AustLit

'She started out as just an ordinary university student, but the sudden and unexpected inheritance of an unused warehouse on the industrial side of town throws Shalini’s life plan askew.

'Drawing from her strengths, she decides to set up a matchmaking business, helping the lonely to find a soulmate. But something unusual happens, something unexpected—her first client doesn’t fit the regular profile. Victor is dark, handsome, emotionally available...and a vampire.

'Suddenly Shalini’s already disrupted world becomes a place where rules no longer apply. She must learn to adapt to her new occupation of finding The One for a prospective clientele of vampires, shape-shifters, and other beings more likely to bite first and ask questions later. And there are those out there who are less than happy with her entrepreneurial spirit.

'But just as Shalini begins to think she can cope with anything, she discovers that she has bitten off more than she can chew, and played with powerful forces that have the potential to not only destroy the Lost Souls Dating Agency—but Shalini herself.'

Source: Publisher's blurb.

'The review and analysis of the Australian film 'Jedda' directed and produced by Charles Chauvel is discussed. It was the first Australian film to be invited to and receive critical praise at the Cannes film festival.'

Source: Abstract.

'The review and analysis of the film 'Stone Bros', an indigenous Australian comedy written and directed by Richard J. Franklin is discussed. Once the smoke clears, Suneeti Rekhari finds that this outrageous Indigenous stoner comedy has something serious to say about identity and belonging.'

Source: Abstract.

'Throughout the latter half of the past century, cinema played a significant role in the shaping of the core narratives of Australia. Films express and implicitly shape national images and symbolic representations of cultural fictions in which ideas about Aboriginal identity have been embedded. In this article, exclusionary practices in Australian narratives are analyzed through examples of films representing Aboriginal identity. Through these filmic narratives the articulation, interrogation, and contestation of views about filmic representations of Aboriginal identity in Australia are illuminated. The various themes in the filmic narratives are examined in order to compare and contrast the ways in which Australian films display the operation of narrative closure and dualisms within the film texts.'

Source: Abstract.