Andrew W Hurley
Biographic Data
| ID | 1485819 |
|---|---|
| NAME | Andrew W Hurley |
| GIVEN NAMES | Andrew W |
| FAMILY NAME | Hurley |
| SIGNATURE | HURLEY A W |
| AFFILIATIONS | University of Technology Sydney |
| VERIFIED | No |
| TOTAL WORKS | 9 |
| TOTAL CITATIONS | 0 |
| AUTHOR COUNT | 9 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2007 |
| LATEST PUBLICATION YEAR | 2018 |
| H-INDEX | 0 |
Remembering Hermannsburg and the Strehlows in cantata form: Music, the German-Australian past and reconciliation
Remembering German-Australian Colonial Entanglements emphatically promotes a critical and nuanced understanding of the complex entanglement of German colonial actors and activities within Australian colonial institutions and different
Farewell My Country? Hermannsburg, Gus Williams, and the Indigenised Heimatlied
This microhistory focuses on a little-known aspect of Indigenous musical life in the 1960s in the Lutheran Hermannsburg Mission (now Ntaria) in Central Australia. I contemplate the possible meanings arising when Gus and Rhonda Williams translated the secular German Heimat- cum-Wanderlied [song of home-cum-wandering], “Ade du mein Heimatland”, [Farewell to you my homeland], into Arrarnta as “Ade pmara nukai” [Farewell my country], and “presenced I…
Beyond the Sakura Waltz: Reflections on the encounter between German and Japanese jazz, 1962–1985
Andrew Hurley has written previously for Perfect Beat with an article examining jazz links between Indonesia and Germany (v8n1). The article in this issue explores relationships between jazz in Japan and West Germany, after noting a series of interesting parallels in society and changes experienced in the post-war era in both countries. In examining encounters between jazz musicians from the two countries, and the use of traditional Japanese inst…
“Jack of All Trades” or “Double Agent?” The German Popular Musician as Novelist: “Jack of All Trades” or “Double Agent?”
Love, Popular Music, and "Technologies of Gender" in Karen Duve's Dies ist kein Liebeslied (This Is Not a Love Song)
Using Karen Duve's 2002 “postpop” novel as its basis, this article examines the gendering of consumption of popular music in the Federal Republic of Germany between the 1960s and the 1990s. The novel suggests that the amassing of popular music cultural capital was restricted to male connoisseurs, whereas women tended to engage with music on a more emotional level. Duve is ambivalent about how beneficial this more pleasurable mode of consumption m…
From Aboriginal Australia to German autumn: On the West German reception of thirteen ‘films from Black Australia’
This article examines some aspects of the West German reception of a series of Australian films about Aborigines—including Peter Weir's The Last Wave (1977), Phillip Noyce's Backroads (1977) and Michael Edols' Lalai and Floating (1973 and 1975)—which were shown in Germany and elsewhere in Europe in 1978 and 1979. It explains how these films came to be shown in Europe, how and why they caught the imagination of German reviewers and film-makers at …
Postnationalism, Postmodernism and the German Discourse(s) of Weltmusik
Since the mid-1960s, just after the time at which Jameson posits the emergence of postmodernist aesthetics, 1 German musicians and producers, operating in a range of fields of musical production from highbrow Ernste-Musik ('serious music') to jazz and rock, have experimented with notions of Weltmusik (a term I will not translate since, in German discourses, Weltmusik has tended to signify western music in which various musical components are thou…
Three takes on intercultural film: Michael Edols' trilogy of Aboriginal films: Lalai Dreamtime; Floating, Like Wind Blow 'em About—This Time; and When the Snake Bites the Sun
This article examines the innovative film-making approaches taken in Michael Edols' three films (Lalai Dreamtime; Floating, Like Wind Blow 'em About—This Time; and When the Snake Bites the Sun), profiles their political, critical and popular reception (including amongst Aboriginal people—and analyses the insights they afford into the disciplines of film-making, ethnography and into broader questions of intercultural dialogue. At a time of increas…
Whose Dreaming? Intercultural appropriation, representations of Aboriginality, and the process of film-making in Werner Herzog's Where the Green Ants Dream (1983)
In 1983, the German film-maker Werner Herzog realized a decade-long ambition to create a film thematizing the struggles of Aboriginal groups against mining companies in Northern Australia. Where the Green Ants Dream (1984) was ultimately reviled by Australian pundits and also disappointed international critics. However, the film and the story behind its making raise important issues, not only about the creative appropriation of Aboriginal mytholo…
