How much detail do we need to see? High and very high resolution photography,GAMBIT, and the Manned Orbiting Laboratory

This article examines the requirements for high and very high resolution photography of the USSR and other denied areas during the Cold War. It discusses the partial success of GAMBIT-1 and the much greater success of GAMBIT-3 beginning in 1966 in acquiring the former. The article reviews the development of the Manned Orbiting Laboratory (MOL) in the same period to collect very high resolution photography, the rationale for it, and the major technical and financial problems the program soon experienced. It then describes the debate beginning in 1968 over the value of this imagery considering the MOL’s costs and the growing success of GAMBIT-3, and these and the other factors that led President Richard Nixon to cancel the program the following year.     

Unheard Voices: Why Former Child Welfare Workers Left Their Positions

This mixed methods study used a snowball sample (n = 54) to capture retrospective insight from former public child welfare workers about job satisfaction and reasons they left their positions. Responses to open-ended questions suggested a theme of lack of organizational support as the primary reason they left. Former workers also reported that they wanted a voice and someone to hear their concerns, greater recognition, and opportunity to practice self-care. Quantitatively, workers in their positions 8 years or longer were the most satisfied on a 19-item global scale examining job satisfaction. Respondents were unhappy with their workloads and emotional impact of their positions.     

Australian Cinema Studies: How the Subject Is Taught in Australian Universities

Since the mid-1970s, the subject Australian Cinema, and its various synonyms and neologisms, has been studied in humanities, social sciences and the arts in Australian higher education, and research in the field has played an important role in informing the critical approaches underpinning curriculum. Yet to date there is limited insight into the types of subjects offered, approaches to curriculum and syllabus, and their alignment with research. This article maps Australian cinema studies in higher education at an undergraduate level, and provides insight into common curriculum and syllabus models. Findings are drawn from an online survey of university course handbooks, content and thematic analysis of study guides and weekly syllabus, and correspondence with coordinators. Twenty-seven universities offered subjects with a dominant Australian cinema focus. Australian cinema studies is firmly embedded in national cinema curriculum, and three common curriculum models include the following: (1) a historical chronology of Australian cinema, (2) a text-dominant approach organised around the weekly study of a key film and (3) an approach predominately structured around Australian cinema discourses and critical theory. Despite the increasing importance of transnational approaches to Australian screen in research, transnationalism rarely functions as a dominant organising logic for curriculum in its own right.