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Journal articles on the topic 'Australian television'

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Author: Grafiati

Published: 4 June 2021

Last updated: 20 February 2023

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1

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

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This article examines the history of Australian broadcast television through the lens of sports programming. Ever since the introduction of the medium in Australia just before the 1956 Olympic Games, sports programming – both event coverage and sports-related content – has played a major role in defining television's forms, concerns and technologies, as well as in developing audiences for services and channels. Looking at a series of pivotal moments in Australian television history – the 1956 Olympics, the coming of colour, aggregation in the late 1980s, the launch of subscription television in 1995 and commercial free-to-air multi-channelling – the article examines sports programming as a site of both competition and collaboration between networks and services. It also discusses the role of sports in shaping the schedules and profiles of the two Australian public service broadcasters, before concluding with a look at the possible future of sport and Australian broadcast television.

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2

Monaghan, Whitney. "Lesbian, gay and bisexual representation on Australian entertainment television: 1970–2000." Media International Australia 174, no. 1 (September 18, 2019): 49–58. http://dx.doi.org/10.1177/1329878x19876330.

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With the exception of a small number of contributions to the study of gay and lesbian representation in Australia, the queer history of Australian entertainment television has been left unexamined. This article seeks to address this gap through analysis of lesbian, gay and bisexual (LGB) characters in Australian entertainment television over a 30-year period from 1970 to 2000. The article examines the rise and fall of LGB representation on prime time Australian television from 1970 onwards in order to understand how key shifts in the politics of Australian cultural life have come to influence Australian television broadcasting. Charting the representation of LGB characters on Australian entertainment television, this article seeks to understand the politics of inclusion and exclusion of LGB characters and provides the basis for further research into Australian queer television history.

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3

McKee, Alan. "IS Doctor Who Australian?" Media International Australia 132, no. 1 (August 2009): 54–66. http://dx.doi.org/10.1177/1329878x0913200107.

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As part of an ARC Discovery project to write a history of Australian television from the point of view of audiences, I looked for Australian television fan communities. It transpired that the most productive communities exist around imported programming like the BBC's Doctor Who. This program is an Australian television institution, and I was therefore interested in finding out whether it should be included in an audience-centred history of Australian television. Research in archives of fan materials showed that the program has been made distinctively Australian through censorship and scheduling practices. There are uniquely Australian social practices built around it. Also, its very Britishness has become part of its being — in a sense — Australian. Through all of this, there is a clear awareness that this Australian institution originates somewhere else — that for these fans Australia is always secondary, relying on other countries to produce its myths for it, no matter how much it might reshape them.

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4

Johnston, Jane. "Court on Camera: Television Coverage of Australian Legal Proceedings." Media International Australia 100, no. 1 (August 2001): 115–27. http://dx.doi.org/10.1177/1329878x0110000112.

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Despite widespread legal analysis and critical review over the past 20 years, television access into the Australian court system has been slow and piecemeal, with Australia falling behind Canadian and New Zealand initiatives in this area. A recent major report into camera access in the Federal Court has refocused attention on this area, but analysis continues to be primarily from a legal perspective rather than a media one. This paper considers the televised court coverage in Australia to this point, analyses change in the international environment and suggests possible futures for the televising of Australian courts, while also attempting to lay some foundations for discussion beyond the legal, and into the media, domain.

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5

Thomas, Ted. "Australian TV 50 Years on." Media International Australia 121, no. 1 (November 2006): 188–98. http://dx.doi.org/10.1177/1329878x0612100120.

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This article reviews the 50 years of television in Australia from the point of view of a leading industry player. It describes the many challenges faced by the industry from its formative years to current media upheavals. Issues covered include regional television, the introduction of colour and satellite technology, the role of regulation, Australian content, children's TV and the relation of Australian television to the rest of the world. It also looks at some of the programming highlights of the period.

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6

McIver, Damian. "Representing Australianness: Our National Identity Brought to You by Today Tonight." Media International Australia 131, no. 1 (May 2009): 46–56. http://dx.doi.org/10.1177/1329878x0913100106.

