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Associate Professor Andrew Hurley

Biography

Andrew W. Hurley is Associate Professor in the Faculty of Arts and Social Sciences at the University of Technology, Sydney. He teaches in the International Studies programme. 

Andrew holds degrees in German and European Studies (B.A. (Hons.) and PhD, Melbourne University) and Law (LLB, University of Melbourne), and has been admitted to practice as barrister and solicitor in the Supreme Court of Victoria.

Andrew has written widely on interculturalities and intermediality.  He is the author of  The Return of Jazz: Joachim-Ernst Berendt and West German Cultural Change (Berghahn Books, 2009, 2011), and
Into The Groove:  Popular Music and Contemporary German Fiction (Camden House,  2015).

With colleagues from UTS and the University of Potsdam, is currently researching the afterlives of the German-Australian explorer, Ludwig Leichhardt.

Professional

Andrew W. Hurley completed his PhD in German Studies at the University of Melbourne in 2006. He also has legal qualifications and has practiced as a solicitor.

Image of Andrew Hurley
Associate Professor, International Studies Program
Core Member, Transforming Cultures
B Arts (Hons), Bachelor of Laws (Hons), Doctor of Philosophy (Arts)
 
Phone
+61 2 9514 1653

Research Interests

Reception of Jazz in Germany
Jazz and popular Music
German and Australian Film
The interface between law and art
Contemporary German Literature
Intermedia

Can supervise: Yes

Andrew W. Hurley currently teaches in the International Studies program.

Books

Hurley, A.W. 2015, Into the Groove? Popular Music and Contemporary German Fiction, Camden House (NY).
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A new and wide-ranging view of the confluence, since the 1990s, of the fields of contemporary literature and popular music in Germany.
Hurley, A.W. 2009, The Return of Jazz: Joachim-Ernst Berendt and West German Cultural Change, 1, Berghahn Books, New York and Oxford, USA.
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Jazz has had a peculiar and fascinating history in Germany. The influential but controversial German writer, broadcaster, and record producer, Joachim-Ernst Berendt (1922 2000), author of the world s best-selling jazz book, labored to legitimize jazz in West Germany after its ideological renunciation during the Nazi era. German musicians began, in a highly productive way, to question their all-too-eager adoption of American culture and how they sought to make valid artistic statements reflecting their identity as Europeans. This book explores the significance of some of Berendt s most important writings and record productions. Particular attention is given to the Jazz Meets the World encounters that he engineered with musicians from Japan, Tunisia, Brazil, Indonesia, and India. This proto- world music demonstrates how some West Germans went about creating a post-nationalist identity after the Third Reich. Berendt s powerful role as the West German Jazz Pope is explored, as is the groundswell of criticism directed at him in the wake of 1968.

Chapters

Hurley, A.W. 2015, 'Aboriginal Cowboys? On the possibilities of the Western in Australia's far west.' in The Western in the Global South, Routledge, New York and Oxford, pp. 129-148.
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Hurley, A.W. 2015, 'From documentation to dialogue: On bringing Brazilian popular music and jazz to West Germany' in Finger, A., Kathoefer, G. & Larkosh, C. (eds), KulturConfusão – On German-Brazilian Interculturalities, Walter de Gruyter G.m.b.H, Berlin and Boston, pp. 137-158.
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Hurley, A.W. 2013, 'Ripe for a Diskursabenteuer: Jazz in Thomas Meinecke's Novels.' in Krick-Aigner, K. & Schuster, M.O. (eds), Jazz in German-language Literature, Koenigshausen & Neumann, Wuerzburg, pp. 281-302.
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The musician, broadcaster, and Suhrkamp novelist Thomas Meinecke, born 1955 in Hamburg, has emerged as an important voice in contemporary German literature since the mid-'1990s. I.ike some of his fellow authors at Suhrkamp, such as Rainakl Goetz, Andreas Neumeister, and, more recently, Kerstin Grether, he has participated in an increased (inter-)medialization of fiction (sec Kendel 2005; Wehdeking 2(07) and associated thematization of popular music, two by-words for a heterogeneous development in German literature often subsumed under the rather unsatisfactory moniker "pop literature" ["Popliteratur'l At a time, however, when it has mainly been other, perhaps more contemporary forms of popular music (rock, pop, punk, electronica) that have caught the imagination of most "pop" writers, jazz has had a significant impact on Meinecke's writing, although never to the exclusion of other types of music. The following examines the representation of jazz in Meinecke's novels Het/bill" (2001), M'lSik (2004), and JlIlIgfhltl (2008), I argue that whereas some other contemporary writers might view jazz as music of an older (1968) generation in decline, lvleinecke has been more inclined to view jazz as a highly productive topic of discourses related to ethnicity, the nation-state, and gender. l I will also ponder the compatibility between jazz's aesthetics and Meinecke's innovative approach to writing.
Hurley, A.W. & Schwarz, A. 2013, 'Leichhardt's Erbe: Der Australienforscher im deutsch-australischen Gedaechtnis' in Heike Hartmann (ed), Der Australienforscher Ludwig Leichhardt: Spuren eines Verschollenen, be.bra wissenschaft verlag, Berlin, pp. 144-159.
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Conferences

