Continuum has been at the forefront of Cultural Studies for 30 years. Continuum had its beginnings in Perth, Western Australia and many of the early supporters were part of the dynamic 1980s Perth Cultural Studies scene. Jon Stratton’s analysis of the rise of Perth cultural studies places the history of Continuum in this context. He states that ‘the key themes of Perth Cultural Studies was the emphasis on text, the move to visual mass media, the use of semiotics’ and culture (Stratton Citation2016, 90). The emphasis on visual culture is still evidenced in the ever-changing cover image for the journal, which is overseen by Continuum’s Photography Editor. Stratton further adds,
Perth offered an opportunity, perhaps only equalled in Australia by Brisbane, for intellectuals to begin to think through from the margins, and from their own cosmopolitan experiences, what is meant by culture, and to comment on the productions and reproductions of culture often as expressed through visual media, as manifestations of Perth culture, Australian culture, or more generally as Western culture as subjectified in gender, race and – overarchingly – identity. (Stratton Citation2016, 102).
Currently Continuum prides itself as being an internationally focused journal with contributors from across the globe. Nonetheless, publishing articles on the local and regional cultural sites is still of importance. For example, one themed issue that looked at the global and the local was the 2014 special issue on Offshore Processes – International Perspectives on Australian Film and Television, edited by Therese Davis, Mark Gibson and Tony Moore.
I have been with the journal for around 14 years, and, despite changes to the editorial make-up, a constant has been the striving to publish papers that engage with topical issues and current debates in Cultural Studies. Alongside this is the shared excitement and satisfaction of seeing such critical work published in print and online.
Continuum has also been committed to providing an opportunity for both established scholars and early career researchers (ECRs) to publish innovative work in Media and Cultural Studies. In my role as editor, I have provided mentoring to ECR’s, individually and in focused workshops (nationally and internationally) for successful journal writing and publication. It is also a policy that our themed issues have a range of scholars. Our themed issues have also covered a diversity of topics, such as asylum seekers, feminism, fictocriticism, sexuality, smartphones, media and security post-9/11, multiculturalism, and youth cultures. Our most recent themed issue was on David Bowie and his cultural impact. The depth and range of work that continually Continuum publishes is an opportunity to provide new insights and engaging perspectives.
Continuum publishes six issues per year. It is certainly a team effort to produce the journal. Over the years, I have had the pleasure of working with Brian Shoesmith, Ian Hutchison, Terry Flew, Mark Gibson, Greg Noble, Anna Hickey-Moody, Pam Martin-Lynch, Joanna Kujawa, Jude Elund, Talhy Stotzer and Christina Lee. Their commitment and camaraderie have been remarkable.
Fellow editor, John Tebbutt and Jess Taylor, our editorial assistant, also contribute greatly to Continuum’s success, ensuring the process of review and publication are achieved in a timely manner. (We receive around 150 individual manuscripts per year, aside from special themed issues.) I would also like to express gratitude to the many peer reviewers and the Editorial Board, who have provided valuable feedback to our authors.
Thank you, also, to the many contributors and readers of Continuum.
The hard work of Tom O’Regan and Brian Shoesmith is also acknowledged in establishing the journal and setting the foundations of one of the most highly regarded journals in the field. In the following pages, Brian Shoesmith has provided his recollections of the Journal from its roots in 1987.
Senior Editor
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