Must see TV : mapping an Australian mediasphere

Australian National Cinema and Australian Television Culture. These two books, magisterial accounts of Australian media cultures, are very different. The first analyses (according to its cover blurb) 'the distinct and diverse nature of Australian cinema'; the second offers 'a picture of Australian television'. The books share an author.2 Despite this, their objects of study are constituted very differently. The first is replete with examples of particular films, analyses of their representational strategies, and links to the social context of production. The second addresses almost no programs and those that are mentioned appear only in passing. There is no analysis of any particular television text. The difference between these books cannot be explained in terms of authorial fickleness: rather, it represents the different ways in which television and film have been constructed as objects of study. While film has a recognised canon and a tradition of close textual analysis, in the study of television the programs themselves have tended to vanish - as they do in Australian Television Culture. Most academic work on Australian television is not interested in its programs. Writers have tended to find other aspects more rewarding: industries, institutions, ownership, legislation, technology and production.3 Australian Television Culture is part of this tradition; and an example of how such work, done well, can be a useful contribution to understanding the medium.

Competition and innovation : independent production in the Chinese TV industry

Independent television production is recognised for its capacity to generate new kinds of program content, as well as deliver innovation in formats. Globally, the television industry is entering into the post-broadcasting era where audiences are fragmented and content is distributed across multiple platforms. The effects of this convergence are now being felt in China, as it both challenges old statist models and presents new opportunities for content innovation. This thesis discusses the status of independent production in China, making relevant comparisons with independent production in other countries. Independent television production has become an important element in the reform of broadcasting in China in the past decade. The first independent TV production company was registered officially in 1994. While there are now over 4000 independent companies, the term „independent. does not necessarily constitute autonomy. The question the thesis addresses is: what is the status and nature of independence in China? Is it an appropriate term to use to describe the changing environment, or is it a misnomer? The thesis argues that Chinese independents operate alongside the mainstream state-owned system; they are „dependent. on the mainstream. Therefore independent television in China is a relative term. By looking at several companies in Beijing, mainly in entertainment, TV drama and animation, the thesis shows how the sector is injecting fresh ideas into the marketplace and how it plays an important role in improving innovation in many aspects of the television industry. The thesis shows how independent television companies in China are looking to protect their property rights. It demonstrates that far from being at the cutting edge, independents are reliant on a system that has many inbuilt structural problems. The thesis outlines many of the challenges facing 'independents'.

Australian TV news : New forms, functions, and futures

Australian TV News: New Forms, Functions, and Futures examines the changing relationships between television, politics and popular culture. Drawing extensively on qualitative audience research and industry interviews, this book demonstrates that while ‘infotainment’ and satirical programmes may not follow the journalism orthodoxy (or, in some cases, reject it outright), they nevertheless play an important role in the way everyday Australians understand what is happening in the world. This therefore throws into question some longstanding assumptions about what form TV news should take, the functions it ought to serve, and the future prospects of the fourth estate.

How 50 years of TV has become Groundhog Day

All the whiz-bang gadgets of television have struggled to turn on the lightbulb of creativity.

Tourism TV commercials : a delicate balance between aural and visual information load

This article content analyzes music in tourism TV commercials from 95 regions and countries to identify their general acoustic characteristics. The objective is to offer a general guideline in the postproduction of tourism TV commercials. It is found that tourism TV commercials tend to be produced in a faster tempo with beats per minute close to 120, which is rare to be found in general TV commercials. To compensate for the faster tempo (increased aural information load), less scenes (longer duration per scene) were edited into the footage. Production recommendations and future research are presented.

From cinema to TV : still the same old stories about journalism

Television drama used to be the poor relation of the full length feature film made for cinema. No self-respecting movie star would be seen dead in the former, and successful TV actors rarely sustained careers of comparable brilliance in the film industry. Those days are gone, if a series such as House of Cards is any indicator of the trends.

Tweeting the TV event, creating ‘Public Sphericules’ : ad hoc engagement with SBS’s Go Back to Where You Came From – season two

This article uses the example of the mediatisation of Season 2 of the Australian documentary-cum-reality TV series Go Back to Where You Came From, and the associated #GoBackSBS Twitter feed, to investigate how public opinions are shaped, reshaped and expressed in new hybrid media ecologies. We explore how social media tools like Twitter can support the efforts of a TV production; provide spaces through which the public can engage ad hoc with a public event, be informed, shape their opinions and share them with others; and thus open up new possibilities for public discourse to occur. We suggest that new online public sphericules are emerging that provide spaces within which publics can engage with the cultural social and political realities with which they are confronted. In this way, we highlight the importance of mundane communication to the shaping and constant reshaping of public opinion.

What do Netflix, Stan and Presto mean for Australian TV?

The arrival of subscription video on demand services Netflix, Stan and Presto have implications for what we call "television" in Australia – and much of the policy detail remains to be hammered out.

We don’t want your must-see TV: Transatlantic television and the failed “Coupling” format

NBC's failed attempt to remake the BBC's Coupling generated a significant amount of press coverage in summer 2003. At the core of the debate was a struggle to reconcile an increasingly integrated transatlantic television market with traditional assumptions about culture and its authentic connection to space and place. The interest in the remake not only created a space where certain national differences were played out and performed but also facilitated an equally compelling transatlantic dialogue about creative ownership, appropriation, and a network's responsibility to its audiences. In doing so, the media attention highlighted how television formats are best understood not as innocuous commodities of international trade but as potential sites of articulation, contestation, and community in an increasingly transnational television environment.