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Greg Jericho Greg Jericho i(A78684 works by) (a.k.a. Grog's Gamut)
Gender: Male
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1 y separately published work icon The Rise of the Fifth Estate : Social Media and Blogging in Australian Politics Greg Jericho , Brunswick : Scribe , 2012 Z1900769 2012 single work criticism

'Using original research, Greg Jericho reveals who makes up the Australian political blogosphere, and tackles head-on some of its key developments - the way that Australia's journalists and federal politicians use social media and digital news, the motivations of bloggers and tweeters, the treatment of female participants, and the eruption of Twitter wars.

The mainstream media's reaction to all this tends to be defensive and dismissive. As Jericho found to his own cost when he was outed by The Australian as the blogger Grog's Gamut, hell hath no fury like a criticised newspaper. And although journalists welcome Twitter as a work tool and platform, they have to deal with vitriolic online comments, and face competition from bloggers who are experts in their fields and who, for the most part, write for free.

Politicians, meanwhile, are finding it hard to engage genuinely with the new media. They tend to pay lip service to the connectedness offered by modern technology, while using it primarily for self-promotion.

The new social media are here to stay, and their political role and influence are bound to increase. The real question they pose is whether the old structures of the political world will absorb this new force or be changed by it.' (Back cover)

1 Who are We? Greg Jericho , 2005 single work review
— Appears in: LiNQ , May vol. 32 no. 1 2005; (p. 100-103)

— Review of Australian Literary Studies vol. 21 no. 4 October 2004 periodical issue
1 War in the Tropics Greg Jericho , 2005 single work criticism
— Appears in: Etropic : Electronic Journal of Studies in the Tropics , vol. 4 no. 2005;
'In the Home Box Office mini-series Band of Brothers (2001), one of the soldiers on a troop ship bound for England remarks: "Right now some lucky bastard's headed for the Pacific, get put on some tropical island, surrounded by six naked native girls, helping him cut up coconuts so he can hand feed them to flamingos". This paradisiacal view of the Pacific and tropical areas has existed for centuries, and despite European settlers' developing familiarity with the area, it is a misconception which has continued to be propagated in war films set in the tropics. These war films depict the tropics as antipodean utopias which become corrupted by the ravages of war. Thus, while many of these films attempt to display war realistically, they still hold to the historical view of the tropics as unspoiled and pure—until, of course, war intrudes onto the scene. These films rarely examine the effect of the war on the local inhabitants, but rather deal with soldiers coping with the disjunction between their preconceived notions of the area and the reality before them. Crucially as well, war is depicted as a greater crime against nature (both human and environmental) when fought in the tropics rather than in Europe. This view is promulgated in the representation of battles fought in these films. In films set in the Pacific theatre during World War Two, and more recent ones set during the Vietnam War, the battle for American and Australian soldiers is as much about coping with their surroundings as with fighting the enemy, who are often rarely seen, or only viewed in long shot. War films set in the tropics depict 'war as hell' because of the environment, which is by turns remote, mystifying, and generally rural, rather than urban, 'civilised' and familiar, as it is in the case of the majority of war films set in Europe.' (Publication abstract)
1 A Family Madness Greg Jericho , 2003 single work review
— Appears in: LiNQ , May vol. 30 no. 1 2003; (p. 143-145)

— Review of The Hard Word John Clanchy , 2002 single work novel
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