Intellect caught up with the author of Creativity, Culture and Commerce to see what inspired her to write the book
How would you describe the book in a few words?
The book explores the production of contemporary children’s television in Australia and globally, and particularly the impact on producers’ creative practices of cultural values, media regulation, technological change and commercial considerations.
Where do your own personal and academic research interests lie?
I’m really interested in television, both as a viewer and researcher, particularly the ways in which television is produced and distributed in digital regimes, where multi-platform delivery, niche channels and self-scheduling are the new norms. Digital has created tremendous opportunities for both viewers and producers, with new players like Netflix investing in high quality drama such as Orange Is the New Black and House of Cards. But digital has also fragmented audiences and program budgets, which makes the production of local drama even more difficult to accomplish in a medium sized television market like Australia’s.
Where did you find the inspiration for your book?
Australia has, quite rightly, a global reputation for excellence in the production of kids TV, which began in the late 1960s, with Skippy. Children’s television is an industry in flux though, with a proliferation of dedicated children’s channels including heavyweights like Disney and Nickelodeon competing for the child audience. I was really interested in finding out how the producers of kids TV were adapting to the challenges and opportunities created by digital and multi-channelling and how their shows were being influenced by what are increasingly globalised media markets. My book demonstrates that while Australian children’s live action drama still has an outstanding international reputation, it is now one of TV’s most vulnerable genres.
What did you enjoy the most when writing this book?
I was very fortunate in that many leading producers were generous enough to speak to me at length about their work and, particularly, their creative practices. I really enjoyed hearing about what inspired and challenged them creatively and the many different facets of their work.
How do you think children’s television has evolved over the years and what do you think were the contributing factors towards it?
Children’s television, particularly live action drama, has always been about story telling and that has not changed. Children, like adults, enjoy watching high quality drama with compelling narratives, written and produced especially for them. Globalisation has, however, become a key feature of the digital era, meaning the internationalisation of both children’s television, and many of the companies involved in its production and distribution. Program makers have become dependent on international finance, which has meant their programs have to be made to attract a global audience. And many free to air broadcasters have been paying less for content. The overall result being that very often, animation is cheaper for broadcasters to commission than live action children’s drama. While children love animation and it is a terrific genre, live action drama has become extremely vulnerable in contemporary television production.
In what ways would you say that the Australian children’s television scene differs from other various international ones?
Australia has a well-established children’s television production scene, which benefits from Australia being a safe, sunny and naturally beautiful environment in which to film. Australian producers are passionate and highly accomplished storytellers while Australia is unusual in having content quotas for children’s television on its commercial networks. Funding subsidies and tax incentive schemes provide further support for locally made kids TV. Nonetheless as a medium size market, with a population of 22m, raising finance for the production of kids TV in Australia remains an on-going challenge.
Do you have any future research projects or plans?
I’m currently putting together a large, international project examining new and emerging production zones for children’s television.
To buy the book please click here
Film, Fashion & Consumption 3.2
Intellect are delighted to announce the new issue of Film, Fashion and Consumption 3.2. This issue contains articles by Hilary Radner and Nadia Buick, an interview with Alistair O’Neill on his ‘Guy Bourdin: Image Maker’ exhibition, and reviews. FFC 3.2 introduces the new ‘Short Cuts’ section with Tereza Kuldova's review of Hindi Cinema and takes a new direction into fashion and television with articles on Sherlock by Allan Johnson, and The Paradise and Mr Selfridge by Tony Grace and Gill Jamieson.
To access this issue click here.
Contributions are invited for a new issue of the peer-reviewed journal, Performing Islam
Investigating the problematics of religion in society in the context of contemporary Islam through the dynamics of different kinds of performances and art forms
Founder and Editor: Kamal Salhi (University of Leeds, UK)
Aims and scope
Emerging from an international network project funded by the British Arts and Humanities Research Council and the Economics and Social Research Council, and research collaboration between the editors, Performing Islam is the first peer-reviewed interdisciplinary journal about Islam and performance and their related aesthetics. It focuses on socio-cultural as well as historical and political contexts of artistic practices in the Muslim world. The journal covers dance, ritual, theatre, performing arts, visual arts and cultures, and popular entertainment in Islam influenced societies and their diasporas. It promotes insightful research of performative expressions of Islam by performers and publics, and encompasses theoretical debates, empirical studies, postgraduate research, interviews with performers, research notes and queries, and reviews of books, events and performances.
