Pub Date : 2018-09-02DOI: 10.1080/17503175.2018.1539543
Pieter Aquilia, S. Kerrigan
ABSTRACT The Australian Film Television and Radio School is a well-established training institution with an impressive track record in producing successful alumni. In 2016, an industry survey of the Australian media landscape heralded the need for more resilient creative entrepreneurs who are able to negotiate the rapid technological and industrial changes in the sector. As a result, creative practice as research was recommended as fundamental component of the curriculum. In 2017, the school introduced a new Master of Arts Screen (MAS) program, which included a core Creative Practice curriculum across four semesters of the degree. While creative practice is making a significant contribution to the production of innovation in the academy globally, debate still lingers on its inclusion in national film schools which have traditionally focused on the training of technical and craft skills of the artist. This paper traces the pedagogical move towards a practice-based rather than artefact-based teaching at AFTRS, during the first iteration of the new curriculum. The case study describes the introduction of concrete conceptual models of ‘creative practice as research’ and evaluates the challenges of defining, clarifying, exploring and integrating creative practice theories, methodologies and professional understandings of what it means to be a creative filmmaker.
{"title":"Re-visioning screen production education through the lens of creative practice: an Australian film school example","authors":"Pieter Aquilia, S. Kerrigan","doi":"10.1080/17503175.2018.1539543","DOIUrl":"https://doi.org/10.1080/17503175.2018.1539543","url":null,"abstract":"ABSTRACT The Australian Film Television and Radio School is a well-established training institution with an impressive track record in producing successful alumni. In 2016, an industry survey of the Australian media landscape heralded the need for more resilient creative entrepreneurs who are able to negotiate the rapid technological and industrial changes in the sector. As a result, creative practice as research was recommended as fundamental component of the curriculum. In 2017, the school introduced a new Master of Arts Screen (MAS) program, which included a core Creative Practice curriculum across four semesters of the degree. While creative practice is making a significant contribution to the production of innovation in the academy globally, debate still lingers on its inclusion in national film schools which have traditionally focused on the training of technical and craft skills of the artist. This paper traces the pedagogical move towards a practice-based rather than artefact-based teaching at AFTRS, during the first iteration of the new curriculum. The case study describes the introduction of concrete conceptual models of ‘creative practice as research’ and evaluates the challenges of defining, clarifying, exploring and integrating creative practice theories, methodologies and professional understandings of what it means to be a creative filmmaker.","PeriodicalId":51952,"journal":{"name":"Studies in Australasian Cinema","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2018-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17503175.2018.1539543","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48631686","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-09-02DOI: 10.1080/17503175.2018.1539541
C. Batty, M. Berry, B. Frankham
ABSTRACT Writing from the perspective of the peak body for screen production education and research in Australia, ASPERA, the authors report on a research symposium held in 2017 that brought together the academy and industry to explore strategies for what the engagement and impact agenda might mean for the ASPERA community. In this context they explore what engagement looks like and how it can be structured as a pathway to impact; the implications and mechanisms for measuring impact in a variety of contexts; and the possible ramifications of the engagement and impact agenda on how ASPERA practitioner-researchers do their work. A set of complex and competing perspectives are presented that, while on the one hand provide principles and models for best practice, on the other hand question and problematise this new era of research.
