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'Little difference between a carcass and a corpse': Ecological crises, the Nonhuman and Settler-colonial culpability in Australian crime fiction
In 1997, Stephen Knight described Australian crime fiction as a genre that is 'thriving but unnoticed' (Continent of Mystery 1). While in recent years the genre has gained more attention amongst both academics and reviewers, it remains largely absent from an area of study in which I believe it demands more notice-that is, ecocritical discussions of Australian fiction. In this paper, I contend that some texts of Australian crime fiction reflect important ideas about the way Australians-in particular, non-Indigenous, settler-colonial Australians-understand and interact with the Australian nonhuman. In this context, I investigate the idea of Australian crime fiction as a largely underexplored representation of the modern environmental crisis, and the connection between this crisis and settler-colonial systems of domination.
Journal Article
The Undeath of Cinema
In a world of serial storytelling, characters commonly outlive the actors who play them. Makers of film and television find ways to respond to the death of an actor, from recasting a role without comment (like Dumbledore in the Harry Potter films) to making the changeover of lead actors a central motif of a series (the Doctor in Doctor Who). Disney pioneered a new response in its latest Star Wars movie: resurrecting a deceased actor to reprise a role from beyond the grave. The technology on display here is impressive. But it both denigrates the craft of acting and violates the dignity of the human body by treating it as a mere puppet. Peter Cushing’s performance in 2016’s Rogue One: A Star Wars Story is remarkable because Cushing died in 1994.
Journal Article
Technically Human: Kubrick's Monolith and Heidegger's Propriative Event
Kubrick's 2001: a Space Odyssey appears to follow a similar path: first the discovery of the bone as a club leads to the \"dawn of man,\" then to the glory of a space station, on to the triumph of HAL, and, after HAL breaks down, \"back\" to the apparent rebirth of Astronaut Bowman as a starchild and a new, fresh, myth of origin literally configured visually as another \"new dawn.\" The idea of discovering, inventing, and progressing as the essence of what makes us human runs strongly through 2007 , most brilliantly compressed into the famous \"jump shot\" where the bone thrown by the ape \"becomes,\" four million years later, a space shuttle station orbiting the moon.
Journal Article
A Mickey Spillane Companion
Hundreds of A-Z entries detail the plots and characters of one of America's greatest mystery writers. At one time, Mickey Spillane had authored seven of the top ten bestsellers in history, and may have been the most widely read author in the world. Spillane masterful storytelling grabs his readers with his first paragraph and leads them spellbound toward his climax. Along with Dashiell Hammett, Raymond Chandler, and Ross Macdonald, he remains one of America's greatest mystery writers. This book is a convenient guide to his works. An opening chronology lists the chief events in his life and career. The bulk of the volume presents several hundred alphabetically arranged entries on his writings. Lengthier entries summarize the plots of his works, including I, the Jury My Gun Is Quick Vengeance Is Mine! ; and The Long Wait . Shorter entries identify his numerous characters, including his particularly memorable detective, Mike Hammer. Select entries list works for further reading, and the volume concludes with a brief bibliography.
eBook
Little People
[...]Feng Botao, the accountant at the Forestry Guesthouse, was chasing after Laoer, a guard at the credit union, wanting to play chess with him. [...]he couldn't ask, \"Are you going to kill me?\" Feng Botao shook the plastic bag of chess pieces he was carrying. [...]he had to act the part of the magnanimous winner and let Feng Botao nudge him into the house. Day and night, the Forestry Guesthouse's accountant, Feng Botao, is banging the widow Xilan without a care in the world.
Journal Article
THE SEVENTEENTH CENTURY ON FILM: PATRIARCHY, MAGISTRACY, AND WITCHCRAFT IN BRITISH HORROR FILMS, 1968-1971
Cet article soutient qu'une série de films faits entre 1968 et 1971 et dont l'action se déroule au dix-septième siècle, marque l'arrivée d'une transformation, non seulement du cadre typique du film d'horreur britannique, mais aussi de la façon dont est représentée l'autorité patriarcale dans les œuvres d'horreur britanniques. Alors que les films à l'étude ont souvent été lus comme véhiculant et assurant la défense de différents courants de la contreculture, reflétant ainsi le mécontentement social typique des années soixante à travers le prisme déformant du dix-septième siècle, cet article endosse la position contraire. Il entend montrer que situer l'action des films au dix-septième siècle a permis aux réalisateurs de films d'horreur qui travaillaient pour la petite compagnie de production Tigon d'endosser à nouveau une forme de patriarcat que les studios Hammer, les plus gros d'Angleterre, remettaient en question.
Journal Article
Cornetta's Roominghouse
[...] she fiddled with the washcloths for quite some time, for just the right careless effect, until she happened to peer into the aromatic jar of rust-colored carbolated petrolatum. In the too-tidy sitting area she saw throw pillows, not only standing on point They stood at attention on the sofa cushions. When not in use the chairs of the mahogany eating table stood in formation, lined up against the wall awaiting inspection and Cornetta turned away from the tabletop's hard mirror shine reflecting her plaster-cracked ceiling, and she turned to the regimented stacks of dishes and glassware hiding the hotplate. [...] she turned left.
Journal Article