Zeitschriftenartikel zum Thema „Finch, scout“

This report will take Jean Louise Scout Finch, a little girl in To Kill a Mockingbird, as an example, to figure out the features that a motherless kid has in a certain period of time. Our discussion will base on three typical characters on Scout Finch.

This article begins by exploring the national climate in which Lee’s novel appeared, at the height of the civil rights movement in the South, which had a crucial impact on its composition and reception. The major film studios were not initially interested in the novel, but independent filmmakers Alan Pakula (producer) and Robert Mulligan (director), influenced by existentialism, felt attracted to stories with strong dramatization over the spectacular. The film is famously characterized by the voice-over narration of the adult Scout, which embodies a paradoxical duality of perspective: the events are seen from the perspective of the young Scout but described in the language of a mature and articulate adult Scout. In the novel, the destabilization of gender norms is the central theme, and the protagonist is clearly Scout going through the pains of growing up female in a South with very strict definitions of gender roles. This dimension is not prominent in the film version, which gave in to the demands of the Hollywood star system and made the girl’s father, played by Gregory Peck, the main character, and made racism the main issue. The article concludes with a necessary reconsideration of Atticus Finch, subjected in recent years to the complaint that both the novel and the film convey the historically inaccurate message that heroic whites, instead of blacks, were the leaders of the anti-racist movements of the twentieth century. Atticus Finch no doubt remains tied to the accommodating values of his class and he never openly questions the structural racism of which he himself is part, but moral horizons of previous eras are often narrow in comparison with our own, and we should avoid the excesses of presentism and maintain the historical perspective that allows us to celebrate the courage and success of fictional white liberals like Atticus and real ones like Harper Lee herself, who could only speak as whites, not as black victims. Despite all its limitations, Mockingbird did contribute to making hearts and minds reconsider race in America, and it remains a socially and historically important film. Thus, we should at least acknowledge its merit in taking a stand during a period when many films avoided controversial racial matters.

This review of Harper Lee's classic, 'To Kill a Mockingbird,' highlights its remarkable ability to intertwine an engaging narrative with profound thematic depth. Set in the American South of the 1930s, the novel presents the story of young Scout Finch, growing up amidst racial injustice and moral integrity. I particularly praise Lee's skill in presenting complex themes through the innocent eyes of a child, making the book accessible and relatable to a broad audience. The character of Atticus Finch is highlighted as an embodiment of morality, with his relationship with his children serving as a conduit for values of empathy and justice. Despite minor criticisms regarding character development and plot resolution, I deem 'To Kill a Mockingbird' an important and significant work in American literature. Recommended for a wide range of readers, especially those interested in American literature, social justice, and moral philosophy, the book scores a solid 9 out of 10. It is recognized as a timeless classic, continuing to resonate with new generations of readers and maintaining relevance in contemporary discussions about social and ethical issues.

The purpose of this research is to interrogate the effectiveness of developing board games to teach literary elements such as characters, setting and themes based on the literary text ‘To Kill a Mockingbird’ by Harper Lee. The development of board games in teaching English literature aims to help student teachers to critically examine their understanding of the approaches to teaching literature. It will further develop critical appreciation and cultural awareness for students whose English is a second language. This study is based on a course ‘Teaching of literature: Reading the word and the world’ taught to 45 Year 2 TESL undergraduate student teachers at the Faculty of Education, UKM. This case study was designed with four methods of data collection namely questionnaire, interview, student teachers’ board games and reflective essays. In this study, the student teachers had formed six groups and then had chosen either a theme or a character such as ‘Tom Robinson’, ‘Atticus Finch’, ‘Boo Radley’, ‘Scout Finch’, ‘Gender stereotyping’ and ‘Racism’ to be developed further into board games. They later reflected on the whole process of developing board games, identifying its strengths, weaknesses and suggestions on how to improve it. Generally, the participants perceived that developing board games helps them to teach the literary elements such as characters, setting and themes to the pupils.

Este artigo discute narrativas de professoras regentes em atuação na educação infantil, problematizando se os efeitos performativos da enunciação “ideologia de gênero” afetaram (ou não) o trabalho docente com a infância. Deste modo, nos fundamentamos nos estudos de gênero pós-estruturalistas, principalmente com as autoras Butler, Scott, Finco, Felipe e Paechter. A produção de narrativas com as docentes da educação infantil pautaram-se pelos princípios de Arfuch, na operacionalização de entrevistas dialógicas. Entre os resultados, as docentes enunciaram incertezas no entendimento do conceito de gênero e apontaram a ausência de discussões sobre o tema na formação inicial, porém, interviam em situações que emergiam no cotidiano. Consideramos que, de certa forma, as professoras resistem ao conservadorismo imposto nesses tempos, mesmo que por vezes sejam também afetadas por ele.

The reproductive behavior of the oak bug Urostylis annulicornis Scott, 1874 was studied for the first time. This species lives in the crown of tall Quercus mongolica Fisch. ex Ledeb. trees making it difficult to access for study and observation. Our study aimed to elucidate the timing of mating and oviposition of U. annulicornis and the effect of temperature variations on the lifespan of adults in natural conditions. Nymphs grown from eggs that had overwintered on rhytidome fragments were placed in stationary netting cages installed on oak saplings, where the bugs were kept until adulthood. The behavior of the control pairs was monitored for 15 hours a day (from 06:00 to 21:00). The duration of an uninterrupted tandem during copulation was confirmed by additional observations at night. To facilitate egg-laying, artificial shelters were created from pieces of oak bark stacked together, attached to the stem of the plant, and placed inside cages. The number of eggs laid by the female was counted and photographed. The process of oviposition by a female on the oak tree bark in natural conditions was recorded and documented for the first time. This study of the biology of U. annulicornis, from oviposition through the sequence of postembryonic development, documenting all stages of metamorphosis, was carried out on a single plant. A summer reproductive diapause was observed in the seasonal cycle of the species. The timing of mating in U. annulicornis was shifted to autumn, the laying of overwintering eggs occurred in October, as night temperatures decreased. Males were observed performing postcopulatory mate-guarding. The effect of night cold spells on the lifespan of bugs was recorded: natural mortality of adults occurred when the night temperatures dropped below zero.

