Accessibility Skip to Global Navigation Skip to Local Navigation Skip to Content Skip to Search Skip to Site Map Menu

Cultures, Histories and Identities in Visual Studies

Please note that the content of this webpage is under review.

About the Cultures, Histories and Identities in Visual Studies research network

Cultures, Histories and Identities in Visual Studies is a research network dedicated to presenting themes relating to the development of culture and identity in film, media, art and literature, exploring in particular the issues relating to the formation of identity in the aftermath of post-colonialism, post-feminism, and post-modernism and in the context of contemporary globalization.

An interdisciplinary network, it has as its goal to foster new research by bringing together researchers with common interests from different disciplines using different methodologies. Its aim will be to encourage productive dialogue on the general topics of identity, history, culture and social change, with emphasis on film, television, new media, art and literatures, including national literatures, cinemas and art movements.

^ Top of Page

Acting Convenor

Core Members

^ Top of page

Affiliated Members

Postgraduate Members

Armando Alfaro, PhD Candidate
Department of History and Art History (Visual Culture)

Jeannie Carey
Department of Languages and Cultures

Bridie Lonie, PhD Candidate
Department of History and Art History (Art History)

Radhika Raghav, PhD Candidate
Department of History and Art History (Art History and Visual Culture)


Network Sponsored Publications (since 2011)

Radner, H. & Fox, A. (2016) 'The Parisian Apartment Film, François Truffaut, and the New Wave: Urban Architecture and Domestic Crisis in La Peau douce (1964)'. In A. Phillips and G. Vincendeau (Eds.), Paris: Beyond the Flaneur. London: BFI, forthcoming.

Radner, H. (2016) No Country for Women?: Top of the Lake and the Place of Gaylene Preston’s Perfect Strangers (2003) in New Zealand Cinema.” In V. Pravadelli (Ed.), Women’s Global Cinema. Mimesis Edizioni: Sesto San Giovanni, Italia, forthcoming.

Fox, A., Marie, M., Moine, R., & Radner, H. (Eds.). (2015). A companion to contemporary French cinema. Chichester, UK: John Wiley & Sons, 691p.

Fox, A., Marie, M., Moine, R., & Radner, H. (2015). Introduction: Contemporary French cinema: Continuity and change in a global context. In A. Fox, M. Marie, R. Moine, & H. Radner (Eds.), A companion to contemporary French cinema. (pp. 1-14). Chichester, UK: John Wiley & Sons.

Grant, E. C. M., Alfaro, A., & Radner, H. (Eds.). (2013). At a crossroads: reconsidering gender and identity research colloquium: refereed abstracts. Dunedin, New Zealand: Department of History and Art History, University of Otago.

Pullar, E., & Radner, H. (2013). 'Endangered species turned dangerous': Rena Owen and celebrity in Aotearoa/NZ. Pacific Journalism Review, 19(2), 28-48.

Radner, H., Novero, C., Fox, A. (2014). From hypnosis to animals by Raymond Bellour: Introduction, and translation, Cinema Journal, 53(3), 2-24.

Radner, H. & Smith, N. (2013). Fashion, feminism and the neo-feminist ideal: From Coco Chanel to Jennifer Lopez. In S. Bruzzi & P. Church Gibson (Eds.), Fashion cultures revisited: Theories, explorations and analysis. (pp. 275-286). Abingdon, UK: Routledge.

Radner, H. & Smith, N. (2011/2015). Nom*d: The art of fashion. Dunedin: CRNI, ISBN: 978-0473-18817-7. Republished as an e-pub by the New Zealand Fashion Museum, ISBN: 978-0-9941147-8-5,

^ Top of Page

Select Publications by Network Members (since 2011)

Alfaro, A. (2013). Suffering from realness: Kayne West and the contradictions of masculinity in hip-hop. In E. C. M. Grant, A. Alfaro, & H. Radner (Eds.), At a crossroads: reconsidering gender and identity research colloquium: refereed abstracts, (pp. 4). Dunedin, New Zealand: Department of History and Art History, University of Otago.

Alfaro, A., Cooper, A., Macdonald, C., & Marshall, J. W. (2013, April). Reconsidering gender and identities. Roundtable discussion at the At A Crossroads: Reconsidering Gender and Identity RESEARCH COLLOQUIUM, Dunedin, New Zealand.

Carey, J.M. (2015). ‘Der Sturm’ und die Wilden: Franz Marcs Entscheidungskampf mit der Theatralität, Expressionismus 2, forthcoming.