Hurley, A.W. 2015, 'Aboriginal cowboys?: On the possibilities of the western in Australia's far west', pp. 129-148.
Hurley, A. 2014, 'Whatever did happen to Jutta Hipp? Jazz, Gender, and writing in Thomas Meinecke's novels', Jazz in Word, Vienna, Amerikahaus.
Hurley, A. 2014, 'No Fixed Address, but currently in East Berlin: The Bicentennial, Indigenous protest and the Festival des politischen Liedes, 1988', Postcolonial Justice, University of Potsdam.
Hurley, A. 2014, 'No Fixed Address, but currently in East Berlin: The Bicentennial, Indigenous protest and the Festival des politischen Liedes, 1988', German Studies Association of Australia, University of Sydney.
Hurley, A.W. 2102, 'Son of the soil, proto-socialist or free spirit? Heinz Haufes Entdeckungsreisen in Australien and the rehabilitation of Ludwig Leichhardt in East Germany.', Ludwig Leichhardt's Legacies UTS international symposium, University of Technology, Sydney.
Hurley, A.W. 2013, 'Aboriginal Cowboys? On the Possibilities of the Western in Australia's 'Far West'.', Global Western: Interculturality, Transmediality, and Hybridity of the Western Genre, Johannes Gutenberg University, Mainz.
Hurley, A.W. 2013, 'Thomas Brussig's Wie es leuchtet. Plotting musical meaning against a changing political environment in East Germany', Music and Environment symposium, University of Technology, Sydney.
Hurley, A.W. 2013, 'When Ludwig Leichhardt came back: The Cold War and an uncanny return.', Animate Archives Symposium, UTS.
Hurley, A.W. 2012, 'Habermas, communicative comity, and the intercultural musical meeting', UTS Transforming Cultures seminar, Sydney.
Hurley, A.W. 2012, 'Walking in the Leichhardt Pioneers Memorial Park', Remembering German-Australian Colonial Entanglements, UTS and University of Potsdam Symposium, University of Potsdam, Germany.
Hurley, A.W. 2012, 'Tiger's rendition of `Silent Night,' or what is tradition anyway?', UTS Transforming Cultures seminar paper, University of Technology, Sydney.
Hurley, A.W. 2012, 'Reconciliation/history/music: Remembering the Strehlows in cantata form', Remembering German-Australian Colonial Entanglements, UTS and University of Potsdam Symposium, University of Technology, Sydney.
Hurley, A.W. 2012, 'German mining dreams? Werner Herzog's Where the Green Ants Dream and Nina Gladitz's The uranium belongs to the rainbow serpent.', UTS Mining Culture symposium, University of Technology, Sydney.
Hurley, A.W. 2012, 'German-Indigenous musical flows at Hermannsburg in the 1960s', "Flows": IASPM (AUS-NZ chapter) annual conference, University of Tasmania.
Hurley, A.W. 2011, 'The Ernabella Magic Lantern project', UTS Transforming Cultures seminar, Sydney.
Hurley, A.W. 2011, 'Remembering Hermannsburg in song: Indigenous and non-Indigenous musical engagements with the past: 1967, 2004', Remembering German-Australian Colonial Entanglements, University of Potsdam (Germany).
Hurley, A.W. 2010, 'Intelligent techno and an uneasy jetset: Hannes Stöhrâs Berlin Calling (2008)', Imagining the New Berlin, Melbourne.
Hurley, A.W. 2010, 'âOf Germanic eddies in the Black Atlantic: Electronica and (post-)national identity in the music of Freiwillige Selbstkontrolle (F.S.K.) and in Thomas Meineckeâs novel Hellblau (2001)â?', German Studies Association (USA) Annual Conference, Oakland, CA.
Hurley, A.W. 2010, ''Double Agents? The (German) pop musician as novelist'', UTS Transforming Cultures seminar series.
Abstract This paper examines the phenomenon (and success) of the German rock/pop musician-cum-novelist, a figure who has gained a certain prominence since the latter part of the 1990s. In particular, the paper analyses the cases of Thomas Meinecke (born 1955; guitarist and singer with Freiwillige Selbstkontrolle (FSK), and author of Tomboy (1998) and other novels) and Sven Regener (born 1961; guitarist and singer with Element of Crime, and author of Herr Lehmann [Berlin Blues] (2003) and others). The paper outlines an increasing symbiosis of two cultural sub-fields (the pop-musical and the literary), which calls into question the traditional hierarchisation between literature and pop music. I will analyse the reasons why (German) musicians have diversified into writing novels and demonstrate how pop cultural capital has proven to be partly transferable into the literary field. I will also show how the 'second' career as writer has had symbiotic benefits in terms of the authors' music careers. Yet the paper also elaborates on the limits to the symbiosis and to the transferability of cultural capital from the one field to the other.
Hurley, A.W. 2010, 'Thomas Meinecke and the self-styling of the novelist as DJ', Revise: The Art and Science of Contemporary Remix Cultures, University of Wollongong.
Hurley, A.W. 2009, '"Collapsing (New) Buildings: Town planning, history and music in Hubertus Siegert's Berlin Babylon (2001)', Terpsichorean Architecture: Writing About Music, Sydney, UTS..
Hurley, A.W. 2009, '"Jazz, Collective Creativity and the Beginnings of the Young German Cinema"', The Sydney Symposium 2009: Collective Creativity, Woolahra, NSW.
Hurley, A.W. 2009, 'From ally to threat: Joachim-Ernst Berendt, the African-American Civil Rights Movement, and German jazz discourse.', African American Civil Rights and Germany in the 20th Century, Vassar College, Poughkeepsie, NY, USA.
Hurley, A.W. 2009, 'Between negrophilia and colourblindness: Joachim-Ernst Berendt's image of African-Americans and 'Negroes' during the 1950s.', German Studies Association (USA) Annual Conference, Arlington, Virginia, USA.