Background:Current treatment approaches for autoimmune conditions comprise primarily of systemic immunosuppressants or cytokine blockade. The concentration of therapeutic molecules to the tissues that are the sites of autoimmune and inflammatory diseases is a promising approach with the potential to induce therapeutic benefit and avert risks associated with systemic immunotherapies. Pandion Therapeutics is developing a bifunctional antibody platform that can drive localized immune modulation by combining a “tether antibody” that targets a tissue of choice and “an effector end” that activates specific regulatory immune pathways to restore immune-homeostasis.Objectives:Here we report the engineering of a skin-tethered PD-1 agonist and a skin-tethered CD39 that inhibit T cell activation and function and deplete local ATP, respectively, modulating different arms of the immune system in a tissue specific manner.Methods:Biophysical assays were performed to characterize Skin-tethered immune effectors for drug-like properties and in vitro and in vivo assays for target binding, cellular activity and tissue specific-localization. Moreover, these bifunctionals were tested in pathway-relevant preclinical models such as Vitiligo and Contact Hypersensitivity.Results:Biophysical characterization of the bifunctional molecules showed desired drug like properties including specificity, stability, and manufacturability. The skin tethered bifunctionals showed effector activity in in vitro assays and selectively localized to the skin. Skin localization strikingly correlated with a tether-dependent efficacy compared to a non-tether control.Conclusion:We believe that this therapeutic approach has the potential to drive the resolution of cutaneous inflammation, providing an opportunity for developing new targeted therapies for autoimmune and inflammatory skin diseases.Disclosure of Interests:Susmita Borthakur Shareholder of: Pandion Therapeutics Inc., Employee of: Pandion therapeutics Inc., Purvi Mande: None declared, Daniel Rios: None declared, Patrick Halvey: None declared, Angela Boisvert: None declared, MIchael Rowe: None declared, Anisha Agrawal: None declared, Minasri Borah: None declared, Mike Cianci: None declared, Joanne L. Viney Shareholder of: Pandion therapeutics Inc., Consultant of: Harpoon, Finch, Quench, HotSpot, Employee of: Pandion Therapeutics Inc., Katalin Kis-Toth: None declared, Kevin L. Otipoby Shareholder of: Pandion Therapeutics Inc., Employee of: Pandion Therapeutics Inc., Ivan Mascanfroni: None declared, Nathan Higginson-Scott Shareholder of: Pandion Therapeutics Inc., Consultant of: Mediar Tx, Employee of: Pandion Therapeutics Inc.

I still remember the thrill of reading for the first time, as an undergraduate, Frederick Ahl's seminal articles ‘The Art of Safe Criticism’ and the ‘Horse and the Rider’, and the ensuing sense that the doors of perception were opening to reveal for me the (alarming) secrets of Latin poetry. The collectionWordplay and Powerplay in Latin Poetryis a tribute to Ahl, and all twenty-two articles take his scholarship as their inspiration. Fittingly, this book is often playful and great fun to read, and contains some beautiful writing from its contributors, but also reflects the darker side of Latin literature's entanglement with violence and oppression. For the latter, see especially Joy Connolly's sobering discussion of ‘A Theory of Violence’ in Lucan, which draws on Achille Mbembe's theory of the reiterative violence of everyday life that sustains postcolonial rule in Africa (273–97), which resonates bleakly beyond Classical scholarship to the present day. Elsewhere there is much emphasis (ha!) on the practice and effects of veiled speech, ambiguity, and hidden meanings. Pleasingly, Michael Fontaine identifies what he calls ‘Freudian Bullseyes’ in Virgil: a ‘correct word that hits the mark’ (141) that also reveals – simply and directly – the unspoken guilty preoccupations of the speaker: Dido's lust for Aeneas, Aeneas’ grief-stricken sense of responsibility for Pallas’ death. A citation from F. Scott Fitzgerald'sTender is the Nightprovides the chilling final line of Emily Gowers’ delicious article about what ripples out beyond the coincidence of sound of Dido/bubo. The volume explores subversive responses to power (for example, the articles of Erica Bexley and David Konstan), as well as the risk of powerful retaliation (Rhiannon Ash considers the political consequences of poetry as represented by Tacitus). There are also broader methodological reflections on interpretation, from musings on the reader's pleasure at decoding the hidden messages of wordplay such as puns, anagrams, and acrostics (as Fitch puts it, ‘the pleasure of wit, combined with the pleasure of active involvement’ [327]) to exploration of the anxiety of a reader who worries that they may be over-interpreting a text. Contributions variously address the ‘paranoia’ of literary criticism and the drive to try to ground meaning in the text and prove authorial intention: while John Fitch asks if the wordplay ‘really is there’ in the etymological names used by Seneca in his plays (314), Alex Dressler's article (37–68) helps frame the various modes of interpretation that we find in subsequent articles, by putting interpretation itself under scrutiny. His intriguing analysis introduces the helpful motif of espionage (interweaving Syme's possible post-war role in intelligence with Augustan conspiracy and conspiracy theories) and concludes that – like double agents – ‘secret meanings’ need a handler (53) and we readers need to take responsibility for our own partisan readings.

AbstractForage kochia [Bassia prostrata(L.) A. J. Scott] is competitive with annual weeds and has potential for use in reclamation of disturbed land. However, land managers are reluctant to use forage kochia in revegetation programs due to lack of understanding of its compatibility with or invasiveness in the native plant community. We conducted two greenhouse experiments, one to compare the competitive effect of forage kochia versus perennial grasses on growth of cheatgrass (Bromus tectorumL.) and one to study the effect of forage kochia on growth of native perennial grasses. In the first experiment, a single seedling ofB. tectorumwas grown with increasing neighbor densities (0 to 5 seedlings pot−1) of either forage kochia, crested wheatgrass [Agropyron cristatum(L.) Gaertner ×A. desertorum(Fisch. ex Link) Schultes; nonnative perennial grass], or thickspike wheatgrass [Elymus lanceolatus(Scribn. & J. G. Sm.) Gould; native perennial grass].Bromus tectorumgrowth was reduced moderately by all three perennial neighbors, butA. cristatumandE. lanceolatushad more effect onB. tectorumwhen compared with forage kochia. This experiment was repeated and similar results were observed. In the second experiment, forage kochia was grown with each of four native cool-season grass species: basin wildrye [Leymus cinereus(Scribn. & Merr.) Á. Löve], bluebunch wheatgrass [Pseudoroegneria spicata(Pursh) Á. Löve],E. lanceolatus, and western wheatgrass [Pascopyrum smithii(Rydb.) Á. Löve]. Forage kochia had no effect on height, tiller number, and aboveground biomass of native grasses. Similarly, native grasses did not show a significant effect on forage kochia seedlings. This experiment was also repeated, and forage kochia somewhat reduced the aboveground biomass ofL. cinereusandP. spicata. However, all native grasses significantly reduced change in height, branching, and aboveground biomass of forage kochia. These results suggest that forage kochia interfered withB. tectorumseedling growth, but it showed little competitive effect on native grass seedlings.