Call for papers
The journal, which is rigorously peer-reviewed, invites submissions that pursue the methods and methodologies by which we attempt to approach original research in Islam in performance studies, and the study of the performativity inherent in the Islam related cultural production. Contributions which share research interests and experiences in interrelated areas of performative, homeland and diasporic negotiations, and the complexities of contemporary Islam are particularly welcomed. The journal is uniquely positioned to disseminate the groundbreaking work of genuinely international dimensions. Articles that encourage challenging debate on problem areas within this new field are also welcomed to the journal’s open forum, as are high quality articles usually published as peripheral items in journals from other disciplines. Proposals for special or themed issues will be considered.
Dr Kamal Salhi: firstname.lastname@example.org
Deadline for proposals is 31st July 2015
International Journal of Digital Television Issue 7.1, "Regulating Digital Television".
Publishing date March 2016.
Guest-Edited by Dr. Gali Einav
Principal Editor: Professor Petros Iosifidis
Deadline for Proposals: 30 June 2015
Deadline for Full Papers: 30 October 2015
The internet has drastically accelerated the rate of disruption facing the television industry. Younger viewers in particular have become platform-agnostic, consuming video over multiple devices, mainly TV, Laptop, Mobile and Tablet. At the same time, digital distribution networks like YouTube, Netflix, HBO Go and Amazon have overtaken legacy broadcast and cable networks in audience size. From modest beginnings, these digital players are now producing award-winning, professionally produced TV series and films, delivered "Over the Top" (OTT) directly to consumers via the internet, while bypassing traditional content provider infrastructure such as cable or satellite. The viewing experience is more personalized, cheaper and on-demand, meeting the expectations of the constantly connected consumer.
In this special issue, we set out to investigate to what extent digital television content and distribution can and should be regulated.
There is much dispute over the question if the internet should be regulated. There are many factors to take into consideration when examining this question in regards to the television industry. It is imperative to examine what can be the likely impact of regulatory change on traditional providers, content producers and distribution models. Allowing entry of new players can result in loss of viewers and revenues for incumbent providers and as such may jeopardize their ability to produce content adhering to acceptable standards. Algorithms used by OTT providers such as Netflix to track viewing preferences may result in exposure only to limited scope of content. The regulatory challenge is to encourage greater consumer choice without jeopardizing the existing economic model. The question is how can that goal be achieved; should the new OTT networks adhere to the same regulatory framework as their cable and satellite peers or should the playing field transform completely? Who should absorb production costs for original content, the "pipe" or content provider?
In this context, a regulatory regime that categorizes "television" as a single, monolithic industry, without distinction for distribution platform, has come under scrutiny. For example, reallocating existing broadband spectrum for digital distribution platforms can be depicted as either consumer friendly or anti-competitive, depending on the perspective of the industry advocate. In this high-stakes, zero-sum scenario, regulation has the potential to fundamentally alter the breadth, cost and modality of television. The difficult task is in understanding the unexpected consequences of regulation in order to increase the likelihood of achieving desired outcomes.
In line with this theme, indicative perspectives include, but are not limited to the following:
- Alternative models for regulating digital television
- Case studies from different national contexts
- Impact of emerging digital technologies on the future of the television industry
- Likely scenarios for the future of television consumption
- Optimal sequencing for effective implementation of regulatory reform
- Clarification of desired outcomes for regulatory reform
- Impact of regulatory changes on content production
The International Journal of Digital Television will describe and explain the transition to digital TV and wider trends in television. As switchover happens across the globe and television's operations and audiences are transformed, the International Journal of Digital Television will be at the forefront of efforts to understand the changes and developments. The Journal will bring together, and share, the work of academics, policy-makers and practitioners, offering lessons from one another's experience. Content will be broad and varied, evolving as the focus shifts from switching off analogue TV to the challenge of exploiting digital television's convergence with the Internet and telecommunications. National case studies and comparative studies will be a feature, accumulating the evidence for authoritative global analysis of the economic, political and cultural factors accounting for common principles and national differences.
Please send an abstract of up to 500 words or questions to the guest editor by June 30 2015: email@example.com . Invited authors will be notified by July 30 2015 and full articles of up to 8,000 words will be due on 30 October 2015. All submissions will be subjected to double blind peer-review.
More information about the journal and Notes for Contributors: http://www.intellectbooks.co.uk/journals/view-Journal,id=175
International Journal of Islamic Architecture is now listed on Archnet: http://archnet.org/collections/885.