Hurley, A.W. 2009, 'âA Berlin-Detroit axis?: Electronic music and postnational identity in Thomas Meineckeâs Hellblau (2001)â?', "Deutsch in Aller Welt" German Studies Association of Australasia biennial conference, Perth, WA.
Hurley, A.W. 2008, 'Beating the East German blues: musical representations of freedom in Leander Haussmann's Sonnenallee and Michael Schorr's Schultze gets the blues'', Remapping Cinema; Remaking History. FHAANZ 2008 conference select refereed papers, Film and History Association of Australia and New Zealand, Centre for Research on National Identity, University of Otago, University of Otago, Dunedin, NZ, pp. 146-159.
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Hurley, A.W. 2009, 'Jazz, cinema verite, and the beginnings of New German Cinema', Sydney University German Studies Seminar, Sydney University.
Hurley, A.W. 2008, '"East German Blues: Musical Representations of Freedom in Leander Hausmann's Sonnenallee (1999) and Michael Schorr's Schultze Gets the Blues (2003)"', "Remapping Cinema, Remaking History": XIVth Biennial Conference of the Film and History Association of Australia and New Zealand. Conference Proceedings. Volume One: Refereed Abstracts, "Remapping Cinema, Remaking History", Department of Media, Film and Communication, University of Otago, Dunedin, New Zealand, pp. 39-40.
Hurley, A.W. 2008, '"East German Blues: Musical Representations of Freedom in Leander Hausmann's Sonnenallee (1999) and Michael Schorr's Schultze Gets the Blues (2003)"', Remapping Cinema, Remaking History, Dunedin, New Zealand.
Hurley, A.W. 2007, 'But Did the World Meet Jazz?: Ein Blick hinter Joachim Ernst Berendts Plattenreihe 'Jazz Meets the World'', Begegnum: The World Meets Jazz: Darmstaedter Beitraege zur Jazzforschung Band 10, Darmstadter Jazzforum, Wolke Verlag, Darmstadt, Germany, pp. 16-44.
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Hurley, A.W. 2008, '"Intercultural collaboration: a life-long credo" Filmmaker Michael Edols in dialogue with Andrew Hurley', Pittwater Offshore Indigenous Interests Group film screening and Q&A session, Scotland Island, NSW.
Hurley, A.W. 2006, 'Re-imagining Milirrpum v Nabalco in Werner Herzog's Where the Green Ants Dream', PASSAGES: law, aesthetics, politics, PASSAGES: law, aesthetics, politics, School of Law; University of Melbourne, Melbourne, pp. 1-14.
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In 1983, the German filmmaker Werner Herzog realised a decade-long ambition to create a film thematising the struggles of Aboriginal groups against mining companies operating in northern Australia. Where the Green Ants Dream (WGAD), was reviled by Australian pundits and also disappointed international critics. However, it raises important issues, not only about the creative appropriation of Aboriginal mythology, but also about the representation of Aboriginality and the struggle for Aboriginal land rights. This article reveals how Herzog relied heavily upon Milirrpum v Nabalco [1971] 17 FLR 141 in writing his film script. In doing so, he came up with a hybrid tenuously situated between documentary and feature film. What complicated this strategy was the fact that Herzogwhose unorthodox style often involves casting non-professional actors in important rolesalso cast Wandjuk and Roy Marika, who had both been witnesses in Milirrpum v Nabalco, in lead roles. They were ultimately uncomfortable with reperforming a court-room sequence in which they had once participated in earnest. This article analyses Herzogs mix of documentary and fiction, examines the reception of WGADboth by white Australian critics and by Aboriginal Australians involved with the filmand argues that, while the film may be flawed, it is valuable because it threw (and continues to throw) disquieting yet important issues into perspective.
Hurley, A.W. 2005, 'Joachim Ernst Berendt - Jazz, U-Musik, Pop-Jazz und die Ambivalenz (1950-70)', Jazz goes Pop goes Jazz. Der Jazz und sein gespaltenes Verhältnis zur Popularmusik - Darmstadter Beitrage zur Jazzforschung Band 9, Darmstadter Beitrage zur Jazzforschung, Wolke Verlag, Darmstadter, Germany, pp. 37-59.
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Hurley, A.W. 2006, 'Floortalk on Weltmusik in Germany', Floortalk at Jazz Pope exhibition opening, The Narrows gallery, Melbourne.
Hurley, A.W. 2003, '"Jazz for Goethe" on "Politics' Third Stage": West German Government-sponsored jazz tours during the 1960s. Revising "outdated imaginations of West Germany" or participating in Western "cultural penetration"?', Contexts, Contacts and Constraints, University of Melbourne School of Languages Postgraduate Conference, School of Languages, University of Melbourne, Melbourne, Australia, pp. 117-140.
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Hurley, A.W. 2003, 'Contexts, Contacts, Constraints', School of Languages Postgraduate Research Papers on Language and Literature, Melbourne University School of Languages, University of Melbourne.
Hurley, A.W. 2002, 'Albert Mangelsdorff's Es sungen drei Engel: Navigating a path through jazz, German folklore and post-war (West) German identity', (Sub)texts: Proceedings of the University of Melbourne School of Languages postgraduate Conference 2002, University of Melbourne School of Languages postgraduate Conference, School of Languages, University of Melbourne, Melbourne, Australia, pp. 7-26.
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Journal articles

