Relevant bibliographies by topics / Public television Australia

Academic literature on the topic 'Public television Australia'

Author: Grafiati
Published: 10 December 2022
Last updated: 29 January 2023

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Journal articles on the topic "Public television Australia"

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

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This article examines the history of Australian broadcast television through the lens of sports programming. Ever since the introduction of the medium in Australia just before the 1956 Olympic Games, sports programming – both event coverage and sports-related content – has played a major role in defining television's forms, concerns and technologies, as well as in developing audiences for services and channels. Looking at a series of pivotal moments in Australian television history – the 1956 Olympics, the coming of colour, aggregation in the late 1980s, the launch of subscription television in 1995 and commercial free-to-air multi-channelling – the article examines sports programming as a site of both competition and collaboration between networks and services. It also discusses the role of sports in shaping the schedules and profiles of the two Australian public service broadcasters, before concluding with a look at the possible future of sport and Australian broadcast television.
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Mencinsky, Nadia, and Belinda Mullen. "Regulation of Children's Television in Australia: Past and Present." Media International Australia 93, no. 1 (November 1999): 27–40. http://dx.doi.org/10.1177/1329878x9909300105.

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The provision of quality television programming made specifically for children has been a significant issue in Australia since television was introduced. From 1979, specific requirements have been in place to ensure children have access to a variety of quality television programs made specifically for them, including Australian drama and non-drama programs. This article traces the development of these requirements and how they have led to the current Children's Television Standards (CTS). The Children's Television Standards (CTS), administered by the Australian Broadcasting Authority (ABA), are widely regarded in Australia and overseas as a notable example — if not benchmark — for how to regulate children's television in the public interest. The article also examines some key trends in programming since 1979 and identifies areas of the standards which are problematic and/or might need to be revised to ensure the expected outcomes are still being achieved.
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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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Rando, Gaetano. "Broadcasting in Italy: Democracy and Monopoly of the Airwaves." Media Information Australia 40, no. 1 (May 1986): 39–48. http://dx.doi.org/10.1177/1329878x8604000109.

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Australia, as compered with some overseas countries, has a stable and continuous radio and television history. The price has been the creation of an oligopolistic commercial sector which is much stronger than the national broadcaster, the Australian Broadcasting Corporation. Public (community) broadcasting is still confined to a sector starved of funds; public TV still a pipedream. Ethnic radio and multicultural television, through the Special Broadcasting Service, have a short history which is far from smooth and under constant threat for TV to be merged with the ABC.
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Nobes, Karen, and Susan Kerrigan. "White noise." Alphaville: Journal of Film and Screen Media, no. 24 (December 20, 2022): 79–96. http://dx.doi.org/10.33178/alpha.24.05.

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First Nations content on commercial Australian television drama is rare and First Nations content makers rarely produce the content we see. Despite a lack of presence on commercial drama platforms there has been, and continues to be, a rich array of First Nations content on Australian public broadcast networks. Content analysis by Screen Australia, the Federal Government agency charged with supporting Australian screen development, production and promotion, aggregates information across the commercial and non-commercial (public broadcasting) platforms which dilutes the non-commercial output. The research presented in this article focused on the systemic processes of commercial Australian television drama production to provide a detailed analysis of the disparity of First Nations content between commercial and non-commercial television. The study engaged with First Nations and non-Indigenous Australian writers, directors, producers, casting agents, casting directors, heads of production, executive producers, broadcast journalists, former channel managers and independent production company executive directors—all exemplars in their fields—to interrogate production processes, script to screen, contributing to inclusion or exclusion of First Nations content in commercial television drama. Our engagement with industry revealed barriers to the inclusion of First Nations stories, and First Nations storytelling, occurring across multiple stages of commercial Australian television drama production.
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Tafler, David. "‘Rolling Thunder’: Changing communication and the Pitjantjatjara Yankunytjara public sphere." Pacific Journalism Review : Te Koakoa 11, no. 1 (April 1, 2005): 155–73. http://dx.doi.org/10.24135/pjr.v11i1.819.

