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Journal articles on the topic 'Australian screen'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Bahfen, Nasya. "1950s vibe, 21st century audience: Australia’s dearth of on-screen diversity." Pacific Journalism Review : Te Koakoa 25, no. 1&2 (July 31, 2019): 29–38. http://dx.doi.org/10.24135/pjr.v25i1and2.479.

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The difference between how multicultural Australia is ‘in real life’ and ‘in broadcasting’ can be seen through data from the Census, and from Screen Australia’s most recent research into on screen diversity. In 2016, these sources of data coincided with the Census, which takes place every five years. Conducted by the Australian Bureau of Statistics, this presents a ‘snapshot’ of Australian life. From the newest Census figures in 2016, it appears that nearly half of the population in Australia (49 percent) had either been born overseas (identifying as first generation Australian) or had one or both parents born overseas (identifying as second generation Australian). Nearly a third, or 32 percent, of Australians identified as having come from non-Anglo Celtic backgrounds, and 2.8 percent of Australians identify as Indigenous (Aboriginal or Torres Strait Islander). Nearly a fifth, or 18 percent, of Australians identify as having a disability. Screen Australia is the government agency that oversees film and TV funding and research. Conducted in 2016, Screen Australia’s study looked at 199 television dramas (fiction, excluding animation) that aired between 2011 and 2015. The comparison between these two sources of data reveals that with one exception, there is a marked disparity between diversity as depicted in the lived experiences of Australians and recorded by the Census, and diversity as depicted on screen and recorded by the Screen Australia survey.

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2

Ryan, Mark David, and Ben Goldsmith. "Reviewing Australian screen history." Studies in Australasian Cinema 10, no. 2 (May 3, 2016): 179–83. http://dx.doi.org/10.1080/17503175.2016.1175048.

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3

Laughren, Pat. "Debating Australian Documentary Production Policy: Some Practitioner Perspectives." Media International Australia 129, no. 1 (November 2008): 116–28. http://dx.doi.org/10.1177/1329878x0812900112.

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On 1 July 2008, Screen Australia commenced operation as the main Australian government agency supporting the screen production industry. This article considers some of the policy issues and challenges identified by the ‘community of practitioners’ as facing Australian documentary production at the time of the formation of that ‘super-agency’ from the merger of its three predecessor organisations — the Australian Film Commission, the Film Finance Corporation and Film Australia. The article proceeds by sketching the history of documentary production in Australia and identifying the bases of its financial and regulatory supports. It also surveys recent debate in the documentary sector and attempts to contextualise the themes of those discussions within the history of the Australian documentary.

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4

McKie, David, R. J. Thompson, and Sue Turnbull. "Australian screen comedy: An overview." Continuum 10, no. 2 (January 1996): 7–10. http://dx.doi.org/10.1080/10304319609365736.

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5

Dezuanni, Michael, Stuart Cunningham, Ben Goldsmith, and Prue Miles. "Teachers’ curation of Australian screen content for school-based education." Media International Australia 163, no. 1 (March 8, 2017): 87–96. http://dx.doi.org/10.1177/1329878x17693701.

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This article outlines how teachers curate Australian screen content for use in classrooms from pre-school to senior secondary school. It suggests teachers use their professional knowledge of curriculum and pedagogy to arrange screen resources, curriculum concepts and student experiences to promote learning. This complex curatorial process adds value to broadcaster and producer curation processes that aim to position cut-down clips and educational resources for classroom use. The article draws on a national research project that undertook interviews with 150 teachers in schools across Australia. The authors suggest the ongoing digital disruption of the school sector presents both opportunities and challenges for the Australian Broadcasting Corporation, The Special Broadcasting Service and the Australian Children’s Television Foundation.

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6

Auld, Glenn. "What Can We Say about 112,000 Taps on a Ndjebbana Touch Screen?" Australian Journal of Indigenous Education 30, no. 1 (2002): 1–7. http://dx.doi.org/10.1017/s1326011100001678.

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AbstractThis paper reports on the use of touch screens to display simple talking books in a minority Indigenous Australian language. Three touch screens are located in an informal context in a remote Indigenous Australian community. The popularity of the computers can be explained by the form of the touch screen and by the intertextual and hybrid nature of the talking books. The results suggest the Kunibídji choose to transform their own culture by including new digital technologies which represent their social practice.

