Problem sexual behaviour in children: a review of the literature

   Although there is an under-acknowledgement of the issue in Australia there is a large body of international scholarship on juveniles who exhibit sexually violent or coercive behaviours toward other juveniles. Research undertaken in the United States and the United Kingdom emphasises options for clinical treatment, the logistics of coordinating multi agency response, and the causes and correlatives for coercive sexual behaviours in adolescents. Much of this literature has tended to focus on adolescents and there is an urgent need for increased studies on young children engaging in problem sexual behaviour.

   The smaller body of work published in Australia also favours adolescents rather than children with much of this work heavily influenced by international clinical studies. There are, however, a handful of reports based on Australian practitioner data that do focus on young children who engage in problem sexual behaviour. This literature surveys and evaluates the very limited number of existing therapeutic programs in Australia, and provides interview data with practitioners working with children exhibiting problem sexual behaviour. In the main, this research reinforces the findings of the internationa scholarship, both in terms of the contributing factors to problem sexual activity in children, but also in terms of the need for multi-faceted and contextually based cognitive behavioural therapeutic programs in response. More importantly, this burgeoning field of study indicates how far we have to go both in understanding the extent of the problem in Australia and in fashioning appropriate programs for prevention and intervention. Dr Joe Tucci is Chief Executive Officer of the Australian Childhood Foundation (ACF), an organisation that has taken a lead in responding to childhood problem sexual behaviour. Tucci et al., (2006) claim an urgent need for investment in a dedicated research and response agenda (Staiger et al., 2005b). To effectively address this issue researchers and practitioners require comprehensive empirical data on problem sexual behaviour in children across all sectors of Australian society, including Indigenous communities.

'Fixers, the people behind the foreign correspondents'

They do the leg work for foreign correspondents who arrive in a new place and have to get on top of a story quickly, but rarely receive public acknowledgement for their work. Fixers can shape who you speak to and what angle you take on a story, as well as the logistics of making it all happen.

Editorial

This article presents information on the September 2005 issue of the "Australian Journal of Communication." The papers by Dunn and Churchman in this issue of the journal were delivered at the very successful Annual Conference of the Australian and New Zealand Communication Association, hosted by Colleen Mills at the University of Canterbury, Christchurch, New Zealand, in July 2005. Dunn's presidential address, on the importance of maintaining public broadcasting, is based on her longterm work at the Australian Broadcasting Commission and her current research at the University of Sydney. Many of the other papers in this issue are related to politics and the media in Australia and New Zealand. Cover discusses how the processes of digitisation and a user-based taste for interactivity have far-reaching broadcast television. In her paper, van Vuuren compares the policy and regulation, practice, and theoretical development of the community broadcasting and community information and communication technology (lCT) sectors in Australia, arguing that the ICT sector can benefit from a knowledge of the way in which the older community broadcasting sector has demonstrated an ability to deliver its services with very limited government support.

Bollywood and 'grocery store' video piracy in Australia

This article seeks to examine the ongoing struggle between narrowcast media piracy practices serving migrant communities and the attempts currently being made by players in the Indian film industry to legitimate, and thus capitalise on, the circulation of Indian films in key offshore markets. This article poses the question of whether an alternative network of distribution is likely to emerge which might supplant Asian food stores as the primary distribution network for Indian films, and to place this problem within the existing framework of cultural practices surrounding Indian films in Australia.

Book review: The High Commissioners: Australia's representatives in the United Kingdom, 1910-2010