Archnet is a globally-accessible, intellectual resource focused on architecture, urbanism, environmental and landscape design, visual culture, and conservation issues related to the Muslim world.
Interactions: Studies in Communication & Culture (ISCC) recognises the interdisciplinary nature of the fields of media, communication and cultural studies and we therefore encourage diverse themes, subjects, contexts and approaches; empirical, theoretical and historical. Our objective is to engage readers and contributors from different parts of the world in a critical debate on the myriad of interconnections and interactions between communication, culture and society at the outset of the twenty-first century.
It is our intention to encourage the development of the widest possible scholarly community, both in terms of geographical location and intellectual scope and we will publish leading articles from both established scholars and those at the beginning of their careers.
We are currently looking for research papers to be included in mixed-topic issues to be published in spring and summer 2016.
If you wish your paper to be considered for publication in either of these two issues please submit it via the ‘Submit to this journal’ link on the journal’s webpage at http://www.intellectbooks.co.uk/journals/view-Journal,id=165/ no later than Monday 13 July 2015.
Particular interests include, but are not limited to, work related to:
- Popular culture
- Media audiences
- Political economy
- Political communication
- Journalism studies
- Media institutions and practices
- Media and communication policy
- Community and alternative media
- Global media
- Online and social media
Submissions must be 6000 to 8000 words in length (including references) and must be original scholarly manuscripts formatted according to Harvard Style guidelines (full guide available at http://www.intellectbooks.co.uk/MediaManager/File/Intellect%20style%20guide.pdf)
For further information, please contact the Editor, Salvatore Scifo, at firstname.lastname@example.org or visit our journal’s webpage at http://www.intellectbooks.co.uk/journals/view-Journal,id=165.
Intellect is delighted to announce we are now providing online access to the below film studies journal issues free of charge. The full issues can be downloaded for free via IngentaConnect. We hope you enjoy reading them.
Journal of Italian Cinema & Media Studies 2.1
This journal explores Italian cinema and media and in this special issue, various articles explore the intersections between Italian and Chinese cinemas. In Elena Pollacchi's article, the influence of Italian neorealist tradition on Chinese film-makers whose careers started after the turn of the century and whose works share a concern for the interplay of individuals and their surroundings is examined. Stefano Bona compares the representation of China in two Italian films,Chung Kuo and La stella che non c'è. In Eddie Bertozzi's article, the movies Shun Li and the Poetand The Arrival of Wang is explored addressing what kind of Chineseness is articulated in these films and how Chinese identity is negotiated in the creative process.
Download free issue
Journal of Scandinavian Cinema 4.1
This journal focuses on the cinemas of Denmark, Finland, Iceland, Norway and Sweden. In this free issue, Xianghui Wen'sarticle focuses on the tactility of facial close-ups in Ingmar Bergman's films through Jean-Luc Nancy's concept of touch. Richard Raskin examines the three major differences between short film and feature film storytelling. Ruben Östlund's film Play (2011) is analysed by Helena Karlsson in the context of the current debate on race, racism and multiculturalism in Sweden. Jan Olsson's article disentangles the confusion surrounding the production order of Mauritz Stiller's film activities during his first months at AB Svenska Biografteatern (Svenska bio)/Swedish Biograph in 1912 and also sheds light on Stiller's role in Stockholm bohemian circles.
Film, Fashion & Consumption 3.1
Film, Fashion & Consumption is a journal designed to provide an arena for the discussion of research, methods and practice within and between the fields of film, fashion, design, history, art history and heritage. This free issue includes Emmanuelle Dirix's article which investigates the reasons for the prolific use of feathers in 1930s Hollywood costume, while Ellie Slee's articleaddresses the repeated use of imagined sartorial archaisms in female costuming in 1930s Hollywood horror films, by both analysing the physical make-up of the dress in question and bringing contemporary and historical outside influences into account. An article by Barry Curtis exploressignificant films that were set in the future, with particular regard to dress and architectural mise-en-scène.
