Relevant bibliographies by topics / Australian television

Academic literature on the topic 'Australian television'

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Published: 4 June 2021
Last updated: 20 February 2023

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Journal articles on the topic "Australian television"

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Goldsmith, Ben. "Sport and the Transformation of Australian Television." Media International Australia 155, no. 1 (May 2015): 70–79. http://dx.doi.org/10.1177/1329878x1515500109.

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This article examines the history of Australian broadcast television through the lens of sports programming. Ever since the introduction of the medium in Australia just before the 1956 Olympic Games, sports programming – both event coverage and sports-related content – has played a major role in defining television's forms, concerns and technologies, as well as in developing audiences for services and channels. Looking at a series of pivotal moments in Australian television history – the 1956 Olympics, the coming of colour, aggregation in the late 1980s, the launch of subscription television in 1995 and commercial free-to-air multi-channelling – the article examines sports programming as a site of both competition and collaboration between networks and services. It also discusses the role of sports in shaping the schedules and profiles of the two Australian public service broadcasters, before concluding with a look at the possible future of sport and Australian broadcast television.
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Monaghan, Whitney. "Lesbian, gay and bisexual representation on Australian entertainment television: 1970–2000." Media International Australia 174, no. 1 (September 18, 2019): 49–58. http://dx.doi.org/10.1177/1329878x19876330.

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With the exception of a small number of contributions to the study of gay and lesbian representation in Australia, the queer history of Australian entertainment television has been left unexamined. This article seeks to address this gap through analysis of lesbian, gay and bisexual (LGB) characters in Australian entertainment television over a 30-year period from 1970 to 2000. The article examines the rise and fall of LGB representation on prime time Australian television from 1970 onwards in order to understand how key shifts in the politics of Australian cultural life have come to influence Australian television broadcasting. Charting the representation of LGB characters on Australian entertainment television, this article seeks to understand the politics of inclusion and exclusion of LGB characters and provides the basis for further research into Australian queer television history.
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McKee, Alan. "IS Doctor Who Australian?" Media International Australia 132, no. 1 (August 2009): 54–66. http://dx.doi.org/10.1177/1329878x0913200107.

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As part of an ARC Discovery project to write a history of Australian television from the point of view of audiences, I looked for Australian television fan communities. It transpired that the most productive communities exist around imported programming like the BBC's Doctor Who. This program is an Australian television institution, and I was therefore interested in finding out whether it should be included in an audience-centred history of Australian television. Research in archives of fan materials showed that the program has been made distinctively Australian through censorship and scheduling practices. There are uniquely Australian social practices built around it. Also, its very Britishness has become part of its being — in a sense — Australian. Through all of this, there is a clear awareness that this Australian institution originates somewhere else — that for these fans Australia is always secondary, relying on other countries to produce its myths for it, no matter how much it might reshape them.
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Johnston, Jane. "Court on Camera: Television Coverage of Australian Legal Proceedings." Media International Australia 100, no. 1 (August 2001): 115–27. http://dx.doi.org/10.1177/1329878x0110000112.

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Despite widespread legal analysis and critical review over the past 20 years, television access into the Australian court system has been slow and piecemeal, with Australia falling behind Canadian and New Zealand initiatives in this area. A recent major report into camera access in the Federal Court has refocused attention on this area, but analysis continues to be primarily from a legal perspective rather than a media one. This paper considers the televised court coverage in Australia to this point, analyses change in the international environment and suggests possible futures for the televising of Australian courts, while also attempting to lay some foundations for discussion beyond the legal, and into the media, domain.
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Thomas, Ted. "Australian TV 50 Years on." Media International Australia 121, no. 1 (November 2006): 188–98. http://dx.doi.org/10.1177/1329878x0612100120.

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This article reviews the 50 years of television in Australia from the point of view of a leading industry player. It describes the many challenges faced by the industry from its formative years to current media upheavals. Issues covered include regional television, the introduction of colour and satellite technology, the role of regulation, Australian content, children's TV and the relation of Australian television to the rest of the world. It also looks at some of the programming highlights of the period.
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McIver, Damian. "Representing Australianness: Our National Identity Brought to You by Today Tonight." Media International Australia 131, no. 1 (May 2009): 46–56. http://dx.doi.org/10.1177/1329878x0913100106.

