Indigenous Communications Australia (Ica)
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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. -
Towards a Protocol for Filmmakers Working with Indigenous
The Australian Film Commission is developing a new protocol for FEBRUARY 2003 filmmakers (both non-Indigenous and Indigenous) working in the Indigenous area. The protocol will provide a framework to assist and encourage recognition and respect for the images, knowledge and stories of Indigenous people, as represented in documentaries and drama, including short dramas, feature films and television drama. HAVE YOUR SAY This issues paper has been prepared to seek your comments and opinions on what should be covered in the protocol. You can send your submissions in writing by post, fax or email, or on audio or videotape. You could also contact the consultant, Terri Janke, and organise a phone interview. Submissions should be sent to: issues paper: Terri Janke Closing date for submissions is 30 June 2003. Terri Janke and Company Towards a Protocol for Filmmakers Working with PO Box 780 Rosebery NSW 1445 Indigenous Content and Indigenous Communities Phone: 02 9693 2577 Fax: 02 9693 2566 Email: [email protected] Prepared by Terri Janke & Company For the Indigenous Unit of the Australian Film Commission GPO Box 3984 Woolloomooloo NSW 2001 Ph: 1800 226 615 Copyright © Australian Film Commission February 2003 All rights reserved. Without limiting the rights under copyright reserved above, no part of this publication may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, mechanical, photocopying, recording or otherwise), without the prior written permission of the Australian -
Australian Content on SBS and Related Matters
Australian content on SBS and related matters Senate Environment and Communications References Committee: Inquiry into Australian content on broadcast, radio and streaming services The impact SBS has h a d on the A u s t r a l i a n film and television community and culture cannot be underestimated. Save Our SBS Inc SaveOurSBS.org supporters & friends of SBS Save Our SBS Inc PO Box 2122 Mt Waverley VIC 3149 ph: 03 9008 0644 www.SaveOurSBS.org [email protected] 9 February 2018 Committee Secretary Senate Standing Committees on Environment & Communications PO Box 6100 Parliament House Canberra ACT 2600 by email to: [email protected] Inquiry into Australian content on broadcast, radio and streaming services Save Our SBS Inc is the peak body for supporters & friends of SBS represented in all States and Territories and we welcome this opportunity to present our submission about Australian content on SBS and related matters. Save Our SBS Inc SaveOurSBS.org page 2 of 31 supporters & friends of SBS Table of Contents Australian content on SBS and related matters...................................................................................... 1 Executive summary ................................................................................................................................. 4 SBS television .......................................................................................................................................... 5 What is Australian content? .................................................................................................................. -
Reddin Antisiphoning Fullpaper NEW.Pages
53 • Platform: Journal of Media and Communication Volume 8.2, ANZCA Special Issue (2017): 53-67. Cultural Citizenship, Social Utility, and Positive Network Externalities: The Role of Anti-Siphoning Legislation Edward Reddin – University of Newcastle [email protected] Rowe suggests that televised sport plays a substantial role in facilitating participation in a nation’s culture (2004b). This sentiment is arguably more pronounced here in Australia than anywhere else in the world—our broadcasting legislation contains provisions ensuring that free-to-air broadcasters get priority when acquiring the rights of “events of national importance and cultural significance”(Australian Government, 2017, p. 1). This provision lists some 1300 protected events; all exclusively sport. However, many comparable countries list approximately 100 events, which include non-sport events. Given that the Australian Football League (AFL) is clearly identifiable as an Australian game and part of Australian culture, making this code widely accessible is evidently a necessary requirement for cultural participation. Yet, the free-to-air broadcasting market often fails to fulfil this obligation. Despite the fact that approximately $900 million was paid for the most recent round of free-to-air AFL broadcasting rights (Mason and Stensholt, 2015), evidence suggests that there is a considerable disparity in AFL viewing opportunities in the free-to-air market. While this situation would appear to erode the public access remit that sport has historically supported, of more concern is that current regulatory arrangements appear to normalise such an outcome. The concepts of cultural citizenship, social utility, and positive network externality suggest that, in an ideal world, all games should be freely available to all citizens. -
Series 2, Episode 1
