Dissertations / Theses on the topic 'Australian television'
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1
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.
Full textAbstract:
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.
2
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.
Full textAbstract:
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.
3
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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4
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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5
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.
Full textAbstract:
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.
6
May, Harvey Brian. "Australian Multicultural Policy and Television Drama in Comparative Contexts." Queensland University of Technology, 2004. http://eprints.qut.edu.au/15835/.
Full textAbstract:
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.
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.
Full textAbstract:
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.
8
Harrington, Stephen Matthew. "Public knowledge beyond journalism : infotainment, satire and Australian television." Queensland University of Technology, 2009. http://eprints.qut.edu.au/26675/.
Full textAbstract:
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.
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.
Full textAbstract:
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.
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/.
Full textAbstract:
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.
11
Caraway, Sylvester. "Community Television Broadcasting in Australia: The Development of Commercialism." Thesis, Griffith University, 2009. http://hdl.handle.net/10072/367653.
Full textAbstract:
The Australian community television industry was initially established to provide members of the public the opportunity to have ownership of, participate in, produce and broadcast programs that reflect local voices and are relevant to their local communities. However, since officially licensed in 1993 as narrowcast community television broadcasters, the practices by these stations have been more in-line with commercialism rather than performing under the very principles of why these services were established to serve; the public’s interest. With a focus primarily on Australia’s metro and rural area community television sector, this research becomes the first of its kind analysis of this media industry that has maintained a commercial practice since its conception, rather than a public service. This research endeavors to provide analysis to how this commercial interest developed within Australia’s metro/rural area community television industry and the affects it has had in their continued quest to remain relevant as a community broadcaster. Research analysis of Australia’s community television industry is provided from the period of June 2004 to December 2008.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of Arts
Arts, Education and Law
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12
McCarthy, Nigel Thomas Fiaschi. "The development of economic and business news on Australian television." Thesis, The University of Sydney, 2006. http://hdl.handle.net/2123/1773.
Full textAbstract:
Television is the favoured news source for most Australians and is regarded as having the potential to influence public opinion. From its inception however, television has been regarded as ill-suited to cover economic and business issues because of a perceived reliance on visual material and an inability to deal with complex issues. This tyranny of vision has been mitigated by technological developments such as electronic news gathering (ENG) and satellites that provide large amounts of varied material as well as improvements in production tools that assist the visual presentation of abstract concepts. The presentation of complex issues has also been enhanced by the increased skills and knowledge among newsworkers. Economic and business news has become a staple in television news programs and has evolved from ritualised reporting of data such as market indices and exchange rates to a genre that shares broader news values such as consequence, conflict, proximity, human interest, novelty, prominence, political controversy and scandal. Economic and business news also shares the normal imperatives of television such as a strong reliance on scheduled occasions and reliable and prolific sources. In between occasions of economic, business and political controversy or scandal, these programs are able to rely on a steady supply of economic, business and investment information. Dedicated economic and business segments and programs and now even whole channels meet two sets of demands. One is those of niche audiences seeking news and information on economic and business conditions, economic debate and policy making, the activities of economic and business leaders and an opportunity to hear and observe economic and business leaders. The other is from broadcasters seeking to maximise their profits by attracting viewers in the AB demographic (those with the greatest disposal income) to otherwise poorly-performing time slots, by broadcasters seeking an inexpensive and dependable supply of programming material and by broadcasters seeking to promote their institutional role and specific programs through presenting material that is followed up by other media. Economic and business reports however, continue to portray issues in a limited way that neglects business’s interaction with workers and the larger social environment. Economic events are often framed as political competition. These reports present a hierarchy of sources and privilege political and business elites. Television news favours debate that is presented by individuals as contrasting causal narratives. Political and economic sources have become adept at presenting brief causal narratives in response to the requirements of television. This approach highlights celebrities and favours the promotion of agency over structure. The increase in total economic and business reporting boosts the interdependence of television and political and economic sources. Technological development is continuing and traditional free-to-air television audiences are being eroded by pay television and the internet. Although these are altering the nature of political, economic and business debate their overall influence is difficult to determine.
13
McCarthy, Nigel Thomas Fiaschi. "The development of economic and business news on Australian television." University of Sydney, 2006. http://hdl.handle.net/2123/1773.
Full textAbstract:
Doctor of Philosophy (PhD)Television is the favoured news source for most Australians and is regarded as having the potential to influence public opinion. From its inception however, television has been regarded as ill-suited to cover economic and business issues because of a perceived reliance on visual material and an inability to deal with complex issues. This tyranny of vision has been mitigated by technological developments such as electronic news gathering (ENG) and satellites that provide large amounts of varied material as well as improvements in production tools that assist the visual presentation of abstract concepts. The presentation of complex issues has also been enhanced by the increased skills and knowledge among newsworkers. Economic and business news has become a staple in television news programs and has evolved from ritualised reporting of data such as market indices and exchange rates to a genre that shares broader news values such as consequence, conflict, proximity, human interest, novelty, prominence, political controversy and scandal. Economic and business news also shares the normal imperatives of television such as a strong reliance on scheduled occasions and reliable and prolific sources. In between occasions of economic, business and political controversy or scandal, these programs are able to rely on a steady supply of economic, business and investment information. Dedicated economic and business segments and programs and now even whole channels meet two sets of demands. One is those of niche audiences seeking news and information on economic and business conditions, economic debate and policy making, the activities of economic and business leaders and an opportunity to hear and observe economic and business leaders. The other is from broadcasters seeking to maximise their profits by attracting viewers in the AB demographic (those with the greatest disposal income) to otherwise poorly-performing time slots, by broadcasters seeking an inexpensive and dependable supply of programming material and by broadcasters seeking to promote their institutional role and specific programs through presenting material that is followed up by other media. Economic and business reports however, continue to portray issues in a limited way that neglects business’s interaction with workers and the larger social environment. Economic events are often framed as political competition. These reports present a hierarchy of sources and privilege political and business elites. Television news favours debate that is presented by individuals as contrasting causal narratives. Political and economic sources have become adept at presenting brief causal narratives in response to the requirements of television. This approach highlights celebrities and favours the promotion of agency over structure. The increase in total economic and business reporting boosts the interdependence of television and political and economic sources. Technological development is continuing and traditional free-to-air television audiences are being eroded by pay television and the internet. Although these are altering the nature of political, economic and business debate their overall influence is difficult to determine.
14
Bowles, Katherine. "Representing suburbia : strategies of looking at Australian suburbanisation." Thesis, University of Exeter, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.390128.
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15
Radcliffe, Jeanette, and n/a. "The Australian Broadcasting Tribunal's Australian Content Inquiry 1983 - 1990: a case study in The dynamics of a public policy debate." University of Canberra. Communication, Media & Tourism, 1994. http://erl.canberra.edu.au./public/adt-AUC20061207.162525.
Full textAbstract:
Since their inception in the early 1960s, Australian content requirements for commercial television have been subjected to
considerable scrutiny through a series of formal inquiries. Over
the last ten years this process has intensified. In recent years
there have been a number of academic criticisms regarding the
state of debate about the regulation of Australian content on
commercial television and the capacity of the debate to generate
genuine criticism and embrace change.
This thesis examines the dynamics of debate about Australian
content. It focuses on the ABT's Inquiry into Australian Content
on Commercial Television (ACI) which ran from 1983 to 1989.
It takes as its basic point of reference Jurgen Habermas' concept
of the 'public sphere'. This concept refers to a realm of social life,
separate from the state and private spheres, in which 'public
opinion' can be formed. Habermas has argued that, with the
refeudalisation of the public sphere, the state and private
interests have increasingly collaborated to close off the public
sphere. The thesis concludes that in many respects Habermas'
concept of a refeudalised 'public sphere' is a useful explanatory
tool for understanding the dynamics of the ACI and the limited
degree of criticism generated by it. However, Habermas' model
is limited in so far as it fails to accord adequate recognition to the
complexities and significance of the mediation of the 'public
interest' by key participants in the inquiry and the strategic role
of rhetoric for these participants.