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Whose Dreaming? Intercultural appropriation, representations of Aboriginality, and the process of film-making in Werner Herzog's Where the Green Ants Dream (1983)
In 1983, the German film-maker Werner Herzog realized a decade-long ambition to create a film thematizing the struggles of Aboriginal groups against mining companies in Northern Australia. Where the Green Ants Dream (1984) was ultimately reviled by Australian pundits and also disappointed international critics. However, the film and the story behind its making raise important issues, not only about the creative appropriation of Aboriginal mytholo…
Three takes on intercultural film: Michael Edols' trilogy of Aboriginal films: Lalai Dreamtime; Floating, Like Wind Blow 'em About—This Time; and When the Snake Bites the Sun
This article examines the innovative film-making approaches taken in Michael Edols' three films (Lalai Dreamtime; Floating, Like Wind Blow 'em About—This Time; and When the Snake Bites the Sun), profiles their political, critical and popular reception (including amongst Aboriginal people—and analyses the insights they afford into the disciplines of film-making, ethnography and into broader questions of intercultural dialogue. At a time of increas…
From Aboriginal Australia to German autumn: On the West German reception of thirteen ‘films from Black Australia’
This article examines some aspects of the West German reception of a series of Australian films about Aborigines—including Peter Weir's The Last Wave (1977), Phillip Noyce's Backroads (1977) and Michael Edols' Lalai and Floating (1973 and 1975)—which were shown in Germany and elsewhere in Europe in 1978 and 1979. It explains how these films came to be shown in Europe, how and why they caught the imagination of German reviewers and film-makers at …
Postnationalism, Postmodernism and the German Discourse(s) of Weltmusik
Since the mid-1960s, just after the time at which Jameson posits the emergence of postmodernist aesthetics, 1 German musicians and producers, operating in a range of fields of musical production from highbrow Ernste-Musik ('serious music') to jazz and rock, have experimented with notions of Weltmusik (a term I will not translate since, in German discourses, Weltmusik has tended to signify western music in which various musical components are thou…
Love, Popular Music, and "Technologies of Gender" in Karen Duve's Dies ist kein Liebeslied (This Is Not a Love Song)
Using Karen Duve's 2002 “postpop” novel as its basis, this article examines the gendering of consumption of popular music in the Federal Republic of Germany between the 1960s and the 1990s. The novel suggests that the amassing of popular music cultural capital was restricted to male connoisseurs, whereas women tended to engage with music on a more emotional level. Duve is ambivalent about how beneficial this more pleasurable mode of consumption m…
“Jack of All Trades” or “Double Agent?” The German Popular Musician as Novelist: “Jack of All Trades” or “Double Agent?”
Beyond the Sakura Waltz: Reflections on the encounter between German and Japanese jazz, 1962–1985
Andrew Hurley has written previously for Perfect Beat with an article examining jazz links between Indonesia and Germany (v8n1). The article in this issue explores relationships between jazz in Japan and West Germany, after noting a series of interesting parallels in society and changes experienced in the post-war era in both countries. In examining encounters between jazz musicians from the two countries, and the use of traditional Japanese inst…
Farewell My Country? Hermannsburg, Gus Williams, and the Indigenised Heimatlied
This microhistory focuses on a little-known aspect of Indigenous musical life in the 1960s in the Lutheran Hermannsburg Mission (now Ntaria) in Central Australia. I contemplate the possible meanings arising when Gus and Rhonda Williams translated the secular German Heimat- cum-Wanderlied [song of home-cum-wandering], “Ade du mein Heimatland”, [Farewell to you my homeland], into Arrarnta as “Ade pmara nukai” [Farewell my country], and “presenced I…
Remembering Hermannsburg and the Strehlows in cantata form: Music, the German-Australian past and reconciliation
Remembering German-Australian Colonial Entanglements emphatically promotes a critical and nuanced understanding of the complex entanglement of German colonial actors and activities within Australian colonial institutions and different
Art (9 works) · German (7 works) · History (7 works) · Sociology (6 works) · Art history (5 works) · Literature (5 works) · Aesthetics (4 works) · Archaeology (4 works) · German Colonialism and Identity Studies (4 works) · Law (4 works)