Hurley, A.W. 2015, 'German-Indigenous musical flows at Ntaria in the 1960s: Tiger Tjalkalyeri's rendition of 'Silent Night', or what is tradition anyway?', Perfect Beat, vol. 15, no. 1, pp. 7-21.
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Hurley, A.W. & Ege, M. 2015, 'Introduction: Special Issue on Afro-Americanophilia in Germany.', Portal: journal of multidisciplinary international studies, vol. 12, no. 2.
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Ege, M. & Hurley, A.W. 2015, 'Periodizing and Historicizing German Afro-Americanophilia: From Counterculture to Post-soul (1968-2005).', Portal: journal of multidisciplinary international studies, vol. 12, no. 2.
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Ege, M. & Hurley, A.W. 2015, 'Periodizing and Historicizing German Afro-Americanophilia: From Counterculture to Post-soul (1968-2005).', Portal: journal of multidisciplinary international studies, vol. 12, no. 2.
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Hurley, A.W. 2015, 'How 'Afro-Americanophilia' became Polyphilia: Joachim-Ernst Berendt's Journey from Jazz to 'Weltmusik.'', Portal: journal of multidisciplinary international studies, vol. 12, no. 2.
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Hurley, A.W. 2015, 'Establishing minimal techno as soundtrack to the Creative City: Hannes Stöhr's Berlin calling', Seminar - A Journal of Germanic Studies, vol. 51, no. 4, pp. 315-332.
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© 2015 Project MUSE. This article argues that Hannes Stöhr's Berlin Calling (2008), one of the first feature film treatments of Berlin's techno scene, contributes to the mythification of contemporary Berlin as an exciting, "culturepreneurial," creative city. Twenty years after the emergence of Berlin's electronic music scene, the film offers a conciliatory reading of that scene, which is consistent with the contribution that club culture and the notion of the creative individual make to the capital city's economy. In contrast to earlier, more worried readings of Berlin's club culture, Berlin Calling suggests that some techno is legitimate music with artistic merit. Although the film does not shy away from dance music's association with drug use, the protagonist "DJ Ickarus" ascertains "wie wichtig es ist, ein Ziel im Leben zu haben" and begins to grapple with his drug problem. This article analyzes how the film's narrative of fall and redemption is consistent with the increasing legitimation of techno culture in the Berlin Republic.
Hurley, A.W. & Schwarz, A. 2015, ''The greatest son of our Heimat': reading German Leichhardts across the National Socialist era', Journal of Australian Studies, vol. 39, no. 4, pp. 529-545.
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© 2015 International Australian Studies Association. The article discusses German commemorations of Ludwig Leichhardt (1813–1848) in the National Socialist era when officials, journalists, educators and writers, spurred by the double anniversary of the explorer's 125th birthday and the 90th anniversary of his disappearance, began to re-imagine the explorer's life and fate in the light of the ideological imperatives of the day. Our analysis of this period pays particular attention to how these reimagined Leichhardts emphasise or neglect some of the key elements that make up his story to this day, among them: Leichhardt's ethnicity; his sense of attachment to place and home; his homosocial relationships; his evasion of Prussian military service; his role in the British colonial project; and finally, his engagements with Aborigines. On the one hand, our analysis reveals, how Leichhardt was portrayed first on the local and, later, the national level in ways that increasingly sought to elide ambiguous aspects of his life and deeds. However, it also uncovers some of the ideological labour required to render him useful to the National Socialist cause. Often enough, these re-imagined Leichhardts escaped party politics, and cast up some of the logical inconsistencies and limits to key terms in National Socialist thinking.
Ege, M. & Hurley, A.W. 2015, 'Periodizing and Historicizing German Afro-Americanophilia:From Antebellum to Postwar (1850–1967)', Portal: journal of multidisciplinary international studies, vol. 12, no. 2, pp. 1-38.
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In this essay, which builds on the methodological considerations and the definitions we sketched in the introduction to the special edition on what we are calling twentieth-century German Afro-Americanophilia, we delve into the history of Afro-Americanophilia in Germany and of its precursors. Afro-Americanophilia denotes the affirmative, enthusiastic, even loving approaches to African American culture, politics, and people. These, in turn, are heterogeneous acts that encompass imaginations, practices and social relationships. Such acts have been theorized with concepts such as mimesis, identification, desire, translation, misunderstanding, appropriation, expropriation, fetishism, hybridisation, or becoming-minor. Our aim here, however, is not to theorize Afro-Americanophilia, but to establish a preliminary, mostly descriptive periodization and to draw out some of the particularly significant moments, ruptures, and continuities within it. In the process, we also identify some of the salient ways scholars have interpreted Afro-Americanophilia during those periods. The timeframe we cover in this first review essay stretches from the nineteenth century until the mid–1960s, from which point the second essay continues. Focusing on a variety of appropriative practices, communicative media, actors and forms of agency, power differentials, and sociocultural contexts, we discuss positive images of and affirmative approaches to black people in German culture and its imaginary prior to the colonial era, and then during the colonial, Weimar, Nazi and postwar eras
