Australia’sAustralia’s FirstFirst Superstar SuperStar
A STUDY GUIDE by ROGER STITSON
http://www.metromagazine.com.au
http://www.theeducationshop.com.au
PRESS KIT
Written and Directed by: Stephen Oliver
Producers: Andrew Ogilvie and Andrea Quesnelle
Executive Producers: Andrew Ogilvie and Phil Craig
Electric Pictures Brook Lapping Productions 33 Canning Highway 6 Anglers Lane East Fremantle, WA 6158 London, NW5 3DG UK Tel: +61 8 9339 1133 Tel: +44 207 428 3104 Fax: +61 8 9339 1183 Fax: +44 207 284 0626 [email protected]
© 2009 Electric Pictures Pty Ltd, Brook Lapping Productions Limited, Screen Australia, ScreenWest Inc., Australian Broadcasting Corporation.
Check out what Skippy’s up to on Twitter: http://twitter.com/Skippyherself
- 1 -
Australia’sAustralia’s First First Superstar SuperStar
Synopsis Curriculum links during the 1950s and early 1960s? A great deal of Australian-produced The film explores howSkippy was cre- This study guide is mainly aimed at mid- television of that era was screened di- ated in the cultural wasteland of 1960s dle and upper secondary school levels, rect to air. What were the reasons for Australia and importantly, how it came to with relevance to English, Media Studies, this? The Skippy documentary claims represent an entire nation for millions of History, SOSE/HSIE, Ethics, Psychology, that the vast bulk of programming viewers around the world. Personal and Interpersonal Development. was American. Is this an accurate claim, and if so, why was it so? As well as key moments from the series Background and unseen footage from behind the • Skippy the Bush Kangaroo began scenes, the film features interviews Before looking at the central themes and production in 1967, with the last of with key cast and crew, including Garry issues raised in Skippy: Australia’s First its ninety-one episodes filmed in Pankhurst (who played Sonny Hammond Superstar, we should examine some 1969. What was the general state of in the series) who talks for the first time historical details surrounding the 1960s Australian television production dur- of his experiences as the one-time most television series it celebrates, Skippy the ing those years? Carry out research famous kid in the world. There is also a Bush Kangaroo. then discuss in class whether other world exclusive interview with Skippy television drama series were being herself, whose sardonic wit and linger- Australian television production produced in Australia around 1967, ing ego make for revealing, and at times in the 1950s–1960s particularly those aimed at a general controversial viewing. ‘family’ audience and for children. If • As we see early in the program, there were any, what was the ex- Skippy: Australia’s First SuperstarPRESS also television KIT broadcasting to the general tent of their popularity? Were they pays an appropriate homage to the every Australian public began in September exported to other countries? How day members of the public who enjoyed 1956. Look at examples of television many episodes of any series were the show each week,Written by talking and to themDirected by:programming Stephen schedules Oliver from the era. produced? Were they all screened in in the street about their memories and What kinds of programs were shown Australia? Discuss the main problems stories of Skippy,Producers: and discovers Andrew why the Ogilvie inand the earlyAndrea years ofQuesnelle Australian televi - any potential Australian producer of
show holdsExecutive such a special Producers: place in the Andrewsion? Ogilvie Was programming and Phil substantially Craig television drama (and cinema) was hearts of so many. the same or different from what we likely to experience during the Skippy SCREEN EDUCATION would view on free-to-air television era, such as costs, funding, finding (Synopsis from the press kit of Skippy: today in Australia? Were any Austral- a market, and industry experience in Australia’s First Superstar.) ian dramas produced and screened terms of crew, writers, etc.
2
Electric Pictures Brook Lapping Productions 33 Canning Highway 6 Anglers Lane East Fremantle, WA 6158 London, NW5 3DG UK Tel: +61 8 9339 1133 Tel: +44 207 428 3104 Fax: +61 8 9339 1183 Fax: +44 207 284 0626 [email protected]
© 2009 Electric Pictures Pty Ltd, Brook Lapping Productions Limited, Screen Australia, ScreenWest Inc., Australian Broadcasting Corporation.