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Tom O'Regan and Philip Batty in Australian Television Culture, identify a problematic confrontation between westernised concepts of 'publicness' and the notions of that 'publicness' found within Aboriginal cultural practices. O'Regan and Batty acknowledge the role that tradition plays in mediating the integration of indigenous communities within contemporary Australia. They suggest an array of issues that very among communities. Some variables include proximity to European settlement, the traditional food sources, and the distance from the ocean.
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Drew, Christopher. "The Spirit of Australia: Learning about Australian Childhoods in Qantas Commercials." Global Studies of Childhood 1, no. 4 (January 1, 2011): 321–31. http://dx.doi.org/10.2304/gsch.2011.1.4.321.

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For over a decade the Qantas Spirit of Australia advertising campaign has worked to incite pride and nostalgia in Australian consumers. Its widespread success has led to four renewed television commercials, strategically released to coincide with key (inter)national sporting events, including the 2000 Sydney Olympics and the 2004 Rugby World Cup. All four Spirit commercials feature children singing Peter Allen's I Still Call Australia Home in picturesque global and national landscapes. As a result of the Spirit campaign's widespread success, Peter Allen's song has become almost synonymous with the Qantas brand. The iconic Spirit commercials are exemplary in (re)affirming the public consciousness towards Australian childhood identity. Exploring national issues of freedom, race, youth and adventure, the commercials are situated among diverse social signs that attempt to typify Australian children. Influenced by post-structural theoretical frames, the author analyses the ‘social’ semiotic dimensions of these advertisements. His intention is to contribute to understandings of the discursive constitution of Australian childhoods in advertising. The unique iconic status of the Spirit campaign, he argues, lies in its capacity to be commensurate with, and (re)affirm, Australia's public perceptions of self and community.
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Brennan, Marc. "Child(Hood) Abuse: Constructing the Australian Public in Public Service Advertisements." Media International Australia 99, no. 1 (May 2001): 91–104. http://dx.doi.org/10.1177/1329878x0109900113.

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This paper intervenes in debates about the construction of ‘publics' by the media. It traces the way in which one governmental genre of television programming — the public service announcement — attempts the difficult task of constructing a unified sense of ‘the public’ in Western Australia by means of appeals to a supposedly ‘universal’ discourse — that of the protection of children. The paper examines the ways in which these advertisements employ such strategies and discusses the limitations and implications of such appeals by looking at the citizens who are excluded from such a ‘public’.
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Horsfield, Peter. "Down the Tube: Religion on Australian Commercial Television." Media International Australia 121, no. 1 (November 2006): 136–48. http://dx.doi.org/10.1177/1329878x0612100116.

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

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Schaap, Rob, and n/a. "Pay television : overseas experiences and Australian options." University of Canberra. Communication, 1991. http://erl.canberra.edu.au./public/adt-AUC20061107.171016.

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The issue of pay television has generated a plethora of reports and submissions from politicians, bureaucrats and industrialists for a decade. That the issue is not yet resolved is the result of many factors, all of which serve to highlight the structural complexities of the Australian electronic media system. At the political level, social policy is in a state of transition and broadcasting policy has reflected this. The Australian Broadcasting Corporation (ABC) and the Special Broadcasting Service (SBS) have been forced to reappraise their roles as public broadcasters. The commercial networks have seen their reserves and their profitability deteriorate drastically in an environment of poor management, fluctuating government policy and a depressed national economy. The Australian Broadcasting Tribunal (ABT), the federal regulator of commercial broadcasting, is struggling to adapt to these new circumstances, and is confronted by new challenges to its powers and responsibilities. Ideally, a discussion on the introduction of pay television would be conducted within the context of a comprehensive and established federal broadcasting policy. Basic to this thesis is the perception that no such policy exists. It is left to the analyst to speculate as to the intentions evident in Government initiatives, suggest the potential impact of pay television in that light, and offer constructive criticism accordingly. This thesis recognises that pay television seems inevitable as both major political parties are committed, in principle at least, to its introduction. This thesis sets itself the following objectives: to identify the salient components that serve to define pay television; to develop and employ a methodology to extract lessons from the experiences of others with pay television, whilst remaining sensitive to historical and structural context; to apply those lessons to the Australia condition; and to make recommendations on the introduction of pay television, based on both the definitional and comparative work of this thesis, within the context of contemporary Government deliberations, as evident in the Report from the House of Representatives Standing Committee on Transport, Communications and Infrastructure of November 1989.
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Keys, Wendy, and n/a. "Grown-Ups In a Grown-Up Business: Children's Television Industry Development Australia." Griffith University. School of Arts, Media and Culture, 2005. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20060928.135325.