{"title":"Exploring a new era of screen production research: laying foundations for engagement and impact","authors":"C. Batty, M. Berry, B. Frankham","doi":"10.1080/17503175.2018.1539541","DOIUrl":"https://doi.org/10.1080/17503175.2018.1539541","url":null,"abstract":"ABSTRACT Writing from the perspective of the peak body for screen production education and research in Australia, ASPERA, the authors report on a research symposium held in 2017 that brought together the academy and industry to explore strategies for what the engagement and impact agenda might mean for the ASPERA community. In this context they explore what engagement looks like and how it can be structured as a pathway to impact; the implications and mechanisms for measuring impact in a variety of contexts; and the possible ramifications of the engagement and impact agenda on how ASPERA practitioner-researchers do their work. A set of complex and competing perspectives are presented that, while on the one hand provide principles and models for best practice, on the other hand question and problematise this new era of research.","PeriodicalId":51952,"journal":{"name":"Studies in Australasian Cinema","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2018-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17503175.2018.1539541","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43453407","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-09-02DOI: 10.1080/17503175.2018.1539283
S. Kerrigan, J. Verdon, Pieter Aquilia
This issue interrogates understandings of creative practice in screen production research within the framework of a broad range of activities that includes production and distribution of feature films to documentaries and to experimental audio-visual film genres. Screen production research here also includes enquiry into the education of future film and television professionals. The term ‘screen’ has been popular in Australia for the film and television industries, being adopted as early as 2004 with the creation of the Australian Screen Production, Education and Research Association (ASPERA) and the formation of Screen Australia in 2008. In the United Kingdom, the analogous term ‘filmmaking’ is widely employed. This special issue on Filmmaking and Screen Production Research is a joint project between ASPERA and the Filmmaking Research Network (FRN), funded by the UK Arts and Humanities Research Council. Creative Practice Research in Filmmaking and Screen Production is an anthology which highlights the ongoing work of the FRN and ASPERA, presented here as peer-reviewed research papers and a report, each interrogating issues that are central to both organisations’ activities. ASPERA has been working with educators and researchers on consolidating screen production research particularly over the last five years in Australia. The ASPERA community has produced more than 50 scholarly traditional outputs since 2014 which have significantly contributed to new knowledge in the field. In addition, the 2017 ASPERA report Screen Production Research Reporting: An ASPERA Scoping Project captures disciplinary challenges regarding creative practice research reporting and evaluation in Australia’s academic landscape. It seeks to assist researchers and research managers to understand how screen production outputs might be evaluated, and subsequently recognised as research outputs. The report highlights findings that environments for creative practice research vary greatly between institutions and outcomes of this mode of research vary greatly across the sector. The report also speaks of the extent to which these differences impact on the practices of screen production researchers. A number have changed their approach to conducting research, while others have found ways to comply with national requirements yet still work on creative practice projects that may not clearly sit within the ‘research’ parameters set by their institution. A second ASPERA report was released in June 2018. The Measuring Excellence in Screen Production Research report details how ASPERA as a peak body recognises and measures research quality in screen production. It offers guidelines and principles to assist creative practice researchers working in screen production and also those that evaluate this research, and aims to specify levels of excellence in the discipline for an Australian research context. It is intended to promote discussion and debate, anticipating amendments that respond to
