Journal articles on the topic 'Digital television Australia Case studies'
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1
Leaver, Tama. "Watching Battlestar Galactica in Australia and the Tyranny of Digital Distance." Media International Australia 126, no. 1 (February 2008): 145–54. http://dx.doi.org/10.1177/1329878x0812600115.
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In an era where communication technologies can move digital media at close to the speed of light, this paper explores the rupture between this technical potential and the actual model by which international television screening dates are determined in Australia. As the delays between overseas and Australian airdates can be as long two years, and average over six months, the rapid rise in both official and fan-produced online material and interaction relating to television series has given rise to a massive but largely unfulfilled demand for simultaneous access to episodes across the globe. Using the case study of the critically acclaimed fan favourite Battlestar Galactica, this paper outlines some of the strategies by which producers build global fan loyalty — from official websites, blogs, commentary podcasts and online deleted scenes to exclusive webisodes and official participation in fan forums. The paper argues that these trends, combined with the time delay between release dates, are the largest factors contributing to the unlawful downloading of television via peer-to-peer file-sharing platforms such as BitTorrent. In attempting to maintain distribution models that began as geographic necessities, but have become exclusively political and economic decisions in an era of digital communication technologies, this paper argues that media corporations are perpetuating a ‘tyranny of digital distance’ and alienating their own audiences.
2
Ellis, Katie. "Television's Transition to the Internet: Disability Accessibility and Broadband-Based TV in Australia." Media International Australia 153, no. 1 (November 2014): 53–63. http://dx.doi.org/10.1177/1329878x1415300107.
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Whereas entertainment has featured negatively in the broader NBN debate currently occurring in Australia, within the disability sector it has been recognised as revolutionary. Government, industry and technical analysts describe digital television, particularly that delivered via broadband, as potentially enabling to people with vision and hearing impairments through the more widespread provision of accessibility features such as audio description and closed captions. This article interrogates the approach to accessibility taken by two case studies of broadband-based television: Netflix and catch-up TV. Netflix, which is not officially available in Australia, is often presented as the future of television, while catch-up services provide an example of the current broadband-based television paradigm in this country. Although accessibility features may be available on broadcast television or DVD release, each of these forms of broadband-based television has either previously (Netflix) or currently (catch-up) stripped accessible functions to stream online. The discussion reflects on both activist interventions of people with disability and the industry standards.
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Green, Lelia. "(Not) Using the Remote Commercial Television Service to Dispel Distance in Rural and Remote Western Australia." Media International Australia 88, no. 1 (August 1998): 25–38. http://dx.doi.org/10.1177/1329878x9808800106.
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This paper addresses issues of ‘distance’ between remote and metropolitan audiences, and the use of communications technologies as tools to dispel such distance. Using the satellite-delivered RCTS broadcasting as a case study — given that this was part of the thrust to ‘dispel’ this distance — the research reported here interrogates notions of difference and inclusion as perceived, experienced and expressed by people resident in remote and regional Western Australia. The argument advanced is that new communications technologies do not dispel distance; rather, they act as catalysts through which distance is re-experienced and redefined. These distinctions are of continuing and growing importance in a climate within which Networking the Nation and digital TV again promise more equalisation of differences and services, and more dispelling of distance.
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Manning, Peter. "Review: A foretaste of TV’s future." Pacific Journalism Review 20, no. 2 (December 31, 2014): 255. http://dx.doi.org/10.24135/pjr.v20i2.180.
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Review of: Australian Television News: New forms, functions, and futures, by Stephen Harrington, Bristol & Chicago: Intellect Press, 2013. 195pp, ISBN 9781841507170This is a deliberately provocative book designed to address what the author sees as the main tropes of journalism studies and to redefine TV news journalism in a new digital age. It is built on three Australian programme case studies – the Network Seven morning show Sunrise, the Network Ten late evening conversational The Panel and the Australian Broadcasting Corporation’s comedic The Chaser’s War on Everything.
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Lustyik, Katalin. "Need to Localise in New Zealand? Nickelodeon and the Institutional Logics of ‘Media Superpowers’." Media International Australia 117, no. 1 (November 2005): 64–75. http://dx.doi.org/10.1177/1329878x0511700108.
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Following the call for studies that ‘turn away from speculative theory and argument-by-anecdote towards a more empirical consideration of media institutions as one of the contested interfaces between national and global forces’ (Curtin, 2005: 159), this paper investigates the institutional logics of Nickelodeon in the Asia-Pacific region. Focusing on Nickelodeon's operations in New Zealand can provide a particularly revealing case study in the dynamics of media globalisation and the ‘globalisation/fragmentation dialectic’ that defines the existence of media conglomerations today. The paper concludes that — especially when compared to Australia — Nickelodeon in New Zealand represents a revealing case which underscores the domination of the ‘global’ in the globalisation/fragmentation dialectic. It is particularly ironic that Nickelodeon, among global media companies, distinguishes itself as a promoter of customisation, and that the future of pay and digital television in New Zealand is primarily shaped by politicians who have the tendency to ‘believe that only the market has the necessary understanding’ (Horrocks, 2004: 66).
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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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Thomas, Julian. "The Old New Television and the New: Digital Transitions at Home." Media International Australia 129, no. 1 (November 2008): 91–103. http://dx.doi.org/10.1177/1329878x0812900110.
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Over the past decade, a major policy and regulatory problem for governments in Australia and elsewhere has been the implementation of strategies to switch from analogue to digital television broadcasting systems. Despite extensive debate, the transition to digital broadcasting remains fraught. What seems to be a technical matter conceals a range of intractable social, economic and cultural policy decisions. This article explores some of the challenges of digital television through the prism of an earlier, and often overlooked, transformation of television, namely the consumer-driven uptake of what can be called the ‘new television technologies’ of the 1970s and 1980s. These earlier forms of new television help to highlight several arguments: that television was not a stable object prior to digital broadcasting; that the connections between television and broadcasting have been contingent and provisional; and that a remarkable degree of innovation, disruption and adaptation has occurred at the fringes of the broadcasting system, leading to the creation of new audiovisual economies on the boundaries of the household and the market. The article then considers some examples of the ways in which this ‘household sector’ is developing as a new policy problem.