Check out what Skippy’s up to on Twitter: http://twitter.com/Skippyherself
- 1 - The ‘players’
Carry out the following activities on some of the participants appearing in the program:
Selected participants
• Discuss in class, then write your own commentary on the importance to our understanding of Skippy: Aus- tralia’s First Superstar, of the following participants – and, where relevant, include their relationships or connec- Flipper cultural landscape. In 1967, the same tions to each other. year in which Skippy began produc- o Lee Robinson • We are informed during the program tion, an important federal referendum o Garry Pankhurst that the main inspiration behind was held in which the Australian o John McCallum the entire Skippy concept was the voting public was asked to respond o Jill Robb popular American television light- to questions about the Indigenous o Sue Milliken drama series, Flipper, which was populace. o Tony Bonner first screened in the USA in 1964. o Germaine Greer Research the history of Flipper, then Research then write a history-based o Lisa Goddard write a short commentary about the commentary about the referendum. o Graham Shirley series, explaining what it was mainly For example, what were the circum- about, who the central characters stances that led to it? Why was the Lee Robinson were, and where the series was set. referendum held? What were the Who was the series aimed at, and questions Australian citizens were • Lee Robinson is not well known to the why was it popular? Explain whether asked to vote on, and what was the general Australian public, but he had the stories and characterisations were wider significance of those ques- a major influence on the Australian realistic or not. Why do you think Lee tions? Explain the outcome of the film industry of the 1940s and 1950s, Robinson, the producer and creator referendum, and what it eventually led at a time when very few Australian of Skippy, decided to use Flipper as to in terms of Aboriginal citizenship. films were made. Those films that the basis for his own series? were produced were created under • Following from the previous activity, enormous funding, budgetary and 1967 Referendum imagine you are one of the Skippy distribution difficulties. scriptwriters. Plan and write your own • Towards the end of the program we story summary-outline for an episode In pairs, carry out research on Lee are told that Lee Robinson produced in which Indigenous issues, or the Robinson’s career in film and televi- episodes of Skippy that tackled sto- lives of Indigenous people, figure sion as producer, director and writer, ries about Australian Aborigines, dur- prominently. (If you haven’t done so then create a double-page magazine SCREEN EDUCATION ing the same era that issues relating already, you may want to preview spread or a web page designed to to Aboriginal rights and land owner- some episodes of Skippy before writ- enlighten a school-aged audience ship were becoming very important ing your outline, in order to acquaint of his achievements. Ensure you in the general Australian political and yourself with the series milieu.) format your presentation for print or 3 web. Include captioned illustrations, photos and film stills as appropriate. (See ‘Lee Robinson’ in website refer- ences.)
• As though you were someone in Robinson’s position, write a letter to a friend expressing your views about the Australian filmmaking industry in the 1950s, especially knowing that Pankhurst’s participation in Skippy Skippy – the production television is soon coming to Australia. the Bush Kangaroo. How and why Considering that few resident Austral- was he chosen for the leading child Initiating any huge undertaking often ians are experienced in any field of role? How old was he during the requires taking risks, especially in finance endeavour within the television indus- filming of the series, and what ef- outlays and time, plus a great deal of me- try, would you show concern about fect did this have on his schooling ticulous planning, with little to sustain you this, or excitement and confidence? and formal education? Discuss the in the belief that it will all be a success, possible effect on someone such especially in the fickle area of the enter- John McCallum as Garry of more-or-less living in an tainment industry, creative storytelling, adult’s world rather than at home and and finding a captive audience. In this • Research and write a short account in a ‘normal’ school environment with respect, the attempt to get Skippy the of John McCallum’s experiences in children his own age. Explain what Bush Kangaroo ‘off the ground’ is a case film, television and the stage, both in happened to his film/television career study of sorts, where executive reputa- Australia and elsewhere. (See book when Skippy ceased production in tions may be won or lost, and careers references and ‘John McCallum’ in 1969. Also include your impressions enhanced or ruined. website references.) of suddenly seeing a child actor from the past who is now many decades The concept Jill Robb and Sue Milliken older. What does it tell you about the unstoppable passing of time, and • From the program, discuss in class • Research and write an account of the how people change in various ways? why Lee Robinson thought it neces- roles Jill Robb and Sue