Abstract Introduction Stopping medicines where harms outweigh benefits (deprescribing) (1) can reduce adverse events from inappropriate polypharmacy. Deprescribing should be undertaken in a patient-centred way with shared decision-making. However, there is a lack of evidence about the patient perspective on how deprescribing should be safely and routinely implemented in UK primary care. Such evidence is needed to enhance the implementation of deprescribing in primary care. Aim • To identify optimal methods of introducing and actioning deprescribing from the patient’s perspective • To understand the nature of support patients require during deprescribing • To identify patient views on the involvement of different healthcare professionals in deprescribing. Methods UK patients aged ≥65 years taking ≥5 medicines and living in their own homes were recruited through social media, service user groups and NIHR People in Research. An interview guide was developed using deprescribing literature, patient and public involvement input, and informed by the theoretical implementation framework Normalisation Process Theory (2). Interviews were conducted online (Microsoft Teams®) or via telephone, audio recorded and transcribed verbatim. Data were analysed using the Framework method. Results Twenty patients, diverse in age and gender, were recruited and three main themes developed: 1. ‘Why deprescribe now?’ focused on the importance of communicating the deprescribing rationale; 2. ‘Monitoring and follow-up’ in which safety netting around deprescribing and patients’ motivations to self-monitor after deprescribing interventions were highlighted; 3. ‘Roles and relationships’ focused on patient views of different healthcare professionals involved in deprescribing and the interpersonal skills needed to develop therapeutic relationships. Conclusion Optimal methods of introducing deprescribing from the patient’s perspective included communication of a convincing and well-communicated rationale for stopping medicines. Patients required support from a range of healthcare professionals with whom they had an existing therapeutic relationship. Whilst patients were motivated to self-monitor any unwanted/unexpected effects post-deprescribing, this was under the condition that timely support would be available when needed. These findings provide a deeper understanding of patients’ needs for the implementation of safe and routine deprescribing in primary care, and these should be considered when designing medication review and deprescribing services. A strength of this study was the overall diversity in age and gender of the patients interviewed. However, although multiple recruitment pathways were utilised, due to the COVID-19 pandemic, recruitment was mainly online which will have excluded patients who did not have access to the internet. References 1. Scott, I. A., Hilmer, S. N., Reeve, E., Potter, K., Le Couteur, D., Rigby, D., Gnjidic, D., Del Mar, C. B., Roughead, E. E., Page, A., Jansen, J. & Martin, J. H. 2015. Reducing Inappropriate Polypharmacy: The Process of Deprescribing. JAMA Internal Medicine 175, 827-834. 2. Murray, E., Treweek, S., Pope, C., Macfarlane, A., Ballini, L., Dowrick, C., Finch, T., Kennedy, A., Mair, F., O'donnell, C., Ong, B. N., Rapley, T., Rogers, A. & May, C. 2010. Normalisation process theory: a framework for developing, evaluating and implementing complex interventions. BMC Medicine 8, 63.

Curriculum material is generally considered the subject matter of information, talents, dispositions, understandings, and principles that make up research programs in the field. At a more complex level, the curricula need to contain historical and socio-political strengths, traditions, cultural views, and goals with wide differences in sovereignty, adaptation, and local understanding that encompass a diversity of cultures, laws, metaphysics, and political discourse This study aims to develop a curriculum with local content as a new approach in early childhood science learning. The Local Content Curriculum (LCC) is compiled and developed to preserve the uniqueness of local culture, natural environment, and community crafts for early childhood teachers so that they can introduce local content to early childhood. Research and model development combines the design of the Dick-Carey and Dabbagh models with qualitative and quantitative descriptive analysis. The results showed that local content curriculum products can be supplemented into early childhood curricula in institutions according to local conditions. Curricula with local content can be used as a reinforcement for the introduction of science in early childhood. The research implication demands the concern of all stakeholders to see that the introduction of local content is very important to be given from an early age, so that children know, get used to, like, maintain, and love local wealth from an early age. Keywords: Early Childhood, Scientific Learning, Local Content Curriculum Model References: Agustin, R. S., & Puro, S. (2015). Strategy Of Curriculum Development Based On Project Based Learning (Case Study: SMAN 1 Tanta Tanjung Tabalong South Of Kalimantan ) Halaman : Prosiding Ictte Fkip Uns, 1, 202–206. Agustina, N. Q., & Mukhtaruddin, F. (2019). The Cipp Model-Based Evaluation on Integrated English Learning (IEL) Program at Language Center. 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What is pedagogization? What is childhood? And, what is the device? This article is based on a doctorate research which links these three concepts from a Foucault analysis. The starting point is the notion that the 18th century invests specifically in the body of the child, producing a series of practices which register into a pedagogization process of their sex. This process first occurs through silencing and denial of the existence of a child´s sexuality, but at the following moment, it will trigger off an explosion of practices which will exalt, explain, incite, “liberate”, treat, cure, etc, all the manifestations around their body. There is a hypothesis which crosses this debate and preconizes it is from the moment the child becomes one of the strategic groups of the sexuality device. According to Foucault, a heterogeneous set of regimes of truth and practices is also produce don’t of his child, in such way that, a specific manner of childhood living is shown to them. This way, childhood constitutes itself, as well as sexuality, as a historical power device. By corresponding to the characteristics of the device, the article shows the practices which framed the modern childhood, such as: Pedagogical Practices, Divider and gender an didentity Practices and Medical Practices. Through such practices, it is possible to observe the visibility and enunciation lines, as well as the strength and subjectivation ones, converging to frame the body of the child and to configure them as a way of living, behaving, playing, and expressing themselves. A movement which is precise and micropolitical: from the practices of discipline from the body to the childhood device. Resumo O que é a pedagogização? O que é a infância? E o que é o dispositivo? Este artigo se deriva de uma pesquisa de doutorado que entrelaça estes três conceitos a partir de uma analítica foucaultiana. O ponto de partida é a noção de que o século XVIII investe de maneira específica no corpo da criança, produzindo uma série de práticas que se inscrevem em um processo de pedagogização de seu sexo. Esta pedagogização, por sua vez, ocorre primeiramente por meio de um silenciamento e de uma negação da existência da sexualidade da criança, mas que em momento seguinte desencadeia uma explosão de práticas que irão, por outro lado, exaltar, explicar, incitar, “liberar”, tratar, curar etc., todas as suas manifestações em torno de seu corpo. Há uma hipótese que atravessa esse debate que entende que é a partir do momento em que a criança se torna um dos grupos estratégicos do dispositivo da sexualidade, tal como pressupõe Foucault, um conjunto heterogêneo de regimes de verdades e práticas é também produzido sobre esta criança, de maneira tal, que se desenha para ela um modo específico de viver a infância. Dessa maneira, a infância vai se constituindo, tal como a sexualidade, como um dispositivo histórico do poder. De forma correspondente às características do dispositivo, o artigo desenha as práticas que emolduraram a infância moderna, tais como: as Práticas pedagógicas, as Práticas divisórias e identitárias de gênero e de sexualidade e as Práticas médicas. Observa-se, nessas práticas, as linhas de visibilidade e de enunciação, as de força e as de subjetivação, todas convergindo de maneira a esquadrinhar o corpo da criança e a configurar para ela um modo de viver, de se portar, de se vestir, de habitar, de brincar, de se expressar. Um movimento que é preciso e micropolítico: das práticas de disciplinamento do corpo ao dispositivo da infância. Keywords: Childhood, Sexuality, Device, Pedagogization.Palavras-chave: Infância, Sexualidade, Dispositivo, Pedagogização.ReferencesAGAMBEN, Giorgio. O que é um dispositivo? 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ISSN 0104-8333. doi: 10.1590/S0104-83332009000200010.

