The cost-effectiveness of removing television advertising of high-fat and/or high-sugar food and beverages to Australian children

Objective: To model the health benefits and cost-effectiveness of banning television (TV) advertisements in Australia for energy-dense, nutrient-poor food and beverages during children's peak viewing times.

Methods: Benefits were modelled as changes in body mass index (BMI) and disability-adjusted life years (DALYs) saved. Intervention costs (AUD$) were compared with future health-care cost offsets from reduced prevalence of obesity-related health conditions. Changes in BMI were assumed to be maintained through to adulthood. The comparator was current practice, the reference year was 2001, and the discount rate for costs and benefits was 3%. The impact of the withdrawal of non-core food and beverage advertisements on children's actual food consumption was drawn from the best available evidence (a randomized controlled trial of advertisement exposure and food consumption). Supporting evidence was found in ecological relationships between TV advertising and childhood obesity, and from the effects of marketing bans on other products. A Working Group of stakeholders provided input into decisions surrounding the modelling assumptions and second-stage filters of 'strength of evidence', 'equity', 'acceptability to stakeholders', 'feasibility of implementation', 'sustainability' and 'side-effects'.

Results: The intervention had a gross incremental cost-effectiveness ratio of AUD$ 3.70 (95% uncertainty interval (UI) $2.40, $7.70) per DALY. Total DALYs saved were 37 000 (95% UI 16 000, 59 000). When the present value of potential savings in future health-care costs was considered (AUD$ 300m (95% UI $130m, $480m), the intervention was 'dominant', because it resulted in both a health gain and a cost offset compared with current practice.

Conclusions: Although recognizing the limitations of the available evidence, restricting TV food advertising to children would be one of the most cost-effective population-based interventions available to governments today. Despite its economic credentials from a public health perspective, the initiative is strongly opposed by food and advertising industries and is under review by the current Australian government.

A brief choice of films

Melbourne experimental filmamaker Dirk de Bruyn together with sound artist Joel Stern created a hallucinating mixture of light, movement and sound in the small basement of the Urban Espresso Bar. Dirk De Bruyn and Joel Stren gave an author talk at 8:30 pm on 13th October 2009

An analysis of potential barriers and enablers to regulating the television marketing of unhealthy foods to children at the state government level in Australia

Background In Australia there have been many calls for government action to halt the effects of unhealthy food marketing on children's health, yet implementation has not occurred. The attitudes of those involved in the policy-making process towards regulatory intervention governing unhealthy food marketing are not well understood. The objective of this research was to understand the perceptions of senior representatives from Australian state and territory governments, statutory authorities and non-government organisations regarding the feasibility of state-level government regulation of television marketing of unhealthy food to children in Australia.

Method Data from in-depth semi-structured interviews with senior representatives from state and territory government departments, statutory authorities and non-government organisations (n=22) were analysed to determine participants' views about regulation of television marketing of unhealthy food to children at the state government level. Data were analysed using content and thematic analyses.

Results Regulation of television marketing of unhealthy food to children was supported as a strategy for obesity prevention. Barriers to implementing regulation at the state level were: the perception that regulation of television advertising is a Commonwealth, not state/territory, responsibility; the power of the food industry and; the need for clear evidence that demonstrates the effectiveness of regulation. Evidence of community support for regulation was also cited as an important factor in determining feasibility.

Conclusions The regulation of unhealthy food marketing to children is perceived to be a feasible strategy for obesity prevention however barriers to implementation at the state level exist. Those involved in state-level policy making generally indicated a preference for Commonwealth-led regulation. This research suggests that implementation of regulation of the television marketing of unhealthy food to children should ideally occur under the direction of the Commonwealth government. However, given that regulation is technically feasible at the state level, in the absence of Commonwealth action, states/territories could act independently. The relevance of our findings is likely to extend beyond Australia as unhealthy food marketing to children is a global issue.

Integrated advertising and sponsorship in corporate marketing through televised sport

To determine how integrated TV advertising and event sponsorship should be managed, a theoretical framework derived from exploratory research was validated by 16 experts and used in 12 case studies. The research identified the key techniques that led to increased corporate sales - 4 key campaign steps and four key objectives with necessary performance measures,

Technology effecting interorganisational relationship formation

This thesis examined the effect of emerging broadcasting technology on the formation of interorganisational relationships (IORs) between Australian-based professional football clubs and sport broadcasters. While six preconditions for IOR formation were identified, the clubs and sport broadcasters seek to retain a league-regulated environment.

