The Australian Journal of Media and Culture

Volumes 1-8, 1987-1994

|Volume Titles | Index of Articles, by Title |

Volume Titles

Index of Articles, by Title

A.I.P.: an installation publication (James Harley & Shiralee Saul) 8:1 216-221

Aboriginal representations in Australian texts (Vijay Mishra) 2:1 165-188

Aboriginal truth and white media: Eric Michaels meets the spirit of Aboriginalism (Robert Hodge) 3:2 201-225

[An] Ancient assemblage: the Australian rainforests in European conceptions of nature (Kevin J. Frawley) 3:1 137-167

Are you a fish? Are you a snake?: an obvious lecture and some notes on The Last Wave (William D. Routt) 8:2 215-231

[An] Architectural promenade (Alain Masson) 5:2 159-166

Arf Arf: interviewed by Nicholas Zurbrugg (Arf Arf) 8:1 34-43

Art, popular art (William D. Routt) 7:2 45-69

Australian exploitation film: the politics of bad taste (Carol Laseur) 5:2 366-377

Australian film in the 1950s (Tom O'Regan) 1:1 1-25

[An] Australian Film Reader: review (Susan Dermody & Elizabeth Jacka) 1:1 140-155

Bad futures: performing the obsolete body (Anne Marsh) 8:1 280-291

Bashir Baraki and Patt Hoffie: extending the vernacular of prints (Anne Kirker) 8:1 240-247

Battle culture (John Corner) 7:1 224-227

Baudrillard & Deleuze: reviewing The Postmodern Scene (Steven Maras) 2:2 163-191

[The] Belly of the beast: Eric Michaels and the anthropology of visual communication (Jay Ruby) 3:2 32-52

Bette Mifsud and the matter of photography (Sue Best) 6:2 53-79

`Between the glaze and the surface': five uneasy fragments (Leigh Hobba) 8:1 222-225

Beyond certainty: new agendas for left film criticism (Roy Grundmann) 7:2 290-306

Beyond film: Branigan's narrational world (Horst Ruthrof) 7:2 380-394

[A] Brief topography of Australian sound art and experimental broadcasting (Andrew McLennan) 8:1 302-317

Bringing the wildman back home: television and the politics of masculinity (Charmaine McEachern) 7:2 70-91

Broadcast news: a linguistic mode of analysis (Christine Higgins) 5:1 149-165

Broinowski versus Passmore: a dialogue of our times (Stephen Frost) 8:2 20-48

Building the feminine: feminist film theory and female spectatorship (Gillian Swanson) 4:2 206-217

Camera lucida: Roland Barthes, Jean-Paul Sartre and the photographic image (Ron Burnett) 6:2 5-24

Cartels, capitalism and the Australian booktrade (Richard Nile) 4:1 71-91

[A] Centre of flux: Japan in the Australian business press (Mark Gibson) 8:2 83-102

[A] Changed director: transcription of a dialogue with Zhuang Junzhao (Gao Jun) 2:1 125, 127

Changes at Continuum (Tom O'Regan, Alec McHoul & Toby Miller) 8:2 5

Charles Chauvel, the last decade (Stuart Cunningham) 1:1 26-46

[The] Charm of morality: Frank Capra and his cinema(Lorraine Mortimer) 7:2 192-221

Chauvel and the centring of the Aboriginal male in Australian film (Colin Johnson) 1:1 47-56

Chinese Cinema: Culture and Politics since 1949: review (Chris Berry) 2:1 189-191

Chronology of the Australian International Video Festival 1986-1992 (Brian Langer) 8:1 267-279

Cinemaya: the Asian film magazine: review (Chris Berry) 4:1 199-203

Collaborating with Amanda Stewart: Warren Burt interviewed by Nicholas Zurbrugg (Warren Burt) 8:1 83-89

Communications and the materialist conception of history: Marx, Innis and Technology (Sut Jhally) 7:1 161-182

Communications and the media (Philip Bell) 1:2 130-133

Complicit exoticism: Japan and its other (Koichi Iwabuchi) 8:2 49-82

Computer communications for visual designers (Eric Gidney & Toni Robertson) 8:1 192-199

Concerning Chris Mann (Henri Chopin) 8:1 129-131

Conjunctive structure in documentary film and television (Theo van Leeuwen) 5:1 76-114

Correspondence: carnivalesque or left pessimism? [see 1:2 83-99] (John Hinkson) 4:1 217-219

Critical alibis and thin description (Noel King) 6:2 291-298

Critical occasions: Making Meaning and film criticism (Noel King) 6:1 163-185

Cross-cultural reception: variant readings of Crocodile Dundee (Stephen Crofts) 6:1 213-227

[The] Cultural politics of the Queensland house (Jennifer Craik) 3:1 188-213

Culture of coincidence: notes on a performance piece called `Mirror States' (Paul Carter) 3:1 115-126

Curators and the colony: managing the past at Rottnest Island Museum (Stephen Mickler) 3:1 84-100

Cut-ups, white noise and cyberblitz in spectacular science fiction (Scott Bukatman) 7:2 131-163

Days of their lives?: popular culture, femininity and education (Sandra Taylor) 2:2 143-162

Dependency / space / policy: an introduction to a dialogue with Harold Innis (Ian Angus & Brian Shoesmith) 7:1 5-15

Desperate diversions: `the Snowy', the Gulf and populism (Norm Leslie) 4:2 42-57

[A] Director who is trying to change the audience: a chat with young director Tian Zhuangzhuang (Yang Ping) 2:1 109, 111, 113

Discussing Privilege: an interview with Yvonne Rainer (Gabrielle Finnane) 5:2 267-275

[A] Distant constellation (Deborah Bird Rose) 3:2 160-173

Does the outback represent the centre?: tracing electronic art tracks across Australia (David Tafler) 8:1 406-418

(Don't) say `cheese': on John Hartley, The Politics of Pictures (Niall Lucy) 6:2 283-290

Editorial introduction (Alec McHoul) 5:1 4-8

[An] Editorial introduction for radio (Toby Miller) 6:1 5-13

[The] Electronic paws of Jill Scott (Sam Schoenbaum) 8:1 346-347

[The] Emergence of new electronic forms in Australian art: Rodney Berry, John Colette, Linda Dement, Phillip George, Joyce Hinterding, Jon McCormack, Stelarc, VNS Matrix (Bill Seaman) 8:1 352-363

Emerging policies for pay-TV: official conceptions of audience transition (Tim Dwyer) 4:1 156-171

Empire, history, and communications viewed from the margins: the legacies of Gordon Childe and Harold Innis (Paul Heyer) 7:1 91-104

Enlisting the Warlpiri (Tim Rowse) 3:2 174-200

Enslaved sovereign, observed spectator: on Jonathan Crary, Techniques of the Observer (Geoffrey Batchen) 6:2 80-94

Entertainment, looking (again) (William D. Routt) 6:2 133-155

[The] Equivocal text and the objective world: an ethnomethodological analysis of a news report (Lena Jayyusi) 5:1 166-190

Eric Michaels: a partial guide to his written work (complied by Jay Ruby & Tom O'Regan) 3:2 226-228

Essaying two lovers' discourses (Kate Gilroy) 7:2 222-237

Ethnic cleansing, plastic bags and throw-away people (Dona Kolar-Panov) 8:2 159-187

Ethnography and popular memory: postmodern configurations of Welsh identities (Alison Griffiths) 7:2 307-326

Exploring the paradoxes: on comparing film and theatre (Gay McAuley) 1:2 45-55

Exploring the technological other: Robyn Stacey and Rosemary Laing (Graham Coulter-Smith) 8:1 140-151