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7

Lipton, Martina. "Jessie Matthews’ Construction of a Star Persona on her Post-war Australian Tours." New Theatre Quarterly 31, no. 2 (April 28, 2015): 116–28. http://dx.doi.org/10.1017/s0266464x15000238.

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Jessie Matthews’ post-war tours to Australia were part of a sequence of commercially successful imported productions then heralded as a great boom era in Australian theatre. However, Matthews’ waning popularity in Britain since the 1940s meant that she was no longer recognizable as the screen darling of the 1930s. Indeed, the Australian press had to remind its readers of ‘evergreen Jessie’s’ succession of British film hits such as The Good Companions (1933) and Evergreen (1934). This article examines the critical and public reception of Matthews’ tours with a focus on the strategic management of her star persona, both on and off stage, including her public criticism of Australian theatre management and employment opportunities for Australian theatre performers. Martina Lipton is an Honorary Associate Lecturer at the University of Queensland and was recently the Research Fellow (Australia) on the Leverhulme Research Project ‘British-Australian Cultural Exchange: Live Performance 1880–1960’. Her publications include the chapter ‘Localism and British Modern Pantomime’ in A World of Popular Entertainments (Cambridge Scholars Publishing, 2012) and articles for Australasian Drama Studies, Contemporary Theatre Review, New Theatre Quarterly, and Popular Entertainment Studies.

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8

Ryan, Mark David. "Australian screen studies: pedagogical uses of Australian content in tertiary education." Studies in Australasian Cinema 12, no. 1 (January 2, 2018): 70–84. http://dx.doi.org/10.1080/17503175.2018.1427829.

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9

Gottschall, Kristina. "Australian Screen Classics: Jedda, Jane Mills (2012)." Studies in Australasian Cinema 7, no. 1 (January 2013): 87–90. http://dx.doi.org/10.1386/sac.7.1.87_5.

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10

Kooyman, Ben. "Book Review: Wolf Creek (Australian Screen Classics)." Media International Australia 152, no. 1 (August 2014): 192–93. http://dx.doi.org/10.1177/1329878x1415200128.

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11

Cunningham, S. "Cultural theory and broadcasting policy: some Australian observations." Screen 32, no. 1 (March 1, 1991): 79–93. http://dx.doi.org/10.1093/screen/32.1.79.

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12

Dooley, Kath, and Larissa Sexton-Finck. "A focus on collaboration: Fostering Australian screen production students’ teamwork skills." Journal of Teaching and Learning for Graduate Employability 8, no. 1 (June 7, 2017): 74–105. http://dx.doi.org/10.21153/jtlge2017vol8no1art642.

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Recent research undertaken in Australia and abroad suggests that the development of effective collaboration skills is a significant factor affecting the successful employment of graduate screen practitioners. This article outlines the results of a study that examined student response to the explicit teaching of collaboration skills in an Australian screen production course. The authors report on an empirical research project undertaken in 2015 and 2016 in the Department of Screen Arts at Curtin University, Western Australia. This involved two cohorts of second year screen production students (83 in total), and aimed to foster students’ teamwork skills. The activities and resources shared with students encouraged an interrogation of contemporary models of filmmaking collaboration, the use of group contracts to identify shared values of teamwork and the implementation of activities designed to improve students’ awareness of various collaboration styles. Outcomes were measured by both qualitative and quantitative means through student surveys administered at both the beginning and end of the unit of study. The results of these surveys suggest a change in student attitudes towards collaboration, particularly in regards to the value of communication. The authors aim to disseminate these findings and to encourage further discussion and study in this area. The article builds a case for more attention being placed on the explicit teaching of teamwork and collaboration skills in University screen production courses.

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13

Freiberg, F. "Film and the Humanities at the Australian National University." Screen 31, no. 1 (March 1, 1990): 111–12. http://dx.doi.org/10.1093/screen/31.1.111.

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14

Maher, Sean, and Ruari Elkington. "Re-thinking ancillary: Australian screen content in education." Studies in Australasian Cinema 9, no. 2 (May 4, 2015): 152–70. http://dx.doi.org/10.1080/17503175.2015.1055876.