Parents play an important role in the development of their children. This research reflects the role of parents in developing children. Through four stages of identification, screening, eligibility, and acceptable results, this method uses a systematic literature review using the PRISMA (Preferred Reporting Items for Systematic Reviews and Meta-analyses) method. The findings from the fourteen articles examined show that parenting skills play an important role in a child's growth and development from birth to death. The determining factor in the development of physical, motoric, moral, language, social-emotional, and life skills aspects is the role of both parents as important teachers for children from birth to adulthood. Parents can also use a variety of parenting strategies and skills, many of which they have learned throughout their lives and passed on to their children, to help their children grow. 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IntroductionCoffee, as a stimulant, and the spaces in which it is has been consumed, have long played a vital role in fostering communication, creativity, and sociality. This article explores the interrelationship of café space, communication, creativity, and materialism. In developing these themes, this article is structured in two parts. The first looks back to the coffee houses of the seventeenth and eighteenth centuries to give a historical context to the contemporary role of the café as a key site of creativity through its facilitation of social interaction, communication and information exchange. The second explores the continuation of the link between cafés, communication and creativity, through an instance from the mid-twentieth century where this process becomes individualised and is tied more intrinsically to the material surroundings of the café itself. From this, we argue that in order to understand the connection between café space and creativity, it is valuable to consider the rich polymorphic material and aesthetic composition of cafés. The Social Life of Coffee: London’s Coffee Houses While the social consumption of coffee has a long history, here we restrict our focus to a discussion of the London coffee houses of the seventeenth and eighteenth centuries. It was during the seventeenth century that the vogue of these coffee houses reached its zenith when they operated as a vibrant site of mercantile activity, as well as cultural and political exchange (Cowan; Lillywhite; Ellis). Many of these coffee houses were situated close to the places where politicians, merchants, and other significant people congregated and did business, near government buildings such as Parliament, as well as courts, ports and other travel route hubs (Lillywhite 17). A great deal of information was shared within these spaces and, as a result, the coffee house became a key venue for communication, especially the reading and distribution of print and scribal publications (Cowan 85). At this time, “no coffee house worth its name” would be without a ready selection of newspapers for its patrons (Cowan 173). By working to twenty-four hour diurnal cycles and heightening the sense of repetition and regularity, coffee houses also played a crucial role in routinising news as a form of daily consumption alongside other forms of habitual consumption (including that of coffee drinking). In Cowan’s words, “restoration coffee houses soon became known as places ‘dasht with diurnals and books of news’” (172). Among these was the short-lived but nonetheless infamous social gossip publication, The Tatler (1709-10), which was strongly associated with the London coffee houses and, despite its short publication life, offers great insight into the social life and scandals of the time. The coffee house became, in short, “the primary social space in which ‘news’ was both produced and consumed” (Cowan 172). The proprietors of coffee houses were quick to exploit this situation by dealing in “news mongering” and developing their own news publications to supplement their incomes (172). They sometimes printed news, commentary and gossip that other publishers were not willing to print. However, as their reputation as news providers grew, so did the pressure on coffee houses to meet the high cost of continually acquiring or producing journals (Cowan 173; Ellis 185-206). In addition to the provision of news, coffee houses were vital sites for other forms of communication. For example, coffee houses were key venues where “one might deposit and receive one’s mail” (Cowan 175), and the Penny Post used coffeehouses as vital pick-up and delivery centres (Lillywhite 17). As Cowan explains, “Many correspondents [including Jonathan Swift] used a coffeehouse as a convenient place to write their letters as well as to send them” (176). This service was apparently provided gratis for regular patrons, but coffee house owners were less happy to provide this for their more infrequent customers (Cowan 176). London’s coffee houses functioned, in short, as notable sites of sociality that bundled together drinking coffee with news provision and postal and other services to attract customers (Cowan; Ellis). Key to the success of the London coffee house of the seventeenth and eighteenth centuries was the figure of the virtuoso habitué (Cowan 105)—an urbane individual of the middle or upper classes who was skilled in social intercourse, skills that were honed through participation in the highly ritualised and refined forms of interpersonal communication, such as visiting the stately homes of that time. In contrast to such private visits, the coffee house provided a less formalised and more spontaneous space of sociality, but where established social skills were distinctly advantageous. A striking example of the figure of the virtuoso habitué is the philosopher, architect and scientist Robert Hooke (1635-1703). Hooke, by all accounts, used the opportunities provided by his regular visits to coffee houses “to draw on the knowledge of a wide variety of individuals, from servants and skilled laborers to aristocrats, as well as to share and display novel scientific instruments” (Cowan 105) in order to explore and develop his virtuoso interests. The coffee house also served Hooke as a place to debate philosophy with cliques of “like-minded virtuosi” and thus formed the “premier locale” through which he could “fulfil his own view of himself as a virtuoso, as a man of business, [and] as a man at the centre of intellectual life in the city” (Cowan 105-06). For Hooke, the coffee house was a space for serious work, and he was known to complain when “little philosophical work” was accomplished (105-06). Sociality operates in this example as a form of creative performance, demonstrating individual skill, and is tied to other forms of creative output. Patronage of a coffee house involved hearing and passing on gossip as news, but also entailed skill in philosophical debate and other intellectual pursuits. It should also be noted that the complex role of the coffee house as a locus of communication, sociality, and creativity was repeated elsewhere. During the 1600s in Egypt (and elsewhere in the Middle East), for example, coffee houses served as sites of intensive literary activity as well as the locations for discussions of art, sciences and literature, not to mention also of gambling and drug use (Hattox 101). While the popularity of coffee houses had declined in London by the 1800s, café culture was flowering elsewhere in mainland Europe. In the late 1870s in Paris, Edgar Degas and Edward Manet documented the rich café life of the city in their drawings and paintings (Ellis 216). Meanwhile, in Vienna, “the kaffeehaus offered another evocative model of urban and artistic modernity” (Ellis 217; see also Bollerey 44-81). Serving wine and dinners as well as coffee and pastries, the kaffeehaus was, like cafés elsewhere in Europe, a mecca for writers, artists and intellectuals. The Café Royal in London survived into the twentieth century, mainly through the patronage of European expatriates and local intellectuals such as Wyndham Lewis, Ezra Pound, T. S. Elliot, and Henri Bergson (Ellis 220). This pattern of patronage within specific and more isolated cafés was repeated in famous gatherings of literary identities elsewhere in Europe