Habermas concludes that with the refeudalisation of the public
sphere and the disappearance of the historical conditions which
supported its operation, the public sphere must now be
reconstructed on a case by case basis. Attempts to achieve this,
have tended to focus on the facilitation of citizen participation in
public policy debate. However, as this analysis of the ACI
demonstrates, the dynamics of the debate itself appear to limit
I the degree to which 'public opinion' can be elevated above
'private interest'.
This thesis demonstrates that the mediation of the 'public
interest' assumed a central role in the rhetoric and strategy of
the ACI. Each of the key players represented distinct interests and were largely unaccountable to the 'public' they claimed to
serve. This thesis concludes that in order to gain a more detailed
understanding of how communication works in such a context,
and in order to conceive of alternative participatory forms, we
need to focus on those aspects of public discourse which Habermas neglects: the rhetoric and the strategic nature of public
representation. It suggests that fruitful avenues for further
study may lie with Bantz's notion of communicative structures or
Luhmann's systems approach to communication.
16
Drew, Christopher. "Soak up the goodness: Discourses of Australian childhoods on television advertisements, 2006-2012." Thesis, Australian Catholic University, 2013. https://acuresearchbank.acu.edu.au/download/413e700b511dbbb68764cb0cf2c925778fd7fa835964276d3695b8e96b60bf6d/2454270/201311_Christopher_Drew.pdf.
Full textAbstract:
Childhood is represented on Australian television advertising so frequently as to be commonplace. Traversing childhood, cultural and media studies disciplines, this thesis works to disrupt and unsettle taken for granted and exclusionary cultural assumptions about childhood that emerge through contemporary television advertisements. I conduct social semiotic and discourse analyses across a corpus of 330 advertisements spanning 2006 to 2012, considering the ways the Australian childhood subject is discursively produced through the advertisements. The television advertisements are found to construct Australian childhood subjectivities in ways that are limiting in terms of race, space, gender and social class. Considering the role of consumption in the reproduction of subjectivity in the contemporary neoliberal context, the advertisements come to be read as addressing viewers as agentive actors exercising choice and aspiring to formulate subjectivities through consumption. In this sense, the advertisements work to encourage agentive viewers to consume in order to achieve idealised yet exclusionary Australian childhood subjectivities. The exclusionary discourses are employed and idealised by advertisers to secure consumption; however, it is also argued that the advertisements simultaneously reinforce and naturalise exclusionary understandings of Australian childhoods through their reiteration. From a post-structuralist perspective which considers cultural truths to emerge through discourse, I argue that the limited representations of Australian childhoods on television advertisements produce and foreclose cultural ways of understanding Australian childhood. Throughout the thesis, I work to challenge representational foreclosures of Australian childhood subjectivities within the advertising texts, in order that cultural truths about Australian childhood subjectivities might be unsettled and unjust representations challenged. Such a critique of limiting discursive representations of Australian childhood matters, I contest, because unjust and exclusionary discourses of Australian childhood can sustain symbolic and performative disadvantage for Australian children and adults alike, particularly those who continue to be excluded from public recognition in a nation that presumes to be inclusive and egalitarian.
17
Green, Joshua Benjamin. "Acts of Translation: Young People, American Teen Dramas, and Australian Television 1992-2004." Thesis, Queensland University of Technology, 2005. https://eprints.qut.edu.au/16143/1/Joshua_Green_Thesis.pdf.
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The thesis examines American teen dramas on Australian television in the period 1992 to 2004. It explores the use of the genre by broadcasters and its uptake by teenagers in an environment where American popular culture has frequently been treated with suspicion and where there are perennial arguments about the Americanisation of youth and their vulnerability to cultural imperialism. The thesis argues concerns about Americanisation and cultural imperialism in relation to youth culture, young people and the media are misplaced. American teen dramas are investigated as an example of the ways imported programs are made to cohere with national logics within the Australian mediasphere (Hartley, 1996). Utilising Yuri Lotman's (1990) theory of cultural 'translation' this thesis argues teen drams are evidence of dynamic change within the system of television and that this change does not result in a system dominated by imported product, but rather a system that situates foreign programming amongst domestic frames of reference.
18
Green, Joshua Benjamin. "Acts of Translation: Young People, American Teen Dramas, and Australian Television 1992-2004." Queensland University of Technology, 2005. http://eprints.qut.edu.au/16143/.
Full textAbstract:
The thesis examines American teen dramas on Australian television in the period 1992 to 2004. It explores the use of the genre by broadcasters and its uptake by teenagers in an environment where American popular culture has frequently been treated with suspicion and where there are perennial arguments about the Americanisation of youth and their vulnerability to cultural imperialism. The thesis argues concerns about Americanisation and cultural imperialism in relation to youth culture, young people and the media are misplaced. American teen dramas are investigated as an example of the ways imported programs are made to cohere with national logics within the Australian mediasphere (Hartley, 1996). Utilising Yuri Lotman's (1990) theory of cultural 'translation' this thesis argues teen drams are evidence of dynamic change within the system of television and that this change does not result in a system dominated by imported product, but rather a system that situates foreign programming amongst domestic frames of reference.
19
Flynn, John Michael. "Locally significant content on regional television : a case study of North Queensland commercial television before and after aggregation." Thesis, Queensland University of Technology, 2008. https://eprints.qut.edu.au/16697/1/John_Michael_Flynn_Thesis.pdf.
Full textAbstract:
This thesis is an exploration of the fate which has befallen the regional commercial television industry in North Queensland in the wake of the aggregation policy introduced by the Federal Labor Government in 1990. More specifically, it examines the effectiveness of policy outcomes which stem from the Australian Broadcasting Authority's 2001 inquiry into the adequacy of regional and rural commercial television news and information services.
The research is primarily concerned with the quality of local content provided by regional commercial broadcasters in response to the implementation of the Australian Communications and Media Authority's points system for broadcast of matters of local significance. The policy outcomes are balanced against an historical context, which traces the regional commercial television industry in North Queensland back to its very beginning.
Regulatory reform has resulted in a basic level of news content being maintained. However the significance of elements of this news content to local viewers is minimal.
The reduction in local information content, despite being identified in the earliest stages of the ABA investigation, has not been adequately addressed by the reform process.
20
Flynn, John Michael. "Locally significant content on regional television : a case study of North Queensland commercial television before and after aggregation." Queensland University of Technology, 2008. http://eprints.qut.edu.au/16697/.
Full textAbstract:
This thesis is an exploration of the fate which has befallen the regional commercial television industry in North Queensland in the wake of the aggregation policy introduced by the Federal Labor Government in 1990. More specifically, it examines the effectiveness of policy outcomes which stem from the Australian Broadcasting Authority's 2001 inquiry into the adequacy of regional and rural commercial television news and information services. The research is primarily concerned with the quality of local content provided by regional commercial broadcasters in response to the implementation of the Australian Communications and Media Authority's points system for broadcast of matters of local significance. The policy outcomes are balanced against an historical context, which traces the regional commercial television industry in North Queensland back to its very beginning. Regulatory reform has resulted in a basic level of news content being maintained. However the significance of elements of this news content to local viewers is minimal. The reduction in local information content, despite being identified in the earliest stages of the ABA investigation, has not been adequately addressed by the reform process.
21
Dorian, Jennifer. "Constructions of Australianness in contemporary Australian drama : Blue heelers & Heartbreak High." Thesis, Queensland University of Technology, 1999.
Find full textAbstract:
This thesis will examine how Australianness is constructed in two contemporary Australian television dramas - Heartbreak High and Blue Heelers. Founded on the critical tradition of "Cultural Studies", this work will employ text analysis to deconstruct these dramas and examine the ways in
which they manifest Australian cultural identity. However, this thesis recognises that Australianness is not a constant, tangible phenomenon, but rather a series of constructions, each purporting to be "real". Hence I will be
acknowledging that there is not one, singular national identity from which to draw representations, but many different, conflicting cultural identities. Each program constructs a very different view of Australian life and culture. Heartbreak High follows the lives of a group of high school students amidst a multicultural, urban environment and is aimed primarily at a teen audience.
