This paper revisits a book I published 20 years ago. Labour’s Utopias – Bolshevism, Fabianism, Social Democracy (Routledge, 1992) began from the proposition that utopia was a ubiquitous figure in Western political and social thinking. On the Left the common sense has often been that reform and revolution are but different proposed roads to the same utopian end. Labour’s Utopias shows that this is not the case: Bolshevism, Fabianism and social democracy actually embody different ends. Revisiting the text 20 years (...) later, my sense is that its most interesting and significant weakness lies not in its diagnosis of utopia, but in its failure to differentiate significantly between labour and its intellectual representatives. I hint at the issue of ‘social’ or ‘socialist ventriloquism’, but fail to follow it through. The issue of representation, or claims to representation, remains under-illuminated, as does the possibility that there are significant differences between working-class and middle-class utopias. (shrink)

This introductory article discusses the contributions to this number in the light of some general issues arising out of recent writing on utopia. It notes the wide variety of views on the question of definition of utopia, ranging from the anti-utopian dismissal of it as totalitarianism to a broad and flexible vehicle of desire. It traces the shifting accents of utopia consequent on the move beyond modernity - a shift from time to space and from content to process. Only a (...) flexible approach reflected in the variety of articles in this collection can offer glimpses of the most elusive utopia, the transcendence of loss and longing. (shrink)

This article emerges from a wider study on bicultural film archiving practice. It focuses on Jonathan Dennis as a subject of archiving, and as a distinctive archivist himself in relation to a specific archive at a particular moment. Dennis practice differed significantly from North American and European conventions contemporaneous with his life work. The charismatic founding director of Ngā Taonga Sound & Vision Jonathan Dennis became a conduit for tensions and debates during the 1981–2002 period in relation to indigenous and (...) non indigenous presentation of archival materials. This resulted in a film archive and curatorship practice which differed significantly from that of the North American and European archives he originally sought to emulate. As a Pākehā with a strong sense of social justice he argued for an awareness of geographical location and cultural context in his work. He supported a philosophical shift in archival practice, by engaging indigenous peoples in developing creative and innovative exhibitions and programmes from the 1980s period until his death.Note: From 1988 the official name for the New Zealand Film Archive was Ngā Kaitiaki o ngā Taonga Whitiāhua. Since August 2014 the institution is called Ngā Taonga Sound & Vision, New Zealand Archive of Film, Television and Sound Ngā Taonga Whitiāhua Me Ngā Taonga Kōrero to acknowledge the acquisition of the state-owned Television NZ Archive and Sound Archives from Radio NZ. For brevity’s sake the Archive is referred to throughout as NTSV.Key: NTSV PP JD refers to the NTSV Personal Papers of Jonathan Dennis. (shrink)