ORCID Profile
0000-0002-7437-1424
Current Organisations
The University of Canberra
,
Queensland University of Technology (QUT)
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Publisher: Informa UK Limited
Date: 03-2009
Publisher: Informa UK Limited
Date: 18-02-2010
Publisher: Queensland University of Technology
Date: 09-02-2019
Publisher: Informa UK Limited
Date: 02-12-2021
Publisher: Queensland University of Technology
Date: 28-01-2021
DOI: 10.5204/REP.EPRINTS.207597
Abstract: Located a two-and-a-half hour drive south of Perth, Busselton is one of the largest and fastest growing regional centres in WA, a lifestyle services hub and the gateway to the internationally renowned wine region and popular tourist destination of Margaret River. Promoted by the City of Busselton council as the ‘Events Capital of WA’, Busselton has a strong festival and events economy that fuels local creative and arts production, supported by demographic shifts and population growth that is resulting in more creatives living and working in the city.
Publisher: Queensland University of Technology
Date: 10-12-2020
DOI: 10.5204/REP.EPRINTS.136822
Abstract: The Sunshine Coast (unless otherwise specified, Sunshine Coast refers to the region which includes both Sunshine Coast and Noosa council areas) is a classic regional hotspot. In many respects, the Sunshine Coast has assets that make it the “Goldilocks” of Queensland hotspots: “the agility of the region and our collaborative nature is facilitated by the fact that we're not too big, not too small - 330,000 people” (Paddenburg, 2019) “We are in that perfect little bubble of just right of about everything” (Erbacher 2019). The Sunshine Coast has one of the fastest-growing economies in Australia. Its population is booming and its local governments are working together to establish world-class communications, transport and health infrastructure, while maintaining the integrity of the region’s much-lauded environment and lifestyle. As a result, the Sunshine Coast Council is regarded as a pioneer on smart city initiatives, while Noosa Shire Council has built a reputation for prioritising sustainable development. The region’s creative economy is growing at a faster rate that of the rest of the economy—in terms of job growth, earnings, incomes and business registrations. These gains, however, are not spread uniformly. Creative Services (that is, the advertising and marketing, architecture and design, and software and digital content sectors) are flourishing, while Cultural Production (music and performing arts, publishing and visual arts) is variable, with visual and performing arts growing while film, television and radio and publishing have low or no growth. The spirit of entrepreneurialism amongst many creatives in the Sunshine Coast was similar to what we witnessed in other hotspots: a spirit of not necessarily relying on institutions, seeking out alternative income sources, and leveraging networks. How public agencies can better harness that energy and entrepreneurialism could be a focus for ongoing strategy. There does seem to be a lower level of arts and culture funding going into the Sunshine Coast from governments than its population base and cultural and creative energy might suggest. Federal and state arts funding programs are under-delivering to the Sunshine Coast.
Publisher: Queensland University of Technology
Date: 02-2019
Publisher: SAGE Publications
Date: 17-09-2018
Abstract: This article traverses aspects of a personal journey of a humanities scholar, trained in traditional disciplines of textual analysis and aesthetic appreciation, working with evolutionary economics. Reflecting on a 2008 article for the Journal of Cultural Economics that hypothesised the importance of social network markets as a new definition of creative industries, the article notes how remarkably this had come to pass, with the emergence of social media entertainment. This new industry is based on previously amateur creators engaging in content innovation and media entrepreneurship across multiple social media platforms to aggregate global fan communities and incubate their own media brands. The implications of social media entertainment for screen policy, both through cultural and industry agency support and through regulation and programme innovation, are explored internationally as well as in the context of the current Australian Content and Children’s Review.