Milliken have sary to visit the USA in the 1960s played in the Australian film and tel- • Write a collection of personal diary to carry out ‘reconnaissance’ for evision industry over the years since entries from the viewpoint of a child producing a television series. Why did Skippy the Bush Kangaroo. From actor such as Garry Pankhurst, who he choose a kangaroo as the central researching their activities, comment suddenly realises that the successful subject for the series? What does on whether women succeeding in the series in which he stars is about to Jill Robb mean, early in the program, industry have been, and perhaps still end. when she refers to the kangaroo are, at a disadvantage in comparison as an ‘icon’, and that Robinson’s to men in the same industry. (See • Following from the previous activity, choice of animal for the starring role website references for ‘Jill Robb’ and you are the same person as a grown was a ‘brilliant marketing idea’? On ‘Sue Milliken’. adult many decades later. Now write the other hand, why did Robinson another diary entry looking back not believe that a series featuring a SCREEN EDUCATION Garry Pankhurst to your past glory days. Consider kangaroo should be made for Austral- carefully the range of impressions, ian audiences, but rather, should be • Research then discuss in class and thoughts and emotions you may be aimed at the American market? write a short commentary on Garry experiencing. 4 short theme song for a pilot television episode where a central character is a kookaburra, koala or a bilby. The animal interacts with a human fam- ily, and they experience adventures • Plan and create an illustrated poster consider Skippy the Bush Kangaroo where all turns out well, and crime presenting the kangaroo as an icon to be anthropomorphic. Why do you never pays. The program is rated for either of Australian culture, history, think human beings have always had family entertainment. In small groups development, way of life, or aspira- a tendency to invent or even believe or pairs, choose a ‘catchy’ name for tions for the future. Consider how you in the reality of anthropomorphism in the central character, which could will use image, angle and viewpoint, their mythologies, religions, arts and also serve for the show’s title, and colour, text, sizing and placement for storytellings? (For more on anthro- then set about composing a short the best effect. pomorphism as presented in Skippy: theme song, with tune and words Australia’s First Superstar, see the for a verse or two. You may need to • Discuss then write a commentary Media Studies section.) practice and write a few drafts before on whether there is a place in the you arrive at the version you think is Australian television scene for a new • Plan and write an anthropomorphic best. Sing your theme song to the live-action family-oriented series short fiction story in which a kooka- class; include musical instruments as today, featuring an indigenous animal burra features. Will you include accompaniment if possible. as a central character interacting with humans in the story? You may wish humans. Would a dingo be appropri- to aim your story at children, and • During the program, Jill Robb – As- ate? What about a Tasmanian devil, to include illustrations. Alternatively sociate Producer of Skippy – says of wombat, koala, platypus, goanna, you may decide to work in pairs to her experience, ‘The pilot episode emu, bandicoot, potoroo, kookaburra, present your story in comic strip form. was hilarious, traumatic, terrifying, bilby, etc.? Explain your reasons as to exhausting … I remember thinking, whether such a series, and a choice Pilot episode “Christ, if every episode’s going to be of animal, would be viable or not. like this, I’m going to be worn out.”’ • We are informed in the program that Animals with human before Skippy went into production as Elaborate on Jill’s words by imagining a series, a pilot episode was planned. yourself in her situation, attempting characteristics: Discuss in class the purpose of a pilot to control the production process. anthropomorphism episode. Plan and write a selection of personal diary entries that capture her day-to- • Define in class and make notes on • From the program, account for the day, or even hour-to-hour experience. the meaning of ‘anthropomorphism’. initial qualities and characteristics Alternatively write a personal letter to What are the characteristics of an- that the producers of Skippy were a friend or relative about it. thropomorphism? Make a list of some looking for, in the making of a pilot films, television and radio programs, episode. Consider, for example, the • The pilot episode of Skippy was novels, short stories, poems, plays role of composer Eric Jupp. Research screened to ‘media mogul’ Sir Frank and comic books that have fea- then write a 200-word biographical Packer. Why? What were the produc- SCREEN EDUCATION tured anthropomorphic non-human commentary on Jupp’s career. ers hoping to achieve from this? From creatures as important characters. the program and further research, Discuss the ways in which you might • You have been asked to compose a write a commentary about Packer
5 and his place, power and influence in the Australian mass media scene of newspaper and magazine publishing, and television broadcasting ownership.
