title: Attracting global talent and then what? Overeducated immigrants in the United States

authors: Beckhusen, Julia

abstract: This research assesses the prevalence and determinants of job–education mismatches among male immigrants in the United States between 1980 and 2009. The results suggest that educational attainment levels do not match occupational education requirements for almost half of all immigrants. Overeducation among high-skilled immigrants vastly exceeds that of comparable natives. Probit models of overeducation suggest that: (i) personal characteristics operate in similar fashion for immigrants and natives; (ii) immigrant brain waste is above average in gateway states, metropolitan areas and in prosperous high-wage areas; and (iii) proficiency in English and length of residence reduce the overeducation risk among high-skilled immigrants.

text: Attracting global talent and then what? Overeducated immigrants in the United States This research assesses the prevalence and determinants of job–education mismatches among male immigrants in the United States between 1980 and 2009. The results suggest that educational attainment levels do not match occupational education requirements for almost half of all immigrants. Overeducation among high-skilled immigrants vastly exceeds that of comparable natives. Probit models of overeducation suggest that: (i) personal characteristics operate in similar fashion for immigrants and natives; (ii) immigrant brain waste is above average in gateway states, metropolitan areas and in prosperous high-wage areas; and (iii) proficiency in English and length of residence reduce the overeducation risk among high-skilled immigrants.

year: 2013

title: Beyond transformation and regulation: Productive tensions and the analytics of inclusion

authors: Simon-Kumar, Rachel

subjects: inclusion

abstract: The inclusion of marginal groups is increasingly becoming part of contemporary governance. Critical appraisals categorize inclusionary mechanisms either as politically transformative or as regulative and part of the state's broader agenda of social control. In this article, we argue against both these positions and propose instead that inclusion is simultaneously regulative and transformative, that is, it is practiced in a state of—what Chantal Mouffe calls—“productive tension.” The article is divided into two parts: the first critically examines the theoretical literature on the tensions written into inclusive practices. The second part illustrates productive tensions in the case of inclusive strategies between ethnic/migrant groups and the government in Aotearoa/New Zealand. The article urges the reconceptualization of tensions and contradictions as part of the broader contours of contemporary radical democracy wherein erasures, assimilations, resistance, and transformations exist simultaneously.

text: Beyond transformation and regulation: Productive tensions and the analytics of inclusion The inclusion of marginal groups is increasingly becoming part of contemporary governance. Critical appraisals categorize inclusionary mechanisms either as politically transformative or as regulative and part of the state's broader agenda of social control. In this article, we argue against both these positions and propose instead that inclusion is simultaneously regulative and transformative, that is, it is practiced in a state of—what Chantal Mouffe calls—“productive tension.” The article is divided into two parts: the first critically examines the theoretical literature on the tensions written into inclusive practices. The second part illustrates productive tensions in the case of inclusive strategies between ethnic/migrant groups and the government in Aotearoa/New Zealand. The article urges the reconceptualization of tensions and contradictions as part of the broader contours of contemporary radical democracy wherein erasures, assimilations, resistance, and transformations exist simultaneously.

year: 2011

title: Pōuri: Two original screenplays

authors: Kohere, Anthony

subjects: Screenplays

abstract: Pōuri, as defined on Te Aka Māori Dictionary, means “regret, mournful, gloomy, in the dark.” It is an apt description of the following stories: Unprivate Moments, and Haytham; or, The Māori Gothic. A common thematic tie between the characters is that they regret past actions, have become disheartened, and experience severe distress. As a thesis, the aim is to expand on what a “Māori story” is beyond the familiar, or dare I say, expected.

'Unprivate Moments' is about an estranged father and son reconciling their differences, disguised as a low-level spy film. I see this as an opportunity to take a well-defined genre and treat it in a realistic fashion in terms of location and character, although not necessarily in believability. Set in Whanganui it can play with many tropes and preconceptions, almost with self-awareness without falling into parody or metacommentary. The formatting does not follow industry standards but inverts the layout of the scene descriptions and dialogue. While I cannot say for certain, Stanley Kubrick is the only one I am aware of that has done this when he adapted 'A Clockwork Orange'. His rationale for this break in style was to draw the eye to the visual storytelling rather than the dialogue.

'Haytham' is centred on a young Byronic Māori man during the late 1880s. Like the archetype he is derived from, Haytham is a tall, dark, and mysterious man. As he reveals himself both to the audience and to the other characters, we come to find someone who has been  damaged and corrupted. This issue of childhood trauma is the central crux of the story and is explored through his relationships with the women in his life. And finally, despite the script’s setting and intentional use of familial names, this is not a biographical work.

text: Pōuri: Two original screenplays Pōuri, as defined on Te Aka Māori Dictionary, means “regret, mournful, gloomy, in the dark.” It is an apt description of the following stories: Unprivate Moments, and Haytham; or, The Māori Gothic. A common thematic tie between the characters is that they regret past actions, have become disheartened, and experience severe distress. As a thesis, the aim is to expand on what a “Māori story” is beyond the familiar, or dare I say, expected.

'Unprivate Moments' is about an estranged father and son reconciling their differences, disguised as a low-level spy film. I see this as an opportunity to take a well-defined genre and treat it in a realistic fashion in terms of location and character, although not necessarily in believability. Set in Whanganui it can play with many tropes and preconceptions, almost with self-awareness without falling into parody or metacommentary. The formatting does not follow industry standards but inverts the layout of the scene descriptions and dialogue. While I cannot say for certain, Stanley Kubrick is the only one I am aware of that has done this when he adapted 'A Clockwork Orange'. His rationale for this break in style was to draw the eye to the visual storytelling rather than the dialogue.

'Haytham' is centred on a young Byronic Māori man during the late 1880s. Like the archetype he is derived from, Haytham is a tall, dark, and mysterious man. As he reveals himself both to the audience and to the other characters, we come to find someone who has been  damaged and corrupted. This issue of childhood trauma is the central crux of the story and is explored through his relationships with the women in his life. And finally, despite the script’s setting and intentional use of familial names, this is not a biographical work.

year: 2022