Narrativization of actuality : convergence of form and genre in film and television

The thesis concerns the treatment of actuality in film and television, particularly the narrativization of actuality images, and the context of their placement within audio/visual texts. Several instances of the convergence of media form and genre are analyzed, and the conventions of classificatory systems and boundaries that pertain to film and television representations are reconsidered in light of changes in the conventions of genre. The distinction between, and convergence of fictional and non-fictional conventions of narrative are therefore central to the thesis, as are the related issues of viewer response, the nature of subjectivity in the viewer, the connectivity of text and culture, and the relations of actuality to the text. The thesis traces the narrativization of actuality through textual, formal and genre boundaries, adopting a ‘line of flight or deterritorialization’ that enables the thesis to ‘change in nature and connect with other multiplicities.’This line of flight passes through the conventional separation of genre groupings and texts, and, similarly, has been applied in the thesis as a rationale for the diminution of theoretical boundaries. A multiperpectival approach is applied to the permeability of, or transcendent relations of the analysis to the boundaries between genres, between texts and culture, and between actuality and virtual representation. In the thesis there is also a theoretical deterritorialization that consents to a pluralism of theory, which is an approach demonstrated by Deleuze and Guattari in A Thousand Plateaus. The model of multi-perspectivalism adopted in the thesis engages in establishing connections and similarities between theories, rather than emphasizing contradictory and exclusive practices. The Foucauldian notion of the rules of formation in discourse, Nichols’ theories of documentary representation of reality, Bordwell’s schematic interpretation, and several other positions are critiqued, as the line of flight embarked upon in the thesis intersects with, and passes through both textual and theoretical boundaries. The thesis consists of two parts: firstly, a location of theoretical perspective, in which the issues of theory pertaining to actuality and narrative are explicated, and the methodological approach of the thesis is defined. The second part commences with an analysis of the most familiar instances of actuality in film and television, with particular attention to documentary forms. It then engages in the analysis of films that represent actuality but which, in the process of narrativization, display a convergence of genre conventions. The films selected for analysis include Steven Speilberg's Schindler's List, (1993) Oliver Stone's JFK, (1991) and Robert Zemeckis' Forrest Gump, (1994) and Contact, (1996). Hence the thesis is concerned with the application of a pluralist theoretical approach, with, however, an emphasis on the Deleuzo-Guattarian notions of rhizome and assemblage. Within this theoretical frame, the connections between actuality and the audio/visual text are explicated, and the formation of text as ‘a rhizome with the world’, is analyzed across a range of examples.

Internationalisation of Singapore television : Singaporean regional and global perspectives and contexts

In this study l investigate the Singaporean characteristics of broadcast media internationalisation. I ask the question "e; Does Internationalisation lead to homogenisation and commercialisation of the television culture in Singapore or does it give way to more diversity, thus stimulating cultural differentiation?"e; . I articulate the constraints and/or tensions of supranational regulation, foreign policy, regional and intraregional alliances upon communication and the cultural and social effects as they impact on and respond to production, programming, scheduling and output in Singapore. I explain how Singaporean Television media culture takes part in the processes of globalisation, and how it challenges existing cultures and creates new and alternative symbolic and cultural communities, within the context of regional communication. In this thesis 1 conclude that whilst Singapore definitely does not have equity in information, wealth or resource flows it is attempting to liberalise. To do so, the government recognises that serious inadequacies and imbalances must be addressed and that the path to greater political and economic growth is through an actively informed public. Despite regulatory restrictions on data flow and technical and service ownership, Singapore is encouraging regional alliances, depoliticising cultural differences and concentrating on economic imperatives to build mutual knowledge and understanding, multilateral agreements, collective ownership, mutual exchange and cooperative dissemination.

The films of John Hughes: a history of independent screen production in Australia

