![]() Focussing on Top of the Lake, I explore its thematic and aesthetic preoccupation with place, voice and nation by spotlighting issues of accent and vocal in/authenticity, detailing the controversy sparked when US star Elisabeth Moss was cast as New Zealand native, detective Robin Griffin. This article examines the role that locality, cultural specificity and authentic voice play within current television industry shifts and transnational developments. This direct interplay between satire and politics has contributed to three significant shifts within political discourse: certain satires are now being used as trusted, legitimate sources of political information and truth politicians increasingly engage with satirists or use satire in ways that suggest a political attempt at co-option and those who I define as “citizen satirists” are engaging in practices of consumption and production resulting in online satirical texts that have, due to the global flow of information, started to contribute to political debates in more traditional mainstream media. The satirist is given a licence to speak both satirically and seriously about politics, and the politician attempts to gain cultural capital through playing with the satirist in good humour, sometimes actively satirising themselves. My research observes that in the current media landscape, satirists and politicians are encroaching on each other’s spaces. I then explore how the larrikin, the carnivalesque and a cultural “distaste for taste” play an important role in the way satirists are given legitimacy to speak on political issues in Australia. Firstly, I examine the difference between cynicism and its ancient counterpart kynicism in order to illustrate how different types of satire approach the idea of truth and truth-telling. ![]() ![]() There is a long tradition of scholarship concerned with issues such as satire’s ability to promote subversion, awareness, apathy or even cynicism the potential, or lack thereof, of satire to influence any change in political or journalistic discourse and the relationship between satire and “truth,” particularly in satire’s capacity to “speak truth to power.” My research expands on this tradition, asking, how does televisual and online political satire contribute to shifting political discourses? Focusing primarily on the under-researched relationship between satire and Australian politics, this question is considered through textual and discursive analysis. This thesis examines the contemporary interplay between satire and politics, focusing on texts that envisage and engage with politics in unconventional and often mischievous ways. On what basis do we make claims about our past? How much do or can we as archaeologists know? Why do many people often prefer interpretations that fly in the face of scientific evidence? This course is intended to explore the various processes by which accounts of the past are created-whether by archaeologists, novelists, the general public or the lunatic fringe. These range from the stereotypes of Indiana Jones and Lara Croft in film, through Victorian concepts of ‘progress’ and later Nazi propaganda, to claims for Phoenician or Egyptian cities in Australia and America and space aliens as the source of all ‘sophisticated’ technology. This course will track some of the perceptions, uses and abuses of archaeology and, consequently, of interpretations of our cultural past. ![]() Sometimes, these attitudes colour the past in such a way that they give rise to unusual and quite unorthodox interpretations of archaeological data. Just as contemporary attitudes to race, politics, religion and gender affect the way we look at the present, so, too, do they colour the way we look at the past. Like all social sciences, archaeology is an activity which is conducted by people in the present and both its purposes and its discoveries are firmly enmeshed in contemporary attitudes and beliefs. The practice of archaeology does not take place within a social vacuum. This topic is taught by myself or Heather Burke.
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