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Since first being broadcast in 1995, Today Tonight has become one of Australia's most watched current affairs programs. It has also arguably become one of the most talked about and controversial programs on Australian television. This article explores the links between Today Tonight and discourses of Australian identity. By placing this program within a theoretical tradition that views television as a cultural storyteller, this article explores the complex and somewhat contradictory representations of the Australian identity made by the Today Tonight text. It will argue that, throughout a range of representations — from the discourse of the ‘Aussie battler’ to contrasting depictions of Australian society under threat and in decay, or as a place of opportunity — Today Tonight maintains a steady focus on ‘ordinary Australians’ as its main target audience and the bearers of our true national identity.

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7

Jacka, Elizabeth, and Stuart Cunningham. "Australian Television Exports." Media Information Australia 76, no. 1 (May 1995): 47–57. http://dx.doi.org/10.1177/1329878x9507600110.

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8

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

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This article discusses the findings of a national survey of the social organisation of television viewing practices in contemporary Australia. These questions are addressed through multiple correspondence analyses of the aspects of television practices and tastes covered in the survey. These go beyond channel and genre preferences to include a sample of Australian and overseas produced television programmes and of 10 Australian TV personalities. The differential distribution of tastes across Australian and overseas programmes also throws significant light on different investments in the national culture across different social groups. The survey data also includes evidence regarding viewing platform and device preferences. In concluding, the article reviews the evidence of a cluster analysis, registering the effects of major changes within the television field in Australia, including the decline of free-to-air and ‘linear’ viewing, the rise of streaming services and the erosion of brand loyalty as it relates to television channels.

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9

Given, Jock. "‘Not Unreasonably Denied’: Australian Content after Ausfta." Media International Australia 111, no. 1 (May 2004): 8–22. http://dx.doi.org/10.1177/1329878x0411100104.

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The text of the Australia–United States Free Trade Agreement (AUSFTA), released in early March 2004, makes more concessions than many in Australia's audiovisual and cultural industries might have hoped, but less than they feared. Its precise impact will depend on how ‘new media’ replaces, subsumes or supplements ‘old media’, and how quickly. AUSFTA institutionalises much lower aspirations about the level of Australian content in emerging media systems than Australians have come to expect in broadcast television. Some will interpret this simply as an articulation of the policy impotence which will inevitably flow from technological change. Others will recognise it as a partial, but historic, concession of Australian policy capacity and a broad acceptance of the long-standing US agenda for the information economy — long and tough protections for intellectual property rights, but increasingly liberal global markets for trading them. This article explains the provisions of AUSFTA and examines their effect on Australian audiovisual and cultural activities.

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10

Potter, Anna. "You've Been Pranked: Reality Tv, National Identity and the Privileged Status of Australian Children's Drama." Media International Australia 146, no. 1 (February 2013): 25–34. http://dx.doi.org/10.1177/1329878x1314600106.

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

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11

Mencinsky, Nadia, and Belinda Mullen. "Regulation of Children's Television in Australia: Past and Present." Media International Australia 93, no. 1 (November 1999): 27–40. http://dx.doi.org/10.1177/1329878x9909300105.

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The provision of quality television programming made specifically for children has been a significant issue in Australia since television was introduced. From 1979, specific requirements have been in place to ensure children have access to a variety of quality television programs made specifically for them, including Australian drama and non-drama programs. This article traces the development of these requirements and how they have led to the current Children's Television Standards (CTS). The Children's Television Standards (CTS), administered by the Australian Broadcasting Authority (ABA), are widely regarded in Australia and overseas as a notable example — if not benchmark — for how to regulate children's television in the public interest. The article also examines some key trends in programming since 1979 and identifies areas of the standards which are problematic and/or might need to be revised to ensure the expected outcomes are still being achieved.

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12

Healy, Chris. "When we look at pictures: Travel television and the intimacy of companion memory." Memory Studies 6, no. 3 (June 28, 2013): 262–72. http://dx.doi.org/10.1177/1750698013482645.

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Remembering in ‘modern’ Australia arises first and foremost through the transcultural processes of settler colonialism. This article explores some questions of memory’s cultures through a discussion of ‘travel television’. It argues that this kind of television is an example of a hybrid or non-human form of remembering that I call companion memory. I consider two examples: the 1950s television series, Australian Walkabout, and a recent television series on Australian indigenous art, Art + Soul. I conclude by considering how memory and travel might help us think about the kinds of intimacy and proximity implied by the notion of ‘memory up close’.

