#Budget2014: Bye Bye Australia Network
Posted: May 14, 2014 Filed under: BCM310 | Tags: ABC, Asia Pacific, audiences, Australia Network, broadcasting, budget, budget2014, channels, communications, controversy, cuts, international, lifestyle, media, media convergence, networking, news, platforms, television, Tony Abbott, transnational, worldwide audience 1 CommentThe Budget for Australia this year has, to say the least, not been very popular. While there are many aspects to the Budget which have people in an uproar, there was one aspect I wanted to focus on in terms of Global Media and Communication – the cutting of The Australia Network from the Australian Broadcasting Corporation.
The ABC has had its budget cut by $120million, which directly impacts on The Australia Network, which ABC’s managing director Mark Scott has said will be disappointing audiences (Leys, 2014).
The Australia Network is a free-to-air television channel that broadcasts to over 40 countries in Asia and the Pacific. This creates an international network between many countries with news, lifestyle, drama and sports programming – and specifically, it’s English language learning programs.
This network is to provide “a credible and independent voice through programs that present a ‘window’ on Australia and Australian perspectives of the world” (Downer, 2006).
But now this network will be cut due to Abbott’s 2014 budget. Here is what the ABC had to say about this.
The ABC had only just entered into a contract with the Department of Foreign Affairs and Trade. Scott has emphasised that countries across the globe are expanding international broadcasting and prioritising media as a public diplomacy strategy.
“It sends a strange message to the region that the government does not want to use the most powerful communication tools available to it to talk to our regional neighbours about Australia,” Scott said (Leys, 2014).
Sinclair and Harrison in their article on Globalisation from 2004, focuses on case studies of India and China. They highlight that “television has emerged as a medium able to cross the boundaries within and around Greater China … and to engage in complex ways with global forces of culture and commerce” (pp.42).
It is important for Australia to have an international network that establishes global diplomacy because it creates concrete relationships between other countries. Thus, the cutting of The Australia Network is something that impacts negatively upon global media and communication.
REFERENCES
Sinclair, J & Harrison, M 2004, ‘Globalisation, Nation, and Television in Asia: The Cases of India and China’, Television and New Media, vol.5 no.1, < http://tvn.sagepub.com/content/ 5/1/41.short. >
Downer, A (Minister for Foreign Affairs, Australia) 2006, Australia’s Television Service to the Asia-Pacific Region, media release, 10 July, Foreign Minister, viewed 14 May 2014, < http://www.foreignminister.gov.au/releases/2006/fa076_06.html >
Leys, N 2014, ABC budget response, media release, 13 May, ABC, viewed 14 May 2014, < http://about.abc.net.au/press-releases/abc-budget-response/ >
The Fine Line of Accurate Racial Representations
Posted: May 6, 2014 Filed under: BCM310 | Tags: audience, blackface, communication, controversy, culture, entertainment, ethnicity, hey hey its saturday, media, media issues, midsomer murders, minorities in America, misrepresentation, race, racism, representation, television, underrepresentation, worldwide audience Leave a comment
In 2008, a study found that while 32% of the US population was caucasian males, they were represented on cable TV 57%, while other demographics such as Latino men, who made up 8% of the population, were only represented 1%.
Racial and ethnic minorities have always been misrepresented and underrepresented in the media, and today these minorities are still not represented accurately, begging the question whether enough is being done to fairly portray all races and ethnicities.
Even if we believe that more fair and accurate representations of minorities are on offer these days, media producers are constantly weighed down by the Burden of Representation.
Following the 9/11 attacks, there was a conscious effort to highlight that Arab and Muslim Americans were not the enemy, that Arab and Muslim terrorists were. However, TV shows began to portray these minorities in America as the “unjust victim[s] of post-9/11 discrimination”, which would be all well and good if it didn’t mean concluding that it is “inevitable that Arabs and Muslims will have to deal with discrimination” (Alsultany, 2013).
Marginalised groups were often portrayed as the bad guys, but this sympathetic approach is no better. What we see here is an attempt to portray these minorities in a positive light, that actually comes off as allowing the audience to feel sympathetic for ‘the enemy’ (Alsultany, 2013).