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15

Gionfriddo, Alex, and Deb Verhoeven. "Australian screen adaptations in the AFI Research Collection." Studies in Australasian Cinema 3, no. 3 (January 2009): 325–43. http://dx.doi.org/10.1386/sac.3.3.325_7.

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16

Alley-Young, Gordon. "Book Review: Rabbit-Proof Fence (Australian Screen Classics)." Media International Australia 152, no. 1 (August 2014): 186. http://dx.doi.org/10.1177/1329878x1415200119.

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17

Riley, Ben J., Amii Larsen, Malcolm Battersby, and Peter Harvey. "Problem Gambling Among Australian Male Prisoners: Lifetime Prevalence, Help-Seeking, and Association With Incarceration and Aboriginality." International Journal of Offender Therapy and Comparative Criminology 62, no. 11 (November 7, 2017): 3447–59. http://dx.doi.org/10.1177/0306624x17740557.

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Prisoners represent a group containing the highest problem gambling (PG) rate found in any population. PG is of particular concern among Indigenous Australians. Little data exist concerning PG rates among Indigenous Australian prisoners. The present study aimed to address this gap in the literature by examining the lifetime prevalence of PG among male prisoners, whilst identifying prisoners of Aboriginal background. The EIGHT Gambling Screen (Early Intervention Gambling Health Test) was administered to 296 prisoners across three male prisons in South Australia. Previous help-seeking behaviour and forms of gambling were also examined. Sixty percent of prisoners indicated a lifetime prevalence of PG with 18% reporting they were incarcerated due to offending relating to their gambling problem. Indigenous Australian prisoners indicated a significantly higher prevalence of PG (75%) than non-Indigenous prisoners (57%) and reported less than half the rate of help-seeking. Given the high levels of PG and overall low rates of help-seeking among prisoners, prisons may provide an important opportunity to engage this high-risk population with effective treatment programs, in particular culturally appropriate targeted interventions for Australian Indigenous prisoners.

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18

O'Regan, T. "The rise and fall of entrepreneurial TV: Australian TV, 1986-90." Screen 32, no. 1 (March 1, 1991): 94–108. http://dx.doi.org/10.1093/screen/32.1.94.

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19

Sladden, Michael J., and Jeanette E. Ward. "Do Australian Family Physicians Screen Smokers for Lung Cancer?" Chest 115, no. 3 (March 1999): 725–28. http://dx.doi.org/10.1378/chest.115.3.725.

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20

Kerrigan, Susan, Leo Berkeley, Sean Maher, Michael Sergi, and Alison Wotherspoon. "Screen production enquiry: a study of five Australian doctorates." Studies in Australasian Cinema 9, no. 2 (May 4, 2015): 93–109. http://dx.doi.org/10.1080/17503175.2015.1059990.

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21

Dalziell, Tanya, Kieran Dolin, and Tony Hughes-d'Aeth. "Compulsory screening: border protection, migration and the Australian screen." Studies in Australasian Cinema 3, no. 1 (January 2009): 7–14. http://dx.doi.org/10.1386/sac.3.1.7_7.

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22

Brigden, Cathy, and Lisa Milner. "Roll Out the Red Carpet: Australian Nurses on Screen." WorkingUSA 16, no. 4 (November 14, 2013): 505–23. http://dx.doi.org/10.1111/wusa.12077.

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23

Hardy, Louise L., Timothy A. Dobbins, Elizabeth A. Denney-Wilson, Anthony D. Okely, and Michael L. Booth. "Descriptive epidemiology of small screen recreation among Australian adolescents." Journal of Paediatrics and Child Health 42, no. 11 (November 2006): 709–14. http://dx.doi.org/10.1111/j.1440-1754.2006.00956.x.

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24

Cameron, Allan, Deb Verhoeven, and David Court. "Above the Bottom Line: Understanding Australian Screen Content Producers." Media International Australia 136, no. 1 (August 2010): 90–102. http://dx.doi.org/10.1177/1329878x1013600112.

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25

Kirchner, Harry. "Review: Screen Scores: Studies in Contemporary Australian Film Music." Media International Australia 91, no. 1 (May 1999): 176–77. http://dx.doi.org/10.1177/1329878x9909100118.