SERIES 2, EPISODE 1 © ATOM 2013 A STUDY GUIDE BY KATY MARRINER http://www.metromagazine.com.au ISBN: 978-1-74295-366-3 http://www.theeducationshop.com.au Redfern Now Series 2 portrays contemporary inner-city Indigenous life in and around the suburb of Redfern in Sydney, New South Wales. The series offers compelling stories of ordinary people dealing with the ups and downs that life brings. Redfern Now is a drama series written, directed and produced by Indigenous Australians. The series was developed in collaboration with UK screenwriter Jimmy McGovern and is produced by Blackfella Films’ Darren Dale and Miranda Dear, and presented by ABC TV and Screen Australia in association with Screen NSW. CURRICULUM Now has relevance to units of work in Aboriginal and Torres Strait Islander LINKS Studies, Australian History, Cultural Studies, English, Health and Human Redfern Now is suitable for second- Development, Literature, Media, ary students in Years 9–12. The Religion and Society, and Sociology. series offers stories of Aboriginal and Torres Strait Islander peoples told by Teachers are advised to direct stu- Aboriginal and Torres Strait Islander dents to complete activities that are peoples, allowing students to develop subject-relevant and age-appropriate. an awareness and appreciation of Indigenous storytelling and to see the issues affecting Aboriginal and Torres BLACKFELLA Strait Islanders from their perspective. FILMS Given its insight into the present expe- For twenty years, Blackfella Films has riences of Aboriginal and Torres Strait created innovative and high-quality Islander peoples, the series provides content across documentary and nar- opportunities for students to engage rative in both short and feature formats in discussions about Aboriginal and for theatrical, television and online plat- Torres Strait Islander identity and be- forms. -
Digital Television in Australia
Digital Television in Australia 2002 Industry Survey Prepared for the Australian Broadcasting Authority by Duane Varan & Tim Morrison Interactive Television Research Institute, Murdoch University Australian Broadcasting Authority Sydney February 2003 Disclaimer This report has been undertaken by the Interactive Television Research Institute (ITRI), with financial support from the Australian Broadcasting Authority. The findings and views expressed in the report do not necessarily reflect those of the ABA. The findings in this report are based on information gathered in good faith. Neither ITRI nor the ABA assume any liability for any actions taken based on the findings of this report. © Commonwealth of Australia 2003 This work is copyright. Apart from fair dealings for the purpose of private study, research, criticism or review, as permitted by the Copyright Act 1968, no part may be reproduced or transmitted, in any form or by any means or process, without the written permission of the publishers. Published by the Australian Broadcasting Authority 201 Sussex Street Sydney NSW 2000 Australian Broadcasting Authority ii Contents BACKGROUND 1 Digital television 1 The study 1 The iTV value chain 4 Digital drivers / inhibitors 7 RESULTS 9 Survey results 9 Digital penetration 11 Digital drivers 16 Inhibitors 23 Advertising drivers 25 Drivers and inhibitors compared 28 Government assistance 30 Information needs 31 IMPLICATIONS 33 Survey implications 33 CONCLUSION 37 APPENDIX A 39 Organisations represented at Delphi retreat 39 APPENDIX B 40 Organisations represented in industry survey 40 Australian Broadcasting Authority iii About the authors Duane Varan is the director of the Interactive Television Research Institute based at Murdoch University where he holds the Foundation Chair in New Media. -
1786 SBS Serv Bro PDF.Qx
CONTENTS SBS CORPORATION SBS Television SBS Radio SBS New Media SBS RADIO SBS Radio SBS TELEVISION SBS Television SBS Independent Special Broadcasting SBS NEW MEDIA PAY TV Service New Media Pay TV SBS ADVERTISING & SERVICES SBS Television SBS Radio SBS Language Services Brides of Khan > SBS CORPORATION < The Boys The Special Broadcasting Service Yolngu Boy > (SBS) is Australia’s multicultural and multilingual public broadcaster. By combining the best of world television and cinema with quality local productions – many commissioned from Australia’s most creative independent filmmakers – SBS Television provides Australian audiences with an extraordinarily diverse and unique programming schedule, half of which is the voice and vision of multicultural Australia in languages other than English. With English language subtitles, produced by SBS, these programs are accessible to all Australians. SBS is the world’s only multicultural and multilingual broadcaster. Programs in more than 60 languages are broadcast on SBS Television. Sixty-eight languages are spoken on SBS Radio, and SBS Radio SBS Online provides text and audio-on-demand in more than 60 languages. SBS Radio is the world’s most linguistically diverse broadcaster, No other network, anywhere in the world, broadcasts in as many languages. < Sparky reaching many of the 2.5 million Australians who speak a language other than English at home. SBS is the voice and the vision of multicultural Australia. Its mandate is to define, foster and celebrate Australia’s cultural diversity through programs that “inform, It produces more than 15,000 hours of language-specific educate and entertain” all Australians and reflect the true nature of Australia’s programs each year, including an hour-long current affairs multicultural society. -