There is a fine line between an accurate representation and an unfair one, even if the intention is good.
Other such cases include Australia’s 2009 debacle on Hey Hey It’s Saturday, where men wore ‘blackface’ to create a comedic performance parodying The Jackson Five. What was supposed to be taken as comedy created controversy linked to black history where ‘blackface’ theatre depicted black people in “a degrading manner” (Mahony, 2009). Here the fine line between comedy and racism was moon-walked along.
In 2011, BBC TV show Midsomer Murders’ producer came under fire for saying that putting ethnic characters in the show would not work. Was this wrong? While it appears discriminatory, the caucasian cast of the show accurately portrays the English village. “The point about Midsomer Murders is that, in a village in Midsomer, all outsiders are equally unwelcome whatever their colour. If your family has lived here for 300 years, they’re likely to be white. That’s quite obvious.” (Horowitz, 2011).
This show is merely being historically and geographically accurate. Is it still wrong of them to not have ethnic characters?
I think what we need to realise is that an accurate presentation of an ethnicity or race is not necessarily that of an overly positive and sympathetic image, but the all-encompassing collective of a wide range of different media that portrays all different aspects of these groups. With this rich collection of media, our minds can be opened to the different stories that exist within these groups and the narrow-minded stereotypes we have learnt over time can be thrown away. This is the only way we can escape the dangers of the single story.
REFERENCES
Alsultany, E 2013, ‘Arabs and Muslims in the Media after 9/11: Representational Strategies for a “Postrace” Era’, American Quarterly, vol.65, no.1, < http://muse.jhu.edu/journals/american_quarterly/v065/65.1.alsultany.html >
Clarke, M 2010, ‘White Australia has a blackface history’, Overland, < http://overland.org.au/previous-issues/issue-199/feature-maxine-clarke/ >
Easton M 2011, ‘Is it ever OK for TV dramas to be all-white?’, BBC News, < http://www.bbc.com/news/magazine-12748293 >
Mahony, M 2009, ‘What’s all the fuss about “blackface”?’, Crikey, < http://www.crikey.com.au/2009/10/08/crikey-clarifier-whats-all- the-fuss-about-blackface/ >
Singh A 2011, ‘Midsomer Murders is not racist, says Anthony Horowitz’, Telegraph, < http://www.telegraph.co.uk/culture/tvandradio/8383788/Midsomer-Murders-is-not-racist-says-Anthony-Horowitz.html >
Wikileaks: A new media environment
Posted: March 18, 2014 Filed under: BCM310 | Tags: audience, controversy, cyberspace, debate, julian assange, media, media organisations, media place, media space, new media, public sphere, user empowerment, wikileaks, worldwide audience 2 CommentsWikileaks is part of a new media environment which sees the internet play a powerful part in how information is communicated globally.
Coming to widespread attention in 2009, Wikileaks have been using new media to leak confidential documents into the public sphere.
The Collateral Murder video that was released in April of 2010, as well as the various US war logs and cables released in the following months, shed new light on the US government and the secrets they had been hiding.
But not only did it bring up a hell of a lot of awkward information the US government didn’t want to have to bring up at the dinner table, it also brought up debates over the ethics of what Wikileaks was doing.
Can Wikileaks justify its actions as Freedom of the Press? Or is it an act of sabotage? Can it consider itself a media organisation? This is what John Bolton had to say:
Wikileaks takes a stance as the first stateless media organisation. All media organisations up until now have had relationships with their governments and must function accordingly to what their ‘gatekeepers’ allow – Wikileaks sits outside this.
What is interesting is that they use mainstream media to their advantage. By collaborating with mainstream media organisations they can effectively communicate their information. While the Collateral Murder video was raw footage posted online solely by Wikileaks, cables since then have been released in partnership with organsations such as The Guardian and The New York Times.
In 2011, The New York Times was relying on the data released by Wikileaks for half their issues – not only referring to certain leaks, but using the information to create other news stories. The Guardian even has a video to explain how to read the Afghanistan War Logs.