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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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Smaill, Belinda. "Commissioning Difference? The Case of SBS Independent and Documentary." Media International Australia 107, no. 1 (May 2003): 105–16. http://dx.doi.org/10.1177/1329878x0310700111.
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SBS Independent (SBSI) is the arm of SBS Television responsible for commissioning new work. Since 1994, SBSI has been working in conjunction with other screen funding bodies to commission feature film, short drama, animation and documentary. The charter that dictates the practices of SBS Television also provides guidelines for SBSI, which is consequently required to focus on work that is innovative and concerned with Indigenous issues and cultural diversity. This article focuses on the case of documentary in Australia and the impact of SBSI on a filmmaking community and contemporary documentary culture with particular reference to the Australia by Numbers and Hybrid Life series of half-hour programs. The focus on diversity, and the fact that this is the first Australian television institution to adopt an outsourcing model for almost all production, means that SBSI has formed a unique relationship with independent documentary. Here I examine the specificity and efficacy of this relationship.
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Papathanassopoulos, Stylianos. "The Development of Digital Television in Europe." Media International Australia 86, no. 1 (February 1998): 77–86. http://dx.doi.org/10.1177/1329878x9808600109.
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This paper discusses the recent development of digital television in Western Europe. It traces the players and the outcome of the new television revolution as it is considered in Europe and argues that, as in the case of cable and satellite TV in the 1980s, the development of digital television is mostly associated with hype and ‘technorazzamatazz’ rather than with realistic estimates and most importantly not taking into account the reaction of the viewers.
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Clarke, Robert, and Andrea Adam. "Digital storytelling in Australia." Arts and Humanities in Higher Education 11, no. 1-2 (June 20, 2011): 157–76. http://dx.doi.org/10.1177/1474022210374223.
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This project explored the experiences of a small sample ( N = 6) of Australian academics with the use of digital storytelling as a pedagogical tool in higher education contexts. This article describes two case studies of academic uses of digital storytelling, along with interpretive analysis of six semi-structured interviews of academics working within media and communication studies and their reflections on the potential of digital storytelling to enhance student learning and the student experience. Three consistent themes emerged, based around issues of definition, the need for ‘constructive alignment’, and resource and planning requirements. Academics regarded digital storytelling as a complement to, not a substitute for, conventional methods of learning and assessment such as the critical research essay. Overall, reservations exist regarding the promise of digital storytelling as a pedagogical tool that some academics have recently claimed for it.
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Scibilia, Michael, and Brett Hutchins. "High-Stakes Television: Fan Engagement, Market Literacy and the Battle for Sports Content." Media International Australia 141, no. 1 (November 2011): 26–37. http://dx.doi.org/10.1177/1329878x1114100105.
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Televised on Network Ten's new digital multi-channel One HD in April 2010, the Foot Locker Elite Classic – High Stakes Hoops (HSH) was a one-off made-for-television event. Highlighting an intersection between media policy decisions, fan culture and sports media, this basketball tournament is an unlikely source of insight into the contemporary media marketplace. The event was born out of changing television industry conditions. It served the mutual dependencies of a media-starved sport in Australia – basketball – and a brand new commercial network digital multi-channel, One HD, that required extensive content to fill its 24-hour, seven-day-a-week schedule. One HD was launched by Network Ten in 2009, and competes with the specialist pay television provider Fox Sports. This article argues that it was knowledge of these broader television market conditions that significantly informed the staging and collective meaning of HSH for many fans, rather than just the quality of the play or the teams taking part. Media sport market literacy – discussion about the business and strategic value of television and media coverage – is now an under-acknowledged but important part of fan discussion.
13
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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Wang, Zhenzi, Zhi-Qiang Liu, and Steve Fore. "Facing the Challenge: Chinese Television in the New Media Era." Media International Australia 114, no. 1 (February 2005): 135–46. http://dx.doi.org/10.1177/1329878x0511400115.
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In this paper we examine current developments in new media and Chinese television. In particular, we present a case study of the Spring Festival Eve Gala 2002, sponsored by China Central Television Station (CCTV). Despite the rapid development of digital technology and new media in recent years, Chinese television is unlikely to be transformed quickly. We propose that coevolution and convergence with new media offer the most effective strategy for the future development of Chinese television. The case study indicates that the current progress in media and communications technologies has set the stage for a gradual and incremental transformation of Chinese television.
15
Rowe, David, Rodney Tiffen, and Brett Hutchins. "Keeping it free: Sport television and public policy in Australia." Journal of Digital Media & Policy 00, no. 00 (February 24, 2022): 1–21. http://dx.doi.org/10.1386/jdmp_00098_1.
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This article addresses issues surrounding changes in television in the digital age, focusing specifically on questions of cultural citizenship as they relate to sport on television. It considers the curious neglect of sport in the Australian Government’s 2020 ‘Media Reform Green Paper: Modernising television regulation in Australia’, especially given its focus on the current problems of free-to-air (FTA) television and the importance of sport to it. In Australia, as in many other countries, there is some legislative protection to enable sport ‘events of national importance and cultural significance’ to be broadcast without charge to whole national communities, thereby preventing their ‘siphoning’ by subscription television providers. These regulatory arrangements have come under increasing pressure, including from screen-based content providers offering over-the-top (OTT) internet-enabled, on-demand streaming services. The article considers the public policy and social equity ramifications of regulating screen-based sport in this dynamic media environment. It is argued that there is a strong case for an anti-siphoning list covering selected live sport events to be maintained, revised as necessary and protected from circumvention in an era where FTA television remains a popular, reliable and widely accessible media technology that has minimal barriers to viewing citizens. We conclude that television regulation in Australia cannot be ‘modernised’ by allowing the anti-siphoning regime to wither on the vine in gesturing to technological innovation, market de-regulation and unequal choice. Such interventions in national media and sport markets can, it is proposed, enable the necessary innovation to enhance rather than erode cultural citizenship rights for the benefit of large segments of society.