Download Introduction.Pdf
School of Social Sciences FROM PRODUCTION HOUSES TO RELAY STATIONS A SOCIAL HISTORY OF COMMERCIAL TELEVISION IN PERTH WESTERN AUSTRALIA With special reference to the years 1958 –1990 PETER HARRIES March 2004 This thesis is presented as part of the requirements for the award of the Degree Doctor of Philosophy of the Curtin University of Technology ii I hereby declare that this thesis has not already been accepted in substance for any Degree. It is the result of my own independent research, and all sources that have been consulted are acknowledged in the bibliography. …………………………….. iii ABSTRACT The thesis examines the continuing interaction of local ‘live’ production, audience ratings, financial returns and managerial attitudes to community responsibility during the first thirty- two years of commercial television in Western Australia. It is argued that during this nperiod the nature of commercial Western Australian television companies changed dramatically. From being creative production houses, developing their own local ‘live’ content programs, they have become mere relay houses relying almost entirely on programs developed in other parts of Australia and overseas. The local ‘live’ part of television was born of the necessity to provide program content at little cost, grew as part of a perceived community responsibility by the television stations and was fostered by their competition. Its demise was due to misplaced Federal Government regulation, technological changes, networking and a diminution in community responsibility engendered -
At Any Time in Any Place in Any Situation
in any place at any time in any situation Annual Report2005 Australian Broadcasting Corporation ABC services of all Australians via reached an estimated75% television, radio and online There are now 1.7 million pages of information rich ABC Online content at www.abc.net.au ABC radio weekly metropolitan audience reach 3.766 millionor 34% ABC weekly metropolitan reach of TV8.8 million or 64.2% and weekly regional reach of 3.9 million or 62.6% ABC Online reaches 14.4% of Australia’s active Internet population 90% of Australians continue to believe the ABC provides a valuable service to the community. 1 New Australian-made TV programs launched include Spicks and Specks, Talking Heads, How The Quest Was Won, Beat The Chef, Collectors, Second Opinion, Blue Water High and Outback House We launched digital radio services digJAZZ and digCOUNTRY Radio Australia now available via 200 local re-broadcasters in 40 countries, shortwave broadcasts, satellite services and a 24-hour FM network ABC2 was launched... the ABC’s second free-to-air digital television channel ABC Asia Pacific television is seen in 39 countries, retransmitted by 155 pay-TV operators, in more than 200 000 hotel rooms and available in 9 million homes ABC produced 4 476 hours of Australian television content, including more than 2 221 hours of news and current affairs 40 ABC Shops and 79 ABC Centres through out Australia and online generated $10.6 million net profit which was returned to programming last year ABC had total revenues of $959m from ordinary activities with $1.026 billion in total assets 2 abc any time | any place reaches australians radio television online shops international broadcasting 3 Annual Report 2004–05 Radio The ABC has four national radio networks —Radio National, ABC Classic FM, triple j and ABC NewsRadio—as well as 60 Local Radio stations around Australia, and three Internet music-based services, dig, digJAZZ and digCOUNTRY. -
Public Service Broadcasting in Australia
Legislative Council Secretariat IN28/05-06 INFORMATION NOTE Public Service Broadcasting in Australia 1. Definition of public service broadcasting 1.1 In Australia, the Broadcasting Services Act 1992 provides a definition of public service broadcasting (PSB) based on the nature of the national broadcasting services provided by the Australian Broadcasting Corporation (ABC) and the Special Broadcasting Service Corporation (SBS) in accordance with Section 6 of their respective enabling legislation. ABC and SBS are the national public service broadcasters in Australia. 1.2 Section 6 of the Australian Broadcasting Corporation Act 1983 (ABC Act) sets out the Charter of ABC, which is to: (a) provide within Australia innovative and comprehensive broadcasting services of a high standard; (b) broadcast programmes that contribute to a sense of national identity, inform and entertain, and reflect the cultural diversity of the Australian community; (c) broadcast programmes of an educational nature; (d) encourage and promote the musical, dramatic and other performing arts in Australia; and (e) transmit to countries outside Australia programmes of news, current affairs, entertainment and cultural enrichment that will (i) encourage awareness of Australia and an international understanding of Australian attitudes on world affairs, and (ii) enable Australian citizens living or travelling outside Australia to obtain information about Australian affairs and Australian attitudes on world affairs. 1.3 Section 6 of the Special Broadcasting Service Act 1991 (SBS Act) sets out the principal function of SBS, which is to provide multi-lingual and multi-cultural radio and television services that inform, educate and entertain all Australians and, in doing so, reflect Australia's multi-cultural society.