Ultimately, Wikileaks serves as a tool to reveal important information and it is up to those who read it to use it in whatever way they desire. There are arguments either side over whether it is a media organisation or a ‘terrorist organisation’, yet it becomes clear that Wikileaks can be considered a media organsation and that the definition of a media organisation needs to change in accordance to the rapidly-evolving new media environment.
REFERENCES
Benkler, Yochai. 2011, ‘A Free Irresponsible Press: Wikileaks and the Battle Over the Soul of the Networked Fourth Estate’, Harvard Civil Rights-Civil Liberties Law Review, vol. 46, pp. 311-397
StopTheWarCoalition, Bradley Manning is guilty says Obama. Kill him says John Bolton, online video, April 2012, YouTube, < http://www.youtube.com/watch?v=41THqMGCkkU >
Moon landings in primary schools
Posted: August 25, 2013 Filed under: BCM240 | Tags: audience, historical, international, interview, media, moon landing, place, private sphere, public sphere, television, TV experience, worldwide audience Leave a commentRoslyn was just 8 years old when a Mr Armstrong stepped onto the surface of the moon. The year was 1969 and Roslyn was in year 3 at Miranda Primary School, eagerly awaiting with the other school kids and their teachers for the moon landing to occur live on national television.
Being in the top year 3 class, Roslyn’s class, along with her brother Peter’s top year 4 class, gained the privilege of seeing the moon landing as it was aired on TV. The school had very few television sets – in fact, they possibly only had the one – and this TV was a small black and white set that was wheeled around on a trolley. Due to the logistics of wheeling a TV trolley all the way down the stairs to the year 4 classroom, the year 4 class had to come to Roslyn’s class. From first thing in the morning, the two classes were crammed into one room for the duration of the day.
As it was unknown when the moon landing was going to occur, the school kids kept themselves occupied playing games all day, in what can only be imagined as the kind of lazy day everyone experiences at least once as a primary school student when you have a casual teacher for the day, or you have to stay inside for lunch because of the rain, or it’s an exciting day where you’ve been allowed to wear casual clothes.
The teachers kept a close eye on the TV, placed in the corner of the room, where news reporters would occasionally appear to continue to keep the viewers updated on what was happening. As Roslyn played with her friends in the classroom that day, she recalls the various times where it was asked ‘Is it happening yet? Is it happening?’ only to find out that the moon landing had been delayed. The TV itself had very poor reception, so it was difficult to make out what was occurring regardless.
Eventually the kids all went out to lunch on the day, and once they returned from lunch, there was a great silence that fell over the top year 3 and 4 classes. The reporters on TV had suddenly become more excited and it was heard that transmissions of the moon landing where to be seen shortly. The classes were all hushed, watching this small black box in the corner of the room.
The images were so distorted, it was not easy to tell what was what. The transmissions themselves were already blurry, and this situation was worsened by the terrible signal – was that a person? Or was that a ladder? Was it a person stepping down off a ladder?
Then the room roared with excitement! Fifty something school kids and their teachers leaping in their chairs and cheering! He had stepped upon the moon! One giant leap for mankind!
And this is a prime example of how in the past the television experience, at least for Roslyn, was directly linked to this sense of excitement and belonging. Her memories of television during this time are very few, as it wasn’t watched as commonly as it was in her teenage years. However, the memories she does have of it involve her sitting around the television set with her family or her friends, as a social event. There was this concept of a shared pleasure that enticed people to sit around the TV together (Butsch, 2000, p.252). It was always separated as an activity – she was never allowed to watch TV during dinner as the dining table was in a separate room to the TV. It was only once dinner was finished that she was allowed to sit in front of it and watch an array of shows.
Roslyn recalls the news being very common, but also watching Hogan’s Heroes, Bewitched, The Addams Family and her favourite, Gilligan’s Island, to name a few. She recalls the group of kids she used to hang out with in the neighbourhood, and how they would play Gilligan’s Island in each other’s backyard. Roslyn said she used to play Mary Anne Summers from the TV show most of the time and that no one wanted to play Mrs Howell.