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13

Aisbett, Kate. "Production of Australian Children's Drama: Is There a Future?" Media International Australia 93, no. 1 (November 1999): 41–50. http://dx.doi.org/10.1177/1329878x9909300106.

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To mark the twentieth anniversary of the introduction of the children's programs classification scheme (1979–99), the Australian Broadcasting Authority, the Australian Children's Television Foundation and the Australian Film Finance Corporation commissioned a joint research project on C classification programs. The research investigated trends in programming over the 20 years of the classification scheme and current issues related to the financing of children's programs. This paper explores current developments in the production and broadcast of children's television in Australia and the place of regulation in facilitating the community's desire for quality Australian children's programs.

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14

Davis, Wendy. "The Production of a Television Event: When Gunston Met Gough at Parliament House." Media International Australia 121, no. 1 (November 2006): 80–92. http://dx.doi.org/10.1177/1329878x0612100112.

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This paper considers 1970s television character Norman Gunston's coverage of the dismissal of Australian prime minister Gough Whitlam on 11 November 1975. The paper explores the power of television comedy to intervene in the construction of a political event and transform it into a joke. Specifically, the paper describes how Gunston's comic practice of carnival mobilises resistance to the usual view of the Whitlam dismissal. The paper also considers television's capacity to transform a political episode into a television event resonating with the technology's cultural force. In particular, the paper considers Deleuze's (1995a). proposition of the connection between television and cultural operations of control. Exploring Deleuze's suggestion, the paper proposes that the Gunston–Whitlam television event demonstrates television's potential to produce a mode of resistance to control — a point about which Deleuze is not particularly optimistic (1995a: 76; 1995b: 175). With this critical perspective on Gunston's intrusion into an Australian political crisis, the paper provides an explanation of the way television comedy can transform and shape our understanding of such an event.

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15

Nobes, Karen, and Susan Kerrigan. "White noise." Alphaville: Journal of Film and Screen Media, no. 24 (December 20, 2022): 79–96. http://dx.doi.org/10.33178/alpha.24.05.

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First Nations content on commercial Australian television drama is rare and First Nations content makers rarely produce the content we see. Despite a lack of presence on commercial drama platforms there has been, and continues to be, a rich array of First Nations content on Australian public broadcast networks. Content analysis by Screen Australia, the Federal Government agency charged with supporting Australian screen development, production and promotion, aggregates information across the commercial and non-commercial (public broadcasting) platforms which dilutes the non-commercial output. The research presented in this article focused on the systemic processes of commercial Australian television drama production to provide a detailed analysis of the disparity of First Nations content between commercial and non-commercial television. The study engaged with First Nations and non-Indigenous Australian writers, directors, producers, casting agents, casting directors, heads of production, executive producers, broadcast journalists, former channel managers and independent production company executive directors—all exemplars in their fields—to interrogate production processes, script to screen, contributing to inclusion or exclusion of First Nations content in commercial television drama. Our engagement with industry revealed barriers to the inclusion of First Nations stories, and First Nations storytelling, occurring across multiple stages of commercial Australian television drama production.

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16

Caple, Helen, Kate Greenwood, and Catharine Lumby. "What League? The Representation of Female Athletes in Australian Television Sports Coverage." Media International Australia 140, no. 1 (August 2011): 137–46. http://dx.doi.org/10.1177/1329878x1114000117.

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This article explores why women's sport in Australia still struggles to attract sponsorship and mainstream media coverage despite evidence of high levels of participation and on-field successes. Data are drawn from the largest study of Australian print and television coverage of female athletes undertaken to date in Australia, as well as from a case study examining television coverage of the success of the Matildas, the Australian women's national football team, in winning the Asian Football Confederation (AFC) Women's Asian Cup in 2010. This win was not only the highest ever accolade for any Australian national football team (male or female), but also guaranteed the Matildas a place in the 2011 FIFA Women's World Cup in Germany [where they reached the quarter-finals]. Given the close association between success on the field, sponsorship and television exposure, this article focuses specifically on television reporting. We present evidence of the starkly disproportionate amounts of coverage across this section of the news media, and explore the circular link between media coverage, sponsorship and the profile of women's sport.

