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History of Australian TV Conference GUIDE

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History of Australian TV Conference GUIDE 3 days Your complete viewing guide 8-10 December 2005 History of Australian TV conference GUIDE Graeme Blundell Ted Thomas and more…. Proudly brought to you by: The National Film and Sound Archive History of Australian Television Conference Abstracts 2 CONTENTS Ted Thomas Keynote speaker December 8 Graeme Blundell Keynote speaker December 9 Ien Ang (UWS) and Gay Hawkins (UNSW) Inventing SBS 4 Stephen Atkinson (University of SA) A rumble in the Great Australian Silence: Whiplash and the telling of the Australian frontier 4 Rozzi Bazzani (freelance and Herald Sun Melbourne) "TV cops take the running" 5 Frances Bonner (UQ) A familiar face: the consequences of a long career on-screen 6 Wendy Borchers (ABC archivist) The evolution of ABC arts & entertainment: the first ten years 8 Robert Crawford (Monash University) Changing the face of advertising: Australia’s advertising industry in the Early days of television 8 John Hartley, Joshua Green and Jean Burgess (QUT) 'Laughs and Legends,' or the furniture that glows? Television as History 9 Chris Healy (University of Melbourne) Alcheringa: invisible Aborigines on TV 10 Nick Herd (UTS) The historical analysis of commercial television as a cultural industry: the case of the third licence in Sydney and Melbourne 1964-72 11 Jason Jacobs (Griffith University) The ABC's early television drama 11 Chris Lawe-Davies (UQ) and Jason Sternberg (QUT) The spaces and places of audience research in commercial and 12 public service television Alan McKee and Andrew King (QUT) The secret life of Indigenous sex on Australian television drama 12 History of Australian Television Conference Abstracts 3 Ailsa McPherson (freelance researcher) A view of times past in Australian television drama 13 Barbara Masel (freelance writer and film maker) Television and memory 13 Tom O’Regan (UQ) Too much television? Television’s middle period 1966-1986 15 Sue Turnbull and Felicity Collins (La Trobe University) ABC television comedy and the life of the nation 16 History of Australian Television Conference Abstracts 4 Ien Ang (UWS) and Gay Hawkins (UNSW) Inventing SBS While SBS Radio drew on community radio as a reference point, SBS television had no examples to work with. It had to be invented on the run without a clear philosophy of what multicultural television might be. Rather than trace the series of policies and events that led to the first SBS television broadcast in October 1980, this paper investigates two programming choices made in the earliest days of the service and their significant impacts. In deciding to use subtitles rather than dubbing SBS television became the first place in Australian TV where languages other than English were heard extensively on air. In deciding to build a news service using mainly international material from foreign feeds Worldwide News, as it was then called, presented an immediate challenge to the parochialism of other TV news services. These two decisions had important repercussions that signalled the significance of television in enhancing cultural democracy. Subtitles and foreign news not only extended the density of public culture but also pluralist and cosmopolitan imaginations – not just in audiences but in other media. The Project Team: Associate Professor Gay Hawkins, Professor Ien Ang, Lamia Dabboussy Stephen Atkinson ( University of SA) A rumble in the Great Australian Silence: Whiplash and the telling of the Australian frontier Whiplash (first screened 1961), a co-production of Australia’s Artransa Park Studios and Britain’s ATV, is now largely forgotten but it was Australia’s first western and the first series to portray the contact zone between settlers and Aborigines along the frontier. Although set in 1850s Australia, the casting of American actor Peter Graves in the starring role and the involvement of American crews and writers prompted many to dismiss it as a ‘westernisation’ of Australian history and evidence of Australia’s political and cultural dependency. Yet the gun smoke, tumble weed and familiar narrative conventions of the western also contributed to a defamiliarised view of colonial history that had ramifications for the national psyche of late Menzies era History of Australian Television Conference Abstracts 5 Australia. This paper looks more closely at the political and cultural context of the early 1960s, and compares this with Whiplash’s often ambiguous rendering of Aboriginality and the processes of settlement, assimilation and dispossession. Rozzi Bazzani "TV cops take the running" Hector Crawford towers over TV in Australia like no other figure. How television upstaged cinema in showing Australians to themselves is a fascinating story. It’s Crawford’s story. And without it, would have been fifty very different years of Australian television. When Homicide, a black and white police drama filmed on the streets of Melbourne was shown on TV in 1964, it stormed the ratings. Australians