On the other hand, Blue Heelers appeals to an older, more conservative audience with its focus on a small police station in rural Victoria. Some of the issues to be addressed in the main body of the text include the programs
constructions of "Australian" characteristics such as mateship and egalitarianism, and whether these dramas perpetuate the cultural division between rural and urban Australia. Overall this thesis aims to provide a thorough examination of the images of Australia these two programs
construct and to question their origin, meaning and relevance tocontemporary Australian society.
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Goodchild, Rachel. "The 'reality' of the Australian 'Junior Masterchef' television series for preadolescents and their parents." Thesis, Goodchild, Rachel (2012) The 'reality' of the Australian 'Junior Masterchef' television series for preadolescents and their parents. Honours thesis, Murdoch University, 2012. https://researchrepository.murdoch.edu.au/id/eprint/10514/.
Full textAbstract:
The increase in reality-styled programs on television and in their appeal to young viewers has not been matched by research on what motivates children to watch such programs and if there are any flow-on effects in the home for the children and their families. Current research is limited to mainly North American and European populations of adolescents and adults which reduces the application of findings to Australian children. The present mixed- methods study surveyed Australian pre-adolescent children’s (N= 38) engagement and motivation to watch the Australian series of ‘Junior Masterchef’ and if their involvement with the program was associated with cooking, food and family connectedness. Additionally, parents (N=39) of the children were surveyed to ascertain their awareness of the series, together with their perceptions of children cooking in the home and family connectedness. The children’s (N=16) and parents (N=9) experiences were further explored through focus group interviews using Thematic Analysis. Overall, three factors motivated children to watch the program: education, excitement/entertainment value and vicarious participation. Involvement with the program was not associated with cooking in the home, food engagement or family connectedness. Despite this, family connectedness was highly valued by the children. The benefit of the program for parents was increased ‘family time’ which was an important factor for their experiences of family connectedness. Parents reported their children’s interest in cooking increased when viewing ‘Junior Masterchef’, however, cleaning up and time restrictions were considerations that limited opportunities for children to actively participate.
23
Keys, Wendy, and n/a. "Grown-Ups In a Grown-Up Business: Children's Television Industry Development Australia." Griffith University. School of Arts, Media and Culture, 2005. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20060928.135325.
Full textAbstract:
This dissertation profiles the children's television industry in Australia; examines the relationship between government cultural policy objectives and television industry production practices; and explores the complexities of regulating and producing cultural content for child audiences. The research conducted between 1997 and 2002 confirms that children's television is a highly competitive business dependent on government regulatory mechanisms and support for its existence. For example, the Australian Broadcasting Authority's retaining of mandatory program standards for children's programs to date, is evidence of the government's continued recognition of the conflict between broadcasters' commercial imperatives and the public-interest. As a consequence, the industry is on the one hand insistent on the government continuing to play a role in ensuring and sustaining CTV - however, on the other hand, CTV producers resent the restrictions on creativity and innovation they believe result from the use of regulatory instruments such as the Children's Television Standards (CTS). In fact, as this dissertation details, the ABA's intended policy outcomes are inevitably coupled with unintended outcomes and little new or innovative policy development has occurred. The dissertation begins with an investigation into the social, cultural and ideological construction of childhood within an historical and institutional context. I do this in order to explore how children have been defined, constructed and managed as a cultural group and television audience. From this investigation, I then map the development of children television policy and provide examples of how 'the child' is a consistent and controversial site of tension within policy debate. I then introduce and analyse a selection of established, establishing and aspiring CTV production companies and producers. Drawing on interviews conducted, production companies profiled and policy documents analysed, I conclude by identit~'ing ten key issues that have impacted, and continue to impact, on the production of children's television programming in Australia. In addressing issues of industry development, the question this dissertation confronts is not whether to continue to regulate or not, but rather, how best to regulate. That is, it explores the complexities of supporting, sustaining and developing the CTV industry in ways which also allows innovative and creative programming. This exploration is done within the context of a broadcasting industry currently in transition from analogue to digital. As communications and broadcasting technologies converge, instruments of regulation - such as quotas designed around the characteristics of analogue systems of broadcasting - are being compromised. The ways in which children use television, and the ways in which the CTV producers create content, are being transformed. The ten key issues identified in this dissertation, I propose, are crucial to industry development and policy debate about the future of children's television in Australia. In integrating the study of policy with the study of production, I have given prominence to the opinions and experiences of those working in the industry. In doing so, this dissertation contributes to the growing body of work in Australia which incorporates industry with cultural analysis, and which includes the voices of the content providers.
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Keys, Wendy. "Grown-Ups In a Grown-Up Business: Children's Television Industry Development Australia." Thesis, Griffith University, 2005. http://hdl.handle.net/10072/366792.
Full textAbstract:
This dissertation profiles the children's television industry in Australia; examines the relationship between government cultural policy objectives and television industry production practices; and explores the complexities of regulating and producing cultural content for child audiences. The research conducted between 1997 and 2002 confirms that children's television is a highly competitive business dependent on government regulatory mechanisms and support for its existence. For example, the Australian Broadcasting Authority's retaining of mandatory program standards for children's programs to date, is evidence of the government's continued recognition of the conflict between broadcasters' commercial imperatives and the public-interest. As a consequence, the industry is on the one hand insistent on the government continuing to play a role in ensuring and sustaining CTV - however, on the other hand, CTV producers resent the restrictions on creativity and innovation they believe result from the use of regulatory instruments such as the Children's Television Standards (CTS). In fact, as this dissertation details, the ABA's intended policy outcomes are inevitably coupled with unintended outcomes and little new or innovative policy development has occurred. The dissertation begins with an investigation into the social, cultural and ideological construction of childhood within an historical and institutional context. I do this in order to explore how children have been defined, constructed and managed as a cultural group and television audience. From this investigation, I then map the development of children television policy and provide examples of how 'the child' is a consistent and controversial site of tension within policy debate. I then introduce and analyse a selection of established, establishing and aspiring CTV production companies and producers. Drawing on interviews conducted, production companies profiled and policy documents analysed, I conclude by identit~'ing ten key issues that have impacted, and continue to impact, on the production of children's television programming in Australia. In addressing issues of industry development, the question this dissertation confronts is not whether to continue to regulate or not, but rather, how best to regulate. That is, it explores the complexities of supporting, sustaining and developing the CTV industry in ways which also allows innovative and creative programming. This exploration is done within the context of a broadcasting industry currently in transition from analogue to digital. As communications and broadcasting technologies converge, instruments of regulation - such as quotas designed around the characteristics of analogue systems of broadcasting - are being compromised. The ways in which children use television, and the ways in which the CTV producers create content, are being transformed. The ten key issues identified in this dissertation, I propose, are crucial to industry development and policy debate about the future of children's television in Australia. In integrating the study of policy with the study of production, I have given prominence to the opinions and experiences of those working in the industry. In doing so, this dissertation contributes to the growing body of work in Australia which incorporates industry with cultural analysis, and which includes the voices of the content providers.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of Arts, Media and Culture
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Moor, Andrea L. "Contemporary actor training in Australia." Thesis, Queensland University of Technology, 2013. https://eprints.qut.edu.au/63083/1/Andrea_Moor_Thesis.pdf.
Full textAbstract:
This professional doctorate included a major research project investigating the efficacy of acting methodologies taught at four leading Australian actor-training institutions - National Institute of Dramatic Art, Queensland University of Technology, Victorian College of the Arts, and Western Australian Academy of Performing Arts. This study represents the first review of its kind, in which the 'castability' of acting graduates from each of these schools was scrutinized by industry leaders. The study not only reveals the methodologies and philosophies of each school but determines an ideal set of practices for future consideration. The doctorate also included two practice-led projects examining the candidate's transition from actor and teacher of actors to theatre director. The candidate's qualitative study was also underpinned by reflective practice on her extensive professional experience as actor, teacher and director.
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Flew, Terry. "Culture, Citizenship and Content: Australian Broadcast Media Policy and the Regulation of Commercial Television 1972-2000." Thesis, Griffith University, 2001. http://hdl.handle.net/10072/367568.
