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Stephen Harrington Thesis
PUBLIC KNOWLEDGE BEYOND JOURNALISM: INFOTAINMENT, SATIRE AND AUSTRALIAN TELEVISION STEPHEN HARRINGTON BCI(Media&Comm), BCI(Hons)(MediaSt) Submitted April, 2009 For the degree of Doctor of Philosophy Creative Industries Faculty Queensland University of Technology, Australia 1 2 STATEMENT OF ORIGINAL AUTHORSHIP The work contained in this thesis has not been previously submitted to meet requirements for an award at this or any other higher education institution. To the best of my knowledge and belief, the thesis contains no material previously published or written by another person, except where due reference is made. _____________________________________________ Stephen Matthew Harrington Date: 3 4 ABSTRACT 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. -
SSH – October 2007
VOLUME ONE NUMBER FIFTY-FIVE OCTOBER’07 CIRCULATION 22,000 ALEXANDRIA BEACONSFIELD CHIPPENDALE DARLINGTON ERSKINEVILLE KINGS CROSS NEWTOWN PADDINGTON REDFERN SURRY HILLS WATERLOO WOOLLOOMOOLOO ZETLAND WRAPPED THE BEST WITH LOVE BURGERS Local charity celebrates 15 years of good service IN TOWN PAGE 6 The Review PAGE 9 Emily, Charles Firth and Nick at Darlington Newsagency Photo: Ali Blogg Manic Times surprises Most people would recognise Charles Firth as one of the original reporters on Over-reaction? CNNNN and the Election Chaser. And while he remains the Chaser’s War Riot police on Sydney streets Photo: Lisa Hogben on Everything US correspondent, he has returned to Australia as Editor in Chief of Sydney’s newest rag, the Manic Times. If you expect the paper to be more satirical stories from the wayward Firth and friends, then you will be Nicholas McCallum McKinley, Urban Guerrillas’ Ken and the Philippines. Stewart and Iraq Veterans Against Whilst one man was arrested pleasantly surprised. It would seem that the only the War and former US Marine Matt for squirting sauce upon the conclusions to draw from the Howard speaking out against the war pro-American banner, many in Nicholas McCallum the way of gonzo [journalism] in APEC Summit are that when and APEC. the crowd were perplexed as to why Australia,” Firth said, “We’d like to Sydney protests it does so The protest was proceeding the NSW police would permit two After spending the last two years have one 5000 word gonzo piece peacefully and that NSW police peacefully with many questioning demonstrations with opposing views in the States writing his first book, every issue.” are still getting it wrong when the need for such a heavy police to come into such close quarters. -
The Chaser's Media Circus
ABC TV Media Release ABC ANNOUNCES PLAN TO REPLACE THE CHASER’S MEDIA CIRCUS WITH CAT VIDEOS ABC TV management has confirmed it hopes to replace the second series of The Chaser’s Media Circus with cat videos. “As soon as we can find enough left wing cats who instinctively hate Australia, they’ll be replaced,” said an ABC representative. Media Circus – the game show about the news game hosted by Craig Reucassel with Fake Fact Checker Chas Licciardello – returns to ABC on Thursday 10 September at 8pm. It is produced by the creative team behind The Chaser and The Checkout, including Ben Jenkins, Zoë Norton Lodge, Scott Abbot, Andrew Hansen and Julian Morrow. ABC management confirmed that for the second series the show has been moved out of the news division to allow it to be more biased and have less rigorous vetting of the studio audience. Filmed in front of a live audience each week shortly before broadcast, The Chaser’s Media Circus brings together journalists and comedians to dissect the week’s news through a time- honoured technique of media criticism: the trivia quiz. Last year’s guests included George Negus, Senator Nick Xenophon, Lenore Taylor, Chris Kenny, Ellen Fanning, Tracey Spicer, Hugh Riminton, Peter Berner, Dave Hughes and Tom Gleeson, a number of whom have not yet refused to return for Series Two. The new series will also feature Media Circus first timers including Peter Greste and John Safran. Prime Minister Abbott has confirmed he will allow government front benchers to appear on the show. But the producers are lobbying him to have this decision reversed. -
Smart Cinema As Trans-Generic Mode: a Study of Industrial Transgression and Assimilation 1990-2005
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by DCU Online Research Access Service Smart cinema as trans-generic mode: a study of industrial transgression and assimilation 1990-2005 Laura Canning B.A., M.A. (Hons) This thesis is submitted to Dublin City University for the award of Ph.D in the Faculty of Humanities and Social Sciences. November 2013 School of Communications Supervisor: Dr. Pat Brereton 1 I hereby certify that that this material, which I now submit for assessment on the programme of study leading to the award of Ph.D is entirely my own work, and that I have exercised reasonable care to ensure that the work is original, and does not to the best of my knowledge breach any law of copyright, and has not been taken from the work of others save and to the extent that such work has been cited and acknowledged within the