saw themselves for the first time in an art form that had not hitherto existed. It marked the beginning of a new era in Australian screen history. In a uniquely Australian take on the purpose of television vis a vis nationalistic traditions in cinema, Crawford produced action drama starting with Homicide, grabbed a new audience of urban Australians and gave visual meaning to the term "Australian way of life." Crawford characters didn’t inhabit the cinematic outback world of Ned Kelly, The Light Horseman or Jedda, they lived in gritty suburban cities. Crawford dramas didn’t treat TV as an advertising eye in people’s lounge rooms, they found a way to reflect ordinary people. It took Hector Crawford 7 years to convince HSV7 to commission Homicide. It was 7 years of tenacious lobbying and steadfast belief in the unifying effect of an Australian voice on TV. My paper will focus on the society that allowed Crawford to exist. What conditions led to a champion of TV. How Crawford broke through with drama. How the success History of Australian Television Conference Abstracts 6 of TV drama informed debates over Australian content and resuscitated Australian film. Rozzi Bazzani was born in Bendigo Victoria, and was a successful singer for many years before the lure of writing led her back to complete a BA at Melbourne University. A weekly arts program on Melbourne commercial radio was followed by two years writing a regular feature for the Herald Sun, where she is still a contributor. Rozzi hosted 200 episodes of a TV program Time of Your Life for RTV. She is currently writing a biography of Hector Crawford. Frances Bonner (UQ) A familiar face: the consequences of a long career on-screen This paper uses the career of Maggie Tabberer to explore the role of the presenter in Australian television, looking especially at presenters who have maintained a substantial career in the medium. It is a multi-pronged investigation which also calls on three other female presenters, Denise Drysdale, Noni Hazelhurst and Keri Anne Kennerley to elucidate particular aspects and provide a better basis for arguing the general rather than the individual case. The first dimension considers the double articulation of the sociability of television. Presenters are the most significant locus of this as they display sociability in their interactions with others on screen, but are also important in the off-screen exhibitions of televisually-based sociability as viewers use material gleaned from television, and from other media discussing television, in their sociable interactions with one another. When presenters have long careers, the amount of information (including opinions and gossip) about them in the public domain becomes considerable. The second dimension is that of celebrity. Given that Maggie Tabberer’s career on television started in the 1964, she provides a valuable case study of changes in the operation of celebrity over most of the time that television has operated in Australia. The third dimension concerns demographic characteristics and the way in which presenters facilitate a range of discussions about identity. Gender, age and class are all significant here. Given the absence of a racially marked presenter with a long career, this aspect will not be able to be investigated all that much, although whiteness will History of Australian Television Conference Abstracts 7 be able to be interrogated, especially through the significance at the time of Tabberer’s second husband Ettore Prossimo being Italian. Denise Drysdale has a television career at least as long as Tabberer’s and like her has two Gold Logies. Unlike Tabberer’s unwavering middle-classness, Drysdale has consistently deployed a working class persona. She also had minimal if any celebrity status in the early years of her career. Kerri-Anne Kennerley is somewhat younger and has a shorter career, but provides a valuable comparison in terms of the critical reception of a presenter (there has never been a time when it was culturally acceptable for a middle class or an educated audience to admire her work or her persona). Noni Hazelhursts importance for this study is primarily because she, like Tabberer, presented a lifestyle program with her husband, in the course or following which both the professional and personal partnerships broke up. Such events provide highly valuable opportunities to investigate the extent of the collapse of public/private distinctions for presenters. It is a convention of television criticism that female faces are only valued on television while they are young. There is considerable evidence in support of this, but that makes it all the more valuable to investigate instances when it appears less evident (while noting Drysdale and Hazelhurst are not currently appearing, and Tabberer herself is seen very occasionally). How has it been possible in the more recent period for them to delay their departure? In case it needs to be discussed why the focus here is on women presenters, it is a matter of redress or starting to fill the larger gap.
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