title: Ethical investment in superannuation funds; Can it occur without breaching traditional trust principles?

authors: Tennent, Douglas

subjects: investments

abstract: Ethical investing in commercial activities is a topic which has received considerable attention of late. This has occurred in the areas of company law at all levels, with the concerns of consumers in relation to the production of products, and also in trust law, in particular superannuation trusts. Superannuation Trusts are of particular significance as they have become significant institutional investors in a number of substantial commercial activities. Ethical investment which requires the trustees to take account of issues other than financial when investing is seen to run counter to traditional trust law principles. Relevant issues relating to ethical investing include: human rights and labour concerns, environmental and moral issues such as investing in the alcohol and tobacco industries. This paper focusing upon superannuation law in the Australian and New Zealand jurisdictions considers the investment obligations of trustees in superannuation trusts. Such obligations closely resemble what may be referred to as traditional or core obligations of trustees. It acknowledges that difficulties arise when attempting to include ethical considerations in investment decisions with trust property. Having acknowledged this, the paper in upholding the place of ethical investing in the current environment proceeds to outline a means by which ethical investing can be adopted without compromising the position of trustees in any manner and which still focuses upon the best financial interests of the beneficiaries.

text: Ethical investment in superannuation funds; Can it occur without breaching traditional trust principles? Ethical investing in commercial activities is a topic which has received considerable attention of late. This has occurred in the areas of company law at all levels, with the concerns of consumers in relation to the production of products, and also in trust law, in particular superannuation trusts. Superannuation Trusts are of particular significance as they have become significant institutional investors in a number of substantial commercial activities. Ethical investment which requires the trustees to take account of issues other than financial when investing is seen to run counter to traditional trust law principles. Relevant issues relating to ethical investing include: human rights and labour concerns, environmental and moral issues such as investing in the alcohol and tobacco industries. This paper focusing upon superannuation law in the Australian and New Zealand jurisdictions considers the investment obligations of trustees in superannuation trusts. Such obligations closely resemble what may be referred to as traditional or core obligations of trustees. It acknowledges that difficulties arise when attempting to include ethical considerations in investment decisions with trust property. Having acknowledged this, the paper in upholding the place of ethical investing in the current environment proceeds to outline a means by which ethical investing can be adopted without compromising the position of trustees in any manner and which still focuses upon the best financial interests of the beneficiaries.

year: 2009

title: Inconsistent Cinema: Paul Thomas Anderson, There will be blood and the postmodern filmmaker

authors: Barrett, Kyle

subjects: Postmodernism

abstract: Paul Thomas Anderson’s early work up to and including There Will Be Blood (2007) are examples of incoherent, postmodern cinema. Anderson’s formative years produced four critically acclaimed features, Hard Eight (1996), Boogie Nights (1997), Magnolia (1999), and Punch-Drunk Love (2002), all of which presented related themes and aesthetics. Though There Will Be Blood does depict a complex father-son relationship similar to that found in Hard Eight, Boogie Nights, and Magnolia, the film is stylistically a radical departure for Anderson. While certain experimentation occurred in Punch-Drunk Love, There Will Be Blood is the start of the next phase of Anderson’s career, one which reflects a meditative sensibility. For instance, in place of kinetic cinematography, rapid cutting, and multiple narratives are longer takes, extended tracking shots, and a leisurely editing style. Finally, contextualizing Anderson’s career within the era of “Indiewood,” a fusion of studio and independent filmmaking, key visual techniques employed during his early work emphasize the shift in his aesthetics, high-lighting a singular, postmodern voice in Hollywood cinema.

text: Inconsistent Cinema: Paul Thomas Anderson, There will be blood and the postmodern filmmaker Paul Thomas Anderson’s early work up to and including There Will Be Blood (2007) are examples of incoherent, postmodern cinema. Anderson’s formative years produced four critically acclaimed features, Hard Eight (1996), Boogie Nights (1997), Magnolia (1999), and Punch-Drunk Love (2002), all of which presented related themes and aesthetics. Though There Will Be Blood does depict a complex father-son relationship similar to that found in Hard Eight, Boogie Nights, and Magnolia, the film is stylistically a radical departure for Anderson. While certain experimentation occurred in Punch-Drunk Love, There Will Be Blood is the start of the next phase of Anderson’s career, one which reflects a meditative sensibility. For instance, in place of kinetic cinematography, rapid cutting, and multiple narratives are longer takes, extended tracking shots, and a leisurely editing style. Finally, contextualizing Anderson’s career within the era of “Indiewood,” a fusion of studio and independent filmmaking, key visual techniques employed during his early work emphasize the shift in his aesthetics, high-lighting a singular, postmodern voice in Hollywood cinema.