throughout the twentieth century. From this historical perspective, a picture emerges of how the social functions of the coffee house and its successors, the espresso bar and modern café, have shifted over the course of their histories (Bollerey 44-81). In the seventeenth and eighteenth centuries, the coffee house was an important location for vibrant social interaction and the consumption and distribution of various forms of communication such as gossip, news, and letters. However, in the years of the late nineteenth and early twentieth centuries, the café was more commonly a site for more restricted social interaction between discrete groups. Studies of cafés and creativity during this era focus on cafés as “factories of literature, inciters to art, and breeding places for new ideas” (Fitch, The Grand 18). Central in these accounts are bohemian artists, their associated social circles, and their preferred cafés de bohème (for detailed discussion, see Wilson; Fitch, Paris Café; Brooker; Grafe and Bollerey 4-41). As much of this literature on café culture details, by the early twentieth century, cafés emerge as places that enable individuals to carve out a space for sociality and creativity which was not possible elsewhere in the modern metropolis. Writing on the modern metropolis, Simmel suggests that the concentration of people and things in cities “stimulate[s] the nervous system of the individual” to such an extent that it prompts a kind of self-preservation that he terms a “blasé attitude” (415). This is a form of “reserve”, he writes, which “grants to the individual a [certain] kind and an amount of personal freedom” that was hitherto unknown (416). Cafés arguably form a key site in feeding this dynamic insofar as they facilitate self-protectionism—Fitch’s “pool of privacy” (The Grand 22)—and, at the same time, produce a sense of individual freedom in Simmel’s sense of the term. That is to say, from the early-to-mid twentieth century, cafés have become complex settings in terms of the relationships they enable or constrain between living in public, privacy, intimacy, and cultural practice. (See Haine for a detailed discussion of how this plays out in relation to working class engagement with Paris cafés, and Wilson as well as White on other cultural contexts, such as Japan.) Threaded throughout this history is a clear celebration of the individual artist as a kind of virtuoso habitué of the contemporary café. Café Jama Michalika The following historical moment, drawn from a powerful point in the mid-twentieth century, illustrates this last stage in the evolution of the relationship between café space, communication, and creativity. This particular historical moment concerns the renowned Polish composer and conductor Krzysztof Penderecki, who is most well-known for his avant-garde piece Threnody to the Victims of Hiroshima (1960), his Polymorphia (1961), and St Luke Passion (1963-66), all of which entailed new compositional and notation techniques. Poland, along with other European countries devastated by the Second World War, underwent significant rebuilding after the war, also investing heavily in the arts, musical education, new concert halls, and conservatoria (Monastra). In the immediate post-war period, Poland and Polish culture was under the strong ideological influence exerted by the Soviet Union. However, as Thomas notes, within a year of Stalin’s death in 1953, “there were flickering signs of moderation in Polish culture” (83). With respect to musical creativity, a key turning point was the Warsaw Autumn Music Festival of 1956. “The driving force” behind the first festival (which was to become an annual event), was Polish “composers’ overwhelming sense of cultural isolation and their wish to break the provincial nature of Polish music” at that time (Thomas 85). Penderecki was one of a younger generation of composers who participated in, and benefited from, these early festivals, making his first appearance in 1959 with his composition Strophes, and successive appearances with Dimensions of Time and Silence in 1960, and Threnody in 1961 (Thomas 90). Penderecki married in the 1950s and had a child in 1955. This, in combination with the fact that his wife was a pianist and needed to practice daily, restricted Penderecki’s ability to work in their small Krakow apartment. Nor could he find space at the music school which was free from the intrusion of the sound of other instruments. Instead, he frequented the café Jama Michalika off the central square of Krakow, where he worked most days between nine in the morning and noon, when he would leave as a pianist began to play. Penderecki states that because of the small space of the café table, he had to “invent [a] special kind of notation which allowed me to write the piece which was for 52 instruments, like Threnody, on one small piece of paper” (Krzysztof Penderecki, 2000). In this, Penderecki created a completely new set of notation symbols, which assisted him in graphically representing tone clustering (Robinson 6) while, in his score for Polymorphia, he implemented “novel graphic notation, comparable with medical temperature charts, or oscillograms” (Schwinger 29) to represent in the most compact way possible the dense layering of sounds and vocal elements that is developed in this particular piece. This historical account is valuable because it contributes to discussions on individual creativity that both depends on, and occurs within, the material space of the café. This relationship is explored in Walter Benjamin’s essay “Polyclinic”, where he develops an extended analogy between the writer and the café and the surgeon and his instruments. As Cohen summarises, “Benjamin constructs the field of writerly operation both in medical terms and as a space dear to Parisian intellectuals, as an operating table that is also the marble-topped table of a café” (179). At this time, the space of the café itself thus becomes a vital site for individual cultural production, putting the artist in touch with the social life of the city, as many accounts of writers and artists in the cafés of Paris, Prague, Vienna, and elsewhere in Europe attest. “The attraction of the café for the writer”, Fitch argues, “is that seeming tension between the intimate circle of privacy in a comfortable room, on the one hand, and the flow of (perhaps usable) information all around on the other” (The Grand 11). Penderecki talks about searching for a sound while composing in café Jama Michalika and, hearing the noise of a passing tram, subsequently incorporated it into his famous composition, Threnody (Krzysztof Penderecki, 2000). There is an indirect connection here with the attractions of the seventeenth century coffee houses in London, where news writers drew much of their gossip and news from the talk within the coffee houses. However, the shift is to a more isolated, individualistic habitué. Nonetheless, the aesthetic composition of the café space remains essential to the creative productivity described by Penderecki. A concept that can be used to describe this method of composition is contained within one of Penderecki’s best-known pieces, Polymorphia (1961). The term “polymorphia” refers not to the form of the music itself (which is actually quite conventionally structured) but rather to the multiple blending of sounds. Schwinger defines polymorphia as “many formedness […] which applies not […] to the form of the piece, but to the broadly deployed scale of sound, [the] exchange and simultaneous penetration of sound and noise, the contrast and interflow of soft and hard sounds” (131). This description also reflects the rich material context of the café space as Penderecki describes its role in shaping (both enabling and constraining) his creative output. Creativity, Technology, Materialism The materiality of the café—including the table itself for Penderecki—is crucial in understanding the relationship between the forms of creative output and the material conditions of the spaces that enable them. In Penderecki’s case, to understand the origins of the score and even his innovative forms of musical notation as artefacts of communication, we need to understand the material conditions under which they were created. As a fixture of twentieth and twenty-first century urban