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Dion Kagan

Dallas Buyers Club is the latest and largest in a growing number of period and documentary films about Aids in America. It envisages a time in the 1980s when people living with HIV/Aids existed in a socio-political combat zone in addition to the battles being waged in their own immune systems. Dallas Buyers Club is allegedly a different kind of Aids fi ...

Ronnie Scott, who started The Lifted Brow in Brisbane in 2007 at the age of twenty, has now curated this Best of collection from the magazine’s first five years. It’s an eclectic mixtape of contributions from internationals such as David Foster Wallace, Heidi Julavits, and Tao Lin, local writers Christos Tsiolkas and Frank Moorhouse, and a roll-call of the young and/or hip, including Romy Ash, Tom Cho, Anna Krien, and Alice Pung, many of whom were but talented emerging writers when their work first featured in the magazine. 

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Stranger by the Lake is set entirely within the perimeters of a cruising ground for men by the shores of a lake in France. There unfolds a perfectly simple temporal conceit in which the cruiser, a handsome thirty-something everyman called Franck (Pierre Deladonchamps), arrives each summer day, parks his car, and walks down to the pebbled beach by the lake’s edge. That this is a narrative of repetitions becomes clear the third or fourth time we see the sunny establishing shot of the makeshift carpark where Franck parks his Renault. His routine documents almost ethnographically what happens at the cruising ground: he walks down to the beach, greets some acquaintances, takes off his clothes, swims, sunbakes, waits, rummages around in the scrub for sex, then does it all again.

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Much has been said about our tendency to feel bad about our bodies, but not quite in the way Mel Campbell goes about it. The fit of clothes is a more interesting, if more elusive, cultural story than the predictable outrage over fashion’s ever slimmer bodies or recent storms about ‘plus size’ models. Out of Shape addresses these controversies but also goes to the frontline of fashion and fit: malls, big-brand manufacturers, and their fraught strategies for streamlining a comprehensible – and marketable – logic between clothing size and the heterogeneous human body. Though it is her first full-length work, the book explores a question that Campbell has been pondering in blogs, journalism, and reviews for years: why can finding clothes that fit well feel so torturous?

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