Issue Details: First known date: 2010... vol. 1 no. 1 January 2010 of Journal of Post-Colonial Cultures and Societies est. 2010 Journal of Post-Colonial Cultures and Societies
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Contents

* Contents derived from the , 2010 version. Please note that other versions/publications may contain different contents. See the Publication Details.
An Australian Tale in a Japanese Story : Reading the National in Sue Brook’s Japanese Story, Chew Yi Wei , single work criticism
'Sue Brook's film, Japanese Story (2003) lends itself to many peculiarities. Upon hearing its title and having some perfunctory knowledge of its association with Australia, one might - due to this overt incongruity - be tempted to assume the film to be either an exercise in the nation's exoticisation of Japan, or even likening it to a Japanese production. Less impetuously and pejoratively, some would think it a film typically belonging to the pantheon of the transnational due to the presence of a Japanese actor in a supposedly all-Australian cast. Yet, should a deeper study be effected, we find Japanese Story to be substantially complex and more problematic than that, leaving the above suppositions surface and simplistic. In Japanese Story, polymorphous and fluid (conceptual) worlds imbricate and synthesise, forming a melange thick with complexity, movement and definitional subjectivity. Owing to the presence of Asian characters in the film and the external but consonant dialogue on Australia-Asia relations, the positions of Japanese Story in the film industry both nationally and transnationally are also inescapably implicated. My task however will be to argue for Japanese Story as being quintessentially national though it may not possess any ostensible nationalistic overtones. Before I proceed with an analysis of the film, contextualisation in terms of Australia-Asia relations and national cinema is a necessity: both these concepts are inextricably connected and therefore jointly scrutinised.' (Author's introduction)
(p. 56-67)
For the Night Parroti"Flyover, sleepover timezones, daylight", David Wheatley , single work poetry (p. 93)
Self-Portrait in the Concave Mirror of the Life, Trial and Martyrdom of Ernest Lalor Malleyi"‘I have split the infinitive. Beyond is anything.’", David Wheatley , single work poetry (p. 94-95)
Tasmaniai"My far-flung route held neither silk nor spice.", David Wheatley , single work poetry (p. 96)
Die Rutschbahni"My battle with the language began at the hostel playground", Deb Matthews-Zott , single work poetry (p. 97)
‘Fell Away Towards the River. . . .’, Patrick West , single work short story (p. 101-104)
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