text of my work. Signed:_________________________________ (Candidate) ID No.: 58118276 Date: ________________ 2 Table of Contents Chapter One: Introduction p.6 Chapter Two: Literature Review p.27 Chapter Three: The industrial history of Smart cinema p.53 Chapter Four: Smart cinema, the auteur as commodity, and cult film p.82 Chapter Five: The Smart film, prestige, and ‘indie’ culture p.105 Chapter Six: Smart cinema and industrial categorisations p.137 Chapter Seven: ‘Double Coding’ and the Smart canon p.159 Chapter Eight: Smart inside and outside the system – two case studies p.210 Chapter Nine: Conclusions p.236 References and Bibliography p.259 3 Abstract Following from Sconce’s “Irony, nihilism, and the new American ‘smart’ film”, describing an American school of filmmaking that “survives (and at times thrives) at the symbolic and material intersection of ‘Hollywood’, the ‘indie’ scene and the vestiges of what cinephiles used to call ‘art films’” (Sconce, 2002, 351), I seek to link industrial and textual studies in order to explore Smart cinema as a transgeneric mode. -
Andrew Hansen
Andrew Hansen Comedian, musician, MC and The Chaser star Andrew Hansen is a comedian, pianist, guitarist, composer and vocalist as well as a writer and performer who is best known as a member of the Australian satirical team on ABC TV’s The Chaser. Andrew is very versatile on the corporate stage too. He can MC an event, give a custom-written comedy presentation or even compose and perform a song if inspired to do so. Andrew’s radio work includes shows on Triple M as well as composing and starring in the musical comedy series and ARIA Award winning album The Blow Parade (triple j, 2010). The Chaser’s TV shows include Media Circus (2014-15), The Hamster Wheel (2011-2013), Yes We Canberra! (2010), The Chaser’s War On Everything (2006-9), The Chaser Decides (2004, 2007) and CNNNN (2002-3). On the Seven network, Andrew produced The Unbelievable Truth (2012). He has also appeared as a guest on most Australian TV shows that have guests. In print he wrote for the humorous fortnightly newspaper The Chaser (1999-2005), eleven Chaser Annuals (Text Publishing, 2000-10), and for the recently launched Chaser Quarterly (2015). On stage Andrew composed and starred in the musical Dead Caesar (Sydney Theatre Company), did two national tours with The Chaser, and two live collaborations with Chris Taylor (One Man Show, 2014 and In Conversation with Lionel Corn, 2015). The Chaser team also runs a cool theatre in Sydney called Giant Dwarf. Andrew composed all The Chaser’s songs as well as the theme music for Media Circus and The Chaser’s War On Everything. -
How Ninja from Die Antwoord Performs South African White Masculinities Through the Digital Archive
ZEF AS PERFORMANCE ART ON THE ‘INTERWEB’: How Ninja from Die Antwoord performs South African white masculinities through the digital archive by Esther Alet Rossouw Submitted in fulfilment of the requirements of the degree MAGISTER ARTIUM in the Department of Drama Faculty of Humanities University of Pretoria Supervisor: Dr M Taub AUGUST 2015 1 ABSTRACT The experience of South African rap-rave group Die Antwoord’s digital archive of online videos is one that, in this study, is interpreted as performance art. This interpretation provides a reading of the character Ninja as a performance of South African white masculinities, which places Die Antwoord’s work within identity discourse. The resurgence of the discussion and practice of performance art in the past thirty years has led some observers to suggest that Die Antwoord’s questionable work may be performance art. This study investigates a reconfiguration of the notion of performance art in online video. This is done through an interrogation of notions of risk, a conceptual dimension of ideas, audience participation and digital liveness. The character Ninja performs notions of South African white masculinities in their music videos, interviews and short film Umshini Wam which raises questions of representation. Based on the critical reading of Die Antwoord’s online video performance art, this dissertation explores notions of Zef, freakery, the abject, new ethnicities, and racechanges, as related to the research field of whiteness, to interpret Ninja’s performance of whiteness. A gendered reading of Die Antwoord’s digital archive is used to determine how hegemonic masculinities are performed by Ninja. It is determined that through their parodic performance art, Die Antwoord creates a transformative intervention through which stagnant notions of South African white masculinity may be reconfigured. -
Humour and Colonialism Krebs CPSA Final Draft