Carey, J. M. (2015, June). From relic to 'real': Recovering trauma from postmodernist art history. Verbal presentation at the What [in the World] Was Postmodernism? SYMPOSIUM, Dunedin, New Zealand.

Carey, J.M. (2015). Ein Manifest der Freundschaft, Nachricht des Städtische Galerie im Lenbachhaus und Kunstbau, February,

Carey, J.M. (2015). Channeling Franz Marc in the prelapsarian longing of Joan Jonas and Lee Lennox. KAPSULA 3.

Collard, J. (2014). Art and science in the manuscripts of Matthew Paris. Medieval chronicle, IX, 79-116.

Collard, J. (2013). Neil Emmerson's (habit@t): Queering masculine spaces. In E. C. M. Grant, A. Alfaro, & H. Radner (Eds.), At a crossroads: reconsidering gender and identity research colloquium: refereed abstracts, (pp. 6). Dunedin, New Zealand: Department of History and Art History, University of Otago.

Collard, J. (2012). The enthroned king in La estoire de seint Aedward le rei (Cambridge, University Library, MS Ee. 3. 59). In J. Dresvina & N. Sparks (Eds.), Authority and gender in Medieval and Renaissance chronicles. (pp. 121-139). Newcastle upon Tyne, UK: Cambridge Scholars.

Cooper, A., Paterson, L., & Wanhalla, A. (Eds.). (2015). The lives of colonial objects. Dunedin, New Zealand: Otago University Press, 376p.

Cooper, A., Paterson, L., & Wanhalla, A. (2015). Introduction: A scheme of things. In A. Cooper, L. Paterson, & A. Wanhalla (Eds.), The lives of colonial objects. (pp. 13-19). Dunedin, New Zealand: Otago University Press.

Cooper, A. (2015). A road into Te Urewera. In A. Cooper, L. Paterson, & A. Wanhalla (Eds.), The lives of colonial objects. (pp. 134-140). Dunedin, New Zealand: Otago University Press.

Cooper, A., & Tikao, A. (2015). James Cowan and the legacies of late colonial culture in Aotearoa New Zealand [Introduction]. Journal of New Zealand Studies, 19, 1-4.

Cooper, A. (2015). Nō Ōrākau: Past and people in James Cowan's places. Journal of New Zealand Studies, 19, 63-78.

Cooper, A. (2013). 'Our old friends and recent foes': James Cowan, Rudall Hayward and memories of natural affections in the New Zealand wars. Journal of New Zealand Studies, 14, 152-170.

Cooper, A. (2013). Cosmopolitan and colonial encounters: Filmmaking in Māori communities, 1927. Proceedings of the 23rd International Screen Studies Conference. Retrieved from

^ Top of Page

Cooper, A. (2012). The New Zealand Wars: Introduction. In J. E. Bennett & R. Beirne (Eds.), Making film and television histories: Australia and New Zealand. (pp. 65-66). London: I. B. Tauris.

Cooper, A., Shaw, R., Beres, M., du Plessis, R., & Germon, J. (2012). Author meets critics: Jennifer Germon's Gender: A geneaology of an idea [Panel discussion]. New Zealand Sociology, 27(1), (pp. 112-131).

Gilmore, S. (2014). The perspectival screen : 3D cinema and renaissance visual theory. Dissertation (BA HONS), University of Otago.

Lonie, B. (2015, June). Knowing or being: Postmodernism vs post-structuralism as theoretical underpinnings for the visual arts in the 1980s and 90s. Verbal presentation at the What [in the World] Was Postmodernism? SYMPOSIUM, Dunedin, New Zealand.

Marshall, J. W. (2016). Performing neurology: The dramaturgy of Dr Jean-Martin Charcot. London: Palgrave-Macmillan, forthcoming.

Marshall, J. W. (2013). The world of the neurology ward: Hauntology and European modernism mal tourné in Butoh. TDR, 57(4), 60-85. doi: 10.1162/DRAM_a_00303

Marshall, J. W. (2013). Theatre of revulsion [Introduction and translation of Theatre of revulsion by Jean Baudrillard]. TDR, 57(4), 52-59. doi: 10.1162/DRAM_a_00302

Marshall, J. W. (2013). Hystericization and the impossibility of gender legibility: A heuristic for the description of non-emergence. In E. C. M. Grant, A. Alfaro, & H. Radner (Eds.), At a crossroads: reconsidering gender and identity research colloquium: refereed abstracts, (pp. 10-11). Dunedin, New Zealand: Department of History and Art History, University of Otago.