Publisher: Edward Elgar Publishing
Date: 15-09-2020
Publisher: Informa UK Limited
Date: 03-07-2015
Publisher: SAGE Publications
Date: 24-04-2012
Abstract: Well-established distinctions between amateur and professional are blurring as the impact of social media, changes in cultural consumption, and crises in copyright industries’ business models are felt across society and economy. I call this the increasingly rapid co-evolution of the formal market and informal household sectors and analyze it through the concept of “social network markets”—in idual choices are made on the basis of others’ choices and such networked preferencing is enhanced by the growing ubiquity of social media platforms. This may allow us to better understand sources of disruption and innovation in audiovisual production and distribution in wealthy Western markets that are as significant as those posed by informal practices outside the West. I examine what is happening around the monetization and professionalization of online video (YouTube, for ex le) and the socialization of professional production strategies (transmedia, for ex le) as innovation from the margins.
Publisher: Edward Elgar Publishing
Date: 30-06-2014
Publisher: Springer International Publishing
Date: 2021
Publisher: Informa UK Limited
Date: 30-03-2021
Publisher: Blackwell Publishing Ltd
Date: 2007
Publisher: SAGE Publications
Date: 10-2019
Abstract: This article addresses the platformization of cultural production by offering a creator-centric account of industrial and governance issues in social media entertainment (SME). SME is our term for the emerging industry of native online cultural producers together with the platforms, intermediaries, and fan communities operating interdependently, and disruptively, alongside legacy media industries and across global media cultures. The central concern of the article is that these creators are not recognized as stakeholders in current debates both academic and policy on platform governance. The relationship between the platform behemoths and in idual creators may seem grossly disproportionate, but insights from network economics suggest a more supple account of power. The interests of creators are examined in the “top-down” context of the exercise of platform governance and efforts, by platforms and the state, to improve it. Those interests are also canvassed from the “bottom up”—how creators and creator advocacy are organizing and acting collectively to improve prospects for creators in this emerging industry.
Publisher: Routledge
Date: 27-09-2017
Publisher: SAGE Publications
Date: 08-03-2017
Abstract: This article outlines how teachers curate Australian screen content for use in classrooms from pre-school to senior secondary school. It suggests teachers use their professional knowledge of curriculum and pedagogy to arrange screen resources, curriculum concepts and student experiences to promote learning. This complex curatorial process adds value to broadcaster and producer curation processes that aim to position cut-down clips and educational resources for classroom use. The article draws on a national research project that undertook interviews with 150 teachers in schools across Australia. The authors suggest the ongoing digital disruption of the school sector presents both opportunities and challenges for the Australian Broadcasting Corporation, The Special Broadcasting Service and the Australian Children’s Television Foundation.
Publisher: Queensland University of Technology
Date: 2020
DOI: 10.5204/REP.EPRINTS.206903
Abstract: There is a fraught history to the relationship between creative industries on the one hand and innovation and entrepreneurship policy and programs on the other. Such policy and program frameworks have rarely been inclusive of creative industries... This is, however, what we see happening in South Australia.
Publisher: SAGE Publications
Date: 23-03-2017
Abstract: The phenomenon of toy unboxing describes rapidly scaling and commercialising videos featuring the opening, assembling and demonstration of children’s toys, often by children, across social media platforms. This phenomenon has fostered concerns by parents and advocates around children’s access to and participation in social media. This article provides a brief history of this phenomenon, noting the very limited scholarship on the issue while engaging with the new regulatory questions it provokes. We describe how these videos represent forms of creator labour and operate within the structural and material interests of social media entertainment (SME). SME refers to a proto-industry featuring professionalising-amateur content creators engaging in content innovation and media entrepreneurship across multiple social media platforms to aggregate global fan communities and incubate their own media brands. Our analysis accounts for how unboxing videos work for children both as agents and as small businesses and provides pointers to more nuanced regulatory approaches.
Publisher: Informa UK Limited
Date: 05-08-2021
Publisher: Queensland University of Technology
Date: 09-09-2021
DOI: 10.5204/REP.EPRINTS.213126
Abstract: Located a 45-minute drive apart from each other in WA’s Great Southern Region, Albany and Denmark attract creative practitioners who are drawn to the region’s natural beauty and country lifestyle. A regional services hub, Albany has a robust creative services presence with a legacy media sector that functions as a hub for public and commercial media organisations servicing Great Southern and the Wheatbelt. Denmark, while a much smaller town, is renowned nationally as an enclave for locally, nationally, and internationally acclaimed artists and creatives.