ABSTRACTIn The Films of John Hughes: A history of independent screen production in Australia filmmaker and academic John Cumming tells the ongoing story of Hughes’ work illustrating the delicate balance of individual, collective and corporate agendas that many contemporary artists need to negotiate. This story begins in the 1960s with a generation of intelligent, socially engaged young people who challenge established power structures, conventions and stereotypes in art, politics and the media. Experiments were being made with grassroots democracy, with new social formations and new ways of seeing and communicating. The book also pays attention to earlier periods of cultural and political activism that captured Hughes’ imagination in the 1970s and became the subject of a number of his films over a period of nearly forty years. Through these films Cumming traces the outline of post-war film culture and production in Melbourne from the 1940s and sets this history within the context of international trends in independent filmmaking throughout the 20th Century and into the 21st.The work of an independent filmmaker has always included a great deal more than directing films. Working in an artisanal mode, he or she often performs, or has a hand in, every aspect of craft at the same time as engaging in discussion and organisation around the wider sphere of screen culture and industry. In addition to having proficiency as a producer, photographer, sound recordist, editor, distributor and exhibitor of films, there is research, organisation, lobbying, entrepreneurship and mentoring to be done. As an independent producer-director, John Hughes has engaged in all of these activities – often simultaneously. He is also a scholar, writer, organiser, activist and teacher. As a television bureaucrat he was both eminent and innovative, and through his filmmaking he has become a leading historian of Australian documentary cinema. ‘… that view – that art and politics are inherently at odds – is still lurking around. It is at the heart of cultural conservatism; and John Hughes’s film-making, from the 1970s to the present, confounds its proponents. His cinema is at once crowded, detailed, elegant and absolutely lucid; at the same time, it is shot through with political and historical understandings.’ Sylvia Lawson, ‘Such a Bloody Wonderful Place’, Inside Story, 28 April 2013.

A new screen face for public service broadcasting

The contemporary broadcasting industry is characterised by technological and social change, it is increasingly competitive, and the media industry is fragmenting. New services need not necessarily compete with existing free-to-air broadcasting but could act as further incentive for audiences to invest in new equipment. New equipment will be necessary in the future as set out under the Television Broadcasting Services (Digital Conversion) Act 2000 (Cth), before the planned switch-off of analogue broadcasts planned for this year but now likely to be 2013. By then, however, audiences might already have migrated to the online environment for television and radio content as well as other services. Those that produce and deliver programs via free-to-air broadcasting need to consider what audiences do with new media in order to engage them. This will be an ongoing process as technology and audience expectations continue to change. Against such a background, this article examines how Australia’s public broadcasters are responding to the new media environment. It will consider their interactive online programs and services with specific analysis of ABC’s new ‘iView’ and ‘ABC Fora’ which offer content on-demand. It will also examine SBS online initiatives. I wish to argue that the new media offer public broadcasters new prospects to provide forums and spaces for education, entertainment, public discussion and interaction online.

Superhydrophobic properties of nonaligned boron nitride nanotube films

Superhydrophobicity is highly desirable for numerous applications. Here, we report that a semierect but nonaligned boron nitride nanotube (BNNT) film showed superhydrophobicity with contact angle above 170° and a small contact angle hysteresis. This superhydrophobicity was stable over a large range of drop sizes, and the measured critical transition pressure was about 10 kPa. However, the prostrate BNNT films only showed hydrophobicity. The drop retraction behavior during evaporation, the pressure effect on contact angle, the critical transition pressure, the drop impact behavior, and the self-cleaning efficiency between these two kinds of films were systematically investigated and compared.

The "other" in film : exclusions of Aboriginal indentity from Australian cinema

Throughout the latter half of the past century, cinema played a significant role in the shaping of the core narratives of Australia. Films express and implicitly shape national images and symbolic representations of cultural fictions in which ideas about Aboriginal identity have been embedded. In this article,1 exclusionary practices in Australian narratives are analyzed through examples of films representing Aboriginal identity. Through these filmic narratives the articulation, interrogation, and contestation of views about filmic representations of Aboriginal identity in Australia are illuminated. The various themes in the filmic narratives are examined in order to compare and contrast the ways in which Australian films display the operation of narrative closure and dualisms within the film texts.

Coming soon (to a theatre near you) : the temporality of global film distribution to Australia

This article explores the changing contexts of international film exhibition in Australia over a 20-year period (1989–2009) by examining in some empirical detail Australia’s position in the global flow of films during this time. It argues that, at the most abstract level, distributors are engaged in the management and mediation of time and space in the field of global communications. It is proposed that distributors, through the organisation of temporal differentiation, are explicitly active in the creation of both cultural and commodity value. This is particularly apparent as film distributors explore and engage new methodologies of film release, which emphasise overlapping, intersecting and contradictory temporalities in the cinema experience.

Teaching soft issues in strategic management with films : arguments and suggestions

Strategic matters are extraordinarily complex and involve many different and interlinked processes and influences. This makes the subject difficult for students lacking managerial experience as they are unaware of the intricacy of the problems being discussed. Strategy requires not just a theoretical understanding of the subject, but also a practical feel for business and organisation. We argue that films can help the instructor because they offer elaborate multidimensional and multi-layered contexts which mirror the reality of business. Moreover, their powerful narratives aid the retention of ideas and encourage engagement with issues. To illustrate the appropriateness of films in teaching strategic management, we review the strategy curriculum, highlight some of the teaching difficulties and show how using films could help students’ learning.