environments, the café mediates the private within the public in a way that offers the contemporary virtuoso habitué a rich, polymorphic sensory experience. In a discussion of the indivisibility of sensation and its resistance to language, writer Anna Gibbs describes these rich experiential qualities: sitting by the window in a café watching the busy streetscape with the warmth of the morning sun on my back, I smell the delicious aroma of coffee and simultaneously feel its warmth in my mouth, taste it, and can tell the choice of bean as I listen idly to the chatter in the café around me and all these things blend into my experience of “being in the café” (201). Gibbs’s point is that the world of the café is highly synaesthetic and infused with sensual interconnections. The din of the café with its white noise of conversation and overlaying sounds of often carefully chosen music illustrates the extension of taste beyond the flavour of the coffee on the palate. In this way, the café space provides the infrastructure for a type of creative output that, in Gibbs’s case, facilitates her explanation of expression and affect. The individualised virtuoso habitué, as characterised by Penderecki’s work within café Jama Michalika, simply describes one (celebrated) form of the material conditions of communication and creativity. An essential factor in creative cultural output is contained in the ways in which material conditions such as these come to be organised. As Elizabeth Grosz expresses it: Art is the regulation and organisation of its materials—paint, canvas, concrete, steel, marble, words, sounds, bodily movements, indeed any materials—according to self-imposed constraints, the creation of forms through which these materials come to generate and intensify sensation and thus directly impact living bodies, organs, nervous systems (4). Materialist and medium-oriented theories of media and communication have emphasised the impact of physical constraints and enablers on the forms produced. McLuhan, for example, famously argued that the typewriter brought writing, speech, and publication into closer association, one effect of which was the tighter regulation of spelling and grammar, a pressure toward precision and uniformity that saw a jump in the sales of dictionaries (279). In the poetry of E. E. Cummings, McLuhan sees the typewriter as enabling a patterned layout of text that functions as “a musical score for choral speech” (278). In the same way, the café in Penderecki’s recollections both constrains his ability to compose freely (a creative activity that normally requires ample flat surface), but also facilitates the invention of a new language for composition, one able to accommodate the small space of the café table. Recent studies that have sought to materialise language and communication point to its physicality and the embodied forms through which communication occurs. As Packer and Crofts Wiley explain, “infrastructure, space, technology, and the body become the focus, a move that situates communication and culture within a physical, corporeal landscape” (3). The confined and often crowded space of the café and its individual tables shape the form of productive output in Penderecki’s case. Targeting these material constraints and enablers in her discussion of art, creativity and territoriality, Grosz describes the “architectural force of framing” as liberating “the qualities of objects or events that come to constitute the substance, the matter, of the art-work” (11). More broadly, the design features of the café, the form and layout of the tables and the space made available for individual habitation, the din of the social encounters, and even the stimulating influences on the body of the coffee served there, can be seen to act as enablers of communication and creativity. Conclusion The historical examples examined above indicate a material link between cafés and communication. They also suggest a relationship between materialism and creativity, as well as the roots of the romantic association—or mythos—of cafés as a key source of cultural life as they offer a “shared place of composition” and an “environment for creative work” (Fitch, The Grand 11). We have detailed one example pertaining to European coffee consumption, cafés and creativity. While we believe Penderecki’s case is valuable in terms of what it can tell us about forms of communication and creativity, clearly other cultural and historical contexts may reveal additional insights—as may be found in the cases of Middle Eastern cafés (Hattox) or the North American diner (Hurley), and in contemporary developments such as the café as a source of free WiFi and the commodification associated with global coffee chains. Penderecki’s example, we suggest, also sheds light on a longer history of creativity and cultural production that intersects with contemporary work practices in city spaces as well as conceptualisations of the individual’s place within complex urban spaces. References Benjamin, Walter. “Polyclinic” in “One-Way Street.” One-Way Street and Other Writings. Trans. Edmund Jephcott and Kingsley Shorter. London: Verso, 1998: 88-9. Bollerey, Franziska. “Setting the Stage for Modernity: The Cosmos of the Coffee House.” Cafés and Bars: The Architecture of Public Display. Eds. Christoph Grafe and Franziska Bollerey. New York: Routledge, 2007. 44-81. Brooker, Peter. Bohemia in London: The Social Scene of Early Modernism. Houndmills, Hamps.: Palgrave Macmillan, 2007. Cohen, Margaret. Profane Illumination: Walter Benjamin and the Paris of Surrealist Revolution. Berkeley: U of California P, 1995. Cowan, Brian. The Social Life of Coffee: The Emergence of the British Coffeehouse. New Haven: Yale UP, 2005. Ellis, Markman. The Coffee House: A Cultural History. London: Weidenfeld & Nicholson, 2004. Fitch, Noël Riley. Paris Café: The Sélect Crowd. Brooklyn: Soft Skull Press, 2007. -----. The Grand Literary Cafés of Europe. London: New Holland Publishers (UK), 2006. Gibbs, Anna. “After Affect: Sympathy, Synchrony, and Mimetic Communication.” The Affect Theory Reader. Eds. Melissa Gregg and Gregory J. Siegworth. Durham: Duke University Press, 2010. 186-205. Grafe, Christoph, and Franziska Bollerey. “Introduction: Cafés and Bars—Places for Sociability.” Cafés and Bars: The Architecture of Public Display. Eds. Christoph Grafe and Franziska Bollerey. New York: Routledge, 2007. 4-41. Grosz, Elizabeth. Chaos, Territory, Art: Deleuze and the Framing of the Earth. New York: Columbia UP, 2008. Haine, W. Scott. The World of the Paris Café. Baltimore: Johns Hopkins UP, 1996. Hattox, Ralph S. Coffee and Coffeehouses: The Origins of a Social Beverage in the Medieval Near East. Seattle: U of Washington P, 1985. Hurley, Andrew. Diners, Bowling Alleys and Trailer Parks: Chasing the American Dream in the Postwar Consumer Culture. New York: Basic Books, 2001. Krzysztof Penderecki. Dir. Andreas Missler-Morell. Spektrum TV production and Telewizja Polska S.A. Oddzial W Krakowie for RM Associates and ZDF in cooperation with ARTE, 2000. Lillywhite, Bryant. London Coffee Houses: A Reference Book of Coffee Houses of the Seventeenth, Eighteenth, and Nineteenth Centuries. London: George Allen & Unwin, 1963. McLuhan, Marshall. Understanding Media: The Extensions of Man. London: Abacus, 1974. Monastra, Peggy. “Krzysztof Penderecki’s Polymorphia and Fluorescence.” Moldenhauer Archives, [US] Library of Congress. 12 Jan. 2012 ‹http://memory.loc.gov/ammem/collections/moldenhauer/2428143.pdf› Packer, Jeremy, and Stephen B. Crofts Wiley. “Introduction: The Materiality of Communication.” Communication Matters: Materialist Approaches to Media, Mobility and Networks. New York, Routledge, 2012. 3-16. Robinson, R. Krzysztof Penderecki: A Guide to His Works. Princeton, NJ: Prestige Publications, 1983. Schwinger, Wolfram. Krzysztof Penderecki: His Life and Work. Encounters, Biography and Musical Commentary. London: Schott, 1979. Simmel, Georg. The Sociology of Georg Simmel. Ed. and trans. Kurt H. Wolff. Glencoe, IL: The Free P, 1960. Thomas, Adrian. Polish Music since Szymanowski. Cambridge: Cambridge UP, 2005. White, Merry I. Coffee Life in Japan. Berkeley: U of California P, 2012. Wilson, Elizabeth. “The Bohemianization of Mass Culture.” International Journal of Cultural Studies 2.1 (1999): 11-32.

