Relevant bibliographies by topics / Documentary Australia

Academic literature on the topic 'Documentary Australia'

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Published: 10 December 2022
Last updated: 28 January 2023

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Journal articles on the topic "Documentary Australia"

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

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On 1 July 2008, Screen Australia commenced operation as the main Australian government agency supporting the screen production industry. This article considers some of the policy issues and challenges identified by the ‘community of practitioners’ as facing Australian documentary production at the time of the formation of that ‘super-agency’ from the merger of its three predecessor organisations — the Australian Film Commission, the Film Finance Corporation and Film Australia. The article proceeds by sketching the history of documentary production in Australia and identifying the bases of its financial and regulatory supports. It also surveys recent debate in the documentary sector and attempts to contextualise the themes of those discussions within the history of the Australian documentary.
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Lemon, Barbara, Kerry Blinco, and Brendan Somes. "Building NED: Open Access to Australia’s Digital Documentary Heritage." Publications 8, no. 2 (April 8, 2020): 19. http://dx.doi.org/10.3390/publications8020019.

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This article charts the development of Australia’s national edeposit service (NED), from concept to reality. A world-first collaboration between the national, state and territory libraries of Australia, NED was launched in 2019 and transformed our approach to legal deposits in Australia. NED is more than a repository, operating as a national online service for depositing, preserving and accessing Australian electronic publications, with benefits to publishers, libraries and the public alike. This article explains what makes NED unique in the context of global research repository infrastructure, outlining the ways in which NED member libraries worked to balance user needs with technological capacity and the variations within nine sets of legal deposit legislation.
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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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Nash, Kate. "Goa Hippy Tribe: Theorising Documentary Content on a Social Network Site." Media International Australia 142, no. 1 (February 2012): 30–40. http://dx.doi.org/10.1177/1329878x1214200105.

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In the 1970s, a wave of young Western hippies descended on the beaches of Goa in India. Forty years later, some of them reconnected on the social network site Facebook and planned a reunion. This event, and the Goan hippy community then and now, are the subjects of a documentary called Goa Hippy Tribe, produced by Australian documentary maker Darius Devas. Funded by Screen Australia, SBS and Screen New South Wales, Goa Hippy Tribe is the first Australian documentary to be produced for the social network site Facebook. In this article, I consider how documentary in a social network context might be theorised. While the concept of the database narrative is most often invoked to explain user interactivity in online documentary, social networks such as Facebook invite different forms of interaction, and therefore raise distinct theoretical questions. In particular, Goa Hippy Tribe demonstrates the potential for the audience to engage creatively and communally with documentary.
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Hemelryk Donald, Stephanie. "Shaming Australia." Alphaville: Journal of Film and Screen Media, no. 18 (December 1, 2019): 70–90. http://dx.doi.org/10.33178/alpha.18.06.

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This article analyses Australian audiovisual treatments of contemporary refugee experiences of the Australian government’s “Pacific Solution”, which was introduced after the Tampa affair in 2001. I call into question the conventional premise of much documentary filmmaking, that the moving photographic image can reveal the reality of that experience (indexicality). That approach is exemplified, I argue, by Eva Orner’s award-winning film, Chasing Asylum (2014), which aspired to reveal the truth about conditions in the Regional Processing Centre on Nauru and thereby to shock Australian audiences into demanding a change in government policy. The problem with the film is that its reliance on the norms of documentary has the unintended consequence of silencing the detainees and reducing them to the status of vulnerable and victimised objects. The article concludes by comparing Chasing Asylum with an installation by Dennis Del Favero, Tampa 2001 (2015), which exemplifies a nonrepresentational, affect-based aesthetic that says less in order to achieve more in evoking complex refugee stories of dispossession or disappearance.
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Smaill, Belinda. "Promoting Australia: post-war documentary and Asia." Continuum 28, no. 5 (August 8, 2014): 616–28. http://dx.doi.org/10.1080/10304312.2014.941974.

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Maver, Igor. "Slovene migrant literature in Australia." Acta Neophilologica 35, no. 1-2 (December 1, 2002): 5–11. http://dx.doi.org/10.4312/an.35.1-2.5-11.

