Australian Film, Television and Radio School

Design-based research lends itself to educational research as the aim of this approach is to develop and refine the design of artefacts, tools and curriculum and to advance existing theory or develop new theories that can support and lead to a deepened understanding of learning. This paper provides an overview of the potential benefits of using a design-based research approach in Higher Degree Research (HDR) in Education. Design-based research is most often associated with conducting research in technology-enhanced learning contexts; however, it has also been used in the broader field of research in education. A review of six theses was undertaken in order to identify how characteristics of a design-based research approach were used in Doctoral dissertations. Â The results of the review indicate that the use of expert groups, micro-phases, diverse participant groups, and a flexibly adaptive design enabled the researchers to refine and improve their research design and their understanding of the problem

The proliferation and success of popular factual formats, the process of digitalization, and the emergence of interactive technologies have transformed the global television landscape. Content is now being produced, delivered, and consumed in new ways. Capitalizing on these changes are a set of complex multi-platform media events that deliver a range of content across various platforms, utilizing television, the Internet, mobile phones, and digital and interactive screen services. This paper will explore the ways in which these examples have changed the way we think about television, live broadcasting, the relationship between various technologies and platforms, and, most importantly, about the way we conceptualize audiences.

Book of collected essays on topics related to inequities related to technology in Austin, Texas, including background information; the role of federal, state, and local programs; and impacts of technology on social and cultural aspects. Index starts on page 283.

Hindsight and context reveal that, despite its critical and commercial failure, Steven Bochco's police musical/drama Cop Rock (ABC, 1990) represents a plausible progression of permission and possibility for music and narrative in television. The unsung series might be viewed as a musical muse and martyr that foreshadowed the further exploration and integration of music into dramatic and comic narratives. As a hinge linking Dennis Potter's The Singing Detective (BBC, 1986) with contemporary television series, Cop Rock quietly cultivated creativity and cross-genre aesthetic advancement.

Abstract Artistic Creation and Ethical Criticism advances a new, production-oriented approach to the ethical criticism of art. Its overarching arguments are these: (1) Judgments of an artwork’s ethical value are often made in terms of how it was created, and, furthermore, this is in part because some art forms more readily lend themselves to this form of ethical appraisal. (2) Among the ways in which art is ethically criticized, this production-oriented approach more often leads to practical consequences (censure, dismissal, prosecution, shifts in policy, legislation) because its claim to objectivity is less contested than that of other sorts of ethical criticism. (3) Together, (1) and (2) constitute an approach to the ethical criticism of art that is not only tacit in many art appreciative practices, but which is rationally warranted and defensible. In short, there are many cases in which one should ethically critique artworks in terms of how they are created because this approach encompasses cases that other approaches cannot and results in plausible judgments about the works’ ethical merits and flaws.

The screen business encompasses all creative and management aspects related to film, television, and new media content, from concept to production and distribution. Companies in this industry face increasing competition due to market globalization. To stay competitive, they're turning to contemporary technology-enabled business improvement methods, such as business process management. Despite its potential benefits, the use of workflow systems for automating film production processes is largely unexplored. The authors' case study highlights some of the key challenges that lie ahead for Web-scale workflows for film production.

ISSUE ADDRESSED: Men dominate the suicide statistics and are less likely than women to seek help for emotional problems, and this has been linked to aspects of stoic masculinity. Promoting help-seeking and challenging stoic thinking may help to address this problem, but it is unclear what works in engaging men in these topics. METHODS: We developed a multimedia intervention called Man Up - including a documentary and digital campaign. We tested promotional materials and the website by interviewing 17 men from different ages and backgrounds about their perceptions, and asked them whether the materials generated interest in the topics of the documentary. RESULTS: Participants preferred visual materials that were relatable to them and included active and direct language. This helped them to understand and identify with the messages being imparted. Participants had mixed views on talking about masculinity and the use of the term "man up," with some expressing interest and others being deterred by it. Sharing content about mental health and suicide was seen by some as a risk to personal reputation and their relationships with others. CONCLUSIONS: Our findings informed the design of targeted materials for the national Man Up campaign and website which were then used in a multilevel national health promotion intervention in Australia. SO WHAT?: Our study provided valuable insights beyond Man Up for those seeking to design and deliver health promotion interventions targeting Australian men and engage in sensitive and stigmatised male health issues. Using active and empowering language was especially important when addressing men which contrasts with many promotional materials currently available.

