I think “librarian” now means many different things in contemporary libraries and that outstanding future libraries will be full of a mix of professionally qualified people who bring an increasingly diverse range of skills to libraries. So, who are these additional or relatively new folk and what skills do they bring? Here are my thoughts.
- ICT programming & development skills* – needed to manage repositories of research outputs and data; data archives; discovery interfaces; many large systems peculiar to libraries (e.g. RFID, ASRS, library catalogues, search and discovery layers & so many vendors’ products – databases).
- Legal or para-legal skills** – to advise on the increasingly complex IP and Copyright environment and on the mixing/creation/reuse of licensed material by students and academics.
- UX* – to make sure we get user interfaces and services right and iterating in the right direction.
- New media skills** – to better understand its creation and to assist students and academics with its creation and this will become only more and more important, so that means people comfortable with the creation and editing of sound, film, images, games, online publications, social media, etc.
- New (online) publication skills** – for OERs, ebooks & texts, OA pubs, print-on-demand, etc.
- Design skills* – in-house as they help with all of the above; they also help with the development of a design mindset (as opposed to just plonking “good ideas” on unsuspecting punters).
- Marketing & Comms skills* – in-house as they also help market our services to our community.
- Curators & archivists* – to assist with “special” collection development, exhibitions and the very important cultural aspects of libraries.
- Conservators# – depending on scale and collection needs.
- Data Scientists (or the like) or Analysts, or “Wranglers”** (probably the most apt description) – as I think we will need a few librarians who really do understand this field and who can hold their own in environments with various data gatherers or generators like academics, students and researchers.
* Those we have already at UTS Library.
** Those we are growing or developing in-house.
# Those we don’t have or need here.
Anyone else I’ve missed or badly described?
Here are my thoughts on GLAM sector collaboration and conferences in Australia. Firstly, we should stop having so many library “conferences” every six months. There just isn’t enough interesting, new or relevant material to justify participation.
Maybe we should consider having one major library conference (run by either VALA or ALIA, or both) every second year and on the other years we get the whole GLAM sector together and ALIA, MA, ASA and anyone else (like CAUL, NSLA, etc.) cooperate to run the one Australian GLAM conference. I’ve said this for years and nobody listens. It would be a useful first step in learning from each other, collaborating and maybe even starting to have one united voice for the impact of culture in our society. Who knows, perhaps we could even make major progress on a digital strategy for the whole sector?
I gave a talk to the VALA AGM earlier this week on our Artist-in-Residence Program: the thinking behind it, who has been involved, what has been produced and why we think it is a good thing. Below are the slides I used (29 MB PDF) and in many of the images there are links that take you much deeper into the works created by those artists.
I think my talk was very well summarised in one tweet by @StevenPChang (who is a Senior Research Advisor from La Trobe University Library). He said that I was “lauding the value of intuition, ambiguity, and aesthetics in a world obsessed with metrics and efficiency.” That is exactly what I was trying to do.
Closet Monster was my final film for this festival and so it ended as it began, on a high. It is a wonderfully told queer coming of age story that apparently is based on writer/director Stephen Dunn’s own experience as a teenager.
There is a lot to enjoy in this film. Our hero Oscar, excellently played by the talented-beyond-his-years Connor Jessup, has a pet hamster called Buffy who provides companionship and dispenses wisdom (via the voice of Isabella Rossellini). Oscar’s interactions with Buffy are a delight every single time. Connor Jessup almost seems born to play this role, but I thought the same about his acting in the second series of American Crime. He’s simply brilliant.
Stephen Dunn brings so much imagination to his story telling. He drops magical moments throughout the film to light up the tale and to bring Oscar’s lingering childhood horror to life. And he perfectly balances the emotional core of the film with his amusing and refreshingly different creative style. This could so easily have failed.
It is all so well done. As well, it is beautifully shot in several memorable scenes that serve to underline Oscar’s journey in life, his relationships and his developing sexuality.
I hope that both Stephen Dunn and Connor Jessup keep making films. Talents like theirs keep us going to the cinema.
My Bruce McAvaney Specialness Rating*: 4+/5 (Most people would think this to be very special.)
Teenage Kicks is probably the best made and most memorable queer movie that I’ve seen in a long time. I’m not saying this because it comes from Australia. I didn’t like the film Holding the Man at all. It just didn’t do the book any justice. Writer/Director Craig Boreham’s film is very well put together. It is an ambitious and complex story that is very well told.
The beautiful and very talented Miles Szanto stars as Miklós Varga a young man from a migrant family who thinks he is in love with his best friend Dan (Daniel Webber). Mik is also carrying around the guilt associated with the recent death of his brother Tomi (Nadim Kobeissi) and even more baggage from a complex family history. His mate Dan has just found a girlfriend and this greatly disappoints Mik because he was hoping to escape to the North soon with Dan and their surfboards.
