Chapter Eight: the Main Event - Round Two – 1971-1980: Introduction: This Chapter Continues Where Chapter Two Concluded and Includes the Period 1971- 1980
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Sun, Sea, Sex, Sand and Conservatism in the Australian Television Soap Opera
This may be the author’s version of a work that was submitted/accepted for publication in the following source: Dee, Mike (1996) Sun, sea, sex, sand and conservatism in the Australian television soap opera. Young People Now, March, pp. 1-5. This file was downloaded from: https://eprints.qut.edu.au/62594/ c Copyright 1996 [please consult the author] This work is covered by copyright. Unless the document is being made available under a Creative Commons Licence, you must assume that re-use is limited to personal use and that permission from the copyright owner must be obtained for all other uses. If the docu- ment is available under a Creative Commons License (or other specified license) then refer to the Licence for details of permitted re-use. It is a condition of access that users recog- nise and abide by the legal requirements associated with these rights. If you believe that this work infringes copyright please provide details by email to [email protected] Notice: Please note that this document may not be the Version of Record (i.e. published version) of the work. Author manuscript versions (as Sub- mitted for peer review or as Accepted for publication after peer review) can be identified by an absence of publisher branding and/or typeset appear- ance. If there is any doubt, please refer to the published source. Author’s final version of article for Young People Now (published March 1996) Sun, Sea, Sex, Sand and Conservatism in the Australian Television Soap Opera In this issue, Mike Dee expands on his earlier piece about soap operas. -
Heath Franklin
HEATH FRANKLIN As 'Chopper', Heath Franklin is an Australian cultural and comedy icon. With his own TV show, four live comedy specials, 2 ARIA nominations, 1 Logie nomination and over 500,000 tickets sold worldwide, Chopper has nearly done it all. The man behind the tatts and 'stache, Heath Franklin, is an Australian actor, comedic performer, improviser and writer. Franklin made his television debut on the sketch show, The Ronnie Johns Half Hour, from where his comedic impersonation of real-life criminal Mark 'Chopper' Read, became an international cult hit. In 2006, Franklin's talent was rewarded with the nomination an Australian TV Logie award, the inaugural Graham Kennedy Award for Most Outstanding New Talent. Since 2007, he has toured Chopper across the country, and around the world, culminating in 2018, when Heath was awarded the Comedians Choice Award - The Piece of Wood Award - at The Melbourne International Comedy Festival for his sell-out, international tour 'Bogan Jesus'. As Chopper, he created and performed the variety show, Chopper's Republic of Anzackistan (TV3/Network 10) in 2015, and featured in his own segment, Chopper's Weekly Review, on the Triple M Network's, Merrick and Australia drive show. Since 2009, he has also been a season regular on NZ's news panel show, 7 Days (TV3). As himself, Heath Franklin has guest starred in numerous Australian comedies, such as Thank God You're Here, Drunk Histories and Review with Myles Barlow, as well as being regular cast in Best Bits (Seven), Wednesday Night Fever (ABC), How Not to Behave (ABC) and Randling (ABC). -
Hyperreal Australia the Construction of Australia in Neighbours and Home & Away
Hyperreal Australia the construction of Australia in Neighbours and Home & Away Melissa McEwen March 2001 This volume is submitted in partial fulfilment of the requirements for the degree of Master of Arts of the Australian National University in the Department of Australian Studies I wish to confirm that the thesis is my own work and that all sources used have been acknowledged. Melissa McEwen 30 March 2001 TABLE OF CONTENTS Statement of authorship ii Table of contents iii Acknowledgments iv 1. Introduction 1 2. Neighbours 5 Employment 7 Education 10 E thnicity 12 W om en 14 Masculinity 18 Relationships and sexuality 20 Lifestyle 22 Disease and mental illness 25 C onclusion 26 3. Home & Away 27 Employment 30 Education 32 Ethnicity 34 W om en 37 Masculinity 42 Relationships and sexuality 45 Lifestyle 48 Disease and mental illness 49 Conclusion 51 4. National Stories 52 What is soap opera? 