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Opinion | Features
Whose views skew the news? Media chiefs ready to vote out Labor, while reporters lean left
Most journalists lean left-of-centre, says Folker Hanusch of the University of the Sunshine Coast, in a post first published on The Conversation.Most Australian journalists describe themselves as left-wing, yet amongst those who wield the real power in the country’s newsrooms, the Coalition holds a winning lead.
But while the media’s political leanings will no doubt be debated in the lead-up to September’s federal election, our study has also found other largely unscrutinised biases remain – particularly whose views disproportionately shape the news.
It's time for a new New Wave in the film world
Government funding bodies are lazy and decadent, says industry veteran Michael Thornhill but in a piece that first appeared in Encore, Ed Gibbs begs to differ.I vividly remember the time I first saw Animal Kingdom, David Michod’s breathtaking labour-of-love feature debut. The press screening was half empty, despite the film winning the Grand Jury Prize at Sundance just months earlier, in 2010. Yet its superb performances, stylistic flourishes and overall polish left me speechless. Could this really be a feature debut, an Australian one at that, I wondered, almost out loud? It seemed too good to be true.
Going cold turkey on an agency addiction
Life is sweet for freelance writer Max Kitchen, but in a feature that first appeared in Encore, he admits his struggle against returning to the agency fold.I’ve never taken heroin. But I suspect if I had, the temptation to try it again would not be too dissimilar to the lure of returning to agency life.
Can sport save Ten?
First there was the Grand Prix. Next came the reported $500m bid for cricket rights, then Ten secured the 2014 winter Olympics. So, can sport save the ailing network? In a feature that first appeared in Encore, Nic Christensen investigates.The television sports rights bidding process is a bit like a game of poker.
Check, fold or bet. Those were the options for the Ten Network last week when it had to finalise its bid for the cricket rights.
Andy Lark: good for the marketing of marketing
I can still remember the first story I wrote about Andy Lark, when it emerged that he was to be the new chief marketing officer of CommBank.
It was immediately clear that Australia was about to meet an interesting marketer, one who blogged and tweeted and thanks to his time at Dell in the US was digitally savvy. Even two years ago, that was a big deal. The fact that he also had a stint in public relations gave him an absolutely intriguing background before he even arrived.
Storming the media barricades - advice for young journalists
This week Mumbrella’s Nic Christensen, who began his career four years ago, gave the keynote address to would-be journalists at the Media, Entertainment & Arts Alliance’s Student Day. This is an edited version of his speech.Good afternoon, I can remember distinctly the last time I was in this room.
It was 2009 and I was sitting where you are. I’d come to this event, a friend and myself — from memory we sat up the back — and I can remember at the time wondering if I’d ever get a job as a journalist.
It was only four years ago and then as now getting a job was ultra competitive but I’m not sure there was quite as much media ‘doom and gloom’ as there is now…
Paywalls will help fund campaigning journalism
In this guest post, News Limited’s group editorial director Campbell Reid responds to the views of ninemsn’s Hal Crawford that the company’s push into metered paywalls is about data rather than dollars.Hal Crawford is both right and wrong in his article which argued that our digital subscription plans are all about the data.
Fake it 'til you make it... as a features editor
Cosmo’s Kate Leaver tells us how to bluff it in her job in a feature that first appeared in Encore.What do you do, as a features editor?
Really, play with words and ideas all day. At any one time, we’re working across three issues of the mag – getting one on its way to the printers, pooling all the words together for another, and planning the issue after that. It’s busy but it’s a pretty magnificent process.
Savage counsel - JFDI
Hi Chris,I run a medium-sized agency that is doing pretty well. As the leader, I am finding my workload just seems to go up and up. I am struggling to stay motivated and particularly to tackle the bigger and tougher challenges I have to face every day. How do I keep up the energy when there just seems so much to do? How do you do it?
Productive, successful executives are those able to consistently tackle difficult and big challenges. It’s a constant struggle for me so I know how you feel. How do the successful leaders do it?
Q&A with Brett Clegg
Brett Clegg, group director – business media, Fairfax Media, in a Q&A that first appeared in Encore, on the journo who refuses to work with him – his wife.Who is the most powerful person in Australian media and why?
Hard to go past Rupert Murdoch. He controls the single largest and most diverse portfolio and is intent on leveraging its scale (and, of course, influence). He’s an innovator and his will to win is obvious to all.
The experiential experience
Anyone can throw up a tent in a high-traffic area and harass the general public, but what does it take to pull off an effective experiential event? In a piece that first appeared in Encore, Matt Smith investigates.A television commercial can easily be muted and ignored, but try ignoring a purring, squirming cat in your arms. That was the experience awaiting passers by in Sydney’s Martin Place in October last year when Mars Petcare built Whiskas Kitten Palace.
The News Limited paywall isn't about revenue. It's about data
In this guest post, ninemsn’s editor in chief Hal Crawford argues Fairfax Media and News Limited’s new paywalls won’t draw much revenue, but will generate data. And they’re late to the data party.When I first learned that ninemsn’s major digital competitors Fairfax and News Ltd were going to introduce paywalls across their mainstream properties, I was excited.