Did you hear the one about…:Exclusionary Humour and Micropolitics Andreas Krebs Department of Political Science, University of Ottawa DRAFT – please do not cite or circulate without author’s permission Abstract Humour plays a central role in our daily lives, yet is rarely the object of research within political science. There has been a recent upsurge in humour that deals with controversial issues, such as race, gender, and sexual preference, mostly using irony in its approach. Comics such as Sarah Silverman, Dave Chappelle and Russell Peters participate in this resurgence. Much of the literature on the political ramifications of the use of ‘exclusionary humour’ – humour which has a racial, gendered, or other group as its target – claims that its use is by definition negative and against the political goals of equality for the groups targeted. According to these arguments, the use of such humour constitutes a micropolitical threat to state policies that work towards incorporation of minorities into the fabric of society, such as multiculturalism. However, I contend that certain forms of exclusionary humour have a far more ambivalent role in politics, and may work to subtly undermine inequality through making light of racism, sexism, and homophobia. This paper is an analysis of a series of interviews exploring how the dominant group of White, Anglophone males in Canada view and mobilize exclusionary humour in their daily lives. Focusing exclusively on members of the Charter Generation, i.e. those who have grown up with multiculturalism as official policy, the paper will evaluate the use of exclusionary humour for political goals of equality, and attempt to determine the effect that multicultural socialization has had on the way exclusionary humour manifests itself. -
Kent Academic Repository Full Text Document (Pdf)
Kent Academic Repository Full text document (pdf) Citation for published version Declercq, Dieter (2018) What is satire? . Blog. DOI Link to record in KAR https://kar.kent.ac.uk/75358/ Document Version Publisher pdf Copyright & reuse Content in the Kent Academic Repository is made available for research purposes. Unless otherwise stated all content is protected by copyright and in the absence of an open licence (eg Creative Commons), permissions for further reuse of content should be sought from the publisher, author or other copyright holder. Versions of research The version in the Kent Academic Repository may differ from the final published version. Users are advised to check http://kar.kent.ac.uk for the status of the paper. Users should always cite the published version of record. Enquiries For any further enquiries regarding the licence status of this document, please contact: [email protected] If you believe this document infringes copyright then please contact the KAR admin team with the take-down information provided at http://kar.kent.ac.uk/contact.html AESTHETICS FOR BIRDS ABOUT Aesthetics and Philosophy of Art for Everyone STAFF POSTS GUEST POSTS PROFESSIONAL MATTERS INTERVIEWS JAAC X AFB "Aesthetics is for the artist as JAAC x AFB: WHAT IS SATIRE? ornithology is for the birds." - September 6, 2018 by aestheticsforbirds | Leave a comment Barnett Newman SEARCH Flock Leader Alex King Wing Commanders Rebecca Victoria Millsop C. Thi Nguyen Birds What follows is a post in our ongoing collaborative series with the Journal of Aesthetics and Roy Cook Nick Stang Art Criticism. This is based on a new article by Dieter Declercq, “A Definition of Satire (And Matt Strohl Why a Definition Matters)” which you can find in the current issue of JAAC. -
The Chaser Team
The Chaser Team Satirical Entertainment The Chaser is a satirical media empire which rivals Rupert Murdoch’s News Corp in all fields except power, influence, popularity and profitability. The Chaser is the group behind ABC TV series The Election Chaser (2001), CNNNN (2002) and CNNNN Live (2003) which together have lost a host of Australian and international TV comedy awards. However, their credibility-building run of losses ended in 2004 when CNNNN tied with Kath & Kim to win the Logie for Most Outstanding TV Comedy. In 2005 they won the Logie for Most Outstanding TV Comedy with the hugely popular, The Chaser Decides (ABC). In 2006, the team returned to ABC TV with The Chaser’s War On Everything, which won them two AFI Awards (Best Comedy and Best Comedy Performer for Andrew Hansen), as well as several court appearances. The show returned in 2009. Extremely popular in the corporate arena, The Chaser Team offer a range of speaking and entertainment options tailored to client’s needs. As hosts and presenters, they are beautifully irrelevant with just the right amount of professionalism. As after dinner and keynote speakers, they can present custom-written satirical songs and parodies of corporate presentations including powerpoint and trivia quizzes. More about The Chaser: The Chaser was founded in 1999 as a fortnightly satirical newspaper produced out of a spare bedroom by The Chaser Team: Charles Firth, Craig Reucassel, Julian Morrow, Dominic Knight, Andrew Hansen, Chas Licciardello and Chris Taylor. Since those humble beginnings, the Chaser team has lost its humility and has produced ClassicTM comedy in all media, including print, online, radio, television and Christmas crackers. -
Judicial Ontology, Constitutional Poetics, and •Ÿthe Long War╎╊