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Stratton, Jon. "Perth Cultural Studies." Thesis Eleven 137, no. 1 (August 1, 2016): 83–105. http://dx.doi.org/10.1177/0725513616647559.
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In the early 1980s Perth was probably the most important city in Australia for Cultural Studies. Through that decade many intellectuals who became leaders in Australian Cultural Studies and important players in Cultural Studies outside of Australia worked in Perth. Among them were John Fiske, John Frow, John Hartley, Tom O’Regan, Lesley Stern, Graeme Turner and, a decade later, Ien Ang. This essay discusses the presence of these academics in Perth and advances some reasons why Perth became so important to Cultural Studies in Australia. It also discusses the kind of Cultural Studies that became privileged in Perth and considers some of the reasons for this. Perth Cultural Studies in the 1980s was primarily text-based and focused on screen-related popular culture, especially television programs and popular film. Cultural Studies in Perth developed in a city thought of as marginal to Australia, in institutions that were either not universities or, in the case of Murdoch University, was a very new university, by cosmopolitan academics who mostly came from either elsewhere in Australia or from the United Kingdom.
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Branigan, Tony. "How Will New Media Affect Television?" Media International Australia 86, no. 1 (February 1998): 54–62. http://dx.doi.org/10.1177/1329878x9808600107.
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The next two decades will force major changes on existing media and leave them with a significantly smaller share of voice, mind and advertising dollars. Pay TV in various forms will be the main challenge, but the Internet and other interactive media also seem certain to change traditional media use and advertising practices. In the United States, cable television has taken large numbers of viewers from free-to-air TV, and is expanding its share of advertising revenue. Pay TV's prospects in Australia are promising, though the largely American program content of advertiser-supported channels may limit their appeal. Pay TV may be in as many as 20 per cent of homes within three years, but its impact on television viewing levels will be only a fraction of that. Free-to-air viewing may decline by as little as 4 per cent by 2000, while television revenue may be unaffected by Pay TV. In the medium term, digital technology will make various forms of interactivity practicable for both free-to-air and Pay TV. This may prove to be more significant than competition for advertising dollars, as it will allow both media to compete for marketing expenditure currently made outside normal advertising media.
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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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Hutchins, Brett, James Meese, and Aneta Podkalicka. "Media Sport: Practice, Culture and Innovation." Media International Australia 155, no. 1 (May 2015): 66–69. http://dx.doi.org/10.1177/1329878x1515500108.
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This article introduces the special issue on Media Sport: Practice, Culture and Innovation, and outlines the overall objectives and focus of the eight collected essays. The tripartite of ‘practice, culture and innovation’ encapsulates emerging themes in the study of media sport that connect with core (inter-)disciplinary concerns in and around communications and media studies: (1) media practice and what people do in relation to media; (2) the role of television, digital platforms, social networking, mobile media, apps and wearable media devices in the constitution of media cultures; and; (3) how both these issues relate to broadly articulated conceptions and processes of innovation. These articles add to a rich tradition of media sport research that stretches back four decades, as well as two previous special issues of Media International Australia published on sports media (in 1995 and 2011). They also continue the important process of renewing this tradition by the inclusion of new and established researchers based in Australia, New Zealand, Belgium and Spain, and analytical perspectives that draw selectively upon media studies, television studies, cultural studies, media anthropology, social psychology and economics.
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Toletti, Giovanni, and Luca Turba. "Sofa-TV: The New Digital Landscape." International Journal of Digital Multimedia Broadcasting 2009 (2009): 1–8. http://dx.doi.org/10.1155/2009/186281.
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Television is attracting an enormous amount of attention from both researchers and managers, due to the profound changes that are taking place thanks to the diffusion of digital technology. The study of the digital landscape of television, including the players competing in its arena and their strategies, is well worth the effort. This paper, based on 32 case studies and the census of the Sofa-TV (Sat TV, DTT, and IPTV) offerings, aims at describing the current state of channel offerings, individualizing the principal players, and identifying their strategies, thus allowing us to give a few predictions as to the possible future changes in the industry. The analysis will have a general applicability, as the considerations made are not particularly country-specific, although performed within the Italian context, one of the most advanced in the development of digital television platforms.
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Gou, He, and Michael Dezuanni. "Towards understanding young children’s digital lives in China and Australia." Comunicar 26, no. 57 (October 1, 2018): 81–90. http://dx.doi.org/10.3916/c57-2018-08.
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This article develops insights and generates new lines of inquiry into young children’s digital lives in China and Australia. It brings to dialogue findings from a national study of young children's digital media use in urban settings in China with findings from studies in Australia. This is not presented as a direct comparison, but rather as an opportunity to shed light on children’s digital lives in two countries and to account for the impact of context in relatively different social and cultural circumstances. The article outlines findings from a study of 1,171 preschool-aged children (3 to 7-year-olds) in six provinces in China, including the frequency of their use of television, early education digital devices, computers, tablet computers and smartphones, music players, e-readers and games consoles. It also focuses on various activities such as watching cartoons, using educational apps, playing games and participating in video chat. Methods included a multistage sampling process, random selection of kindergartens, a weighted sampling process, the generation of descriptive data and the use of linear regression analysis, and a chi-square test. The study demonstrates the significance of a range of factors that influence the amount of time spent with digital media. The contrast with Australian studies produces new insights and generates new research questions. Este artículo desarrolla ideas y genera nuevas líneas de investigación sobre las vidas digitales de los niños en China y Australia, en discusión con las conclusiones de estudios nacionales sobre el uso de los medios digitales por parte de los niños en entornos urbanos en China y Australia. El trabajo gira en torno al mundo digital de los niños en los dos países, analizando el impacto del contexto en ámbitos sociales y culturales significativamente diferentes. El estudio abarca una muestra de 1.171 niños de 3 a 7 años, de seis provincias de China, presentando la frecuencia de uso de televisión, dispositivos digitales en la educación temprana, ordenadores, tabletas y teléfonos inteligentes, reproductores de música, libros electrónicos y videoconsolas. También se enfoca en diversas actividades como ver dibujos animados, usar aplicaciones educativas, jugar a videojuegos y participar en videollamadas. Los métodos incluyeron un proceso de muestreo multietapa, con selección aleatoria de jardines infantiles, un proceso de muestreo ponderado, la generación de datos descriptivos y el uso del análisis de regresión lineal, y una prueba de chi-cuadrado. El estudio demuestra la importancia del rango de factores que influyen en la cantidad de tiempo que pasan con los medios digitales. El contraste con los estudios australianos produce nuevos conocimientos y genera nuevas preguntas de investigación.