Marshall, J. W. (2012). Ausdruckstanz, faith, and the anthropological impulse in Europe and the Asia-Pacific: A critical analysis of the career of Shona Dunlop MacTavish. Brolga, 37, 31-41.

Marshall, J. W. (2012). Indigenous dance rituals of the Philippines in the 1970s: An account of the anthropological research undertaken by Shona Dunlop MacTavish [Notes & editorial]. Brolga, 37, 42-46.

Novero, C. (2017) Daniel Spoerri’s friends at the Eat Art Gallery. In S Bottinelli & M D’Ayala Valva (Eds.), What is cooking? Food art and the counterculture. Fayetteville: U of Arkansas Press (forthcoming).

Novero, C. (Winter 2016). Interview: Cecilia Novero - Mustafa Sabbath. Antennae: The Journal of Nature in Visual Culture, 38 (1), 77-93.

Novero, C. (2015) Bear Images. In M. Lawrence & L. McMahon (Eds.), Animal Life and the Moving Image. London: BFI, 238-253.

Novero, C. (2015). Following in the tracks of a dog: ‘The Beggarwoman Locarno’. German studies review 38.3, (pp. 491-508).

Novero, C. (2015) Futurist cooking. In G Berghaus (Ed.), Handbook of international futurism. Walter de Gruyter, Berlin/New York.

Novero, C. (2015). Eat Art and Fluxus. In G. Celant (Ed.), Arts & Food. (pp. 596-613). Milan: Electa Mondadori.

Novero, C. (2013). Birds on air: Sally McIntyre’s radio art. Antennae: The Journal of Nature in Visual Culture, 27, 31-44.

Novero, C. (2013). Posthuman animals and the avant-garde: The case of Daniel Spoerri. Antennae: The Journal of Nature in Visual Culture, 26, 59-77.

Novero, C. (2012). Daniel Spoerri’s Carnival of Animals. In J. B. Landes, P. Young Lee & P. Youngquist (Eds.), Gorgeous beasts: Animal bodies in historical perspective. (pp. 151-166). University Park: Pennsylvania State University Press.

^ Top of Page

Radner H (2016). The New Woman’s Film: From chick flicks to movies for smart ‘femmes’. London/New York: Routledge, under contract.

Radner, H. (2015). The historical film and contemporary French cinema: Representing the past in the present. In A. Fox, M. Marie, R. Moine, & H. Radner (Eds.), A companion to contemporary French cinema. (pp. 289-313). Chichester, UK: John Wiley & Sons.

Radner, H. (2014). Creating female audiences: the decline of the 'girly' heroine and the return of the formidable 'femme'. Comunicazioni Sociali, 3, 357-367.

Radner, H. (2014). Grumpy old men: "Bros before hos". In M. Deangelis (Ed.), Reading the bromance: Homosocial relationships in film and television. (pp. 52-78). Wayne State University Press, Detroit, MI.

Radner, H. (2014). The ghost of cultures past: Fashion, Hollywood and the end of everything. Film, Fashion & Consumption, 3(2), 83-91. doi: 10.1386/ffc.3.2.88_1

Radner, H. (2013). Dirty dancing: Feminism, post-feminism, and neo-feminism. In Y. Tzioumakis & S. Lincoln (Eds.), The time of our lives: Dirty dancing and popular culture. (pp. 131-149). Detroit, MI: Wayne State University Press.

Radner, H. (2013). La Peau douce: François Truffaut's passionate object. In D. Andrew & A. Gillain (Eds.), A companion to François Truffaut. (pp. 469-488). Oxford, UK: Blackwell. doi: 10.1002/9781118321591.ch26

Raghav, Radhika (2015). The poster art of Satyajit Ray. ICON, NMI Journal of Art, forthcoming.

Stringer, R. (2014). Knowing Victims: Feminism, agency and victim politics in neoliberal times. Hove, UK: Routledge, 186p.

Stringer, R. (2013). Vulnerability after wounding: Feminism, rape law, and The Differend. SubStance, 42(3), 148-168. doi: 10.1353/sub.2013.0031

Stringer, R. (2012). Impractical reconciliation: Reading the intervention through the Huggins-Bell debate. Australian Feminist Studies, 27(71), 19-36. doi: 10.1080/08164649.2012.648257

Wolf, E. (2015). 'In struggle united': Heartfield, Zhitomirsky and socialist satirical photomontage after the 1930s. Proceedings of the Photography Symposium: Trafficking Images: Histories and Theories of Photographic Transmission. Retrieved from

Wolf, E. (2015). Removing the veil: LEF photography in the magazine "Pioneer". Proceedings of the Pedagogy of Images Symposium: Depicting Communism for Children. Retrieved from

Wolf, E. (2014). An interview with the president: Max Oettli. In N. Seja (Ed.), PhotoForum at 40: Counterculture, clusters, and debate in New Zealand. (pp. 206-211). Auckland, New Zealand: Rim Books.

