DOCSLIB.ORG

Downloaded from Elgar Online at 09/25/2021 03:30:34PM Via Free Access

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Downloaded from Elgar Online at 09/25/2021 03:30:34PM Via Free Access JOBNAME: Richardson PAGE: 1 SESS: 2 OUTPUT: Fri Dec 9 15:42:55 2016 Table of cases Australia AGL Sydney Ltd v Shortland County Council (1989) IPR 99 ............................. 390 Akiba on behalf of the Torres Strait Regional Claim Group v Commonwealth of Australia (2013) 250 CLR 209 ................................................................... 212 AMS vAIF (1999) 199 CLR 160 ........................................................................ 199 Australian Performing RightsAssociation Ltd v Canterbury Bankstown Leagues Club Ltd [1964–65] NSWR 138 ................................................................. 210 Australian Performing RightsAssociation Ltd v Jain (1990) 96ALR 619. ......... 210 Australian Performing RightsAssociation Ltd v Miles [1962] NSWR 405 ........ 210 Banjima People v State of WesternAustralia (2015) 322ALR 199 ..................... 211 Bryl v Nowra [1999] HREOCA 11 (21 June 1999) (Miss Bosnia case) .............. 201 Bulun Bulun v R & T Textiles Pty Ltd (1998) 86 FCR 244 .................................. 212 Commissioner of Patents v RPL Central Pty Ltd (2015) 328ALR 458 ................... 5 eBay InternationalAG v Creative Festival Entertainment Pty Ltd (2006) 170 FCR 450 ............................................................................................................. 218 Enzed Holdings Ltd v Wynthea Pty Ltd (1984) 4 FCR 450 ................................. 262 Flags 2000 v Smith (2003) 59 IPR 191 ............................................................... 212 Galaxy Electronics Pty Ltd v Sega Enterprises Ltd (1997) 75 FCR 8 .................. 347 Henderson v Radio Corporation Pty Ltd (1960) 1A IPR 620 ................... 432–3, 435 Hogan v Pacific Dunlop Ltd (1988) 83ALR 403 ............................................ 433–4 IceTV Pty Ltd v Nine NetworkAustralia Pty Ltd (2009) 239 CLR 458 ...... 372, 381, 383 InterlegoAG vAlex Folley (Vic) Pty Ltd [1987] FSR 283 (Ch) .......................... 325 InterlegoAG v Croner Trading Pty Ltd (1992) 111ALR 577 .............................. 324 Kabushiki Kaisha Sony Computer Entertainment v Stevens (2003) 200ALR 96 ............................................................................................................... 366 Melbourne Corporation v Barry (1922) 31 CLR 174 .......................................... 199 Meskenas vACP Publishing Pty Ltd (2006) 70 IPR 172 ..................................... 234 Milpurrurru v Indofurn Pty Ltd (1994) FCR 240 ................................................ 212 Moorgate Tobacco Co Ltd v Philip Morris Ltd (No 2) (1984) 156 CLR 414 ....... 315 Nine Films and Television Pty Ltd v Ninox Television Ltd (2005) 2005] FCA 1404, 67 IPR 46 .................................................................................... 286, 388, 391 Nine Ten Pty Ltd v TCN Channel Nine Pty Ltd [2002] 118 FCR 417 .................. 255 Pacific Dunlop v Hogan (1989) 87ALR 14 ................................................. 434, 436 Pell v The Council of the Trustees of the National Gallery ofVictoria [1998] 2VR 391 ..................................................................................................... 197, 201 Perez v Fernandez [2012] FMCA 2 (10 February 2012) ..................................... 228 Seven Network (Operations) Ltd v EndemolAustralia Pty Ltd (2015) 114 IPR 287 .......................................................................... 372, 387, 388, 390, 391–2 Seven Network Limited v News Limited [2007] FCA 1062 (27 July 2007) ....... 156, 392 Stevens v Kabushiki Kaisha Sony Computer Entertainment (2005) 224 CLR 193 ............................................................................................................. 