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Lobato, Ramon, and Julian Thomas. "The media geographies of Tom O’Regan." Media International Australia 180, no. 1 (July 24, 2021): 42–46. http://dx.doi.org/10.1177/1329878x211010779.
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This essay reflects on the many contributions of Tom O’Regan to media scholarship in Australia. While O’Regan may be best known as a scholar of Australian film and television, we suggest that O’Regan was also – and always – a scholar of the global. His work was premised on the idea that national and global industries are co-constitutive, shaped by flows of content, technology, ideas and attention. These are, fundamentally, matters of media geography – an issue to which O’Regan returned continuously throughout his long career. O’Regan was fascinated by spatial aspects of media: questions of flow and exchange across, between and within nations; problems of scale and scalar relations; and interactions between local, national, subnational, regional and global formations. We suggest O’Regan’s research oriented national and subnational media studies along that expansive geographical plane, and we consider how this perspective informed his prolific work on film, television, video, and digital platforms.
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Sinclair, John. "The Shock of the New: Old Media Strategies in the Digital Age." Media International Australia 127, no. 1 (May 2008): 31–43. http://dx.doi.org/10.1177/1329878x0812700108.
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This paper provides an outline and analysis of the strategies with which the ‘old’ media empires of print and television have met the challenge of ‘new’ media in Australia, notably the internet. It places particular emphasis on the protection of, or the gaining of access to, advertising revenue as a motivating factor in such corporate strategies since the early 1990s. In order to achieve some historical perspective and narrative continuity on this process, the discussion is divided into a rough periodisation. The first period saw the beginning of internet advertising and media organisations establishing a web presence, before the dot.com crash of 2000. A period of more cautious consolidation of positions then followed, and internet advertising became differentiated into categories of search, directories, classified and display, leading up to the corporate discovery of social networking in 2005. The paper concludes with some observations on the recent influx of private equity capital, particularly noting the agile response of ‘old’ media proprietors.
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Doherty, Bernard. "Sensational Scientology!" Nova Religio 17, no. 3 (February 2013): 38–63. http://dx.doi.org/10.1525/nr.2014.17.3.38.
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The role of communications and information media long has been acknowledged as a key factor in religious controversy. Since the 1970s “cult wars,” new religions scholars have focused considerable attention on how the media communicate, influence and frame public perception of new religious movements. In this article, I briefly survey ways in which constant changes in communications media and consumption require scholars to reassess interaction between the media and new religious movements. Using as a test-case the Church of Scientology’s interaction with Australian “tabloid television” programs in a series of heavily publicized controversies, I outline some traditional journalistic practices and media constraints, identified by scholars, in television coverage of Scientology in Australia. I will introduce a series of additional practices and contingent factors dealing specifically with tabloid television which may assist scholars in assessing the complex relationship between the media and new religions.
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Thynne, Lizzie. "Women in Television in the Multi-Channel Age." Feminist Review 64, no. 1 (April 2000): 65–82. http://dx.doi.org/10.1080/014177800338972.
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This article explores the impact of structural and technological change on women's employment in the UK television industry. It looks at the challenges faced by women in working in what has become since the mid-1980s a largely freelance industry where short-term contracts, informal recruitment procedures and long, unpredictable work schedules mean that women find it increasingly difficult to combine a career and family. Through case studies of individual careers, of a women's magazine programme for S4C Digital and a survey of women's credits on a selection of the newer channels (Sky One, UK Living and Channel 5), it argues that technological advances in digital transmission and production will not improve working conditions and opportunities for women's participation in all areas of the industry if they continue to replicate existing practice.
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Volčič, Zala, and Melita Zajc. "Hybridisation of Slovene Public Broadcasting: From National Community towards Commercial Nationalism." Media International Australia 146, no. 1 (February 2013): 93–102. http://dx.doi.org/10.1177/1329878x1314600113.
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Public broadcasting institutions have existed as central and publicly funded national institutions, providing services in the public interest. The coincidence of technological, political and economic circumstances in the last 20 years or so, however, has challenged their monopoly position. Technological developments – specifically digitalisation – have expanded spectrum availability. In some cases, public television has been commercialised, privatised or marginalised by the introduction of commercial channels. This article focuses on a specific case study of the Slovene public broadcaster. It addresses the fate of public service television in the digital and post-communist era, tracing the transformation from state broadcasters to the era of digital delivery, audience fragmentation and commercial nationalism. It explores, on the one hand, the way in which public service broadcasters have embraced and capitalised on new forms of digital distribution and, on the other, how they continue to embrace national(istic) and commercial imperatives.
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Gilbert, Anne. "Push, Pull, Rerun: Television Reruns and Streaming Media." Television & New Media 20, no. 7 (April 29, 2019): 686–701. http://dx.doi.org/10.1177/1527476419842418.
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In scholarly and industry analyses of television’s expansion into online distribution, few have accounted for the specific negotiations required when old television content streams on new media. This article considers the economic consequences, viewer utility, and cultural position of television reruns as they expand from the pushed flows of legacy television to the pull contexts of digital streaming. The emergence of streaming outlets upsets conventions of off-network syndication yet introduces new licensing revenue to television markets, and streaming undermines the pleasures of familiar, passive entertainment offered by reruns. Reruns, as a concept, a cultural commodity, and as an archive of a televisual past and present, are reconfigured with the move toward streaming television. Internet distribution of television reruns provides a necessary case study to investigate the full scope of how streaming services are destabilizing the conventions of the U.S. television industries.
