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This new edition is about the lives and times of ordinary people from 1888 to the present. Unlike more conventional histories, it uses little-known accounts ranging from regional histories to pen portraits, anecdotes and diaries.
Humphrey McQueen's new edition of his irreverent classic charts the origins of the Australian Labor Party. In tracing the social forces which produced the ALP, he shows it was anti-socialist from the very start.
During the First World War the Australian Government established an official war art scheme, sending artists to the front lines to create a visual record of the Australian experience of the war. Around two thousand sketches and paintings were commissioned and acquired between 1916 and 1922. In Painting War, Margaret Hutchison examines the official art scheme as a key commemorative practice of the First World War and argues that the artworks had many makers beyond the artists. Government officials' selection of artists and subjects for the war paintings and their emphasis on the eyewitness value of the images over their aesthetic merit profoundly shaped the character of the art collection. Richly illustrated, Painting War provides an important understanding of the individuals, institutions and the politics behind the war art scheme that helped shape a national memory of the First World War for Australia.
This unique guide provides an artistic and archaeological journey deep into human history, exploring the petroglyphic and pictographic forms of rock art produced by the earliest humans to contemporary peoples around the world. Summarizes the diversity of views on ancient rock art from leading international scholars Includes new discoveries and research, illustrated with over 160 images (including 30 color plates) from major rock art sites around the world Examines key work of noted authorities (e.g. Lewis-Williams, Conkey, Whitley and Clottes), and outlines new directions for rock art research Is broadly international in scope, identifying rock art from North and South America, Australia, the Pacific, Africa, India, Siberia and Europe Represents new approaches in the archaeological study of rock art, exploring issues that include gender, shamanism, landscape, identity, indigeneity, heritage and tourism, as well as technological and methodological advances in rock art analyses
Anzac Labour explores the horror, frustration and exhaustion surrounding working life in the Australian Imperial Force during the First World War. Based on letters and diaries of Australian soldiers, it traces the history of work and workplace cultures through Australia, the shores of Gallipoli, the fields of France and Belgium, and the Near East.
This book, first published in 1987, sets out to examine and extend our understanding of Australian popular culture, and to counter the long-established, traditional criticism bewailing its lack. The authors argue that the 'knocker's' view started from an elitist viewpoint, yearning for Australia to aspire to a European culture in art, music, literature and other traditional cultural fields. They argue however that there are other definitions of culture that are more populist, more comprehensive, and which represent a vitality and dynamism which is a true reflection of the lives and aspirations of Australians. Myths of Oz offers no comprehensive definition of Australian culture, but rather a way of interpreting its various aspects. The barbeque or the pub, an expedition to the shops or a day at the beach, the home, the workplace or the job queue; all these intrinsic parts of Australian life are examined and conclusions drawn as to how they shape or are shaped by what we call popular culture. The authors look too at monuments and symbols, from Ayers Rock to the Sydney Opera House, which both shape and reflect Australian culture, while a chapter on the Australian accent shows how language and terminology play a powerful role in establishing cultural standpoints. A particular strength of this book is that while delivering a provocative and stimulating series of viewpoints on popular culture, it also makes use of current academic tools and methodology to ensure that we gain new insights into the meanings and pleasures we derive from our everyday experiences.
This book examines the life of the Australian artist Harry Reade (1927–1998) and his largely overlooked contribution to animation. It constitutes a biography of Reade, tracing his life from his birth to his period of involvement with animation between 1956 and 1969. It explores the forces that shaped Reade and chronicles his experiences as a child, his early working life, the influence of left-wing ideology on his creative development, his introduction to animation through the small but radical Waterside Workers’ Federation Film Unit (WWFFU), and the influence he had on the development of Cuban animation as an educational tool of the Revolution. Key Features The text offers an alternative framework for considering the political, social, and cultural themes that characterised 1950s Australia and 1960s Cuba. A rare look into the cultural heritage of labor organizations and the populist power of animation to stimulate radical social consciousness. The book also crosses a range of intellectual disciplines, including Animation Studies, Art History, Cinema Studies, and the social and political histories of Australia and Cuba. Max Bannah lives on Queensland’s Sunshine Coast. Between 1976 and 2010, he worked in Brisbane as an animator producing television commercials, short films, and cartoon graphics. He also lectured in Animation History and Practice and Drawing for Animation at the Queensland University of Technology where, in 2007, he completed his Masters by Research thesis, A Cause for Animation: Harry Reade and the Cuban Revolution.