Extract from Tales of Typhoid Mary: strip #4 (Linda Dement) 8:1 178-179

[The] Eyes don't have it: video images and ethnography (Ron Burnett) 3:2 119-139

Fables and endless genealogies: soap opera and women's culture (Mary Ellen Brown & Linda Barwick) 1:2 71-82

[The] Factory Floor: A Visual and Oral Record 1900-1960 - review (Brian Shoesmith) 2:1 198-200

Fascination and the grotesque: Whatever Happened to Baby Jane (Jodi Brooks) 5:2 225-234

Fear of circuses: founding the national museum of Victoria (David Goodman) 3:1 18-34

Film noir: `You sure you don't see what you hear?' (Raffaele Caputo) 5:2 276-301

Film and Meaning: An Integrative Theory - review (John de Reuck) 4:1 215-216

Film theory re-assessed (Dana Polan) 1:2 15-30

Filmic narrative: text and transformation in Bombay Cinema (Vijay Mishra) 2:1 9-43

[The] Film-viewer: an unknown entity (Alicija Helman) 2:2 96-115

Finding the reader: early consumer activism and the project of consumer literacy (Peter R. Grahame) 5:1 215-227

Fine tuning control: commercial television in Indonesia (Philip Kitley) 8:2 103-123

For a Cultural Future: Francis Jupurrurla Makes TV at Yuendumu - review (Tom O'Regan) 2:1 192-197

Foundations of femininity: Berlei corsets and the (un)making of the modern body (Sue Best) 5:1 191-214

Fremantle's heartland: understanding and designing a special place (Jeremy Dawkins) 3:1 168-187

From piracy to sovereignty: international video cassette recorder trends (Tom O'Regan) 4:2 112-135

Gender and genre: The Summer of the Seventeenth Doll (Jane Cousins) 1:1 121-139

Gender bias: representations of work in history museums (Gaby Porter) 3:1 70-83

Germany Pale Mother: screen memories of nazism (Leonie Naughton) 5:2 141-158

Gilding the smokestacks: the new symbolic representations of deindustrialised regions (Sophie Watson) 3:1 214-224

Globalisation and culture (Ien Ang) 8:2 323-325

Good evening and welcome to Graham Kennedy's Funniest Home Video Show where you might see your next door neighbour, you might see a workmate, you might even see yourself...: and now here's... (Catherine Nicholson) 4:2 36-41

Gzowski=Canada (John Laycock) 6:1 69-74

Harold Innis and Canadian cultural policy in the 1940s (Alison Beale) 7:1 75-90

Historical citizenship and the Fremantle Prison follies: Frederick Wiseman comes to Western Australia(Toby Miller) 7:2 269-289

[The] Historical relations between theatre and film: The Summer of the Seventeenth Doll (Tom O'Regan) 1:1 116-120

History of Australia, Vol. 4: review (Humphrey McQueen) 1:2 134-140

Hold back the dawn: notes on the positioning of experimental film in Australia 1993 (Adrian Martin) 8:1 292-301

How Australians were made airminded (Leigh Edmonds) 7:1 183-206

(How) does film theory work? (Toby Miller) 6:1 186-212

`I'd thought for a long time that I'd make an experimental film about romantic love': an interview with Gillian Leahy about My Life Without Steve(Gillian Leahy & Noel King) 7:2 238-253

In defence of popular TV: carnivalesque vs. left pessimism (John Docker) 1:2 83-99

Inside publishing: environments of the publishing house (Albert Moran) 4:1 118-144

Installation at Experimenta: fighting the `so-what' factor in electronic art (Warren Burt) 8:1 58-68

Institute for Cultural Policy Studies, Occasional Papers, Nos. 1-5: review (Alan Mansfield) 4:1 204-214

Intellectual Movements in Australian Society: review (Gary Wickham) 2:2 204-207

Introducing critical multiculturalism (Tom O'Regan) 8:2 7-19

Introducing Innis / McLuhan concluding: the Innis in McLuhan's `system' (Roman Onufrijchuk) 7:1 43-74

Introducing Screening Cultural Studies: Sister Morpheme (Clark Kent - Superman's boyfriend)(Toby Miller) 7:2 11-44

Introduction (Albert Moran) 4:1 7-11

Introduction (Brian Shoesmith & Alec McHoul) 2:2 5-6

Introduction (Mark Finnane, Gail Reekie, Tony Bennett, Toby Miller & Gillian Swanson) 3:1 7-9

Introduction (Philip Bell) 1:2 1-2

Introduction (Tom O'Regan & Brian Shoesmith) 2:1 5-6

Introduction to Innis' `History of Communication' (Brian Shoesmith) 7:1 121-131

Introduction to William Routt's `Entertainment, looking (again)' (John Richardson) 6:2 129-132

Introduction: contemplating electronic arts (Nicholas Zurbrugg) 8:1 10-21

Island in the Stream: Myths of Place in Australian Culture - review (David Carter) 3:1 225-227

`It's academic': imperialism and the Australian tertiary book industry (Glen Lewis) 4:1 92-108

Jane Campion: memory, motif and music (Geraldine Bloustien) 5:2 29-39

JJJ: radical radio? (Jonathan Dawson) 6:1 37-44

John Gillies: interviewed by Nicholas Zurbrugg (John Gillies) 8:1 201-215

John Waller: interviewed by Nicholas Zurbrugg (John Waller) 8:1 437-443

`Just warming 'em up': radio talkback and its renditions (David Rowe) 6:1 14-27

[The] Kaleidoscope: shake, rattle and roll (Noel Gray) 6:2 95-106

King of the Coral Sea: an interview with Lee Robinson (Albert Moran) 1:1 100-110

Kitsch, romance fiction and male paranoia: Stephen King meets the Frankfurt School (Rita Felski) 4:1 54-70

Letter from Japan: from girls who dress up like boys to trussed-up porn stars - some contemporary heroines on the Japanese screen (Rosemary Iwamura) 7:2 109-130

L'évidence (William D. Routt) 5:2 40-67

`Like a schoolgirl with chocs': Bill Collins and The Golden Years of Hollywood (Susan Bye) 7:2 164-191

Linda Dement: interviewed by Glenda Nalder (Linda Dement) 8:1 166-177

Little elves and mind control: advertising and its critics (Helen Irving) 4:2 98-111

Lost in Oz: Jews in the Australian cinema (Freda Freiberg) 8:2 196-205

Lost in space: into the digital image labyrinth (McKenzie Wark) 7:1 140-160

Making jazz: film, poetry and Listen Up (Mitzi Goldman) 8:2 232-247

Margins at the centre: Innis' concept of bias and the development of Aboriginal media (Hart Cohen) 7:1 105-120

Market forces: China's `fifth generation' faces the bottom line (Chris Berry) 2:1 106-127

Masculine excess and the metaphorics of vision: some problems in feminist film theory (Zoe Sofia) 2:2 116-128

Material girls: Madonna and Women Beware Women (Joseph Roach) 7:2 92-108

Me Jane, you Tarzan: a case of mistaken identity in Paradise (Barbara Creed) 1:1 159-174

Media matters in South Africa (Barrie McMahon & Robyn Quin) 7:1 228-231

Mise en scène is dead, or the expressive, the excessive, the technical and the stylish (Adrian Martin) 5:2 87-140

Missing in Action: Popular Music in Perspective, Vol. 1 - review (Alec McHoul) 2:2 192-195

[A] Model of teleported texts (Eric Michaels) 3:2 8-31

Mongrels and hybrids: theorising Australian television (Terry Flew) 8:2 307-322

Monuments and memory (Annette Hamilton) 3:1 101-114

Movies under the stars: drive-ins and modernity (John Richardson) 1:1 111-115

Multicultural imagined communities: cultural difference and national identity in Australia and the USA (Jon Stratton & Ien Ang) 8:2 124-158

Music video: questions of performance, pleasure and address (Sally Stockbridge) 1:2 110-121