All critics declare not only their judgment of the work but also their claim to the right to talk about it and judge it. In short, they take part in a struggle for the monopoly of legitimate discourse about the work of art, and consequently in the production of the value of the work of art. (Pierre Bourdieu 36). As it becomes blindingly obvious that ‘cultural production’, including the cinema, now underpins an economy every bit as brutal in its nascent state as the Industrial Revolution was for its victims 200 years ago, both critique and cinephilia seem faded and useless to me. (Meaghan Morris 700). The music’s loud, the lights are low. I’m at a party and somebody’s shouting at me. “How many films do you see every week?” “Do you really get in for free?” “So what should I see next Saturday night?” These are the questions that shape the small talk of my life. After seven years of reviewing movies you’d think I’d have ready answers and sparkling rehearsed tip-offs to scatter at the slightest quiver of interest. And yet I feel anxious when I’m asked to predict some stranger’s enjoyment – their 15-odd bucks worth of dark velvet pleasure. Who am I to say what they’ll enjoy? Who am I to judge what’s worthwhile? As editor of the film pages of The Big Issue magazine (Australian edition), I make such value judgments every day, sifting through hundreds of press releases, invitations and interview offers. I choose just three films and three DVDs to be reviewed each fortnight, and one film to form the subject of a feature article or interview. The film pages are a very small part of an independent magazine that exists to provide an income for the homeless and long-term unemployed people who sell it on the streets of Melbourne, Sydney, Brisbane, Adelaide and Perth. And no, homeless people don’t go to the movies very often but our relatively educated and affluent city-dwelling readers do. The letters page of the magazine suggests that readers’ favourite pages are the Vendor Portraits – the extraordinary and sobering photographs and life stories of the people who are out there on the streets selling the magazine. Yet the editorial policy is to maintain a certain lightness of touch amidst the serious business. Thus, the entertainment pages (music, books, film, TV and humour) have no specific social justice agenda. But if there’s a new Australian film out there that deals with the topic of homelessness, it seems imperative to at least consider the story. Rather than offering in-depth analysis of particular films and the ways I go about judging them, the following diary excerpts instead offer a sketch of the practical process of editorial decision-making. Why review this film and not that one? Why interview this actor or that film director? And how do these choices fit within the broad goals of a social justice publication? Created randomly, from a quick scan of the last twelve months, the diary is a scribbled attempt to justify, or in Bourdieu’s terms, “legitimate” the critical role I play, and to try and explain how that role can never be fully defined by an aesthetic that is divorced from social and political realities. August 2004 My editor calls me and asks if I’ve seen Tom White, the new low-budget Australian film by Alkinos Tsilimidos. I have, and I hated it. Starring Colin Friels, the film follows the journey of a middle-aged middle-class man who walks out of his life and onto the streets. It’s a grimy, frustrating film, supported by only the barest bones of narrative. I was bored and infuriated by the central character, and I know it’s the kind of under-developed story that’s keeping Australian audiences away from our own films. And yet … it’s a local film that actually dares to tackle issues of homelessness and mental illness, and it’s a story that presents a truth about homelessness that’s borne out by many of our vendors: that any one of us could, except by the grace of God or luck, find ourselves sleeping rough. My editor wants me to interview Colin Friels, who will appear on the cover of the magazine. I don’t want to touch the film, and I prefer interviewing people whose work genuinely interests and excites me. But there are other factors to be considered. The film’s exhibitor, Palace Films, is offering to hold charity screenings for our benefit, and they are regular advertising supporters of The Big Issue. My editor, a passionate and informed film lover himself, understands the quandary. We are in no way beholden to Palace, he assures me, and we can tread the fine line with this film, using it to highlight the important issues at hand, without necessarily recommending the film to audiences. It’s tricky and uncomfortable; a simple example of the way in which political and aesthetic values do not always dance so gracefully together. Nevertheless, I find a way to write the story without dishonesty. September 2004 There’s no denying the pleasure of writing (or reading) a scathing film review that leaves you in stitches of laughter over the dismembered corpse of a bad movie. But when space is limited, I’d rather choose the best three films every fortnight for review and recommendation. In an ideal world I’d attend every preview and take my pick. They’d be an excitingly diverse mix. Say, one provocative documentary (maybe Mike Moore or Errol Morris), one big-budget event movie (from the likes of Scorsese or Tarantino), and one local or art-house gem. In the real world, it’s a scramble for deadlines. Time is short and some of the best films only screen in one or two states, making it impossible for us to cover them for our national audience. Nevertheless, we do our best to keep the mix as interesting and timely as possible. For our second edition this month I review the brilliant documentary Metallica: Some Kind of Monster (Joe Berlinger and Bruce Sinofsky), while I send other reviewers to rate Spielberg’s The Terminal (only one and a half stars out of five), and Cate Shortland’s captivating debut Australian feature Somersault (four stars). For the DVD review page we look at a boxed set of The Adventures of Tintin, together with the strange sombre drama House of Sand and Fog (Vadim Perelman), and the gripping documentary One Day in September (Kevin MacDonald) about the terrorist attacks at the 1972 Munich Olympic Games. As editor, I try to match up films with the writers who’ll best appreciate them. With a 200-word limit we know that we’re humble ‘reviewers’ rather than lofty ‘critics’, and that we can only offer the briefest subjective response to a work. Yet the goal remains to be entertaining and fair, and to try and evaluate films on their own terms. Is this particular movie an original and effective example of the schlocky teen horror thriller? If so, let’s give it the thumbs up. Is this ‘worthy’ anti-globalisation documentary just a boring preachy sermon with bad hand-held camera work? Then we say so. For our film feature article this edition, I write up an interview with Italian director Luigi Falorni, whose simple little film The Weeping Camel has been reducing audiences to tears. It’s a strange quiet film, a ‘narrative documentary’ set in the Gobi desert, about a mother camel that refuses to give milk to her newborn baby. There’s nothing political or radical about it. It’s just beautiful and interesting and odd. And that’s enough to make it