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This dissertation profiles the children's television industry in Australia; examines the relationship between government cultural policy objectives and television industry production practices; and explores the complexities of regulating and producing cultural content for child audiences. The research conducted between 1997 and 2002 confirms that children's television is a highly competitive business dependent on government regulatory mechanisms and support for its existence. For example, the Australian Broadcasting Authority's retaining of mandatory program standards for children's programs to date, is evidence of the government's continued recognition of the conflict between broadcasters' commercial imperatives and the public-interest. As a consequence, the industry is on the one hand insistent on the government continuing to play a role in ensuring and sustaining CTV - however, on the other hand, CTV producers resent the restrictions on creativity and innovation they believe result from the use of regulatory instruments such as the Children's Television Standards (CTS). In fact, as this dissertation details, the ABA's intended policy outcomes are inevitably coupled with unintended outcomes and little new or innovative policy development has occurred. The dissertation begins with an investigation into the social, cultural and ideological construction of childhood within an historical and institutional context. I do this in order to explore how children have been defined, constructed and managed as a cultural group and television audience. From this investigation, I then map the development of children television policy and provide examples of how 'the child' is a consistent and controversial site of tension within policy debate. I then introduce and analyse a selection of established, establishing and aspiring CTV production companies and producers. Drawing on interviews conducted, production companies profiled and policy documents analysed, I conclude by identit~'ing ten key issues that have impacted, and continue to impact, on the production of children's television programming in Australia. In addressing issues of industry development, the question this dissertation confronts is not whether to continue to regulate or not, but rather, how best to regulate. That is, it explores the complexities of supporting, sustaining and developing the CTV industry in ways which also allows innovative and creative programming. This exploration is done within the context of a broadcasting industry currently in transition from analogue to digital. As communications and broadcasting technologies converge, instruments of regulation - such as quotas designed around the characteristics of analogue systems of broadcasting - are being compromised. The ways in which children use television, and the ways in which the CTV producers create content, are being transformed. The ten key issues identified in this dissertation, I propose, are crucial to industry development and policy debate about the future of children's television in Australia. In integrating the study of policy with the study of production, I have given prominence to the opinions and experiences of those working in the industry. In doing so, this dissertation contributes to the growing body of work in Australia which incorporates industry with cultural analysis, and which includes the voices of the content providers.
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Mahboob, Shaolee, and shaolee mahboob@gmail com. "The Representation of Women in Television Advertisements: a Comparative Analysis in Australia and Bangladesh." Flinders University. Women's Studies, 2007. http://catalogue.flinders.edu.au./local/adt/public/adt-SFU20080114.100907.