My nerves/my Derrida: on Brunette & Wills' Screen/Play (Niall Lucy) 5:1 51-59

[The] Mystique of mise en scène revisited (Barrett Hodsdon) 5:2 68-86

Narrative and intervention in Aboriginal filmmaking policy (Stephen Muecke) 8:2 248-257

Nascent innovation: notes on some Australian features of the 1950s (Stuart Cunningham) 1:1 93-99

Nation building: the post-war documentary in Australia (1945-1953) (Albert Moran) 1:1 57-79

National Fictions: Literature, Film and the Construction of Australian Narrative - review (Sam Rohdie) 1:1 156-158

New and strange ways: the radio broadcasts of Irene Greenwood (John Richardson) 2:2 50-75

New Lealand culture (William D. Routt) 4:2 218-224

Nietzsche and feminism(Claire Colebrook) 7:2 399-401

[The] Nightmare that haunts the Frankfurt School: re-rationalisation of media use (Hart K. Cohen) 1:2 100-109

`No more virgins': writing romance - an interview with Emma Darcy (Albert Moran) 4:1 37-53

No road (vague directions for the study of tourism) (Stephen Muecke) 3:1 127-136

Not as stupid as all that: the Althusserian legacy(Alec McHoul) 7:2 395-398

Obituary: Eric Michaels 1948-1988 (Stuart Cunningham) 2:1 7

Of Course: a grammatical tech check (Lyn Gallacher) 8:1 181-191

Of homes and machines: TV, technology and fun in America, 1944-1984 (Paul Attallah) 4:2 58-97

Of small and large countries: review of Sepstrup (Tom O'Regan) 5:2 382-384

Oh Bondage: up yours! (Gabrielle O'Ryan) 6:1 45-52

On The Back of Beyond: interview with Ross Gibson (Tom O'Regan, Brian Shoesmith & Albert Moran) 1:1 80-92

Orality in the twilight of humanism: a critique of the communication theory of Harold Innis (Ian Angus) 7:1 16-42

Ozu and the Poetics of Cinema: review (Chris Berry) 4:1 193-198

Paradise Tossed (Jill Scott) 8:1 349-351

Passing for white passing for black: an ideological con-pro-testation (written version) (Mudrooroo Nyoongah) 8:2 258-269

Pay TV for Australia? (Allan Brown) 4:1 172-188

Persistent images: photographic archives in ethnographic collections (Alison Devine Nordström) 6:2 207-219

Peter Callas: interviewed by Nicholas Zurbrugg (Peter Callas) 8:1 91-119

Photographic disasters (Alec McHoul) 6:2 257-281

[The] Photographic witness? (Roslyn Poignant) 6:2 178-20

Photographing hunger: paving the way with good intentions (Susan Hayes) 6:2 220-234

Picturing the landscape (John Richardson) 6:2 107-128

Picturing the statement: visual representations of the Prime Minister's economic statement, February 1992 (Geoffrey Craig) 6:2 235-256

Point of View in the Cinema: review (Horst Ruthrof) 1:1 175-191

[The] Political rationality of the museum (Tony Bennett) 3:1 35-55

Popular reality: a (hair)brush with cultural studies (John Hartley) 4:2 5-18

Popular romance in the postmodern age: and an unknown Australian author (Ann Curthoys & John Docker) 4:1 22-36

Portrait of the artist as photocopier: Jane Richens (Toni Ross) 8:1 339-345

[The] Possessed (Edward Colless) 5:2 235-245

(Post) community arts? (Rachel Fensham) 8:2 188-195

[A] Practical man: portraiture between word and image (Helen Grace) 6:2 156-177

Preface (Tom O'Regan & Brian Shoesmith) 3:1 4-5

Preface (Tom O'Regan & Brian Shoesmith) 4:1 5-6

Preface (Tom O'Regan) 3:2 5-7

Preface (Tom O'Regan) 7:2 5-10

Presence [poem] (Therese Davis) 6:1 112-114

Press culture and political journalism to 1930 (Denis Cryle) 4:1 12-21

Pressures of the sun: manifesto against the electric drug (Allen S. Weiss) 6:1 139-147

Pressures of the unspeakable (Gregory Whitehead) 6:1 115-117

Printing in China in the 19th and 20th century (Harold A. Innis) 7:1 132-139

The reader investigates: images of crime in the colonial city (Christa Ludlow) 7:2 254-268

[The] Problem of film: a reassessment of the significance of the Indian cinematograph committee, 1927-1928 (Brian Shoesmith) 2:1 74-89

Public radio: the promise and the performance (Irma Whitford) 6:1 53-59

Puritanic rationalism: John Berger's Ways of Seeing and media and cultural studies (Jan Bruck & John Docker) 2:2 77-95

Radio daze: some historical and technological aspects of radio (Tom O'Regan) 6:1 102-111

Radio management: sectors, structures, styles (Niall Lucy) 6:1 28-36

Radio National: radio active (Jonathan Dawson) 6:1 60-68

Re-claiming a cultural identity: ideigenous media production in Australia and Canada (Michael Meadows) 8:2 270-292

Re-imaging Australia: Crocodile Dundee overseas (Stephen Crofts) 2:2 129-142

Re-orienting semiotics: performance philosophy and theory (David Birch) 2:2 7-25

[A] Reader's letter that will make people think (Mo Zhong) 2:1 107

Read my lips: notes on the writing and speaking of film dialogue (Philip Brophy) 5:2 246-266

Reconsidering the film-politics relation (Noel King) 6:1 228-235

[The] Reflexive nexus: photo-practice and natural history (Lena Jayyusi) 6:2 25-52

Remembering women: psychical and historical constructions in film theory (Mary Ann Doanne) 1:2 3-14

Reply to John Fiske's paper [see 1:2 56-66] (Tim Rowse) 1:2 67-70

Rethinking Australian video in the nineties (John Conomos) 8:1 132-139

Richard Collins and his Canadian Readers: the further adventures of the decoupling hypothesis (Paul Attallah) 7:1 207-223

Rock video `according to' Fredric Jameson (Robart Pahlavi Bowie) 1:2 122-129

Rose Farrell and George Parkin: art history and `primitivism' in contemporary Australian performance photography (Urszula Szulakowska) 8:1 395-405

S.O.S. (Adrian Martin) 5:2 6-14

Satyajit Ray (1921-1992) (Vijay Mishra) 5:2 385-389

Scandal to the Jews, folly to the pagans: a treatment for Hail Mary (Stuart Cunningham & Ross Harley) 1:2 31-44

Self-inscription in the work of Doppio Teatro, Tracey Moffatt and Linda Dement: an interpretation of feminist use of technology according to Deleuze's writings on masochism (Beth Jackson) 8:1 226-239

Sentient percussion: Ernie Althoff's music machines (Larry Wendt) 8:1 445-455

[A] Sequence from Avanti! (Alain Masson) 5:2 167-178

Serge Daney (1944-1992) (Adrian Martin) 5:2 4-5

Seventh International Conference on Culture and Communication: review (Keyan G. Tomaselli) 4:1 219-223

Si Boy looked at Johnny: Indonesian film at the turn of the decade (Krishna Sen) 4:2 136-151

Six degrees of freedom: après Orlan (Susan Charlton) 8:1 121-127

Sixth International Conference on Culture and Communication: review (Keyan G. Tomaselli) 1:2 141-146

[The] Snuff-jazz conspiracy (Felonius Krank) 8:1 248-257

Some beginnings for Australian television (Albert Moran) 4:2 171-183

Sound and speed in convocation: The Listening Room on Virilio (Rebecca Coyle) 6:1 118-138

Sound art, radio art, and post-radio performance in Australia (Nicholas Zurbrugg) 2:2 26-49