52 National myths and representation 56 Jobs and education 60 Ethnicity and racism 64 W om en 67 Masculinity 72 Relationships and sexuality 75 Lifestyles 77 Disease and mental illness 79 C onclusion 80 iii j. Constructing Australia 81 Construction and reception of soaps 81 Impact of television 88 Hyperreal Australia 92 Conclusion 107 i. A Moment’s Reflection 108 Mbliography 111 iv ACKNOWLEDGMENTS As this thesis has been a long time in gestation, there are a number of people to thanks for their assistance and help: Jon McConachie for starting me down this path and John Docker for guiding me to the end; Ann Curthoys and Noel Purdon for helping to ensure -
'They're My Two Favourites' Versus' the Bigger Scheme of Things': Pro-Am
This may be the author’s version of a work that was submitted/accepted for publication in the following source: McKee, Alan & Keating, Chris (2012) ’They’re my two favourites’ versus ’the bigger scheme of things’: Pro-am historians remember Australian television. In Turnbull, S & Darian-Smith, K (Eds.) Remembering television: Histories, technologies, memories. Cambridge Scholars Publishing, United Kingdom, pp. 52-73. This file was downloaded from: https://eprints.qut.edu.au/54554/ c Copyright 2012 Alan McKee & Chris Keating This work is covered by copyright. Unless the document is being made available under a Creative Commons Licence, you must assume that re-use is limited to personal use and that permission from the copyright owner must be obtained for all other uses. If the docu- ment is available under a Creative Commons License (or other specified license) then refer to the Licence for details of permitted re-use. It is a condition of access that users recog- nise and abide by the legal requirements associated with these rights. If you believe that this work infringes copyright please provide details by email to [email protected] Notice: Please note that this document may not be the Version of Record (i.e. published version) of the work. Author manuscript versions (as Sub- mitted for peer review or as Accepted for publication after peer review) can be identified by an absence of publisher branding and/or typeset appear- ance. If there is any doubt, please refer to the published source. http:// www.c-s-p.org/ flyers/ Remembering-Television--Histories--Technologies--Memories1-4438-3970-1. -
Media Release
Wednesday 19 July 2006 MEDIA RELEASE PERTH MINT RELEASES 'MOVING' TRIBUTE TO 50 YEARS OF TELEVISION A unique square coin styled on an early television set, complete with moving images, has been released by The Perth Mint as a tribute to the past 50 years of Australian television. Struck from 1oz of 99.9% pure silver in proof quality and issued as Australian legal tender, the 50 Years of Australian Television 1956-2006 coin features the Mint's highly acclaimed 'lenticular' imaging effects to portray six television icons from the past 50 years of broadcasting. The Perth Mint is the only mint in the world to issue legal tender coins displaying 'moving' lenticular images. Two previous lenticular issues, the 35th Anniversary of the First Moon Walk and the 60th Anniversary of the End of World War II 1945-2005, have proved a popular concept among collectors. Announcing the coin at Sydney's Powerhouse Museum, Perth Mint General Manager Veronica Maguire said popular interest in the 50th anniversary of Australian television was reflected in the Powerhouse's successful On The Box exhibition. "Like the classic clips and TV memorabilia at the Powerhouse, The Perth Mint's numismatic tribute recognises the impact of the world's most powerful medium and the outstanding achievements of Australian producers and broadcasters," Ms Maguire said. "We expect collectors to react equally enthusiastically to this new release, which has a strictly limited mintage of just 12,500. With a recommended retail price of $85, the coin is also likely to have broad appeal among a wide range of Australian television fans." Australian television began in Sydney in September 1956 with Station TCN's This is Television. -