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This thesis considers women’s representation in television commercials in Australia and Bangladesh. It is an empirical study. A total of 780 advertisements were recorded from various television channels of Australia and Bangladesh. Among them 280 and 500 advertisements were taken from Bangladeshi and Australian television channels respectively. This thesis is about women’s representation in television commercials in Australia and Bangladesh. Bringing an interdisciplinary but empirical approach to a broad range of recently screened advertisements, the thesis examines how femininities are stereotypically represented in these two countries’ television commercials. The study suggests that women are produced and reproduced as sexual objects and/or objects to be looked at, and that representations of women’s bodies circulate around the binary of purity and pollution in heavily gendered and racialised ways. The interesting finding of this study is the extension of the ‘male-gaze’ concept where women come under the gaze from (hetero) sexual perspectives. The study suggests that images of femininity and racialisation are produced and reproduced. This constructs women’s secondary position and creates racial instability in societies.
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Harrington, Stephen Matthew. "Public knowledge beyond journalism : infotainment, satire and Australian television." Thesis, Queensland University of Technology, 2009. https://eprints.qut.edu.au/26675/1/Stephen_Harrington_Thesis.pdf.

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

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This thesis examines the changing relationships between television, politics, audiences and the public sphere. Premised on the notion that mediated politics is now understood “in new ways by new voices” (Jones, 2005: 4), and appropriating what McNair (2003) calls a “chaos theory” of journalism sociology, this thesis explores how two different contemporary Australian political television programs (Sunrise and The Chaser’s War on Everything) are viewed, understood, and used by audiences. In analysing these programs from textual, industry and audience perspectives, this thesis argues that journalism has been largely thought about in overly simplistic binary terms which have failed to reflect the reality of audiences’ news consumption patterns. The findings of this thesis suggest that both ‘soft’ infotainment (Sunrise) and ‘frivolous’ satire (The Chaser’s War on Everything) are used by audiences in intricate ways as sources of political information, and thus these TV programs (and those like them) should be seen as legitimate and valuable forms of public knowledge production. It therefore might be more worthwhile for scholars to think about, research and teach journalism in the plural: as a series of complementary or antagonistic journalisms, rather than as a single coherent entity.
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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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Radcliffe, Jeanette, and n/a. "The Australian Broadcasting Tribunal's Australian Content Inquiry 1983 - 1990: a case study in The dynamics of a public policy debate." University of Canberra. Communication, Media & Tourism, 1994. http://erl.canberra.edu.au./public/adt-AUC20061207.162525.

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Since their inception in the early 1960s, Australian content requirements for commercial television have been subjected to considerable scrutiny through a series of formal inquiries. Over the last ten years this process has intensified. In recent years there have been a number of academic criticisms regarding the state of debate about the regulation of Australian content on commercial television and the capacity of the debate to generate genuine criticism and embrace change. This thesis examines the dynamics of debate about Australian content. It focuses on the ABT's Inquiry into Australian Content on Commercial Television (ACI) which ran from 1983 to 1989. It takes as its basic point of reference Jurgen Habermas' concept of the 'public sphere'. This concept refers to a realm of social life, separate from the state and private spheres, in which 'public opinion' can be formed. Habermas has argued that, with the refeudalisation of the public sphere, the state and private interests have increasingly collaborated to close off the public sphere. The thesis concludes that in many respects Habermas' concept of a refeudalised 'public sphere' is a useful explanatory tool for understanding the dynamics of the ACI and the limited degree of criticism generated by it. However, Habermas' model is limited in so far as it fails to accord adequate recognition to the complexities and significance of the mediation of the 'public interest' by key participants in the inquiry and the strategic role of rhetoric for these participants. Habermas concludes that with the refeudalisation of the public sphere and the disappearance of the historical conditions which supported its operation, the public sphere must now be reconstructed on a case by case basis. Attempts to achieve this, have tended to focus on the facilitation of citizen participation in public policy debate. However, as this analysis of the ACI demonstrates, the dynamics of the debate itself appear to limit I the degree to which 'public opinion' can be elevated above 'private interest'. This thesis demonstrates that the mediation of the 'public interest' assumed a central role in the rhetoric and strategy of the ACI. Each of the key players represented distinct interests and were largely unaccountable to the 'public' they claimed to serve. This thesis concludes that in order to gain a more detailed understanding of how communication works in such a context, and in order to conceive of alternative participatory forms, we need to focus on those aspects of public discourse which Habermas neglects: the rhetoric and the strategic nature of public representation. It suggests that fruitful avenues for further study may lie with Bantz's notion of communicative structures or Luhmann's systems approach to communication.
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Gee, Narelle. "Maintaining our rage: Inside Australia's longest-running music video program." Thesis, Queensland University of Technology, 2015. https://eprints.qut.edu.au/85665/10/Narelle_Gee_Thesis.pdf.