Publisher: Elsevier BV
Date: 11-2005
Publisher: Edward Elgar Publishing
Date: 27-09-2019
Publisher: SAGE Publications
Date: 08-2016
Abstract: The Australian games industry is a textbook case in creative destruction. Australian developers have adaptively engaged with the rapidly transforming and uncertain conditions of the global videogames industry. Some developers celebrate the creative freedom they experienced with a shift towards original intellectual property games for mobile platforms, while others caution about the design and craft compromises associated with the in-app monetisation mechanics. The turmoil and rapidly transforming Australian videogames industry over the past few years is certainly characterised by precarious labour. But it also includes experimentation in studio culture and associated changes in professional developer identity so as to continue the craft of making videogames in the midst of this uncertainty. This ersity is also characterised by differences among the production cultures of Melbourne, Brisbane and Sydney that are indicators of the cultural roots that sustain developer identity and business models.
Publisher: SAGE Publications
Date: 17-01-2017
Abstract: The thoroughgoing digital disruption of the entertainment-based screen industries has now been well documented. But the factors that drive such disruption are in no way unique to mainstream media industries. The distribution and use of screen content in education in many ways parallel the experience of the broader screen industries. Just as traditional entertainment and information are being challenged by new online services, so too traditional modes of distributing and accessing screen content in education are being disrupted by online services. This article analyses these dynamics in Australia, placing them in historical perspective and using three contrasting case studies to exemplify key aspects of the digital disruption of education: ABC Splash exemplifies the public service broadcasting (PSB) ‘tutelage’ model YouTube exemplifies digital disruption— immensely popular despite numerous education authorities’ attempts to restrict access to it and ClickView exemplifies the ‘born digital’ company employing advanced technology, business strategy, and professional pedagogics.
Publisher: Intellect
Date: 06-2015
Abstract: The values that gave rise to the ethos of public service broadcasting (PSB) almost a century ago, and which have provided the rationale for PSBs around the world across that time, are under question. This article argues that the process of reinvention of PSBs is enhanced through repositioning the innovation rationale for public service media (PSM). It is organized around a differentiation which is part of the standard repertoire of innovation studies – that between product, process and organizational innovation – as they are being practised by the two Australian PSBs, the Australian Broadcasting Corporation (ABC) and the Special Broadcasting Service (SBS). The article then considers the general problematics of innovation for PSBs through an analysis of the operations of the public value test in the context of European PSM, and its, to this stage, non-application in Australia. The innovation rationale is argued to be a distinctive via media between complementary and comprehensive roles for PSM, which in turn suggests an international, policy-relevant research agenda focusing on international circumstances in which the public broadcaster is not market dominant.
Publisher: SAGE Publications
Date: 17-07-2020
Abstract: This article examines the impact of multinational subscription video-on-demand (SVOD) services in Australia, noting the degree to which a stalled policy response to the challenge of unregulated SVOD services has been shaken up by coronavirus disease 2019 (COVID-19). We look at the phenomenon from a screen-ecological perspective – where dynamics of consumption, reviewing, production and regulation are interdependently and often contradictorily in play. We examine how these erse, sometimes conflicted, perspectives can be approached as responding to new forms of internationalisation presented principally by the operations of Netflix in Australia (Amazon Prime Video, Disney+ and Apple TV+ are also mentioned when relevant). This article is part of a larger project (ARC Discovery DP190100978 Internet-Distributed Television: Cultural, Industrial and Policy Dynamics, chief investigators Ramon Lobato, Amanda Lotz, Stuart Cunningham) studying the cultural, industrial and policy dynamics of multinational SVOD globally and in situ locally.
