September 2016
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5 Reads
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September 2016
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5 Reads
September 2016
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1 Read
December 2014
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663 Reads
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7 Citations
Continuum Journal of Media & Cultural Studies
‘Formats are king!’ or so declares the trade publication TV Formats Weekly. Indeed there are solid grounds for such claims regarding the current place of this type of programming in television schedules around the world. Formats are perceived to be highly effective in mitigating commercial uncertainties brought about by multi-channelling, and the social uncertainties associated with cultural mobility and de-territorialization. However, their ubiquity also presents us with an interesting geo-cultural paradox. As an industrial commodity, formats have a highly mobile, readily transferable quality. However, as a social and cultural artefact, they can take on a form that is specific to the particular community for which they are adapted. In this article, we explore the characteristics of these multi-layered geographic interrelationships and consider the conceptual value (and limitations) of some of the key terms around which the role and function of formats have been understood.
August 2013
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1,050 Reads
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1 Citation
Media International Australia
Sound is an ever-present, ever-changing component of communication and media. It has been a central part of the dramatic developments that have occurred in recording, screen exhibition, radio and television broadcasting and telecommunications technologies since the 1800s. Yet, in relation to audio-visual media forms in particular, sound is often seen as a secondary element - something that is subordinate to the visual immediacy and the assigned textual primacy of the image. The aim of this issue of MIA is to help redress this imbalance and reassert the place of sound within wider conceptualisations of media and culture. The articles engage with the significance of the aural from a wide range of perspectives, taking in its experiential and immersive characteristics in relation to screen media as well as the commercial contexts of sound and music and its role in identity-making and social organisation.
August 2013
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11 Reads
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4 Citations
Media International Australia
This article examines the complexities involved in transferring content and genre from one media platform to another by emphasising the shifting, fragile yet stabilising part that sound can play in such a transformation. Early television is often labelled as a period of 'radio with pictures', and this intriguing designation directs our attention to this 'moment' of changeover. This analysis explores the parameters of sound in television's displacement of radio as the primary broadcasting medium in Australia in the 1950s. We focus in particular on the role of the human voice (host, audience and contestants) in two early quiz shows - Wheel of Fortune and Pick-a-Box - that began on radio and were both successfully remade as television programs.
January 2013
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2 Reads
May 2011
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74 Reads
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2 Citations
Media International Australia
This special issue of Media International Australia represents an effort to progress critical understanding of the broader social and economic formations that shape the circulation and consumption of films. The collection provides a range of diverse and compelling insights into the processes of film circulation and viewing, both within the home and at the cinema. Accordingly, these articles address important questions such as: Why do audiences seek out film content? How are films accessed and by whom? What place does film have in popular social memory? How does the site of consumption shape the meaning of these cultural encounters? By what processes can we identify and study audiences?
January 2011
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646 Reads
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48 Citations
Beginning around 2003, television studies has seen the growth of interest in the genre of reality shows. However, concentrating on this genre has tended to sideline the even more significant emergence of the program format as a central mode of business and culture in the new television landscape. TV Formats Worldwide redresses this balance, and heralds the emergence of an important, exciting and challenging area of television studies. Topics explored include reality TV, makeover programs, sitcoms, talent shows and fiction serials, as well as broadcaster management policies, production decision chains and audience participation processes. The seminal work will be of considerable interest to media scholars internationally.
December 2010
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3 Reads
Television & New Media
June 2010
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18 Reads
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2 Citations
Continuum Journal of Media & Cultural Studies
For much of its history in the twentieth century, television was conceived mostly in national terms. American television, British television, Australian television and so on were thought of as distinct systems, even if they frequently displayed significant degrees of overlap. Such a notion has always been a convenient simplification. Television exists at a series of different spatial levels and the nationwide tier is only one of these. Recent interest in the notion of media capital draws attention to the role played by broadcasting hubs in larger television formations, not only in the industrial sense of resource accumulation and density but also in terms of colonizing larger media environments. This paper addresses this matter in terms of the role that a Sydney metropolitan television service has played in the life of the Australian nation. It surveys the material and ideological dimension of this service as a means of further problematizing the connection of television and nation. Yes Yes
... These constitute a separate genre because they signify the views and beliefs of the policymaking bureaucrats on knowledge policy issues. This genre is pronounced in case of the policy elites from NCA (Suh, 2002) and MoE & HRD (2004; Kim, 2005). ...