year: 2021

title: ‘Let’s Get Wild’: Sensuous Geographies of Kāwhia Kai and Hokitika Wildfoods Festivals in Aōtearoa New Zealand

authors: Modlik, Melanie

subjects: Food Festivals

abstract: Food Festivals allow communities to celebrate local food and drink. This original thesis examines the mutual relationship between food festival organisers, festival attendees and festival spaces. Two unique New Zealand regional food festivals – Kāwhia Kai on the West Coast of the North Island and Wildfoods Hokitika on the West Coast of the South Island - are critically examined. The research addresses three questions. First, how do these food festivals construct their locations and vice versa? Second, in what ways do food festivals contribute to place identity? And, third, how do food festival attendees sensually experience the festivals?
The concept of embodiment provides the overarching framework for this research. With academic interests in both tourism and geography, I weave understandings of culinary tourism, festivals, tourist embodied experiences, sensuality, visercality and abjection to address my research questions. I use this theoretical ‘toolbox’ alongside qualitative methodological approaches which enable research participants to express their embodied experiences and emotions. Ten semi-structured interviews were conducted with festival organisers and food stall holders. Participant ‘sensing’ was carried out in both Kāwhia and Hokitika. In thinking about the social, cultural and ‘felt’ aspects of food, I also use my own body as an instrument of research. Promotional texts were collected and all data analysed using critical discourse analysis.
The empirical material is divided into two themes. The first theme focuses on location and place identity. Concepts of ‘place attachment’ and ‘sense of belonging’ construct food festival regions. The formation of ‘new colonial’ and ‘new Māori’ traditions is another way in which these food festivals created unique place identities. The second theme highlights the embodied experiences and spaces of both food festivals. Bodily senses, place and spaces are created through visceral and abject reactions to food experiences.
Food festivals have the potential to enhance the economic, social and cultural wellbeing of regional communities. The success of food festivals, however, is dependent on multi-sensual embodied experiences.

text: ‘Let’s Get Wild’: Sensuous Geographies of Kāwhia Kai and Hokitika Wildfoods Festivals in Aōtearoa New Zealand Food Festivals allow communities to celebrate local food and drink. This original thesis examines the mutual relationship between food festival organisers, festival attendees and festival spaces. Two unique New Zealand regional food festivals – Kāwhia Kai on the West Coast of the North Island and Wildfoods Hokitika on the West Coast of the South Island - are critically examined. The research addresses three questions. First, how do these food festivals construct their locations and vice versa? Second, in what ways do food festivals contribute to place identity? And, third, how do food festival attendees sensually experience the festivals?
The concept of embodiment provides the overarching framework for this research. With academic interests in both tourism and geography, I weave understandings of culinary tourism, festivals, tourist embodied experiences, sensuality, visercality and abjection to address my research questions. I use this theoretical ‘toolbox’ alongside qualitative methodological approaches which enable research participants to express their embodied experiences and emotions. Ten semi-structured interviews were conducted with festival organisers and food stall holders. Participant ‘sensing’ was carried out in both Kāwhia and Hokitika. In thinking about the social, cultural and ‘felt’ aspects of food, I also use my own body as an instrument of research. Promotional texts were collected and all data analysed using critical discourse analysis.
The empirical material is divided into two themes. The first theme focuses on location and place identity. Concepts of ‘place attachment’ and ‘sense of belonging’ construct food festival regions. The formation of ‘new colonial’ and ‘new Māori’ traditions is another way in which these food festivals created unique place identities. The second theme highlights the embodied experiences and spaces of both food festivals. Bodily senses, place and spaces are created through visceral and abject reactions to food experiences.
Food festivals have the potential to enhance the economic, social and cultural wellbeing of regional communities. The success of food festivals, however, is dependent on multi-sensual embodied experiences.

year: 2015