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26

Nash, Kate. "Goa Hippy Tribe: Theorising Documentary Content on a Social Network Site." Media International Australia 142, no. 1 (February 2012): 30–40. http://dx.doi.org/10.1177/1329878x1214200105.

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In the 1970s, a wave of young Western hippies descended on the beaches of Goa in India. Forty years later, some of them reconnected on the social network site Facebook and planned a reunion. This event, and the Goan hippy community then and now, are the subjects of a documentary called Goa Hippy Tribe, produced by Australian documentary maker Darius Devas. Funded by Screen Australia, SBS and Screen New South Wales, Goa Hippy Tribe is the first Australian documentary to be produced for the social network site Facebook. In this article, I consider how documentary in a social network context might be theorised. While the concept of the database narrative is most often invoked to explain user interactivity in online documentary, social networks such as Facebook invite different forms of interaction, and therefore raise distinct theoretical questions. In particular, Goa Hippy Tribe demonstrates the potential for the audience to engage creatively and communally with documentary.

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27

Hoorn, J. "Comedy and Eros: Powell's Australian films They're a Weird Mob and Age of Consent." Screen 46, no. 1 (March 1, 2005): 73–84. http://dx.doi.org/10.1093/screen/46.1.73.

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28

Khorana, Sukhmani. "Diverse Australians on television: from nostalgic whiteness to aspirational multiculturalism." Media International Australia 174, no. 1 (November 22, 2019): 29–38. http://dx.doi.org/10.1177/1329878x19863849.

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This article delivers preliminary findings from a series of interviews with Australian migrant producers, directors and writers. With the increasing calls for diversity in the media generally, and on television screens specifically from a wide range of stakeholders (institutions like Screen Australia, advocacy groups and high-profile media personnel of colour), there is ample empirical evidence that our public and commercial broadcasters have a long way to go in terms of ‘reflecting’ contemporary Australia. There is also more emphasis on institutionalised strategies, and looking towards overseas models to make this happen. Using the discourses of official and everyday multiculturalism, this article unpacks what it means to ‘reflect reality’, versus the meaning of various kinds of aspirational content, especially in drama and comedy. Such an analysis is crucial to understand the value of diversity beyond the simplistic rationale of ‘reflection’, and particularly in a changing mediascape.

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29

Kerrigan, Susan, Mark David Ryan, Phillip McIntyre, Stuart Cunningham, and Marion McCutcheon. "The creative sustainability of screen business in the Australian regions." Studies in Australasian Cinema 14, no. 2 (May 3, 2020): 111–29. http://dx.doi.org/10.1080/17503175.2020.1811486.

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30

John, Juliet, and Hester Joyce. "Pushing the boundaries: creativity and constraint in Australian screen production." Studies in Australasian Cinema 14, no. 2 (May 3, 2020): 130–43. http://dx.doi.org/10.1080/17503175.2020.1822051.

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31

Lewin, Gill, Silver Chain, and Janine Calver. "Older Australian home-care clients who screen positive for depression." Australasian Journal on Ageing 25, no. 2 (June 2006): 84–88. http://dx.doi.org/10.1111/j.1741-6612.2006.00155.x.

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32

Turner, Graeme. "Dealing with diversity: Australian television, homogeneity and indigeneity." Media International Australia 174, no. 1 (August 18, 2019): 20–28. http://dx.doi.org/10.1177/1329878x19869481.

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This article focuses on how the Australian television industry deals with diversity: the extent to which the cultural diversity of Australian society has been reflected in the representations on our screens and in the provision of opportunity within the industry itself. While this has historically been approached by assessing the evidence of inclusiveness in the representations on screen, it is important to be reminded of the role played by the structure of Australia’s media: especially in television, we have a highly concentrated commercial system which still addresses the traditional conception of a mass media audience in ways that almost inevitably tend towards the reproduction of an image of cultural homogeneity. Research into one of the most important interventions into both the established patterns of representation and the make-up of the local production industry – the National Indigenous Television Network (NITV) – is discussed as a means of highlighting the difficulties faced by such interventions and those committed to ‘turning off the whitewash channel on Australian television’.