Sound histories (Sylvia Wang) 7:2 375-379

`So you want to be a computer artist?' (Adam Wolter) 8:1 457-464

[The] Space of the museum (Eilean Hooper-Greenhill) 3:1 56-69

Splitting the citizen (Toby Miller) 4:2 193-205

Stalking the wild viewer (Ien Ang) 4:2 19-35

Steering between private and state power: the upheavals in Australian broadcasting and rationales for regulation (Peter G. Cook) 4:1 145-155

Stelarc - interviewed by Martin Thomas: `just beaut to have three hands' (Stelarc) 8:1 377-394

[The] Stockman's Hall of Fame (Donald Horne) 3:1 10-14

[The] Styles of Eric Michaels: a rhetorical analysis (Alec McHoul) 3:2 99-118

Swadeshi cinema: cinema, politics and culture: the writings of D.G. Phalke (Brian Shoesmith) 2:1 44-50

Swadeshi moving pictures (Dhundiraj Phalke) 2:1 51-73

Taking the children: some reflections at a distance on the camera and Dr Barnardo (Alec McHoul) 5:1 33-50

Talking about Hindi films (R.S. Newman) 2:1 90-105

Talking politics: radio Singapore (David Birch) 6:1 75-101

Technology in Australian sound installations: three recent approaches (Ros Bandt) 8:1 44-57

Technoscientific poesis: Joan Brassil, Joyce Hinterding, Sarah Waterson (Zoë Sofia) 8:1 364-375

Television before television (Ann Curthoys) 4:2 152-170

Television Culture: review (David McKie) 2:2 198-204

Television, culture and the state: new forms for negotiating identity in the Pacific (Duane Varan) 8:2 293-306

Text - texture - gesture (Dirk de Bruyn) 8:1 152-165

Thanks for your heart, Bart (John Flauss) 5:2 179-224

The Cook, the Thief, his Wife and her Lover: a discourse on disgust (Robert Sinnerbrink) 5:2 352-365

The Magnificent Ambersons: deep focus, the long take and psychological representation (Stuart Cunningham) 5:2 15-28

Thoughts on physicality and interaction in current electronic music (Warren Burt) 8:1 69-81

Three works from memory: `de-memorize, like the unconscious' (Martin Harrison) 6:1 148-162

Tim Gruchy: electronic media art, popular culture and the experimental avant-garde (Peter Anderson) 8:1 22-33

To go back and beyond (Stuart Cunningham) 2:1 159-164

Too popular by far: on Hollywood's international popularity (Tom O'Regan) 5:2 302-351

Towards a high communication policy: assessing recent changes within Australian broadcasting (Tom O'Regan) 2:1 135-158

[The] Truth of the documentary (William D. Routt) 5:1 60-75

`... tomorrow will be the end of my ride' (Toby Miller) 3:1 15-17

TV as cultural technology: the work of Eric Michaels (Tom O'Regan) 3:2 53-98

TV: re-situating the popular in the people (John Fiske) 1:2 56-66

Two from China's fifth generation: interviews with Chen Kaige and Tian Zhuangzhuang (Gina Marchetti) 2:1 128-134

Two or three things I know about meaning(Tom O'Regan) 7:2 327-374

Unfixing the subject: viewing Bad Timing (David Silverman) 5:1 9-31

[The] Unseen Voice: A Cultural Study of Early Australian Radio: review (John Richardson) 2:2 195-198

Update - pay TV for Australia: May 1990 (Stuart Cunningham) 4:1 189-192

Video as art and the Australian International Video Festival (Brian Langer) 8:1 259-266

Video, realism and class struggle: theoretical lacunae and the problem of power (Keyan G. Tomaselli & Jeanne Prinsloo) 3:2 140-159

Visible spaces, electronic records: John Conomos and Tracey Moffatt (Cathie Payne) 8:1 318-327

VNS Matrix and Virginia Barratt: interviewed by Bernadette Flynn (VNS Matrix & Virginia Barratt) 8:1 419-431

Ways of arguing: a reply to Bruck and Docker [see 2:2 75-95] (Philip Bell & Theo van Leeuwen) 4:2, 184-192

Ways of speaking: the relation of talk and discourse on a documentary film site (Carolyn D. Baker) 5:1 115-135

We must become film artists who deeply love the people (Wu Yigong) 2:1 115, 117, 119, 121, 123

What was then, this is now: writing and teaching in the 1990s (Noel King) 7:1 232-236

When Australia became modern (Toby Miller) 8:2 206-214

Working in electronic media (Simon Penny) 8:1 328-337

[A] Writer's tale: review of Mellencamp (Felicity Collins) 5:2 378-381

Writing an(d) experience: Let Us Now Praise Famous Men, again (Niall Lucy) 5:1 136-148

Writing Australian Culture: Text Society and National Identity - review (Toby Miller) 6:1 236-238

Writing non-fiction: an interview with E.L. Wheelwright (Albert Moran) 4:1 109-117

2000 thunderstorms: Joyce Hinterding (Linda Wallace) 8:1 433-435

Index of books reviewed, by author

AULICH, James ed. Framing the Falklands' War: Nationhood, Culture and Identity (John Corner) 7:1 224-227

BORDWELL, David. Ozu and the Poetics of Cinema (Chris Berry) 4:1 193-198

BORDWELL, David. Making Meaning: Inference and Rhetoric in the Interpretation of Cinema (Noel King) 6:1 163-185

BRANIGAN, Edward. Narrative Comprehension and Film (Horst Ruthrof) 7:2 380-394

BRANIGAN, Edward. Point of View in the Cinema (Horst Ruthrof) 1:1 175-191

BREEN, Marcus ed. Missing in Action: Popular Music in Perspective, Vol. 1 (Alec McHoul) 2:2 192-195

BRUNETTE, Peter & David Wills. Screen/Play: Derrida and Film Theory (Niall Lucy) 5:1 51-59

CARTER, Paul. The Sound In-between: Voice, Space, Performance (Sylvia Wang) 7:2 375-379

CINEMAYA: the Asian film magazine (Chris Berry) 4:1 199-203

CLARK, C.M.H. History of Australia, Vol. 4 (Humphrey McQueen) 1:2 134-140

CLARK, Paul. Chinese Cinema: Culture and Politics since 1949 (Chris Berry) 2:1 189-191

CRARY, Jonathan. Techniques of the Observer (Geoffrey Batchen) 6:2 80-94

DESSER, David. Eros Plus Massacre: An Introduction to the Japanese New Wave Cinema (Chris Berry) 4:1 193-198

DOANE, Mary Ann. The Desire to Desire: The Woman's Film of the 1940s (Gillian Swanson) 4:2 206-217

DOUGLAS, Ian. Film and Meaning: An Integrative Theory (John de Reuck) 4:1 215-216

FISKE, John. Television Culture (David McKie) 2:2 198-204

FOSS, Paul ed. Island in the Stream: Myths of Place in Australian Culture (David Carter) 3:1 225-227

HARTLEY, John. Tele-ology: Studies in Television (Terry Flew) 8:2 307-322

HARTLEY, John. The Politics of Pictures (Niall Lucy) 6:2 283-290

HAWKINS, Gay. From Nimbin to Mardi Gras: Constructing Community Arts (Rachel Fensham) 8:2 188-195

HEAD, Brian & James Walter eds. Intellectual Movements in Australian Society (Gary Wickham) 2:2 204-207

INSTITUTE for Cultural Policy Studies, Occasional Papers, Nos. 1-5 (Alan Mansfield) 4:1 204-214

JACKA, Elizabeth ed. Continental Shift: Globalisation and Culture (Ien Ang) 8:2 323-325

JOHNSON, Lesley. The Unseen Voice: A Cultural Study of Early Australian Radio (John Richardson) 2:2 195-198