{"title":"Creative practice research in filmmaking and screen production","authors":"S. Kerrigan, J. Verdon, Pieter Aquilia","doi":"10.1080/17503175.2018.1539283","DOIUrl":"https://doi.org/10.1080/17503175.2018.1539283","url":null,"abstract":"This issue interrogates understandings of creative practice in screen production research within the framework of a broad range of activities that includes production and distribution of feature films to documentaries and to experimental audio-visual film genres. Screen production research here also includes enquiry into the education of future film and television professionals. The term ‘screen’ has been popular in Australia for the film and television industries, being adopted as early as 2004 with the creation of the Australian Screen Production, Education and Research Association (ASPERA) and the formation of Screen Australia in 2008. In the United Kingdom, the analogous term ‘filmmaking’ is widely employed. This special issue on Filmmaking and Screen Production Research is a joint project between ASPERA and the Filmmaking Research Network (FRN), funded by the UK Arts and Humanities Research Council. Creative Practice Research in Filmmaking and Screen Production is an anthology which highlights the ongoing work of the FRN and ASPERA, presented here as peer-reviewed research papers and a report, each interrogating issues that are central to both organisations’ activities. ASPERA has been working with educators and researchers on consolidating screen production research particularly over the last five years in Australia. The ASPERA community has produced more than 50 scholarly traditional outputs since 2014 which have significantly contributed to new knowledge in the field. In addition, the 2017 ASPERA report Screen Production Research Reporting: An ASPERA Scoping Project captures disciplinary challenges regarding creative practice research reporting and evaluation in Australia’s academic landscape. It seeks to assist researchers and research managers to understand how screen production outputs might be evaluated, and subsequently recognised as research outputs. The report highlights findings that environments for creative practice research vary greatly between institutions and outcomes of this mode of research vary greatly across the sector. The report also speaks of the extent to which these differences impact on the practices of screen production researchers. A number have changed their approach to conducting research, while others have found ways to comply with national requirements yet still work on creative practice projects that may not clearly sit within the ‘research’ parameters set by their institution. A second ASPERA report was released in June 2018. The Measuring Excellence in Screen Production Research report details how ASPERA as a peak body recognises and measures research quality in screen production. It offers guidelines and principles to assist creative practice researchers working in screen production and also those that evaluate this research, and aims to specify levels of excellence in the discipline for an Australian research context. It is intended to promote discussion and debate, anticipating amendments that respond to","PeriodicalId":51952,"journal":{"name":"Studies in Australasian Cinema","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2018-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17503175.2018.1539283","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48504787","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-05-08DOI: 10.1080/17503175.2018.1469456
Jill Holt
ABSTRACT In my experience, teaching film editing has always presented a challenge in terms of aligning the creative with technical expertise. The technology, as a tangible commodity, is essentially taught in an experiential learning environment by engaging students in hands-on practical exercises to learn the software and basic editing technique. The challenge of teaching the creative editing practice is less tangible in that it requires a great deal of contextualising in terms of content and problem solving, as aligned with ‘creative outcomes’. This paper will explore the challenge of teaching creativity in editing and in doing so I will discuss editing as a ‘hidden art’, and the more abstract phenomena of intuition, rhythm and pacing as aligned with creative outcomes. Furthermore, I will discuss ‘best practice’ in teaching editing in reference to the nexus of theory and practice, the collaborative nature of teaching creativity in a studio-based environment, and the development of the teaching resource The Art of Editing: Australian Screen Editors Discuss Creativity in Editing, that offers new insights into teaching creativity in editing.
{"title":"Insights into teaching creativity in editing","authors":"Jill Holt","doi":"10.1080/17503175.2018.1469456","DOIUrl":"https://doi.org/10.1080/17503175.2018.1469456","url":null,"abstract":"ABSTRACT In my experience, teaching film editing has always presented a challenge in terms of aligning the creative with technical expertise. The technology, as a tangible commodity, is essentially taught in an experiential learning environment by engaging students in hands-on practical exercises to learn the software and basic editing technique. The challenge of teaching the creative editing practice is less tangible in that it requires a great deal of contextualising in terms of content and problem solving, as aligned with ‘creative outcomes’. This paper will explore the challenge of teaching creativity in