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This research presents an insider's account of rage, Australia's longest-running music video program. The research's significance is that there has been scarce scholarly analysis of this idiosyncratic ABC program, despite its longevity and uniqueness. The thesis takes a reflective and reflexive narrative journey across rage's decades, presenting the accounts of the program makers, aided by the perspective of an embedded researcher, the program's former Series Producer. This work addresses the rage research gap and contributes to the scholarly discussion on music video and its contexts, the ABC, public service broadcasting, creative labour, and the cultural sense-making of television producers.
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McDonough, Joshua Henry. "An analysis of Australian print and television media coverage of the public health message ‘alcohol causes cancer’." Thesis, 2016. http://hdl.handle.net/2440/103414.

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Introduction: Alcohol is a class-1 carcinogen and is a modifiable risk factor for cancer, but public awareness of the link remains low. News media is a common and accessible source of health information in Australia, and influences public opinion and policy agenda. It is important to analyse how the alcohol causes cancer message is re-presented, as this may inform public health advocacy and identify needs and potential strategies for raising awareness through health promotion. This is the first study to compare both print and broadcast news media within this context. Methods: 1502 print articles and 96 broadcast stories published in Australia between 2005 and 2013 were located through the Factiva and Australian Health News Research Collaboration databases. Summative content analysis and descriptive statistics were used to examine the prominence and content of all stories. Thematic analysis was used to identify recurring themes and frames within stories that focused on the link between alcohol and cancer. Results: CONTENT: Most print articles were published within the main/first section of the newspaper, with half on odd pages. 95% of articles included the claim that alcohol is carcinogenic, with 5% suggesting it was either non-carcinogenic or preventative for cancer, and 1% including discussion of both. Over time, the ratio of carcinogenic to non-carcinogenic/preventative articles increased. Half of the print database consisted of stories that had been repeated. Most commonly, articles cited ‘alcohol’ as a generic descriptor while mentioning a specific type of cancer. Organisations connected to cancer were the most frequent authority source mentioned within both sets of data. In the broadcast data, stories most commonly appeared on evening news programs. 95% of the stories stated that alcohol causes cancer, with 5% suggesting alcohol is both carcinogenic and non-carcinogenic. More than half of the broadcast stories were repeated stories. THEMATIC: The alcohol causes cancer message was often framed as shocking. Connections were made between alcohol and cigarettes as both a consumable, and a public health concern. The evidence for the link between alcohol and cancer was framed as either convincing or insufficient, with differing implications drawn regarding the roles and responsibilities of health authorities. Conclusion: Information regarding the link between alcohol and cancer is available within the Australian media, but is often obscured by discussion of other health issues. Improved collaboration between health promoting organisations and journalists may facilitate greater accuracy and prominence of the alcohol causes cancer message.
Thesis (BHlthSc(Hons)) -- University of Adelaide, School of Public Health, 2016
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Books on the topic "Public television Australia"

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Creativity, Culture and Commerce: Producing Australian Children's Television with Public Value. Bristol: Intellect, 2015.

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The new machine men: Polls and persuasion in Australian politics. Ringwood, Vic., Australia: Penguin Books, 1986.

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Takahashi, Bruno, and Alejandra Martinez. Climate Change Communication in Peru. Oxford University Press, 2017. http://dx.doi.org/10.1093/acrefore/9780190228620.013.574.