347 ix Megan Richardson and Sam Ricketson - 9781784710798 Downloaded from Elgar Online at 09/25/2021 03:30:34PM via free access Columns Design XML Ltd / Job: Richardson-Research_handbook_on_IP_in_media_and_entertainment / Division: ToC /Pg. Position: 1 / Date: 8/12 JOBNAME: Richardson PAGE: 2 SESS: 2 OUTPUT: Fri Dec 9 15:42:55 2016 x Research handbook on intellectual property in media and entertainment Telstra Corporation Ltd v Royal & SunAlliance InsuranceAustralia Ltd (2003) 57 IPR 453 ................................................................................. 380, 389–90, 398 Thomas v Brown (1997) 37 IPR 207 ................................................................... 212 Twentieth Century Fox Film Corp v SouthAustralian Brewing Co Ltd (1996) 66 FCR 451 ..................................................................................................... 441 Universal MusicAustralia Ltd v Sharman License Holdings Ltd (2005) 222 FCR 465 ............................................................................................................. 150 Victoria Park Racing and Recreation Grounds Co Ltd v Taylor (1937) 58 CLR 479 ......................................................................... 48, 49, 50, 53, 54, 204, 384 WesternAustralia v Ward (2002) 213 CLR 1 ...................................................... 211 Wilson v Luke (1875) 1VLR (E) 127 ................................................................... 13 Wilson v Rowcroft (1873) 4ALR 57 .................................................................... 13 Yanner v Eaton (No 1) (1999) 201 CLR 351 ....................................................... 199 Yumbulul v Reserve Bank ofAustralia (1991) 21 IPR 481 ................................. 212 Belgium Google Inc v Copiepresse, Cour d’appel Bruxelles [Court ofAppeal Brussels], neuvième chambre [9th chamber], 2007/AR/1730, 5 May 2011 ... 33, 34, 38–9 NV Code v BV Mercis/Dick Bruna, Hof van beroepAntwerpen [Court ofAppeal of Antwerp], 2 May 2006 ................................................................................. 82 Van Giel v Tuymans, Rechtbank van de eerste aanlegAntwerp [Court of First Instance ofAntwerp], Judgment of the President, Docket no 14/4305/A, 15 January 2015 ................................................................................................ 80 Canada CCH Canadian Ltd v Law Society of Upper Canada, 2004 SCC 13, [2004] 1 SCR 339 ............................................................................................................. 183 Cie Générale des Etablissements Michelin v CAW Canada (1996) 71 CPR (3d) 348 (FC) ............................................................................................................. 66 KirkbiAG v Ritvik Holdings Inc [2005] 3 SCR 302, [2005] SCC 65 .................. 325 ProductionsAvanti-Ciné-Vidéo Inc v Favreau (1999) 1 CPR (4th) 129 (CA) ....... 66 Society of Composers,Authors and Music Publishers of Canada v Bell Canada, 2012 SCC 36, [2012] 2 SCR 326 [25] ......................................................... 254 Twentieth Century Fox Film Co v iCraveTV,53 USPO 2d (BNA) 1831 (WD Pa 2000) ............................................................................................................ 55 France Cour de cassation [Court of Cassation], chambre civile 1 [First Civil Chamber], RTD Com 1988, 12 January 1988 ................................................................ 79 Cour de cassation [Court of Cassation], chambre civile 1 [First Civil Chamber], 08-11.112, 24 September 2009 .................................................................. 232 Cour de cassation [Court of Cassation], chambre civile 1 [First Civil Chamber], 10-27043, 3 July 2013 ................................................................................ 233 Cour de cassation [Court of Cassation], chambre civile 1 [First Civil Chamber], 11-12.508, 10April 2013 ........................................................................... 