editing and in doing so I will discuss editing as a ‘hidden art’, and the more abstract phenomena of intuition, rhythm and pacing as aligned with creative outcomes. Furthermore, I will discuss ‘best practice’ in teaching editing in reference to the nexus of theory and practice, the collaborative nature of teaching creativity in a studio-based environment, and the development of the teaching resource The Art of Editing: Australian Screen Editors Discuss Creativity in Editing, that offers new insights into teaching creativity in editing.","PeriodicalId":51952,"journal":{"name":"Studies in Australasian Cinema","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2018-05-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17503175.2018.1469456","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48905011","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-05-03DOI: 10.1080/17503175.2018.1469391
C. Cranston
Abstracted/Indexed in: Film & Television Literature Index An examination of John Parham's stated thesis in his book, which is to consider the place that media and popular culture occupy in 'ecological theory, practice, and advocacy' (xvii). Overviews the theoretical approaches utilised for different media, and its application in genre-specific and age-specific audiences. Although Parham's text is mostly concerned with USA and UK media, this Review singles out the Australian and Tasmanian films he selects for discussion. Readings , especially of Daniel Nettheim's The Hunter, reveal the benefits of melding ecocriticism and media communication in order to address Parham’s urgent invitation for cultural studies (and ecocritics) to engage with green media if the environmental movement is to increase its effectiveness,
{"title":"Green media and popular culture: an introduction","authors":"C. Cranston","doi":"10.1080/17503175.2018.1469391","DOIUrl":"https://doi.org/10.1080/17503175.2018.1469391","url":null,"abstract":"Abstracted/Indexed in: Film & Television Literature Index \u0000An examination of John Parham's stated thesis in his book, which is to consider the place that media and popular culture occupy in 'ecological theory, practice, and advocacy' (xvii). Overviews the theoretical approaches utilised for different media, and its application in genre-specific and age-specific audiences. Although Parham's text is mostly concerned with USA and UK media, this Review singles out the Australian and Tasmanian films he selects for discussion. Readings , especially of Daniel Nettheim's The Hunter, reveal the benefits of melding ecocriticism and media communication in order to address Parham’s urgent invitation for cultural studies (and ecocritics) to engage with green media if the environmental movement is to increase its effectiveness,","PeriodicalId":51952,"journal":{"name":"Studies in Australasian Cinema","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2018-05-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17503175.2018.1469391","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45298112","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-01-02DOI: 10.1080/17503175.2018.1426403
Tessa Dwyer
ABSTRACT This article examines the role that locality, cultural specificity and authentic voice play within current television industry shifts and transnational developments. Focussing on Top of the Lake, I explore its thematic and aesthetic preoccupation with place, voice and nation by spotlighting issues of accent and vocal in/authenticity, detailing the controversy sparked when US star Elisabeth Moss was cast as New Zealand native, detective Robin Griffin. The adopted Antipodean accent furnished by Moss creates a highly ambivalent foregrounding and re-negotiation of the national within the particularly transnational space of post-broadcast ‘quality’ television. Presenting a ‘sonic spectacle’ (Holliday, Christopher. 2015. “The Accented American: The New Voices of British Stardom on US Television.” Journal of British Cinema and Television 12 (1): 63–82), Moss’ wobbly accent makes audiences doubly aware of the effort being expended to cue regional specificity and locale. In the following discussion, Moss’ vocal crafting in Top of the Lake is linked to the increasing importance given to authentic place and on-location shooting within post-broadcast television, as a means of fostering emotional pull and deep levels of viewer engagement. In Top of the Lake, links between place and authenticity are further interrogated via its self-aware invocation of touristic imagery and desires – made all the more nuanced due to Campion's presence as auteur and New Zealand's role as media-tourism mecca.
摘要本文探讨了地域、文化特殊性和真实声音在当前电视产业转型和跨国发展中的作用。在《湖之巅》中，我通过突出口音和声音的真实性问题，探讨了它对地方、声音和国家的主题和美学关注，详细描述了美国明星伊丽莎白·莫斯(Elisabeth Moss)饰演新西兰本土侦探罗宾·格里芬(Robin Griffin)所引发的争议。莫斯所采用的澳大利亚口音创造了一种高度矛盾的前景，并在广播后“高质量”电视的跨国空间中重新谈判国家。呈现“声音奇观”(Christopher Holliday, 2015)。“有口音的美国人:美国电视上英国明星的新声音”《英国电影电视杂志》12(1):63-82)，莫斯不稳定的口音让观众加倍意识到他为暗示地域特殊性和地点所做的努力。在接下来的讨论中，Moss在《Top of the Lake》中的声音制作与后广播电视中对真实地点和现场拍摄的日益重视有关，这是一种培养情感吸引力和深度观众参与的手段。在《湖之巅》中，通过对旅游意象和欲望的自觉召唤，进一步审视了地点和真实性之间的联系——由于坎皮恩作为导演的存在和新西兰作为媒体旅游圣地的角色，这一切都变得更加微妙。