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This article on the literary creativity of Slovene rnigrants in Australia after the Second World War, including the most recent publications, discusses only the most artistically accomplished auth­ ors and addresses those works that have received the most enthusiastic reception by the critics and readers alike. Of course, those who are not mentioned are also important to the preservation of Slovene culture and identity among the Slovene migrants in Australia from a documentary, histori­ cal,or ethnological points of view. However, the genresfeatured here include the explicitly literary, the semi-literary fictionalized biography, the memoir and documentary fiction, and the literary journalistic text - all those fields and genres that nowadays straddle the division line between 'high' literature and so-called 'creative fiction'.
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Cunningham, Stuart. "Regionalism in Audiovisual Production: The Case of Queensland." Queensland Review 1, no. 1 (June 1994): 47–54. http://dx.doi.org/10.1017/s1321816600000490.

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A great deal has been made of the boom in audiovisual production based in southern Queensland (and to some extent in northern Queensland) in the 1990s. This follows a pattern throughout the so-called ‘revival’ period (since the early 1970s) in Australia which has seen successive moments of regional upsurge. In the 1970s, it was South Australia, under the energetic leadership of the South Australian Film Corporation, that saw many of the best feature films and several of the early historical mini-series of the early revival period made in that state (see, for example, Moran). During the early to mid-1980s, Western Australia, with the location of bold production houses such as Barron Films and strong independent documentary traditions, offered robust regional opportunities, culminating in such memorable films as Shame and Fran.
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Moran, Albert. "Nation building: The post‐war documentary in Australia (1945–1953)." Continuum 1, no. 1 (January 1988): 57–79. http://dx.doi.org/10.1080/10304318809359319.

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Si, Aung, and Myfany Turpin. "The Importance of Insects in Australian Aboriginal Society: A Dictionary Survey." Ethnobiology Letters 6, no. 1 (September 17, 2015): 175–82. http://dx.doi.org/10.14237/ebl.6.1.2015.399.

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Insects and their products have long been used in Indigenous Australian societies as food, medicine and construction material, and given prominent roles in myths, traditional songs and ceremonies. However, much of the available information on the uses of insects in Australia remains anecdotal. In this essay, we review published dictionaries of Aboriginal languages spoken in many parts of Australia, to provide an overview of the Indigenous names and knowledge of insects and their products. We find that that native honeybees and insect larvae (particularly of Lepidoptera and Coleoptera) are the most highly prized insects, and should be recognized as cultural keystone species. Many insects mentioned in dictionaries lack scientific identifications, however, and we urge documentary linguists to address this important issue.
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Dissertations / Theses on the topic "Documentary Australia"

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

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MacLennan, Gary. "From the actual to the real : left wing documentary film in Australia." Thesis, Queensland University of Technology, 2000.

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This thesis constructs and develops a critique of the tradition of left wing documentary film in Australia. The critique is from the perspective of the Critical Realist paradigm developed by Roy Bhaskar and others. The thesis is both an attempt to critique a tradition and to provide a new basis for documentary theory and criticism. On the theoretical level the thesis engages the work of the leading documentary film theorists including Noel Carroll, Bill Nichols, Paula Rabinowitz, Michael Renov and Trinh T. Minh-ha. These theorists take up positions, which range from New Realist to Poststructuralist. It is the contention of this thesis that, because they lack a notion of a stratified ontology, they are unable to sustain either a critique of or a coherent account of documentary practice. The definition of left wing that underpins the selection of the films is a narrow one, namely, coming from or influenced by the Marxist tradtion. The criticism of the films begins with Joris Ivens Indonesia Calling (1946) and concludes with Tom Zubrycki's Billal (l996).
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Rogers, Wendy Kaye. "Xavier Herbert." Thesis, Queensland University of Technology, 2010. https://eprints.qut.edu.au/41241/1/Wendy_Rogers_Exegesis.pdf.

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As a biographical documentary concept develops, its intention and its form are impacted and may be transformed by market demands. The documentary idea about the life of Xavier Herbert has been in development through a number of iterations within the shifting landscape of the Australian documentary industry from the mid- 1990s to 2009. This study is, on the one hand, an endeavour to find a workable way to express and practise the multi-layered complexity of creative work, a long-form documentary script on Herbert, an Australian literary icon. On the other hand, this thesis represents a cumulative research exercise, whereby my own experiences in the documentary industry in Queensland, Australia and overseas are analysed in an effort to enlighten the broader documentary community about such a complex, even labyrinthine, process.
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Robertson, Robert Philip. "Ghostwriting Hong Kong : post-colonial documentary and the western tradition /." Thesis, Hong Kong : University of Hong Kong, 1998. http://sunzi.lib.hku.hk/hkuto/record.jsp?B20007450.