Full textAbstract:
This thesis looks at broadcast media policy in Australia towards the commercial free-to-air television sector, with a focus upon those policies that impact upon media content, during the period from 1972 to 2000. It analyses the relationship between cultural institutions, citizenship discourses, and practices of media policy formation in Australia. It focuses upon both forms of institutional continuity in the relations established between broadcasters, regulatory agencies and others active in media policy in Australia, and upon sources of change in broadcast media policy, such as those arising from media reform activism, changing public policy discourses, and pressures arising from globalisation and new media technologies. The thesis is in two parts. Part One of the thesis uses debates about cultural policy in Australia in order to clari& the relationship between institutional forms and cultural practices in a sector such as broadcasting, characterised by distinctive forms of commercial property, a highly concentrated production and distribution structure, and the capacity for content to be distributed across space, both nationally and internationally. The institutional approach that is developed focuses on underlying structures and ongoing 'policy settlements' in national broadcasting systems, and the forms of political contestation that arise from the 'soft property' nature of commercial broadcast licences, and the resulting 'public trust' obligations to the public as citizens as well as media consumers. The concept of citizenship provides an important link in this regard, and this thesis analyses the relationship between citizenship and governance, the political and national dimensions of citizenship, and the complex policy discourses through which citizenship principles are translated into policy practice. Part two of the thesis applies this framework through four case studies in Australian broadcast media policy: 1. The period in the 1970s leading up to and including proposals to institutionalise public participation in broadcast media policy, on the basis of the public nature of the airwaves used by commercial broadcasters, through the licence renewal hearings process developed by the Australian Broadcasting Tribunal (ABT); 2. The Australian Content Inquiry conducted by the ABT between 1983-1989 that established new Australian content quotas for commercial television, and the forms of institutionalised participation and engagement between commercial broadcasters and media advocacy and public interest groups that developed through this process; 3. The development and implementation of the Broadcasting Services Act 1992, that utilised emergent neo-liberal policy discourses to argue for 'light touch' regulation, as well as greater industry self-regulation, and which significantly foreclosed opportunities for public participation in broadcast media policy formation; 4.
The growing significance of media globalisation and international trade agreements upon Australian media policy, and concerns about the ability to influence media policy in light of multilateral trade agreements such as the OATS, as well as the impact of bilateral trade agreements such as the Closer Economic Relation (CER) with New Zealand. The thesis finds that there has been an important connection between the 'public trust' nature of broadcast licences, the ways in which citizenship discourses impact upon media policy around questions of public participation and content regulations, and forms of activism in the policy process that emerge form the early 1 970s on. At the same time, there are clear limits to the capacity of state regulatory agencies to shape the conduct of commercial broadcasters, arising from the political and economic power of the broadcasters, the limits to 'publicness' of licences arising from private ownership, and wider policy discourses that are increasingly concerned with promoting the operation of markets, national competition policy, and trade liberalisation. The policy settlement that emerges in Australia in the 1970s, and dominates for the period covered by this thesis, is described as a social contract, whereby regulatory agencies as the representatives of government accept that concentration of ownership of broadcast television licences, and restrictions on the entry of new players, constitute a necessary quid pro quo for the provision of 'pro-social' forms of programming, such as Australian content and children's programming. In the early 2000s, this policy settlement was under profound challenge for new technologies and services associated with digitisation, national competition policy, and the potential impact of international trade agreements, and it is likely that this decade will see the development of new institutional structures and forms of policy settlement.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of Film, Media and Cultural Studies
Arts, Education and Law
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Sebastian, Gina Ann. "“Do you see what I see?” – The critical reception of television advertising among Western Australian homemakers." Thesis, Curtin University, 2008. http://hdl.handle.net/20.500.11937/170.
Full textAbstract:
This thesis investigates the relationship between Western Australian (WA) homemakers, media literacy and television advertising. Employing both qualitative and quantitative research methodologies; it focuses on how their educational background, especially with regards to media education, predisposes their understanding and critical reception of television advertising. WA homemakers were chosen as the subjects of this research because they represent a group of people who potentially make purchasing decisions for the household as well as for three different groups of consumers; female adults, male adults and children. Thirty-five participants took part in this study, recruited by snowball sampling. The findings are indicative that they have developed their own media education, supported in part from their media education in school and their life experiences, and are ‘media literate’ by these standards. They use this education in their relationships with television advertising. On the whole, the findings indicated that the WA homemaker is quite different to and more media literate than the popular stereotype of traditional housewives and modern homemakers would suggest.
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Hegedus, Peter. "Towards a Model for Autobiographical and Socially Conscious Cinematic Documentary in Australia." Thesis, Griffith University, 2008. http://hdl.handle.net/10072/365761.
Full textAbstract:
The Australian film and television industry is currently undergoing a major transformation, which ultimately will have significant impact on its practitioners. As an Australian filmmaker whose interest and ambition lie in more idiosyncratic and autobiographical films for cinema, I believe a close examination of these filmmaking aspirations in relation to the current codes and practices of the Australian film industry is necessary.
Apart from some festivals and media interviews, for filmmakers there is little room for self-reflection. Having the opportunity to conduct a critical and in-depth examination of my work is vital for my professional development, as it signals a necessary shift from emerging filmmaker to the platform of a more mature and established filmmaking practice.
The objective of this research work is to investigate whether socially conscious autobiographical cinematic documentary can be a viable filmmaking practice in Australia. This process of investigation is driven by a self-reflexive analysis of my studio projects, challenged, shaped and developed by the work and experience of other film practitioners and documentary theorists whose ideas relate closely to the problem at hand...Thesis (Professional Doctorate)
Doctor of Visual Arts (DVA)
Queensland College of Art
Queensland College of Art
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McKee, Alan. "Making race mean : the limits of interpretation in the case of Australian Aboriginality in films and television programs." Thesis, University of Glasgow, 1996. http://theses.gla.ac.uk/4783/.
Full textAbstract:
Academic work on Aboriginality in popular media has, understandably, been largely written in defensive registers. Aware of horrendous histories of Aboriginal murder, dispossession and pitying understanding at the hands of settlers, writers are worried about the effects of raced representation; and are always concerned to identify those texts which might be labelled racist. In order to make such a search meaningful, though, it is necessary to take as axiomatic certain propositions about the functioning of films: that they 'mean' in particular and stable ways, for example; and that sophisticated reading strategies can fully account for the possible ways a film interacts with audiences. These sophisticated readings can then by rendered as ontological statements, prefaced by such nonnegotiable phrases as: 'Jedda is ... .' his thesis suggests that such approaches fail to take account of the work involved in audiences making sense of these texts. Although the possible uses of a film or a television program are not infinite, neither is it possible to make final statements about a text's status. Rather, it is necessary to take account of various limits which are placed on the interpretations of texts, for different audiences at different moments. Moving the focus of attention away from feature films (which have traditionally encouraged the idea of a spectator constructed by the text) to include television programs (which have proven more difficult to write into such a project) facilitates this move to an understanding of Aboriginal representation more concerned with the work involved in its interpretations. This thesis addresses three main areas. Firstly, favoured modes of spectatorship validate particular practices of consumption. These have implications for the readings which will be made of Aboriginality. Secondly, sets of validated intertexts circulated as 'genres' and 'oeuvres'enable meaning to be made in particular ways. Finally, secondary texts(including academic work) which explicitly purport to explicate films and television programs provide frameworks within which interpretation can be made. Each of these limits works to close down the radical polysemy of television and film texts, enabling meaning to be made of them, and of the Aboriginality they purport to represent.
30
Davies, Llewellyn Willis. "‘LOOK’ AND LOOK BACK: Using an auto/biographical lens to study the Australian documentary film industry, 1970 - 2010." Phd thesis, Canberra, ACT : The Australian National University, 2018. http://hdl.handle.net/1885/154339.