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Dezuanni, Michael, Stuart Cunningham, Ben Goldsmith, and Prue Miles. "Teachers’ curation of Australian screen content for school-based education." Media International Australia 163, no. 1 (March 8, 2017): 87–96. http://dx.doi.org/10.1177/1329878x17693701.
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This article outlines how teachers curate Australian screen content for use in classrooms from pre-school to senior secondary school. It suggests teachers use their professional knowledge of curriculum and pedagogy to arrange screen resources, curriculum concepts and student experiences to promote learning. This complex curatorial process adds value to broadcaster and producer curation processes that aim to position cut-down clips and educational resources for classroom use. The article draws on a national research project that undertook interviews with 150 teachers in schools across Australia. The authors suggest the ongoing digital disruption of the school sector presents both opportunities and challenges for the Australian Broadcasting Corporation, The Special Broadcasting Service and the Australian Children’s Television Foundation.
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Piñón, Juan. "Disruption and continuity on telenovela with the surge of a new hybrid prime-time fictional serial: The super series." Critical Studies in Television: The International Journal of Television Studies 14, no. 2 (May 16, 2019): 204–21. http://dx.doi.org/10.1177/1749602019838885.
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The Latin American telenovela genre has enjoyed a long-lasting hegemonic position in prime-time television across the region, and particularly within US Spanish-language television market. However, in the last several years, Spanish-language national television networks, as well as their prime-time telenovela product, are being challenged by the new digital and mobile media landscape. Television networks have deployed a variety of strategies to better accommodate to new audiences’ consumption routines in a digital age. This article focuses on a particular moment of disruption – and continuity –, which has been a game changer for US Hispanic television and has transformed the face of fictional serial (telenovelas) in prime time. The surge in popularity of a telenovela subgenre originating in Colombia and widely adopted by US television corporations, known as narconovela, has transformed the telenovela genre/format, prompting industry professionals to initiate new institutional discourses aimed to mark these texts as super series, and in doing so labelling them as a new type of genre. Super series are an excellent case study for understanding the dialectic notion of disruption and continuity both in television studies and the television industry.
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Campbell, L. H., and J. R. Holmes. "Regulating Service Providers' Access to an FTTN Network." Media International Australia 127, no. 1 (May 2008): 21–26. http://dx.doi.org/10.1177/1329878x0812700106.
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To date, the major deployments of FTTN or its fibre-rich cousin, Fibre to the Premises, have been driven by clear government policy (Republic of Korea, Japan) or competitive pressure from cable television companies (US, Netherlands — planned). Without these pressures, the business case for deploying FTTN is uncertain. The additional revenues from higher-speed internet access are likely to be slight, and new revenues from pay television are uncertain and likely to develop only over the medium term. The business case for investing perhaps A$9 billion or more for an extensive FTTN deployment in Australia is therefore weak. National governments, however, see many benefits in widespread deployment of high internet access speeds and may provide incentives for FTTN deployments if competitive pressures are absent. This article explains some of these incentives in the Australian context, especially the steps taken so far to regulate access to the fibre networks proposed by Telstra and the so-called G9 consortium.
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Guo, Yuhua, and Peng Chen. "Digital Divide and Social Cleavage: Case Studies of ICT Usage among Peasants in Contemporary China." China Quarterly 207 (September 2011): 580–99. http://dx.doi.org/10.1017/s030574101100066x.
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AbstractDuring its structural transformation, rural China witnessed the emergence of four types of village: traditional, industrialized, commercial and villages in cities. Information Communication Technologies (ICTs), including fixed phones, cell phones, television sets and the internet (with personal computers), are now commonly used in Chinese villages but in ways that differentiate villagers according to variables such as occupation, villager membership and social status. The adoption of ICTs by peasants not only represents but also accelerates growing peasant differentiation; in other words, the function of ICTs could not penetrate the barrier of social structure. Meanwhile, structural transformation in China has been an activator to shaping peasants' diversified ideas about information, and the demand for and usage of ICTs. An analysis of peasants' ICT adoption thus enables us to identify the basic trends and characteristics of social transformation in contemporary China.
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Gaber, Ivor, and Rodney Tiffen. "Politics and the media in Australia and the United Kingdom: parallels and contrasts." Media International Australia 167, no. 1 (April 10, 2018): 27–40. http://dx.doi.org/10.1177/1329878x18766721.
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Australia and Britain share many common aspects in their democratic political and media systems, but there are also important differences. Perhaps the single most important media difference is that television has been a much more important element in the UK political communication system than it has been in Australia. The British Broadcasting Corporation is a much bigger and more central institution than the Australian Broadcasting Corporation, and commercial TV in Britain has a much stronger public service mandate. The British press has a national structure which can give it a substantive collective role, although its right-wing dominance means it has been a less-than-benign influence on public life. Both countries are facing rapid changes, with partisan political divisions in flux and the digital environment disrupting traditional media models. In this article, we seek to interrogate the commonalities and differences between the media and political systems operating in Australia and the United Kingdom. After tracing some important differences in their institutional structures, the dominant theme of our later analysis is that in both systems, and in both countries, the overarching narrative is one of disruption. And we pose the question – Will the current disruptions widen or narrow these differences?
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Bulfin, Scott, and Sue North. "Negotiating Digital Literacy Practices Across School and Home: Case Studies of Young People in Australia." Language and Education 21, no. 3 (May 15, 2007): 247–63. http://dx.doi.org/10.2167/le750.0.
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Long, Chen, and Zhu Hongqiang. "Being “geek” in digital communication: The case of Chinese online customer reviews." Círculo de Lingüística Aplicada a la Comunicación 86 (April 16, 2021): 137–50. http://dx.doi.org/10.5209/clac.75499.