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17

Smaill, Belinda. "Teaching Australian television studies." Continuum 24, no. 5 (October 2010): 805–9. http://dx.doi.org/10.1080/10304312.2010.505333.

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18

Bonner, Frances. "The Mediated Asian-Australian Food Identity: From Charmaine Solomon to Masterchef Australia." Media International Australia 157, no. 1 (November 2015): 103–13. http://dx.doi.org/10.1177/1329878x1515700113.

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This article considers the significance of food competitions, not just in helping ex-contestants to achieve careers in various food media sites, but also the consequences of this, together with televised food programs generally, in making Australian television more fully represent a multicultural nation, most specifically its Asian-Australian citizens. In 1964, Charmaine Solomon came second in a Woman's Day recipe competition. This, combined with her earlier training as a journalist in Ceylon/Sri Lanka, led the magazine's food editor, Margaret Fulton, to offer her a job. This began her long career as the leading Australian writer on Asian food. More recently, television and shows like MasterChef Australia have replaced magazine competitions in providing a breakthrough into a mediated career in the food industry. Again it was as second place-getter in the very first series of MasterChef that Poh Ling Yeow achieved her break and found her place. Television requires and bestows celebrity, and Poh provides a valuable counterpoint to Solomon here. Several other Asian-Australian contestants have similarly flourished after exposure on the program, like second series winner Adam Liaw. It has become evident that cooking competitions have become one of the principal sites in prime-time Australian television for Asian faces to be seen as a matter of course. While scholars of, and commentators on, Australian multiculturalism are rightly scathing about popular statements claiming a better Australian food culture as an index of the success of post-war migration policies, it appears that Australian television and other media continue to find this conjunction fruitful.

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19

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

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

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20

Rutherford, Leonie. "The ABC, the Australian Children's Television Foundation and the Emergence of Digital Children's Television in Australia." Media International Australia 151, no. 1 (May 2014): 5–15. http://dx.doi.org/10.1177/1329878x1415100103.

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This article analyses the campaign to establish terrestrial digital children's public service broadcasting in Australia. It finds that the development of the Australian Broadcasting Corporation's digital children's channel (ABC3), an initiative initially embraced somewhat opportunistically, enabled an expansion strategy for the public service broadcaster that ultimately helped determine the shape of its current digital channel portfolio. Contrasting the collective and divergent interpretations of future audience behaviours and needs developed by the Australian Children's Television Foundation (ACTF) and the ABC, it argues that both organisations developed strategies and made policy decisions that were influential in conditioning the current digital television ecology.

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21

Dick, Nigel. "The Road to Television Networking." Media International Australia 99, no. 1 (May 2001): 67–70. http://dx.doi.org/10.1177/1329878x0109900110.

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Nigel Dick, who joined GTV9 as sales manager in 1956, went on to run Channel Nine in Sydney and Melbourne, as well as other television stations in Australia and New Zealand. Here he recalls his years in the Packer stable and considers more broadly the factors that led to the development of Australian television networks.

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22

Davies, John Christopher. "The progress of Australian humour in Britain." European Journal of Humour Research 5, no. 4 (December 31, 2017): 15. http://dx.doi.org/10.7592/ejhr2017.5.4.davies.

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There has long been a close link between both the comedy and, by implication, the sense of humour of British and Australians. Such distinctively British radio and television programs as Hancock's Half Hour and Till Death Do Us Part found their main overseas market in Australia rather than in other English-speaking countries. Americans either did not find them funny or else were not allowed to find them funny, or provided feeble imitations such as Archie Bunker. Only the Australians were able and willing to share the British sense of humour. The other side of this relationship is that Australian comedians such as Dick Bentley, Joy Nicholls, Bill Kerr, Rolf Harris, Barry Humphries and Kevin Bloody Wilson, having succeeded in Australia, have gone on to be successful in Britain as well. Clearly the same formulae work in both countries.

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23

Moran, Albert. "The International Face of Australian Television." Media International Australia 121, no. 1 (November 2006): 174–87. http://dx.doi.org/10.1177/1329878x0612100119.