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Since first being broadcast in 1995, Today Tonight has become one of Australia's most watched current affairs programs. It has also arguably become one of the most talked about and controversial programs on Australian television. This article explores the links between Today Tonight and discourses of Australian identity. By placing this program within a theoretical tradition that views television as a cultural storyteller, this article explores the complex and somewhat contradictory representations of the Australian identity made by the Today Tonight text. It will argue that, throughout a range of representations — from the discourse of the ‘Aussie battler’ to contrasting depictions of Australian society under threat and in decay, or as a place of opportunity — Today Tonight maintains a steady focus on ‘ordinary Australians’ as its main target audience and the bearers of our true national identity.
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Jacka, Elizabeth, and Stuart Cunningham. "Australian Television Exports." Media Information Australia 76, no. 1 (May 1995): 47–57. http://dx.doi.org/10.1177/1329878x9507600110.

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Bennett, Tony, Modesto Gayo, and David Rowe. "Television in Australia: capitals, tastes, practices and platforms." Media International Australia 167, no. 1 (April 13, 2018): 126–45. http://dx.doi.org/10.1177/1329878x18766788.

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This article discusses the findings of a national survey of the social organisation of television viewing practices in contemporary Australia. These questions are addressed through multiple correspondence analyses of the aspects of television practices and tastes covered in the survey. These go beyond channel and genre preferences to include a sample of Australian and overseas produced television programmes and of 10 Australian TV personalities. The differential distribution of tastes across Australian and overseas programmes also throws significant light on different investments in the national culture across different social groups. The survey data also includes evidence regarding viewing platform and device preferences. In concluding, the article reviews the evidence of a cluster analysis, registering the effects of major changes within the television field in Australia, including the decline of free-to-air and ‘linear’ viewing, the rise of streaming services and the erosion of brand loyalty as it relates to television channels.
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Given, Jock. "‘Not Unreasonably Denied’: Australian Content after Ausfta." Media International Australia 111, no. 1 (May 2004): 8–22. http://dx.doi.org/10.1177/1329878x0411100104.

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The text of the Australia–United States Free Trade Agreement (AUSFTA), released in early March 2004, makes more concessions than many in Australia's audiovisual and cultural industries might have hoped, but less than they feared. Its precise impact will depend on how ‘new media’ replaces, subsumes or supplements ‘old media’, and how quickly. AUSFTA institutionalises much lower aspirations about the level of Australian content in emerging media systems than Australians have come to expect in broadcast television. Some will interpret this simply as an articulation of the policy impotence which will inevitably flow from technological change. Others will recognise it as a partial, but historic, concession of Australian policy capacity and a broad acceptance of the long-standing US agenda for the information economy — long and tough protections for intellectual property rights, but increasingly liberal global markets for trading them. This article explains the provisions of AUSFTA and examines their effect on Australian audiovisual and cultural activities.
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Potter, Anna. "You've Been Pranked: Reality Tv, National Identity and the Privileged Status of Australian Children's Drama." Media International Australia 146, no. 1 (February 2013): 25–34. http://dx.doi.org/10.1177/1329878x1314600106.

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Australian children have always been considered a special television audience. In November 2009, Australia's public service broadcaster the ABC launched Australia's first dedicated free-to-air children's channel. Within a year of its launch, ABC3's most popular program was a local version of the transnational reality format, Prank Patrol. The popularity of reality television with children challenges policy settings, including the Children's Television Standards (CTS), that privilege drama in the expression of the goals of cultural nationalism. While public service broadcasting ideology is expressed and applied to Australian commercial free-to-air channels through the CTS, public service media compete with pay TV channels for the child audience using a range of genres. Thus contemporary Australian children's television is characterised by an abundance of supply, pan-platform delivery and a policy regime that has remained largely unchanged since the late 1970s.
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Dissertations / Theses on the topic "Australian television"

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Wilding, Derek. "AIDS and pro-social television : industry, policy and Australian television drama." Thesis, Queensland University of Technology, 1998. https://eprints.qut.edu.au/36314/6/36314_Digitised%20Thesis.pdf.

