Invasion from the skies

Increased competition and shrinking budgets have forced public service broadcasters around the world to reconsider their role. Doordarshan, India’s public service television network, shares the problems faced by its counterparts in more developed countries. Although it continues to enjoy the luxury of being the only television network broadcasting its programs from within national boundaries, it has had to change its policies and programming to compete with foreign television channels including Murdoch’s Star TV. However, it is the Indian audience that has benefited most from this competition from the skies in the form of improved quality and quantity of programs. This paper reports on an audience survey carried out in India earlier this year to gauge television viewers’ perception of these benefits. The paper also gives background on the developments in thetelevision industry in India.

Globalisation, television and developmental agenda

Theorising the impact of foreign and private television in India since 1991, does not neatly fit into the old debates about one way flow of news and information as reflected in the demand for the New World Information and Communication Order in the 1970s and early 1980s. In the 1990s, Indian society was invaded from the skies by a number of satellite television signals. However, did this advent of satellite television, vis à vis foreign and private television channels, lead to one way flow of information and entertainment programs from the Western world? Or, did it lead to rapid growth of Indian television industry, resulting in exponential increase in quality and quantity of television programs available to audience?

This paper argues that the de facto de-regulation of the television media since 1991 has led to an enviable growth in local production of programs for more than 450 channels, estimated to be worth Rs30 billion (AS$1 billion), thereby providing an increased level of opportunity for articulation of Indian local stories and culture. This way, the Indian television industry seems to have come full circle – where television, which was launched in the country as a means of development and education but became complacent and the government’s mouth-piece, finally in the past decade-and-a-half has grown sufficiently to potentially provide an outlet for diverse local expressions thereby revitalising democracy in India.

Commercial influence on Indian public-service broadcasting

In the UK, the Conservative Party has been drafting a proposal to withhold part of the consumers' broadcasting licence fee from the BBC and place it in a contestable fund for public-service programming. In Australia, the ABC continues to struggle to meet its funding requirements just when the Federal conservative coalition government is considering a bid to use public funding to engage a commercial consortium to run the country's Asia-Pacific television channel and so take it away from the ABC. These struggles for independence and for an appropriate level of funding are part of the landscape of public-service broadcasting in many developed countries. Those who believe in the public-service ethos are concerned about the potential diminishing value of these great broadcasting assets because of the privatisation and commercialisation. However, this is the story of another public-service broadcaster - Doordarshan in India - which has had to live with severe competition from the skies since 1991. As the former dominant broadcaster in the largest democracy in the world, Doordarshan has survived and revived itself many times in the past four and a half decades. However, it continues to struggle to fulfil its role as a mass medium for education and entertainment. This paper explores the role of public-service broadcasting using Doordarshan as a case study. It asks: Does commercialisation of this public broadcaster mean privatisation by stealth or does it provide healthy distance between the broadcaster and the government of the day?

Dreamweavers

Dreamweavers is a touring show Curated by Simon Gregg at the Gippsland Regional Gallery, touring Nationally from 2011 until April 2013.

The exhibition explores the contemporary preoccupation for the Fantastic through a range of national and international art practices, that are united by an enduring fascination with darkness and dark places. Dreamweavers is a multi-sensory experience that is more like entering another world than an art exhibition. It combines sculpture, digital media, photography and painting, in an intoxicating visual feast.

Dreamweavers features the work of six artists. James Gleeson (1915-2008) was Australia’s pre-eminent Surrealist, and one of the country’s most acclaimed twentieth century artists. In his work massive, heaving and largely unidentifiable forms meld with apocalyptic skies and earth in twisted biomorphic shapes.

Soaring and gliding flight of migrating broad-winged hawks : behavior in the nearctic and neotropics compared

We compared migrating behavior of Broad-winged Hawks (Buteo platypterus) at two sites along their migration corridor: Hawk Mountain Sanctuary in eastern Pennsylvania and the Kéköldi Indigenous Reserve in Limón, Costa Rica. We counted the number of times focal birds intermittently flapped their wings and recorded the general flight type (straight-line soaring and gliding on flexed wings versus circle-soaring on fully extended wings). We used a logistic model to evaluate which conditions were good for soaring by calculating the probability of occurrence or absence of wing flaps. Considering that even intermittent flapping is energetically more expensive than pure soaring and gliding flight, we restricted a second analysis to birds that flapped during observations, and used the number of flaps to evaluate factors influencing the cost of migration. Both the occurrence and extent of flapping were greater in Pennsylvania than in Costa Rica, and during periods of straight-line soaring and gliding flight compared with circle-soaring. At both sites, flapping was more likely during rainy weather and early and late in the day compared with the middle of the day. Birds in Costa Rica flew in larger flocks than those in Pennsylvania, and birds flying in large flocks flapped less than those flying alone or in smaller flocks. In Pennsylvania, but not in Costa Rica, the number of flaps was higher when skies were overcast than when skies were clear or partly cloudy. In Costa Rica, but not in Pennsylvania, flapping decreased as temperature increased. Our results indicate that birds migrating in large flocks do so more efficiently than those flying alone and in smaller flocks, and that overall, soaring conditions are better in Costa Rica than in Pennsylvania. We discuss how differences in instantaneous migration costs at the two sites may shift the species' migration strategy from one of time minimization in Pennsylvania to one of energy minimization in Costa Rica.

Alexandra Watkins interviews Michelle de Kretser on 'Springtime'

Sydney in spring is a palette of luminous intensity. Fresh green spaces meet vivid blue skies. Lilac jacarandas burst into life throughout the city and its suburbs. It is time of renewal when locals and tourists take full advantage of this most favoured of seasons. It is a curious setting for a gothic tale, albeit the location for Michelle de Kretser’s latest work, Springtime: A Ghost Story. Bringing light to darkness this ‘black-spring’ interview with Michelle de Kretser questions Australian literary and cultural customs and environmental stereotypes. It also probes literary fashions, short form fiction, the Melbourne / Sydney cultural divide, gothic tropes, and the psychology of space. Through her discussion with interviewer Alix Watkins, de Kretser reflects on her interest in haunting, the influence of her Sri Lankan background, and the attraction of brevity following her previous epic Questions of Travel (Miles Franklin Award 2012).