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Australian television has always been part of an international cultural system. Programming, personnel, material resources, ideas and knowledge are among the elements that, historically, have moved between an audiovisual space, both here and elsewhere. Media executive Reg Grundy has been an important figure in this system. Over nearly 40 years, he built a television empire of considerable international significance. After sketching out this career, the article proceeds to outlines three moments in his company's development. The first occurred in the 1960s and early 1970s when it imported and remade many successful television game shows from the United States. A second occasion occurred in the mid-1970s when Reg Grundy Enterprises imported a small team from the United Kingdom who were highly experienced in the production of daily drama serials. The third moment happened in the very early 1990s, when Grundy World Wide began adapting drama serials that it had originally devised and produced in Australia to be remade elsewhere. These three occasions were important points where the national met the international. Collectively, they highlight not only the outwardlooking dimension of Australian television, but the need for home-based media historians to make such a perception central to their investigations of a pre ‘media globalisation’ past.

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24

Rowe, David, and Tony Bennett. "Tastes and practices in three Australian cultural fields: television, music and sport." Media International Australia 167, no. 1 (April 19, 2018): 121–25. http://dx.doi.org/10.1177/1329878x18767937.

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This article introduces the Themed Section of Media International Australia, ‘Tastes and practices in three Australian cultural fields: television, music and sport’, which presents selected findings of the 2014-2015 survey of Australian cultural practices conducted as part of the Australian Research Council project Australian Cultural Fields: National and Transnational Dynamics (DP140101970). It briefly discusses the social organisation of the production of consumption of Australia in the period between the national cultural policies Creative Nation (1994) and Creative Australia (2013). The Introduction then outlines the methodology underlying the Australian Cultural Fields survey that, in building on the approach of French sociologist Pierre Bourdieu, was developed to assess how far entrenched cultural hierarchies and inequalities have been displaced by broadened patterns of access to arts and culture. Of particular concern is the role of traditional and new forms of cultural capital in differentiating patterns of cultural consumption and participation across relations of class, gender and ethnicity, which the distinctive survey design and administration seek to capture in the Australian context. Bringing together the methods of Multiple Correspondence Analysis (MCA) and Cluster Analysis, each article highlights specific aspects of the relations between cultural tastes, practices, and social positions in contemporary Australia via an engagement with contemporary debates in cultural capital theory. The contributions on television (by Tony Bennett, Modesto Gayo, and David Rowe), music (Ben Dibley and Modesto Gayo) and sport (Modesto Gayo and David Rowe) address the dynamics of these Australian cultural fields, while also indicating the significance of their research findings for studies of other nationally-constituted cultural fields, as well as the contested play of cultural capital within nations and in the transnational/global sphere.

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25

Keys, Wendy. "Children's Television: A Barometer of the Australian Media Policy Climate." Media International Australia 93, no. 1 (November 1999): 9–25. http://dx.doi.org/10.1177/1329878x9909300104.

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In relation to media policy, children's television is ‘special’ on a number of levels. The ways in which childhood is constructed and defined are complex and often contradictory; the state of children's television can be used as a barometer of the broader media policy climate; and the subject of children's television has mobilised strong, active and ‘successful’ interest groups. The following discussion is based on analysis of the introduction, development and trajectory of children's television policy and production practices in Australia from the 1945 ‘List of Principles to Govern Children's Programs' (radio) to the debates, issues and policy initiatives raised in the Australian Commonwealth Government Productivity Commission Inquiry into Broadcasting in 1999.

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26

Ginsburg, Faye. "INDIGENOUS MEDIA FROM U-MATIC TO YOUTUBE: MEDIA SOVEREIGNTY IN THE DIGITAL AGE." Sociologia & Antropologia 6, no. 3 (December 2016): 581–99. http://dx.doi.org/10.1590/2238-38752016v632.

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Abstract This article covers a wide range of projects from the earliest epistemological challenges posed by video experiments in remote Central Australia in the 1980s to the emergence of indigenous filmmaking as an intervention into both the Australian national imaginary and the idea of world cinema. It also addresses the political activism that led to the creation of four national indigenous television stations in the early 21st century: Aboriginal People's Television Network in Canada; National Indigenous Television in Australia; Maori TV in New Zealand; and Taiwan Indigenous Television in Taiwan); and considers what the digital age might mean for indigenous people worldwide employing great technological as well as political creativity.

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27

Willmot, Eric. "Aboriginal Broadcasting in Remote Australia." Media Information Australia 43, no. 1 (February 1987): 38–40. http://dx.doi.org/10.1177/1329878x8704300112.