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van, den Heuvel Fleur H. C. M. "Muslim women in Australia and the Netherlands: A multimodal enquiry into television documentary representations." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2018. https://ro.ecu.edu.au/theses/2156.

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Almost two decades after the terrorist attacks of 11 September, the Western media continues to portray Islam and its people negatively and within the dominant knowledge and ideology of the superior West. These media representations remain largely unquestioned. Hereby the appearances of veiled Muslim women continue to be used by the media as a visual symbol confirming Islam’s difference in norms and values with the West. Framed within the understanding that television documentaries provide audiences with ‘unscripted’ realities of both Islam and Muslim women, this research looks at representations and perceptions of how Muslim women are portrayed within two television documentaries – Halal Mate (2006) from Australia and Meiden van Halal (2005/2006) from the Netherlands. The research draws upon questions of objectivity and subjectivity which are interwoven into discussions of documentaries and their ability to portray this ‘unscripted’ reality. This includes an exploration of how such documentaries may affect viewers’ ideologies of Islam and Muslim people, in particular those of Muslim women as the ‘other’ in Western societies. The Western media uses stereotypes of Muslim women to assist audiences in the understanding of the portrayed images. Stereotypes are used by audiences to decode both media messages and real-life experiences within a preferred reading. Positive readings of Muslim women are often overshadowed by – existing – negative readings. As evident in this research through questionnaires and focused interviews, stereotypical representations of Muslim women in the media therefore affect the understanding and perception of audiences in Australia and the Netherlands. This research used multimodality as an overarching research methodology, supported by a mixed method approach. Firstly, a social semiotic multimodal analysis of the two television documentary series was undertaken. This provided important insights and understandings on how television documentaries are inclined to put familiar layers of Western ideologies over the depiction of Muslim women, yet how these layers do not change the communication of Western ideological and stereotypical concepts of Islam and Muslim women to audiences. An exploratory online questionnaire was then carried out with respondents from both Australia and the Netherlands. In addition, focused interviews – and a corresponding pre-interview questionnaire – were conducted with Australian and Dutch participants to elicit comments after having watched one of the documentary episodes. Together with the results from the questionnaire and multimodal analysis, the data from the interviews were analysed and organised into three themes – the stereotypical representations of Muslim women, perceived social distance towards Muslim people and the hijab as a symbol of ‘otherness’. Data from these themes form the three findings chapters. This research illustrates the imperfect relationship between media expressions and meaning. That is, norms and values associated with media images of Muslim women and Islam are deeply embedded in the Australian and Dutch society. However, it is noted that, if stereotypes are a matter of perception, the attributes allocated to Islam and Muslim women in Western media representations can be changed, although this will be challenging. This research project will contribute to a better understanding of and insights into the role of the media as a provider of universal and particular values related to Islam and its women for Western societies.
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Li, Tingting. "An Analysis of the 4:2:1 Documentary." Thesis, University of North Texas, 2014. https://digital.library.unt.edu/ark:/67531/metadc500078/.

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As a Chinese filmmaker, I feel obligated to reveal a true story about Chinese international students. Through my subjects and my stories, I am planning to express the messages that both adapting to a new culture and paying the financial cost of a foreign education have never been simple, but we will never give up our dreams.
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Bickford, Sophia Anastasia. "A historical perspective on recent landscape transformation: integrating palaeoecological, documentary and contemporary evidence for former vegetation patterns and dynamics in the Fleurieu Peninsula, South Australia." Title page, contents and abstract only, 2001. http://web4.library.adelaide.edu.au/theses/09PH/09phb583.pdf.

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Includes bibliographical references (p. 301-319). Palaeoecological records, documented historical records and remnant vegetation were investigated in order to construct a multi-scaled history of vegetation pattern and change in the Fleurieu Peninsula, South Australia over the last c. 8000 years. Aims to better understand post-European landscape transformation and address the inherently historical components of the problems of regional biodiversity loss, land sustainability and the cumulative contribution to global climatic change.
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Lang, Ian William, and n/a. "Conditional Truths: Remapping Paths To Documentary 'Independence'." Griffith University. Queensland College of Art, 2003. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20031112.105737.