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Peru is one of the most biodiverse countries on the planet. More than 65% of the country is covered by the Amazon rainforest, and the Andes region is home to more than 70% of the world’s tropical glaciers. This abundance of natural resources also makes the country highly vulnerable to the effects of climate change.The Peruvian government therefore requires the development and implementation of action plans to adapt to the present and future impacts of climate change. At the same time, it requires the development of sound communication strategies that include collaboration with stakeholders such as the media and nongovernmental organizations. Media coverage of climate change can have important implications for policy decision making. This is especially salient in a context of low information availability where media reports play an important role in filling knowledge gaps that in turn can affect the way policies are developed.Climate change, as an environmental and social issue in Peru, is not highly politicized, as it is in countries such as the United States and Australia. There is no major debate about the reality of climate change, the scientific evidence, or the need for political action and technological and policy innovations. This approach is also reflected in the media’s coverage of the issue. Peru’s media tend to focus on climate change mostly during key policy events. Among these major events was the capital city of Lima’s hosting in 2010 of the V meeting of Latin American, Caribbean, and European Union countries, where the main topics of discussion were climate change and poverty. In addition, Lima hosted the COP20, which preceded the Paris meeting in 2015 that led to a major global agreement. The media’s coverage of these events was intense. These were the exceptions: A good proportion of Peru’s newspaper coverage comes from international news wire agencies. Coverage from those sources focuses mostly on mitigation actions, instead of adaptation, which is more relevant to vulnerable countries such as Peru. This coverage is in line with the government’s view of mitigation as a business opportunity. There is, however, a lack of studies that explore, first, the factors that affect this coverage, and, second, the way other mediums such as television or radio cover the issue.Strategic communication by governmental organizations, as well as accurate and fact-based media reporting about climate change, is necessary to better communicate the urgency and magnitude of the problem to the general public, grassroots organizations, industry, and international agencies, among others.
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Book chapters on the topic "Public television Australia"

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"Australia: Concentration, Competition and Revaluing the Public Interest." In Television and Public Policy, 75–100. Routledge, 2009. http://dx.doi.org/10.4324/9780203877289-11.

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"“Events of National Importance and Cultural Signifi cance”: Sport, Television, and the Anti-Siphoning Regime in Australia." In Sport, Public Broadcasting, and Cultural Citizenship, 182–203. Routledge, 2013. http://dx.doi.org/10.4324/9780203758397-17.

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Day, Kenneth A., and Kenwyn G. Rickert. "Monitoring Agricultural Drought in Australia." In Monitoring and Predicting Agricultural Drought. Oxford University Press, 2005. http://dx.doi.org/10.1093/oso/9780195162349.003.0040.

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Since European settlement of Australia began in 1788, drought has been viewed as a major natural threat. Despite warnings by scientists (e.g., Ratcliffe, 1947) and many public inquiries, government policies have, in the past, encouraged closer land settlement and intensification of cropping and grazing during wetter periods. Not surprisingly, drought forms part of the Australian psyche and has been well described in poetry, literature (e.g., Ker Conway, 1993), art, and the contemporary media (newspapers and television). Droughts have resulted in social, economic, and environmental losses. Attitudes toward drought in Australia are changing. Government policies now consider drought to be part of the natural variability of rainfall and acknowledge that drought should be better managed both by governments and by primary producers. Nonetheless, each drought serves as a reminder of the difficult challenges facing primary producers during such times. We begin this chapter with a brief overview of drought in Australia and its impacts on agricultural production, the environment, rural communities, and the national economy. We outline some of the ways governments and primary producers plan for and respond to drought and describe in detail an operational national drought alert system. Australia has mainly an arid or semiarid climate. Only 22% of the country has rainfall in excess of 600mmper annum, confined to coastal areas to the north, east, southeast, and far southwest of the country (http://www.bom.gov.au/climate/ahead/soirain.shtml). Australia also has high year-to-year and decade-to-decade variation in rainfall due, in part, to the influence of the El Niño/Southern Oscillation (ENSO) phenomenon (http://www.bom.gov.au/climate/ahead/soirain.shtml). The Interdecadal Pacific Oscillation (IPO) also contributes to the rainfall variability at annual and decadal scales and modulates ENSO impacts on rainfall (Power et al., 1999). The current geographic boundaries of agricultural production were reached in the late 19th century, and the entire agricultural region has experienced drought, in some form, over the past 100 years. Protracted dry periods occurred during the period from late 1890s to 1902 in eastern Australia, during the mid to late 1920s and 1930s over most of the continent, during the 1940s in eastern Australia, during the 1960s over central and eastern Australia, and during 1991–95 in parts of central and northeastern Australia.
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Backhouse, Jenny. "Enhancing Democratic Participation." In Handbook of Research on E-Services in the Public Sector, 78–92. IGI Global, 2011. http://dx.doi.org/10.4018/978-1-61520-789-3.ch008.