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This thesis examines the intersection of popular cultural representations of HIV and AIDS and the discourses of public health campaigns. Part Two provides a comprehensive record of all HIV related storylines in Australian television drama from the first AIDS episode of The Flying Doctors in 1986 to the ongoing narrative of Pacific Drive, with its core HIV character, in 1996. Textual representations are examined alongside the agency of "cultural technicians" working within the television industry. The framework for this analysis is established in Part One of the thesis, which examines the discursive contexts for speaking about HIV and AIDS established through national health policy and the regulatory and industry framework for broadcasting in Australia. The thesis examines the dominant liberal democratic framework for representation of HIV I AIDS and adopts a Foucauldian understanding of the processes of governmentality to argue that during the period of the 1980s and 1990s a strand of social democratic discourse combined with practices of self management and the management of the Australian population. The actions of committed agents within both domains of popular culture and health education ensured that more challenging expressions of HIV found their way into public culture.
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Schaap, Rob, and n/a. "Pay television : overseas experiences and Australian options." University of Canberra. Communication, 1991. http://erl.canberra.edu.au./public/adt-AUC20061107.171016.

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The issue of pay television has generated a plethora of reports and submissions from politicians, bureaucrats and industrialists for a decade. That the issue is not yet resolved is the result of many factors, all of which serve to highlight the structural complexities of the Australian electronic media system. At the political level, social policy is in a state of transition and broadcasting policy has reflected this. The Australian Broadcasting Corporation (ABC) and the Special Broadcasting Service (SBS) have been forced to reappraise their roles as public broadcasters. The commercial networks have seen their reserves and their profitability deteriorate drastically in an environment of poor management, fluctuating government policy and a depressed national economy. The Australian Broadcasting Tribunal (ABT), the federal regulator of commercial broadcasting, is struggling to adapt to these new circumstances, and is confronted by new challenges to its powers and responsibilities. Ideally, a discussion on the introduction of pay television would be conducted within the context of a comprehensive and established federal broadcasting policy. Basic to this thesis is the perception that no such policy exists. It is left to the analyst to speculate as to the intentions evident in Government initiatives, suggest the potential impact of pay television in that light, and offer constructive criticism accordingly. This thesis recognises that pay television seems inevitable as both major political parties are committed, in principle at least, to its introduction. This thesis sets itself the following objectives: to identify the salient components that serve to define pay television; to develop and employ a methodology to extract lessons from the experiences of others with pay television, whilst remaining sensitive to historical and structural context; to apply those lessons to the Australia condition; and to make recommendations on the introduction of pay television, based on both the definitional and comparative work of this thesis, within the context of contemporary Government deliberations, as evident in the Report from the House of Representatives Standing Committee on Transport, Communications and Infrastructure of November 1989.
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Quick, Shayne P. "World series cricket, television and Australian culture /." The Ohio State University, 1990. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487683401442143.

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Smaill, Belinda 1972. "Amidst a nation's cultures : documentary and Australia's Special Broadcasting Service Television." Monash University, Centre for Comparative Literature and Cultural Studies, 2001. http://arrow.monash.edu.au/hdl/1959.1/8644.

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May, Harvey Brian. "Australian Multicultural Policy and Television Drama in Comparative Contexts." Thesis, Queensland University of Technology, 2004. https://eprints.qut.edu.au/15835/1/Harvey_May_Thesis.pdf.

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This thesis examines changes which have occurred since the late 1980s and early 1990s with respect to the representation of cultural diversity on Australian popular drama programming. The thesis finds that a significant number of actors of diverse cultural and linguistic background have negotiated the television industry employment process to obtain acting roles in a lead capacity. The majority of these actors are from the second generation of immigrants, who increasingly make up a significant component of Australia's multicultural population. The way in which these actors are portrayed on-screen has also shifted from one of a 'performed' ethnicity, to an 'everyday' portrayal. The thesis develops an analysis which connects the development and broad political support for multicultural policy as expressed in the National Agenda for a Multicultural Australia to the changes in both employment and representation practices in popular television programming in the late 1990s and early 2000s. The thesis addresses multicultural debates by arguing for a mainstreaming position. The thesis makes detailed comparison of cultural diversity and television in the jurisdictions of the United States, the United Kingdom and New Zealand to support the broad argument that cultural diversity policy measures produce observable outcomes in television programming.
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May, Harvey Brian. "Australian Multicultural Policy and Television Drama in Comparative Contexts." Queensland University of Technology, 2004. http://eprints.qut.edu.au/15835/.