262 Megan Richardson and Sam Ricketson - 9781784710798 Downloaded from Elgar Online at 09/25/2021 03:30:34PM via free access Columns Design XML Ltd / Job: Richardson-Research_handbook_on_IP_in_media_and_entertainment / Division: ToC /Pg. Position: 2 / Date: 8/12 JOBNAME: Richardson PAGE: 3 SESS: 4 OUTPUT: Fri Dec 9 15:42:55 2016 Table of cases xi Germany Bild Kunst v Focus [2005] ECDR 6 (BGH) .................................................... 65, 83 Bundesgerichtshof [Federal Court of Justice], 9 November 2011 (I ZR 216/10), reported in GRUR 2012 ...................................................................... 172, 236 Bundesgerichtshof [Federal Court of Justice], 16 May 2013 (I ZR 28/12), reported in GRUR 2014 ............................................................................................ 242 LG Berlin [Berlin Regional Court], 4 November 2014 (15 O 153/14), reported in ZUM 2015 ................................................................................................. 239 LG Hamburg [Hamburg Regional Court] (308 O 23/13) ..................................... 230 LG Köln [Cologne Regional Court], 30 January 2014 (14 O 427/13), reported in BeckRS 2014, 03266 ................................................................................. 233 OLG München [Munich Regional Court ofAppeals] (29 U 5864/95) ................. 235 OLG München [Munich Regional Court ofAppeals], 8 February 1996 (29 U 5864/95), reported in NJW 1996 ...................................................... 227 Italy Mega Blocks Inc v Lego SystemA/S [2008] ETMR 73, Supreme Court (First Civil Section) ...................................................................................................... 325 The Netherlands The Blue Band/Blue Band [1981] BIE 266,Arrondissementsrechtbank teArnhem [District Court ofArnhem],
Load more

Recommended publications
  • Drama Report 2013/2014
    Drama Report Production of feature films and TV drama in Australia 2013/14 Highlights $837 million total production expenditure Up 11 per cent on last year 35 Australian features $297 million Up 18 per cent on last year 49 Australian TV dramas $343 million Down 8 per cent on last year 26 foreign projects $197 million Up 50 per cent on last year Producer Offset total value $137 million © Screen Australia 2014 ISBN: 978-1-920998-29-5 The text in this report is released subject to a Creative Commons BY licence (Licence). This means, in summary, that you may reproduce, transmit and distribute the text, provided that you do not do so for commercial purposes, and provided that you attribute the text as extracted from Screen Australia’s Drama Report 2013/14. You must not alter, transform or build upon the text in this report. Your rights under the Licence are in addition to any fair dealing rights which you have under the Copyright Act 1968 (Cwlth). For further terms of the Licence, please see http://creativecommons.org/ licenses/by-nc-nd/3.0/ Screen Australia is grateful to all those who contributed data to the compilation of this report. The data provided has been drawn from a number of sources. While Screen Australia has undertaken all reasonable measures to ensure its accuracy, we cannot accept responsibility for inaccuracies and omissions. Cover image: The Code Contents Key terms 4 OVERVIEW 5 ALL DRAMA PRODUCTION 6 AUSTRALIAN FEATURE SLATE – DOMESTIC AND CO-PRODUCTION TITLES 8 Feature budget ranges 8 Sources of finance for Australian features 9 AUSTRALIAN TV DRAMA SLATE – DOMESTIC AND CO-PRODUCTION TITLES 10 Programs for adults 12 Programs for children 13 Sources of finance for Australian TV drama 14 FOREIGN PRODUCTION 15 Features 15 TV drama 15 DRAMA PRODUCTION BY LOCATION 16 Expenditure by state 16 Location of production company 17 TITLES IN THE 2013/14 SLATE 18 PDV SERVICES – FOR FEATURES AND TV DRAMA PRODUCTION 21 METHODOLOGY 25 ABOUT THE REPORT activity in Australia and the Offset’s Australia.