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A review of Eric Michaels' report Aboriginal Invention of Television: Central Australia 1982–1986, Australian Institute of Aboriginal Studies, Canberra, 1986, 159p, gratis; and policy considerations for Aboriginal broadcasting in remote Australia.

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28

Rutherford, Leonie. "Forgotten Histories: Ephemeral Culture for Children and the Digital Archive." Media International Australia 150, no. 1 (February 2014): 66–71. http://dx.doi.org/10.1177/1329878x1415000115.

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The history of children's popular culture in Australia is still to be written. This article examines Australian print publication for children from the mid-nineteenth to the early twentieth centuries, together with radio and children's television programming from the 1950s to the 1970s. It presents new scholarship on the history of children's magazines and newspapers, sourced from digital archives such as Trove, and documents new sources for early works by Australian children's writers. The discussion covers early television production for children, mobilising digital resources that have hitherto not informed scholarship in the field.

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29

McCann, T. E., and Peter W. Sheehan. "Violence content in Australian television." Australian Psychologist 20, no. 1 (March 1985): 33–42. http://dx.doi.org/10.1080/00050068508257558.

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30

Moran, Albert. "Some beginnings for Australian television." Continuum 4, no. 2 (January 1991): 171–83. http://dx.doi.org/10.1080/10304319109388205.

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31

Jacka, Liz, and Sue Turnbull. "Australian Television History: An Introduction." Media International Australia 121, no. 1 (November 2006): 65–67. http://dx.doi.org/10.1177/1329878x0612100110.

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32

Mayer, Henry. "Australian Content Inquiry: Commercial Television." Media Information Australia 43, no. 1 (February 1987): 31–32. http://dx.doi.org/10.1177/1329878x8704300109.

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33

Jacka, Elizabeth, and Stuart Cunningham. "Australian Television: An International Player?" Media Information Australia 70, no. 1 (November 1993): 17–27. http://dx.doi.org/10.1177/1329878x9307000104.

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34

Andrews, Kylie. "Broadcasting inclusion and advocacy: a history of female activism and cross-cultural partnership at the post-war ABC." Media International Australia 174, no. 1 (September 18, 2019): 97–108. http://dx.doi.org/10.1177/1329878x19876331.

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During the first decade of television in Australia, a cohort of female broadcasters used their hard-won positions at the Australian Broadcasting Commission (ABC) to challenge the social and cultural complacencies of post-war society. Counteracting the assumption that women were largely absent in post-war broadcasting, this research discusses how two of these producers used their roles as public broadcasters to enact their own version of feminism, a social and cultural activism framed through active citizenship. Critiquing race, gender and national identity in their programmes, they partnered with Indigenous Australian activists and worked to amplify the voices of minorities. Referring to documentaries produced in Australian television’s formative years, this article describes how ABC producers Therése Denny and Joyce Belfrage worked to disrupt programming cultures that privileged homogeneous Anglo-Australian perspectives. As a consequence, documentaries like A Changing Race (1964) presented empathetic and evocative content that challenged xenophobic stereotypes and encouraged cross-cultural understandings.

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35

Horsfield, Peter. "Down the Tube: Religion on Australian Commercial Television." Media International Australia 121, no. 1 (November 2006): 136–48. http://dx.doi.org/10.1177/1329878x0612100116.

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Since 9/11, the question of the place of religion in the public sphere has re-entered public consciousness in Australia, most recently in links drawn between religion and terrorism, debates about free speech and religious vilification, and discussions about religion and the national character. This paper sets a background to these contemporary issues by examining some of the influential factors and personalities in the changing legislation about the mandatory broadcast of religion on Australian commercial television, from its earliest influences through some of the key contests in its subsequent developments. A range of ambiguities and ambivalences is identified, arising primarily from the dual nature of broadcast licences as commercial enterprises and community service, and the contested place of religion in Australian society. These include questions about the constitutionality of the government mandating the broadcast of religion; contests over what is and isn't religion and who has authority to determine this distinction; conflicts arising from the competing interests of stations, churches and the government in the implementation of the legislation; difficulties in defining the purpose of mandatory broadcast of religious content as the place of religion in Australian society has changed; and resistance on the part of government agencies to acting to resolve those ambiguities in such a contested and contentious domain.