Publisher: SAGE Publications
Date: 12-2010
Publisher: Informa UK Limited
Date: 02-01-2021
Publisher: SAGE Publications
Date: 08-2010
DOI: 10.1177/1329878X1013600114
Abstract: Much debate in media and communication studies is based on exaggerated opposition between the digital sublime and the digital abject: overly enthusiastic optimism versus determined pessimism over the potential of new technologies. This inhibits the discipline's claims to provide rigorous insight into industry and social change – which is, after all, continuous. Instead of having to decide one way or the other, we need to ask how we study the process of change. This article examines the impact of online distribution in the film industry, particularly addressing the question of rates of change. Are there genuinely new players disrupting the established oligopoly, and if so with what effect? Is there evidence of disruption to, and innovation in, business models? Has cultural change been forced on the incumbents? Outside mainstream Hollywood, where are the new opportunities and the new players? What is the situation in Australia?
Publisher: Informa UK Limited
Date: 03-05-2020
Publisher: Informa UK Limited
Date: 09-2013
Publisher: Informa UK Limited
Date: 10-2008
Publisher: SAGE Publications
Date: 24-07-2021
DOI: 10.1177/1329878X211010781
Abstract: This Obituary for Tom first appeared on the website of the Australian Academy of the Humanities. With permission, it is reproduced here with minor changes. Tom was elected to the Academy in 2002 in recognition of his standing in cultural and communication studies.
Publisher: Informa UK Limited
Date: 03-2011
Publisher: Queensland University of Technology
Date: 2022
DOI: 10.5204/REP.EPRINTS.227753
Abstract: Description The Creative Hotspots project, or as it was officially titled Australian Cultural and Creative Activity: A Population and Hotspot Analysis, was an expansive, four-year project funded by an Australian Research Council Linkage grant (LP160101724). This comprehensive national study investigated the contemporary dynamics of cultural and creative activity in largely regional and non-capital cities and towns across Australia before the outbreak of COVID-19 in March 2020. In total, the project conducted fieldwork in 17 creative and cultural hotspots across five states: Queensland, New South Wales, Victoria, Western Australia, and South Australia, examining what makes each hotspot “hot”, identifying the dynamics that underpinned their high concentrations of creative and cultural employment and activity. This White Paper outlines the project's findings and outcomes.
Publisher: Routledge
Date: 22-09-2021
Publisher: Informa UK Limited
Date: 08-2008
Publisher: Springer Science and Business Media LLC
Date: 04-05-2011
Publisher: Oxford University Press
Date: 07-2015
Publisher: SAGE Publications Ltd
Date: 2012
Publisher: SAGE Publications
Date: 17-05-2017
Publisher: Edward Elgar Publishing
Date: 27-09-2019
Publisher: SAGE Publications
Date: 12-2007
Publisher: Routledge
Date: 05-12-2014
Publisher: SAGE Publications
Date: 08-2010
DOI: 10.1177/1329878X1013600104
Abstract: This article reflects on aspects of what is claimed to be the distinctiveness of Australian communication, cultural and media studies, focusing on two cases – the cultural policy debate in the 1990s, and the concept of creative industries in the 2000s – and the relations between them, which highlight the alignment of research and scholarship with industry and policy and with which the author has been directly involved. Both ‘moments' have been controversial the three main lines of critique of such alignment of research and scholarship with industry and policy (its untoward proximity to tenets of the dominant neo-liberal ideology the evacuation of cultural value by the economic and the possible loss of critical vocation of the humanities scholar) are debated.
Publisher: Queensland University of Technology
Date: 31-08-2020
DOI: 10.5204/REP.EPRINTS.203691
Abstract: The Gold Coast has one of the strongest and most resilient city brands in Australia. Monikers such as the ‘glitter strip’, ‘Sin City’, ‘Australia’s playground’ and ‘famous for fun’ have variously been applied to brand the Gold Coast, with its identity long touted as revolving around ‘sun, surf and sand’. Belinda McKay (2005, p. 68) observes that the Gold Coast is often seen as a place to escape to, ‘where new possibilities can be imagined and enacted’: this sense of escape from the ordinary remains a strong element of the Gold Coast’s place identity.
