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Cultural memory involves a community’s shared memories, the selection of which is based on current political and social needs. A past that is significant to a national group is re-imagined by generating new meanings that replace earlier certainties and fixed symbols or myths. This creates literary syncretisms with moments of undecidability. The analysis in this book draws on Renate Lachmann’s theory of intertextuality to show how novels that blur boundaries without standing in for history are prone to intervene in cultural memory. A brief overview of Aboriginal politics between the 1920s and the 1990s in relation to several novels provides historical and political background to the links between, and problems associated with, cultural memory, testimony, trauma, and Stolen Generations narratives, which are discussed in relation to Sally Morgan’s My Place and Doris Pilkington’s Rabbit-Proof Fence. There follows an analysis of novels that respond to the history of contact between Aboriginal and settler Australians, including Kate Grenville’s historical novels The Secret River, The Lieutenant, and Sarah Thornhill as examples of a traditional approach. David Malouf’s Remembering Babylon charts how language and naming defined our early national narrative that excluded Aboriginal people. Intertextuality is explored via the relation between Thea Astley’s The Multiple Effects of Rainshadow, Chloe Hooper’s The Tall Man, and the Royal Commission into Aboriginal Deaths in Custody. Kim Scott’s Benang: from the heart and That Deadman Dance and Alexis Wright’s Carpentaria reflect a number of Lachmann’s concepts – syncretism, dialogism, polyphony, Menippean satire, and the carnivalesque. Suggested is a new way of reading novels that respond to Australia’s violent past beyond trauma studies and postcolonial theory to re-imagine a different, syncretic past from multiple perspectives.
Manny /ma·ne/ n A male nanny or babysitter, known to be handsome, fabulous, and a lover of eighties music. "Be interesting." That's what the manny tells Keats Dalinger the first time he packs Keats's school lunch, but for Keats that's not always the easiest thing to do. Even though he's the only boy at home, it always feels like no one ever remembers him. His sisters are everywhere! Lulu is the smart one, India is the creative one, and Belly...well, Belly is the naked one. And the baby. School isn't much better. There, he's the shortest kid in the entire class. But now the manny is the Dalinger's new babysitter, and things are starting to look up. It seems as though the manny always knows the right thing to do. Not everyone likes the manny as much as Keats does, however. Lulu finds the manny embarrassing, and she's started to make a list of all the crazy things that he does, such as serenading the kids with "La Cucaracha" from the front yard or wearing underwear on his head or meeting the school bus with Belly, dressed as limo drivers. Keats is worried. What if Lulu's "Manny Files" makes his parents fire the manny? Who will teach him how to be interesting then?
Narrative is one of the ways we organise and understnad the world. It is found everywhere: not only in films and books, but also in everday conversations and in the nonfictional discourses of journalists, historians, educators, psychologists, attorneys and many others. Edward Branigan presents a telling exploration of the basic concepts of narrative theory and its relation to film - and literary - analysis, bringing together theories from linguistics and cognitive science, and applying them to the screen. Individual analyses of classical narratives form the basis of a complex study of every aspect of filmic fiction exploring, for example, subjectivity in Lady in the Lake, multiplicity in Letter from and Unknown Woman, post-modernism and documentary in Sans Soleil.
(Book). Before the popularity of the electric guitar and before every teenager with a rock 'n' roll dream had a band in their garage, Manny's Music in New York City was providing the hardware for swing stars and big bands, and establishing itself as the place to go for the musician in the know. Besides being a garden of delight for musicians looking for the latest gear, Manny's became a center of activity where stories and tips were swapped among superstars and budding musicians alike. The Wall of Fame is not only for anyone who has ever bought a guitar or played in a band, but for fans and music history freaks who want insight into a side of the music world hardly ever seen by non-musicians. It's for whoever wondered where Buddy Holly got his Stratocaster . . . or where Jimi Hendrix got his. "Manny's was a place where you could almost feel the spirit of those musicians whose photos adorned the walls. I treasure my experiences in this wonderful place."--Carlos Santana
This major new collection identifies the critical and theoretical concepts which have been most significant in the study of film and presents a historical and intellectual context for the material examined.
Imagine losing a child because of lack of health insurance. Imagine trying to do everything possible to try to get him the proper care that would save his life. What parent wouldn't give their life to save their child? Then imagine your child being ignored and left to die because his health-care providers thought money was more important than his life. This didn't happen in some third-world country. It happened right here in the USA. My son's death prompted New York State to
Choice Outstanding Academic Title 2018 The Wizard of Oz brought many now-iconic tropes into popular culture: the yellow brick road, ruby slippers and Oz. But this book begins with Dorothy and her legacy as an archetypal touchstone in cinema for the child journeying far from home. In There's No Place Like Home, distinguished film scholar Stephanie Hemelryk Donald offers a fresh interpretation of the migrant child as a recurring figure in world cinema. Displaced or placeless children, and the idea of childhood itself, are vehicles to examine migration and cosmopolitanism in films such as Le Ballon Rouge, Little Moth and Le Havre. Surveying fictional and documentary film from the post-war years until today, the author shows how the child is a guide to themes of place, self and being in world cinema.
A 2019 Schneider Family Award Honor Book! What’s Happening to Grandpa meets Up in this tender, sensitive picture book that gently explains the memory loss associated with aging and diseases such as Alzheimer’s. James’s Grandpa has the best balloons because he has the best memories. He has balloons showing Dad when he was young and Grandma when they were married. Grandpa has balloons about camping and Aunt Nelle’s poor cow. Grandpa also has a silver balloon filled with the memory of a fishing trip he and James took together. But when Grandpa’s balloons begin to float away, James is heartbroken. No matter how hard he runs, James can’t catch them. One day, Grandpa lets go of the silver balloon—and he doesn’t even notice! Grandpa no longer has balloons of his own. But James has many more than before. It’s up to him to share those balloons, one by one.
Devon is a teenage boy who longs to find the meaning of his socially privileged but deeply troubled life. The solution may have literally just come to dwell next door.