Television in the 60s and 70s was a fond memory of Roslyn’s, reminding her of time spent socialising with family and friends and the excitement she would feel around it.
REFERENCES
Butsch, R 2000, The Making of American Audiences: From Stage to Television 1750-1990,
Cambridge University Press, Cambridge, pp. 252-267.
O’Gorman, Sean 2013, interview with Roslyn O’Gorman, 24 August 2013, Sydney.
IMAGE: Cain, F 2012, Pictures of the Moon, Universe Today, weblog post, 29 April, viewed 24 August 2013, <http://d1jqu7g1y74ds1.cloudfront.net/wp-content/uploads/2010/01/529.jpg>
Media, Audience and Bad Mothers
Posted: August 4, 2013 Filed under: BCM240 | Tags: connections, drawings, media, media convergence, photography, roles of the media, space, worldwide audience Leave a commentThe question that we always need to ask about the media is this: what is the role that it plays in people’s lives? However, we also need to ask not just the role that it takes place, but where it is taking place. Location is an extremely important aspect of media, especially since we all carry around mobile phones and laptops and mp3s on a daily basis – we take the media with us! We change the places and audiences of the media by simply hopping on a train and listening to music or watching a movie on a laptop in a park.
This week I attempted to find my very own example of media and space, which, although easy to find, is very difficult to photograph – especially if you find a perfect example but its a stranger and the stranger appears to be slightly insane and you’re no good at taking sneaky snaps.
And in a desperate attempt to find a photo for this post I realised I had one right in front of me as I scrolled through my camera roll on my phone. Earlier this week, a couple of friends and I went out for breakfast and, you know, I just had to Instagram it.
And I recalled what I had noted about my own Instagram photo – I had captured my friend Instagramming her own breakfast with her phone. Therefore, I had documented someone using media in a space at the same time as I was. We both had gone from having been in a social situation, eating breakfast with friends, and then created our own private space while we photographed, edited, added filters, added a description, some hashtags, the location, and shared our photographs on a social networking platform.
No one had any problem with either of us being on our phones, for they knew that we would return to ‘the real world’ once we had posted our photos. In fact many of us went in and out of the social setting to have our own private conversations on our phones at the same time, and this has become a socially acceptable act. You can even note that in my Instagram photo, there is another phone on the table belonging to my other friend – for the frequency we use our phones nowadays, it is pretty much socially acceptable to leave your phone on the table in front of you too!
And just to add to this: while my friend and I had left the social place and ended up in a private place to post these photos, by sharing these to the internet we had actually turned our private social gathering into something increasingly more public. With 362 followers and 38 likes on that photo, this private scenario which should have not had an audience at all, suddenly had a much bigger Invisible Audience online. Just thought that was quite interesting, that we had created ourselves an audience. Livingstone (1999, pp.62) points out that the ‘new’ in ‘new media’ primarily involves the social contexts that are created because of such media.
Later this week I also witnessed something in my own home town. A mother was on the side of a main road with her toddler. The mother was on her phone, distracted by something. The toddler was running along the side of the road until he tripped and fell into the gutter and started crying, as toddlers do. And the mother didn’t look up from her phone. At all. Didn’t even react. Didn’t know where her child had fallen. And continued to stare at her phone.
She was in her own little private place where Candy Crush was more important than Toddler’s Head on Side of the Road Crushed. Here is a visual representation I drew later.
Adios.
REFERENCES
Livingstone, S 1999, ‘New media, new audiences?’, New Media & Society, pp.59-66.
Extra, Extra, Read All About It
Posted: May 5, 2012 Filed under: BCM112 | Tags: citizen journalism, citizen tube, media, media convergence, technology, user empowerment, user-generated, worldwide audience, youtube Leave a commentCitizen Journalism has given the public a stronger voice, now with the ability to show different sides to various news stories through the publication of their own papers and articles online. This ‘participatory journalism’ can be deemed effective for all involved as
There is a concern that the standards of journalism are not upheld with ‘amateurs’ writing reports. There are traits that are supposed to be kept by a professional journalist – objectivity, autonomy, immediacy and ethics – but how can we account to the accuracy and objectivity of citizen journalism?