    [Show full text]
  • Gabrielle Mckinlay
    GABRIELLE MCKINLAY ( (04)19 675 006 * [email protected] PRODUCER/DIRECTOR/WRITER With a proven track record in the Film and TV industry, I exhibit an "up for anything” attitude, an excellent eye for detail and a great ability to work well under pressure. I possess the knowledge and skills that is gained through experience and provide new and creative solutions to any problems or issues that a production may face. I am conscientious, hard working and have a sunny disposition. Forever passionate about the journey that is Film and TV Production, I am always eager to find challenging roles that utilize my talents and skill set. KEY SKILLS ASSESSMENT Production 4 Controlling budget and allocating resources. 4 Building and developing a network of contacts. 4 Shooter/Producer & Producer/Director 4 Location sourcing/scouting/permits as required. 4 Talent sourcing & casting. 4 Troubleshooting as required. 4 Fantastic eye for detail 4 Excellent Communication Skills 4 Great Creative Vision Communication 4 Utilises the computer programs Microsoft Word, Excel and MYOB. PROFESSIONAL EXPERIENCE Producer Credits ITV 2017 ‘Keeping Australia Safe’• Observational Documentary • Story - Self-Defence • Executive Producer - Elle Gibbons • Training in Post-Producing ITV 2017 (TBA Working Title) • Pilot for Observational Documentary Series • Producer/Director of Sizzle Reel-Teaser BAY FILMS 2015 ‘The Closet’ Pilot for Reality Television Series • Producer/Co-Director RUBY SNOW FILMS ‘All Or Nothing’ Pilot for Comedy Television Series • Producer/Director 2015 AMVI 2012 ‘Share A Lunch’ TVC • Salvation Army • Directed by Lucy Hayes • Producer JDTV Worked with ‘Jewellery Direct Television’ (on Channel 9’s Shopping Channel & TVSN) • Producer/Director • Vision Switcher Roles.
    [Show full text]
  • Film Victoria Australia Disclosure of Payments 2015/16
    DISCLOSURE OF PAYMENTS The following is a list of payments made in the 2015/16 financial year and may in some cases represent only a portion of the full amount committed to projects, businesses or people through our funding programs. PROJECT PAYEE PAYMENTS 2015/16 SCREEN INDUSTRY PROGRAMS PROJECT INVESTMENT Assigned Production Investment 8MMM Aboriginal Radio 8MMM Productions Pty Ltd 5,250 After the Wave Supernova Productions Pty Ltd 1,275 Ali’s Wedding Ali’s Wedding Productions Pty Ltd 232,000 Berlin Syndrome Aquarius Films Pty Ltd and Berlin Syndrome Productions Pty Ltd 350,000 Conviction DD & B Productions Pty Ltd 39,381 Dance Academy The Comeback Dance Academy The Comeback Productions Pty Ltd and 75,000 Open Channel Co-operative Ltd* Deception By Design Jonnie & Kate Films Pty Ltd 25,000 Digilante Check Point Media Pty Ltd 12,800 DNA Nation DNA Films Pty Ltd 37,500 Dogstar Christmas In Space Media World Pictures (D3) Pty Ltd 60,000 Downriver Downriver Productions Pty Ltd 44,000 Earth Story ES Productions PTY LTD 75,000 Ecco Homo Ghost Pictures Pty Ltd 14,000 Emo (The Musical) Emo Productions Pty Ltd and Open Channel Co-operative Ltd* 147,200 Fancy Boy FBTV Productions Pty Ltd and Open Channel Co-operative Ltd* 120,000 First Contact Season Two First Contact Productions Pty Ltd 50,000 Gurrumul Elcho Dreaming 6 Seasons Productions Pty Ltd 25,000 Holding The Man HTM Film Holdings Pty Ltd 3,000 House Husbands Season Five Playmaker HH5 SPV Pty Ltd and Open Channel 175,000 Co-operative Ltd* House Husbands Series Four Playmaker HH4 SPV Pty