Short Film Studies 4.1
Short Film Studies is designed to stimulate ongoing research on individual short films as a basis for a better understanding of the art form as a whole. In this free issue, Pirjo Hokkanen's Matka/A Journey (Finland, 1983, 9 min.) and Vincent Bal's The Bloody Olive(Belgium, 1996, 10 min.) are explored thoroughly through various articles. Jacques Lefebvre- Linetzky explores the film Matkaand how the trunk featured in the film is a cinematic representation and a metaphor. Nathan Shaw explores how genre films have constructed a network of paradigms allowing discerning audiences to expect the previously unexpected and how these interconnecting elements are prevalent, and toyed with, throughout the short film noir pastiche The Bloody Olive.
Studies in Spanish & Latin American Cinemas 11.1
This journal is dedicated to the study of Spanish-speaking and Latin American cinemas. In this free issue, Lidia Meras' article explores Metropolis as a key programme in the history of Spanish television as a cultural space aimed at minorities, whichresponded to the new concerns of a recent transition to democracy. Craig Epplin's article offers a detailed reading of the connections between sound and space in the 1968 film La hora de los hornos/The Hour of the Furnaces.Daniel Lopez's article analyzes the Spanish-produced and internationally distributed animation film El Cid: The Legend(Pozo 2003) in its pedagogical and ideological dimensions as a medievalist Disney-type genre animation film within the post-9/11 global sociopolitical and media context.
Film International 12.1
Film International is a journal thatcovers film culture as part of the broader culture, history and economy of society. In this free issue, Garry Leonard examines whether film noir really happened or if it was a set up. In the 'The 1950s Stardom', Aart Wani explores how the post-independence decade in India witnessed the growth of Hindi cinema and the variety of themes and genres. In Sotiris Petridis' article he argues that there are three basic periods in the lifetime of slasher films: the classical period; the postmodern period; and the neoslashers. Helle Kannik Haastrup explores storytelling and intertextuality from films such asDjango Unchained to The Matrix.Maisha Wester's article exploresThe Skeleton Key which centres on Hurricane Katrina that occured in New Orleans in August 2005.
Other free film studies issues:
New Cinemas: Journal of Contempororary Film 12.1 & 2 (selected articles only)
Intellect are delighted to announce the new issue of Metaverse Creativity volume 4. This issue contains six extended conference papers from the Re-New Digital Arts Forum, which took place in Copenhagen in November 2013. Contributors include Anne Pasek, Elif Ayiter, Heidi Dahlsveen, Everado Reyes-Garcia, Ligia Dabul, Stefan Glasauer and Second Life avatar Selavy Oh.
To access the issue please click here
Contributions are invited for Animation Practice, Process & Production, or AP3, a peer-reviewed journal engaging with all forms and approaches to animated moving image practice, process and production. The journal encourages submission of innovative models of critical presentation, not merely in the form of the traditional essay, but also reflective production diaries, visual discussions of production processes, DVD works / works-in-progress with contextual material, process reports, interview / conversation pieces, image sequence analysis, archive projects, festival panel / presentations, etc.
AP3 is dedicated to defining and presenting the animation practitioner – understood here, as the animator, the independent auteur, the curator, the producer, the scriptwriter, all the roles within the studio production pipeline (storyboard artist, layout artist, editor, technical director etc.), the archivist, the collector, the festival director, the animation tutor, the researcher, the actor, the sound designer, the exhibitor, and more. The journal will showcase the constant reinvention and redefinition of the form, and articulate its increasing significance both at the margins and in the mainstream, through the voices of practitioners themselves, and those that study and admire their endeavours.
Illustrated articles should be between 4,000 and 8,000 words in length. Topics may include (but are not limited to):
Definitions of animation practice
Auteurist / collaborative / studio processes
Single roles (animator, editor, director, technical director etc.)
Single aspects of production (storyboards, scripts, sketches, layout, character development, technique, abstract forms, performance, sound, etc.)
Relationship between theory/ practice; practice-led research; practice-based research
Historical forms and outcomes
Archiving – preservation/ conservation
Analogue/ Digital production
Animation for exhibition/ Exterior spaces
Trans / Cross / Inter-disciplinary models
Please e-mail article submissions to the journal editor, Paul Wells at P.Wells@lboro.ac.uk
Intellect are delighted to announce the new issue of Art & the Public Sphere Volume 3. This issue includes articles by Emma Mahony on the actions of The Freee Art Collective and Liberate Tate, articles by Amy Charlesworth and Kathryn Brown respectively on Ursula Biemann’s video essays, an interview with the late Seth Siegelaub by Paul O’Neill and various reviews. This issue is dedicated to artist and film-maker Stuart Croft, who sadly passed away in March this year.
To access the issue please click here.