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33

Loreck, Janice, Sian Mitchell, Whitney Monaghan, and Kirsten Stevens. "Looking Back, Moving Forward." Camera Obscura: Feminism, Culture, and Media Studies 35, no. 2 (September 1, 2020): 159–69. http://dx.doi.org/10.1215/02705346-8359640.

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The Melbourne Women in Film Festival (MWFF) is a four-day event in Melbourne, Australia, that supports and celebrates the work of Australian women filmmakers. Launched in 2017, the festival emerged from our desire as screen academics to increase the visibility of both professional and amateur women filmmakers and their work. Despite a strong history of grassroots and state-supported women’s creative cultures in Australia, women have remained marginal within the domestic screen industry. Women filmmakers are also underrepresented within the global festival circuit. This article traces the curatorial practices underpinning MWFF since its inception. We describe our approach to running a locally based, women-centered film festival; how we define “women” and “women’s filmmaking”; and how our programing choices support our festival ethos. We also contextualize our event as one that both continues and is in dialogue with women’s screen culture in Australia, particularly the one-off Women’s International Film Festival held in 1975. Locating our festival in this historical context, we argue that retrospective screenings play a particularly vital role at MWFF in achieving our festival aims. We recount our inaugural festival in 2017 and explain the significance of retrospectives in building a legacy for women filmmakers and making their achievements visible to the next generation.

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34

Clement, Zackariah V. K. "Breast cancer management in Australian rural indigenous women: trends and challenges." International Journal Of Community Medicine And Public Health 4, no. 2 (January 25, 2017): 620. http://dx.doi.org/10.18203/2394-6040.ijcmph20170301.

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Cancer patients residing in Australian rural areas have a 7% higher mortality when compared to their counterparts in urban centres. Close to half of the indigenous Australians reside in regional and remote areas. Despite of the lower incidence rates among the indigenous women, and increase in overall breast screen participation indigenous women have lower participation rates when compared to non-indigenous women and the mortality from breast cancer is similar in both groups. Due to their relative the indigenous women with breast cancer living in the rural and regional Australia face several barriers and challenges. Although there is no perfect algorithm to address this problem, government should provide adequate specialist, allied health and support services to the patient’s rural and regional areas and this should not be any different to the services offered to their urban counterparts. A multidisciplinary approach should be taken to the management of breast cancer for all indigenous women in the rural areas. Outreach clinics and Tele-oncology can overcome some of the challenges of access. Health professionals should also be trained in culturally sensitive and effective communication strategies to improve interpersonal relationship, trust, compliance and overall patient outcomes.

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Solomon, S. B., and M. Wilks. "Characterisation of Airborne Radioactivity in an Australian Dwelling." Radiation Protection Dosimetry 56, no. 1-4 (December 1, 1994): 109–12. http://dx.doi.org/10.1093/oxfordjournals.rpd.a082432.

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Abstract The Australian Radiation Laboratory is undertaking a programme of measurements in Australian dwellings using wire screen diffusion batteries (DB) and serial graded screen arrays (GSA) to characterise the indoor conditions. This paper briefly describes their operation and gives the results of trial measurements in the study and kitchen of an occupied house in a semi-rural location near Melbourne. Analysis of the DB and GSA data produced an activity median diameter (AMD) for the PAEC accumulation modes in the range 300 nm and 550 nm, under normal conditions and between 100 nm and 200 nm following combustion processes. The corresponding values of AMD for the ultrafine modes were between 0.5 nm and 12 nm prior to the introduction of the combustion sources. The use of alpha spectroscopic methods allows the DB/GSA sizing technique to be extended to radon levels less than 20 Bq.m-3.

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36

Goluza, Ivana, Jay Borchard, Nalin Wijesinghe, Kishan Wijesinghe, and Nagesh Pai. "To screen or not to screen? Vitamin D deficiency in chronic mental illness." Australasian Psychiatry 26, no. 1 (September 11, 2017): 56–59. http://dx.doi.org/10.1177/1039856217726717.

