Cinema, Death and the Abject

Cover of Cinema, Death and the Abject
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Reading the entrails: Digesting posthuman entanglement
Feature
Sasha Grbich

Published 01 December 2019
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Eating together online: The ambivalent conviviality of ASMR videos
Feature
Francis Russell

Published 01 December 2019
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Shared food conversations: Jason Phu and Nagesh Seethiah
Feature
In conversation with Sabrina Baker

Published 01 December 2019
Metro Tunnel (Vic Gov)
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A good dinner party: Food as a medium for social change
Feature
Courtney Coombs

Published 01 December 2019
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Eat the problem: MONA's carnivalesque of cuisine
Feature
Ashley Crawford

Published 01 December 2019
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Fair Share Fare: Recipe for Disaster
Feature
Jen Rae

Published 01 December 2019
Artlink Promo
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Violent dreams of development: A food bowl in the north‑west of Australia?
Feature
Alana Hunt

Published 01 December 2019
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Mai Contemporary Kaurna Food
Feature
James Tylor

Published 01 December 2019

Cinema is both dead and deathless. Cinema like this can take us to the great chasm in our lives and hold us over the edge.

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More from this Issue Full Issue Contents

Kumantji and the Contemporary Curator
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John Kean

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In the Coil of Life's Hunger
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Looks at the work of James K Baxter 1926 - 1972 (poet) Colin McCahon 1919 - 1987 (artist) both of whom found in travel through New Zealand recurrent metaphor's for life's journey. The principle referent in their work was death.

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Tasmanian School of Art and various locations, Launceston, Tasmania 26 September - 2 October 1994

Published December 1994
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Feature
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Traditions and rituals of mourning for the dead are common to most cultural groups and societies; mourning of the dead is even seen in some animal species.

Published December 1994
Monstrous Gorgeous
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Exhibition review Symmetry: Crafts and Kindred Trades and Professions Curated by Kevin Murray
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Death: A Post-Mortem
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19th Fremantle Print Award
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