Working Paper Series Villanova University Charles Widger School of Law Year 2008 \Militant Judgement?: Judicial Ontology, Constitutional Poetics, and `The Long War"' Penelope J. Pether 1567, [email protected] This paper is posted at Villanova University Charles Widger School of Law Digital Repository. http://digitalcommons.law.villanova.edu/wps/art120 PETHER.FINAL.VERSION 5/1/2008 12:15:59 AM MILITANT JUDGMENT?: JUDICIAL ONTOLOGY, CONSTITUTIONAL POETICS, AND “THE LONG WAR” Penelope Pether* Law is the oNe . To-morrow, yesterday, to-day.1 [T]he truth is always produced by someoNe. .2 I would like this book to be read, appreciated, staked out, aNd coNtested as much by the iNheritors of the formal aNd experimeNtal graNdeur of . the law, as it is by the aesthetes of coNtemporary Nihilism, the refiNed amateurs of literary decoNstructioN, the wild militaNts of a de-alieNated world, aNd by those who are deliciously isolated by amorous coNstructioNs. FiNally, that they say to themselves, makiNg the difficult effort to read me: that maN, iN the seNse that he iNveNts, is all of us at oNce.3 This Article uses Badiou’s theoriziNg of the eveNt aNd of the militaNt iN Being and Event as a basis for aN exploratioN of problems of judicial oNtology aNd coNstitutioNal hermeNeutics raised iN receNt decisioNs by commoN law courts dealiNg with the legislative aNd executive coNfiNemeNt of “Islamic” asylum seekers, “eNemy combatants” and “terrorism suspects,” and certain classes of criminal offeNders iN spaces beyoNd the doctriNes, paradigms, aNd iNstitutioNs of * Professor of Law, VillaNova UNiversity School of Law. ThaNks are due to JoNathaN CharNitski, VillaNova UNiversity School of Law J.D. -
Global Media Seminar
Global Media Seminar Class code MCC-UE 9456 – 001 Instructor Sacha Molitorisz Details [email protected] Consultations by appointment Please allow at least 24 hours for your instructor to respond to your emails. Class Details Spring 2017 Global Media Seminar Wednesday 9:00am – 12:00pm February 1 to May 10 Room 302 NYU Sydney Academic Centre Science House: 157-161 Gloucester Street, The Rocks 2000 Prerequisites None Class This course examines the fast-changing landscape of global media. Historical and theoretical Description frameworks will be provided to enable students to approach the scope, disparity and complexity of current developments. These frameworks will be supplemented with the latest news and developments. In short, we ask: what is going on in the hyperlinked and hyper- turbulent realm of blogs, Buzzfeed and The Sydney Morning Herald? Key issues examined include: shifts in patterns of production, distribution and consumption; the implications of globalisation; the disruption of established information flows and emergence of new information channels; the advent of social media; the proliferation of mobile phones; the ethics and regulation of modern media; the rise of celebrity culture; the demise (?) of privacy; the entertainment industry and its pirates; Edward Snowden and the NSA; and the irrepressible octogenarian Rupert Murdoch. The focus will be international, with an emphasis on Australia. Ultimately, the course will examine the ways in which global communication is undergoing a paradigm shift, as demonstrated by the Arab spring and its uncertain legacy, as well as the creeping dominance of Google, Facebook and Twitter. In other words Toto, I’ve a feeling we’re not in Kansas anymore. -
Narelle Gee Thesis
MAINTAINING OUR RAGE: INSIDE AUSTRALIA’S LONGEST-RUNNING MUSIC VIDEO PROGRAM. By Narelle Gee BA/DipEd (University of NSW) A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy (Creative Industries) School of Media, Entertainment, Creative Arts, Film, Screen and Animation Creative Industries Faculty Queensland University of Technology 2015 Key Words ABC Music Television Alternative Music Music Videos Australian Broadcasting Corporation Popular Music Australian Cultural Industries Production Cultures Australian Television Public Service Broadcasting Creative Labour rage Cultural Production Television Broadcasting Media Culture Television Production Music Industry TV Programs 2 Abstract The thesis, “Maintaining our rage: inside Australia’s longest-running music video program”, takes a reflective and reflexive narrative journey across the decades of rage, from its 1987 creation through to the program’s current incarnation, providing unique insider perspectives and affordances. Australia’s longest-running music video program is also, arguably, the most sustained such program globally (Bodey, 2012; Helper, 2012). Despite its longevity, there has been scarce scholarly analysis of rage, and of what has underpinned its unusual endurance; many music video programs have come and gone during the program’s long-held tenure. How has rage survived the vicissitudes of network programming – particularly within the capricious space of music video programming - and maintained its cultural place and role, for more than a quarter of a century? The significance of this research is that it explores rage’s unusual durability, examines the program’s unique elements, and answers three key research questions: What has been the history of rage as a program and a cultural entity? What has been the cultural significance of rage? How did rage create a shift within the music industry ecology of Australia? This thesis presents an insider’s account of rage, exploring it within its ABC TV and public broadcasting context.