KAPLAN, E. Ann & Michael Sprinker eds. The Althusserian Legacy (Alec McHoul) 7:2 395-398

KROKER, Arthur & David Cook. The Postmodern Scene: Excremental Culture and Hyper-aesthetics (Steven Maras) 2:2 163-191

LANGTON, Marcia. `Well, I heard it on the radio and I saw it on the television...': An Essay for the Australian Film Commission on the Politics and Aesthetics of Filmmaking by and about Aboriginal People (Stephen Muecke) 8:2 248-257

LEALAND, Geoff. A Foreign Egg in our Nest: American Popular Culture in New Zealand (William D. Routt) 4:2 218-224

MARCUS, Julie ed. Writing Australian Culture: Text Society and National Identity (Toby Miller) 6:1 236-238

MELLENCAMP, Patricia. Indiscretions: Avant-Garde Film, Video and Feminism (Felicity Collins) 5:2 378-381

MICHAELS, Eric. For a Cultural Future: Francis Jupurrurla Makes TV at Yuendumu (Tom O'Regan) 2:1 192-197

O'REGAN, Tom. Australian Television Culture (Terry Flew) 8:2 307-322

O'REGAN, Tom & Albert Moran eds. An Australian Film Reader (Susan Dermody & Elizabeth Jacka) 1:1 140-155

PATTON, Paul ed. Nietzsche, Feminism and Political Theory (Claire Colebrook) 7:2 399-401

PIBRAM, Deirdre ed. Female Spectators: Looking at Film and Television (Gillian Swanson) 4:2 206-217

POLIZZOTTO, Carolyn. The Factory Floor: A Visual and Oral Record 1900-1960 (Brian Shoesmith) 2:1 198-200

PRINSLOO, Jeanne & Costas Criticos eds. Media Matters in South Africa (Barrie McMahon & Robyn Quin) 7:1 228-231

SEPSTRUP, Preben. Transnationalization of Television in Western Europe (Tom O'Regan) 5:2 382-384

SEVENTH International Conference on Culture and Communication, Philadelphia 1989 (Keyan G. Tomaselli) 4:1 219-223

SIXTH International Conference on Culture and Communication, Philadelphia 1986 (Keyan G. Tomaselli) 1:2 141-146

TURNER, Graeme. National Fictions: Literature, Film and the Construction of Australian Narrative (Sam Rohdie) 1:1 156-158

TURNER, Graeme. National Fictions: Literature, Film and the Construction of Australian Narrative (Toby Miller) 8:2 206-214

WHEELWRIGHT, Ted ed. Communications and the Media in Australia (Philip Bell) 1:2 130-133

Index of authors, by volume number, pages and title

ANDERSON, Peter 8:1 22-33 (Tim Gruchy: electronic media art, popular culture and the experimental avant-garde)

ANG, Ien 4:2 19-35 (Stalking the wild viewer); 8:2 323-325 (Globalisation and culture); (see also STRATTON)

ANGUS, Ian 7:1 16-42 (Orality in the twilight of humanism: a critique of the communication theory of Harold Innis)

ANGUS, Ian & Brian Shoesmith 7:1 5-15 (Dependency / space / policy: an introduction to a dialogue with Harold Innis)

ARF ARF 8:1 34-43 (Arf Arf: interviewed by Nicholas Zurbrugg)

ATTALLAH, Paul 4:2 58-97 (Of homes and machines: TV, technology and fun in America, 1944-1984); 7:1 207-223 (Richard Collins and his Canadian Readers: the further adventures of the decoupling hypothesis)

BAKER, Carolyn D. 5:1 115-135 (Ways of speaking: the relation of talk and discourse on a documentary film site)

BANDT, Ros 8:1 44-57 (Technology in Australian sound installations: three recent approaches)

BARRATT, Virginia (see VNS Matrix)

BARWICK, Linda (see BROWN, Mary Ellen)

BATCHEN, Geoffrey 6:2 80-94 (Enslaved sovereign, observed spectator: on Jonathan Crary, Techniques of the Observer)

BEALE, Alison 7:1 75-90 (Harold Innis and Canadian cultural policy in the 1940s)

BELL, Philip 1:2 1-2 (Introduction); 1:2 130-133 (Communications and the media)

BELL, Philip & Theo van Leeuwen 4:2, 184-192 (Ways of arguing: a reply to Bruck and Docker)

BENNETT, Tony 3:1 35-55 (The political rationality of the museum); (see also FINNANE, Mark)

BERRY, Chris 2:1 106-127 (Market forces: China's `fifth generation' faces the bottom line); 2:1 189-191 (Chinese Cinema: Culture and Politics since 1949: review); 4:1 193-198 (Ozu and the Poetics of Cinema: review); 4:1 199-203 (Cinemaya: the Asian film magazine: review)

BEST, Sue 5:1 191-214 (Foundations of femininity: Berlei corsets and the (un)making of the modern body); 6:2 53-79 (Bette Mifsud and the matter of photography)

BIRCH, David 2:2 7-25 (Re-orienting semiotics: performance philosophy and theory); 6:1 75-101 (Talking politics: radio Singapore)

BLOUSTIEN, Geraldine 5:2 29-39 (Jane Campion: memory, motif and music)

BOWIE, Robart Pahlavi 1:2 122-129 (Rock video `according to' Fredric Jameson)

BROOKS, Jodi 5:2 225-234 (Fascination and the grotesque: Whatever Happened to Baby Jane)

BROPHY, Philip 5:2 246-266 (Read my lips: notes on the writing and speaking of film dialogue)

BROWN, Allan 4:1 172-188 (Pay TV for Australia?)

BROWN, Mary Ellen & Linda Barwick 1:2 71-82 (Fables and endless genealogies: soap opera and women's culture)

BRUCK, Jan & John Docker 2:2 77-95 (Puritanic rationalism: John Berger's Ways of Seeing and media and cultural studies)

BUKATMAN, Scott 7:2 131-163 (Cut-ups, white noise and cyberblitz in spectacular science fiction)

BURNETT, Ron 3:2 119-139 (The eyes don't have it: video images and ethnography); 6:2 5-24 (Camera lucida: Roland Barthes, Jean-Paul Sartre and the photographic image)

BURT, Warren 8:1 58-68 (Installation at Experimenta: fighting the `so-what' factor in electronic art); 8:1 69-81 (Thoughts on physicality and interaction in current electronic music); 8:1 83-89 (Collaborating with Amanda Stewart: Warren Burt interviewed by Nicholas Zurbrugg)

BYE, Susan 7:2 164-191 (`Like a schoolgirl with chocs': Bill Collins and The Golden Years of Hollywood)

CALLAS, Peter 8:1 91-119 (Peter Callas: interviewed by Nicholas Zurbrugg)

CAPUTO, Raffaele 5:2 276-301 (Film noir: `You sure you don't see what you hear?')