Hurley, A.W. & Taylor, H. 2015, 'Music and Environment: Registering Contemporary Convergences', Journal of Music Research Online, vol. 6, pp. 1-18.
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Hurley, A.W. 2014, 'Review of Elina Hytönen-Ng, Experiencing flow in jazz performance', Journal of the International Association for the Study of Popular Music, vol. 4, no. 1, pp. 124-125.
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Hurley, A.W. 2014, 'Leichhardt's bust, or how the explorer was rediscovered during the Cold War', Continuum, vol. 28, no. 6, pp. 885-900.
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© 2014 Taylor and Francis. In 1988, the long-lost Ludwig Leichhardt returned to Sydney, not once but three times over, and via an odd Cold War route: his doppelganger great-great-grand nephew, also called Ludwig, travelled from East Germany to participate in a conference; the International Friendship League presented a plaque to the City of Leichhardt; and a bust, for which Ludwig Jr had sat as model, was presented to Australia as a Bicentennial gift. If the bust is an uncanny, inherently unsettling art form, this one challenges us to probe the meanings invested in Leichhardt in Cold War Germany and in Australia. He emerges from the gift exchange as an unstable, transnational figure: one who was never fully owned or disowned, who was subject to competing German national claims, who was ousted from narratives of the Australian nation, but who made a return on cue for the Bicentennial. But this bust figures presence and absence in ways that also ask us to think about what Leichhardt memorialization elided. In particular, its giving both disavowed and emphasized Indigenous experience of colonization at a time when settler Australia anxiously sought to celebrate its Bicentennial and include Indigenous people in doing so.
Hurley, A.W. 2014, 'Review of Susan G. Figge and Jenifer K. Ward, Reworking the German Past: Adaptations in Film, The Arts and Popular Culture. (Rochester: Camden House, 2013 [2010]).', Limbus: Australian Yearbook of German Literary and Cultural Studies, vol. 8 (2014), pp. 254-257.
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Hurley, A.W. 2014, 'No fixed address, but currently in East Berlin: The Australian bicentennial, Indigenous protest and the Festival of Political Song in 1988', Perfect Beat, vol. 15, no. 2, pp. 129-148.
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© 2015 Equinox Publishing Ltd. In his work on multidirectional memory, Michael Rothberg makes the point that '[a]lthough it is difficult to grasp today?communism provided one of the discursive spheres?in which the articulation of genocide and colonialism could first be attempted'. In this article, I explore the Australian Indigenous reggae-rock band No Fixed Address's performance, just after Australia Day 1988 at the East German Festival of Political Song, one of the surprisingly many venues where the East German state granted space for the articulation of genocide and colonialism and their legacies in the Australian context. On its face, this site offered a signal transnational location for Indigenous protest during the bicentennial year. However, I will demonstrate that the articulation of protest was undermined and skewed by partly competing and partly symbiotic intentions on the part of the East German and the Australian states. In this ambiguous context, musical protest unfolded in complex and sometimes unintended ways.
Hurley, A.W. 2013, 'Son of the soil, proto-socialist or free spirit? Heinz Haufe's Entdeckungsreisen in Australien and the rehabilitation of Ludwig Leichhardt in East Germany', Limbus: Australian Yearbook of German Literary and Cultural Studies, vol. 6, no. 1, pp. 209-224.
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Hurley, A.W. 2013, '"Jack of all trades" or "double agent?" the German popular musician as novelist', Journal of Popular Music Studies, vol. 25, no. 2, pp. 127-153.
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Hurley, A. & Schlunke, K. 2013, 'Leichhardt after Leichhardt', Journal of Australian Studies, vol. 37, no. 4, pp. 537-543.
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Lewis, A. & Hurley, A.W. 2012, 'Love, popular music, and "technologies of gender" in Karen Duve's Dies ist kein Liebeslied (this is not a love song)', New German Critique, no. 115, pp. 113-137.
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Hurley, A.W. 2012, 'Of Germanic eddies in the Black Atlantic: Electronica and (post-)national identity in the music of Freiwillige Selbstkontrolle (F.S.K.) and in Thomas Meinecke's novel Hellblau (2001).', Journal of European Popular Culture, vol. 2, no. 1, pp. 65-80.