The Media and Indigenous Policy
The Media and Indigenous Policy How news media reporting and mediatized practice impact on Indigenous policy A preliminary report Copyright © Kerry McCallum, Michael Meadows, Lisa Waller, Michelle Dunne Breen, Holly Reid, 2012 ISBN: 9781740883658 Editor: Associate Professor Kerry McCallum, Journalism & Communication Studies, Faculty of Arts & Design, University of Canberra Editorial Assistant: Monica Andrew Contributors: Kerry McCallum Michael Meadows Lisa Waller Michelle Dunne Breen Holly Reid Further information about the Australian News Media and Indigenous Policy-making 1988-2008 project is available at http://www.canberra.edu.au/faculties/arts-design/research/active- research-groups/public-communication/Indigenous-Policymaking This research was supported under the Australian Research Council’s Discovery Projects funding scheme (DP0987457), with additional funding supplied by the Faculty of Arts and Design, University of Canberra. ii Contents Acknowledgements v Executive summary vii Researchers ix Introduction 1 Media reporting and Indigenous policymaking 3 Kerry McCallum Policymaker perspectives 11 Managing the optics of Indigenous policy 13 Kerry McCallum & Lisa Waller When the stars align 23 Michael Meadows Media perspectives 33 Indigenous health reporting 1988–2008 34 Framing Indigenous Health, 1988–1995 37 Kerry McCallum Practice imperfect: media, discourse and intervention 43 Michelle Dunne-Breen Journalists, ‘remote’ Indigenous sources and cultural competence 51 Lisa Waller From little things big things grow: campaigning journalism -
Countdown and Cult Music Television Programmes
Giuffre, Liz Countdown and Cult Music Television Programmes Countdown and cult music television programmes: an Australian case study Liz Giuffre Abstract Music television programs, programs that focus on music for their core content, have been produced all over the world for all types of markets. However there remains little sustained work on them beyond studies of key production periods, franchise waves or biography-like narratives. This article shows that theories of Cult TV can be applied to music television programs to help explore this neglected form, as well as helping to expand Cult TV’s theoretical reach beyond its traditional fare of narrative driven, fiction series. This article offers 1970s and ‘80s Australian music television program Countdown as a prime example of Cult TV, first in the context of its initial production and consumption in 1970s and ‘80s Australia, and also in terms of its subsequent influence on contemporary audiences from a historical perspective. The Cult TV frame extends to the program itself in its original incarnation, as well as additional recontextualisations in new music television programs, and the continued work of its former host, Ian ‘Molly’ Meldrum. Introduction1 Music television is an unusual type of programming. It provides both regular entertainment that is watched intensely while on air, and produces key moments that survive well in audience collective memory. ‘Live’ music performance and interview series Countdown remains an icon of the Australian television and music industries.2 Created by the national public service broadcaster, the Australian Broadcasting Corporation (ABC),3 the show was broadcast from 1974 to 1987 on Sunday evenings and was highly influential with television audiences and the broader music industry.4 Countdown provided opportunities for music artists and audiences to engage with each other in a way that had not previously been possible. -
Koori Engagement with Television by Gary Foley ©