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Objectives: The objective of the current study was to examine the pathology test utilisation of 25-hydroxyvitamin D (25(OH)D) within an Australian inpatient psychiatric setting. Method: A retrospective audit of 300 random hospital files of those admitted as inpatients between Nov 2014 and Nov 2015 was undertaken. Data was quantitatively analysed and described. Results: The number of inpatients who had a vitamin D determination during their admission was 37/300 (12.33%). The mean vitamin D level of those tested was 51.63 nmol/l. Of those that were tested, 18/37 (48.6%) were mildly to moderately deficient. There was a statistically significant difference in age and length of stay between those that were and were not tested for vitamin D levels, p-value <0.001 and 0.017, respectively. In addition, a simple linear regression indicated a weak association between length of stay and vitamin D levels. Conclusion: This audit highlights vitamin D screening inadequacy. More research is recommended to establish tangible benefits of supplementation, while local practice provides valuable data for education and policy purposes.

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37

Boston, William, Diana Leemon, and John Paul Cunningham. "Virulence Screen of Beauveria Bassiana Isolates for Australian Carpophilus (Coleoptera: Nitidulidae) Beetle Biocontrol." Agronomy 10, no. 8 (August 17, 2020): 1207. http://dx.doi.org/10.3390/agronomy10081207.

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Carpophilus beetles are serious pests of Australian fruit and nut crops, causing significant damage through adult and larval feeding and vectoring plant diseases. Six strains of the entomopathogenic fungus Beauveria bassiana ((Balsamo) Vuillemin; Hypocreales: Cordycipitaceae), isolated from a range of hosts in Australia, together with one commercial strain, were screened for virulence to adult and larval stages of Carpophilus attacking stone fruits (C. davidsoni (Dobson)) and almonds (C. truncatus (Murray)) under laboratory conditions. The two species differed significantly in their susceptibility to the B. bassiana isolates. In the adult beetle assay, C. truncatus had a maximum Abbott’s control corrected mortality of 19% when treated with the most effective isolate, B54, compared to 52% for C.davidsoni. In larval bioassays, mortality rates for the two species were generally higher than adults: four isolates caused greater than 80% mortality in C. davidsoni; while only one isolate was considered effective against C. truncatus (causing 73% mortality), all other isolates caused less than 40% mortality. The results indicate promising potential for B. bassiana to be applied as a biopesticide as part of an integrated pest management strategy, which might take the form of a soil application against larvae or an autodissemination program using adult beetles.

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Kent, Lynne. "The truth behind the screen: Digital shadows in the time of pandemic." Journal of Applied Arts & Health 11, no. 1 (July 1, 2020): 157–61. http://dx.doi.org/10.1386/jaah_00028_7.

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The COVID-19 pandemic has highlighted the challenges of communicating digitally to the fore as people turn almost solely to their digital screens for connection and collaboration. In doing so, such as through web conferencing, we open up our living spaces to others, revealing parts of our lives heretofore we could keep hidden. In this article, I will describe ‘Interior’, a live Zoom shadow puppet performance by Australian puppet theatre collective, The Jill Collective, as an example of a deliberate response to COVID-19 pandemic isolation and social distancing restrictions. I offer the practice of traditional Wayang architecture of the shadow screen as a surface to physically work on, in, behind and through, as well as the screen as metaphorical façade or gateway as a unique theoretical and practical approach to digital performance.

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Moran, Albert. "Early initiatives, 1983–1994." Media International Australia 180, no. 1 (July 24, 2021): 12–16. http://dx.doi.org/10.1177/1329878x211010785.

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This article remembers the foundational years of Tom O’Regan’s academic career, focusing in particular on three scholarly initiaves - two book publications, An Australian Film Reader (1985) and The Australian Screen (1989) both co-edited with Albert Moran, and his partnership with Brian Shoesmith in founding the journal Continuum.

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40

Nathan, Andrea, Phoebe George, Michelle Ng, Elizabeth Wenden, Pulan Bai, Zino Phiri, and Hayley Christian. "Impact of COVID-19 Restrictions on Western Australian Children’s Physical Activity and Screen Time." International Journal of Environmental Research and Public Health 18, no. 5 (March 5, 2021): 2583. http://dx.doi.org/10.3390/ijerph18052583.