    [Show full text]
  • Fiscal Year 2019 Annual Financial Report 13DEC201905470521 UNITED STATES SECURITIES and EXCHANGE COMMISSION Washington, D.C
    6JAN201605190975 Fiscal Year 2019 Annual Financial Report 13DEC201905470521 UNITED STATES SECURITIES AND EXCHANGE COMMISSION Washington, D.C. 20549 FORM 10-K ANNUAL REPORT PURSUANT TO SECTION 13 OR 15(d) OF THE SECURITIES EXCHANGE ACT OF 1934 For the fiscal year ended September 28, 2019 or TRANSITION REPORT PURSUANT TO SECTION 13 OR 15(d) OF THE SECURITIES EXCHANGE ACT OF 1934 For the transition period from __________ to __________. Commission File Number 001-38842 Delaware 83-0940635 State or Other Jurisdiction of I.R.S. Employer Identification Incorporation or Organization 500 South Buena Vista Street Burbank, California 91521 Address of Principal Executive Offices and Zip Code (818) 560-1000 Registrant’s Telephone Number, Including Area Code Securities registered pursuant to Section 12(b) of the Act: Title of each class Trading Symbol(s) Name of each exchange on which registered Common Stock, $0.01 par value DIS New York Stock Exchange Securities Registered Pursuant to Section 12(g) of the Act: None. Indicate by check mark if the registrant is a well-known seasoned issuer, as defined in Rule 405 of the Securities Act. Yes No Indicate by check mark if the registrant is not required to file reports pursuant to Section 13 or Section 15(d) of the Act. Yes No Indicate by check mark whether the registrant (1) has filed all reports required to be filed by Section 13 or 15(d) of the Securities Exchange Act of 1934 during the preceding 12 months (or for such shorter period that the registrant was required to file such reports), and (2) has been subject to such filing requirements for the past 90 days.
    [Show full text]
  • Paper Planes
    r¡roNsGA[]E Presenfs '*' 'sil\ n$lft it0 . il !illtì $ ' mtit io toui lu otl ttrnini Tru iÊlÉ,ñ.Ñ-'!.ffi It AT ilÌSr l01l D0t'|',T SrlCCÌ[D, Flt. tL) À6AtN IN CINEMAS 23RD OCTOEER PAPER PLANES Directed by: Roberl Connolly Storring: Ed Oxenbould Sqm Worthington Dovid Wenhom Cert: U Run Time: 97 Mins For odditionol publicity moteriols ond ortwork, pleose visit www.lgukpublicity.co.uk For further press informotion pleose contoct: I :l:1 tl ¡n .¡r"¡l ?e, PREMIERi {. .l 1.r,.¡ Mike Hird/Edwin Hoyfron/Jock Wiggs 1¿1; + 44 20 72928330 [email protected] ONE LINE SYNOPSIS An imaginative family film about a young Australian boy's passion for flight and his challenge to compete in the SØodd Paper Plane Championships in Japan. ONE PARAGRAPH SYNOPSIS Paper Planes is a family film that tells the story of a young Australian boy's passion for flight and his journey to compete in the wodd paper plane championships in Japan. Eleven-yeat-old Dylan meets the junior Japanese champion Kimi in the national pâper plane championships in Sydney, Australia. They develop a close bond, challenging each other to create a plaLr're that has never been seen before. Directed by one of Australia's leading filmmakers Robert Connolly, the fìlm is set in iconic locations, with engaging characters and a powerful story of friendship between two countries. It stars globally renowned cast including Sam ìØorthington (Auatar, Cla:h of tlte Titanr), and Ed Oxenbould (I)isney's Alexander and the Terrible, Horrible, No Cood, Very Bad Dajt) RUNNING TIME: 96 minutes