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In popular culture, the stereotypically iconized “geek” can be identified in different media narratives from mainstream television to magazines. Drawing upon insights from sociolinguistics and business communication studies, this paper attempts to identify the discursive constructs of “being geek” in Chinese digital business communication. By collecting the discourse data of online customer reviews from amazon.cn and analyzing the data based on the framework of Critical Discourse Analysis, the study investigates how linguistic mechanisms operate in the shaping of geek culture and the construction of “being geek” in the participatory communication of business. The results revealed lexical variables and generic intertextuality are prominent in the discourse construction of “being geek”, to create a stimulus for a promotional culture in business communication.
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Tejedor, Santiago, Natalia Cardona, and Laura Cervi. "Augmented Reality and Journalism: 10 use-case analysis from television, printing and web media platforms." Revista científica de información y comunicación, no. 17 (2020): 437–55. http://dx.doi.org/10.12795/ic.2020.i17.19.
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Augmented reality has inaugurated new developments that enable the creation of content of various kinds. Based on the case study methodology, the work analyzes 10 successful experiences of using augmented reality linked to television, the press and digital media. The investigation concludes that the use of augmented reality without a journalistic purpose can harm the media.
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Rajagopalan, Sudha. "Misogyny, solidarity and postfeminism on social media: The work of being Diana Shurygina, survivor-celebrity." European Journal of Cultural Studies 22, no. 5-6 (July 3, 2019): 739–62. http://dx.doi.org/10.1177/1367549419856828.
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In a disclosure on Russian talk television in January 2017, 16-year-old Diana Shurygina shared with a national audience the traumatic details of her rape by Sergei Semenov. Using Shurygina’s performances on television and her subsequent participation on social media as a case study, this article analyses the emergence of empathic publics and the construction of celebrity at the intersection of digital media, popular misogyny and postfeminism in Russia. By setting up a vlog, support groups, fan and personal pages on VKontakte (a popular Russian social networking site), Shurygina is able to counter vicious pillorizing by creating a network of empathy and support. The celebrity that Shurygina sculpts in these spaces, however, is postfeminist in its emphasis on individual choice and self-esteem as strategies to overcome all societal ills, in its celebration of hyperfemininity and in its eschewal of radical politics. This article thus considers how digital platforms shape voice, public affect and solidarity on digital platforms but also how complicit that emergent voice is in the neoliberal ‘retraditionalisation’ of gender roles in post-Soviet Russia.
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Lumby, Catharine, and Kath Albury. "Homer versus Homer: Digital Media, Literacy and Child Protection." Media International Australia 128, no. 1 (August 2008): 80–87. http://dx.doi.org/10.1177/1329878x0812800110.
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Despite growing work on the educational potential of digital media, literacy debates in Australia have remained locked in a banal opposition between serious educational aims and trivial entertainment media. To reinvigorate these debates, this article overviews progressive approaches to media literacy and case studies debates around the sexualisation of girls and young women in popular media. Ultimately, the authors — drawing on their submission to the recent Senate Inquiry on the subject — identify two ways to reset the media education and literacy agenda by incorporating a more productive engagement with digital media literacy.
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Kienzl, Lisa. ""You're My True Vessel": Knowledge and Digital Fan Culture Discussed on the Basis of Mediumship and Possession in Supernatural's Narrative and Fandom." Journal of Religion, Media and Digital Culture 3, no. 1 (December 6, 2014): 155–80. http://dx.doi.org/10.1163/21659214-90000044.
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Portrayals of mediumship in modern Western television narratives need to be seen as part of a broader phenomenon of the presence of religious elements in Western media, a phenomenon I argue expresses a longing for grand narratives in contemporary Western society. The portrayal and mediatization of religious elements in television narratives as well as their discussion in digital fan culture are part of what I would call a transformation process of knowledge and in particular knowledge of religious phenomena. More specifically, digital fan culture allows for an engagement with discursive transformation processes of knowledge and thus influences what is perceived as knowledge in society. Therefore, religious studies needs to pay closer attention to television narratives and the way fans interact with these narratives to create knowledge about religious practices. This article focuses on how the elements of “possession” and “mediumship” are being transformed by the US American TV series Supernatural and its fan culture. I argue that we can see at least two transformation processes here: the transformation and transplantation of religious concepts and practices (in the case of this article the idea of the human body as spirit medium) into a television context, and the transformation of these concepts and practices through digital fan culture. In its discussion of fan culture, the article looks at and analyzes fan based websites and how they present, discuss and imagine the body-medium.
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del Río, Esteban, and Kristin C. Moran. "Remaking Television: One Day at a Time’s Digital Delivery and Latina/o Cultural Specificity." Journal of Communication Inquiry 44, no. 1 (January 22, 2019): 5–25. http://dx.doi.org/10.1177/0196859918825332.
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New distribution models have transformed television over the past decade, and Netflix’s One Day at a Time (2017–) stands out not only because it is a remake of a classic Norman Lear sitcom, but because it also foregrounds a Cuban American family. Using a radical contextual and relational approach, this study analyzes One Day at a Time from a cultural studies perspective using theoretical tools that arrive from critical Latina/o communication studies. We analyze the first season’s 13 episodes to demonstrate how storytelling is modified in the context of digital streaming. In this case, we argue that One Day at a Time offers an alternative to the flattening of difference far too common in Latina/o media. Instead, the show highlights the cultural specificity of this Cuban American family as a form of broad audience appeal as it negotiates sexual identity and immigration discourses within a contemporary social framework.
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Rutherford, Leonie, Dean Biron, and Helen Skouteris. "Children's Content Regulation and the ‘Obesity Epidemic’." Media International Australia 140, no. 1 (August 2011): 47–60. http://dx.doi.org/10.1177/1329878x1114000108.
