Publications List – Tony Mitchell

Books & Monographs:

• Co-Editor (with Shane Homan) Sounds of Then, Sounds of Now: Popular Music in Australia, Hobart: Australian Clearinghouse for Youth Studies, 2008, 295pp.
• Editor Global Noise: Rap and Hip hop outside the USA, London and Hanover: Wesleyan University Press, 2001, 336pp.
• Dario Fo: People’s Court Jester, (Updated and expanded edition), London, Methuen, 1999, 506pp.
• Popular Music and Local Identity: Pop, Rock and Rap in Europe and Oceania, London, University of Leicester Press, 1996, 276pp.
• High Art in a Foreign Tongue: Adelaide Ristori’s 1875 Australian Tour: Selections from Bartolomeo Galletti’s Around the World with Ristori and Australian reviews of Ristori’s Perfomances, Australasian Drama Studies Association Academic Publications, University of Queensland, 1996, 184pp.
• (With Philip Hayward & Roy Shuker) North Meets South: Popular Music in Aotearoa/New Zealand, Sydney, Perfect Beat Publications, 1994, 130pp.
• (With Andrew Jacubowicz, Heather Goodall, Jeannie Martin et al), Racism and Ethnicity in the Media, Sydney, Allen & Unwin, 1994, 256pp.

Book Chapters:

• 2009:
• ‘Prog Rock, the Horror Film, and Sonic Excess: Dario Argento, Morricone and Goblin’, in Philip Hayward (ed.) Terror Tracks: Music, sound and Horror Cinema, London: Equinox, 88-100.
• Pennycook, A. and T. Mitchell, ‘Hip hop as dusty foot philosophy: Engaging locality’. In Awad Ibrahim, Samy Alim and Alastair Pennycook (Eds) Global linguistic flows: Global Hip Hop Culture, Youth Identities, and the Politics of Language. New York: Routledge, 2008, 25-42.
• 2008:
• Shane Homan & Tony Mitchell, ‘Introduction: Locating Australian popular music’, in Shane Homan & Tony Mitchell (eds) Sounds of Then, Sounds of Now: Popular Music in Australia, Hobart: Australian Clearinghouse for Youth Studies, 2008, 1-18.
• ‘Australian hip hop’s multicultural literacies: A subculture emerges into the light’, in Shane Homan & Tony Mitchell (eds) Sounds of Then, Sounds of Now: Popular Music in Australia, Hobart: Australian Clearinghouse for Youth Studies, 2008, 231-252.
• ‘Second generation Migrant Expression in Australian Hip hop’ in Helen Lee (ed.) Ties to the Homeland: Second Generation Transnationalism, Newcastle (UK) : Cambridge Scholars Publishing, 104-126.
• 2007:
• ‘Hong Kong-Australian Imaginaries:Three Australian Films by Clara Law’, in Gina Marchetti & Tan See Kam (eds) Hong Kong Film, Hollywood and the New Cinema: No Film is an Island, London: Routledge. 91-106.
• 2006:
• ‘Tian ci - Faye Wong and English songs in the Cantopop and Mandopop Repertoire’, in Shane Homan (ed) Access All Eras: Tribute Bands and Global Pop Culture, maidenhead: Open University Press, 215-228.
• 2005:
• ‘Hei-fen and Musical subtexts in Two Australian Films by Clara Law’ in Rebecca Coyle (ed) Reel Tracks: Australian Feature Film Music and Cultural identities, Eastleigh/John Libbey/Perfect Beat Publications, 2005, 59-73.
• 2004:
• Self-orientalism, Reverse Orientalism and Pan-Asian Pop Cultural Flows in Dick Lee’s Transit Lounge, in Koichi Iwabuchi, Stephen Muecke and Mandy Thomas (eds) Rogue Flows:Trans-Asian Cultural Traffic, Hong Kong University Press, 95-118.
• ‘Doin’ Damage in My Native Language: Resistance Vernaculars in Hip Hop in Europe and Aotearoa/New Zealand’ in Sheila Whiteley, Andy Bennett and Stan Hawkins (eds) Popular Music, Space and Place, London: Ashgate, 2004, 108-123.
• 2003:
• ‘Indigenising Hip Hop: An Australian migrant youth subculture’, in Melissa Butcher and Mandy Thomas (eds). Ingenious:Emerging Youth Cultures in Urban Australia, Melbourne; Pluto Press, 2003, 198-214.
• ‘Doin’ Damage in My Native Language: Resistance Vernaculars in Hip Hop in France, Italy and Aotearoa/New Zealand’, in Harris M. Berger and Michael Thomas Carroll (ed.) Global Pop, Local Language, Jackson: University of Mississippi Press, 2003, 3-18.
• Entries on ‘National identity in rock music’ and ‘New Zealanders: Pop and Rock’ in John Whiteoak and Aline Scott-Maxwell (eds) Currency Companion to Music and Dance in Australia, Sydney; Currency House Inc., 2003, 453-455, 457-458.
• 2001:
• ‘Introduction: Another root: Hip hop outside the USA’, ‘The Italian Posses and Hip hop in Italy’ and ‘Kia Kaha! (Be Strong!): Maori and Pacific Islander Hip Hop in Aotearoa/New Zealand’ in Tony Mitchell (ed.) Global Noise: Rap and Hip hop outside the USA, London & Hanover,Wesleyan University Press.
• Translation of Dacia Maraini, Dialogue between a Prostitute and her Client, in Alan P. Barr (ed.) Modern Women Playwrights of Europe, Oxford University Press, 2001.
• 2000:
• ‘The Moon is a Lightbulb and other stories: Fo the Songwriter’, in Joseph Farrell & Antonio Scuderi (eds) Dario Fo: Stage, Text and Tradition, Carbondale, Southern Illinois University Press, 101-121.
• ‘Kylie Meets Misato: Bridging the Gap between Australian and Japanese Popular Culture’, in Ien Ang, Mandy Thomas and Elaine Lally (eds) Alter/Asians, Sydney, Pluto Press, 183-200.
• 1998:
• ‘Teresa Crea, Doppio Teatro, Italo-Australian Theatre and Critical Multiculturalism’ in Veronica Kelly (ed), Our Australian Theatre in the 1990s, Amsterdam, Radopi, 132-151.
• ‘Italo-Australian Cinematic Soundscapes’ in Rebecca Coyle, (ed) Sound Scores: Studies in Contemporary Australian Film Music, Sydney, Australian Film, Television and Radio School, 89-105.