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(Synopsis to introductory statement): An introductory statement to five documentary films made by Ian Lang in Australia between 1981 and 1997 exemplifying  a 'democratising' model of sustainable and ethical documentary film production. This document critically reflects on the production process of these films to accompany their submission for the degree of Doctor of Philosophy by Publication at Griffith University. It finds that a contemporary tendency towards 'post-industrial' conditions allows an observational film-maker to negotiate a critical inter-dependence rather than a romantically conceived 'independence' traditional to the genre. [Full thesis consists of introductory statement plus six DVD videodiscs.]
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Davies, Llewellyn Willis. "‘LOOK’ AND LOOK BACK: Using an auto/biographical lens to study the Australian documentary film industry, 1970 - 2010." Phd thesis, Canberra, ACT : The Australian National University, 2018. http://hdl.handle.net/1885/154339.

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While much has been written on the Australian film and television industry, little has been presented by actual producers, filmmakers and technicians of their time and experiences within that same industry. Similarly, with historical documentaries, it has been academics rather than filmmakers who have led the debate. This thesis addresses this shortcoming and bridges the gap between practitioner experience and intellectual discussion, synthesising the debate and providing an important contribution from a filmmaker-academic, in its own way unique and insightful. The thesis is presented in two voices. First, my voice, the voice of memoir and recollected experience of my screen adventures over 38 years within the Australian industry, mainly producing historical documentaries for the ABC and the SBS. This is represented in italics. The second half and the alternate chapters provide the industry framework in which I worked with particular emphasis on documentaries and how this evolved and developed over a 40-year period, from 1970 to 2010. Within these two voices are three layers against which this history is reviewed and presented. Forming the base of the pyramid is the broad Australian film industry made up of feature films, documentary, television drama, animation and other types and styles of production. Above this is the genre documentary within this broad industry, and making up the small top tip of the pyramid, the sub-genre of historical documentary. These form the vertical structure within which industry issues are discussed. Threading through it are the duel determinants of production: ‘the market’ and ‘funding’. Underpinning the industry is the involvement of government, both state and federal, forming the three dimensional matrix for the thesis. For over 100 years the Australian film industry has depended on government support through subsidy, funding mechanisms, development assistance, broadcast policy and legislative provisions. This thesis aims to weave together these industry layers, binding them with the determinants of the market and funding, and immersing them beneath layers of government legislation and policy to present a new view of the Australian film industry.
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Vickery, Edward Louis, and annaeddy@cyberone com au. "Telling Australia's story to the world: The Department of Information 1939-1950." The Australian National University. Faculty of Arts, 2003. http://thesis.anu.edu.au./public/adt-ANU20040721.123626.

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This study focuses on the organisation and operation of the Australian Government’s Department of Information that operated from 1939 to 1950. Equal weighting is given to the wartime and peacetime halves of the Department’s existence, allowing a balanced assessment of the Department’s role and development from its creation through to its abolition. The central issue that the Department had to address was: what was an appropriate and acceptable role for a government information organisation in Australia’s democratic political system? The issue was not primarily one of formal restrictions on the government’s power but rather of the accepted conception of the role of government. No societal consensus had been established before the Department was thrust into dealing with this issue on a practical basis. While the application of the Department’s censorship function attracted considerable comment, the procedures were clear and accepted. Practices laid down in World War I were revived and followed, while arguments were over degree rather than kind. It was mainly in the context of its expressive functions that the Department had to confront the fundamental issue of its role. This study shows that the development of the Department was driven less by sweeping ministerial pronouncements than through a series of pragmatic incremental responses to circumstances as they arose. This Departmental approach was reinforced by its organisational weakness. The Department’s options in its relations with media organisations and other government agencies were, broadly, competition, compulsion and cooperation. Competition was never widely pursued and the limits of compulsion in regard to its expressive functions were rapidly reached and withdrawn from. Particularly through to 1943 the Department struggled when it sought to assert its position against the claims of other government agencies and commercial organisations. Notwithstanding some high profile conflicts, this study shows that the Department primarily adopted a cooperative stance, seeking to supplement rather than supplant the work of other organisations. Following the 1943 Federal elections the Department was strengthened by stable and focused leadership as well as the development of its own distribution channels and outlets whose audience was primarily overseas. While some elements, such as the film unit, remained reasonably politically neutral, the Department as a whole was increasingly employed to promote the message of the Government of the day. This led to a close identification of the Department with the Labor Party, encouraging the Department’s abolition following the Coalition parties’ victory in the 1949 Federal elections. Nevertheless in developing its role the Department had remained within the mainstream of administrative practice in Australia. While some of its staff assumed a greater public profile than had been the practice for prewar public servants, this was not unusual or exceptional at that time. Partly through the efforts of the Department, the accepted conception of the role of government had expanded sufficiently by 1950 that despite the abolition of the Department most of its functions continued within the Australian public sector.
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Books on the topic "Documentary Australia"