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Physical activity is essential for children’s healthy development, yet COVID-19 physical distancing restrictions such as school closures and staying at home, playground closures, and the cancelling of organised community sport have dramatically altered children’s opportunities to be physically active. This study describes changes in levels of physical activity and screen time from February 2020 (i.e., before COVID-19 restrictions were introduced in Western Australia) to May 2020 (i.e., when COVID-19 restrictions were in place). Parents of children aged 5 to 9 years from Western Australia were eligible to participate and recruited through convenience sampling. An online survey instrument that included validated measures of their children’s physical activity (unstructured, organized, home-based, indoor/outdoor active play, dog play/walking), sociodemographic, and other potential confounders was administered to parents. Paired t-tests and mixed ANOVA models assessed changes in physical activity outcomes. The analytic sample comprised parents of 157 children who were 6.9 years of age (SD = 1.7) on average. Overall, weekly minutes of total physical activity (PA) did not change from before to during COVID-19. However, frequency and duration (total and home-based) of unstructured physical activity significantly increased. Outdoor play in the yard or street around the house, outdoor play in the park or playground or outdoor recreation area, and active indoor play at home all significantly increased. Frequency and total duration of organised physical activity significantly declined during COVID-19 distancing. During Western Australian COVID-19 restrictions, there was an increase in young children’s unstructured physical activity and outdoor play and a decrease in organised physical activity. It remains to be seen whether children’s increased physical activity has been sustained with the easing of physical distancing restrictions.

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41

Trevisanut, Amanda Malel. "Taking on the Box Office." Media International Australia 139, no. 1 (May 2011): 149–57. http://dx.doi.org/10.1177/1329878x1113900119.

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For better or worse, under the intensifying pressure of market rationalisation, audience engagement with content produced by the heavily subsidised Australian film industry has become a pivotal issue. Historically, the success of local productions has been evaluated primarily through recourse to box office statistics. Rather than helping the industry, this article argues that over-reliance on this data can only further threaten the security of future government funding by rendering invisible the non-theatrical audience, and lending weight to the perception that Australian audiences don't consume local content. This article contends that an alternative and more suitable resource needs to be created for industry practitioners. It suggests that, as the industry-specific public institution responsible for the aggregation, interpretation and dissemination of industry-specific data, Screen Australia is the ideal candidate to provide such information.

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42

Zvegintseva, Irina А. "Small Screen and Great Ambitions: Australian Television Series in the Cultural Context of the Country." Journal of Flm Arts and Film Studies 10, no. 3 (September 15, 2018): 117–27. http://dx.doi.org/10.17816/vgik103117-127.

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The article investigates the success of Australian TV series in many countries including Russia. Today, these are professionally made audiovisual works with well-constructed stories, talented casts and magnificent direction. ttey show the life of Australian society, revealing social problems and the reasons of the Green Continents prosperity, make one want to take a closer look at this country.

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Tooth, Leigh, Katrina Moss, Richard Hockey, and Gita D. Mishra. "Adherence to screen time recommendations for Australian children aged 0–12 years." Medical Journal of Australia 211, no. 4 (July 23, 2019): 181–82. http://dx.doi.org/10.5694/mja2.50286.

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Milner, Lisa, and Cathy Brigden. "From Martyr to Robo-Nurse: the portrayal of Australian nurses on screen." Studies in Australasian Cinema 8, no. 2-3 (September 2, 2014): 110–22. http://dx.doi.org/10.1080/17503175.2014.976448.

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Ban, M., G. J. Stewart, B. H. Bennetts, R. Heard, R. Simmons, M. Maranian, A. Compston, and S. J. Sawcer. "A genome screen for linkage in Australian sibling-pairs with multiple sclerosis." Genes & Immunity 3, no. 8 (December 2002): 464–69. http://dx.doi.org/10.1038/sj.gene.6363910.

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Khoo, Olivia. "Missing water: imagination and empathy in Asian Australian ‘boat stories’ on screen." Continuum 28, no. 5 (August 4, 2014): 605–15. http://dx.doi.org/10.1080/10304312.2014.941973.

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Christian, Hayley, Stephen R. Zubrick, Matthew Knuiman, Andrea Nathan, Sarah Foster, Karen Villanueva, and Billie Giles-Corti. "Nowhere to Go and Nothing to Do but Sit? Youth Screen Time and the Association With Access to Neighborhood Destinations." Environment and Behavior 49, no. 1 (July 28, 2016): 84–108. http://dx.doi.org/10.1177/0013916515606189.

