ANDREW MGREGOR
Biographic Data
| ID | 5705161 |
|---|---|
| NAME | ANDREW MGREGOR |
| GIVEN NAMES | ANDREW |
| FAMILY NAME | MGREGOR |
| SIGNATURE | MGREGOR A |
| AFFILIATIONS | The University of Melbourne |
| ORCID | 0000-0002-3955-3513 |
| VERIFIED | Yes |
| TOTAL WORKS | 12 |
| TOTAL CITATIONS | 2 |
| WORKS AS AUTHOR | 12 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2002 |
| LATEST PUBLICATION YEAR | 2025 |
| H-INDEX | 1 |
Bridging extreme climate risks, financial precarity, and adaptation gaps
The intensification of extreme climate events is no longer a distant threat but is a pressing, global reality for smallholders. This study unpacks the complex interconnections among extreme climate events, perceived risks, and financial constraints to adaptation by integrating multi-source evidence – from historical climate trends and downscaled climate projections from 25 General Circulation Models to household census data from 996 smallholder h…
Marginality on the Move
This article examines the marginality and perpetual exile of the migrant journey as represented in French-Algerian director Tony Gatlif’s 2004 film Exils , for which he was awarded the Best Director prize at the 2004 Cannes Film Festival. On the one hand, Exils may be read as a road movie in reverse. It could be considered a deliberate shift by the director, and by the film’s protagonists, away from the traditional centre of French consciousness—…
Introduction
Romanticizing the Romani
Of French-Algerian and Andalusian-Romani descent, French film director Tony Gatlif offers an intriguing insight into the culture of one of Europe’s most marginalized, misunderstood and misrepresented others: the Romani (Gypsies). This article examines the rules of engagement in Gatlif’s representation of cultural minorities, particularly in relation to his claims to cultural “truth” and authenticity in his filmmaking. Also explored are the dynami…
Liminal lieux de mémoire
This article examines the representation of postcolonial memory in Tony Gatlif’s 2004 film Exils / Exiles. The constant movement that occurs in the film through travel, music, and dance reinforces the permanent dislocation of the film’s pied-noir and beurette protagonists. The film’s road-movie narrative represents, on the one hand, a gravitational pull away from the French Republican integrationist ‘centre’ towards an increasingly complex and di…
O is for Orientalism
This article explores the Orientalist dynamics of North/South sexual tourism in Laurent Cantet’s Vers le sud/Heading South (2005). The narrative of the film is structured around the self-interested motivations of three white middle-aged bourgeois Western women who travel from North America to Haiti in the late 1970s in order to explore their sexuality in what they perceive as an island paradise, effectively exiling themselves from the codified so…
The Fragility of Domestic Space within Corruptive NonPlace in Andrei Zviagintsev’s Leviathan
In this article the authors analyse Andrei Zvyagintsev’s feature film Leviathan (2014) from the perspective of domestic space using Marc Augé’s theory of nonplaces. As in Zvyagintsev’s film Elena, the film uses a framing technique, placing the domestic space in question, in this case the site of Nikolai’s house, in the film’s central role. From the outset the house is depicted as somehow fragile and unprotected from the outside world, and, as the…
Aspirations of Home in Post-Soviet Russia
This article analyses the role of domestic living space and its connection with identity in the Russian feature film Elena (Andrey Zvyagintsev, 2011), winner of the Grand Jury Prize at the 2011 Cannes Film Festival. The film uses a spatially symmetrical structure based on two separate apartments frequented by the film’s eponymous heroine, both of which represent distinct socioeconomic and historical aspects of Soviet and Post-Soviet life. The fir…
Not dead yet
Sixty years have passed since the term une politique des auteurs was first coined by François Truffaut in the pages of Les Cahiers du cinéma. Initially an approach to filmmaking reacting against its own socio-political context, la politique evolved into something of an ideological celebration of the personal worldview of the artist, and became a dominant element in determining a new canon of cinéma d’art. Since the fall of the French colonial emp…
Inside the outside
This article examines the claims of truth and authenticity that accompanied the 2009 release of the Australian film Cedar Boys (Caradee, 2009) in its representation of Lebanese-Australian youth as a cultural minority group in Australia. Critical responses in Australia were enthusiastic about what was interpreted as a positive representation of a cultural minority group that is often maligned in mainstream Australian media, particularly since the …
French Film Criticism and Cultural Hegemony
The exoticism of the Antipodes has for centuries been a major focal point of European fantasy. French critical reception of Australian cinema, and French constructions of Australian cultural identity, reflect the enduring popular image in France of an Australia that is a cultural as well as a geographical opposite – an orientalist relationship that ensures European centricity as much as it perpetuates the marginalisation of Australian cultural id…
Merging and Emerging Images
French Film Criticism and Cultural Hegemony