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Some 30 years ago, Australia introduced the Children's Television Standards (CTS) with the twin goals of providing children with high-quality local programs and offering some protection from the perceived harms of television. The most recent review of the CTS occurred in the context of a decade of increasing international concern at rising levels of overweight and obesity, especially in very young children. Overlapping regulatory jurisdictions and co-regulatory frameworks complicate the process of addressing pressing issues of child health, while rapid changes to the media ecology have both extended the amount of programming for children and increased the economic challenges for producers. Our article begins with an overview of the conceptual shifts in priorities articulated in the CTS over time. Using the 2007–09 Review of the CTS as a case study, it then examines the role of research and stakeholder discourses in the CTS review process and critiques the effectiveness of existing regulatory regimes, both in providing access to dedicated children's content and in addressing the problem of escalating obesity levels in the population.
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Waddell, Terrie, and Timothy W. Jones. "The spoken and unspoken nature of child abuse in the miniseries Devil’s Playground: The Royal Commission into Institutional Responses to Child Sexual Abuse, the Catholic Church and television drama in Australia." Media International Australia 159, no. 1 (March 7, 2016): 83–93. http://dx.doi.org/10.1177/1329878x16631840.
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In a departure from Fred Schepisi’s film The Devil’s Playground, the television sequel Devil’s Playground focuses on the cultural impact of priest child abuse. It will be argued that the prolific mainstream media coverage of these crimes before the series was made, and anticipated during its screening, lent a form of permission to green light the production. In focusing on Case 28 of the Royal Commission into Institutional Responses to Child Sexual Abuse, this article will draw attention to the problematic nature of dramatising priest abuse in mainstream Australian television. While victims have willingly voiced graphic details of the sexual violence they experienced as children, after decades of silence, it is as if networks and producers are only now awkwardly grappling with these uncomfortable realities. In the process of sanitising such abusive behaviour, they reduce the degree of cruelty that survivors are intent on communicating.
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Vowles-Sørensen, Kate C. P. "Popular Science Articles and Academic Reports on the Topics of Cultural Commodification and Institutionalised Racism." Leviathan: Interdisciplinary Journal in English, no. 4 (March 1, 2019): 70–83. http://dx.doi.org/10.7146/lev.v0i4.112681.
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This paper examines two aspects within cultural studies, namely that of cultural commodification and institutionalised racism. These are explored through a review style article discussing the commodification and appropriation of indigenous Australian food items on the television cooking programme Masterchef Australia, and in an ‘op-ed’ style piece considering the systemic racism represented by the blackface character of Zwarte Piet (Black Pete) in the Dutch festive tradition of Sinterklaas (St. Nicholas). These two articles are followed by case study reports which analyse how the theories were applied. The arguments in the reports conclude that Masterchef Australia has a responsibility to better represent indigenous Australian culture, and that the tradition of Zwarte Piet clearly exemplifies institutionalised racism and discrimination.
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Hamilton, Paula. "Remembering Changi: Public Memory and the Popular Media." Media International Australia 131, no. 1 (May 2009): 136–46. http://dx.doi.org/10.1177/1329878x0913100115.
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Media arenas are increasingly the place where most of our negotiation over the meaning of the past is carried out. Indeed, many commentators argue that television plays a particularly central role in the shaping of social memory. This paper seeks to examine how the various forms of media are changing the relationship between personal (and often silent) memories and public ones by asking what happens when personal memories of experience, which are not passed on within families — or only in a limited way — finally become public. I argue here that television and the internet, as increasingly interdependent cultural forms, have an important role in mediating between the personal experience and the public memory of events, as well as between genders and generations. As a case study, I examine the audience response to the television series Changi, aired on the ABC in 2001, using comments posted on the Changi guestbook internet forum. From this example, I examine how technologies of popular culture — especially new digital media — interact to create new ‘publics’, thus both increasing democratisation and access for individuals and also encompassing much larger collectives than in former times.
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Grimes, Sara M. "Saturday Morning Cartoons Go MMOG." Media International Australia 126, no. 1 (February 2008): 120–31. http://dx.doi.org/10.1177/1329878x0812600113.
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This paper traces the migration of North American children's television into the realm of massively multiplayer online games (MMOGs), and the issues this raises in terms of the commercialisation of children's (digital) play. Through a content analysis of three television-themed MMOGs targeted to children, Nickelodeon's Nicktropolis, Cartoon Network's Big Fat Awesome House Party and Corus Entertainment's GalaXseeds, I examine how this new development within children's online culture operates in relation to existing industry practices of cross-media integration and promotion. Dominant trends identified in the content analysis are compared with emerging conventions within the MMOG genre, which is generally found to contain numerous opportunities for player creativity and collaboration. Within the cases examined, however, many of these opportunities have been omitted and ultimately replaced by promotional features. I conclude that all three case studies operate primarily as large-scale advergames, promoting transmedia intertextuality and third-party advertiser interests.
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Souza, Daniel F. L., Liliane S. Machado, and Tatiana A. Tavares. "3D Technologies to Extend Brazilian DTV Middleware." Journal on Interactive Systems 2, no. 1 (May 20, 2011): 1. http://dx.doi.org/10.5753/jis.2011.564.
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Entertainment and interactivity possibilities in Digital Television (DTV) can be extended to support 3D technologies. In this paper is described an architecture based on a middleware for DTV that incorporates 3D technologies on the Brazilian standard. The integration strategies will be presented and compared with other studies in the literature. As case study, it will be presented a virtual environment to analyze the advantages and disadvantages of this integration.
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Mann, Monique, and Angela Daly. "(Big) Data and the North-in-South: Australia’s Informational Imperialism and Digital Colonialism." Television & New Media 20, no. 4 (October 26, 2018): 379–95. http://dx.doi.org/10.1177/1527476418806091.
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Australia is a country firmly part of the Global North, yet geographically located in the Global South. This North-in-South divide plays out internally within Australia given its status as a British settler-colonial society which continues to perpetrate imperial and colonial practices vis-à-vis the Indigenous peoples and vis-à-vis Australia’s neighboring countries in the Asia-Pacific region. This article draws on and discusses five seminal examples forming a case study on Australia to examine big data practices through the lens of Southern Theory from a criminological perspective. We argue that Australia’s use of big data cements its status as a North-in-South environment where colonial domination is continued via modern technologies to effect enduring informational imperialism and digital colonialism. We conclude by outlining some promising ways in which data practices can be decolonized through Indigenous Data Sovereignty but acknowledge these are not currently the norm; so Australia’s digital colonialism/coloniality endures for the time being.
