Indigenous Media Production

This article outlines the findings of a research project that examined how participation can be understood, and subsequently improved, within collaborative, co-creative media practices. As a case study, the research project looked at Pintubi Anmatjere Warlpiri Media and Communications (PAW Media), a remote Indigenous media organisation (RIMO) based in Yuendumu in Australias Northern Territory. By means of 13 in-depth interviews, grounded in participant observation, the project examined how Aboriginal participation was motivated, enabled and limited from the perspectives of Aboriginal and non-Aboriginal collaborators. The study revealed practices of Aboriginal participation at PAW Media that were highly valued by participants; nonetheless, limits to participation were noted and two conflicting views regarding improved practice expressed. Non-Aboriginal facilitators supported a transition towards greater Aboriginal autonomy over production, involving a handover of tasks and responsibility to their local Aboriginal counterparts; however, most Aboriginal media producers indicated that their participation was currently better served within a refined version of the existing co-creative structure.

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Into the New Millennium: The Role of Indigenous Media in Australia

Media International Australia ◽

10.1177/1329878x9808800110 ◽

1998 ◽

Vol 88 (1) ◽

pp. 67-78 ◽

Cited By ~ 5

Author(s):

Michael Meadows ◽

Christine Morris

Keyword(s):

New Media ◽

Indigenous Communities ◽

Media Production ◽

Community Based ◽

Media Technologies ◽

Indigenous Media ◽

Cultural Frameworks ◽

Media Systems ◽

The Impact

This article explores the nature of Indigenous media production in Australia in relation to a two-year study — the Millennium Project — which has begun to explore the implications and possibilities offered by new media technologies in Indigenous communities across the continent. Within a framework of the continuing misrepresentation of Indigenous people and issues, many communities have begun to develop alternative media systems with alternative approaches to information management by applying particular cultural frameworks to media production. This project explores the current and preferred future role of Indigenous media within the context of the impact of past, present and future media technologies and policies. The research will help to explain ways in which community-based media are being used and how they might be used as resources in the processes of cultural and linguistic maintenance.

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Video Profile Sebagai Media Penunjang Promosi Pada Sdk Penabur Gading Serpong

CCIT Journal ◽

10.33050/ccit.v12i2.684 ◽

2019 ◽

Vol 12 (2) ◽

pp. 149-157

Author(s):

Dewi Immaniar Desrianti ◽

Giandari Maulani ◽

Dana Krisdiana

Keyword(s):

Marketing Strategy ◽

Research Methods ◽

Needs Analysis ◽

Media Production ◽

Promotional Effort ◽

The Public ◽

Adobe Photoshop ◽

Support Information

The tight competition between schools in the era of globalization today, requires that the school Ivory Serpong Sower SDK to do the marketing strategy as attractive as possible, in order to enhance the new prospective learner interests as well as improve the quality of and professionalism in the management of the school. It is a promotional effort is used to market products or services to the public, so that they are more familiar with or know the product or service being marketed. Current media information and promotions that use the SDK Sower Ivory Serpong still be printed in the form of banners, brochures and more, so there are still many who have not yet learned about SDK Sower Gading Serpong. The purpose of this research is to inform and promote school SDK Sower Ivory Serpong. Based on a needs analysis is required of media promotion in the form of a video profile, to support information and promotion more attractive and effective by using the software Adobe Premier and Adobe Photoshop. Research methods used namely collecting data through observation, interviews and literature studies, Media Production and concept i.e. preproduction, production and postproduction. Through the design of Video media Profile of this SDK Sower Ivory Serpong can better known to many people and attracting parents to enroll his son in schools � SDK Sower Ivory Serpong

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New Literacies as a Challenge for Traditional Knowledge Conceptions in School: A Case Study from Fifth Graders Digital Media Production

SIMILE Studies In Media & Information Literacy Education ◽

10.3138/sim.8.2.002 ◽

2008 ◽

Vol 8 (2) ◽

pp. 1-15 ◽

Cited By ~ 2

Author(s):

Leena Rantala ◽

Vesa Korhonen

Keyword(s):

Digital Media ◽

Traditional Knowledge ◽

New Literacies ◽

Fifth Graders ◽

Media Production

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Candy and Drugs for Dinner

The Oxford Handbook of Comic Book Studies ◽

10.1093/oxfordhb/9780190917944.013.29 ◽

2019 ◽

pp. 572-588

Author(s):

Sean Guynes

Keyword(s):

Comic Book ◽

Gender Politics ◽

Media Production ◽

Comics Studies ◽

Contemporary Media ◽

The Aesthetic

This chapter links the seemingly disparate but deeply interconnected discourses and practices of contemporary media production, genre, aesthetics, and comics. It offers these arguments through a case study of the popular fantasy comic book Rat Queens and in the process demonstrates the critical utility to comics studies of reading genre, aesthetics, and industry together. The chapter reads Rat Queens through Sianne Ngai’s conception of the zany, cute, and interesting, showing how each of these categories is part of the aesthetic logic of the series, while also showing how each performs or critiques the series’ (superficial) investment in gender politics and the fantasy genre.

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Drama production and audiences as ‘affective superaddressee’ in an illiberal democracy

European Journal of Cultural Studies ◽

10.1177/13675494211008642 ◽

2021 ◽

pp. 136754942110086

Author(s):

Siao Yuong Fong

Keyword(s):

Writing Process ◽

Affect Theory ◽

Media Industries ◽

Media Production ◽

Television Drama ◽

Film Research ◽

Production Decisions ◽

Illiberal Democracy ◽

History Of

There is a long history of television and film research that highlights the essential roles audiences play in everyday production decisions. Based largely on Western media industries, these studies’ investigations of producer–audience relationships have revolved predominantly around the market concerns of liberal media models. So how do producer–audience relationships work when it comes to illiberal contexts of media production? Using Singapore as a case study, this article argues that existing approaches to producer–audience relations largely based on liberal media industries like Hollywood are insufficient for thinking through audience power in everyday media production in illiberal contexts. Drawing on insights from affect theory, I examine the materials gathered during an immersive ethnography of the writing process of a Singaporean television drama and propose conceptualizing audiences as an ‘affective superaddressee’, as a productive way to think about the work that situational audiences do in everyday media production in illiberal contexts.

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