Cirrus@Austlit

'The Eros Collection at Flinders University is the largest collection of materials produced by the sex industry and its affiliates in Australia. Acquired in 1997 and added to over the years, the varied collection (now part of the umbrella Australian Sexuality Collection) includes restricted or censored audiovisual and print materials – in short, porn. Thus this archive – typically a site of protection and care – comprises materials that many people think don’t deserve protection, and this ambiguous status has raised many challenges in terms of how the Collection is valued, researched, and utilized. The thorny question of the Collection’s value is traced in our research through interviews with Special Collections librarians involved with the Collection over different periods and an audit of Collection contents, access, and usage, which we analyse within the broader context of international porn archives and Australian media histories. The article examines how the Collection (specifically its pornographic material) shares key challenges faced by porn archives internationally, including public perception and access, and its uneasy fit within the Australian media histories. We argue that this neglected archive holds promise for understanding porn’s place in Australia’s audiovisual and cultural history.' (Publication abstract)

'Using the Western Australian (WA) film industry as a case study, this article revisits the framework proposed by Susan Dermody and Elizabeth Jacka in their anatomy of a film industry project. Acknowledging the power of Dermody and Jacka’s work, the article highlights a lack of detail surrounding the WA case. Drawing on the idea of an ‘imaginary’ industry as a key construct, it argues that a modified version of the framework is needed to account for the WA case, especially at the organizational level. The article proposes that the period 1969/70 to the present can be analysed in terms of three distinct eras and focuses on the first two (1969–1983; 1983–1993). It discusses the organization of film industry policy according to a logic of industry development, and a persistent tension between constructions of industry as production and culture. It gathers the extant scholarly resources for an anatomy of the WA industry (including works by Brian Shoesmith, Tom O’Regan, Tim Fetherstonhaugh, Vincent O’Donnell and others). Drawing on this writing, this article represents a belated contribution to the anatomy of a film industry project and a call to action in relation to the analysis of contemporary industry discourse in WA.'  (Publication abstract)