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Attention has been drawn to German music's inspirational role in the 'birth' of techno and house in the United States, as well as to Germany's pre-eminent place in the recent development of electronic dance music. Some even suggest that techno might be inherently German. Yet whilst electronica seems to offer materials with which to imagine Germanness, an alternative reading is available. This article specifically examines how discourses about electronica and (post-)national identity intersect in Thomas Meinecke's recent musical oeuvre with Freiwillige Selbstkontrolle (FSK), which has for some years been involved in its own adaptations of electronica, and in his later novels, especially Hellblau. Both advance a celebratory reading of the international spread of electronica - and of the productive 'transatlantic feedback' between Germany and the United States - which is consistent not only with a long-standing German trope associated with African American forms of music (especially jazz), but also with more recent, postmodern approaches to identity
Hurley, A.W. 2011, 'Collapsing (New) Buildings: Town planning, history and music in Hubertus Siegert's Berlin Babylon (2001).', Portal Journal of Multidisciplinary International Studies, vol. 8, no. 1, pp. 1-23.
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Hubertus Siegerts impressionistic documentary, Berlin Babylon, illuminates the demolition and urban renewal of Berlin during the mid-late 1990s. This was a critical phase in the citys history, as it prepared, amidst a flurry of excitement and anticipation, to become the united Germany's seat of power. Siegert's film seeks to give pause for thought, but deliberately eschews a voice of god voiceover, opting instead for a poetic audiovisual montage. This includes shots of the cityscape (and its lacunae), archival footage documenting the wartime devastation and subsequent dynamiting of buildings, observational cinema of the citys busy building sites, and of verbal snippets from various architects, developers and politiciansfollowing the film titles cue, the agents in a rerun of the construction of the Tower of Babelas well as epigraphs from the Bible and Walter Benjamin, and a prominent soundscape and musical score. As this article will demonstrate, the films (mostly) sombre soundtrack plays a critical role here, commenting on the footage, and beyond that on the whole project of the new `Berlin Republic and its attitude to architectural heritage and twentieth century history. Re-figuring the theme of this volume, Berlin Babylons music is a form of writing about (collapsing, old) architecture and history. And yet, the soundtrack is not as unambiguous as a voiceover might have been, and thereby allows creative space for the audiences interpretation, a matter that was very important to the films director. This article will focus, in particular, on three elements: the use (and treatment) of historical recordings in the film; the use of silence; and finally the way in which tracks from the Berlin band Einstürzende Neubauten use music, noise and text to comment on the project of the new Berlin.
Hurley, A.W. 2010, 'Hansjürgen Pohland's Tobby (1961/62): Jazz, cinéma-vérité and the beginnings of Young German Cinema', Studies in European Cinema, vol. 7, no. 3, pp. 193-207.
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Hurley, A.W. 2010, 'A New Cultural Studies Analysis of West German Radio under Occupation (Review of Alexander Badenoch, Voices in Ruins: German Radio and National Reconstruction in the Wake of Total War. Basingstoke: Palgrave Macmillan, 2008. (February, 2010)', H-Net BOOK REVIEW..
Hurley, A.W. 2010, 'Joachim-Ernst Berendt and the (West) German Jazz und Lyrik Genre', Brilliant Corners: A Journal of Jazz & Literature, vol. 15, no. 1, pp. 58-81.
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"Jazz und Lyrik" ("Jazz and Poetry"}1 in the German-speaking world has been documented for fifty years, with its boosters claiming that these pre-dated, or at least developed independently of, similar activities during the postwar American jazz scene (Berendt 1960a; "Probleme um Jazz und Lyrik"1964; Meifert 1999). Certainly the combination of jazz and poetry is one field in which German jazz advocates, critics, musicians, and listeners have had an abiding interest. The combination of the two genres fulfilled several important purposes in the early days, between the mid- 1950s and the mid-1960s. By associating jazz with an established art form (poetry), jazz stood to receive, by association, artistic integrity, something it lacked in the eyes of many, particularly older, postwar Germans. For Joachim-Ernst Berendt, a broadcaster, author, and producer (and its main proponent), appending words to jazz enabled him to stress a socially critical message and thereby impart a specific extra-musical meaning to jazz. Since the early recordings (1960-1964) focus on combinations of jazz and Gennan poetry, they participated in the "Germanizing" of jazz. This essay explains how and why Berendt attempted this hybrid, as well as how and why he maintained a distinction between German and American efforts.
Hurley, A.W. 2009, '"Tell you vot, baby: ze band voss svingkink und groovink!" Horst Liepolt and the Australian jazz boom of the 1970s', extempore, vol. 2, pp. 110-119.
