"With Nature" provides new ways to think about our relationship with nature in today's technologically mediated culture. Warwick Mules makes original connections with German critical philosophy and French poststructuralism in order to examine the effects of technology on our interactions with the natural world. In so doing, the author proposes a new way of thinking about the eco-self in terms of a careful sharing of the world with both human and non human beings. "With Nature" ultimately argues for a poetics of everyday life that affirms the place of the human-nature relation as a creative and productive site for ecological self-renewal and redirection.

Tracing the life of the plants and animals of Forrestdale Lake through the six seasons of the local indigenous people, the first part of Black Swan Lake presents a wetlands calendar over a yearly cycle of the rising, falling and drying waters of this internationally important wetland in south-western Australia. The second part of this book considers issues and explores themes from the first part, including a cultural history of the seasons and the black swan. Black Swan Lake is a book of nature writing and environmental history and philosophy arising from living in a particular place with other beings. The book is a guide to living simply and sustainably with the earth in troubled times and places by making and maintaining a strong attachment and vital connection to a local place and its flora and fauna. Local places and their living processes sustain human and other life on this living earth.

Using the rich and vital Australian Aboriginal understanding of country as a model, "People and Places of Nature and Culture "affirms the importance of a sustainable relationship between nature and culture. While current thought includes the mistaken notion--perpetuated by natural history, ecology, and political economy--that humans have a mastery over the Earth, this book demonstrates the problems inherent in this view. In the current age of climate change, this is an important appraisal of the relationship between nature and culture, and a projection of what needs to change if we want to achieve environmental stability.

Melbourne, founded in 1835 among marshes and beside a sluggish stream, grew from wetlands into a world-class modern city. Drawing on a wide range of historical, literary and artistic sources, this book explores the cultural and environmental history of the city and its site. Tracing the city from its swampy beginnings in a squatter's settlement nestled in the marshy delta of the Yarra and Maribyrnong Rivers, Rod Giblett illuminates Melbourne through its visible structures and the invisible history of its site. The book places Melbourne within an international context by comparing and contrasting it to other cities built on or beside wetlands, including London, New York, Paris, Los Angeles and Toronto. Further, it is the first book to apply the work of European thinkers and writers on modernity and the modern city - such as Walter Benjamin and Peter Sloterdijk - to an analysis of Melbourne. Giblett considers the intertwining of nature and culture, people and place, and cities and wetlands in this bioregional and ecocultural analysis. Placing the city in its proper bioregional and international contexts, Modern Melbourne provides a rich historical analysis of the cultural capital of Australia.

In "Canadian Wetlands," Rod Giblett reads the Canadian canon against the grain, critiquing its popular representation of wetlands and proposing alternatives by highlighting the work of recent and contemporary Canadian authors, such as Douglas Lochhead and Harry Thurston, and by entering into dialogue with American writers. The book will engender mutual respect between researchers for the contribution that different disciplinary approaches can and do make to the study and conservation of wetlands internationally.

Film Figures develops a figural account of the memory structure of films. Employing theoretical concepts drawn from a range of sources, including French post-humanist philosophy and German Idealism, this book undertakes an organology of film guided by the work of Bernard Stiegler whose philosophy of mnemotechnesis provides a framework of analysis. Situating films in the quantum field of spacetime relativity as a field of cosmic views, Film Figures begins with disturbances in the experience of films themselves, posing questions of the relation between the dead past and the living future in film story-telling. By breaking the façade of the continuing present through self-questioning, Mules opens films to their figural dimensions in the counter-movement of drive as negentropic resistance. Following the back-movement of drive switches, our perception to the figural register in which characters become figures probing blindly for what the film will have been in another time – a time yet to be lived. By following the anterior possibilities of this other time, we open films to the archival future in which a new future comes forth. Film Figures provides theoretical and analytical concepts, as well as strategies for taking a step into this future, guided by questions of the right path to take given the relativity of views in which the film can be experienced. Films analysed include Murnau’s The Last Laugh, Capra’s It’s a Wonderful Life, Hitchcock’s Rear Window, Welles’s The Lady from Shanghai, Fellini’s Intervista, Antonioni’s L’Eclisse, Bresson’s Une Femme Douce, and Zeller’s The Father.

This second edition of the popular introductory textbook Tools for Cultural Studies, has been thoroughly revised and updated for a new generation of students taking introductory courses in cultural studies and cultural analysis at a tertiary level. It provides a solid grounding in the key terms and theories necessary for the study of popular culture and media texts. Without underestimating the complexity of the social, this text encourages a critical and inventive attitude to cultural theory and, through its practical step-by-step approach, is very confidence-building.