worthy of attention. November 2004 When we choose to do a ‘celebrity’ cover, we find pretty people with serious minds and interesting causes. This month two gorgeous film stars, Natalie Portman and Gael Garcia Bernal find their way onto our covers. Portman’s promoting the quirky coming of age film, Garden State (Zach Braff), but the story we run focuses mainly on her status as ambassador for the Foundation of International Community Assistance (FINCA), which offers loans to deprived women to help them start their own businesses. Gabriel Garcia Bernal, the Mexican star of Walter Salle’s The Motorcycle Diaries appears on our cover and talks about his role as the young Che Guevara, the ultimate idealist and symbol of rebellion. We hope this appeals to those radicals who are prepared to stop in the street, speak to a homeless person, and shell out four dollars for an independent magazine – and also to all those shallow people who want to see more pictures of the hot-eyed Latin lad. April 2005 Three Dollars is Robert Connelly’s adaptation of Elliot Perlman’s best-selling novel about economic rationalism and its effect on an average Australian family. I loved the book, and the film isn’t bad either, despite some unevenness in the script and performances. I interview Frances O’Connor, who plays opposite David Wenham as his depressed underemployed wife. O’Connor makes a beautiful cover-girl, and talks about the seemingly universal experience of depression. We run the interview alongside one with Connelly, who knows just how to pitch his film to an audience interested in homelessness. He gives great quotes about John Howard’s heartless Australia, and the way we’ve become an economy rather than a society. It’s almost too easy. In the reviews section of the magazine we pan two other Australian films, Paul Cox’s Human Touch, and the Jimeoin comedy-vehicle The Extra. I’d rather ignore bad Australian films and focus on good films from elsewhere, or big-budget stinkers that need to be brought down a peg. But I’d lined up reviews for these local ones, expecting them to be good, and so we run with the negativity. Some films are practically critic-proof, but small niche films, like most Australian titles, aren’t among these Teflon giants. As Joel Pearlman, Managing Director of Roadshow Films has said, “There are certain types of films that are somewhat critic-proof. They’ve either got a built-in audience, are part of a successful franchise, like The Matrix or Bond films, or have a popular star. It’s films without the multimillion-dollar ad campaigns and the big names where critics are far more influential” ( Pearlman in Bolles 19). Sometimes I’m glad that I’m just a small fish in the film critic pond, and that my bad reviews can’t really destroy someone’s livelihood. It’s well known that a caning from reviewers like David Stratton and Margaret Pomeranz (ABC, At the Movies), or the Melbourne Age’s Jim Schembri can practically destroy the prospects of a small local film, and I’m not sure I have the bravery or conviction of the value of my own tastes to bear such responsibility. Admittedly, that’s just gutless tender-heartedness for, as reviewers, our responsibility is to the audience not to the filmmaker. But when you’ve met with cash-strapped filmmakers, and heard their stories and their struggles, it’s sometimes hard to put personal compassion aside and see the film as the punter will. But you must. August 2005 It’s a busy time with the Melbourne International Film Festival just finishing up. Hordes of film directors accompany their films to the festival, promoting them here ahead of a later national release schedule, and making themselves available for rare face-to face interviews. This year I find a bunch of goodies that seem like they were tailor-made for our readership. There are winning local films like Sarah Watt’s life-affirming debut Look Both Ways; and Rowan Woods’ gritty addiction-drama Little Fish. There’s my personal favourite, Bahman Ghobadi’s stunning and devastating Kurdish/Iranian feature Turtles Can Fly; and Avi Lewis’s inspiring documentary The Take, about Argentine factory workers who unite to revive their bankrupt workplaces. It’s when I see films like this, and get to talk to the people who bring them into existence, that I realize how much I value writing about films for a publication that doesn’t exist just to make a profit or fill space between advertisements. As the great American critic Jonathan Rosenbaum has eloquently argued, most of the worldwide media coverage concerning film is merely a variation on the ‘corporate stories’ that film studios feed us as part of their advertising. To be able to provide some small resistance to that juggernaut is a wonderful privilege. I love to be lost in the dark, studying films frame by frame, and with reference only to some magical internal universe of ‘cinema’ and its endless references to itself. But as the real world outside falls apart, such airless cinephilia feels just plain wrong. As a writer whose subject is films, what I’m compelled to do is to come out of the cinema and try to use my words to convey the best of what I’ve seen to my friends and readers, pointing them towards small treasures they may have overlooked amidst the hype. So maybe I’m not a ‘pure’ critic, and maybe there’s no shame in that. The films I’ll gravitate towards share an almost indefinable quality – to use Jauss’s phrase, they reconstruct and expand my “horizon of expectation” (28). Sometimes these films are overtly committed to a cause, but often they’re just beautiful and strange and fresh. Always they expand me, open me, make me feel that there’s more to the world than expected, and make me want more too – more information, more freedom, more compassion, more equality, more beauty. And, after all these years in the dark, I still want more films like that. Endnotes As of August 2005, the role of DVD editor of The Big Issue has been filled by Anthony Morris. According the latest Morgan Poll, readers of The Big Issue are likely to be young (18-39), urban, educated, and affluent professionals. Current readership is estimated at 144,000 fortnightly and growing. References Bolles, Scott. “The Critics.” Sunday Life. The Age 10 Jul. 2005: 19. Bourdieu, Pierre. The Field of Cultural Production: Essays on Art and Literature. Ed. Randal Johnson. Cambridge: Polity Press, 1993. Jauss, Hans Robert. Toward an Aesthetic of Reception. Trans. Timothy Bahti. Minnesota: U of Minnesota P, 1982. Morris, Meaghan. “On Going to Bed Early: Once Upon a Time in America.” Meanjin 4 (1998): 700. Rosenbaum, Jonathan. “Junket Bonds.” Chicago Reader Movie Review (2000). 2 Sept. 2005 http://www.chicagoreader.com/movies/archives/2000/1000/00117.html>. The Big Issue Australia. http://www.bigissue.org.au/> 10 Oct. 2005. Citation reference for this article MLA Style Siemienowicz, Rochelle. "Diary of a Film Reviewer: Intimate Reflections on Writing about the Screen for a Popular Audience." M/C Journal 8.5 (2005). echo date('d M. Y'); ?> <http://journal.media-culture.org.au/0510/01-siemienowicz.php>. APA Style Siemienowicz, R. (Oct. 2005) "Diary of a Film Reviewer: Intimate Reflections on Writing about the Screen for a Popular Audience," M/C Journal, 8(5). Retrieved echo date('d M. Y'); ?> from <http://journal.media-culture.org.au/0510/01-siemienowicz.php>.