Full textAbstract:
While much has been written on the Australian film and television
industry, little has been presented by actual producers,
filmmakers and technicians of their time and experiences within
that same industry. Similarly, with historical documentaries, it
has been academics rather than filmmakers who have led the
debate. This thesis addresses this shortcoming and bridges the
gap between practitioner experience and intellectual discussion,
synthesising the debate and providing an important contribution
from a filmmaker-academic, in its own way unique and insightful.
The thesis is presented in two voices. First, my voice, the
voice of memoir and recollected experience of my screen
adventures over 38 years within the Australian industry, mainly
producing historical documentaries for the ABC and the SBS. This
is represented in italics. The second half and the alternate
chapters provide the industry framework in which I worked with
particular emphasis on documentaries and how this evolved and
developed over a 40-year period, from 1970 to 2010.
Within these two voices are three layers against which this
history is reviewed and presented. Forming the base of the
pyramid is the broad Australian film industry made up of feature
films, documentary, television drama, animation and other types
and styles of production. Above this is the genre documentary
within this broad industry, and making up the small top tip of
the pyramid, the sub-genre of historical documentary. These form
the vertical structure within which industry issues are
discussed. Threading through it are the duel determinants of
production: ‘the market’ and ‘funding’.
Underpinning the industry is the involvement of government, both
state and federal, forming the three dimensional matrix for the
thesis. For over 100 years the Australian film industry has
depended on government support through subsidy, funding
mechanisms, development assistance, broadcast policy and
legislative provisions.
This thesis aims to weave together these industry layers, binding
them with the determinants of the market and funding, and
immersing them beneath layers of government legislation and
policy to present a new view of the Australian film industry.
31
Jordan, Richard. "The space between: Representing 'youth' on the contemporary Australian stage." Thesis, Queensland University of Technology, 2006. https://eprints.qut.edu.au/16173/2/Richard_Jordan_Exegesis.pdf.
Full textAbstract:
Young characters throughout the history of Australian theatre have traditionally been represented as tragic, transient, and dangerous; discourses which have defined and limited their construction. 'Youth' itself is a concept which has been invented and perpetuated within Western Art and Media for much of the twentieth century and beyond, creating an exclusive 'space' for young people: a space between childhood and a standard human being. This thesis seeks to explore the implications of this space, as well as contextualise a new creative work - the stage play like, dead - within the canon of Australian theatre texts which portray young characters. like, dead will be shown to be a work which reappropriates clichéd youthful discourses through the use of irony, humour, and a sense of postmodern 'performativity' among its characters. In so doing it will demonstrate an alternative approach to representing young people on the Australian stage, by enhancing the constructedness of traditional images of 'youth' and pursuing the creation of young characters which are not solely defined by the term.
32
Jordan, Richard. "The space between : representing 'youth' on the contemporary Australian stage." Queensland University of Technology, 2006. http://eprints.qut.edu.au/16173/.
Full textAbstract:
Young characters throughout the history of Australian theatre have traditionally been represented as tragic, transient, and dangerous; discourses which have defined and limited their construction. 'Youth' itself is a concept which has been invented and perpetuated within Western Art and Media for much of the twentieth century and beyond, creating an exclusive 'space' for young people: a space between childhood and a standard human being. This thesis seeks to explore the implications of this space, as well as contextualise a new creative work - the stage play like, dead - within the canon of Australian theatre texts which portray young characters. like, dead will be shown to be a work which reappropriates clichéd youthful discourses through the use of irony, humour, and a sense of postmodern 'performativity' among its characters. In so doing it will demonstrate an alternative approach to representing young people on the Australian stage, by enhancing the constructedness of traditional images of 'youth' and pursuing the creation of young characters which are not solely defined by the term.
33
Maniaty, Tony. "The changing role of war correspondents in Australian news and current affairs coverage of two conflicts, Vietnam (1966-1975) and Iraq (2003)." Electronic version, 2006. http://hdl.handle.net/1959.14/682.
Full textAbstract:
Thesis (MA)--Macquarie University (Division of Society, Culture, Media & Philosophy, Dept. of Media and Communications), 2006.Bibliography: leaves 176-188.
Precursors -- An imperfect war -- Interregnum -- The perfect war -- Conclusions.
This thesis explores how war reporting on Australian television has been dramatically reshaped over the last 40 years, particularly by new technologies. Specifically, it seeks to answer these questions: 1. How did differing cultural, social, political and professional contexts, available technology and battlefield experience affect the attitudes, editorial content and narrative forms of two generations of television correspondents - in Vietnam and Iraq respectively? 2. How did technological and other industry changes over the 30 years between Vietnam and Iraq reshape the power relationship between the war correspondent in the field and his news producers and managers? What impact did these changes have on the resulting screened coverage? What are the longer-term implications for journalism and for audiences?
Mode of access: World Wide Web.
192 leaves ill. (some col.)
34
Roche, Erin J. "In search of authorship: The role of the costume designer in characterisation-three case studies of Australian screen costume design." Thesis, Queensland University of Technology, 2018. https://eprints.qut.edu.au/122984/1/Erin_Roche_Thesis.pdf.
Full textAbstract:
Costume designers are visual storytellers. They interpret the written word and transform text into three-dimensional, tactile, visually informative costumes that create a character's fundamental expression of self. Costume designers communicate the unwritten components of a script. This research aims to develop a conceptual understanding of the costume designer's role in Australian screen production and, specifically, if they can claim an authorial voice through characterisation. The research forms a theory of costume design that incorporates collaborative authorship, the designer's voice and the notion of embodiment to underpin a much-needed philosophy of costume design practice.
35
Bellany, Jeanette Anne. "'Going live' : establishing the creative attributes of the live multi-camera television professional." Thesis, Queensland University of Technology, 2012. https://eprints.qut.edu.au/57730/1/Jeanette_Bellany_Thesis.pdf.
Full textAbstract:
In my capacity as a television professional and teacher specialising in multi-camera live television production for over 40 years, I was drawn to the conclusion that opaque or inadequately formed understandings of how creativity applies to the field of live television, have impeded the development of pedagogies suitable to the teaching of live television in universities. In the pursuit of this hypothesis, the thesis shows that television degrees were born out of film studies degrees, where intellectual creativity was aligned to single camera production, and the 'creative roles' of producers, directors and scriptwriters. At the same time, multi-camera live television production was subsumed under the 'mass communication' banner, leading to an understanding that roles other than producer and director are simply technical, and bereft of creative intent or acumen. The thesis goes on to show that this attitude to other television production personnel, for example, the vision mixer, videotape operator and camera operator, relegates their roles to that of 'button pusher'. This has resulted in university teaching models with inappropriate resources and unsuitable teaching practices. As a result, the industry is struggling to find people with the skills to fill the demands of the multi-camera live television sector.
In specific terms the central hypothesis is pursued through the following sequenced approach. Firstly, the thesis sets out to outline the problems, and traces the origins of the misconceptions that hold with the notion that intellectual creativity does not exist in live multi-camera television. Secondly, this more adequately conceptualised rendition, of the origins particular to the misconceptions of live television and creativity, is then anchored to the field of examination by presentation of the foundations of the roles involved in making live television programs, using multicamera production techniques. Thirdly, this more nuanced rendition of the field sets the stage for a thorough analysis of education and training in the industry, and teaching models at Australian universities. The findings clearly establish that the pedagogical models are aimed at single camera production, a position that deemphasises the creative aspects of multi-camera live television production.
Informed by an examination of theories of learning, qualitative interviews, professional reflective practice and observations, the roles of four multi-camera live production crewmembers (camera operator, vision mixer, EVS/videotape operator and director's assistant), demonstrate the existence of intellectual creativity during live production. Finally, supported by the theories of learning, and the development and explication of a successful teaching model, a new approach to teaching students how to work in live television is proposed and substantiated.
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com, marmcc@bigpond, and Marion McCutcheon. "Is pay TV meeting its promise?" Murdoch University, 2006. http://wwwlib.murdoch.edu.au/adt/browse/view/adt-MU20070514.112807.