Wolf, E. (2014). Reisende durch Raum und Zeit: Enthografische Fotografie in den Werken zeitgenössischer samoanischer Künstler: Voyagers across space and time: Ethnographic photography in the work of contemporary Samoan artists. In W. Köpke & B. Schmelz (Eds.), Blick ins Paradies: Historische Fotografien aus Polynesien: A glimpse into paradise: Historical photographs of Polynesia. (pp. 208-212). Hamburg, Germany: Museum für Völkerkunde.

Wolf, E. (2013). Kihara, Shigeyuki. In A. Beyer, B. Savoy, & W. Tegethoff (Eds.), Allgemeines Künstlerlexikon. (pp. 235). Berlin, Germany: Walter de Gruyter.

Wolf, E. (2013). Worker photography movement. In N. Courtright (Ed.), Grove art online: Oxford art online. Oxford University Press. Retrieved from

Wolf, E. (2012). Koretsky: The Soviet photo poster: 1930-1984. New York: New Press, 448p.

Wolf, E. (2012). Exhibitions. In D. L. Roldan & J. Sanguino (Eds.), Vladimir Lebedev (1891-1967). (pp. 255-259). Madrid, Spain: Fundación Juan March.

Wolf, E. (2012). Bibliography. In D. L. Roldan & J. Sanguino (Eds.), Vladimir Lebedev (1891-1967). (pp. 259-268). Madrid, Spain: Fundación Juan March.

Wolf, E. (2012). Translations of primary source texts and essays. In D. L. Roldan & J. Sanguino (Eds.), Vladimir Lebedev (1891-1967). (pp. 160-185, 220-232, 241, 242-243, 243-244, 244-245, 245-246, 246-247, 248-249). Madrid, Spain: Fundación Juan March.

Wolf, E. (2012). Imagining oneself as the enemy: Aleksandr Zhitomirsky's photomontages for German soldiers in Front-Illustrierte. Proceedings of the Art Association of Australia & New Zealand Annual Conference (AAANZ): together <> apart. (pp. 101). Sydney, Australia: AAANZ.

Kihara, S., MacDonald, K., & Wolf, E. (2012). Making Siva in Motion by performance artist Shigeyuki Kihara. Retrieved from

^ Top of page

International Collaborations

Global Women's Cinema Network

Initiated by Professor Veronica Pravadelli, University of Roma Trè and Professor E. Ann Kaplan, Stony Brook University, 2013 - current

Fondation La Maison des Sciences de l’Homme, Paris, France

Participation in two research networks:

  • Programme Ville et cinéma, with IRCAV, Paris 3, La Sorbonne nouvelle, 2008 - 2012
  • Programme Europe/Hollywood:  Les européens dans le cinéma américain 1999 - 2005

Université de Paris Ouest Nanterre La Défense

Two PhD candidates, supervised under a cotutelle agreement:

  • Clément Da Gama, “La postérité du ‘Female Gothic’ dans le cinéma anglo-saxon des années 1960 à nos jours.”
  • Ellen Pullar, “Arletty and Jean Harlow: A Comparative Analysis of Two Film Stars of the 1930s.”

Université de Paris 3, La Sorbonne nouvelle

Joint Publication Project: A Companion to Contemporary French Cinema, ed. Alistair Fox, Michel Marie, Raphaëlle Moine, Hilary Radner (Chichester, UK: John Wiley & Sons, 2015).

Select international contributors to network projects and publications

  • Professor Bruce Babington, Emeritus, University of Newcastle
  • Professor Taunya Lovell Banks, University of Maryland
  • Professor Jean Bessière, Université de Paris 3, La Sorbonne nouvelle
  • Dr Heather Brooks, Flinders University, Adelaide
  • Professor Rosalind Gill, King’s College, University of London
  • Professor Barry Keith Grant, Brock University, Canada
  • Professor Chris Holmlund, University of Western Ontario
  • Professor Jeanette Hoorn, Melbourne University
  • Dr Jane Maree Maher, Monash University, Melbourne
  • Professor Kathleen McHugh, University of California, Los Angeles
  • Professor Raphaëlle Moine, Université de Paris 3, La Sorbonne nouvelle
  • Professor Janet Staiger, University of Texas, Austin
  • Professor Yvonne Tasker, University of East Anglia
  • Professor Janet Wilson, University of Northhampton
  • ^ Top of Page