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Brown, R. A. Documentary evidence in Australia. 2nd ed. Sydney: LBC Information Services, 1996.

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A, Brown R. Documentary evidence in Australia. Sydney: Law Book Co., 1988.

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Joske, Prue. Rottnest Island: A documentary history. [Crawley, W.A.]: Centre for Migration and Development Studies, University of Western Australia, 1995.

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Migration documentary films in post-war Australia. Amherst, NY: Cambria Press, 2010.

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Kuo, Liangwen. Migration documentary films in post-war Australia. Amherst, NY: Cambria Press, 2010.

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Pat, Laughren, and Williamson Dugald 1946-, eds. Australian documentary: History, practices and genres. Port Melbourne, Vic: Cambridge University Press, 2011.

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David, Stockley, ed. Australian multiculturalism: A documentary history and critique. Clevedon, Avon, England: Multilingual Matters Ltd, 1988.

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Snape, Richard H. Australian trade policy, 1965-1997: A documentary history. St. Leonards, NSW., Australia: Allen & Unwin, 1998.

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Australian post-war documentary film: An arc of mirrors. Bristol, UK: Intellect, 2008.

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Moran, Albert. Projecting Australia: Government film since 1945. Sydney: Currency Press, 1991.

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Book chapters on the topic "Documentary Australia"

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Williams, Deane. "Grierson’s Legacies: Australia and New Zealand." In The Documentary Film Book, 147–52. London: British Film Institute, 2013. http://dx.doi.org/10.1007/978-1-349-92625-1_16.

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Smaill, Belinda. "Loss and Care: Asian Australian Documentary." In The Documentary, 97–113. London: Palgrave Macmillan UK, 2010. http://dx.doi.org/10.1057/9780230251113_5.

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Dhupelia-Mesthrie, Uma, and Margaret Allen. "6. Controlling Transnational Asian Mobilities: A Comparison of Documentary Systems in Australia and South Africa, 1890s to 1940s." In Making Surveillance States, edited by Robert Heynen and Emily van der Meulen, 133–62. Toronto: University of Toronto Press, 2019. http://dx.doi.org/10.3138/9781487517298-010.

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Ilic, Nina. "A comparison of high-tier regulatory documents pertaining to biologic drugs including mesenchymal stromal cells in Australia, Europe, and the USA using a manual documentary analysis." In The Biology and Therapeutic Application of Mesenchymal Cells, 628–44. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2016. http://dx.doi.org/10.1002/9781118907474.ch44.

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Bennett, James E. "Australia’s War through the Lens of Centenary Documentary: Connecting Scholarly and Popular Histories." In Australians and the First World War, 221–39. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-51520-5_13.

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Thornley, Davinia. "“My Whole Area Has Started to Be about What’s Left Over”: Alec Morgan, “Stolen Histories,” and Critical Collaboration on the Australian Aboriginal Documentary, Lousy Little Sixpence." In Cinema, Cross-Cultural Collaboration, and Criticism, 51–73. London: Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137411570_3.

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Thornley, Jeni. "Island Home Country: working with Aboriginal protocols in a documentary film about colonisation and growing up white in Tasmania." In Passionate Histories: Myth, memory and Indigenous Australia. ANU Press, 2010. http://dx.doi.org/10.22459/ph.09.2010.13.

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Kilroy, Peter. "Indigenous Australia and the Archive Effect: Frances Calvert’s Talking Broken as Essay Film." In World Cinema and the Essay Film, 193–210. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474429245.003.0012.