Publisher: Queensland University of Technology
Date: 31-08-2020
DOI: 10.5204/REP.EPRINTS.203692
Abstract: Grassroots arts connected to economy through start-up culture Geraldton is a regional centre in Western Australia, with 39,000 people and a stable, erse economy that includes a working port, mining services, agriculture, and the rock-lobster fishing industry (see Appendix). Tourism, though small, is growing rapidly. The arts and culture ecosystem of Geraldton is notable for three characteristics: - a strong publicly-funded arts and cultural strategy, with clear rationales that integrate social, cultural, and economic objectives - a longstanding, extensive ecosystem of pro-am and volunteer arts and cultural workers - strong local understanding of arts entrepreneurship, innovative business models for artists, and integrated connection with other small businesses and incubators
Publisher: Pluto Journals
Date: 06-2004
DOI: 10.1080/0810902042000218364
Abstract: During the last two decades, the convergence of a number of social and economic factors has increased the interest of universities, industry and government in the commercialisation of universities' research output. Not without scepticism from some institutions and in iduals, governments and universities around the world are taking steps towards identifying marketable research products, strengthening links with industry, and creating institutional frameworks needed to sustain and increase research output and speed the technology transfer process. These actions vary in degree and scope: from standardising and enforcing conventional intellectual property protection mechanisms, to creating support mechanisms for spin‐off companies and setting up venture capital funds to support their growth. To date, universities' commercial experience has been mostly in the area of science and technology and thinking about commercialisation is framed in these terms. However, as digital innovations move through the services, media and entertainment sector, innovations and commercialisation opportunities of quite a different nature present themselves. Thus, there are considerable challenges for creative disciplines within tertiary institutions seeking to respond to the commercialisation imperative. This paper examines claims from the emerging creative industries and analyses universities' potential support of the commercialisation of creative innovation.
Publisher: Informa UK Limited
Date: 03-04-2023
Publisher: Routledge
Date: 11-09-2012
Publisher: Queensland University of Technology
Date: 2020
Publisher: Informa UK Limited
Date: 12-11-2016
Publisher: Informa UK Limited
Date: 02-04-2016
Publisher: Springer Science and Business Media LLC
Date: 17-06-2008
Publisher: Edward Elgar Publishing
Date: 27-09-2019
Publisher: Bloomsbury Publishing Inc
Date: 2014
Publisher: SAGE Publications
Date: 22-07-2022
DOI: 10.1177/1329878X221114484
Abstract: Over the last decade, several professionalising amateur Australian content creators making web series, distributed on multiple open platforms, broke into the television industry and developed promising careers. The limited scholarly research into the career trajectories and sustainability of web series creators has typically been conducted as normative critique of the value of web series labour. In contrast, we look processually and empirically at the career trajectories of 26 creators following their first publicly funded web series between 2011 and 2020. The creators’ pathways are varied, but web series facilitated a pathway to career sustainability for roughly three quarters of the cohort. Web series functioned as (1) a calling card for native online creators, (2) a format facilitating career consolidation or acceleration for television professionals and (3) a format enabling career ersification for filmmakers. Overall, they can be a market-tested talent training ground for television, especially broadcaster-video-on-demand or subscription-video-on-demand services.
Publisher: Routledge
Date: 27-03-2009
Publisher: SAGE Publications
Date: 08-2012
DOI: 10.1177/1329878X1214400104
Abstract: In the light of new and complex challenges to media policy and regulation, the Australian government commissioned the Convergence Review in late 2010 to assess the continuing applicability and utility of the principles and objectives that have shaped the policy framework to this point. It proposed a range of options for policy change and identified three enduring priorities for continued media regulation: media ownership and control content standards and Australian content production and distribution. The purpose of this article is to highlight an area where we feel there are opportunities for further discussion and research: the question of how the accessibility and visibility of Australian and local content may be assured in the future media policy framework via a combination of regulation and incentives to encourage innovation in content distribution.