• Following from the previous activity, the event of screening the Skippy pilot to Sir Frank Packer, as described purpose of such a ‘bible’, or narrative whether the animals properly trained during the program, could have been format. For example, do you think for what they were expected to do, played out as a farcical comedy this left the writers with any degree of and whether the actors were educat- where everything that could have freedom to experiment with sto- ed in how to handle the animals. (For gone wrong did go wrong. In small rylines, characters and themes? a wider look at this topic, see ‘Animal groups, using this as source material, cruelty’ in website references.) plan and write the script for a short • Working in pairs, plan and write a play where one party is desperately story outline for an episode of Skippy • Following the general discussion in trying to impress another party with that ‘breaks the mould’ in at least the previous activity, comment and the object of gaining backing to fur- one of the requirements of Robin- express reasons as to whether the ther a grand project. son’s ‘bible’. Assuming it were filmed issue of animal cruelty should enter and screened, what do you think the debate on this topic. For example, Consider the types of character roles the reaction of some in the viewing you may wish to discuss the incident required, the power balance among public might be? In about 50–100 where whisky was fed to an emu. them, the types of conflict situations words, write a brief letter to the editor Find out what the laws are today, and stresses that might take place, responding to the episode, with the in Australia, in relation to the ways and the eventual outcome. Carry out aim for it to be published in the letters in which animals may be used and a play reading and refine the script as page of a television lift-out newspa- handled in the production of films and required. You may then wish to give per supplement. television programs. Do animal han- a reading to the class, or, if you plan dlers and trainers, for example, need your play scene(s) for sound only, Animals on the set to obtain strictly regulated licences after rehearsals and revisions you for this kind of work? may want to record the reading per- • From viewing the program, discuss formance to upload to your school’s in class then write your own com- • From what you have researched in intranet for podcasting. mentary on the special problems, the previous activity, plan and con- requirements, necessities and issues struct an illustrated two-page maga- The ‘writer’s bible’ arising from having animals playing zine spread aimed at young teenag- important roles on the set of any large ers about using animals in films and • The program’s narrator tells us that production such as the Skippy series. television programs both now and in with 39 episodes required to be Why were many ‘Skippys’ required the past. You may draw information filmed for the first series, ‘Lee Rob- on the set? Why was the main Skippy from particular episodes of Skippy inson set out the Skippy philosophy animal usually required for close-up and from the documentary program SCREEN EDUCATION in a writer’s bible’. In class, make a camera shots constantly kept in a itself. Ensure you look at whether list of the requirements that all of the hessian bag on the set? Elaborate on the industry is more regulated than Skippy scriptwriters had to adhere the problems some of the actors had it used to be. Offer judgements and to, then discuss the general, overall with handling the animals. Explain recommendations as to whether there 6 is room for improvement in terms of The final days animal welfare. Include genuine or mock (i.e. fabricated) interviews with • Discuss in class the range of rea- filmmakers, actors, trainers, animal sons for why the Skippy series finally rights lobby groups. Format your ceased production in September presentation using desktop publish- 1969. What are the essential prob- ing software. lems inevitably surrounding a popular film or television series featuring child Male and female roles actors, and is there an acceptable way of overcoming these problems? • Discuss in class why no female roles Merchandising (for human actors) were introduced • Imagine that you are a young Skippy into the Skippy series until Episode fan who has just discovered there will • From the program, discuss in class 9. Either from the program or from be no more new episodes of his/her and write your own commentary on viewing any of the Skippy episodes favourite program screened on televi- the extent of ‘spin-off’ merchandis- themselves, write your own commen- sion. Write a letter to the producers, ing arising from the Skippy television tary on the ways in which girls and or to one of the stars of the series, series, and the purpose of this. Who women were presented in Skippy. expressing your feelings and explain- benefits most from