The post of Australian High Commissioner in London has always been one of the most important and prestigious of Australia’s diplomatic posts. Indeed, as The High Commissioners demonstrates, for much of the one hundred years for which the post has existed it was an influential link between two parts of the British Empire, rather than a diplomatic mission in a foreign nation. It was for a long time a diplomatic post, but of a hybrid nature; an evolving child of empire. This handsomely produced book is a scholarly study of the position and of the many high commissioners. The chapters, which examine all the high commissioners and a range of related subjects, have been authored by many of Australia’s leading historians of empire and of foreign policy, with the most recent high commissioners covered by former government officials. While the book is designed as a celebration of the centenary of the Australian High Commission in London it is not a work of hagiography. Important analyses are presented of the strengths and weaknesses of many of the key high commissioners, such as George Reid, Andrew Fisher, S.M. Bruce, Alexander Downer senior and John Armstrong. Indeed, the book leaves the strong impression that some of the high commissioners, especially after the Second World War, were often well behind the Australian people in appreciating how the relationship between Australia and the United Kingdom was changing. The research and writing is of a uniformly high standard with each chapter providing many interesting insights into the history of Australian foreign policy.

Wrong side of the road

On its release in 1981, Ned Lander's 'Wrong Side of the Road' won that year's Jury Prize at the Australian Film Institute Awards. Emphasising the film's status as a pre-eminent Australian production, the theorist and critic Sylvia Lawson, writing in 2013, called Wrong Side of the Road 'the best Australian film of 1981 and indeed of many other years'. Progressing at a restrained pace, it breaks 'Hollywood conventions (which most Australian films obediently copy) about what constitutes a proper narrative focus', with the result that the film stands as 'something of an event in Australian cinema'. In this way, Wrong Side of the Road is the 'first narrative feature to take the experience of a contemporary Aboriginal group [of characters] as its theme instead of using them as contrasts or complements to the main action'.

The documentary take

Interview on the ABC TV The Mix Episode 38

South Carolina Motion Picture Incentive Act : Policies and Procedures

The purpose of South Carolina motion picture incentives is to bring economic benefit to the State of South Carolina by using South Carolina as a site for film and television production, promoting the hiring of South Carolina residents as staff, cast, and crew, and promoting the purchase of supplies and services from South Carolina companies.

Performance Benchmarking of Australian Business Regulation : Submission to the Productivity Commission

The need to “reduce red tape” and regulatory inconsistencies is a desirable outcome (OECD 1997) for developed countries. The costs normally associated with regulatory regimes are compliance costs and direct charges. Geiger and Hoffman (1998) have noted that the extent of regulation in an industry tends to be negatively associated with firm performance. Typically, approaches to estimation of the cost of regulations examine direct costs, such as fees and charges, together with indirect costs, such as compliance costs. However, in a fragmented system, such as Australia, costs can also be incurred due to procedural delays, either by government, or by industry having to adapt documentation for different spheres of government; lack of predictable outcomes, with variations occurring between spheres of government and sometimes within the same government agency; and lost business opportunities, with delays and red tape preventing realisation of business opportunities (OECD 1997). In this submission these costs are termed adaptation costs. The adaptation costs of complying with variations in regulations between the states has been estimated by the Building Product Innovation Council (2003) as being up to $600 million per annum for building product manufacturers alone. Productivity gains from increased harmonisation of the regulatory system have been estimated in the hundreds of millions of dollars (ABCB 2003). This argument is supported by international research which found that increasing the harmonisation of legislation in a federal system of government reduces what we have termed adaptation costs (OECD 2001). Research reports into the construction industry in Australia have likewise argued that improved consistency in the regulatory environment could lead to improvements in innovation (PriceWaterhouseCoopers 2002), and that research into this area should be given high priority (Hampson & Brandon 2004). The opinion of industry in Australia has consistently held that the current regulatory environment inhibits innovation (Manley 2004). As a first step in advancing improvements to the current situation, a summary of the current costs experienced by industry needs to be articulated. This executive summary seeks to outline these costs in the hope that the Productivity Commission would be able to identify the best tools to quantify the actual costs to industry.