    [Show full text]
  • Angus Sampson
    ANGUS SAMPSON FILM NEXT GOAL WINS Role: Angus Bendleton Dir: Taika Waititi, Fox Searchlight Pictures 2021 WINCHESTER Role: John Hansen Dir: Spierig Brothers, Blacklab Entertainment 2018 BENJI Role: Titus Dir: Brendan Camp, Blumhouse Productions 2018 INSIDIOUS: THE LAST KEY Role: Tucker Dir: Adam Robitel, Blumhouse Productions 2018 INSIDIOUS: CHAPTER 3 Role: Tucker Dir: Leigh Whannell, Blumhouse Productions 2015 MAD MAX: FURY ROAD Role: Organic Mechanic Dir: George Miller, Warner Bros 2015 NOW ADD HONEY Role: Mick Croyston Dir: Wayne Hope, Gristmill 2015 THE MULE Role: Ray Jenkins Dir: Tony Mahony & Angus Sampson, XLRator Media 2014 INSIDIOUS: CHAPTER 2 Role: Tucker Dir: James Wan, Blumhouse Productions 2013 BLINDER Role: Franky Dir: Richard Gray, Revival Film Company 2013 100 BLOODY ACRES Role: Lindsay Morgan Dir: Cameron & Colin Cairnes, Music Box Films 2012 TENDER (Short) Role: Max Dir: Jessica Redenbach, Hunter Productions 2011 LEGEND OF THE GUARDIANS: THE OWLS OF GA'HOOLE Role: Jutt Dir: Zach Snyder, Warner Bros 2010 INSIDIOUS Role: Tucker Dir: James Wan, Blumhouse Productions 2010 SUMMER CODA Role: Franky Dir: Richard Gray, Revival Film Co. 2010 POP (Short) Role: Father Dir: Tobias Anderson, Stockholm Film Company 2010 CELESTIAL AVENUE Role: Ah Gong Dir: Colin & Cameron Cairnes, Reflux Entertainment 2009 THE WAKE Role: Jonathan Dir: Gemma Lee, Renegade Films 2009 THE LAST SUPPER Role: Judas Written & Directed by Angus Sampson, 4Cows Production 2009 WHERE THE WILD THINGS ARE Role: The Bull Dir: Spike Jonze, More Rice / Playtone, Warner
    [Show full text]
  • European High-End Fiction Series. State of Play and Trends
    European high-end fiction series: State of play and trends This report was prepared with the support of the Creative Europe programme of the European Union. If you wish to reproduce tables or graphs contained in this publication, please contact the European Audiovisual Observatory for prior approval. The analysis presented in this publication cannot in any way be considered as representing the point of view of the European Audiovisual Observatory, its members or the Council of Europe. The European Commission support for the production of this publication does not constitute an endorsement of the contents, which reflect the views only of the authors, and the Commission cannot be held responsible for any use which may be made of the information contained therein. European high-end fiction series: State of play and trends Gilles Fontaine Marta Jiménez Pumares Table of contents Executive summary .................................................................................................. 1 Scope and methodology .......................................................................................... 5 1. Setting the scene in figures ............................................................................. 8 1.1. The production of high-end fiction series in the European Union .................................................................... 8 1.1.1. The UK is the primary producer of high-end series in Europe ................................................... 10 1.1.2. International co-productions: small but growing ..........................................................................