Koori Engagement with Television by Gary Foley © In 1973 when television in Australia was still broadcast in black and white, the opening line of the first ever all-Aboriginal TV show was, "Welcome to colour television." Thus began the first attempt by indigenous Australians to come to terms with the advent of television into their world. For the Kooris television was always going to be far more problematic than for the white, Anglo-Celtic majority in Australia who already had been conditioned by the affluence and consumerist ideology and conceptual preparation transmitted to society through radio in the post- war era. In this essay I will explore indigenous community engagement with, and response to, the advent of television and subsequent attempts to both control and/or subvert the intent of television manufacturers and programmers. I will examine whether or not Aboriginal 'communities' in south-east Australia have succeeded in their efforts to limit what they perceive to be the culturally destructive effects of television in their respective communities. In Australia television was introduced around the country throughout the 1950s and 60s. The nation had been thoroughly prepared for the advent of television by massive publicity campaigns in the press and on the radio. Furthermore, radio had conditioned "white" Australia to naturalise concepts of modernity, domestic space and mass consumption, and thus prepared them for television's introduction. The fact that television programming (by virtue of its then predominantly American origin) communicated to the then patriarchal, white, nuclear family made it even easier for the dominant ideology in Australia to adjust. -
SANDI CV March 2019
CURRICULUM VITAE 2019 UTOPIA series 4 TV Series Position: COSTUME DESIGNER WORKING DOG CAST: Rob Sitch Celia Paquola Kitty Flannagan Director: Rob Sitch 2018 The InBESTigators TV Series Position: COSTUME DESIGNER GRISTMILL PRODUCTIONS Director: Robyn Butler Wayne Hope CAST: Aston Droomer Anna Cooke Abby Bergman Jamil Seka Nina Buxton Tim Bartley Ian Reiser 2017-18 BACK IN VERY SMALL BUSINESS TV Series Position: COSTUME DESIGNER GRISTMILL PRODUCTIONS CAST: Wayne Hope Robyn Nevin Kim Gyngell Director: Robyn Butler 2017 ROMPER STOMPER TV Series Position: COSTUME BUYER NEXT GEN Designer: Anna Borghesi CAST: Toby Wallace Jacqui McKenzie David Wenham Directors: Geoffrey Wright James Napier Robertson Daina Reid DI & VIV & ROSE Theatre Prod Position: COSTUMIER MELBOURNE THEATRE CO Designer: Dale Ferguson CAST: Nadine Garner Beilinda McLory Mandy McElhinney Director: Marion Potts HAVE YOU BEEN PAYING ATTENTION? TV Series Position: COSTUME DESIGNER WORKING DOG / NETWORK 10 CAST: Tom Gleisner Sam Pang Ed Kavallee Director: Peter Lawler UTOPIA series 3 TV Series Position: COSTUME DESIGNER WORKING DOG CAST: Rob Sitch Celia Paquola Kitty Flannagan Director: Rob Sitch ________________________________________________ 4 /76-80 Ireland Street, West Melbourne, Vic 3003 mobile: 0412 114 958 email: [email protected] 2016 T.V. COMMERCIALS TVC’S Position: COSTUME DESIGNER MR SMITH HAVE YOU BEEN PAYING ATTENTION? TV Series Position: COSTUME DESIGNER WORKING DOG / NETWORK 10 CAST: Tom Gleisner Sam Pang Ed Kavallee Director: Peter Lawler LITTLE LUNCH series -
Civic Hall Roster
PERFORMERS, SPEAKERS & EVENTS AT CIVIC HALL 1956 – 2002 * List with sources of information * Queries over conflicting or uncertain dates 60/40 Dance, 1 June 2002: [Source: Typed playlist, Graeme Vendy] 60/40 Dances held over long period, featuring local and nationally significant performers ACDC - Giant Dose of Rock and Roll Tour Jan 14 1977 Larry Adler (harmonica), ABC Celebrity Concert Series, 1 November 1961 Laurie Allan - guitar accompanied World Champion boxer Lionel Rose, 1970 The Angels 1990 [Courier article July 3, 2010. Graeme Vendy] Archbishop of Canterbury. Concelebrated Mass, 1985. 1 May Winifred Atwell, (pianist) 29 April 1965; The Winifred Atwell Show – 16 March 1962; 1972 [Source: Mary Kelly programmes] Australian Crawl, 1982, December 18, 1983 [Source: Graeme Plenter photo] AZIO, 1 December, 2013 (outside steps) Ballarat College Centenary Celebrity Concert & Official Opening 3 July, 1964. [Programme, Collection BCC – Heather Jackson Archivist] Ballarat College Centenary Dinner 4 July, 1964. [Programme & photos, Collection BCC] Ballarat & Clarendon College, Speech Night, 1999: [Source: Program, Graeme Vendy] Ballarat Choral Society & Ballarat Symphony Orchestra, Handel’s Messiah, December 1961 – 1965. 18 Dec 1963, 16 Dec 1964, 15 Dec 1965 [Source: programs donated by Norm Newey] Ballarat City Choir 1965, Ballarat Civic Male Choir 1956, 1965, 1977 Ballarat Ladies’ Pipe Band & National Dancing Class Ballarat Light Opera Company, 1957, 1959, 1960 Ballarat Teachers’ College Annual Graduation Ceremony, 9 Dec 1960. Speaker Prof Z. Cowan, Barrister-at-Law [Source: Invitation to Mrs Hathaway. Coll. Merle Hathaway] Ballarat Symphony Orchestra, Premier Orchestral Concert, with Leslie Miers (pianist) 1965 Ballarat Symphony Orchestra “Music to Enjoy” concert, 13 Aug 1967, cond. -
