Albert Moran

Filmmakers have honed their skills and many have achieved critical and popular success at home and abroad, as have actors and other crew. American filmmakers and companies have found it cheaper to make films in Australia because wages and salaries are lower, tax rebates have been attractive and the expertise in most areas of filmmaking is comparable to that of anywhere in the world. At the same time, Australian audiences still enjoy watching Australian films, making some of them profitable, even if this is a small profit when considered in Hollywood terms. New Zealand filmmakers, cast and crew have shown that they are equal to the world’s best in making films with international themes, while other films have shown that the world is interested in New Zealand narratives and settings. Increased support for Maori filmmakers and stories has had a significant impact on production levels and on the diversity of stories that now reach the screen. It has also helped create more viable career paths for those who continue to be based in their home country. This second edition of Historical Dictionary of Australian and New Zealand Cinema contains a chronology, an introduction, and an extensive bibliography. The dictionary section has over 700 cross-referenced entries on leading films as well as many directors, writers, actors and producers. It also covers early pioneers, film companies, genres and government bodies.

Since the late 1990s, when broadcasters began adapting such television shows as Big Brother, Survivor and Who Wants to Be a Millionaire? for markets around the world, the global television industry has been struggling to come to grips with the prevalence of program franchising across international borders. In TV Format Mogul, Albert Moran traces the history of this phenomenon through the lens of Australian producer Reg Grundy’s transnational career. Program copycatting, Moran shows, began long before its most recent rise to prominence. Indeed, he reveals that the practice of cultural and commercial cloning from one place to another, and one time to another, has occurred since the early days of broadcasting. Beginning in the late 1950s, Grundy brought non-Australian shows to Australian audiences, becoming the first person to take local productions to an overseas market. By following Grundy’s career, Moran shows how adaptation and remaking became the billion-dollar business they are today. An exciting new contribution from Australia’s foremost scholar of television, TV Format Mogul will be a definitive history of program franchising.

Australians have become increasingly visible outside of the country as speakers and actors in radio and television, their media moguls have frequently bought up foreign companies, and people around the world have been able to enjoy such Australian productions as The Flying Doctors, Neighbours, and Kath and Kim. The origins, early development, and later adaptations of radio and television show how Australia has gone from being a minor and rather parochial player to being a significant part of the international scene. The A to Z of Australian Radio and Television provides essential facts and information concerning the Australian radio and television industry. This is accomplished through the use of a chronology, an introductory essay, a bibliography, and hundreds of cross-referenced dictionary entries on directors, producers, writers, actors, television and radio series, and television and radio stations.

Although TV distribution has undergone a massive increase in volume and value over the past fifty years, there is a systematic lack of both curiosity and knowledge on the part of both industry and scholars about this area. This book assists in the filling of this gap by studying what, in fact, occurs in global trade in TV program formats within international markets such as Cannes, Las Vegas and Singapore. The study investigates key components of this trade, thereby elucidating the crucial dynamics at work in the most significant contemporary transnational cultural industry.

Whether it was Jane Campion's The Piano, Mel Gibson in Mad Max, Paul Hogan in Crocodile Dundee, or The Lord of the Rings saga, we have all experienced the cinema of Australia and New Zealand. This book is an introduction and guide to the film of Australia and New Zealand. With entries on many exceptional producers, directors, writers and actors, as well as the films indicated above and many others, this reference also presents the early pioneers, the film companies and government bodies, and much more in its hundreds of cross-referenced dictionary entries. Through a chronology that shows how far these cinemas have come in a short time and an introduction that presents them more broadly, a clear portrait of the two countries' motion pictures emerge. The bibliography is an excellent source for further reading.

Australians have become increasingly visible outside of the country as speakers and actors in radio and television, their media moguls have frequently bought up foreign companies, and people around the world have been able to enjoy such Australian productions as The Flying Doctors, Neighbours, and Kath and Kim. The origins, early development and later adaptations of radio and television show how Australia has gone from being a minor and rather parochial player to being a significant part of the international scene. The Historical Dictionary of Australian Radio and Television provides essential facts and information concerning the Australian radio and television industry. This is accomplished through the use of a chronology, a list of acronyms and abbreviations, an introductory essay, a bibliography, and hundreds of cross-referenced dictionary entries on directors, producers, writers, actors, television and radio series, and television and radio stations.

This book challenges assumptions that have underpinned critiques of globalization. Combining cultural theory with media industry analysis the authors set out a groundbreaking account of how the medium of television is evolving in the post-broadcasting era, and how programming ideas are creatively redeveloped and franchised in East Asia. While many of the television programs, formats, and genres in this study originate from Western origins, it is their reception and adaptation within East Asia that illustrates what the authors term the East Asian cultural imagination.

This book challenges assumptions that have underpinned critiques of globalization. Combining cultural theory with media industry analysis the authors set out a groundbreaking account of how the medium of television is evolving in the post-broadcasting era, and how programming ideas are creatively redeveloped and franchised in East Asia. While many of the television programs, formats, and genres in this study originate from Western origins, it is their reception and adaptation within East Asia that illustrates what the authors term the East Asian cultural imagination.

Film in Australia is a groundbreaking book that systematically addresses the wide-ranging output of Australian feature films. Adopting a genre approach, it gives a different take on Australian films made since 1970, bypassing the standard run of historical texts and actor- or character-driven studies of Australian film. Comedy, adventure, horror, science fiction, crime, art films and other types are analysed with clarity and insight so the reader can recognize and understand all kinds of Australian films, whether they are contemporary or older features, obscure gems or classic blockbusters. Film in Australia explains how particular types of films work, identifies sub-types, and surveys the work of local film makers in the different genres. Authoritatively argued for film studies courses, and based on the authors' deep and extensive knowledge of Australian film, it is also enjoyable and accessible for the general reader. A must-read for all students of Australian film.