    [Show full text]
  • Christopher Turner Assistant Director
    CHRISTOPHER TURNER ASSISTANT DIRECTOR PHONE 0402 011 073 AGENT: TOP TECHNICIANS – 02 9958 1611 EMAIL: [email protected] WORK HISTORY: 1ST ASSISTANT DIRECTOR INTERCEPTOR (Feature) Missile Film Production (2nd Unit) Director: Matthew Reilly, Second Unit Director: Ingrid Kleinig 2021 Producers: Michael Boughen, Matthew Street, Stuart Beattie ONSET 2ND 2ND AD THOR ‘THE BIG SALAD’ (Feature) Marvel Studios (2nd Unit – Block 1) Director: Jake Morrison, 1st Assistant Director: Scott Lovelock 2021 Producers: Kevin Feige, Brad Winderbaum 1ST ASSISTANT DIRECTOR DOCTOR DOCTOR - Season 5 (TV series) Easy Tiger Productions Pty, Ltd 2020 Director: Lisa Matthews, Daniel Nettheim & Hattie Dalton Producers: Ian Collie, Ally Henville, Keith Thompson & Rodger Corser 2ND ASSISTANT DIRECTOR WAKEFILD (TV series) Easy Tiger Productions Pty, Ltd (2nd Unit) Director: Jocelyn Moorhouse & Kim Mordaunt, 1st Assistant Directors: Tony 2020 Gilbert & Jeremy Grogan. Producers: Shay Spencer & Ally Henville ONSET 2ND 2ND AD SHANG-CHI ‘STEAMBOAT’ (Feature) Marvel Studios/ Disney 2019/ 2020 Director: Destin Daniel Cretton, 1st Assistant Director: Jeff Okabayashi (US) (Until Covid) Producers: Jonathan Schwartz, Kevin Feige 1ST ASSISTANT DIRECTOR DRUNK HISTORY - Season 1 (TV series) Eureka Productions 2019 Director: Helena Brooks, Ben Howling, Jack Steele Executive Producer: Sophia Mogford Series Producer: Ashley Davies 2ND ASSISTANT DIRECTOR RISING WOLF (Feature) Wolf Films Productions Pty Ltd 2019 Director: Antaine Furlong, 1st Assistant Director: Drew Bailey Producers:
    [Show full text]
  • Matthew Loads Thesis
    Australian Webisodes 2010-2014: Extending Narrative and Promoting Television Drama Online Matthew Loads Submitted in total fulfilment of the requirements of the degree of Doctor of Philosophy 2021 Department of Media and Communication School of Arts, Social Sciences and Humanities Faculty of Health, Arts and Design Swinburne University of Technology 1 Abstract This thesis analyses webisode production in Australian television drama. It defines webisodes as short-form original video texts connected to a television program and produced for an online audience. They emerged as a form of video content in the mid-1990s and are currently recognised as a component of multi-platform television in Australia. Their creation reveals important emerging trends in the Australian screen industry. The study examines the production processes that shape these texts, and how webisodes contribute to the history of Australian television by reflecting larger changes in drama production. Through a consideration of both formal practices and storytelling conventions, the thesis employs Elana Levine’s five modes of production as its core methodological framework. Developed to examine the production of the soap opera General Hospital (1963-), this thesis adapts a framework established for pre-internet network television in North America to the production process that shaped Australian webisodes from 2010 to 2014, a period where webisode production solidified. Four webisode case studies directly linked to TV drama programs are explored—Network Ten’s Offspring (2010-2018) and Secrets and Lies (AU, 2014), SBS’s Danger 5 (2012-2015), and the ABC production of Nowhere Boys (2013- 2019). Findings are based on interviews with 27 production personnel and visits to production sets, and the detailed examination of trade press, industry and government reports.
    [Show full text]
  • Drama Report 2015/16
    Production of feature Drama films and TV drama in Report Australia in 2015/16 © Screen Australia 2016 ISBN: 978-1-920998-29-5 The text in this report is released subject to a Creative Commons BY licence (Licence). This means, in summary, that you may reproduce, transmit and distribute the text, provided that you do not do so for commercial purposes, and provided that you attribute the text as extracted from Screen Australia’s Drama Report 2015/16. You must not alter, transform or build upon the text in this report. Your rights under the Licence are in addition to any fair dealing rights which you have under the Copyright Act 1968 (Cwlth). For further terms of the Licence, please see creativecommons.org/ licenses/by-nc-nd/3.0/ Screen Australia is grateful to all those who contributed data to the compilation of this report. The data provided has been drawn from a number of sources. While Screen Australia has undertaken all reasonable measures to ensure its accuracy, we cannot accept responsibility for inaccuracies and omissions. Cover image: Leah Purcell and Jessica Mauboy on the set of The Secret Daughter. Contents ABOUT THE REPORT 3 ABOUT THE REPORT Key terms 4 The Drama Report covers the production HIGHLIGHTS 5 of feature films and TV drama programs (mini-series, telemovies and series/ OVERVIEW 6 serials) by financial year. ALL DRAMA PRODUCTION 7 It reports on the operation of the Producer Offset tax rebate for domestic FEATURE FILM PRODUCTION IN AUSTRALIA 8 Australian projects and official co- productions, incorporating data gathered Trends over time 8 through surveys and publicly available sources to give a comprehensive view of AUSTRALIAN FEATURE SLATE 9 drama production activity in Australia and the Offset’s contribution to the Feature budget ranges 9 annual slate.