Articles in Refereed Journals:

• 2009:
• ‘Music and the Production of Place: Introduction’,
• ‘Sigur Rós’s Heima: An Icelandic Psychogeography’,
• ‘Mapping Australian Music. Review Essay’, all In Tony Mitchell (ed.) Music and the Production of Place, Transforming Cultures ejournal, vol.1, no.4, 2009
• 2007:
• ‘Paolo Conte: Italian Arthouse Exotic’, Popular Music vol. 26 no.3, 489-496.
• ‘Discussion Article:Aotearoa Songlines’, Perfect Beat, vol. 8 mo. 3, July, 68-75.
• ‘The DIY Habitus of Australian Hip hop’, Media International Australia no.123, May, 109-122.
• The Reography of Reason: Australian Hip Hop as Experimental History and Pedagogy’, Altitude vol 8, 2007.
• 2006:
• Guest Editor, Chinese Diasporic Popular Music, Special issue of Perfect Beat, vol.7 no.4 January 2006.
• ‘Blackfellas Rapping, Breaking and Writing: A Short History of Aboriginal Hip hop,’ Aboriginal History 2006 Vol.30, 1-14.
• ‘The New Corroboree’, Meanjin Blak Times Special Issue, vol.56:1, 2006, 20-28.
• ‘Artist Profile: MC Trey’, in Context, A Journal of Music Research, Issue 26, 2006, 37-48.
• 2005:
• ‘Minimalist Menace: The Necks Score The Boys‘. Screening the Past Issue 18, July 2005.
• 2003:
• ‘Australian Hip hop as a Subculture’, Youth Studies Australia, vol. 22, no.2, June 2003, 40-47.
• ‘Migration, Memory , and Transitional Identities in Clara Law’s Autumn Moon,’ Cultural Studies Review, vol. 9. no.1, May 2003, 139-160.
• ‘Clara Law’s Floating Life and Hong-Kong Australian “Flexible Citizenship’”, Ethnic and Racial Studies vol. 26, no.2. March 2003, 278-300.
• 2001:
• ‘Clara Law’s Farewell China – A Melodrama of Chinese Migration’, Hybridity: Journal of Cultures, Texts and Identities (National University of Singapore), vol.1, no.2, 22-44.
• ‘Doin’ Damage in My Native Language: Resistance Vernaculars in Hip Hop in France, Italy and Aotearoa/New Zealand’, Popular Music and Society vol. 24, no.3, Fall, 45-58.
• ‘Memorialising Dusty Springfield: Millenial Mourning, Whiteness, Fandom and the Seductive Voice’ Topia: A Canadian Journal of Cultural Studies, no. 6, November, 83-97.
• ‘Dick Lee’s transit lounge: Self-orientalism and Pan-Asian Pop’, Perfect Beat vol. 5 no.3, July, 18-45.
• 2000:
• Boxing the ‘Roo: Clara Law’s Floating Life and Transnational Hong Kong-Australian Identities, UTS Review, 6:2, November, 103-114.
• 1999:
• ‘Another Root: Australian Hip hop as a “Glocal” Subculture,’ UTS Review, vol.5, no.1, May, 126-141.
• 1998:
• (with Roy Shuker) ‘From Moral Panics to National Pride: A Study of the Music Press in Aotearoa/New Zealand’ in Perfect Beat vol.3 no.4 , January, 51-67.
• ‘Flat City Sounds: A Cartography of the Christchurch Music Scene’, Popular Music and Society, vol. 21. no.3, Fall 1997, 83-107. (Bowling Green Popular Press, Ohio).
• 1997:
• (with Roy Shuker) ‘Music Scenes and National Identity: Popular Music and the Press in Aotearoa/New Zealand, New Zealand Sociology vol.5, no.1, May, 87-111.
• ‘Knowing about Airports: Teaching Writing Economy Class’ in Text (E-Zine), vol.1, no.1, March.
• ‘New Zealand Music on the Internet: A Study of the NZPOP Listserver’, Perfect Beat, vol.2, no.3, January 1997, 77-96.
• 1996:
• ‘Berlusconi and the New Italian Cinema: Re-Viewing The Icicle Thief’, Film Criticism (USA) vol.XXI, no. 1, Fall 1996, 13-33.
• ‘Gramsci on Theatre’ introduced and translated by Tony Mitchell, New Theatre Quarterly vol.12, no.27,Autumn 1996, 259-265.
• ‘Once Were Warriors and New Urban Polynesians: Maori and Pacific Islander Music in Aotearoa/New Zealand’, SITES (NZ), no.33, Spring 1996.
• 1995:
• ‘Questions of Style: Notes on Italian Hip Hop’, Popular Music (UK) vol.14, no.3, October, pp.361-376.
• 1994:
• ‘Caryl Churchill’s Mad Forest: A Polyphonic Representation of South-eastern Europe’ Modern Drama Vol.XXXVI no.4, December 1993, 499-511.
• 1993:
• ‘Through Anglo Lenses: Italians in Australian Television Drama’, Australasian Drama Studies no.22, April, 20-32.
• ‘Orientalism in Ragaan: Embassy’s Imaginative Geography’, Meanjin. vol.52 no 2, Winter, 265-276.
• ‘World Music and the Popular Music Industry: An Australian View’, Ethnomusicology (USA) Vol.36, no.3, 1993, 309-338.
• ‘Treaty Now! Indigenous Music and Music Television in Australia’, Media, Culture and Society (UK) vol.15 no.2, April, 299-308.