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This chapter focuses on strategic combinations of some of the ‘building blocks’ of the essay film in the directorial output of Frances Calvert, a non-Indigenous Australian documentary filmmaker, who worked poetically and collaboratively with themes that bear upon Australia’s ‘other’ Indigenous community, Torres Strait Islanders. Despite differences in approach, her films pay heed to Trinh T. Minh-ha’s injunction to ‘speak nearby’ and/or in collaboration with, rather than on behalf of. They make extensive use of historical archival material, and they eschew the merely evidential in their use of such material. Providing a close reading of Calvert’s debut film Talking Broken (1990), Peter Kilroy argues that the use of archival material constitutes a type of citational practice, analogous to the citational practices of the literary essayist, which in turn forms a core performative element of the reflexive process of the essay film.
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Williamson, Dugald. "Television Documentary." In Australian Television, 88–102. Routledge, 2020. http://dx.doi.org/10.4324/9781003114949-7.

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"Spotlight on the Audience: Collective Creativity in Recent Documentary and Reality Theatre from Australia and Germany." In Collective Creativity, 313–28. Brill | Rodopi, 2011. http://dx.doi.org/10.1163/9789042032743_023.

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Conference papers on the topic "Documentary Australia"

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Chummuangpak, Manoch. "EXPLORING REFUGEE AGENCY THROUGH DOCUMENTARY PRODUCTION OF RESETTLING KAREN IN AUSTRALIA." In World Conference on Media and Mass Communication. The International Institute of Knowledge Management (TIIKM), 2019. http://dx.doi.org/10.17501/24246778.2019.5111.

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Amirjani, Rahmatollah. "Labour Housing and the Normalisation of Modernity in 1970s Iran." In The 38th Annual Conference of the Society of Architectural Historians Australia and New Zealand. online: SAHANZ, 2022. http://dx.doi.org/10.55939/a4020p1tmw.

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In the 1970s, rapid modernisation fuelled population displacement and increased the number of workers in the large cities of Iran, in particular Tehran. In response, the Imperial Government initiated several housing programs focusing on the provision of megastructures on a large scale. Consequently, a new opposition formed among some sectors of society, regarding the dissemination of gigantic buildings in the International or Brutalist styles. Critics and clerics argued that the radical government interventions not only polarised the image of Islamic identity in cities, but also affected the behaviour of people towards, and their opinions concerning, the Islamic lifestyle. Additionally, some claimed the state aimed to normalise its project of modernity and rapid westernisation for the mid- and lower classes using housing. In this regard, this article investigates the 1970s imperial government social housing programs to verify these claims. Using an extensive literature review, documentary research, observation, and descriptive data analysis, this article argues that, despite the government politics and modernisation tendencies in the 1970s, consumerism, political competition, the state of Cold War, and the emergence of new construction techniques, all resulted in the emergence of mass-produced megastructures offering a new luxurious lifestyle to residents. While the life and hygiene of the different classes were improved, these instant products inevitably facilitated the normalisation of Western lifestyle among the mid- and low-income groups of the society. Eventually, this visible social transition was utilised by opposition leaders as another excuse to topple the Pahlavi regime under the 1979 Islamic Revolution.
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Thavaruban Thavapragasam, Xavier. "ERP Systems and User Perceptions: An Approach for Implementation Success." In InSITE 2004: Informing Science + IT Education Conference. Informing Science Institute, 2004. http://dx.doi.org/10.28945/2830.

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The growth of Enterprise Resource Planning (ERP) systems since the 90’s has been immense. Their organisational wide functionality is vast and overall capabilities are enormous but their success, usability and the user perception is questioned in the information systems (IS) literature. This paper looks at an implemented ERP system in a large Australian University. The core aspect of the paper is the user perception on the implemented system, which is measured by two criteri-ons: user satisfaction and post-implementation factors. The author is using interviews, documentary analysis and observation techniques for data gathering. Based on the gathered findings, the author portrays the use of participatory design (PD) methods as a possible tool for successful ERP implementation. User-Centred Design (UCD) and Joint Application Development (JAD) were compared as part of the PD approach and it was concluded that the UCD approach would best suit for the development and the implementation of an ERP system.
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