haider al-Abadi has announced the 'liberation' of Iraq's second-largest city from ISIS. This moment, after an umbrella force of military units fought for nine months to relieve Mosul of the ISIS yoke, represents a victory for the people and government of Iraq. However, many challenges loom, among them reconciling conflicting interests amongst Iraq's peoples and restoring the ravaged landscape.
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.
Running parallel to this is Houston's intimate, long-time friendship with Robyn Crawford. Broomfield stops short of characterising it as romantic; others do not, and space is given to rumination about the difficulties of being a black, gay woman. In any case, the friendship sparks tension with Brown, and disapproval from Cissy. Crawford's abrupt departure from the tour is another turning point. In Broomfield's thesis, Houston's drug habit is a reaction to these various threats to her authenticity.
Abbie introduces Jamie to the paired liberating movements of punk rock and second-wave feminism. Both lead to illuminating experiences, from his first rock concert, use of alcohol, and kiss, to being beaten for casting aspersions on a peer's grasp of female sexual anatomy. His relationship with Julie on the other hand provides a difficult counterpoint. His peevish concern over her promiscuity is largely possessive; his theoretical understanding of women's agency falling down in the face of adolescent hormones.
If two current Australian films are anything to go by, then one social issue weighing on local filmmakers in 2017 is the danger to women of emotionally and physically violent men. Neither film is a mere portrait of victimhood. The heroes of Cate Shortland's recent Berlin Syndrome and Ben Young's upcoming Hounds of Love - in the former, an Australian traveller in Europe, in the latter, a teenage school girl in suburban Perth - are ordinary women with both the will and capacity to fight back against their assailants.
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