Full textAbstract:
The broadcasting sector is a subject of continual debate in modern society. One of the
oldest segments of the rapidly-evolving information technology and communications
industry, it is still the most content rich and the most popular. Australians who watch
television spend more time doing so than doing any other leisure activity except those
who fish (ABS 1998). Broadcasting is highly pervasive. Some kind of service is
available and used in every Australian household. Everyone is an expert, everyone has
an opinion. Since the Federal Government decided to allow the introduction of
domestic subscription television in 1992, pay television has been broadly dismissed by
its media rivals as being unpopular, unprofitable and unnecessary. In turn, the
Australian pay television industry considers that it is over-regulated, especially
compared to the free-to-air sector, and that much of this regulation severely constrains
its ability to grow its subscriber base. This thesis examines whether the Australian
subscription television industry has achieved the aims set for it by the legislators in
1992 that is, whether it has met its promise. To achieve this, the thesis first
identifies the promises of an Australian subscription television industry. In assessing
whether the industry has met its promise, the thesis considers various aspects of the
industry, including what the industry has needed to do to make itself profitable and
ensure its longevity and the environment within which the industry operates. The thesis
examines the role that content plays in attracting subscribers and considers whether
minimal content regulation has resulted in a paucity of local content on subscription
television in Australia. The thesis draws on existing academic literature, government
publications, information released by the subscription television industry itself and
interviews conducted in the course of the project with the Australian subscription
television sector. It also uses and builds on ratings data to examine the programs and
channels that are offered by Australian pay television services. In concluding, this
thesis makes an assessment of whether the Australian pay television industry has met its
promise.
37
Diblíková, Daniela. "Projekce body image do marketingové komunikace." Master's thesis, Vysoká škola ekonomická v Praze, 2011. http://www.nusl.cz/ntk/nusl-85331.
Full textAbstract:
This diploma thesis discusses the main issues in regards to the topic of body image in marketing, such as its overall description, its negative impacts and the influence it has among the media and advertising. A content analysis was the primary methodology used in this thesis. Furthermore, not only were Czech television commercials analysed, but also Australian ones. The work also discusses the fundamental media indicators which help to form a better understanding of the television market. The results indicate that a normal person will be presented in a television commercial in an attempt to better connect the viewer to the commercial, thus connecting the product or brand to the mass audience. This finding was also backed up by the the results of a media indicators analysis that was conducted for Czech commercials.
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Gee, Narelle. "Maintaining our rage: Inside Australia's longest-running music video program." Thesis, Queensland University of Technology, 2015. https://eprints.qut.edu.au/85665/10/Narelle_Gee_Thesis.pdf.
Full textAbstract:
This research presents an insider's account of rage, Australia's longest-running music video program. The research's significance is that there has been scarce scholarly analysis of this idiosyncratic ABC program, despite its longevity and uniqueness. The thesis takes a reflective and reflexive narrative journey across rage's decades, presenting the accounts of the program makers, aided by the perspective of an embedded researcher, the program's former Series Producer. This work addresses the rage research gap and contributes to the scholarly discussion on music video and its contexts, the ABC, public service broadcasting, creative labour, and the cultural sense-making of television producers.
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au, J. Hall@murdoch edu, and Jane Hall. "Television and Positive Ageing in Australia." Murdoch University, 2005. http://wwwlib.murdoch.edu.au/adt/browse/view/adt-MU20060505.151605.
Full textAbstract:
As a means to engage with others, television offers the viewer a great deal. In Australia commercial TV is particularly popular, and many turn daily to this cultural arena which graphically portrays our shared concerns and values. Viewers are kept informed and entertained, advertisements display the luxuries and necessities that direct lifestyle choices,and local and global stories are presented for mutual consideration. Audiences are connected not only with products,personalities and newsmakers, but also with fellow viewers who are sharing the experience. Retired people take particular advantage of this multi-faceted link with the outside world, when additional leisure time and reduced social and physical mobility create spaces that can be filled with the narratives and 'para-social' connections of a medium that transports the world to the viewer. Yet one definitive statement that can be made about popular television is that older people are rarely acknowledged and often ridiculed. An easily accessible and valuable communications medium marginalises those most dependent upon it - for information and entertainment, but also, I would argue, dependent upon it to help facilitate key recommendations of the 'successful ageing' formula.
Authoritative prescriptions for ageing well emphasise the benefits of social engagement, with television helping to facilitate this by involving the viewer with local concerns and wider accounts of human enterprise. Yet the popular media often presume that older people are no longer viable consumers or citizens, thus alienating them from mediated stories and populations. 'Success', according to commercial media sensibilities, is equated with youthfulness and economic means - twin attributes rarely associated with retired people. As a result, advertising is directed primarily at young, middle-class audiences, and the TV programmes to hook their attention are often typecast with similarly youthful protagonists. Older viewers are taken for granted and rarely acknowledged, and more disconcertingly, stereotyped and ridiculed to empower younger viewers. This dissertation seeks to explore these issues from a sociological perspective, primarily within the Australian context. Research strategies include a detailed analysis of the role of television in older people's lives and how they are portrayed, with results aligned with 'successful ageing' guidelines. Included in this approach is a study of how older people are portrayed on commercial TV in Australia, and a discussion of findings. The final section includes a chapter which consists of an examination of negative media portrayals from a political and human rights perspective, and the final chapter which asks how the oldest and frailest may by impacted by the cultural devaluation of old age.
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Hall, Jane. "Television and positive ageing in Australia." Thesis, Hall, Jane (2005) Television and positive ageing in Australia. PhD thesis, Murdoch University, 2005. https://researchrepository.murdoch.edu.au/id/eprint/92/.
Full textAbstract:
As a means to engage with others, television offers the viewer a great deal. In Australia commercial TV is particularly popular, and many turn daily to this cultural arena which graphically portrays our shared concerns and values. Viewers are kept informed and entertained, advertisements display the luxuries and necessities that direct lifestyle choices,and local and global stories are presented for mutual consideration. Audiences are connected not only with products,personalities and newsmakers, but also with fellow viewers who are sharing the experience. Retired people take particular advantage of this multi-faceted link with the outside world, when additional leisure time and reduced social and physical mobility create spaces that can be filled with the narratives and 'para-social' connections of a medium that transports the world to the viewer. Yet one definitive statement that can be made about popular television is that older people are rarely acknowledged and often ridiculed. An easily accessible and valuable communications medium marginalises those most dependent upon it - for information and entertainment, but also, I would argue, dependent upon it to help facilitate key recommendations of the 'successful ageing' formula.
Authoritative prescriptions for ageing well emphasise the benefits of social engagement, with television helping to facilitate this by involving the viewer with local concerns and wider accounts of human enterprise. Yet the popular media often presume that older people are no longer viable consumers or citizens, thus alienating them from mediated stories and populations. 'Success', according to commercial media sensibilities, is equated with youthfulness and economic means - twin attributes rarely associated with retired people. As a result, advertising is directed primarily at young, middle-class audiences, and the TV programmes to hook their attention are often typecast with similarly youthful protagonists. Older viewers are taken for granted and rarely acknowledged, and more disconcertingly, stereotyped and ridiculed to empower younger viewers. This dissertation seeks to explore these issues from a sociological perspective, primarily within the Australian context. Research strategies include a detailed analysis of the role of television in older people's lives and how they are portrayed, with results aligned with 'successful ageing' guidelines. Included in this approach is a study of how older people are portrayed on commercial TV in Australia, and a discussion of findings. The final section includes a chapter which consists of an examination of negative media portrayals from a political and human rights perspective, and the final chapter which asks how the oldest and frailest may by impacted by the cultural devaluation of old age.
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Hall, Jane. "Television and positive ageing in Australia." Hall, Jane (2005) Television and positive ageing in Australia. PhD thesis, Murdoch University, 2005. http://researchrepository.murdoch.edu.au/92/.