Andrea Arnold's film Red Road (2006) depicts a female closed-circuit television (CCTV) operator who suddenly recognizes a man in one of her screens and becomes obsessed with pursuing him. In the context of surveillance cinema, it is exceptional in its portrayal of a woman who conducts surveillance. The prevailing theoretical model of the panopticon in surveillance studies emphasizes the power imbalances existing between organizations and ‘ordinary’ private citizens to the detriment of other perspectives of analysis such as gender. The fact that nearly all surveyors in cinema are white, middle-class men has been largely ignored. Red Road, alongside films such as Michael Haneke's Hidden (2005), constitutes part of an emerging genre of what I have termed ‘sub-veillance’ films, in which looking is done from ‘below’, by those traditionally considered as subordinate. By reversing the dynamics of looking, ‘sub-veillance’ films challenge traditional theories and narratives of surveillance and raise questions about how our individual desires and fears are refracted through the lens to reconfigure space and screens. Red Road exposes the cosy conceptual coupling of male voyeurism and surveillance and, by privileging the ‘haptic’ over the ‘optic’, the voyager over the voyeur, presents ‘sub-veillance’ as fluid and furtive, as an embodied exercise of traversing and transgressing a reoriented digital terrain.

This study defines the new hybrid program, documentary‐drama or docudrama, which combines elements of drama with the television documentary. Despite recent criticism of this form, content analysis of 12 TV seasons demonstrates the growth and viability of docudrama. This new form has emerged at a time when the traditional documentary on commercial television is on the wane. The study briefly outlines the antecedents of docudrama, traces its revival in recent years, and provides a quantitative description of its evolution.

This article explores the issues for contemporary critical practice raised by Paul Virilio's engagement with the future. Virilio's project is an ongoing attempt to theorize cultural, political, military and techno-scientific developments in terms both of the speed at which those developments occur and the different speeds ('metabolic' and 'vehicular') which they impose on the modes and forms of existence. Virilio's work represents a key moment in the addressing of what I will call (after Derrida) the aporia of speed confronting critical work today. This aporia concerns the need for critical thought to move both slowly - with reference to traditional, established historico-critical interpretative frameworks - and quickly - at the ever-increasing speed(s) of techno-scientific developments that call into question the very viability of those conventional interpretative frameworks. Virilio's engagement with the aporia of speed is necessarily an engagement with the future, for his effort to maintain a critical discourse at the 'leading edge' must encounter the mainstream discourses of a 'future perfect' that accompany, promote and even generate techno-scientific progress. At a more profound level, Virilio's work addresses not only these technophilic discourses but also the humanist conceptions of space, time and history that allow both celebratory and critical discourse to be articulated (including his own). My examination of Virilio's encounter with these fundamental conceptions focuses on his theorization of the tendency and the accident, for an understanding of these is crucial to understanding how his work engages with questions of space, time and history. Indeed, Virilio's work is best thought of, I will argue, as an ongoing series of 'tendential analyses' that privilege the accident over the 'substance' of any given techno-scientific development. But these tendential analyses do not (or do not only) posit alternative, more pessimistic accounts of the 'future perfect'. In his paradoxical theorizing of the accident as unforeseeable but nevertheless substantive and non-contingent, Virilio approaches the aporia of speed - the dual necessity and impossibility of critical thought. His work is not so much another futurological discourse as it is a discourse that tends toward an experience of the untimely. It is this tendency that is its most valuable contribution to the criticism of the future.

(1995). Look what they've done to my song: Covers and tributes, an annotated discography, 1980–1995. Popular Music and Society: Vol. 19, No. 1, pp. 79-106.

As a Spanish-language broadcast programme based on a sympathetic Mexican character who also happens to be a drug kingpin, La Reina del Sur negotiates the perilous terrain of the European drug trade and an omnipresent hostility directed at Mexicans. As cable programmes with the industrial freedom to venture into spaces in between prosocial and antisocial, Weeds and Breaking Bad attempt to incorporate a more nuanced and culturally informed characterization of the Mexican drug dealer – one that notably impacts the relationship of the white protagonists to their new occupations as producers and dealers of illegal substances. These three series – produced independently of one another and distributed on three different networks – have crossed paths in a manner that can be revealed through the intricacies of a controversial and complex cultural artifact: the narcocorrido.

The problem of increasing noise immunity for sending messages usually solved by introducing the additional redundancy or by re-transmission of distorted fragment of the message. At the same time, the resulting delay is not always acceptable. An original concept for irredundant code efficiency rising is discussed. It is shown that some genetic-like algorithm applying to the class of permutative equivalent codes can suggest some code that will be too much stable in respect of disturbance appearance. Source space topology, concordant metrization procedure, miscellaneous error structure can be properly taking into account in technical feasibility of this algorithm. Examples of 2D Euclidean source spaces and their coding are presented. Reduction achieved for average displacement of decoding is at least 32% better than that for average values or at least five standard deviations.