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This thesis examines changes which have occurred since the late 1980s and early 1990s with respect to the representation of cultural diversity on Australian popular drama programming. The thesis finds that a significant number of actors of diverse cultural and linguistic background have negotiated the television industry employment process to obtain acting roles in a lead capacity. The majority of these actors are from the second generation of immigrants, who increasingly make up a significant component of Australia's multicultural population. The way in which these actors are portrayed on-screen has also shifted from one of a 'performed' ethnicity, to an 'everyday' portrayal. The thesis develops an analysis which connects the development and broad political support for multicultural policy as expressed in the National Agenda for a Multicultural Australia to the changes in both employment and representation practices in popular television programming in the late 1990s and early 2000s. The thesis addresses multicultural debates by arguing for a mainstreaming position. The thesis makes detailed comparison of cultural diversity and television in the jurisdictions of the United States, the United Kingdom and New Zealand to support the broad argument that cultural diversity policy measures produce observable outcomes in television programming.
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7

Harrington, Stephen Matthew. "Public knowledge beyond journalism : infotainment, satire and Australian television." Thesis, Queensland University of Technology, 2009. https://eprints.qut.edu.au/26675/1/Stephen_Harrington_Thesis.pdf.

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This thesis examines the changing relationships between television, politics, audiences and the public sphere. Premised on the notion that mediated politics is now understood “in new ways by new voices” (Jones, 2005: 4), and appropriating what McNair (2003) calls a “chaos theory” of journalism sociology, this thesis explores how two different contemporary Australian political television programs (Sunrise and The Chaser’s War on Everything) are viewed, understood, and used by audiences. In analysing these programs from textual, industry and audience perspectives, this thesis argues that journalism has been largely thought about in overly simplistic binary terms which have failed to reflect the reality of audiences’ news consumption patterns. The findings of this thesis suggest that both ‘soft’ infotainment (Sunrise) and ‘frivolous’ satire (The Chaser’s War on Everything) are used by audiences in intricate ways as sources of political information, and thus these TV programs (and those like them) should be seen as legitimate and valuable forms of public knowledge production. It therefore might be more worthwhile for scholars to think about, research and teach journalism in the plural: as a series of complementary or antagonistic journalisms, rather than as a single coherent entity.
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Harrington, Stephen Matthew. "Public knowledge beyond journalism : infotainment, satire and Australian television." Queensland University of Technology, 2009. http://eprints.qut.edu.au/26675/.

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This thesis examines the changing relationships between television, politics, audiences and the public sphere. Premised on the notion that mediated politics is now understood “in new ways by new voices” (Jones, 2005: 4), and appropriating what McNair (2003) calls a “chaos theory” of journalism sociology, this thesis explores how two different contemporary Australian political television programs (Sunrise and The Chaser’s War on Everything) are viewed, understood, and used by audiences. In analysing these programs from textual, industry and audience perspectives, this thesis argues that journalism has been largely thought about in overly simplistic binary terms which have failed to reflect the reality of audiences’ news consumption patterns. The findings of this thesis suggest that both ‘soft’ infotainment (Sunrise) and ‘frivolous’ satire (The Chaser’s War on Everything) are used by audiences in intricate ways as sources of political information, and thus these TV programs (and those like them) should be seen as legitimate and valuable forms of public knowledge production. It therefore might be more worthwhile for scholars to think about, research and teach journalism in the plural: as a series of complementary or antagonistic journalisms, rather than as a single coherent entity.
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9

Potter, Anna. "Internationalising Australian Children's Television Drama: The Collision of Australian Cultural Policy and Global Market Imperatives." Thesis, Queensland University of Technology, 2005. https://eprints.qut.edu.au/16016/1/Anna_Potter_Thesis.pdf.

