Issue Details: First known date: 2017... vol. 31 no. 2 2017 of Continuum : Journal of Media and Cultural Studies est. 1987 Continuum : Journal of Media & Cultural Studies
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Contents

* Contents derived from the 2017 version. Please note that other versions/publications may contain different contents. See the Publication Details.
Miracle Baby : A Reparative Reading of Mixed Race Identity and Nation in Peaches, Jaya Keaney , single work criticism

'The mixed race subject is increasingly emerging in popular Australian media as a poster child of multiculturalism, entangled with post-racial discourses. This dominant representation perpetuates reductive understandings of mixed race experience rooted in compulsory optimism and the erasure of history, which in turn bolster exclusionary imaginings of Australian national identity. I seek alternatives to these constructions through an analysis of the 2004 Australian film Peaches, a markedly understudied text, which centres the coming of age of mixed race protagonist Steph. I adopt Eve Sedgwick’s ‘reparative reading’ approach, which enables generative modes of analysis that seek to imagine new alternatives through textual critique. I focus on two key filmic sites – the ambivalent affects circulated by Steph, and the haunting queer temporality pervading the narrative. I argue that these two sites hold the potential for complex, open-ended understandings of mixed race identity, and in turn, modes of national identity that can re-centre unresolved histories and contested dynamics of race in Australia.' (Production abstract)

(p. 230-241)
Whatever Happened to Multiculturalism? Here Come the Habibs!, Race, Identity and Representation, Jon Stratton , single work criticism
'In February 2016 Channel Nine broadcast six episodes of Here Come the Habibs!. The show was a comedy about a Lebanese-Australian family who win 22 million dollars in the lottery and move from working-class Lakemba to upper-class Vaucluse where they buy a house next to the very white O’Neills. The show invokes key tropes of official multiculturalism most importantly race and identity. At the same time, official multiculturalism has been in decline in Australia since the advent of John Howard’s conservative prime ministership in 1996. Official multiculturalism focused on ethnic groups and their cultures. It has been supplanted by the ideas of neoliberalism which is concerned above all with individuals and the market. In this article I argue that Here Come the Habibs! is, in the end, nostalgic for a multiculturalism which is no longer privileged in Australia. The dynamics of the tension between the Habibs and O’Neills has been displaced, as is signalled in the final episode of the show, by the entry into Australia of a mobile, cosmopolitan elite whose worth is measured not in their culture but in what they can economically contribute to the country.'
(p. 242-256)
From Snake Pits to Ballrooms : Class, Race and Early Rock'n'Roll in Perth, Adam Trainer , single work criticism

In the late 1950s, rock’n’roll as both a musical genre and a pervasive youth cultural form spread from the U.S. to emerge in various regionalized forms throughout most Western societies. Through the development of various social, technological and industrial circumstances, rock’n’roll was the first youth subculture in Perth, Western Australia to develop widespread acknowledgement across popular cultural consciousness. From its roots in working-class culture to its eventual commercial embrace by middle-class audiences, rock’n’roll developed in Perth through a set of specific circumstances linked to both racial and class-based factors, distinctive to the city as a small, isolated and predominantly suburban location. Whilst the majority of historical analysis on early rock’n’roll focuses on Australia’s east coast, this paper attempts to counter that by drawing from interviews conducted with a number of individuals who were instrumental in the emergence of rock’n’roll in Perth. As such this essay delivers a social history of the style as it developed in that city, placing it at the beginning of a fundamental shift in popular music as a cultural phenomenon, and underlining the importance that a number of specific social and cultural factors including class and race played in the development of a locally specific rock’n’roll culture.

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Last amended 23 Mar 2017 12:03:58
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