Conference publications:

• Tony Mitchell (2007) ‘HipHop und die Aborigines: Die moderne corroboree’ in Karin Bock, Stefan Meier. Gunther Suss (HG.) Hip Hop Meets Academia: Globale Spuren eines lokalen kulturphanonens, transcript Verlag, Bielefeld.
• ‘Learning to Love Cantopop: Musical ‘Inbetweenness’ in the Chinese Diaspora’, 8th IASPM Australia-NZ conference, UTS, Sydney, 2001.
• ‘Aotearoa hip hop in the 21st century’ in Richard Hardie (ed) Music and Locality: Towards a local discourse in music, (combined conference of the Australia & new Zealand Musicological Societies, Wellington 2003) Music Books New Zealand, 2004 (CD Rom).

Conference proceedings (as co-editor):

• (With Shane Homan), Musical ‘Inbetweenness’: The Proceedings of the 8th IASPM Australia-New Zealand Conference, 2001, University of Technology, Sydney.
• (With Peter Doyle) Changing Sounds: New Directions and Configurations in Popular Music, Proceedings of the 10th International Conference of IASPM, University of Technology, Sydney, 9-13 July 1999.

Keynote Addresses:

• ‘Situating Music in Aotearoa’ ‘ManyVoices: Music in Aotearoa/New Zealand’, University of Otago, Dunedin, April 2009.
• ‘Music Piracy and Subcultural Citizenship: Cruising the El Chopo Market in Mexico City’, ‘Rum Sodomy and the Lash’, A Symposium on Piracy, New School of Culture and Communication, University of Melbourne, 19 July 2007.
• ‘Dario Fo: Political Theatre, Carnival, the Giullari and the Commedia dell’Arte”, Co. As. It Italian Studies Inservice Course, Australian Catholic University, September 1999.
• ‘Hip hop as a “Glocal” Phenomenon: Rap Music in Australia and Aotearoa/New Zealand,’ Culture Shocks: The Future of Culture, An International Symposium, Te Papa, Museum of New Zealand, Wellington, N.Z., July 1998.

Recent Conference papers:

• Messiaen and the Lyrebird: Notes on Birdsong in Australian Music’, Minding Animals Conference, University of Newcastle, Australia, July 2009.
• ‘A Southern Gothic Imaginary: Poetics of Place in “The Dunedin Sound”’, ‘Music on the Edge’, International Association for the Study of Popular Music Australia-NZ, University of Otago, Dunedin, NZ, 29 November, 2007.
• ‘Blackfellas Rapping, Writing and Breaking: Australian Aboriginal Hip Hop’, Indigenous Studies and Indigenous Knowledge Conference, UTS, 12 July 2007.
• ‘Sabato, Distrito Federal: Cruising the El Chopo Market in Mexico City’, Que Viva La Musica Popular! International Association for the Study of Popular Music 14 the Biennial Conference, Universidad Iberoamericana, Mexico City, June 25, 2007.
• ‘Constructions of Indigeneity in Aotearoa Hip hop: Te Kupu and Feelstyle’, 6th International Symposium on Bilingualism, University of Hamburg, Germany, June 2nd, 2007.