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van Vuuren, Kitty, Susan Ward, and Rebecca Coyle. "Revisiting the Greening of Prime-Time Television Soap Operas." Media International Australia 146, no. 1 (February 2013): 35–47. http://dx.doi.org/10.1177/1329878x1314600107.

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In 1990, Christopher Rissel and William Douglas commenced a study of the depiction of environmental issues and behaviours on Australian prime-time television drama series. Their findings were discussed in an issue of Media International Australia in 1993. This article reports on a 2011–12 study that replicated key aspects of Rissel and Douglas's research. A collaborative research team focused on two long-running and high-rating Australian soap operas – Neighbours and Home and Away – recorded from June to August 2011. Using content analysis, the researchers investigated the frequency, attitudes to and role models for the representation of environmental issues and behaviours. This article discusses the findings in terms of contemporary television practices and industry, as well as the study's methodology.

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McKnight, David. "Australian Film and the Cultural Cold War." Media International Australia 111, no. 1 (May 2004): 118–30. http://dx.doi.org/10.1177/1329878x0411100112.

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This article examines whether, and in what way, anti-communism was a factor in the slow development of an Australian film industry in the 1950s and early 1960s and in the kind of film culture developed in Australia, particularly through film festivals. In particular it examines the activities of the Australian Security Intelligence Organisation (ASIO) towards left and liberal filmmakers and film lovers. It briefly examines the effect of anti-communism on the struggle for Australian content by Actors' Equity in the early years of television.

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Brown, Allan. "The restructure of Australian commercial television." Journal of Media Economics 2, no. 1 (March 1989): 41–54. http://dx.doi.org/10.1080/08997768909358179.

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Arrow, Michelle. "Broadcasting the Past: Australian Television Histories." History Australia 8, no. 1 (January 2011): 223–46. http://dx.doi.org/10.1080/14490854.2011.11668365.

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Flew, Terry. "Mongrels and hybrids: Theorising Australian television." Continuum 8, no. 2 (January 1994): 307–22. http://dx.doi.org/10.1080/10304319409365683.

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McKee, Alan. "Australian television, popular memory and suburbia." International Journal of Cultural Studies 15, no. 3 (February 2, 2012): 303–14. http://dx.doi.org/10.1177/1367877911433752.

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Dwyer, Tim. "Australian Television Policy: A Shifting Consensus." Media Information Australia 45, no. 1 (August 1987): 33–37. http://dx.doi.org/10.1177/1329878x8704500107.

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Flew, Terry. "Review & Booknote: Australian Television Culture." Media Information Australia 73, no. 1 (August 1994): 118–20. http://dx.doi.org/10.1177/1329878x9407300135.

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Landman, Jane. "Review & Booknote: Contemporary Australian Television." Media International Australia 80, no. 1 (May 1996): 122. http://dx.doi.org/10.1177/1329878x9608000124.

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Drew, Christopher. "The Spirit of Australia: Learning about Australian Childhoods in Qantas Commercials." Global Studies of Childhood 1, no. 4 (January 1, 2011): 321–31. http://dx.doi.org/10.2304/gsch.2011.1.4.321.

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For over a decade the Qantas Spirit of Australia advertising campaign has worked to incite pride and nostalgia in Australian consumers. Its widespread success has led to four renewed television commercials, strategically released to coincide with key (inter)national sporting events, including the 2000 Sydney Olympics and the 2004 Rugby World Cup. All four Spirit commercials feature children singing Peter Allen's I Still Call Australia Home in picturesque global and national landscapes. As a result of the Spirit campaign's widespread success, Peter Allen's song has become almost synonymous with the Qantas brand. The iconic Spirit commercials are exemplary in (re)affirming the public consciousness towards Australian childhood identity. Exploring national issues of freedom, race, youth and adventure, the commercials are situated among diverse social signs that attempt to typify Australian children. Influenced by post-structural theoretical frames, the author analyses the ‘social’ semiotic dimensions of these advertisements. His intention is to contribute to understandings of the discursive constitution of Australian childhoods in advertising. The unique iconic status of the Spirit campaign, he argues, lies in its capacity to be commensurate with, and (re)affirm, Australia's public perceptions of self and community.