Chapter Nine: the Main Event – Round Three – 1981-1990
Chapter Nine: The Main Event – Round Three – 1981-1990: Introduction: This chapter concludes the examination of the inextricable melding of Television Audience Survey Ratings, Financial Returns and Local ‘Live’ Production. While there was still intense rivalry between TVW7 and STW9, other forces were coming into operation in the succeeding period from 1981-1990. In this decade both TVW7 and STW9 were subsumed by much larger corporate entities. At the level of programming this led to a notable decline in local ‘live’ production, as a result of national networking and a corresponding diminution of community responsibility. During this period there were to be big changes in the structure of what can be termed the era of the two ‘family television’ companies in Western Australia. The chapter examines the events that led to TVW7 becoming part of the Robert Holmes a’ Court Bell Group, the retirement of Sir James Cruthers (considered by many to be ‘the Father’ of Perth television) and the sale of STW9 to the Bond Corporation. Another development, the introduction of the Aussat Satellite System was to have a huge impact on program transmission and in conjunction with Networking, perhaps deliver the mortal blow to the local ‘live’ television industry. The chapter concludes with the first two years of a three-station System in Western Australia’s capital city, when NEW10 went on air in 1988. Examination of the correlation between audience ratings surveys and Company profitability continues and so are their combined deleterious effects upon the former showcases of the two original stations, their respective Production Departments and the wealth of output from their in-house studios. -
Vivat Regina! Melbourne Celebrates the Maj’S 125Th Birthday
ON STAGE The Spring 2011 newsletter of Vol.12 No.4 Vivat Regina! Melbourne celebrates The Maj’s 125th birthday. he merriment of the audience was entrepreneur Jules François de Sales — now, of course, Her Majesty’s — almost continuous throughout.’ Joubert on the corner of Exhibition and celebrated its birthday by hosting the third TThat was the observation of the Little Bourke Streets. The theatre’s début Rob Guest Endowment Concert. The Rob reporter from M elbourne’s The Argus who was on Friday, 1 October 1886. Almost Guest Endowment, administered by ANZ ‘covered the very first performance in what exactly 125 years later — on Monday, Trustees, was established to commemorate was then the Alexandra Theatre, the 10 October 2011 the merriment was one of Australia’s finest music theatre handsome new playhouse built for similarly almost continuous as the theatre performers, who died in October 2008. * The Award aims to build and maintain a This year’s winner was Blake Bowden. Mascetti, Barry Kitcher, Moffatt Oxenbould, appropriate time and with due fuss and ‘“Vivat Regina!” may be a bit “over the Clockwise from left: Shooting the community for upcoming music theatre He received a $10 000 talent development the theatre’s archivist Mary Murphy, and publicity, as well as the final casting, but I top” — but then, why not?’ commemorative film in The Maj's foyer. Mike Walsh is at stairs (centre). artists and to provide one night every year grant, a media training session, a new theatre historian Frank Van Straten. am thrilled that they are spearheaded by a Why not, indeed! when all facets of the industry join to headshot package and a guest performance Premier Ted Baillieu added a special brand new production of A Chorus Line — as Rob Guest Endowment winner Blake Bowden welcome a new generation of performers.