^ Top of Page

Previous events

The End of Fashion conference

The conference is co-sponsored with the College of Creative Arts, Massey University

College of Creative Arts, Massey University, Wellington, New Zealand
8-9 December 2016


  • Professor Vicki Karaminas, Massey University, Wellington
  • Professor Hilary Radner, University of Otago, Dunedin

Keynote Speakers

  • Valerie Steele, Fashion Institute of Technology, New York
  • Pamela Church Gibson, London College of Fashion
  • Raphaëlle Moine, Université de Paris 3 – Sorbonne Nouvelle
  • Patrizia Calefato, Università degli Studi di Bari Aldo Moro

Conference website, refereed abstracts and schedule

For more information about The End of Fashion conference go to the conference website.

Download a pdf of Select Refereed Abstracts (PDF, 450KB)

Download a pdf of the conference programme/schedule (PDF, 150KB)

Download a pdf of details and call for proposals for The End of Fashion conference (PDF, 108KB)

Details about The End of Fashion conference

Fashion and the fashion system as we have understood it in the nineteenth and twentieth century have radically changed as mass media and digitalization have transformed the way that contemporary fashion is now perceived and consumed.

  • Bloggers have emerged as a fashion elite in recent years, shifting the terrain of traditional fashion reporting and dramatically changing the fashion industry and the ways in which fashion is disseminated.
  • Commerce and media have united to create new ways of experiencing the creations of contemporary designers. Runway shows now compete with phenomena such as Internet live streaming, digital fashion films, Instagram and Pinterest, to name a few, as popular means of promoting collections.
  • Concept stores and online sites have replaced the department store and traditional forms of retailing.

Fashion scholars largely agree that, at least within Western society broadly defined, attitudes towards clothing have changed radically in the twenty-first century. Dress is increasingly approached as a mode of personal expression, rather than as a signifier of status or profession, with, of course, notable exceptions. To date, little research has been done on the causes and implications of this shift, which has had significant consequences in terms of fashion design and its place in society, our general attitude towards clothing and the mandate of fashion scholarship.

  • We can no longer always judge with certainty the nationality, class, economic position or profession of an individual based on his or her clothing choices.
  • Designers are increasingly treated as 'artists' and their creations as 'art' as fashion enters the art and museum space.
  • In the past, 'colonial' fashions were typically viewed as manifestations of European domination; current scholarship suggests that colonial subjects, in particular women, as well as various marginalized groups, often used an amalgamation of traditional clothing and styles imported from Europe to produce new forms of dress. These innovations marked evolving identities that were often at odds with the colonial mandate.

Arguably, these transformations are a manifestation of important evolutions in perspective on a global scale, tied to technological innovation, but also to new ethical modalities emerging in response to what Canadian scholar Marshall McLuhan termed in the twentieth century 'the global village', promoted initially by television and intensified with the growth of the Internet.

Earlier in 2015 trend forecaster Lidewij Edelkoort released her manifesto bravely announcing ‘the end of fashion as we know it’ in which she outlined ‘ten reasons why the fashion system is obsolete’. Taking this statement as a springboard, we propose a conference that considers the shifts that have occurred within the fashion system, the rise of personal style as the mark of sartorial excellence, and what this might say about larger transformations within an increasingly global society.

^ Top of Page

Call for papers for The End of Fashion conference

The conference invites papers or creative works that address the following topics (see below). We also encourage proposals that address the so-called 'end of fashion' in more general terms. We especially welcome proposals that take an interdisciplinary approach to the larger phenomena of which fashion’s shifting terrain is a significant dimension.

An exhibition of creative work will be part of the conference. Anticipated publications include an exhibition catalogue, select refereed abstracts and an edited volume of select refereed papers (extended).

