The Australian screen producer: Understanding screen production cultures in a period of industrial transition [Abstract]

The screen producer plays a vital role in shaping the creative, commercial and entrepreneurial dimensions of production. And yet Australian film history is most often presented as an appreciation of film directors or an examination of industrial governance measures. On the other hand, public funding agencies in Australia have, for the most part, supported independent film and television production as a producer-led, or producer-as-auteur production system, and as such the producer has played a critical role in shaping the broader independent production landscape. In recent years, fundamental changes to distribution and consumption practices have had a major impact on the nature of screen production. Screen producers are increasingly migrating into emerging online, transmedia and cross-media production; generating both opportunities and challenges for traditional producers. However, the production cultures and motivations of producers operating in these emergent spaces remain poorly understood. This presentation will focus on the largely unremarked role of the producer in Australian screen scholarship. It will explore the ways in which the practice of screen producing is evolving and the migratory pathways of traditional producers moving into digital/new media production. The presentation’s primary findings are drawn from the 2011 Australian Screen Producer Survey; a national study of the activities of Australian screen producers conducted by the ARC Centre of Excellence for Creative Industries and Innovation (CCI), Queensland University of Technology, with support from the Centre for Screen Business /Australian Film Television and Radio School (AFTRS). From longitudinal analysis, the presentation will compare and contrast data from the 2009 and 2011 survey across film, television, corporate production and new media industry segments. In so doing the presentation will delineate the practices, attitudes, strategies, and aspirations of screen producers operating in a convergent digital media marketplace and suggest ways forward for a more industrially cognisant approach to screen history.

Literacy education in the context of globalisation

This review chapter provides an overview of English language literacy education in the contexts of cultural and economic globalisation. Drawing case study examples of India and China, the authors outline three complementary models: the development paradigm, the hegemony paradigm and the new literacies paradigm. The analysis focuses on effects of the spread of English on vernacular languages and the non-synchronous issues raised by digital production cultures. Noting the difficulties of education systems in contending with new literacies - it argues for the reframing of transnational relations, global material conditions and new communications technologies as the objects of critical literacy education.

2nd Australian producer survey 2012 : understanding Australian screen content producers : wave 2

This report presents the top-line findings of the Australian Screen Producer survey conducted in December 2011. The report was prepared by Bergent Research and commissioned by the ARC Centre of Excellence for Creative Industries and Innovation (CCI), Queensland University of Technology, with assistance from the Centre for Screen Business, Australian Film Television and Radio School (AFTRS). The 2011 producer survey was a national study of the demographics, motivations, sentiments and activities of screen producers across four industry segments: Film, Television, Commercial and Digital Media. This survey is the second Australian Screen Producer survey and builds upon research undertaken in the Australian Screen Content Producer Survey conducted in 2009. The 2011 study is referred to in this report as Wave 2 and the 2009 study is referred to as Wave 1.

The Australian screen producer in transition

The role of the screen producer is ramifying. Not only are there numerous producer categories, but the screen producer function is also found on a continuum across film, television, advertising, corporate video, and the burgeoning digital media sector. In recent years, fundamental changes to distribution and consumption practices and technologies should have had a correlate impact on screen production practices and on the role of existing screen producers. At the same time, new and recent producers are learning and practicing their craft in a field that has already been transformed by digitisation and media convergence. Our analysis of the work, experience and outlook of screen producers in this chapter is based on data collected in the Australian Screen Producer Survey (ASPS), a nation-wide survey conducted by the ARC Centre of Excellence for Creative Industries and Innovation, the media marketing firm Bergent Research, and the Centre for Screen Business at the Australian Film, Television and Radio School (AFTRS) in 2008/09 and 2011. We analyse the results to better understand the practice of screen production in a period of industry transition, and to recognise the persistence of established production cultures that serve to distinguish different industry sectors.

Australian Screen Producers Survey : online interactive

There is growing scholarly interest in the everyday work undertaken by screen producers in part prompted by disciplinary shifts (the ‘material turn’, the rise of creative industries research) and in part by major transformations in the business of media production and consumption in recent years. However, the production cultures and motivations of screen producers, particularly those working in emergent online and convergent media markets, remain poorly understood. The 2012 Australian Screen Producer survey, building upon research undertaken in the Australian Screen Content Producer Survey conducted in 2009, was a nation-wide survey-based study of screen content producers working in four industry segments: film, television, corporate and new media production. The broad objectives of the 2012 Australian Producer Survey study were to: • Provide deeper and more detailed analysis into the nature of digital media producers and their practices and how these findings compare to the practices of established screen media producers; • Interrogate issues around the pace of industry change, industry sentiment and how producers are adapting to a changing marketplace; and • Offer insight into the transitional pathways of established media producers into production for digital media markets. The Australian Screen Producer Survey Online Interactive provides users (principally filmmakers, scholars and policymakers) with direct access to raw survey data through an interactive website that allows them to customise queries according to particular interests. The Online Interactive therefore provides customisable findings – unlike ‘static’ research outputs – delineating the practices, attitudes, strategies, and aspirations of screen producers working in feature film, television and corporate production as well as those operating in an increasingly convergent digital media marketplace. The survey was developed by researchers at the ARC Centre of Excellence for Creative Industries and Innovation (CCI), Queensland University of Technology, Deakin University, the Centre for Screen Business at Australian Film Television and Radio School (AFTRS) and was undertaken in association with Bergent Research. The Online Interactive website (http://screenproducersurvey.com/) was developed with support from the Centre for Memory Imagination and Invention (CMII).