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When considering the effects of cultural policy on international trade in television programming there is an area that is frequently overlooked, that of classification and censorship. The role that classification and censorship play as tools of cultural policy is poorly understood, as is their impact on the ease with which television programs can be traded. A broad definition of cultural policy has been used here, in order to encompass both its theoretical and practical elements. Cultural policy as expressed through television classification and censorship is seen here as having three layers. These layers are legislative policy such as local content quotas, the content gate keeping carried out by television producers prior to production, and program classification, that is the implementation of local programming codes by broadcasters. It is important to understand the effects of television regulatory regimes, including those that govern content classification, on the international trade in programs for two reasons. One is the precedence international economic agreements generally take over cultural policy, because classification and censorship can quietly undermine this precedence in a way which currently receives little attention. The second is the importance of the export market to the Australian television production industry, which is unable to fully fund its program output from local markets. Australian children's drama and its export to the UK are the focus of this research as this provides an excellent example of the current tensions between cultural policy and economic imperatives. Australian children's drama is tightly regulated through government policy, particularly the demands of the 'C' (children's) classification. It is argued here that the demands of current Australian cultural policy are making it extremely difficult for Australian producers to internationalise their product and thus cultivate a competitive advantage in international markets. With the advent of digital technology and the end of spectrum scarcity, the television landscape is changing rapidly. Australian producers of children's programming are facing commercial challenges that have been created by the proliferation of children's channels in the UK and particularly the popularity on those channels of American animation. While the need to cultivate a competitive advantage is pressing, Australian producers of children's programming are also having to accommodate the three layers of cultural policy described earlier, that is the demands of government policy regarding the 'C' classification, the local programming codes of their export market, in this case the United Kingdom, and their own internalised cultural values as expressed through their gate keeping roles. My Industry experience in a senior compliance role in the pay television industry led to an awareness of the impact of local classification procedures on international trade in programming and provided the initial starting point for this research. Through scholarly investigation and interviews with three key producers of Australian children's programs and a senior UK programmer, certain findings regarding the impact of regulatory regimes on the export of Australian children's programs have been reached. The key findings of this research are firstly, that the rationales and operations of national classification schemes seem to be fundamentally untouched by supranational trade agreements and arguably are able to act as restraints on international trade. Additionally, programs that do not conform to the societal values of the countries to which they are being exported, will not sell. Secondly, multi-channelling is having the unexpected effect of driving down prices achieved for children's programs which is a cause for concern, given the importance of international sales to Australian producers. Part of this decline in pricing may be attributed to the rise in popularity of inexpensive animation, which now dominates children's channels in the UK. Thirdly, this research finds that Australian cultural policy is preventing Australian producers cultivating a competitive advantage in international markets, by making demands regarding content and quality that render their programs less attractive to overseas channels. If the Australian government believes that certain culturally desirable forms of television such as high quality, children's programming should continue to exist, it may in future have to modify its cultural policy in order to attain this objective.
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10

Potter, Anna. "Internationalising Australian Children's Television Drama: The Collision of Australian Cultural Policy and Global Market Imperatives." Queensland University of Technology, 2005. http://eprints.qut.edu.au/16016/.