February 2007
... Scholarship on hosts tends to reflect upon media -that is radio or television -hosts. In particular, radio hosts are examined for their ability to (vocally) command authority (Moran and Aveyard 2013), foster a sense of imagined community (Fitzgerald and Housley 2007) and encourage democratic participation (Gunders 2012). Additionally, their cultural and political power (Fitzgerald 2007) and position within the mediascape are interrogated. ...
August 2013
Media International Australia
... However, studies show that the mid-20th century was an era of mixed fortune for cinema worldwide. Karina Aveyard and Moran (2011) state that 1950s to 1980s saw a decline in cinema admission rates in many parts of the world. For ...
May 2011
Media International Australia
... Reality programmes feature, with elements of variation, all the components examined in the first section. They too are unscripted and have engines which define the rules and format points (Keane and Moran, 2008). They feature ordinary people as contestants who face a challenge or contest, hosts (or equivalent), celebrities (in various roles) and ritualistic moments. ...
January 2008
Television & New Media
... According to Albert Moran and Karina Aveyard's metaphor, a format can be seen as a template, in the sense that it "allows the programme to be adapted and produced for broadcast in other territories"; at the same time "these templates are also flexible -capable of being moulded to suit the particular social inflexion and cultural nuances of the broadcaster and territory for which it is remade". 5 In other words, elements of the template can be considered ready-made parts of the narrative, reproducible in other cultures, while other elements must be adapted and customised to become familiar to different audiences, and rooted in a given territory. ...
December 2014
Continuum Journal of Media & Cultural Studies
... Media product localization involves the linguistic and cultural adaptation of a product to make it suitable and appealing to the target locale where it will be used and marketed (Christophe, 2011). According to Albert Moran (2005), the cultural translation of global format television encompasses various elements, including historical, ethnic, geographical, and cultural aspects. Hoskins and Mirus (1988) explored the localization of language in media products and highlighted the significance of adopting the native language or dialect of the target audience, as it reflects their cultural values. ...
April 2009
Continuum Journal of Media & Cultural Studies
... Television, as a business, has been heavily influenced by distribution technologies, deregulation and privatisation across different countries. 1 With the fragmentation of audiences, platforms and revenues, broadcasters across the globe have been struggling to navigate the new media landscape, maintain online relevance and monetise their content across territories and platforms. Major media players have been adjusting their business models and rethinking the ways that media content moves through "space (flows) and time (windowing)". ...
November 2007
... Considered the precursor of all reality shows, Big Brother (BB) debuted in 1999 as a combination of different television genres-game shows, talk shows, soap operas, and docudramas [9,10]. Drawing on the apocalyptic Orwellian metaphor, Big Brother revolves around the forced coexistence of contestants inside a house "spied on" by the public 24 h a day [2,11]. As time passes, alliances and relationships, even romantic ones, occur between two or more people [12]. ...
January 2011
... Also the decision of the Supreme Court of the Netherlands of 16.04.2004 in the "Survive! vs. Big Brother" [8] case was positive. The court came to a conclusion that upon the comparison of 12 elements of both programs, not all elements can satisfy the originality criteria. ...
January 2009
... The first and the second forms are also called canned shows or finished programmes. Such programmes are created, produced, and broadcast in one place and exported to others (Moran, 2009a(Moran, , 2009b. Canned shows are wellreceived by the audience in culturally similar markets and/or in countries in which the television industry is not developed (Miller, 2010). ...
January 2009