CARTER, David 3:1 225-227 (Island in the Stream: Myths of Place in Australian Culture - review)

CARTER, Paul 3:1 115-126 (Culture of coincidence: notes on a performance piece called `Mirror States')

CHARLTON, Susan 8:1 121-127 (Six degrees of freedom: après Orlan)

CHOPIN, Henri 8:1 129-131 (Concerning Chris Mann)

COHEN, Hart K. 1:2 100-109 (The nightmare that haunts the Frankfurt School: re-rationalisation of media use); 7:1 105-120 (Margins at the centre: Innis' concept of bias and the development of Aboriginal media)

COLEBROOK, Claire 7:2 399-401 (Nietzsche and feminism)

COLLESS, Edward 5:2 235-245 (The possessed)

COLLINS, Felicity 5:2 378-381 (A writer's tale: review of Mellencamp)

CONOMOS, John 8:1 132-139 (Rethinking Australian video in the nineties)

COOK, Peter G. 4:1 145-155 (Steering between private and state power: the upheavals in Australian broadcasting and rationales for regulation)

CORNER, John 7:1 224-227 (Battle culture)

COULTER-SMITH, Graham 8:1 140-151 (Exploring the technological other: Robyn Stacey and Rosemary Laing)

COUSINS, Jane 1:1 121-139 (Gender and genre: The Summer of the Seventeenth Doll)

COYLE, Rebecca 6:1 118-138 (Sound and speed in convocation: The Listening Room on Virilio)

CRAIG, Geoffrey 6:2 235-256 (Picturing the statement: visual representations of the Prime Minister's economic statement, February 1992)

CRAIK, Jennifer 3:1 188-213 (The cultural politics of the Queensland house)

CREED, Barbara 1:1 159-174 (Me Jane, you Tarzan: a case of mistaken identity in Paradise)

CROFTS, Stephen 2:2 129-142 (Re-imaging Australia: Crocodile Dundee overseas); 6:1 213-227 (Cross-cultural reception: variant readings of Crocodile Dundee)

CRYLE, Denis 4:1 12-21 (Press culture and political journalism to 1930)

CUNNINGHAM, Stuart 1:1 26-46 (Charles Chauvel, the last decade); 1:1 93-99 (Nascent innovation: notes on some Australian features of the 1950s); 2:1 7 (Obituary: Eric Michaels 1948-1988); 2:1 159-164 (To go back and beyond); 4:1 189-192 (Update - pay TV for Australia: May 1990); 5:2 15-28 (The Magnificent Ambersons: deep focus, the long take and psychological representation)

CUNNINGHAM, Stuart & Ross Harley 1:2 31-44 (Scandal to the Jews, folly to the pagans: a treatment for Hail Mary)

CURTHOYS, Ann & John Docker 4:1 22-36 (Popular romance in the postmodern age: and an unknown Australian author)

DAVIS, Therese 6:1 112-114 (Presence [poem])

DAWKINS, Jeremy 3:1 168-187 (Fremantle's heartland: understanding and designing a special place)

DAWSON, Jonathan 6:1 37-44 (JJJ: radical radio?); 6:1 60-68 (Radio National: radio active)

de BRUYN, Dirk 8:1 152-165 (Text - texture - gesture)

de REUCK, John 4:1 215-216 (Film and Meaning: An Integrative Theory - review)

DEMENT, Linda 8:1 166-177 (Linda Dement: interviewed by Glenda Nalder); 8:1 178-179 (Extract from Tales of Typhoid Mary: strip #4)

DERMODY, Susan & Elizabeth Jacka 1:1 140-155 (An Australian Film Reader: review)

DOANNE, Mary Ann 1:2 3-14 (Remembering women: psychical and historical constructions in film theory)

DOCKER, John 1:2 83-99 (In defence of popular TV: carnivalesque vs. left pessimism); (see also BRUCK; CURTHOYS)

DWYER, Tim 4:1 156-171 (Emerging policies for pay-TV: official conceptions of audience transition)

EDMONDS, Leigh 7:1 183-206 (How Australians were made airminded)

FELSKI, Rita 4:1 54-70 (Kitsch, romance fiction and male paranoia: Stephen King meets the Frankfurt School)

FENSHAM, Rachel 8:2 188-195 ((Post) community arts?)

FINNANE, Gabrielle 5:2 267-275 (Discussing Privilege: an interview with Yvonne Rainer)

FINNANE, Mark, Gail Reekie, Tony Bennett, Toby Miller & Gillian Swanson 3:1 7-9 (Introduction)

FISKE, John 1:2 56-66 (TV: re-situating the popular in the people)

FLAUSS, John 5:2 179-224 (Thanks for your heart, Bart)

FLEW, Terry 8:2 307-322 (Mongrels and hybrids: theorising Australian television)

FRAWLEY, Kevin J. 3:1 137-167 (An ancient assemblage: the Australian rainforests in European conceptions of nature)

FREIBERG, Freda 8:2 196-205 (Lost in Oz: Jews in the Australian cinema)

FROST, Stephen 8:2 20-48 (Broinowski versus Passmore: a dialogue of our times)

GALLACHER, Lyn 8:1 181-191 (Of Course: a grammatical tech check)

GIBSON, Mark 8:2 83-102 (A centre of flux: Japan in the Australian business press)

GIDNEY, Eric & Toni Robertson 8:1 192-199 (Computer communications for visual designers)

GILLIES, John 8:1 201-215 (John Gillies: interviewed by Nicholas Zurbrugg)

GILROY, Kate 7:2 222-237 (Essaying two lovers' discourses)

GOLDMAN, Mitzi 8:2 232-247 (Making jazz: film, poetry and Listen Up)

GOODMAN, David 3:1 18-34 (Fear of circuses: founding the national museum of Victoria)

GRACE, Helen 6:2 156-177 (A practical man: portraiture between word and image)

GRAHAME, Peter R. 5:1 215-227 (Finding the reader: early consumer activism and the project of consumer literacy)

GRAY, Noel 6:2 95-106 (The kaleidoscope: shake, rattle and roll)

GRIFFITHS, Alison 7:2 307-326 (Ethnography and popular memory: postmodern configurations of Welsh identities)

GRUNDMANN, Roy 7:2 290-306 (Beyond certainty: new agendas for left film criticism)

HAMILTON, Annette 3:1 101-114 (Monuments and memory)

HARLEY, James & Shiralee Saul 8:1 216-221 (A.I.P.: an installation publication)

HARLEY, Ross (see CUNNINGHAM)

HARRISON, Martin 6:1 148-162 (Three works from memory: `de-memorize, like the unconscious')

HARTLEY, John 4:2 5-18 (Popular reality: a (hair)brush with cultural studies)

HAYES, Susan 6:2 220-234 (Photographing hunger: paving the way with good intentions)

HELMAN, Alicija 2:2 96-115 (The film-viewer: an unknown entity)

HEYER, Paul 7:1 91-104 (Empire, history, and communications viewed from the margins: the legacies of Gordon Childe and Harold Innis)

HIGGINS, Christine 5:1 149-165 (Broadcast news: a linguistic mode of analysis)

HINKSON, John 4:1 217-219 (Correspondence: carnivalesque or left pessimism?)

HOBBA, Leigh 8:1 222-225 (`Between the glaze and the surface': five uneasy fragments)

HODGE, Robert 3:2 201-225 (Aboriginal truth and white media: Eric Michaels meets the spirit of Aboriginalism)

HODSDON, Barrett 5:2 68-86 (The mystique of mise en scène revisited)

HOOPER-GREENHILL, Eilean 3:1 56-69 (The space of the museum)

HORNE, Donald 3:1 10-14 (The Stockman's Hall of Fame)

INNIS, Harold A. 7:1 132-139 (Printing in China in the 19th and 20th century)

IRVING, Helen 4:2 98-111 (Little elves and mind control: advertising and its critics)

IWABUCHI, Koichi 8:2 49-82 (Complicit exoticism: Japan and its other)

IWAMURA, Rosemary 7:2 109-130 (Letter from Japan: from girls who dress up like boys to trussed-up porn stars - some contemporary heroines on the Japanese screen)

JACKA, Elizabeth (see DERMODY)

JACKSON, Beth 8:1 226-239 (Self-inscription in the work of Doppio Teatro, Tracey Moffatt and Linda Dement: an interpretation of feminist use of technology according to Deleuze's writings on masochism)

JAYYUSI, Lena 5:1 166-190 (The equivocal text and the objective world: an ethnomethodological analysis of a news report); 6:2 25-52 (The reflexive nexus: photo-practice and natural history)

JHALLY, Sut 7:1 161-182 (Communications and the materialist conception of history: Marx, Innis and Technology)