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When considering the effects of cultural policy on international trade in television programming there is an area that is frequently overlooked, that of classification and censorship. The role that classification and censorship play as tools of cultural policy is poorly understood, as is their impact on the ease with which television programs can be traded. A broad definition of cultural policy has been used here, in order to encompass both its theoretical and practical elements. Cultural policy as expressed through television classification and censorship is seen here as having three layers. These layers are legislative policy such as local content quotas, the content gate keeping carried out by television producers prior to production, and program classification, that is the implementation of local programming codes by broadcasters. It is important to understand the effects of television regulatory regimes, including those that govern content classification, on the international trade in programs for two reasons. One is the precedence international economic agreements generally take over cultural policy, because classification and censorship can quietly undermine this precedence in a way which currently receives little attention. The second is the importance of the export market to the Australian television production industry, which is unable to fully fund its program output from local markets. Australian children's drama and its export to the UK are the focus of this research as this provides an excellent example of the current tensions between cultural policy and economic imperatives. Australian children's drama is tightly regulated through government policy, particularly the demands of the 'C' (children's) classification. It is argued here that the demands of current Australian cultural policy are making it extremely difficult for Australian producers to internationalise their product and thus cultivate a competitive advantage in international markets. With the advent of digital technology and the end of spectrum scarcity, the television landscape is changing rapidly. Australian producers of children's programming are facing commercial challenges that have been created by the proliferation of children's channels in the UK and particularly the popularity on those channels of American animation. While the need to cultivate a competitive advantage is pressing, Australian producers of children's programming are also having to accommodate the three layers of cultural policy described earlier, that is the demands of government policy regarding the 'C' classification, the local programming codes of their export market, in this case the United Kingdom, and their own internalised cultural values as expressed through their gate keeping roles. My Industry experience in a senior compliance role in the pay television industry led to an awareness of the impact of local classification procedures on international trade in programming and provided the initial starting point for this research. Through scholarly investigation and interviews with three key producers of Australian children's programs and a senior UK programmer, certain findings regarding the impact of regulatory regimes on the export of Australian children's programs have been reached. The key findings of this research are firstly, that the rationales and operations of national classification schemes seem to be fundamentally untouched by supranational trade agreements and arguably are able to act as restraints on international trade. Additionally, programs that do not conform to the societal values of the countries to which they are being exported, will not sell. Secondly, multi-channelling is having the unexpected effect of driving down prices achieved for children's programs which is a cause for concern, given the importance of international sales to Australian producers. Part of this decline in pricing may be attributed to the rise in popularity of inexpensive animation, which now dominates children's channels in the UK. Thirdly, this research finds that Australian cultural policy is preventing Australian producers cultivating a competitive advantage in international markets, by making demands regarding content and quality that render their programs less attractive to overseas channels. If the Australian government believes that certain culturally desirable forms of television such as high quality, children's programming should continue to exist, it may in future have to modify its cultural policy in order to attain this objective.
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Books on the topic "Australian television"

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Australian television culture. St. Leonards, NSW, Australia: Allen & Unwin, 1993.

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Cunningham, Stuart. Contemporary Australian television. Sydney, NSW, Australia: University of New South Wales Press, 1994.

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Cunningham, Stuart. Australian television and international mediascapes. Cambridge: Cambridge University Press, 1996.

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Graeme, Turner, and Cunningham Stuart, eds. The Australian TV book. St. Leonards, N.S.W: Allen & Unwin, 2000.

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Moran, Albert. Australian television drama series: 1956-1981. North Ryde, NSW: AFTRS, 1989.

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Edgar, Patricia. Bloodbath: A memoir of Australian television. Carlton, Vic: Melbourne University Publishing, 2006.

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Griffen-Foley, Bridget. Australian Radio Listeners and Television Viewers. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-54637-3.

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Historical dictionary of Australian radio and television. Lanham, MD: Scarecrow Press, 2008.

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Australian television: A genealogy of great moments. South Melbourne, Vic: Oxford University Press, 2001.

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Radio with pictures: 50 years of Australian television. Sydney, N.S.W: Lothian Books, 2006.

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Book chapters on the topic "Australian television"

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Torre, Dan, and Lienors Torre. "Television and the Rise of International Collaborations." In Australian Animation, 79–105. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-95492-9_5.

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Waling, Andrea. "Masculinity in Australian popular television." In White Masculinity in Contemporary Australia, 83–109. Abingdon, Oxon ; New York, NY : Routledge, 2019. | Series: Routledge research in gender and society ; 80: Routledge, 2019. http://dx.doi.org/10.4324/9781315207766-4.

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Wilcox, Felicity. "Composing Women of Australian Television." In Women's Music for the Screen, 192–211. New York: Routledge, 2021. http://dx.doi.org/10.4324/9780429264924-16.

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Harvey, Kyle. "Migration, youth, and Australian television." In Children, Youth, and International Television, 11–31. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003243274-3.

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Griffen-Foley, Bridget. "Viewing Television by Committee." In Australian Radio Listeners and Television Viewers, 105–26. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-54637-3_6.

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Campora, Matthew. "Rake: Australianising HBO-Style Television?" In Australian Screen in the 2000s, 301–18. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-48299-6_14.

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Griffen-Foley, Bridget. "Introduction." In Australian Radio Listeners and Television Viewers, 1–5. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-54637-3_1.

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Griffen-Foley, Bridget. "Aunts, Uncles and Argonauts." In Australian Radio Listeners and Television Viewers, 7–28. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-54637-3_2.

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Griffen-Foley, Bridget. "Club Loyalty." In Australian Radio Listeners and Television Viewers, 29–50. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-54637-3_3.