Publisher: Informa UK Limited
Date: 2008
DOI: 10.1386/CIJ.1.1.7_1
Publisher: Routledge
Date: 29-10-2019
Publisher: SAGE Publications
Date: 02-2002
DOI: 10.1177/1329878X0210200107
Abstract: This paper presents a rationale for distinguishing between notions of cultural and creative industries which has implications for theory, industry and policy analysis. I do this from the standpoint of a researcher and analyst and also from a position of a corporate involvement in a substantial project to grow and ersify a regional economy through the development of its creative industries. This project is a ‘creative industries precinct’ in inner suburban Brisbane involving my university, Queensland University of Technology, the Queensland state government through its Department of State Development, a variety of industry players, and retail and property developers. There is theoretical purchase in distinguishing the two terms, in part to put further flesh on the bones of claims about the nature of the knowledge-based economy and its relation to culture and creativity. Shifts in the nature of the industries usually described by the terms also need to be captured effectively, as do different policy regimes that come into play as regulation of and support for cultural and creative industries.
Publisher: SAGE Publications
Date: 23-06-2016
Abstract: In attempting to break with a ‘fall from grace’ narrative that may structure analysis of the rapid professionalization and monetization of previously amateur online video content on the main global platform, YouTube, this article outlines histories of key institutions in the new screen ecology as outcomes of the increased interpenetration of very different, often clashing industry cultures. Google/YouTube, Apple’s iTunes, Netflix, Amazon, Yahoo! and Facebook (‘NoCal’) are largely Internet ‘pure-play’ companies, whilst Hollywood’s incumbents (‘SoCal’) practice time-honoured mass media and premium content strategies. The ‘history of the present’ of the new screen ecology is the history of the clash of these cultures. The less than 10-year history of Google’s YouTube can be written as a history of Google seeking to come to terms with the conditions of possibility for entertainment, content and talent development from its base as an IT company dedicated to scale, automation, permanent beta, rapid prototyping and iteration. These efforts reflect both continuities and contestations with traditional media models, particularly business models. As emerging intermediaries in the middle of the convergent space between NoCal and SoCal, multichannel networks’ (MCNs’) placement sees them needing to innovate on both the NoCal and SoCal side. On the former side, MCNs are attempting to provide value-added services superior to basic YouTube analytics, with programmatics and pioneering attempts at management of scale and volume. On the latter side, they are managing a quite different class of entry- to mid-level talent, who bring successful audience development and clear ideas about the roots of their success with them. The new screen ecology is a space of unimagined scale and scope of flourishing online creativity and culture, which is at the same time turbulent and precarious for creators and MCNs alike.
Publisher: University of Michigan Library
Date: 2014
Publisher: Palgrave Macmillan UK
Date: 2013
Publisher: Edward Elgar Publishing
Date: 30-06-2014
Publisher: Oxford University Press
Date: 07-2015
Publisher: Informa UK Limited
Date: 20-01-2023
Publisher: SAGE Publications
Date: 02-2014
DOI: 10.1177/1329878X1415000107
Abstract: Stuart Cunningham has been a regular contributor to MIA since 1987, and was one of the six editors appointed to manage MIA after Henry Mayer's death in 1991.
Publisher: Queensland University of Technology
Date: 06-11-2021
DOI: 10.5204/REP.EPRINTS.216570
Abstract: Fremantle is a small port city of only 29,000 people (36,000 if East Fremantle is included) that has vibrant and ersified creative industries and is geographically close to WA’s capital city Perth. Fremantle has a kind of New Orleans cultural DNA, where live music is cheap and affordable. Fremantle has a unique socio‐ cultural fabric that has contributed to the city’s large arts community and its reputation as an energetic creative city.
Publisher: University of Michigan Library
Date: 02-2015
Publisher: Informa UK Limited
Date: 08-2009
Start Date: 2009
End Date: 2010
Funder: Social Sciences and Humanities Research Council of Canada
View Funded ActivityStart Date: 2011
End Date: 2014
Funder: Australian Research Council
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