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I first heard ofHorst Liepolt when I read about him in the liner notes for Heading in theRightDirection, a compilation of 1970S' Australian soul, jazz and funk that was released in 1995.Horst, I read, had produced quite a few of the tunes on Heading in theRight Direction. I was taken by the music and it in turn, led me to other Australian jazz from the era of the LP-as were many 'dancefloor jazz' enthusiasts from around the world, who likewise set about trying to locate the original recordings. Although Heading in the RightDirection was compiled by two Australians-Melbourne's Johnny Topper and Takse-it was issued not only in Australia but also in the USA,and was very much the result of a more widespread renewed interest in soul jazz, particularly on the part ofyoung British and American DJs.
Hurley, A.W. 2009, 'Review of Henning Dedekind. Krautrock: Underground, LSD und kosmische Kuriere. Höfen: Koch International/Hannibal, 2008', Limbus: Australisches Jahrbuch fuer germanistische Literatur- und Kulturwissenschaft, vol. 2, pp. 296-298.
Hurley, A.W. 2009, 'Postnationalism, Postmodernism and the German Discourse(s) of Weltmusik', New Formations, vol. 66, no. 1, pp. 100-117.
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Hurley, A.W. 2009, 'From Aboriginal Australia to German autumn: on the West German reception of thirteen 'films from Black Australia'', Studies In Australasian Cinema, vol. 3, no. 3, pp. 251-263.
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Hurley, A.W. 2008, '"Jazz: The Australian Accent [Review]"', extempore, vol. 1:2008, no. 1, pp. 168-169.
Hurley, A.W. 2008, 'Beyond the Sakura Waltz: Reflections on the Encounter between German and Japanese Jazz, 1962-1985', Perfect beat, vol. 8, no. 4, pp. 25-43.
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An historical study of the parallels between the German and Japanese jazz scenes and the interactions between the two between the 1960s and the 1980s
Hurley, A.W. 2008, 'Revisiting 'Nigger-Jew-Music': Jazz and the Tensions between Remembering and Forgetting the National Socialist Past', Limbus: Australian Yearbook of German Literary and..., vol. 1, pp. 115-133.
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Hurley, A.W. 2008, 'Review of John Shand's Jazz: The Australian Accent', extempore, vol. 1, no. 1, pp. 168-169.
Hurley, A.W. 2008, 'Three Takes on Intercultural Film: Michael Edols' trilogy of Aboriginal films: Lalai Dreamtime; Floating, Like Wind Blow 'em About - This Time; and When the Snake Bites the Sun', Studies in Australasian Cinema, vol. 2, no. 1, pp. 73-93.
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This article examines the innovative film-making approaches taken in Michael Edols' three films (Lalai Dreamtime; Floating, Like Wind Blow 'em About This Time; and When the Snake Bites the Sun), profiles their political, critical and popular reception (including amongst Aboriginal people and analyses the insights they afford into the disciplines of film-making, ethnography and into broader questions of intercultural dialogue. At a time of increased media and political interest in the plight of Aboriginal people in remote communities, they also contribute to our knowledge of the history of one such community.
Hurley, A.W. 2007, 'Whose Dreaming? Intercultural appropriation, representations of Aboriginality, and the process of film-making in Werner Herzog's Where the Green Ants Dream (1983)', Studies In Australasian Cinema, vol. 1, no. 2, pp. 175-190.
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Hurley, A.W. 2007, 'Review of Pig City: From the Saints to Savage Garden, by Andrew Stafford', University of Melbourne Postgraduate Review, vol. 13, no. 1, pp. 32-32.
Hurley, A.W. 2007, 'Review of Axel Schildt and Detlef Siegfried (eds), Between Marx and Coca-Cola. Youth Cultures in Changing European Societies, 1960â1980 (New York and Oxford: Berghahn Books, 2006)', Journal of Contemporary European Studies, vol. 15, pp. 421-423.
Hurley, A.W. 2006, '"Music is an open sky": Horst Liepolt's contribution to Australian jazz', On-line publication, vol. NA, pp. 1-6.
Hurley, A.W. 2006, 'Summertime in Indonesia? The Indonesian Jazz All-Stars 1967 tour of Europe', Perfect Beat: The Pacific Journal of Research into Contemporary Music and Popular Culture, vol. 8, no. 1, pp. 3-21.
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In late 1966, a group of Indonesian jazz musicians approached the energetic West-German broadcaster, writer and so-called 'jazz pope' Joachim-Ernst Berendt with the proposal that he assist them in mounting a tour of Europe. This tour represented what E. Taylor Atkins, a historian of Japanese jazz, calls a 'strategy of authentication', intended to secure the playing experience these musicians craved (2001: 12). It would be the first time that a group of Indonesian jazzmen perfonned on the international stage. As it transpired, their tour also generated an early instance of proto- 'world music'.
Hurley, A.W. 1996, 'Prospects of recovery in negligence and under statute for Creutzfeld-Jakob disease resulting from human pituitary gland derived hormone products', Tort Law Journal, vol. 4, no. 1, pp. 60-79.