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Moran, Albert, and Karina Aveyard. "Vocal Hierarchies in Early Australian Quiz Shows, 1948–71: Two Case Studies." Media International Australia 148, no. 1 (August 2013): 107–17. http://dx.doi.org/10.1177/1329878x1314800112.

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This article examines the complexities involved in transferring content and genre from one media platform to another by emphasising the shifting, fragile yet stabilising part that sound can play in such a transformation. Early television is often labelled as a period of ‘radio with pictures’, and this intriguing designation directs our attention to this ‘moment’ of changeover. This analysis explores the parameters of sound in television's displacement of radio as the primary broadcasting medium in Australia in the 1950s. We focus in particular on the role of the human voice (host, audience and contestants) in two early quiz shows – Wheel of Fortune and Pick-a-Box – that began on radio and were both successfully remade as television programs.

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Alysen, Barbara. "Today's News Tomorrow: Researching Archival Television." Media International Australia 99, no. 1 (May 2001): 15–21. http://dx.doi.org/10.1177/1329878x0109900105.

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Television may be the most pervasive medium of mass communication but, unlike the print media, Australian television news and current affairs have largely defied the efforts of researchers to mount comprehensive retrospective research into their form and content. This paper looks at the reasons for the dearth of this research. It considers the technical and the policy issues involved in preserving Australian television and argues that media researchers need to take a greater interest in the preservation of, and access to, archival television.

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Gorman, Lyn. "Menzies and Television: A Medium He ‘Endured’." Media International Australia 87, no. 1 (May 1998): 49–67. http://dx.doi.org/10.1177/1329878x9808700108.

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In his 1967 reminiscences, Menzies referred to ‘the new dominance of Press, Radio, and Television. These “Media”, as they are now called …’ On the basis of research in the Menzies Papers, national archives and other manuscript sources, this paper examines the evolution of Menzies‘ relationship with television, the newest of ‘these “Media”’, against the background of his earlier relations with the press and radio, and his attitudes to technological innovation in the media. It examines the evolution of television policy under Menzies, particularly the introduction of television, and issues of media ownership and cultural nationalism. It analyses the manner in which Menzies reacted to, adapted to and used television. Existing studies of Menzies’ relationship with television have not given due weight to its complexity; here the emphasis is on ambivalence — Menzies disliked television, but presided over its introduction in Australia; he was little interested as a viewer, yet he became a competent television ‘performer’ who outshone political contemporaries; he denied ‘deferring’ to the media, yet he helped to incorporate television into Australian political life.

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Harvey, Kyle. "Casting, diversity and fluid identities in Australian television." Media International Australia 174, no. 1 (October 24, 2019): 86–96. http://dx.doi.org/10.1177/1329878x19882528.

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This article examines the practice and function of casting in the Australian television industry from the 1960s to the 1990s. It investigates the role of ethnicity and accents and the practice of casting actors of migrant backgrounds in Australian drama, variety and comedy. In an industry so often dominated by Anglo-Australian stories, faces and voices, the increasing presence of actors from non-English-speaking backgrounds and non-European ethnicities has been a key feature of the changing nature of Australian television production. By analysing ‘Showcast’ casting directories, supplemented with oral history interviews, this article suggests that actors have tended to adopt fluid or hybrid identities to navigate the casting process and find steady work in the television industry. The manipulation of identity, I argue, sits at the nexus of overlapping cultural spheres amid the challenging operation of multiculturalism in Australian media.

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Potter, Anna. "Junk Food or Junk TV: How Will the UK Ban on JUNK Food Advertising Affect Children's Programs?" Media International Australia 125, no. 1 (November 2007): 5–14. http://dx.doi.org/10.1177/1329878x0712500103.

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The implementation of a partial junk food television advertising ban in the United Kingdom is adding to the woes of commercial broadcasters already under pressure in a fiercely competitive multi-channel environment. The UK free-to-air channel ITV1 recently announced the closure of its children's programs production unit and children's television production in the United Kingdom has been described as being ‘in meltdown’. The United Kingdom represents a crucial market for Australian producers of children's programs, who have traditionally sourced up to 80 per cent of their production budgets from UK partners. Australian cultural policy is adding to the challenges facing these producers, through the demands inherent in the ‘C’ classification. If Australia is to remain committed to the provision of dedicated children's programs, alternative sources of funding will have to be found.

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