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Griffen-Foley, Bridget. "The Fan Mail Trail." In Australian Radio Listeners and Television Viewers, 51–73. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-54637-3_4.

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Conference papers on the topic "Australian television"

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Mann, Graham, and Indulis Bernsteins. "Digital television, personal video recorders and convergence in the Australian home." In the 2nd international conference. New York, New York, USA: ACM Press, 2007. http://dx.doi.org/10.1145/1306813.1306841.

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Sage, Jack, and Michael Sankey. "Managing career transitions into post-secondary Learning Designer Jobs: An Australasian perspective." In ASCILITE 2021: Back to the Future – ASCILITE ‘21. University of New England, Armidale, 2021. http://dx.doi.org/10.14742/ascilite2021.0103.

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This semi-structured qualitative study maps out the diversity of career paths of Australian and New Zealand (ANZ) learning designers (LDs) and summarises their career advice for those aspiring to be LDs. It identifies that, among the 92 participants, there were many different pathways into the profession both from an academic and from professional backgrounds. It identified that the most common entry points into the postsecondary LD profession come through previously working: as a primary and secondary teacher; in higher education student services, as an English as a Second Language (ESL) professional, a sessional academic seeking job stability; in private industry, such as in film and television and in the area of training and development. Most career transitions into LD were serendipitous, or a natural progression rather than a deliberate and planned process. The study further identified a paucity of LD and associated professions career information in ANZ public domain, which held some back from entering a Learning Design career earlier. This paper concludes with some recommended strategies to address this, to the extent that it is hoped that this paper will aid aspiring LDs in planning their career transitions more effectively.
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Mooij, Wim. "API Standardisation for Digital Television." In SMPTE Australia Conference. IEEE, 1999. http://dx.doi.org/10.5594/m001205.

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Stone, Dominic. "Distribution Costs for Digital Television Networks." In SMPTE Australia Conference. IEEE, 1999. http://dx.doi.org/10.5594/m001207.

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Mitchell, Paul. "Interactive Television: The Cusp of Convergence." In SMPTE Australia Conference. IEEE, 1999. http://dx.doi.org/10.5594/m001184.

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Cherry, Guy. "Digital Television Monitoring Systems: Challenges and Opportunities." In SMPTE Australia Conference. IEEE, 1999. http://dx.doi.org/10.5594/m001215.

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Balli, Mardick. "Fluorescent Lighting Systems for Television and Motion Pictures." In SMPTE Australia Conference. IEEE, 1994. http://dx.doi.org/10.5594/m001128.

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Wong, Lincoln. "The History of the Television Receiver and its Future Direction." In SMPTE Australia Conference. IEEE, 1999. http://dx.doi.org/10.5594/m001177.

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Pizzi, Skip. "ATVEF: A Specification for Interactive Television Based on Internet Standards." In SMPTE Australia Conference. IEEE, 1999. http://dx.doi.org/10.5594/m001183.

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Archiable, Donald P. "Becoming Digital: The Facility Migration into Digital and Multichannel Broadcast Television Operations." In SMPTE Australia Conference. IEEE, 1999. http://dx.doi.org/10.5594/m001217.

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Reports on the topic "Australian television"

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Lotz, Amanda, Anna Potter, Marion McCutcheon, Kevin Sanson, and Oliver Eklund. Australian Television Drama Index, 1999-2019. Queensland University of Technology, 2021. http://dx.doi.org/10.5204/rep.eprints.212330.

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This report examines changes in the production and commissioning of Australian television drama from 1999–2019, a period marked by notable changes in the business of television in Australia and globally. More production companies now make drama in Australia; however, the fact that more companies share less than half the annual hours once produced raises concerns about sustainability. Several major Australian production companies have been acquired by foreign conglomerates and challenge the viability of domestic companies that lack access to international corporate capital and distribution. The decrease in adult drama hours commissioned by commercial broadcasters has reshaped Australian television drama more than any other change. The national broadcasters have increased their role in commissioning, particularly in children’s drama. Titles have not decreased nearly as significantly as the number of episodes per series. Commercial broadcasters’ drama decreased from an average of 21 episodes per title in 1999 to seven in 2019, a 60 per cent decrease that, along with the increasing peripheralization of soaps, has diminished available training grounds and career paths in the Australian scripted production industry.
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Kerrigan, Susan, Phillip McIntyre, and Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Ballarat. Queensland University of Technology, 2020. http://dx.doi.org/10.5204/rep.eprints.206963.