Non traditional outputs

Hurley, A.W. 2011, 'Tobias Titz and Martumili Artists: Photographic Encounters between Germany and Australia'.
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Hurley, A.W. 2011, 'Transparency as authenticity? Ronald Clyne and his cover art for Folkways.', IDEA: International Graphic Art and Typography, Seibundo Shinkosha Publishing, Tokyo, pp. 139-142.
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Hurley, A.W. 2010, 'Of Breath and Paper: On Peter Bratzmanns Graphic Work', The Narrows and www.peterbroetzmann.com, Melbourne and www (Germany).
Hurley, A.W. 2010, 'On the Sunny Side of the Street: A Ghetto Swinger in Australia', extempore Pty Ltd, Kew, Victoria.
Hurley, A.W. 2007, '"Farewell 665: the subject speaks" (exhibition catalogue note on Tobias Titz's Polaroid Scratch project)', Daylesford Foto Biennale, Daylesford, Australia.
Hurley, A.W., 'Jazz Pope', The Narrows, Melbourne.
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Jazz Pope focusses on the idiosyncratic writer .and producer Joachlm Ernst Berendts influential role within the German and international jazz scenes. Assembling a swag of cover of photographs, music and text. the exhibition particularly explores the wealth of berendt's landmark ':jazz meets the world series (1965--1971) and pieces together its bold attempts to combine jazz with the musics of europe, africa and asia