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This article examines how sound was used as an effective tool of formal resistance in the work of influential feminist filmmakers, Carolee Schneemann (United States), Gunvor Nelson (Sweden), and Joyce Wieland (Canada). While their work differs in both aesthetic approach and thematics, their strategic use of sound as a point of disruption within their early films set an important standard for future feminist experimental film practice. The article outlines how each filmmaker constructed a dialectical relationship between image and sound that often challenged viewers. Each produced defamiliarized landscapes out of domestic spaces commonly overcoded by gendered systems of representation, including the kitchen, the home, and the garden. Furthermore, each film offered alternative forms for articulating women's subjectivity that challenged the roles made available to them during the 1960s. Through close readings of Wieland's film Water Sark (1965), Schneemann's film Plumb Line (1968–71), and Nelson's film My Name Is Oona (1969), the article demonstrates how each artist advanced a critical politics through sound-image dissonance.

Intro -- Endorsements -- Half Title -- Series Page -- Title Page -- Copyright Page -- Dedication -- Contents -- Acknowledgments -- Introduction -- The origins of this book -- A reflective practice -- Sharing our experience -- This book -- Notes -- Work cited -- 1. The need for dialogue -- A monological culture -- What dialogue is all about -- Dialogue in business organizations -- The importance of education -- Note -- Work cited -- 2. Back to the origins: Socrates and the examined life -- Socratic Dialogue: An introduction to its principles -- Socratic Dialogue: A reinterpretation -- The benefits of Socratic Dialogue -- Benefits of Socratic Dialogue -- Notes -- Work cited -- 3. Socratic Dialogue for the 21st century -- Moral learning: Saving ourselves from relativism -- The enlarged mentality -- Swimming upstream -- A proposal for the 21st century: A lot of work to be done -- In summary ... -- Notes -- Work cited -- 4. The pedagogy of dialogue in the classroom -- Space -- Chairs and tables -- Screens -- Name tags -- Silence -- The rules of Socratic Dialogue -- Respect -- Confidentiality -- Listening -- Freedom -- Reciprocity -- The facilitator's role -- Preparing the session -- Objectives of the dialogue -- Time -- Participation -- Passionate detachment -- Dialogue, not psychotherapy -- Epoché or suspension of judgment -- The constructive elenchus -- Your ideas do not define you: Dare to let them go -- Moving all in the same direction -- Silence -- Moments of vulnerability -- Concluding the dialogue -- The ten commandments for dialogue -- When you ask... -- Do not be afraid of silence -- Suspend judgment -- Be maieutic -- Play as a team -- Listen -- Connect with your desire to know (curiosity) -- Connect with your desire to help (benevolence) -- Practice constructive elenchus -- Be patient -- Do not be arrogant -- When you answer ... -- Trust.

A review of Frank Gurrmanamana, Les Hiatt and Kim McKenzie with Betty Ngurraban-Gurraba, Betty Meehan and Rhys Jones's People of the Rivermouth: The Joborr Texts of Frank Gurrmanamana (National Museum of Australia and Aboriginal Studies Press, Canberra, 2002).The concept of postcolonialism, and an Australian postcolonial literature specifically, is fraught with problems. The least of these is the reality of this country not yet being fully free from its British colonial inheritance, let alone from ongoing internal colonialism. Even so, postcolonialism is still a useful term to define a body of (particularly Indigenous) literature produced over the last thirty years. Keeping the irony in mind, Australia's virtual postcolonial literature has been gaining increasing prominence, providing fertile ground for the political promise that one day may be realised as a state of actual Australian postcoloniality of sorts. In the meantime, the postcolonial movement desired and reinforced by the literature continues to gather momentum. People of the Rivermouth, a recent addition to the Australian anthropological corpus, initiates what looks like a promising future for postcolonial ethnographies; yet it too has some problems. While the book claims that it is 'arguably the most comprehensive work ever produced on a single Australian Aboriginal group', in effect presenting itself as an ethnography of the highest order, the main component of the work—the Joborr texts—are, I believe, somewhat more aligned to what Eric Michaels once described as 'para-ethnography': a story that transcends itself into a kind of incidental ethnography.

Introduction: Voicing Demands: Feminist Activism in Transitional Contexts / Sohela Nazneen and Maheen Sultan -- 1. Well-Chosen Compromises? Feminists Legitimizing Voice in Bangladesh / Sohela Nazneen and Maheen Sultan -- 2. Feminisms in Brazil: Voicing and Channelling Women's Diverse Demands / Cecilia M.B. Sardenberg and Ana Alice Alcantara Costa -- 3. The South African Revolution: Protracted or Postponed? / Gertrude Fester -- 4. Voicing Autonomy through Citizenship: The Regional Nationality Campaign and Morocco / Alexandra Pittman and Rabéa Naciri -- 5. Motivated by Dictatorship, Muted by Democracy: Articulating Women's Rights in Pakistan / Afiya Shehrbano Zia -- 6. Feminist Voices and the Regulation, Islamization and Quango-ization of Women's Activism in Mubarak's Egypt / Mariz Tadros -- 7. The Many Faces of Feminism: Palestinian Women's Movements Finding a Voice / Elieen Kuttab.