Cirrus@Austlit

In this important and beautifully written book, Aileen Moreton-Robinson gives us a compelling analysis of white Australian feminism seen through Indigenous Australian women's eyes. She unpacks the unspoken normative subject of feminism as white middle-class woman, where whitemess marks their position of power and privilege vis-a-vis Indigenous women, and where silence about whitemess sustains the exercise of that power. And she examines the consequences of practices for Indigenous women and White women.' (Source: Preface, Talkin' Up to the White Women, 2000)

'The White Possessive explores the links between race, sovereignty, and possession through themes of property: owning property, being property, and becoming propertyless. Focusing on the Australian Aboriginal context, Aileen Moreton-Robinson questions current race theory in the first world and its preoccupation with foregrounding slavery and migration. The nation, she argues, is socially and culturally constructed as a white possession.

'Moreton-Robinson reveals how the core values of Australian national identity continue to have their roots in Britishness and colonization, built on the disavowal of Indigenous sovereignty. Whiteness studies literature is central to Moreton-Robinson’s reasoning, and she shows how blackness works as a white epistemological tool that bolsters the social production of whiteness—displacing Indigenous sovereignties and rendering them invisible in a civil rights discourse, thereby sidestepping thorny issues of settler colonialism.

'Throughout this critical examination Moreton-Robinson proposes a bold new agenda for critical Indigenous studies, one that involves deeper analysis of how the prerogatives of white possession function within the role of disciplines.' (Publication summary)

'A rich ethnographic study, Shimmering Screens examines the productive, and sometimes problematic, conjunctions of technology, culture, and imagination in contemporary Yolngu life. Jennifer Deger offers a new perspective to ongoing debates regarding “media imperialism.” Reconsidering assumptions about the links between representation, power, and “the gaze,” she proposes the possibility of a more mutual relationship between subject, image, and viewer. ' (Source: Publisher's website)

'Collection of papers by Eric Michaels written during period of work with Warlpiri on development of Aboriginal television; all papers annotated separately; foreword by Dick Hebdige discusses Michaels style of analytical assessment; Marcia Langton describes his work at Yuendumu; Michael Leigh describes his work at the Australian Institute of Aboriginal and Torres Strait Islander Studies and the developments in Aboriginal filmmaking since Michaels death.' (Source: TROVE)

'Bad Aboriginal Art is the extraordinary account of Eric Michaels’ period of residence and work with the Warlpiri Aborigines of western Central Australia, where he studied the impact of television on remote Aboriginal communities.'

'Sharp, exact, and unrelentingly honest, Michaels records with an extraordinary combination of distance and immersion the intervention of technology into a remote Aboriginal community and that community’s forays into the technology of broadcasting. Michaels’s analyses in Bad Aboriginal Art will disrupt and redirect current debates surrounding the theory and practice of anthropology, ethnography, film and video making, communications policy, and media studies - no less than his work has already disrupted and redirected the cultural technologies of both the Warlpiri and Australian technocrats.' (Source: Publisher's website)

'This new edition, which is based on research done in the 1970s, includes an epilogue in which Bell reflects on her original fieldwork from the perspective of the 1990s, examining the changes in the field and in feminist theory and practice. ' (Source: Publisher's website)