Full textAbstract:
As a means to engage with others, television offers the viewer a great deal. In Australia commercial TV is particularly popular, and many turn daily to this cultural arena which graphically portrays our shared concerns and values. Viewers are kept informed and entertained, advertisements display the luxuries and necessities that direct lifestyle choices,and local and global stories are presented for mutual consideration. Audiences are connected not only with products,personalities and newsmakers, but also with fellow viewers who are sharing the experience. Retired people take particular advantage of this multi-faceted link with the outside world, when additional leisure time and reduced social and physical mobility create spaces that can be filled with the narratives and 'para-social' connections of a medium that transports the world to the viewer. Yet one definitive statement that can be made about popular television is that older people are rarely acknowledged and often ridiculed. An easily accessible and valuable communications medium marginalises those most dependent upon it - for information and entertainment, but also, I would argue, dependent upon it to help facilitate key recommendations of the 'successful ageing' formula.
Authoritative prescriptions for ageing well emphasise the benefits of social engagement, with television helping to facilitate this by involving the viewer with local concerns and wider accounts of human enterprise. Yet the popular media often presume that older people are no longer viable consumers or citizens, thus alienating them from mediated stories and populations. 'Success', according to commercial media sensibilities, is equated with youthfulness and economic means - twin attributes rarely associated with retired people. As a result, advertising is directed primarily at young, middle-class audiences, and the TV programmes to hook their attention are often typecast with similarly youthful protagonists. Older viewers are taken for granted and rarely acknowledged, and more disconcertingly, stereotyped and ridiculed to empower younger viewers. This dissertation seeks to explore these issues from a sociological perspective, primarily within the Australian context. Research strategies include a detailed analysis of the role of television in older people's lives and how they are portrayed, with results aligned with 'successful ageing' guidelines. Included in this approach is a study of how older people are portrayed on commercial TV in Australia, and a discussion of findings. The final section includes a chapter which consists of an examination of negative media portrayals from a political and human rights perspective, and the final chapter which asks how the oldest and frailest may by impacted by the cultural devaluation of old age.
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Law, Benjamin Yuk Nung. "The new lows : representing Asian-Australians on television." Thesis, Queensland University of Technology, 2009. https://eprints.qut.edu.au/29272/2/Benjamin_Law_Thesis.pdf.
Full textAbstract:
This project utilises creative practice as research, and involves writing and discussing four sample episodes of a proposed six-part dramatic, black-comedy1 television mini-series titled The New Lows. Combined, the creative project and accompanying exegesis seeks to illuminate and interrogate some of the inherent concerns, pitfalls and politics encountered in writing original Asian-Australian characters for television. Moreover, this thesis seeks to develop and deliberate on characters that would expand, shift and extend concepts of stereotyping and authenticity as they are used in creative writing for television. The protagonists of The New Lows are the contemporary and dysfunctional Asian-Australian Lo family: the Hong Kong immigrants John and Dorothy, and their Australian-born children Wendy, Simon and Tommy. Collectively, they struggle to manage the family business: a decaying suburban Chinese restaurant called Sunny Days, which is stumbling towards imminent commercial death. At the same time, each of the characters must negotiate their own personal catastrophes, which they hide from fellow family members out of shame and fear. Although there is a narrative arc to the series, I have also endeavoured to write each episode as a selfcontained story. Written alongside the creative works is an exegetical component. Through the paradigm of Asian-Australian studies, the exegesis examines the writing process and narrative content of The New Lows, alongside previous representations of Asians on Australian and international television and screen. Concepts discussed include stereotype, ethnicity, otherness, hybridity and authenticity. However, the exegesis also seeks to question the dominant cultural paradigms through which these issues are predominantly discussed. These investigations are particularly relevant, since The New Lows draws upon a suite of characters commonly considered to be stereotypical in Asian-Australian representations.
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Law, Benjamin Yuk Nung. "The new lows : representing Asian-Australians on television." Queensland University of Technology, 2009. http://eprints.qut.edu.au/29272/.
Full textAbstract:
This project utilises creative practice as research, and involves writing and discussing four sample episodes of a proposed six-part dramatic, black-comedy1 television mini-series titled The New Lows. Combined, the creative project and accompanying exegesis seeks to illuminate and interrogate some of the inherent concerns, pitfalls and politics encountered in writing original Asian-Australian characters for television. Moreover, this thesis seeks to develop and deliberate on characters that would expand, shift and extend concepts of stereotyping and authenticity as they are used in creative writing for television. The protagonists of The New Lows are the contemporary and dysfunctional Asian-Australian Lo family: the Hong Kong immigrants John and Dorothy, and their Australian-born children Wendy, Simon and Tommy. Collectively, they struggle to manage the family business: a decaying suburban Chinese restaurant called Sunny Days, which is stumbling towards imminent commercial death. At the same time, each of the characters must negotiate their own personal catastrophes, which they hide from fellow family members out of shame and fear. Although there is a narrative arc to the series, I have also endeavoured to write each episode as a selfcontained story. Written alongside the creative works is an exegetical component. Through the paradigm of Asian-Australian studies, the exegesis examines the writing process and narrative content of The New Lows, alongside previous representations of Asians on Australian and international television and screen. Concepts discussed include stereotype, ethnicity, otherness, hybridity and authenticity. However, the exegesis also seeks to question the dominant cultural paradigms through which these issues are predominantly discussed. These investigations are particularly relevant, since The New Lows draws upon a suite of characters commonly considered to be stereotypical in Asian-Australian representations.
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Rakpathum, Raewadee. "A comparative study of pay television in Thailand and Australia." Thesis, Queensland University of Technology, 1997. https://eprints.qut.edu.au/36290/1/36290_Rakpathum_1997.pdf.
Full textAbstract:
This thesis sets out to examine the increasingly international orientation of new media
technology - particularly Pay TV in Thailand and Australia and the implications for
theories of globalisation and cultural imperialism, media industries, and cultural
development. Central to this research are the areas of cultural policy environment and
Pay TV operations. This investigation uses Thailand and Australia as case studies to
illustrate the issues faced by policy planners in the region. The case of the International
Broadcasting Corporation (IBC) - the first subscription television operator in Thailand
- as this investigation will demonstrate, offers an instructive example of Pay TV
operations. The thesis outlines the main thrust of Pay TV inquiries and compares the
two experiences of Australia and Thailand.
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Lisosky, Joanne M. "Controlling children's channels : comparing children's television policies in Australia, Canada, and the United States /." Thesis, Connect to this title online; UW restricted, 1997. http://hdl.handle.net/1773/6171.
Full text
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Carriere, Glenda Mary. "Going Up the Down Escalator: An ethnographic case study of the uptake and utilisation of information and communication technologies by three Women in Film and Television (WIFT) organisations at the State, National and International level, 1995-2000." Thesis, Queensland University of Technology, 2005. https://eprints.qut.edu.au/16020/1/Glenda_Carri%C3%A8re_Thesis.pdf.
Full textAbstract:
This thesis examines the implementation of the new digital information and communications
technologies (ICTs) by the Women in Film and Television (WIFT) Non-government organisation (NGO) at the state, national and international levels through an ethnographic, participant observation case study, informed by the precepts of feminist research. A quantitative survey of Australian peak women's NGOs participating in the electronic mailing list - Pamela's List is also conducted mapping the context in which WIFT operates and providing an overview of Australian women's peak NGOs' uptake and use of ICTs. The
findings are situated in relation to a review of the international surveys available on women's
NGOs and the surveys and research reports available on the overall NGO sector, nationally
and internationally.
The study addresses two neglected areas in the ICT literature. For over a decade Feminist
theorists have pointed to the omission of gender as a focus in studies on the new information
and communications technologies. There has also been little research and few surveys into the uptake of ICTs by either women's NGOs or the broader NGO sector, nationally or internationally.
The detailed, longitudinal case study of the implementation process from pre-establishment
through to advanced use of digital communications by a women's NGO at state, national and international level is also unique. Combined with the survey, it affords the opportunity to not only document which ICTs are being adopted but also why particular technologies are being used over others and how they are being used.
Despite key successes, the results show less than optimum uptake, a lack of advanced or strategic use, and the myriad of challenges shared by all three WIFT organisations, Australian women's peak NGOs, and the national and international NGO sector in utilising ICTs. The reasons for this are analysed revealing the conflicting values between the NGO sector and
those underlying the development of ICTs and demonstrates that difficulties systemic to both
the technology and the NGO sector are limiting access and utilisation by women's NGOs.