The exoticism of the Antipodes has for centuries been a major focal point of European fantasy. French critical reception of Australian cinema, and French constructions of Australian cultural identity, reflect the enduring popular image in France of an Australia that is a cultural as well as a geographical opposite – an orientalist relationship that ensures European centricity as much as it perpetuates the marginalisation of Australian cultural id…
Merging and Emerging Images
Merging and Emerging Images
French Film Criticism and Cultural Hegemony
The exoticism of the Antipodes has for centuries been a major focal point of European fantasy. French critical reception of Australian cinema, and French constructions of Australian cultural identity, reflect the enduring popular image in France of an Australia that is a cultural as well as a geographical opposite – an orientalist relationship that ensures European centricity as much as it perpetuates the marginalisation of Australian cultural id…
Inside the outside
This article examines the claims of truth and authenticity that accompanied the 2009 release of the Australian film Cedar Boys (Caradee, 2009) in its representation of Lebanese-Australian youth as a cultural minority group in Australia. Critical responses in Australia were enthusiastic about what was interpreted as a positive representation of a cultural minority group that is often maligned in mainstream Australian media, particularly since the …
Not dead yet
Sixty years have passed since the term une politique des auteurs was first coined by François Truffaut in the pages of Les Cahiers du cinéma. Initially an approach to filmmaking reacting against its own socio-political context, la politique evolved into something of an ideological celebration of the personal worldview of the artist, and became a dominant element in determining a new canon of cinéma d’art. Since the fall of the French colonial emp…
Aspirations of Home in Post-Soviet Russia
This article analyses the role of domestic living space and its connection with identity in the Russian feature film Elena (Andrey Zvyagintsev, 2011), winner of the Grand Jury Prize at the 2011 Cannes Film Festival. The film uses a spatially symmetrical structure based on two separate apartments frequented by the film’s eponymous heroine, both of which represent distinct socioeconomic and historical aspects of Soviet and Post-Soviet life. The fir…
The Fragility of Domestic Space within Corruptive NonPlace in Andrei Zviagintsev’s Leviathan
In this article the authors analyse Andrei Zvyagintsev’s feature film Leviathan (2014) from the perspective of domestic space using Marc Augé’s theory of nonplaces. As in Zvyagintsev’s film Elena, the film uses a framing technique, placing the domestic space in question, in this case the site of Nikolai’s house, in the film’s central role. From the outset the house is depicted as somehow fragile and unprotected from the outside world, and, as the…
Liminal lieux de mémoire
This article examines the representation of postcolonial memory in Tony Gatlif’s 2004 film Exils / Exiles. The constant movement that occurs in the film through travel, music, and dance reinforces the permanent dislocation of the film’s pied-noir and beurette protagonists. The film’s road-movie narrative represents, on the one hand, a gravitational pull away from the French Republican integrationist ‘centre’ towards an increasingly complex and di…
O is for Orientalism
This article explores the Orientalist dynamics of North/South sexual tourism in Laurent Cantet’s Vers le sud/Heading South (2005). The narrative of the film is structured around the self-interested motivations of three white middle-aged bourgeois Western women who travel from North America to Haiti in the late 1970s in order to explore their sexuality in what they perceive as an island paradise, effectively exiling themselves from the codified so…
Romanticizing the Romani
Of French-Algerian and Andalusian-Romani descent, French film director Tony Gatlif offers an intriguing insight into the culture of one of Europe’s most marginalized, misunderstood and misrepresented others: the Romani (Gypsies). This article examines the rules of engagement in Gatlif’s representation of cultural minorities, particularly in relation to his claims to cultural “truth” and authenticity in his filmmaking. Also explored are the dynami…
Introduction
Bridging extreme climate risks, financial precarity, and adaptation gaps
The intensification of extreme climate events is no longer a distant threat but is a pressing, global reality for smallholders. This study unpacks the complex interconnections among extreme climate events, perceived risks, and financial constraints to adaptation by integrating multi-source evidence – from historical climate trends and downscaled climate projections from 25 General Circulation Models to household census data from 996 smallholder h…
Marginality on the Move
This article examines the marginality and perpetual exile of the migrant journey as represented in French-Algerian director Tony Gatlif’s 2004 film Exils , for which he was awarded the Best Director prize at the 2004 Cannes Film Festival. On the one hand, Exils may be read as a road movie in reverse. It could be considered a deliberate shift by the director, and by the film’s protagonists, away from the traditional centre of French consciousness—…
History (10 works) · Art (9 works) · Law (8 works) · Political science (8 works) · Sociology (7 works) · Aesthetics (6 works) · History (6 works) · Literature (6 works) · Archaeology (5 works) · Art history (5 works)