Maintaining our rage: Inside Australia's longest-running music video program

This research presents an insider's account of rage, Australia's longest-running music video program. The research's significance is that there has been scarce scholarly analysis of this idiosyncratic ABC program, despite its longevity and uniqueness. The thesis takes a reflective and reflexive narrative journey across rage's decades, presenting the accounts of the program makers, aided by the perspective of an embedded researcher, the program's former Series Producer. This work addresses the rage research gap and contributes to the scholarly discussion on music video and its contexts, the ABC, public service broadcasting, creative labour, and the cultural sense-making of television producers.

The Australian screen producer in transition

The role of the screen producer is ramifying. Not only are there numerous producer categories, but the screen producer function is also found on a continuum across film, television, advertising, corporate video and the burgeoning digital media sector. In recent years, fundamental changes to distribution and consumption practices and technologies should have had a correlate impact on screen production practices and on the role of existing screen producers. At the same time, new and recent producers are learning and practising their craft in af ield that has already been transformed by digitization and media convergence. Our analysis of the work, experience and outlook of screen producers in this chapter is based on data collected in the Australian Screen Producer Survey (ASPS), a nationwide survey conducted by the ARC Centre of Excellence for Creative Industries and Innovation, the media marketing firm Bergent Research and the Centre for Screen Business at the Australian Film, Television and Radio School (AFTRS) in 2008/2009 and 2011.2 We analyse the results to better understand the practice of screen production in a period of industry transition, and to recognize the persistence of established production cultures that serve to distinguish different industry sectors.

Phototrophic growth of Rubrivivax gelatinosus in poultry slaughterhouse wastewater

Rubrivivax gelatinosus was grown in Pfennig's synthetic medium (PM) and in treated wastewater from poultry slaughterhouse (TW) to assess growth profiles for biomass production. Cultures inoculated at 1% (v/v) were grown under anaerobiosis at 30 +/- 2 degrees C and 1400 200 lux for 12 days. Regular absorbance curves for R. gelatinosus were found both on PM and TW. on PM, the highest dry weight of biomass, 0.39 g L-1. was achieved in the 216-h culture and the highest specific growth rate of 0.2960 h(-1) occurred in the 24-h culture. on TW, the highest biomass of 0.57 g L-1 was also obtained in the 216-h culture and the highest specific growth rate, 0.1970 h(-1), was achieved in the 48-h culture. For productivity and chemical oxygen demand investigations, the cultivation was accomplished in the TW under anaerobiosis at 32 +/- 2 degrees C and 4000 +/- 500 lux, for 10 days. Productivity was 0.085 g biomass (d.w.) L-1 day(-1), with a COD decrease of 91%. (c) 2007 Elsevier Ltd. All rights reserved.

Enhanced catharanthine and vindoline production in suspension cultures of Catharanthus roseus by ultraviolet-B light

Suspension cultures of Catharanthus roseus were used to evaluate ultraviolet-B (UV-B) treatment as an abiotic elicitor of secondary metabolites. A dispersed cell suspension culture from C. roseus leaves in late exponential phase and stationary phase were irradiated with UV-B for 5 min. The stationary phase cultures were more responsive to UV-B irradiation than late exponential phase cultures. Catharanthine and vindoline increased 3-fold and 12-fold, respectively, on treatment with a 5-min UV-B irradiation.

Plantlet production from shoot tip cultures of red sandalwood ( Pterocarpus santalinus L.)

Red sandalwood (Pterocarpus santalinus L.), belonging to the family Fabaceae, is one of the most valuable trees, and has limited distribution in India. In view of its high price, restricted distribution and usefulness as a timber tree, there is urgent need to obtain improved lines, in both quality and quantity. We have established a method for production of complete plantlets by tissue culture. We report here the successful development of red sandalwood plantlets by induction of multiple shoots from shoot tips, and successful transfer of micropropagated plants to soil.

In Vitro Production of Echioidinin, 7-O-Methywogonin from Callus Cultures of Andrographis lineata and Their Cytotoxicity on Cancer Cells

Andrographis lineata is an herbal medicinal plant used in traditional medicine as a substitute for Andrographis paniculata. Here, using mature leaf explants of A. lineata we demonstrate for the first time the callus induction established on MS medium containing 1.0 mg l(-1) IAA. Dried callus was subjected to solvent extraction with acetone. Further the acetone residue was separated by silica gel column chromatography, crystallized and characterized on the basis of nuclear magnetic resonance (proton and c13) and liquid chromatographic mass spectroscopy. This analysis revealed the occurrence of two known flavones namely, 7-O-methylwogonin (MW) and Echioidinin (ED). Furthermore, these compounds were tested for their cytotoxicity against leukemic cell line, CEM. We identify that ED and MW induced cytotoxicity in a time-and concentration-dependent manner. Further increase in the LDH release upon treatment with ED and MW further confirmed our cytotoxicity results against leukemic cell line. Strikingly, MW was more potent than ED when compared by trypan blue and MTT assays. Our results recapitulate the utility of callus cultures for the production of plant specific bioactive secondary metabolites instead of using wild plants. Together, our in vitro studies provide new insights of A. lineata callus cultures serving as a source for cancer chemotherapeutic agents.