JOHNSON, Colin (Mudrooroo Nyoongah) 1:1 47-56 (Chauvel and the centring of the Aboriginal male in Australian film)

JUN, Gao 2:1 125, 127 (A changed director: transcription of a dialogue with Zhuang Junzhao)

KING, Noel 6:1 163-185 (Critical occasions: Making Meaning and film criticism); 6:1 228-235 (Reconsidering the film-politics relation); 6:2 291-298 (Critical alibis and thin description); 7:1 232-236 (What was then, this is now: writing and teaching in the 1990s); (see also LEAHY)

KIRKER, Anne 8:1 240-247 (Bashir Baraki and Patt Hoffie: extending the vernacular of prints)

KITLEY, Philip 8:2 103-123 (Fine tuning control: commercial television in Indonesia)

KOLAR-PANOV, Dona 8:2 159-187 (Ethnic cleansing, plastic bags and throw-away people)

KRANK, Felonius 8:1 248-257 (The snuff-jazz conspiracy)

LANGER, Brian 8:1 259-266 (Video as art and the Australian International Video Festival); 8:1 267-279 (Chronology of the Australian International Video Festival 1986-1992)

LASEUR, Carol 5:2 366-377 (Australian exploitation film: the politics of bad taste)

LAYCOCK, John 6:1 69-74 (Gzowski=Canada)

LEAHY, Gillian & Noel King 7:2 238-253 (`I'd thought for a long time that I'd make an experimental film about romantic love': an interview with Gillian Leahy about My Life Without Steve)

LESLIE, Norm 4:2 42-57 (Desperate diversions: `the Snowy', the Gulf and populism)

LEWIS, Glen 4:1 92-108 (`It's academic': imperialism and the Australian tertiary book industry)

LUCY, Niall 5:1 51-59 (My nerves/my Derrida: on Brunette & Wills' Screen/Play); 5:1 136-148 (Writing an(d) experience: Let Us Now Praise Famous Men, again); 6:1 28-36 (Radio management: sectors, structures, styles); 6:2 283-290 ((Don't) say `cheese': on John Hartley, The Politics of Pictures)

LUDLOW, Christa 7:2 254-268 (The reader investigates: images of crime in the colonial city)

MANSFIELD, Alan 4:1 204-214 (Institute for Cultural Policy Studies, Occasional Papers, Nos. 1-5: review)

MARAS, Steven 2:2 163-191 (Baudrillard & Deleuze: reviewing The Postmodern Scene)

MARCHETTI, Gina 2:1 128-134 (Two from China's fifth generation: interviews with Chen Kaige and Tian Zhuangzhuang)

MARSH, Anne 8:1 280-291 (Bad futures: performing the obsolete body)

MARTIN, Adrian 5:2 4-5 (Serge Daney (1944-1992)); 5:2 6-14 (S.O.S.); 5:2 87-140 (Mise en scène is dead, or the expressive, the excessive, the technical and the stylish); 8:1 292-301 (Hold back the dawn: notes on the positioning of experimental film in Australia 1993)

MASSON, Alain 5:2 159-166 (An architectural promenade); 5:2 167-178 (A sequence from Avanti!)

McAULEY, Gay 1:2 45-55 (Exploring the paradoxes: on comparing film and theatre)

McEACHERN, Charmaine 7:2 70-91 (Bringing the wildman back home: television and the politics of masculinity)

McHOUL, Alec 2:2 192-195 (Missing in Action: Popular Music in Perspective, Vol. 1 - review); 3:2 99-118 (The styles of Eric Michaels: a rhetorical analysis); 5:1 4-8 (Editorial introduction); 5:1 33-50 (Taking the children: some reflections at a distance on the camera and Dr Barnardo); 6:2 257-281 (Photographic disasters); 7:2 395-398 (Not as stupid as all that: the Althusserian legacy); (see also O'REGAN; SHOESMITH)

McKIE, David 2:2 198-204 (Television Culture: review)

McLENNAN, Andrew 8:1 302-317 (A brief topography of Australian sound art and experimental broadcasting)

McMAHON, Barrie & Robyn Quin 7:1 228-231 (Media matters in South Africa)

McQUEEN, Humphrey 1:2 134-140 (History of Australia, Vol. 4: review)

MEADOWS, Michael 8:2 270-292 (Re-claiming a cultural identity: ideigenous media production in Australia and Canada)

MICHAELS, Eric 3:2 8-31 (A model of teleported texts)

MICKLER, Stephen 3:1 84-100 (Curators and the colony: managing the past at Rottnest Island Museum)

MILLER, Toby 3:1 15-17 (`... tomorrow will be the end of my ride'); 4:2 193-205 (Splitting the citizen); 6:1 5-13 (An editorial introduction for radio); 6:1 186-212 ((How) does film theory work?); 6:1 236-238 (Writing Australian Culture: Text Society and National Identity - review); 7:2 11-44 (Introducing Screening Cultural Studies: Sister Morpheme (Clark Kent - Superman's boyfriend)); 7:2 269-289 (Historical citizenship and the Fremantle Prison follies: Frederick Wiseman comes to Western Australia); 8:2 206-214 (When Australia became modern); (see also FINNANE, Mark; O'REGAN)

MISHRA, Vijay 2:1 9-43 (Filmic narrative: text and transformation in Bombay Cinema); 2:1 165-188 (Aboriginal representations in Australian texts); 5:2 385-389 (Satyajit Ray (1921-1992))

MORAN, Albert 1:1 57-79 (Nation building: the post-war documentary in Australia (1945-1953)); 1:1 100-110 (King of the Coral Sea: an interview with Lee Robinson); 4:1 7-11 (Introduction); 4:1 37-53 (`No more virgins': writing romance - an interview with Emma Darcy); 4:1 109-117 (Writing non-fiction: an interview with E.L. Wheelwright); 4:1 118-144 (Inside publishing: environments of the publishing house); 4:2 171-183 (Some beginnings for Australian television); (see also O'REGAN)

MORTIMER, Lorraine 7:2 192-221 (The charm of morality: Frank Capra and his cinema)

MUECKE, Stephen 3:1 127-136 (No road (vague directions for the study of tourism)); 8:2 248-257 (Narrative and intervention in Aboriginal filmmaking policy)

NAUGHTON, Leonie 5:2 141-158 (Germany Pale Mother: screen memories of nazism)

NEWMAN, R.S. 2:1 90-105 (Talking about Hindi films)

NICHOLSON, Catherine 4:2 36-41 (Good evening and welcome to Graham Kennedy's Funniest Home Video Show where you might see your next door neighbour, you might see a workmate, you might even see yourself...: and now here's...)

NILE, Richard 4:1 71-91 (Cartels, capitalism and the Australian booktrade)

NORDSTRöM, Alison Devine 6:2 207-219 (Persistent images: photographic archives in ethnographic collections)

NYOONGAH, Mudrooroo 8:2 258-269 (Passing for white passing for black: an ideological con-pro-testation (written version))

ONUFRIJCHUK, Roman 7:1 43-74 (Introducing Innis / McLuhan concluding: the Innis in McLuhan's `system')

O'REGAN, Tom 1:1 1-25 (Australian film in the 1950s); 1:1 116-120 (The historical relations between theatre and film: The Summer of the Seventeenth Doll); 2:1 135-158 (Towards a high communication policy: assessing recent changes within Australian broadcasting); 2:1 192-197 (For a Cultural Future: Francis Jupurrurla Makes TV at Yuendumu - review); 3:2 5-7 (Preface); 3:2 53-98 (TV as cultural technology: the work of Eric Michaels); 4:2 112-135 (From piracy to sovereignty: international video cassette recorder trends); 5:2 302-351 (Too popular by far: on Hollywood's international popularity); 5:2 382-384 (Of small and large countries: review of Sepstrup); 6:1 102-111 (Radio daze: some historical and technological aspects of radio); 7:2 5-10 (Preface); 7:2 327-374 (Two or three things I know about meaning); 8:2 7-19 (Introducing critical multiculturalism); (see also RUBY)

O'REGAN, Tom, Alec McHoul & Toby Miller 8:2 5 (Changes at Continuum)

O'REGAN, Tom & Brian Shoesmith 2:1 5-6 (Introduction); 3:1 4-5 (Preface); 4:1 5-6 (Preface)

O'REGAN, Tom, Brian Shoesmith & Albert Moran 1:1 80-92 (On The Back of Beyond: interview with Ross Gibson)

O'RYAN, Gabrielle 6:1 45-52 (Oh Bondage: up yours!)

