Announcing the winners of this year’s Nakata Brophy Prize for Young Indigenous Writers.
What is different in Bartlett’s King Charles III is that he does not merely reframe a Shakespearean character drama with a contemporary background, in an attempt to demonstrate the timelessness of the human condition. He does rather the opposite: he takes contemporary social struggles and applies to them the context of an aristocratic political drama. While obviously a conceit, it is also quite a sweeping statement, brushing aside two hundred years of mass democracy within the United Kingdom in the name of pursuing the private dramas and ambitions of Britain’s elites.
This is how the future looks through Hollywood’s eyes: Asian trappings, but minimal Asian people. Our real future will probably not look like that: with the likelihood of China continuing to dominate economically and scientifically, the points of difference between Earth now and our space-faring future aren’t going to be white people in Chinoiserie; it’s going to be brown people in modern Chinoiserie. And it’s going to be people speaking Japanese and getting to space on Japanese tech and actually being Japanese.
The Overland Writers Residency, supported by the Copyright Agency Cultural Fund, is a new initiative aimed at addressing a lack of opportunities for marginalised writers. In 2016, the Overland Writers Residency will focus on providing an opportunity for women writers who are also the sole primary carers of one or more children.
Never has the requirement of specialisation been more prevalent than in the current Australian media landscape. Even when a story is written specifically about millennials, the resultant article will likely be written by a fifty year old. Why? Because millennials lack the requisite qualifications to write about their own lives.