Mik, however, faces even more complex challenges as he starts to develop his own sexual identity. There is Dan’s new girlfriend Phaedra (Charlotte Best) who confronts him about his love for Dan and then tempts him in a park. Tomi’s very pregnant partner Annuska (Shari Sebbens) seems to transfer her affection and love to Mik, and Shari Sebbens portrays this with much skill and sensitivity. Then the many issues he is dealing with come to a head when he almost drowns in a pool at Phaedra’s home but he is saved by Dan who later rejects Mik’s drunken confession of his love very violently. As he starts to burn some bridges to his family and friends, Mik explores his gay sexuality, with some gay web-cam boys he meets in Kings Cross and a blow-job in a park from Sam (played by the gorgeously sensual Joshua Longhurst). More dangerously, he also experiments with some strong drugs. It all looks to be heading towards an inevitable cluster-fuck …
The acting is all very good, particularly from Miles Szanto who does carry the major load. Mik’s character is a very challenging role and it could easily have been either over-played, stilted or degenerated into that of a good looking soap opera character. Along with this, there is some beautiful cinematography of Sydney’s stunning southern coastline and of some close and genuinely tender moments between Mik and several other cast members.
I have just the one criticism of the film. I didn’t find Miles convincing as a teenager, let alone as a school aged boy. The actor is actually 24. I don’t think the film needed Mik to be a teenager or at school and it isn’t a critical element of the story. One’s sexual immaturity isn’t limited to defined by a school uniform. Mine certainly wasn’t. And even today I think that accepting one’s queer identity can take a lot longer than your experience at school.
What is great about this film, especially for queer youth, is that ultimately Mik isn’t doomed by some poor choices, nor consumed by his perception of guilt over his brother’s death. He proves to be resilient to the brutality he suffers, retains his tender loving nature, doesn’t burn all his bridges before him and then gets on with his life. Hopefully he hooks up again with Sam, but maybe that is just me dreaming.
A memorable and enjoyable queer film about choices, love and hope.
My Bruce McAvaney Specialness Rating*: 4/5 (Most people would think this to be special.)
The Endless River begins by rolling screen credits in almost sepia tones and a typeface that are both reminiscent of most of those old Westerns from Hollywood. I wasn’t sure why. Perhaps because that is where the director, Oliver Hermanus, thinks that South Africa is up to with respect to racial integration and the development of a moral code beyond an “eye for an eye”? It certainly made me think. (Possible spoilers ahead.)
We are soon introduced to the two lead characters: Tiny (Crystal-Donna Roberts) whose husband Percy (Clayton Evertson) has just been released from a four-year prison stint for gang activity; and the Frenchman Gilles (Nicolas Duvauchelle) who suffers the loss of his entire family in a brutal home invasion, rape and series of murders at their farm. Many seem keen to think that Percy was involved in these murders and a local policeman gives Gilles far too much of a tip about the possibility of his involvement, and Percy too is killed on his way to rob the farm that has been isolated as a crime scene.
Things are moving along very quickly in these two opening chapters and just when we are wondering whether naughty Gilles was involved in Percy’s murder as an act of revenge, he and Tiny become involved. I thought it was quite engrossing up to this point.
Disappointingly, it all gets a bit lost and self-indulgent in the third and final chapter, like the film has become bored with telling its own story and more fascinated by the scenery that the two lead characters escape to. This soon became boring to me. There are some short flashbacks to what look like headlights in the rain and Gilles standing over something, but to me it isn’t enough to conclude that Gilles took his revenge on Percy who, it turned out, wasn’t involved in the murder of Gilles’ family.
Then, with Gilles and Tiny still on their escape and processing their thoughts, it all concludes. Without a real ending. DIY. Again. Nooooooo! A cardinal sin in a story like this in my opinion. GIVE ME AN ENDING.
Good in part, but ultimately not at all satisfying.
My Bruce McAvaney Specialness Rating*: 3/5 (Not especially special.)
I read another review of this film that concluded that the reality of life is too cruel for hope. Yeah, no. I didn’t like this film because there was no hope and I’m tired of seeing movies with a strong GLBTI theme that have no hope. We’re not all that grey, sad and hopeless.
At a big film festival you’re fortunate enough to witness the story telling efforts and methods of many different directors and those who are successful really stand out. This effort from Lorenzo Vigas isn’t one of them. I saw his film Desde allá after seeing the work of the amazingly talented John Michael McDonagh (War on Everyone), Ivan Sen (Goldstone), André Téchiné (Being 17) and Frederikke Aspöck (Rosita) to name just a few. These films are all entertaining and well-told stories. Lorenzo Vigas holds far too much back in Desde allá, but it is also far too depressing.
The actors can only work with what they’ve got but the well regarded Chilean star Alfredo Castro as Armando, gives us nothing. He shows hardly any emotion in the entire film and he does have a fair bit to be emotional about. He plays an older man with some issues who seeks sexual gratification by cruising for and then watching naked or near-naked youths undress in his apartment while he jerks off. His co-lead as the younger man, Luis Silva, manages to show a wider range, including some tenderness and vulnerability. He also adds some much needed colour in this largely colourless film. Maybe Castro just isn’t allowed to respond, but it would have worked better if he did, regardless of all of Armando’s unidentified issues.
The film is set in Caracas, Venezuela and I acknowledge that the film also highlights the differences between the haves and have-nots. It certainly made me feel a lot luckier with my own lot, but to some extent Rosita also dealt with a bleak economic environment and some unrequited love and still managed to leave the viewer with some hope and inspiration.
I was disappointed.
My Bruce McAvaney Specialness Rating*: 2 (Pretty ordinary really.)