{"title":"Changing accents: Place, voice and Top of the Lake","authors":"Tessa Dwyer","doi":"10.1080/17503175.2018.1426403","DOIUrl":"https://doi.org/10.1080/17503175.2018.1426403","url":null,"abstract":"ABSTRACT This article examines the role that locality, cultural specificity and authentic voice play within current television industry shifts and transnational developments. Focussing on Top of the Lake, I explore its thematic and aesthetic preoccupation with place, voice and nation by spotlighting issues of accent and vocal in/authenticity, detailing the controversy sparked when US star Elisabeth Moss was cast as New Zealand native, detective Robin Griffin. The adopted Antipodean accent furnished by Moss creates a highly ambivalent foregrounding and re-negotiation of the national within the particularly transnational space of post-broadcast ‘quality’ television. Presenting a ‘sonic spectacle’ (Holliday, Christopher. 2015. “The Accented American: The New Voices of British Stardom on US Television.” Journal of British Cinema and Television 12 (1): 63–82), Moss’ wobbly accent makes audiences doubly aware of the effort being expended to cue regional specificity and locale. In the following discussion, Moss’ vocal crafting in Top of the Lake is linked to the increasing importance given to authentic place and on-location shooting within post-broadcast television, as a means of fostering emotional pull and deep levels of viewer engagement. In Top of the Lake, links between place and authenticity are further interrogated via its self-aware invocation of touristic imagery and desires – made all the more nuanced due to Campion's presence as auteur and New Zealand's role as media-tourism mecca.","PeriodicalId":51952,"journal":{"name":"Studies in Australasian Cinema","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2018-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17503175.2018.1426403","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45622119","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-01-02DOI: 10.1080/17503175.2018.1427829
M. Ryan
ABSTRACT Australian screen studies courses, including ‘Australian Cinema’, ‘Australian National Cinema’, ‘Australian Film’, and ‘Australian Film and Television’, among others, have long been offered in the creative arts, education, humanities and social sciences in Australian higher education. At the core of these courses’ curricula is viewing and studying movies, documentaries, and television programmes. However, despite recent research into broad curriculum models, there has been limited scholarly examination of pedagogical practices regarding the use of Australian screen content for teaching and learning purposes in these courses. The research investigates three key issues: how coordinators source and deliver Australian content for screening programmes; the views of the coordinators in relation to the relevance of an institutional film canon for pedagogy; and the coordinators’ perspectives on the importance of Australian screen history and the role it plays in pedagogy and curricula. The findings are drawn from 10 semi-structured interviews with the principal coordinators of undergraduate Australian screen courses at a range of universities across those states and territories that did offer undergraduate Australian screen courses.
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Pub Date : 2018-01-02DOI: 10.1080/17503175.2018.1427827
Vejune Zemaityte, D. Verhoeven, B. Coate
ABSTRACT Australia has historically been an important market for American media exports. As far as film trade relations between the two countries go, there is an anecdotal perception that distributors follow a ‘10% rule’ to predict the popularity of Hollywood titles in Australia, expecting American films to earn around one-tenth of their domestic box office receipts when screened downunder. Nonetheless, as prevalent as this ‘rule’ has been in the industry, it has not been seriously tested. This article addresses the gap in both scholarship and business practices and uses the ‘10% rule’ as a starting point to discuss various facets of the relationship between the two markets. We measure the popularity of American films among Australian audiences as well as contrast the differences that emerge in terms of distribution and exhibition in these markets. The article compares box office revenues, screening counts, life length in theatres and release delay in both markets. In addition, we examine how Australian exhibitors and audiences differ from the US in terms of preference towards genre, distribution company and production origin. The discussion is informed by a large dataset of global film screenings from the Kinomatics Project in conjunction with box office data compiled by Rentrak. We find no support for the ‘10% rule’ but strong evidence that audience tastes as well as distribution and exhibition practices differ across regions.
