By Clive Hamilton, Richard Denniss
Our homes are larger than ever, yet our households are smaller. our youngsters visit the easiest faculties we will be able to come up with the money for, yet we hardly ever see them. We’ve received more cash to spend, but we’re additional in debt than ever prior to. what's going on?
The Western international is within the grip of a intake binge that's special in human historical past. We aspire to the existence of the wealthy and recognized on the expense of relatives, pals and private fulfilment. premiums of pressure, melancholy and weight problems are up as we combat with the vacancy and never-ending disappointments of the shopper life.
Affluenza pulls no punches, claiming our entire society is hooked on overconsumption. It tracks how a lot Australians overwork, the becoming mountains of stuff we throw out, the medication we take to ‘self-medicate’ and the genuine that means of ‘choice’. thankfully there's a treatment. an increasing number of Australians are finding out to disregard the advertisers, decrease their client spending and recapture their time for the issues that actually topic.
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Additional info for Affluenza: When Too Much is Never Enough
He reveals that this is ‘the same person; simply, this is the true one’. ’⁵² The emphasized phrase encapsulates Villiers’s model (which drew on Baudelaire’s writings in The Painter of Modern Life) of (female) artiﬁce as modernity itself, anticipating descriptions of the ‘ﬂapper’ ﬁgure in ﬁlm writings of the 1920s. Thus the writer on theatre and ﬁlm Huntly Carter, in The New Spirit in the Cinema (1930), quoted a Daily Express article (29 November 1927), in which a Professor A. M. Low ‘established that the ‘‘ﬂapper’’ was a walking chemical experiment—a parade of substitutes for nature.
This chapter explores relationships between early ﬁlm technologies, the ﬁrst commentaries on the cinema (at the close of the nineteenth century and in the ﬁrst decades of the twentieth) and literary responses to ﬁlm in this period, including those of Villiers de l’Isle Adam, H. G. Wells, Maxim Gorki, Rudyard Kipling, D. H. , John Rodker, and James Joyce. It discusses the ways in which early commentators and writers represented ﬁlmic motion and the mechanical dimensions of the cinematic apparatus, exploring some of the central tropes and images deployed to represent ﬁlm, including the ‘automatic woman’ and the ‘danse macabre’.
Introduction 15 Chapter 3 is concerned with aesthetics and early ﬁlm criticism, with a focus on the United States. Writers on the cinema in its ﬁrst decades took on something of the role of the early ‘ﬁlm lecturer’ or ‘ﬁlm explainer’ (who, in the early years of cinema, provided a spoken commentary to accompany ﬁlms as they were projected), pointing to ways of seeing appropriate to the new medium of ﬁlm. They also had to ﬁnd discursive strategies adequate to the new art and technology; in particular its powers of motion and the intensity of its appeal to the eye.