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Description Ballarat sits on Wathaurong land and is located at the crossroads of four main Victorian highways. A number of State agencies are located here to support and build entrepreneurial activity in the region. The Ballarat Technology Park, located some way out of the heart of the city at the Mount Helen campus of Federation University, is an attempt to expand and diversify the technology and innovation sector in the region. This university also has a high profile presence in the city occupying part of a historically endowed precinct in the city centre. Because of the wise preservation and maintenance of its heritage listed buildings by the local council, Ballarat has been used as the location for a significant set of feature films, documentaries and television series bringing work to local crews and suppliers. With numerous festivals playing to the cities strengths many creative embeddeds and performing artists take advantage of employment in facilities such as the Museum of Australian Democracy at Eureka. The city has its share of start-ups, as well as advertising, design and architectural firms. The city is noted for its museums, its many theatres and art galleries. All major national networks service the TV and radio sector here while community radio is strong and growing.
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Kerrigan, Susan, Phillip McIntyre, and Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Geelong and Surf Coast. Queensland University of Technology, 2020. http://dx.doi.org/10.5204/rep.eprints.206969.

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Geelong and the Surf Coast are treated here as one entity although there are marked differences between the two communities. Sitting on the home of the Wathaurong Aboriginal group, this G21 region is geographically diverse. Geelong serviced a wool industry on its western plains, while manufacturing and its seaport past has left it as a post-industrial city. The Surf Coast has benefitted from the sea change phenomenon. Both communities have fast growing populations and have benefitted from their proximity to Melbourne. They are deeply integrated with this major urban centre. The early establishment of digital infrastructure proved an advantage to certain sectors. All creative industries are represented well in Geelong while many creatives in Torquay are embedded in the high profile and economically dominant surfing industry. The Geelong community is serviced well by its own creative industries with well-established advertising firms, architects, bookshops, gaming arcades, movie houses, music venues, newspaper headquarters, brand new and iconic performing and visual arts centres, libraries and museums, television and radio all accessible in its refurbished downtown area. Co-working spaces, collective practices and entrepreneurial activity are evident throughout the region.
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Cunningham, Stuart, Marion McCutcheon, Greg Hearn, Mark Ryan, and Christy Collis. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Sunshine Coast. Queensland University of Technology, December 2020. http://dx.doi.org/10.5204/rep.eprints.136822.

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The Sunshine Coast (unless otherwise specified, Sunshine Coast refers to the region which includes both Sunshine Coast and Noosa council areas) is a classic regional hotspot. In many respects, the Sunshine Coast has assets that make it the “Goldilocks” of Queensland hotspots: “the agility of the region and our collaborative nature is facilitated by the fact that we're not too big, not too small - 330,000 people” (Paddenburg, 2019); “We are in that perfect little bubble of just right of about everything” (Erbacher 2019). The Sunshine Coast has one of the fastest-growing economies in Australia. Its population is booming and its local governments are working together to establish world-class communications, transport and health infrastructure, while maintaining the integrity of the region’s much-lauded environment and lifestyle. As a result, the Sunshine Coast Council is regarded as a pioneer on smart city initiatives, while Noosa Shire Council has built a reputation for prioritising sustainable development. The region’s creative economy is growing at a faster rate that of the rest of the economy—in terms of job growth, earnings, incomes and business registrations. These gains, however, are not spread uniformly. Creative Services (that is, the advertising and marketing, architecture and design, and software and digital content sectors) are flourishing, while Cultural Production (music and performing arts, publishing and visual arts) is variable, with visual and performing arts growing while film, television and radio and publishing have low or no growth. The spirit of entrepreneurialism amongst many creatives in the Sunshine Coast was similar to what we witnessed in other hotspots: a spirit of not necessarily relying on institutions, seeking out alternative income sources, and leveraging networks. How public agencies can better harness that energy and entrepreneurialism could be a focus for ongoing strategy. There does seem to be a lower level of arts and culture funding going into the Sunshine Coast from governments than its population base and cultural and creative energy might suggest. Federal and state arts funding programs are under-delivering to the Sunshine Coast.
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