While the myths of women as technophobic are seriously challenged by the findings, the study
highlights the importance of gender factors in limiting access and uptake and shaping the use
of ICTs. Australian women's NGOs' uptake is shown to be less than their mixed gender
counterparts and the study also reveals a lack of acknowledgement by government of gender as a key factor in the uptake of ICTs.
It is also shown that significant funding, infrastructure support and policy initiatives recognising the special technological and communication challenges of women's NGOs and the overall NGO sector are needed, if both are to fully and strategically embrace these technologies and function effectively in the new millennium.
The significant contribution to knowledge of this thesis lies foremost in furthering the
understanding of gender as a key factor in the uptake and utilisation of the new ICTs while at
the same time challenging the patriarchal myth of women as technophobic. It thus contributes
to the reconstruction of the epistemologies surrounding women's relationship to technology.
The study also contributes to furthering the current very limited knowledge and understanding
of women's NGOs and the overall NGO sector's uptake and use of information and communications technology. The knowledge and the critical insight provided is not purely historical but rather as the push to take up broadband begins, has relevance to this and future technological innovations. Without an understanding of the process, requirements and challenges faced by women's NGOs and the NGO sector in general, the existing problems will continue to be replicated.
The material presented in this study will be useful to all women's organisations and NGOs
contemplating establishing digital communications or wishing to review their current use of these technologies. It will also be of value to government and policy makers seeking to establish policies and initiatives that will enable NGOs to take up the new information and communication technologies.
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Carriere, Glenda Mary. "Going Up the Down Escalator: An ethnographic case study of the uptake and utilisation of information and communication technologies by three Women in Film and Television (WIFT) organisations at the State, National and International level, 1995-2000." Queensland University of Technology, 2005. http://eprints.qut.edu.au/16020/.
Full textAbstract:
This thesis examines the implementation of the new digital information and communications technologies (ICTs) by the Women in Film and Television (WIFT) Non-government organisation (NGO) at the state, national and international levels through an ethnographic, participant observation case study, informed by the precepts of feminist research. A quantitative survey of Australian peak women's NGOs participating in the electronic mailing list - Pamela's List is also conducted mapping the context in which WIFT operates and providing an overview of Australian women's peak NGOs' uptake and use of ICTs. The findings are situated in relation to a review of the international surveys available on women's NGOs and the surveys and research reports available on the overall NGO sector, nationally and internationally. The study addresses two neglected areas in the ICT literature. For over a decade Feminist theorists have pointed to the omission of gender as a focus in studies on the new information and communications technologies. There has also been little research and few surveys into the uptake of ICTs by either women's NGOs or the broader NGO sector, nationally or internationally. The detailed, longitudinal case study of the implementation process from pre-establishment through to advanced use of digital communications by a women's NGO at state, national and international level is also unique. Combined with the survey, it affords the opportunity to not only document which ICTs are being adopted but also why particular technologies are being used over others and how they are being used. Despite key successes, the results show less than optimum uptake, a lack of advanced or strategic use, and the myriad of challenges shared by all three WIFT organisations, Australian women's peak NGOs, and the national and international NGO sector in utilising ICTs. The reasons for this are analysed revealing the conflicting values between the NGO sector and those underlying the development of ICTs and demonstrates that difficulties systemic to both the technology and the NGO sector are limiting access and utilisation by women's NGOs. While the myths of women as technophobic are seriously challenged by the findings, the study highlights the importance of gender factors in limiting access and uptake and shaping the use of ICTs. Australian women's NGOs' uptake is shown to be less than their mixed gender counterparts and the study also reveals a lack of acknowledgement by government of gender as a key factor in the uptake of ICTs. It is also shown that significant funding, infrastructure support and policy initiatives recognising the special technological and communication challenges of women's NGOs and the overall NGO sector are needed, if both are to fully and strategically embrace these technologies and function effectively in the new millennium. The significant contribution to knowledge of this thesis lies foremost in furthering the understanding of gender as a key factor in the uptake and utilisation of the new ICTs while at the same time challenging the patriarchal myth of women as technophobic. It thus contributes to the reconstruction of the epistemologies surrounding women's relationship to technology. The study also contributes to furthering the current very limited knowledge and understanding of women's NGOs and the overall NGO sector's uptake and use of information and communications technology. The knowledge and the critical insight provided is not purely historical but rather as the push to take up broadband begins, has relevance to this and future technological innovations. Without an understanding of the process, requirements and challenges faced by women's NGOs and the NGO sector in general, the existing problems will continue to be replicated. The material presented in this study will be useful to all women's organisations and NGOs contemplating establishing digital communications or wishing to review their current use of these technologies. It will also be of value to government and policy makers seeking to establish policies and initiatives that will enable NGOs to take up the new information and communication technologies.
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Findlay, James Daniel. "Caught on Screen: The Convict Experience in Film and Television." Thesis, The University of Sydney, 2017. http://hdl.handle.net/2123/17582.
Full textAbstract:
Since the origins of Australian cinema, filmmakers have told stories about convicts: those men, women and children transported from their homelands whose role as founding settlers was often viewed as a stain on the country’s reputation. This thesis argues that with the rise of screen culture, convicts emerged as key historical figures who shaped and defined ideas and attitudes about Australia’s colonial past. It navigates a way through the popular representation of the convict experience in an unprecedented collection of convict-related film and television programs, from silent epics to musical melodramas and reality television. The thesis demonstrates the critical role their production and reception has played in ascribing meaning to convictism, and more broadly to the processes of colonisation that established white Australia. The research focuses on a range of important mythologies appearing on screen and examines their interaction with other cultural works such as literature, visual art and theatre, as well as intellectual thought. These include a focus on convict victimology, convicts as nation builders and convicts as agents of colonisation. As filmmakers negotiated, and audiences responded to, these often problematic histories, their visions of the past powerfully shaped a wide range of historical discourses relating to race, class and gender in Australia. Their mass appeal disrupts the historical orthodoxy that a desire to suppress the convict ‘birth stain’ was a dominant force shaping Australian history-making during the first half of the twentieth century. For many Australians, going to the movies or watching television defined the convict era and its legacies for modern nationhood.
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Tooke, Nichola Carole. "Tele-tourism : investigating the inter-connections between television and tourism." Thesis, University of Bristol, 1999. http://hdl.handle.net/1983/423caed8-6927-400b-b857-d0a2c45ec8b5.
Full text
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Hetherington, Susan. "Little brother is watching you: Preschool children, television news and responsibility in Australia." Thesis, Queensland University of Technology, 2004. https://eprints.qut.edu.au/15935/1/Susan_Hetherington_Thesis.pdf.
Full textAbstract:
Hundreds of thousands of Australian children under the age of six witnessed at least some of the coverage of the September 11, 2001 attacks on the United States. In the days and weeks that followed September 11, the researcher was confronted with numerous anecdotes from mothers who talked about the impact the coverage had had on their children. Many of the mothers reported that they had not known their children were watching the coverage or had not believed that they were old enough to understand what was going on. This raised the question of responsibility and sparked the research project which asked how could preschool children best be protected from material that was likely to disturb or harm them both in scheduled news broadcasts and extraordinary events such as September 11? Through surveys, focus groups with mothers and interviews with news directors, the research looked at existing protections, how well they worked in the view of both parents and the industry and whether there could or should be a better way.
The research recommended that greater protection of preschool children from inappropriate television news content could be achieved through the implementation of six recommendations.
1. Television news should be Rated PG.
2. Digital television technology should be employed to prevent news events 'overtaking' scheduled children's programming and to protect safe harbours placed in the classifications zones to protect children.
3. Broadcasters should regain control of the images that go to air during 'live' feeds from obviously volatile situations by building in short delays in G classification zones.
4. Parents should be educated to understand that even very young children can take in television news and are often scared by it.
5. Television journalists should understand that even very young children are exposed to television news and are often scared by it.
6. News promotions during afternoon children's programming should be dropped.