In a move that has now been thoroughly documented, the Anglophone West of the past decade or so has become an environment in which feminism is popular.Film and television, and the discourses around them, have been central to this development, with productions from Eternals (Chlo Zhao, 2021) to Fleabag (2016Fleabag ( -2019) ) to Barbie (Greta Gerwig, 2023) prompting an infoglut of commentary that foregrounds and debates the feminist credentials of a wave of new media content that centres women as both characters and creators.But what does it mean to label this content 'feminist'?Focusing on screen culture and education, the short reflections in this forum consider the tensions of this moment from a variety of perspectivesteaching, screen production, criticism, history and the academy.

Abstract Film and TV productions, a key area in production screen business, comprise of processes with high demand for creativity and flexibility. However, despite the era of fast developing technology, film production processes are carried out in an old fashioned way. This is reflected, for example, by the fact that document processing accompanied by daily shooting activities is still primarily paper-based and coordinating geographically distributed cast and crew is purely manual or at best through emails. There is an opportunity to bring process innovation into this industry, which can streamline and optimise film production processes and thus reduce production costs. Business Process Management (BPM) is the mainstream contemporary technology-enabled business improvement method. It has proven to provide significant benefits to an organisation in terms of cost savings and responsiveness to changes. In this paper, we apply BPM technology to process innovation for film production. We also share experiences in how to deal with innovation barriers in the film industry. Over the course of the investigation, a prototype called YAWL4Film was developed on top of a state-of-the-art BPM system. YAWL4Film supports collection and entering of production related data and automatic generation of reports required during film production. The system was deployed in two student productions at the Australian Film Television and Radio School (AFTRS), as well as in a feature film production by Porchlight, an independent film production company.

Much of the existing literature on Outlander emphasises its prioritisation of a female gaze. This is important to discussions of shifting representations of gender and sex in contemporary television. In this paper, however, I consider how the lush tactility of ‘The Wedding’ episode’s sex scenes forms a potentially feminist sensuous aesthetic. Techniques like high contrast lighting, caressing gestures, extended shot duration, heavy use of extreme close-ups, slow panning camera-work, and a rich, warm colour palette, encourage a fleshy spectatorial encounter with the image. The purpose of this paper is to theorise this carnal dimension of engaging with Outlander.

Audiences are increasingly presented with shows on television that challenge previously established boundaries of morality and propriety. Dexter is one such show. The character of Dexter works for the police as a blood spatter analyst by day, and he hunts and kills serial killers by night, taking great pains when killing them to remind them how they tortured their victims and why they deserve to die. He exerts his own form of justice of the ‘eye-for-an-eye’ variety. ‘A prime motivation behind audience reception studies has been that of making visible and validating the otherwise taken-for-granted, neglected or misunderstood experiences of ordinary people in relation to popular culture’ (Livingstone et al. 2001, 168). With this assertion in mind, the article explores how selected, white, Afrikaans-speaking viewers in Gauteng, relate to Dexter. Reception theory, with a specific focus on Carolyn Michelle's (2007) multi-dimensional model of modes of audience reception, was applied to the analysis of findings in this article.

Of the multiple instances of feminist ambivalence present in Barbie, perhaps the most poignant for cinema studies concerns the affirmation of both descriptive and interpretive practices. Across its narrative and aesthetic features, Barbie develops a logic that equates matriarchal culture with "wonderful" surface (Greta Gerwig 2023), and patriarchal culture with paranoid depth. As for the former, Greta Gerwig (2023) has characterised Barbie Land through reference to the original toy Dreamhouse: as a space of openness, where "nothing is obscured because there's no depth, there's no shame, there's no aging, there's no pain." In contrast, the returned gaze of the real-world effects depth in the form of self-awareness; as Stereotypical Barbie remarks upon entry, "I'm conscious but it's myself that I'm conscious of." This opposition is redolent of recent critical debates concerning modes of reading that pit feminist and queer oriented approaches foregrounding surface against older, masculine models that assume the latency of meaning. Relative to this tension, it is interesting that Barbie has it both ways: by the film's ending, its project to restore matriarchy to Barbie Land is realised just as Stereotypical Barbie comes to terms with her desire to join the real-world, to "be part of the people that make meaning." This essay interrogates the surface/depth binary tendered throughout Barbie, arguing that the film's value for contemporary feminists, specifically those working in the field of cinema studies, hinges on the unification of these levels.

(1993). America, America This Is You: The Curious Case of America's Funniest Home Videos. Journal of Popular Film and Television: Vol. 21, No. 1, pp. 37-45.

Screenwriting pedagogy is a small but growing field of scholarly enquiry grappling with the challenges of a writing mode that demands a high level of creativity in order to render complex human experiences in a visual form bound by industrialized structures. Prominent screenwriters argue that engagement with unconscious thought is critical to achieving the high level of creativity required for this kind of writing. However, the unconscious remains a neglected area of enquiry in the fields of creativity and screenwriting research. This review of literature corrals existing research in both fields to synthesize insights for screenwriting and creative writing teachers on the engagement of unconscious thought as a means to enhance students’ creativity.