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Md Alui, Siti Eryza Aziera, Mazlina Pati Khan, Nurul Asyiqin Shafei @ Safri, and Nordiana Mohd Nordin. "Audio Visual Digital Preservation Strategies: A case study in National Broadcasting Agency." Environment-Behaviour Proceedings Journal 7, SI10 (November 30, 2022): 47–51. http://dx.doi.org/10.21834/ebpj.v7isi10.4100.
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This study discusses the digital preservation practice and challenges of the media repository in the broadcasting industry. This study covers the digital preservation practices in Wisma TV, Radio Television Malaysia (RTM) where it functioning as information hubs for media resources and assisting in the preservation of cultural heritage. However, these broadcasting archives have mostly gone unnoticed and neglected by those working in the archive sector. Qualitative research methodology is used by implementing the case study design in order to explored the challenges while performing the digital preservation work. This broadcasting organization media collective was envisioned as a distributed network of organizations that supported media production, exhibition, and study, functioning as resource centers for media and supporting regional preservation efforts. Keywords: Audiovisual Archiving, Digital Preservation, Broadcasting Industry eISSN: 2398-4287 © 2022. The Authors. Published for AMER ABRA cE-Bs by E-International Publishing House, Ltd., UK. This is an open-access article under the CC BY-NC-ND license (http://creativecommons.org/licenses/by-nc-nd/4.0/). Peer-review under the responsibility of AMER (Association of Malaysian Environment-Behavior Researchers), ABRA (Association of Behavioral Researchers on Asians), and cE-Bs (Centre for Environment-Behavior Studies), Faculty of Architecture, Planning & Surveying, Universiti Teknologi MARA, Malaysia.
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Turner, Georgina. "‘Bizarre Sapphic midlife crisis’: (Re)thinking LGBTQ representation, age and mental health." Sexualities 22, no. 7-8 (November 12, 2018): 997–1016. http://dx.doi.org/10.1177/1363460718794132.
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This article looks at viewers’ responses to the romance between two older women on the BBC medical drama Holby City. In the context of a continuing lack of representation of (older) women-loving women, viewers of all ages describe a transformative experience, with an emphasis on positive mental health outcomes – yet older women also orient to something implicitly problematic about this being the case. This is premised, I suggest, in the foregrounding of youth and adolescence in academic and public discussions of the role of the media in sexual self-realisation. The research demonstrates the need for qualitative case studies capturing LGBTQ portrayals, taking account of the experiences of older viewers, and of network television even in a fragmented and queer(er) digital market.
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Teare, Sheldon, and Danielle Measday. "Pyrite Rehousing – Recent Case Studies at Two Australian Museums." Biodiversity Information Science and Standards 2 (June 13, 2018): e26343. http://dx.doi.org/10.3897/biss.2.26343.
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Two major collecting institutions in Australia, the Australian Museum (Sydney) and Museums Victoria (Melbourne), are currently undertaking large-scale anoxic rehousing projects in their collections to control conservation issues caused by pyrite oxidation. This paper will highlight the successes and challenges of the rehousing projects at both institutions, which have collaborated on developing strategies to mitigate loss to their collections. In 2017, Museums Victoria Conservation undertook a survey with an Oxybaby M+ Gas Analyser to assess the oxygen levels in all their existing anoxic microclimates before launching a program to replace failed microclimates and expand the number of specimens housed in anoxic storage. This project included a literature review of current conservation materials and techniques associated with anoxic storage, and informed the selection of the RP System oxygen scavenger and Escal Neo barrier film from Mitsubishi Gas Chemical Company as the best-practice products to use for this application. Conservation at the Australian Museum in Sydney was notified of wide-scale pyrite decay in the Palaeontology and Mineral collections. It was noted that many of the old high-barrier film enclosures, done more than ten years ago, were showing signs of failing. None of the Palaeontology specimens had ever been placed in microclimates. After consultation with Museums Victoria and Collection staff, a similar pathway used by Museums Victoria was adopted. Because of the scale of the rehousing project, standardized custom boxes were made, making the construction of hundreds of boxes easier. It is hoped that new products, like the tube-style Escal film, will extend the life of this rehousing project. Enclosures are being tested at the Australian Museum with a digital oxygen meter. Pyrite rehousing projects highlight the loss of Collection materials and data brought about by the inherent properties of some specimens. The steps undertaken to mitigate or reduce the levels of corrosion are linked to the preservation of both the specimens and the data kept with them (paper labels). These projects benefited from the collaboration of Natural Sciences conservators in Australia with Geosciences collections staff. Natural Science is a relatively recent specialization for the Australian conservation profession and it is important to build resources and capacity for conservators to care for these collections. This applied knowledge has already been passed on to other regions in Australia.
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Gregory, Sheree, and Cathy Brigden. "Gendered scenes: conceptualising the negotiation of paid work and child care among performers in film, television and theatre production." Media International Australia 163, no. 1 (February 6, 2017): 151–62. http://dx.doi.org/10.1177/1329878x16689146.
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The pervasiveness of gender inequality in the media and entertainment industry has become an issue of growing public interest, debate and agitation. Whether it is the gender pay gap, the ongoing presence of the casting couch, the absence of women film directors, the experiences for women and men are strikingly different. Drawing on the findings of a case study of how performers manage care and precarious paid work in film, television and theatre production in Australia, this article provides a context in which work and care regimes can be analysed. Individualised negotiations with agents and producers are buttressed by individualised arrangements with family and extended networks to accommodate complex and changing needs. Despite high unionisation among performers, the key finding is that the overwhelming tendency was to deal with issues individually or as a couple, without reference to the union or through collective avenues.