Experimenting with the Local and the Transnational: Television Drama Production on the Gold Coast

O’Regan, Tom; Ward, Sue

doi:10.1080/10304310500475335

Cited by 11 publications

(10 citation statements)

References 2 publications

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“…Despite the concerted efforts of the Pacific Film and Television Commission and some industry players (see O'Regan and Ward, 2006), the 'managerial-cum-creative end of the…”

Section: Resultsmentioning

confidence: 98%

Servicing `the other Hollywood'

Ward

O’Regan

2007

International Journal of Cultural Studies

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• Television programming has become such a significant part of Hollywood operations that Allen J. Scott has dubbed television production and distribution the `other Hollywood'. However, it is also a sector that, over the 1900s, became subject to forces of decentralization as producers looked to alternative, more cost-efficient locations. Scott asks whether Hollywood is likely to face intensifying competition within global markets from regional production centres specializing in servicing international television production. This study charts the changing push and pull factors that directed `runaway' television production to, and then away from, one such regional production centre — the Gold Coast, Australia. This regional centre's mixed history with international production suggests the need to attend to both processes of decentralization and recentralization of production. The article concludes that concerns over potential competition to Hollywood emerging from production locations like the Gold Coast may be overstated. •

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“…Despite the concerted efforts of the Pacific Film and Television Commission and some industry players (see O'Regan and Ward, 2006), the 'managerial-cum-creative end of the…”

Section: Resultsmentioning

confidence: 98%

Servicing `the other Hollywood'

Ward

O’Regan

2007

International Journal of Cultural Studies

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“…In looking at the development of Australia’s Gold Coast as one such nexus or capital of regional mediatic influence, O’Regan and Ward (2006, 18) note the potential importance of transnational relationships in the early development of media production communities. Their study tracks the consolidation of the Gold Coast’s television (and later filmic) production industry by tracing this location’s history with media production back to its use by U.S. companies as a site for location shooting, a relationship initially developed thanks to its favorable weather and relative cost compared with sites in the United States itself.…”

Section: Vb’s Enaction Of Cultural Refluxmentioning

confidence: 99%

“…Their study tracks the consolidation of the Gold Coast’s television (and later filmic) production industry by tracing this location’s history with media production back to its use by U.S. companies as a site for location shooting, a relationship initially developed thanks to its favorable weather and relative cost compared with sites in the United States itself. While this arrangement would produce shows and films that only minimally involved Australian input at first, it would in time set up a dynamic in which international and local production fed into one another, helping to establish production networks, relationships with distributors, infrastructure, and systems of professionalization (O’Regan and Ward 2006, 19–20). VB and other opportunistic producers’ exploitation of established transnational channels of flow and culture can be read in a similar light—laying the groundwork for the development of Sao Pãulo and other BRICS media capitals as growing sites of production.…”

Section: Vb’s Enaction Of Cultural Refluxmentioning

confidence: 99%

Flows in Reflux: Video Brinquedo and the BRICS “Mockbuster” as a Glitch in Mediatic Hegemony

Pino

2017

Television & New Media

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Amid a global cultural landscape defined both by the ambiguities of deterritorialization and the persistent impact of established geopolitical hierarchies, the idea of cultural reflux offers a potent tool to conceptualize and lend context to the study of nascent peripheral and semiperipheral media industries. Dialoguing with Thussu and Iwabuchi’s work on media flow as well as Curtin’s concept of media capitals, this article proposes to analyze “mockbusters”: derivative copies of established metropolitan media properties. I specifically look at the output of the Brazilian studio Video Brinquedo, infamous in the 2000s for its blatant, low-quality copies of established children’s media properties. In examining the BRICS (Brazil, Russia, India, China, and South Africa) mockbuster as a case study of opportunistic media counterflow, the idea of cultural reflux complicates debates over where we should situate our analytical objectives with respect to mediatic peripherality, and how we can more concretely examine the relationship of media flow to transnational imperial frameworks.

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“…This turnaround is evident from the statement three decades later that ‘the dominant framework for understanding Australian television has been via its contribution to national identity. Australian television drama has been … unambiguously national in its outlook’ (O’Regan and Ward, 2006: 17).…”

Section: Cultural Nationalismmentioning

confidence: 99%

Aussie kids, global citizens: Cultural nationalism and cosmopolitanism in service providers’ and parents’ accounts

Nichols

2015

Global Studies of Childhood

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Based on interviews with Australian parents and service providers and examination of parenting resources, this study examined the respective influence of cultural nationalism and cosmopolitanism on parenting in the early years. This analysis found, contrary to research on children's social identities, that ideas of nation were significant to Australian parents and service providers. However, there are significant challenges to articulating and resourcing a vernacular orientation to family life. These include the dominance by multinational enterprises of the marketplace for parenting resources, the generic nature of these resources and the difficulty in defining what an Australian family or parenting style might be. At the same time, some parents identified with a cosmopolitan orientation to socialising their children. Their motivations were various, including future transnational mobility, conferring advantage in a competitive local job market and fostering an appreciation for diverse cultures. This was a strategic and entrepreneurial rather than a philosophical orientation.

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Experimenting with the Local and the Transnational: Television Drama Production on the Gold Coast

Cited by 11 publications

References 2 publications

Servicing `the other Hollywood'

Servicing `the other Hollywood'

Flows in Reflux: Video Brinquedo and the BRICS “Mockbuster” as a Glitch in Mediatic Hegemony

Aussie kids, global citizens: Cultural nationalism and cosmopolitanism in service providers’ and parents’ accounts

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