    [Show full text]
  • Media Mergers 2003
    Media Mergers 2003 The OECD Competition Committee debated media mergers in May 2003. This document includes an executive summary and the documents from the meeting: an analytical note by Mr. Gary Hewitt for the OECD, written submissions from Australia, Austria, Brazil, Canada, Czech Republic, Denmark, the European Commission, Finland, Germany, Ireland, Israel, Japan, Mexico, Spain, Chinese Taipei, the United Kingdom, the United States, as well as an aide-memoire of the discussion. Reviewing media mergers may be more complicated than reviewing other mergers because of the huge variety of possible media content and the two-sided market aspect of many media, i.e. those earning advertising revenue. A wide variety of content means that market definition is rendered more complex. The two-sided market characteristic has important and sometimes far from obvious impacts on how mergers affect economic efficiency, media plurality and content diversity. Vertical integration can produce real efficiencies in media markets notably when it eliminates a double-marginalisation problem but it can sometimes create competition problems as far as access to content and final delivery to the consumer are concerned. Adequate trade off between economic welfare and non-economic effects on social welfare, e.g. on pluralism, which are two separate goals, are difficult to make in reviewing media mergers. Although competition authorities tend to protect pluralism, most often they are reluctant to include pluralism considerations in merger reviews as they want to preserve
    [Show full text]
  • C NTENT 2021 L
    11-24 January C NTENT 2021 www.contentasia.tv l www.contentasiasummit.com Asia Pacific SVOD up 34% in 2020 Online content investment continues to grow, MPA says Entries open on 6 March 2021 www.contentasiaawards.com OTT Video Content Investment (US$ mil.)* 1,600 1,400 A+E Singapore, 1,200 Japan, Korea roll 1,000 out first co-pro 800 Covid original production 600 opens new chapter for 400 U.S. net’s Asia ops 200 - Japan ANZ India SEA Korea HK/Taiwan A+E Networks Asia’s latest local pro- duction, Covid vs The World, premieres on regional channel History across SE * Excludes TVOD in most markets including Korea; comprises SVOD & AVOD Source: Media Partners Asia Asia, Korea & Japan over the next two months, opening a new chapter of Asia Pacific’s online video opportunity ditions reached a record 8.9 million collaboration between A+E Networks’ is forecast to scale to US$54.5 billion in 2020, driven by working from home production teams based in Singapore, by 2025, with SVOD contributing 57% conditions with Netflix emerging as Tokyo and Seoul. and advertising, 43%, according to a market leader. SVOD overtook AVOD as new report, Asia Pacific Online Video & the larger revenue contributor in 2020, The full story is on page 2 Broadband Distribution 2021, published accounting for 56% of online video by regional analysts Media Partners Asia revenues. (MPA). In Korea, SVOD revenue doubled in q Excluding China, total Asia Pacific on- 2020, driven by Netflix. New entrants in line video revenues grew 14% in 2020 to Korea in 2021 will include Disney+, which reach US$14 billion with SVOD contribut- will join Softbank-owned Coupang, NHK marks 2011 ing 48% and AVOD, 52%.
    [Show full text]