this form of pro- Compare or contrast these to the ing what the show has meant to you. motion and marketing? Is this form roles generally portrayed by the boys Will you be worried about what might of promotion and selling good for and men. Consider, for example, the become of the kangaroo star herself? children and their parents? ways in which males and females Write an answering letter. behaved and interacted with each • Write a commentary on today’s other and related to the environment merchandising and promotion of around them. Were roles stereotypi- Further topics arising from pop media products such as movies, cally and traditionally gender-based? the program television shows and music albums, Discuss whether the term ‘sexist’ and their links to other products such applies or not. Provide examples to There are a number of other issues aris- as soft drinks, fast food, and even support your views. (For activities on ing from a viewing of Skippy: Australia’s products such as school bags. How the topic of ‘Sexism on the set’, see First Superstar that we should highlight, widespread or even pervasive is it? the section on ‘Further topics arising such as: the beginnings of pop merchan- Describe some recent examples. from the program’.) dising of interconnected brand products What effect might this type of market- in Australia; images of the Australian way ing have on ‘captive’ or vulnerable • In pairs, devise an episode outline of life exported to worldwide audiences; audiences such as children? Are that overturns or reverses the way in the laws and attitudes relating to sexism there, or should there be, laws to which females were presented in the and sexual harassment in the workplace; govern the widespread promotion Skippy series. Alternatively, select and the arguments raised in the pro- of pop products aimed at children? an existing scene (perhaps from the gram as to whether children could be (For more on setting standards of SCREEN EDUCATION examples presented in the program) psychologically ‘damaged’ by exposure children’s television programming, and rewrite it to convey any one of to programs such as Skippy the Bush see ‘Australian Children’s Television the female roles in a less traditional or Kangaroo. Foundation’ in website references.) stereotypical way. 7 • In pairs or small groups, invent a • Imagine a new series of Skippy which sexist behaviour on a film set is Skippy board or card game. Formu- were to be produced today. In small an important and critical thematic ele- late the rules and characteristics of groups, plan and devise an outline ment. In other words you are to write the game, construct the game, then for a short promotional advertisement a story whose agenda is to present test and refine it using a group of about the Australian series, aimed a message, without overtly stating it participants. Ensure you incorporate a specifically for an international televi- as a message, that certain aspects of sense or ‘feel’ that captures the gen- sion audience looking for something behaviour on the set may be consid- eral concept of Skippy as a family- attractive and different from what they ered out of place. You may present orientated show. When ready, allow are used to seeing in their own coun- the story as comedy or drama, and other members of the class to play try or locality on the other side of the from any narrative viewpoint. your game. (An alternative, for those world. You may wish to include some with computer programming skills, rough storyboard illustrations as to may be to create a computer game.) what might be contained in camera Skippy and the ‘real world’ shots, plus snatches of scripted of animals and children Exporting of Australiana dialogue or voiceover promotional comment. • During the program we discover that • A woman interviewed about her child- Swedish child psychologists con- hood memories of watching the Skip- • Create a travel poster for Waratah Na- sidered that the Skippy series was py series on British television remarks tional Park, Skippy’s fictional home. not suitable to be screened in their during the program that, ‘Skippy was country. What was their argument a good advert for Australia’. Another Sexism on the set about this? Why do you think they says that, ‘… it might have been what considered there was an essential influenced me to come to Australia’. • From what you have seen in the difference between what children see Germaine Greer refers to her home- program, discuss in class the way in live-action stories and what they sickness on watching Skippy. Discuss in which female crew and production see in cartoons? Discuss in class in class then write your own com- staff were regarded on the Skippy whether you think there is any valid- mentary on the kinds of images they set. Why do you think this situation ity in their viewpoint. Should young, were seeing that seemed to typify a took place? Write a commentary on impressionable