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Статті в журналах з теми "Public television Australia"
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.
Повний текст джерелаGoldsmith, 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.
Повний текст джерелаMencinsky, 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.
Повний текст джерелаRutherford, 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.
Повний текст джерелаRando, 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.
Повний текст джерелаNobes, 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.
Повний текст джерелаTafler, 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.
Повний текст джерелаDrew, 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.
Повний текст джерелаBrennan, 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.
Повний текст джерелаHorsfield, 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.
Повний текст джерелаДисертації з теми "Public television Australia"
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.
Повний текст джерелаKeys, 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.
Повний текст джерелаMahboob, 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.
Повний текст джерелаHarrington, 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.
Повний текст джерелаHarrington, Stephen Matthew. "Public knowledge beyond journalism : infotainment, satire and Australian television." Queensland University of Technology, 2009. http://eprints.qut.edu.au/26675/.
Повний текст джерелаDavies, 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.
Повний текст джерелаRadcliffe, 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.
Повний текст джерелаGee, 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.
Повний текст джерелаMcDonough, 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.
Повний текст джерелаThesis (BHlthSc(Hons)) -- University of Adelaide, School of Public Health, 2016
Книги з теми "Public television Australia"
Creativity, Culture and Commerce: Producing Australian Children's Television with Public Value. Bristol: Intellect, 2015.
Знайти повний текст джерелаThe new machine men: Polls and persuasion in Australian politics. Ringwood, Vic., Australia: Penguin Books, 1986.
Знайти повний текст джерелаTakahashi, Bruno, and Alejandra Martinez. Climate Change Communication in Peru. Oxford University Press, 2017. http://dx.doi.org/10.1093/acrefore/9780190228620.013.574.
Повний текст джерелаЧастини книг з теми "Public television Australia"
"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.
Повний текст джерела"“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.
Повний текст джерелаDay, 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.
Повний текст джерелаBackhouse, 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.
Повний текст джерелаWilliams, 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.
Повний текст джерела"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.
Повний текст джерела"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.
Повний текст джерелаТези доповідей конференцій з теми "Public television Australia"
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.
Повний текст джерелаЗвіти організацій з теми "Public television Australia"
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.
Повний текст джерела