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The Internet and Information and Communications Technologies (ICTs) have long been seen as potentially contributing to a solution to the problem of voter disaffection and disengagement that has occurred in many western liberal democracies over the past couple of decades. The success of Barack Obama in the 2008 presidential campaign in the United States has highlighted the role that ICTs, in the form of Web 2.0 technologies and social media, can play in enhancing citizens‘ democratic participation and involvement in political campaigning. This paper examines the nature of Web 2.0 technologies and social media and analyses their role in political campaigning, particularly in the context of the 2007/8 presidential primaries in America and the 2007 federal election in Australia. While broadcast television is still a dominant political player, the empirical evidence suggests that a viable campaign needs to integrate diverse communication strategies tailored to citizens‘ interests and the political environment. The interactive and participatory technologies of the online world are increasingly key components of such integrated campaign strategies.
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Williams, Deane, and John Hughes. "No Going Back: Continuity and Change in Australian Documentary." In Post-1990 Documentary. Edinburgh University Press, 2015. http://dx.doi.org/10.3366/edinburgh/9780748694136.003.0003.

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This chapter discusses how, over the years, Australian filmmakers have responded to the public broadcaster's control over documentary funding, forms, production, and distribution patterns. It assess the evolution of the role of Australian television by focusing on a group of films dealing with asylum seekers, refugees, and immigration. Here, independence is not only understood in terms of production and distribution patterns, but also in terms of political stance and social commitment. The chapter examines two projects: one that sits at the commencement of official government filmmaking, and another, a television series emblematic of recent developments in Australian factual programming. Both of these projects, Mike and Stefani (1952) and Go Back to Where You Came From (2011) address Australian responses to asylum seekers and refugees.
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"far, far cry from the broad swathe beaten to the British market by soaps ranging from The Sullivans to Flying Doctors and from Prisoner: Cell Block H to Country Practice which preceded the Neighbours phenomenon there. “The accents” were constantly cited as a crucial point of resistance. KCOP: “People couldn’t understand the Australian accent” (Inouye 1992). WWOR: “We received some complaints about accents, but maybe that’s not the real issue” (Darby 1992). KCOP: “The actors are unknown, and it takes place in a country that few people know about” (Inouye 1992). WWOR: “One problem with anything from out of this country is making the transition from one country to the next. We’re all chauvinists, I guess. We want to see American actors in American stuff” (Leibert 1992). The tenor of these reflections in fact gainsays the New York Daily News’s own report five days prior to Neighbours’s first New York transmission: The program was test-marketed in both cities, and viewers were asked whether they prefer [sic] the original Australian version or the same plots with American actors. “All of them chose the Australian program over the US version,” Pinne said. It won’t hurt, he added, that a program from Australia will be perceived as “a little bit of exotica” without subtitles. (Alexander 1991: 23) The station’s verdict within three months was clearly less sanguine. Australian material did not stay the course, even as exotica. Two additional factors militated against Neighbours’s US success: scheduling, and the length of run required to build up a soap audience. Scheduling was a key factor of the US “mediascape” which contributed to the foundering of Neighbours. Schedule competition tends to squeeze the untried and unknown into the 9–5 time slots. Whatever its British track-record, the Australian soap had no chance of a network sale in the face of the American soaps already locked in mortal combat over the ratings. The best time for Neighbours on US television, between 6:00 p.m. and 7:00 p.m., could be met no better by the independent stations. For the 6:00–8:00 p.m. period, when the networks run news, are the independents’ most competitive time slots, representing their best opportunity to attract viewers away from the networks – principally by rerunning network sitcoms such as The Cosby Show and Cheers. An untried foreign show, Neighbours simply would not, in executives’ views, have pleased advertisers enough; it was too great a risk. Even the 5:00–6:00 p.m. hour, which well suited Neighbours’s youth audience, was denied it in Los Angeles after its first month, with its ratings dropping from 4 per cent to 1 per cent as a consequence. Cristal lamented most the fourth factor contributing to Neighbours’s demise: the stations’ lack of perseverance with it, giving it only three-month runs either side of the States. This is the crucial respect in which public service broadcasting might have benefited it, by probably giving it a longer run. Until the late 1980s, when networks put on a daytime soap, they would." In To Be Continued..., 121. Routledge, 2002. http://dx.doi.org/10.4324/9780203131855-23.