children be exposed vision of the ‘real’ Australia. In what whether Australia’s current laws on to live-action stories that create a emotional and practical sense was sexism and sexual harassment allow or fanciful and unrealistic impression of Skippy a ‘good advert for Australia’? forbid the types of attitude and behav- animal behaviour, intelligence and ca- Are these images entirely mythologi- iour referred to in the program, such pabilities? How would you handle this cal and merely constructed through as the use of a movie camera to film ethical and psychological problem? SCREEN EDUCATION fiction and the camera? Compare to co-workers without their knowledge. Express your opinions in a newspaper your own vision of what ‘Australia’ editorial column. (For more on this means as a concept or state of mind. • Based on the events depicted in the topic, see the Media Studies section.) program, write a short fiction story in 8 • Plan and write a short story in which necessary? Do they add to our under- a child discovers that ‘Skippy’ in real standing and appreciation of the life is a ‘normal’ kangaroo. program and of our knowledge of the Skippy series and the range of per- • Following from the previous activity, sonalities involved? Provide examples comment on the situation in Skippy from the program to support your that Germaine Greer considers to be views. the more important problem Swedish child psychologists should have been • Following from the previous activity, concerned about. Consider possible carefully view the sequence involving changes to the series that might have two Swedish psychologists. Discuss been incorporated to resolve this whether you would consider this a problem. ‘re-enactment’ or not, and whether the filmmakers are taking the content of the sequence seriously. What, in • Comment on the program as a MEDIA STUDIES fact, is the program’s attitude to the ‘nostalgia piece’. What is the pro- psychologists’ opinions? Consider, gram’s intended audience? Explain Carry out the following activities. for example, the way the scene is your impressions with examples from presented, the editing, the style of the program. Also explain whether • In class, discuss the title of the shots and choice of camera angles, you think the subject matter of the program: Skippy: Australia’s First Su- the choice of colour background program is of interest and value to a perstar. What does the title convey to décor and the behaviour of the actors young audience who were not born us? Is there any historical truth to the on-screen. when Skippy was first screened title, or is it merely a ‘catchy’ phrase? many decades ago. What is your own What, in fact, is a superstar? Explain • Analyse the range of roles of the view of the program? Did you learn what the term ‘superstar’ incorpo- voice-over narrator (voiced by Magda anything from it? Was it educational, rates, with examples from around Szubanski), providing examples from informative and entertaining? us. For example, Borat and Dame the program. Discuss whether the Edna Everage are not real persons narrator’s presence is intrusive or not, • Write an entertainment-based, in- – therefore should they be consid- or even necessary. formative review in 350–400 words of ered as genuine superstars? Create Skippy: Australia’s First Superstar for an alternative title for the program, • In what ways does Skippy: Australia’s a weekly television magazine. and explain the thinking behind your First Superstar draw on anthropomor- choice. phic characteristics and behaviour in • Create a promotional display poster its own documentary presentation? of the program, with text and illustra- • Why do you think many scenes dur- Discuss the purpose and effective- tion, designed to catch the attention ing the program are framed around ness of this, especially in regard to its of the television-viewing public. Con- the edge of the screen by an old inclusion of mock interview material sider the way the promotion will be analogue television set? involving the unseen narrator. (Note presented: will you be aiming at the SCREEN EDUCATION that there is further discussion on an- older ‘nostalgia’ group or the younger • Write a commentary on the pur- thropomorphism in the section titled market? pose of dramatised re-enactments ‘Skippy – the Production’.) throughout the program. Are they 9 References and further resources Film and television Jill Robb:
Books, journals Babe (Chris Noonan, 1995), Universal.
Gail F. Melson, Why the Wild Things Are: Sue Milliken: Skippy Twitter: Animals in the Lives of Children, Harvard University Press, Cambridge, MA, 2001.
Roger Stitson is a freelance writer and a SCREEN EDUCATION former secondary teacher with an M.Ed. in media and literature studies. •
10 This study guide was produced by ATOM. (© ATOM 2009) [email protected] For more information on Screen Education magazine, or to download other study guides for assessment, visit