Simple, really. Only professional journalists used to be able to get their reports told in the public sphere since their stories had to go through gatekeepers – the editors. With convergent media allowing anyone to voice anything they want at anytime, it seems that it would be difficult to maintain accuracy in journalism, however now there are gatewatchers.
Instead of having one such censoring power, the online community collectively judges the accuracy of articles and if something is written that is clearly incorrect, it does not take long for it to be picked up on. Hence, accuracy is maintained in news stories.
Citizen Journalism also highlights a niche market, being able to focus on somewhere or something more specifically than the main newspapers, and it gives members of small communities a voice.
YouTube itself has developed a online blog called CitizenTube, where they post clips and articles from citizen journalists, thus increasing the relevance of citizen journalism in the online world.
In this article, it is said that “YouTubers who want to share their breaking news clips are invited to tweet them to YouTube at @citizentube and include as much background as possible,” showing that through the use of Twitter, people are able to alert CitizenTube to a story and be able to report on it directly.
Platforms such as YouTuber and Facebook are giving people the opportunity to engage in media issues through comments, videos, group, forums, online petitions, campaigns, and much more.
Above all, citizen journalism is a very effective system. Not only does it allow the public to express their own interpretation of the news, it also allows for the growth of a niche market and bring us more news than we could ever access before.
REFERENCES
O’Neill, M 2010 ‘YouTube And The Future Of Citizen Journalism’, weblog post, SocialTimes, Web Media Brands, 23 June, accessed 4/5/2012, http://socialtimes.com/youtube-and-the-future-of-citizen-journalism_b15810
You Didn’t Have to CUT Me Out!
Posted: April 25, 2012 Filed under: BCM112 | Tags: entertainment, gotye, intellectual copyright, media convergence, mobile devices, music industry, triple j, user-generated, worldwide audience Leave a commentMusic has been a major aspect of the convergence of media culture in current years. Music has gone from being listened to on the radio or on record players, to being shared across the internet as audio files and placed onto mp3 devices for ease of use.
This transition in time is known as ‘disruptive technology’, where a new technology replaces an older one in a continuous cycle. Analog technology has become digital and as a result, has removed the physical function of the technologies, with people now just tapping keys to play music.
Convergence has closed the gap between the producer and consumer very much so in the music world, with ‘bedroom producers’ becoming prevalent. We have artists such as Gotye who started off in his bedroom recording vocals and instruments, now having his music video for his Number 1 hitting 171 million views (by the 22nd April).
Programs online such as Triple J’s Unearthed, allows amateurs to become professionals by getting their music heard and being able to perform to large audiences via competitions. YouTube sees thousands of music video mash-ups and remixes uploaded everyday.
Here, open participation in the music industry can be seen now that anyone can easily get create and edit music and upload it online for the global community to hear.
However, not only have we come to a point where music can be uploaded easily, it can also be downloaded very easily and very illegally. A concern is that the music industry is losing out on a lot of money due to these file sharing sites. Napster started the file-sharing system off, and now there are thousands more and even other ways of downloading files, such as torrenting.
Axel Bruns disagrees, stating that there is little evidence to suggest that there is a link between “filesharing and a decline in revenue” where “‘piracy’ is diminishing their profits”.
This is true to a great extent, as the albums themselves may be downloaded illegally, yet money is now made through concerts and merchandise, which have been proven to be very successful. Furthermore, there is a calling back to the past through the production of new albums on vinyl, which has become popular recently. There is no doubt that money is still being made.
Bruns also claims that filesharing actually improves the distribution of artist’s music as people create a “comprehensive archive of bootleg recordings from throughout an artists career” and are able to develop a discography.
It seems user participation in the music industry is only getting better, although it’s not certain if the music industry agrees.
REFERENCES
Bruns, A 2010, Distributed Creativity: Filesharing and Produsage, http://snurb.info/files/2010/Distributed%20Creativity%20-%20Filesharing%20and%20Produsage.pdf