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"Max Ramsay is the cardboard cutout Ozzie clod who warns his son, Shane, against dating Daphne because she works as a stag-night stripper. His main fear seems to be the effect the newly arrived Daphne might have on the price of his property. (Smurthwaite 1986) As Grahame Griffin notes, “the closing credit sequence . . . is a series of static shots of suburban houses singled out for display in a manner reminiscent of real estate advertisements” (Griffin 1991: 175). Small business abounds in Neighbours: a bar, a boutique, an engineering company, with no corporate sector and no public servants or bureaucrats apart from a headmistress. 10 Writing skills must be acknowledged. It is very hard to make the mundane interesting, and indeed to score multiple short plot lines across a small number of characters (twelve to fifteen), as is appropriate to representing the local, the everyday, the suburban. As Moira Petty remarks, Neighbours is successful because “it’s very simple. The characters are two dimensional and the plots come thick and fast. The storylines don’t last long, so if you don’t like one, another will come along in a few days” (quoted by Harris 1988). These ten textual reasons doubtless contribute, differentially across different export markets, to Neighbours’s success in many countries of the world. Its wholesome neighborliness, its cosy everyday ethos would appear to be eminently exportable. However, lest it be imagined that Neighbours has universal popularity or even comprehensibility, there remain some 150 countries to which it has not been exported, and many in which its notions of kinship systems, gender relations, and cultural spaces would appear most odd. The non-universality of western kinship relations, for example, is clearly evidenced in Elihu Katz and Tamar Liebes’s comparison of Israeli and Arab readings of Dallas (Katz and Leibes 1986). And, indeed, there are two familiar territories to be considered later – the USA and France – in which it has been screened and failed. Significantly, the countries screening Neighbours are mostly anglophone and well familiar with British, if not also with Australian soaps. But why does Neighbours appeal so forcibly in the UK? In the UK market, I suggest, five institutional and cultural preconditions enabled Neighbours’s phenomenal success. Some of these considerations are, of course, the sine qua non of Neighbours even being seen on UK television. The first precondition was its price, reportedly A$54,000 per show for two screenings; with EastEnders costing A$80,000 per episode, Neighbours was well worth a gamble (Kingsley 1989: 241). Scheduling, too, was vital to Neighbours’s success. This has two dimensions. Neighbours was the first program on UK television ever to be stripped over five weekdays (Patterson 1992). BBC Daytime Television, taking off under Roger Loughton in 1986, while Michael Grade was Programme Controller, was so bold in this as to incur the chagrin of commercial." In To Be Continued..., 112. Routledge, 2002. http://dx.doi.org/10.4324/9780203131855-14.

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Conference papers on the topic "Public television Australia"

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

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

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Cunningham, Stuart, Marion McCutcheon, Greg Hearn, Mark Ryan, and Christy Collis. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Sunshine Coast. Queensland University of Technology, December 2020. http://dx.doi.org/10.5204/rep.eprints.136822.

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