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Jon Stratton Jon Stratton i(A34204 works by)
Gender: Male
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Works By

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1 y separately published work icon Hunters & Collectors's Human Frailty Jon Stratton , London : Bloomsbury Academic , 2023 25540041 2023 multi chapter work criticism

Released in 1986, Hunters and Collectors' album Human Frailty is one of the most important Australian albums of the last two decades of the twentieth century. It was pivotal in the group's career and marked the group's move into pub rock. It is unashamedly concerned with love and desire. The album challenged traditional understandings of Australian masculinity while playing music to predominantly male audiences. No other Australian group would have dared, or indeed been able, to get their audience to roar 'You don't make me feel like a woman anymore,' the culminating line off Hunan Frailty's first track, and the first single taken from the album, “Say Goodbye”. The second track on the album, “Throw Your Arms Around Me” has become an Australian standard, an anthem sung drunkenly more by women than men, in pubs, at weddings and similar occasions. Human Frailty is an album that transcended the critical categories of its time.

Source: Publisher's blurb
1 y separately published work icon An Anthology of Australian Albums Jon Stratton (editor), Jon Dale (editor), Tony Mitchell (editor), London : Bloomsbury Academic , 2020 25540682 2020 anthology criticism

An Anthology of Australian Albums offers an overview of Australian popular music through the lens of significant, yet sometimes overlooked, Australian albums. Chapters explore the unique qualities of each album within a broader history of Australian popular music. Artists covered range from the older and non-mainstream yet influential, such as the Missing Links, Wendy Saddington and the Coloured Balls, to those who have achieved very recent success (Courtney Barnett, Dami Im and Flume) and whose work contributes to international pop music (Sia), to the more exploratory or experimental (Curse ov Dialect and A.B. Original). Collectively the albums and artists covered contribute to a view of Australian popular music through the non-canonical, emphasizing albums by women, non-white artists and Indigenous artists, and expanding the focus to include genres outside of rock including hip hop, black metal and country.

Source: Publisher's blurb
1 Whatever Happened to Multiculturalism? Here Come the Habibs!, Race, Identity and Representation Jon Stratton , 2017 single work criticism
— Appears in: Continuum : Journal of Media & Cultural Studies , vol. 31 no. 2 2017; (p. 242-256) 'In February 2016 Channel Nine broadcast six episodes of Here Come the Habibs!. The show was a comedy about a Lebanese-Australian family who win 22 million dollars in the lottery and move from working-class Lakemba to upper-class Vaucluse where they buy a house next to the very white O’Neills. The show invokes key tropes of official multiculturalism most importantly race and identity. At the same time, official multiculturalism has been in decline in Australia since the advent of John Howard’s conservative prime ministership in 1996. Official multiculturalism focused on ethnic groups and their cultures. It has been supplanted by the ideas of neoliberalism which is concerned above all with individuals and the market. In this article I argue that Here Come the Habibs! is, in the end, nostalgic for a multiculturalism which is no longer privileged in Australia. The dynamics of the tension between the Habibs and O’Neills has been displaced, as is signalled in the final episode of the show, by the entry into Australia of a mobile, cosmopolitan elite whose worth is measured not in their culture but in what they can economically contribute to the country.'
1 The Sapphires Were Not the Australian Supremes : Neoliberalism, History and Pleasure in The Sapphires Jon Stratton , 2015 single work criticism
— Appears in: Continuum : Journal of Media & Cultural Studies , vol. 29 no. 1 2015; (p. 17-31) 'The Sapphires was the most popular Australian film of 2012. Loosely based on history, the film tells the story of four Indigenous young women, three of whom move in 1968 from a country reserve to Melbourne, who are transformed from singing hymns and country and western to becoming a soul group in the mould of the Supremes and who then tour Vietnam during the war entertaining the American troops. This article analyses the reasons for the popularity of the film. I argue that beyond the feelgood drama, including a romantic comedy subplot, the film minimizes the mistreatment of Indigenous Australians during the 1950s and 1960s, elides the 20 years era of self-determination and suggests a positive continuity between the period of assimilation and paternalism and the John Howard Liberal-dominated government's neoliberal ideology of personal responsibility. To this end, the film also plays down the racism of the assimilationist period and, through the character of Kay, implies that the policy of taking children away from their families (the Stolen Generations) had positive results. The film denies the young women's agency by introducing the character of the Irish Dave Lovelace as the creator and manager of the Sapphires.' (Publication abstract)
1 'Welcome to Paradise' : Asylum Seekers, Neoliberalism, Nostalgia and Lucky Miles Jon Stratton , 2009 single work criticism
— Appears in: Continuum : Journal of Media & Cultural Studies , vol. 23 no. 5 2009; (p. 629-645) 'This article considers the Australian film Lucky Miles (2007) in the context of the developing emphasis in Australia through the 1990s and 2000s on neoliberal policies. This emphasis started with the Labor governments of Bob Hawke and Paul Keating and was qualitatively reinforced by the conservative coalition government of John Howard. Lucky Miles is a film which narratives the experience of asylum seekers arriving on the Australian mainland. My focus is particularly on the impact of neoliberalism on the role of the border and on the popular attitude towards asylum seekers. To help develop this argument I also consider the film Children of Men (2006), which is set in Britain in a dystopian future. I analyse Lucky Miles to understand how it replicates anxieties about asylum seekers and the porosity of the border that are, at bottom, a consequence of changing attitudes bred by neoliberal policies.' (Author's abstract p. 629)
1 The Murderous State : The Naturalisation of Violence and Exclusion in The Films of Neoliberal Australia Jon Stratton , 2009 single work criticism
— Appears in: Cultural Studies Review , vol. 15 no. 1 2009; (p. 11-32)
1 Suburban Stories : Dave McComb and the Perth Experience Jon Stratton , 2009 single work criticism
— Appears in: Vagabond Holes : David McComb and the Triffids 2009; (p. 35-43) The author argues that Perth, Western Australia's, loss of innocence, especially after the murders in the 1960s by Eric Cooke and those in the 1980s by Catherine and David Birnie, is reflected in McComb's lyrics which 'can be read as a metaphor for the experience of a lost utopia that continues to haunt the cultural life of Perth.' The criticism includes brief references to the work of Veronica Brady, Peter Cowan, Philip Masel and Dorothy Hewett.
1 Dying to Come to Australia : Asylum Seekers, Tourists and Death Jon Stratton , 2007 single work criticism
— Appears in: Our Patch : Enacting Australian Sovereignty Post-2001 2007; (p. 167-196) Imagined Australia : Reflections around the Reciprocal Construction of Identity between Australia and Europe 2009; (p. 57-87)
1 y separately published work icon Australian Rock Essays on Popular Music Jon Stratton , Perth : Network , 2007 25540611 2007 selected work essay

Essays in Australian popular music

Source: publisher
1 Multicultural Imagined Communities: Cultural Difference and National Identity in the USA and Australia Ien Ang , Jon Stratton , 1998 single work criticism
— Appears in: Multicultural States: Rethinking Difference and Identity 1998; (p. 135-162)
1 Pressing Matters: Truth, Morality and the Media Jon Stratton , 1989 single work review
— Appears in: Northern Perspective , Dry Season vol. 12 no. 1 1989; (p. 76-79)
— Review of Portrait of an Optimist Donald Horne , 1988 single work autobiography
1 Watching the Detectives : Television Melodrama and Its Genres Jon Stratton , 1987 single work criticism
— Appears in: Australasian Drama Studies , April no. 10 (p. 49-66)
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