Australian cinema’s dark sun : the boom in Australian horror film production

There has been a boom in Australian horror movie production in recent years. Daybreakers (2010), Wolf Creek (2005), Rogue (2007), Undead (2003), Black Water (2008), and Storm Warning (2006) among others, have all experienced varying degrees of popularity, mainstream visibility, and cult success in worldwide horror markets. While Aussie horror’s renaissance is widely acknowledged in industry literature, there is limited research into the extent of the boom and the dynamics of production. Consequently, there are few explanations for why and how this surge has occurred. This paper argues that the recent growth in Australian horror films has been driven by intersecting international market forces, domestic financing factors, and technological change. In so doing, it identifies two distinct tiers of Australian horror film production: ‘mainstream’ and ‘underground’ production; though overlap between these two tiers results in ‘high-end indie’ films capable of cinema release. Each tier represents the high and low-ends of Australian horror film production, each with different financing, production, and distribution models.

That's a rap : the making of an Australian hip hop integrated musical film

To date, the majority of films that utilise or feature hip hop music and culture, have either been in the realms of documentary, or in ‘show musicals’ (where the film musical’s device of characters’ bursting into song, is justified by the narrative of a pursuit of a career in the entertainment industry). Thus, most films that feature hip hop expression have in some way been tied to the subject of hip hop. A research interest and enthusiasm was developed for utilising hip hop expression in film in a new way, which would extend the narrative possibilities of hip hop film to wider topics and themes. The creation of the thesis film Out of My Cloud, and the writing of this accompanying exegesis, investigates a research concern of the potential for the use of hip hop expression in an ‘integrated musical’ film (where characters’ break into song without conceit or explanation). Context and rationale for Out of My Cloud (an Australian hip hop ‘integrated musical’ film) is provided in this writing. It is argued that hip hop is particularly suitable for use in a modern narrative film, and particularly in an ‘integrated musical’ film, due to its: current vibrancy and popularity, rap (vocal element of hip hop) music’s focus on lyrical message and meaning, and rap’s use as an everyday, non-performative method of communication. It is also argued that Australian hip hop deserves greater representation in film and literature due to: its current popularity, and its nature as a unique and distinct form of hip hop. To date, representation of Australian hip hop in film and television has almost solely been restricted to the documentary form. Out of My Cloud borrows from elements of social realist cinema such as: contrasts with mainstream cinema, an exploration/recognition of the relationship between environment and development of character, use of non-actors, location-shooting, a political intent of the filmmaker, displaying sympathy for an underclass, representation of underrepresented character types and topics, and a loose narrative structure that does not offer solid resolution. A case is made that it may be appropriate to marry elements of social realist film with hip hop expression due to common characteristics, such as: representation of marginalised or underrepresented groups and issues in society, political objectives of the artist/s, and sympathy for an underclass. In developing and producing Out of My Cloud, a specific method of working with, and filming actor improvisation was developed. This method was informed by improvisation and associated camera techniques of filmmakers such as Charlie Chaplin, Mike Leigh, Khoa Do, Dogme 95 filmmakers, and Lars von Trier (post-Dogme 95). A review of techniques used by these filmmakers is provided in this writing, as well as the impact it has made on my approach. The method utilised in Out of My Cloud was most influenced by Khoa Do’s technique of guiding actors to improvise fairly loosely, but with a predetermined endpoint in mind. A variation of this technique was developed for use in Out of My Cloud, which involved filming with two cameras to allow edits from multiple angles. Specific processes for creating Out of My Cloud are described and explained in this writing. Particular attention is given to the approaches regarding the story elements and the music elements. Various significant aspects of the process are referred to including the filming and recording of live musical performances, the recording of ‘freestyle’ performances (lyrics composed and performed spontaneously) and the creation of a scored musical scene involving a vocal performance without regular timing or rhythm. The documentation of processes in this writing serve to make the successful elements of this film transferable and replicable to other practitioners in the field, whilst flagging missteps to allow fellow practitioners to avoid similar missteps in future projects. While Out of My Cloud is not without its shortcomings as a short film work (for example in the areas of story and camerawork) it provides a significant contribution to the field as a working example of how hip hop may be utilised in an ‘integrated musical’ film, as well as being a rare example of a narrative film that features Australian hip hop. This film and the accompanying exegesis provide insights that contribute to an understanding of techniques, theories and knowledge in the field of filmmaking practice.