Suggested Topics

The Global World

  • The fashion system and the end of fashion
  • 'The phantasmagoria of commodities' and the fashion system
  • 'Instyle': the status of fashion as personal expression in a digitalized world

Style, Resistance, and Identity

  • The re-writing of traditional clothing within a global context
  • Style 'poachers' and the history of fashion: how colonial subjects transformed European style
  • Style tribes

Branding and Merchandising

  • Niche branding
  • Concept retail stores
  • Online merchandising
  • Fashion sponsorship and the art world


  • The internet and the new fashion system
  • Convergence media and the end of fashion
  • Fashion as entertainment: from Project Runway to Fashion Police

Film and Fashion

  • Film, fashion and consumption
  • The fashion film
  • Fashion and documentary film


  • Celebrity style: media tyranny of the star? expressions of fandom? ethical modeling?
  • The fashion blogger as the new elite
  • The celebrity as designer/the designer as celebrity


  • The designer: artist? or entrepreneur?
  • Fashion in the art gallery: the art/fashion nexus
  • Wearable art and fashion
  • Fashion in painting/painting in fashion

Ethical Living

  • Feminism, fashion and style: ‘the personal is political’
  • Fashion and ethics
  • ‘Fast fashion’ and ‘slow fashion’: the changing pace of personal style
  • The revival of home-sewing

Future horizons

  • Digital fashion
  • Sustainable fashion
  • Fashion and the post-human
  • Fashion and the 'more-than-human world'
  • ^ Top of Page

Style as subject or a subject with many styles? How Gerhard Richter became a "postmodern skeptic"

A research presentation

Dr Luke Smythe, Art History and Theory Programme, Department of History and Art History, University of Otago

Friday 7 August 2015, 11 - 11.50am
Central Library Screening Room

All That Glitters: The Origins of Glamour Portraiture and the Evolution of Stardom in Twentieth Century Indian Cinema

A research presentation

Radhika Raghav, Department of History and Art History, University of Otago

Friday 28 August 2015, 11 - 11.50am
Central Library Screening Room

The Art of Shigeyuki Kihara: A Research Symposium

The University of Otago, Saturday 4 May 2013

Held in conjunction with the mid-career survey exhibition Shigeyuki Kihara: Undressing the Pacific, at the Hocken Collections (20 April to 8 June), this symposium will broadly explore Kihara’s creative work, artistic development, and the critical issues that it raises from diverse disciplinary perspectives.

The symposium will feature two keynote presentations. Ron Brownson, the Senior Curator of New Zealand & Pacific Art at the Auckland Art Gallery will present “Shigeyuki Kihara and the Shadow of Photography”. Dr. Katerina Teaiwa, Convenor of Pacific Studies at Australian National University will speak on The Art of Talanoa: Dialogue, Provocation and ‘the Space between’ in Kihara's Work.” The remaining speakers represent a diverse range of disciplinary approaches and cultural backgrounds, including Japan, Samoa, Australia, and the United States.

The recent award of the Wallace Arts Trust Paramount Award and a New Generation Award from the Arts Foundation signals Shigeyuki Kihara’s growing recognition as a significant international artist, whose dynamic career includes a solo exhibition at the Metropolitan Museum of Art (2008), performances staged at the Musée du Quai Branly, Haus der Kulturen der Welt, Te Papa Tongarewa Museum of New Zealand, and artworks featured in the Asia Pacific Triennial, Auckland Triennial and the upcoming Sakahan Quinquennial held at the National Gallery of Canada in May 2013.

Of Samoan and Japanese heritage, Kihara interrogates the ways that art, performance, and the public interact and prompt dialogue about understanding the complexities of humanity. Her oeuvre includes photographs, dance performance, video installations, and interactive community performances. Kihara’s work comments on issues such as colonialism, European representations of Indigenous peoples, gender, globalization, sexual minorities in the Pacific, and tourism.

This event is sponsored by the Cultures, Histories and Identities in Film, Media and Literature Research Network and hosted by the Department of History & Art History, the University of Otago.

Download a copy of the programme (PDF, 40KB)

For more information, contact Associate Professor Erika Wolf (

^ Top of Page

At a Crossroads: Reconsidering Gender and Identities, Research Colloquium, 4-5 April 2013

At a Crossroads: Reconsidering Gender and Identities proposes to address the current state of gender, sexuality, and identity studies across a number of academic disciplines. The colloquium seeks to highlight research that considers the core questions and challenges surrounding the concepts of gender and identities today, with an emphasis on interdisciplinary approaches to their study.

We expect to compile and publish a collection of the presentation paper abstracts in advance of the colloquium and to publish a selection of refereed papers following the colloquium.

Organizing Committee contact details

The Organizing Committee: Armando Alfaro, Erin Grant, Hilary Radner

This colloquium is sponsored by the following entities at the University of Otago

Department of History and Art History; Division of Humanities Research Network Cultures, Histories and Identities in Film, Media and Literature; Comparative and Cross-Cultural Studies Research Theme; Department of Sociology, Gender and Social Work.