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)

'The twenty-first century has seen an increase in scholarly interest in the discursive construction of women film practitioners, yet much of this literature focusses on women at the younger- or middle-aged ends of the spectrum, leaving the positioning of older women directors unexamined. Taking Jane Campion as an important case study, this paper explores how Campion is depicted in critical discourses including journalistic responses from Cannes, comments by female industry peers, her self-construction in interviews, and via the television show Top of the Lake, with its unique focus on themes of women and aging. While there is consistency within each discourse in which Campion is situated, each emphasises different facets of Campion’s career. This article explores counter-discourses around aging as uttered by Campion and as apparent in Top of the Lake and provides evidence of an intensified biographical focus in critical commentary from this stage of Campion’s career. While not definitively attributable to Campion’s biological age, the critical recourse to biography may be enabled by the sheer longevity of Campion’s career and many decades in the public eye. Taken together, these constructions of ‘Campion’ are contradictory, however many succeed in putting pressure on hegemonic notions of gender and aging.' (Publication abstract)