PAYNE, Cathie 8:1 318-327 (Visible spaces, electronic records: John Conomos and Tracey Moffatt)

PENNY, Simon 8:1 328-337 (Working in electronic media)

PHALKE, Dhundiraj 2:1 51-73 (Swadeshi moving pictures)

PING, Yang 2:1 109, 111, 113 (A director who is trying to change the audience: a chat with young director Tian Zhuangzhuang)

POIGNANT, Roslyn 6:2 178-206 (The photographic witness?)

POLAN, Dana 1:2 15-30 (Film theory re-assessed)

PRINSLOO, Jeanne (see TOMASELLI)

QUIN, Robyn (see McMAHON)

REEKIE, Gail (see FINNANE, Mark)

RICHARDSON, John 1:1 111-115 (Movies under the stars: drive-ins and modernity); 2:2 50-75 (New and strange ways: the radio broadcasts of Irene Greenwood); 2:2 195-198 (The Unseen Voice: A Cultural Study of Early Australian Radio: review); 6:2 107-128 (Picturing the landscape); 6:2 129-132 (Introduction to William Routt's `Entertainment, looking (again)')

ROACH, Joseph 7:2 92-108 (Material girls: Madonna and Women Beware Women)

ROBERTSON, Toni (see GIDNEY)

ROHDIE, Sam 1:1 156-158 (National Fictions: Literature, Film and the Construction of Australian Narrative - review)

ROSE, Deborah Bird 3:2 160-173 (A distant constellation)

ROSS, Toni 8:1 339-345 (Portrait of the artist as photocopier: Jane Richens)

ROUTT, William D. 4:2 218-224 (New Lealand culture); 5:1 60-75 (The truth of the documentary); 5:2 40-67 (L'évidence); 6:2 133-155 (Entertainment, looking (again)); 7:2 45-69 (Art, popular art); 8:2 215-231 (Are you a fish? Are you a snake?: an obvious lecture and some notes on The Last Wave)

ROWE, David 6:1 14-27 (`Just warming 'em up': radio talkback and its renditions)

ROWSE, Tim 1:2 67-70 (Reply to John Fiske's paper); 3:2 174-200 (Enlisting the Warlpiri)

RUBY, Jay 3:2 32-52 (The belly of the beast: Eric Michaels and the anthropology of visual communication)

RUBY, Jay & Tom O'Regan 3:2 226-228 (Eric Michaels: a partial guide to his written work)

RUTHROF, Horst 1:1 175-191 (Point of View in the Cinema: review); 7:2 380-394 (Beyond film: Branigan's narrational world)

SAUL, Shiralee (see HARLEY, James)

SCHOENBAUM, Sam 8:1 346-347 (The electronic paws of Jill Scott)

SCOTT, Jill 8:1 349-351 (Paradise Tossed)

SEAMAN, Bill 8:1 352-363 (The emergence of new electronic forms in Australian art: Rodney Berry, John Colette, Linda Dement, Phillip George, Joyce Hinterding, Jon McCormack, Stelarc, VNS Matrix)

SEN, Krishna 4:2 136-151 (Si Boy looked at Johnny: Indonesian film at the turn of the decade)

SHOESMITH, Brian 2:1 44-50 (Swadeshi cinema: cinema, politics and culture: the writings of D.G. Phalke); 2:1 74-89 (The problem of film: a reassessment of the significance of the Indian cinematograph committee, 1927-1928); 2:1 198-200 (The Factory Floor: A Visual and Oral Record 1900-1960 - review); 7:1 121-131 (Introduction to Innis' `History of Communication'); (see also O'REGAN; ANGUS)

SHOESMITH, Brian & Alec McHoul 2:2 5-6 (Introduction)

SILVERMAN, David 5:1 9-31 (Unfixing the subject: viewing Bad Timing)

SINNERBRINK, Robert 5:2 352-365 (The Cook, the Thief, his Wife and her Lover: a discourse on disgust)

SOFIA, Zoë 2:2 116-128 (Masculine excess and the metaphorics of vision: some problems in feminist film theory); 8:1 364-375 (Technoscientific poesis: Joan Brassil, Joyce Hinterding, Sarah Waterson)

STELARC 8:1 377-394 (Stelarc - interviewed by Martin Thomas: `just beaut to have three hands')

STOCKBRIDGE, Sally 1:2 110-121 (Music video: questions of performance, pleasure and address)

STRATTON, Jon & Ien Ang 8:2 124-158 (Multicultural imagined communities: cultural difference and national identity in Australia and the USA)

SWANSON, Gillian 4:2 206-217 (Building the feminine: feminist film theory and female spectatorship); (see also FINNANE, Mark)

SZULAKOWSKA, Urszula 8:1 395-405 (Rose Farrell and George Parkin: art history and `primitivism' in contemporary Australian performance photography)

TAFLER, David 8:1 406-418 (Does the outback represent the centre?: tracing electronic art tracks across Australia)

TAYLOR, Sandra 2:2 143-162 (Days of their lives?: popular culture, femininity and education)

TOMASELLI, Keyan G. 1:2 141-146 (Sixth International Conference on Culture and Communication: review); 4:1 219-223 (Seventh International Conference on Culture and Communication: review)

TOMASELLI, Keyan G. & Jeanne Prinsloo 3:2 140-159 (Video, realism and class struggle: theoretical lacunae and the problem of power)

van LEEUWEN, Theo 5:1 76-114 (Conjunctive structure in documentary film and television); (see also BELL)

VARAN, Duane 8:2 293-306 (Television, culture and the state: new forms for negotiating identity in the Pacific)

VNS Matrix & Virginia Barratt 8:1 419-431 (VNS Matrix and Virginia Barratt: interviewed by Bernadette Flynn)

WALLACE, Linda 8:1 433-435 (2000 thunderstorms: Joyce Hinterding)

WALLER, John 8:1 437-443 (John Waller: interviewed by Nicholas Zurbrugg)

WANG, Sylvia 7:2 375-379 (Sound histories)

WARK, McKenzie 7:1 140-160 (Lost in space: into the digital image labyrinth)

WATSON, Sophie 3:1 214-224 (Gilding the smokestacks: the new symbolic representations of deindustrialised regions)

WEISS, Allen S. 6:1 139-147 (Pressures of the sun: manifesto against the electric drug)

WENDT, Larry 8:1 445-455 (Sentient percussion: Ernie Althoff's music machines)

WHITEHEAD, Gregory 6:1 115-117 (Pressures of the unspeakable)

WHITFORD, Irma 6:1 53-59 (Public radio: the promise and the performance)

WICKHAM, Gary 2:2 204-207 (Intellectual Movements in Australian Society: review)

WOLTER, Adam 8:1 457-464 (`So you want to be a computer artist?')

YIGONG, Wu 2:1 115, 117, 119, 121, 123 (We must become film artists who deeply love the people)

ZHONG, Mo 2:1 107 (A reader's letter that will make people think)

ZURBRUGG, Nicholas 2:2 26-49 (Sound art, radio art, and post-radio performance in Australia); 8:1 10-21 (Introduction: contemplating electronic arts)