{"title":"Understanding the dynamics between the United States and Australian film markets: testing the ‘10% rule’","authors":"Vejune Zemaityte, D. Verhoeven, B. Coate","doi":"10.1080/17503175.2018.1427827","DOIUrl":"https://doi.org/10.1080/17503175.2018.1427827","url":null,"abstract":"ABSTRACT Australia has historically been an important market for American media exports. As far as film trade relations between the two countries go, there is an anecdotal perception that distributors follow a ‘10% rule’ to predict the popularity of Hollywood titles in Australia, expecting American films to earn around one-tenth of their domestic box office receipts when screened downunder. Nonetheless, as prevalent as this ‘rule’ has been in the industry, it has not been seriously tested. This article addresses the gap in both scholarship and business practices and uses the ‘10% rule’ as a starting point to discuss various facets of the relationship between the two markets. We measure the popularity of American films among Australian audiences as well as contrast the differences that emerge in terms of distribution and exhibition in these markets. The article compares box office revenues, screening counts, life length in theatres and release delay in both markets. In addition, we examine how Australian exhibitors and audiences differ from the US in terms of preference towards genre, distribution company and production origin. The discussion is informed by a large dataset of global film screenings from the Kinomatics Project in conjunction with box office data compiled by Rentrak. We find no support for the ‘10% rule’ but strong evidence that audience tastes as well as distribution and exhibition practices differ across regions.","PeriodicalId":51952,"journal":{"name":"Studies in Australasian Cinema","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2018-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17503175.2018.1427827","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41654614","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-01-02DOI: 10.1080/17503175.2018.1427797
T. Cinque, Jordan Beth Vincent
ABSTRACT The use of high-speed broadband and internet-enabled television sets (smart TVs) for movies, news, documentaries, and television programs, amongst other services – for the convenience of the listener/viewer at a time chosen by them (on-demand) – is vital to television's survival through networked options for choice. Individuals engage with a variety of increasingly interconnected technological devices. Multiple open screens, akin to those switched between on the personal computer, are now available across a single ‘surface’. These can be displayed congruently, even on whole walls whereby multiple screens are able be placed next to each other to create a single continuous display with modularity in shape and size. In parallel to these technological developments, audiences are looking to the mobile-first platform of small globally connected mobile screens or scalable media. Consider too, that user-generated content streamed online is proving popular for a number of viewers. In this paper, we will explore today's complex and shifting mediascape, analysing survey data collected in Australia to consider which screen media are currently made use of, how frequently various media are interacted with, and in what settings and purposes they are used. Reaching outward, we additionally use pseudo-anonymous data drawn from TriSMA, an Australian Research Council (ARC) funded Tracking Infrastructure for Social Media Analytics (TrISMA) developed by QUT, Curtin, Swinburne and Deakin universities to provide detailed analytics regarding Australian social media use, specifically in order to evaluate how social media production works within the overarching process of television production. Through this lens, we evaluate the future of new screen technology offering digital content production, curation and dissemination in order to ask ‘what now?’
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Pub Date : 2018-01-02DOI: 10.1080/17503175.2018.1426402
Deane Williams, C. Verevis
ABSTRACT The 2002 opening of the Australian Centre for the Moving Image (ACMI) in Melbourne reconfigured the State Film Centre of Victoria (SFCV) for a new millennial moment of cinema and media, and within the context of the new languages of post-production, media convergence, digitisation, and globalisation. This occasion, with its ongoing emphasis on immediacy and the future, urgently requires a substantial research project that looks backwards and forwards at the same time: that is, a project that at once provides an understanding of the historical underpinning that gave rise to the present institution, and also of the current context that will give shape to the institution as it evolves into the future. Like all public institutions, ACMI evolved from, and is currently made up of, a complex series of threads drawing on a host of ancillary organisations, events, locations, and individuals that have a similarly intricate history that stretches back to the immediate post-WWII period. This essay provides an outline of a larger research project that will investigate the ways in which these various forces have given rise to the character of ACMI, informing an ongoing understanding of the place of ACMI within Australia's cultural profile. In this way the project will explain how ACMI has become – and can continue to be – an enormously successful model for government-supported, cultural institutions locally and internationally.
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