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With not much to do in their neighborhood, youth may spend more time in the home engaged in screen-based activities. Screen time data from 2,790 youth in the Western Australian Health and Wellbeing Survey were linked to objectively measured count of types of neighborhood “services,” “convenience goods,” “public open space,” and “youth-related” destinations. On average, youth accrued 801 mean min/week screen time and had access to seven different types of neighborhood destinations. A larger number of different types of neighborhood “youth-related,” “service,” and “total” destinations were associated with less screen time (all p ≤ .05). A significant gender interaction was observed. Girls with access to ≥12 youth-related destinations had 109 fewer mean min/week screen time, compared with girls with 0 to 3 youth-related destinations. Providing alternatives to screen use by ensuring access to a variety of neighborhood places for structured and unstructured activities may be an important strategy for decreasing youth screen time.

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Yen, Tina, Brian N. Nightingale, Jennifer C. Burns, David R. Sullivan, and Peter M. Stewart. "Butyrylcholinesterase (BCHE) Genotyping for Post-Succinylcholine Apnea in an Australian Population." Clinical Chemistry 49, no. 8 (August 1, 2003): 1297–308. http://dx.doi.org/10.1373/49.8.1297.

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Abstract Background: Measurement of plasma butyrylcholinesterase (BChE) activity and inhibitor-based phenotyping are standard methods for identifying patients who experience post-succinylcholine (SC) apnea attributable to inherited variants of the BChE enzyme. Our aim was to develop PCR-based assays for BCHE mutation detection and implement them for routine diagnostic use at a university teaching hospital. Methods: Between 1999 and 2002, we genotyped 65 patients referred after prolonged post-SC apnea. Five BCHE gene mutations were analyzed. Competitive oligo-priming (COP)-PCR was used for flu-1, flu-2, and K-variant and direct DNA sequencing analysis for dibucaine and sil-1 mutations. Additional DNA sequencing of BCHE coding regions was provided when the five-mutation screen was negative or mutation findings were inconsistent with enzyme activity. Results: Genotyping identified 52 patients with primary hypocholinesterasemia attributable to BCHE mutations, and in 44 individuals the abnormalities were detected by the five-mutation screen (detection rate, 85%). Additional sequencing studies revealed mutations in eight other patients, including five with novel mutations. The most common genotype abnormality was compound homozygous dibucaine and homozygous K-variant mutations. No simple homozygotes were found. Of the remaining 13 patients, 3 had normal BChE activity and gene, and 10 were diagnosed with hypocholinesterasemia unrelated to BCHE gene abnormalities. Conclusion: A five-mutation screen for investigation of post-SC apnea identified BCHE gene abnormalities for 80% of a referral population. Six new BCHE mutations were identified by sequencing studies of 16 additional patients.

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Kweitel, Ruth, and Felicity C. L. Allen. "Cognitive Processes Associated with Gambling Behaviour." Psychological Reports 82, no. 1 (February 1998): 147–53. http://dx.doi.org/10.2466/pr0.1998.82.1.147.

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Gambling behaviours can be pathological if positive response is extreme, but very little is known about the psychological precursors of pathological gambling in Australia. This study examined the relationships between self-reported gambling behaviours and scores on locus of control measures. The sample of 80 male and 75 female undergraduate students completed the South Oaks Gambling Screen and Levenson's multidimensional Locus of Control Scale. No significant association was found for the self-reported gambling behaviours with scores on the Internal scale but a positive one obtained between scores on the Powerful Others subscale. Self-reported gambling behaviours differed significantly for men reported that they gambled more than women. For these Australian undergraduates an additional question on borrowing money increased the apparent frequency of pathological gambling. Thus an avenue for further research is the development of a valid and reliable measure of gambling behaviours in an Australian sample.

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Lealand, Geoff. "Life after Hobbits: The New Zealand Screen Industry in 2006." Media International Australia 121, no. 1 (November 2006): 11–14. http://dx.doi.org/10.1177/1329878x0612100103.

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This article considers the state of the New Zealand TV and film industry, drawing upon the first comprehensive survey by Statistics New Zealand, and discussing a number of notable new productions. It also considers New Zealand film and television on Australian screens and concludes that, while they often dwell upon and magnify differences, such trans-Tasman cultural exchanges have yet to capture the similarities between the two countries.

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