Every obstacle thrown in the way of their audiences is an opportunity. People hate friction and anything that makes life difficult on a rival site is a chance to get them on yours.
Is this the worst time to be a journalist?
With scores of redundancies in 2012 and a mass exodus of experienced journos, is this the worst time to be a journalist? In a feature that first appeared in Encore, Nic Christensen asks the question.In June last year a tsunami of redundancies began to sweep across Australia’s media landscape. They came in a series of waves and in the 12 months that followed, an estimated 1,200 journalists departed the mainstream media.
Are you a conscious leader?
As the advertising and marketing industry struggles to address the issue of rocketing rates of staff churn in their businesses, Slingshot CEO Simon Rutherford argues that today’s ‘conscious leaders’ should be more focussed on creating ‘staff wellness’ in order to deliver high performing teams and healthy profits.
A conscious leader believes the business has a greater responsibility towards the community it operates in. To ensure sustainable long-term profits, people must come first. Awareness, trust, authenticity, transparency, 100% responsibility, connection, compassion, and love: these are the tools of the conscious leader.
Suits: less popular than pest controllers
Advertising suits have a thankless job that is currently being eroded by the changing industry says Naren Sanghrajka in a piece that first appeared in Encore.Not in my wildest, craziest nightmares would I ever have thought I’d say this. But I’m going to. Being a bean counter is far more appealing than starting as a suit in advertising. There it is. I said it. I actually said those words.
Yes, it’s incredibly depressing. But it’s true.
SPAA reveals seven projects to be showcased
Seven film projects have been selected to be put in the shop window at this year’s Screen Producers Association of Australia conference.
SPAAmart, which runs alongside the SPAA conference features projects which are in an advanced state of production.
The criteria for being featured is that they are “well developed, distinctive, fresh and with the potential to be highly attractive to their intended audiences.”
The conference takes place in Sydney from November 13 to 16.
The seven selected projects are:
- THE ROOM Producer Matt Carroll; Directors Ian Watson and Andrew Hellen
- MY MISTRESS Producer Leanne Tonkes; Director Stephen Lance
- UNO Producer Stuart Scowcroft; Director Giotto Barbieri
- WAKE UP DEAD Producers Joel Cohn and Josh Butt; Director Joel Cohen
- RED CAR Producer Tony Leach; Director Paul Elliott
- BOYS CLUB Producers Karin Altmann and Sue Maslin; Director Marcus Cole
- ALEX AND EVE Producer Murray Fahey; Director Peter Andrikidis
SPAAmart director Julie Marlow said: “We have seven projects here that represent the quality and diversity of Australian projects in development. All are extremely distinctive and cinematic, and genres represented include science fiction, broad comedy, noir thriller, techno horror and relationships drama.”
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Comments
6 Oct 11
10:50 am
How about telling us who wrote the screenplays?
6 Oct 11
1:23 pm
Agreed, a most noticeable and disturbing omission.
6 Oct 11
1:30 pm
I agree Tony, every creative talent that is part of making the film still relies on the writer to start the ball rolling.
6 Oct 11
1:37 pm
Tony Morphett, don’t be silly. This is Australia, mate! We don’t care who wrote the scripts. Irrelevant!
6 Oct 11
1:40 pm
You could try respecting the screenwriters and tell us who they are.
6 Oct 11
1:50 pm
Exactly Tony!!!!!!!!
6 Oct 11
4:20 pm
Yes, who are the writers? I think they’re worth a mention.
6 Oct 11
4:28 pm
Who were the writers of these projects?
6 Oct 11
4:56 pm
Obviously the future of film is that we don’t need screen writers – why else would SPAA not feature their names? Shame SPAA.
6 Oct 11
7:30 pm
Maybe these well developed, distinctive and fresh projects wrote themselves?
7 Oct 11
5:08 pm
Look, this is Australia..as long as the film looks good who gives a stuff who wrote it. Most Producers think screenplays are written by well trained monkeys anyway. In this world everybody is a screenwriter and they have a script burning to get out…who actually writers the thing is irrelevant. As soon as we can find a way to have robots write scripts the better off the whole industry will be. A producer will be able to punch in the genre, level of drama and dialogue desired and the screenplay will spit out of a whole in the wall..shrink wrapped of course.
7 Oct 11
8:24 pm
Very disappointing press release from SPAA. Let’s hope they take the opportunity to apologise and follow up with another Press Release telling us who the Writers are. Remember Producers and Directors – without writers you have nothing!
14 Oct 11
2:29 pm
What a disgrace SPAA. Where is the writers mentioned. If anyone should be mentioned its them. They’ve probably given hours and hours of their life rapping on a keyboard to come up with these scripts and the producers and directors waltz in and get the credit. Rectify this- with an apology.
18 Oct 11
11:23 pm
My Mistress was written by Gerard Lee
19 Oct 11
8:37 am
DEADLINE HOLLYWOOD daily reports on ‘done deals’ for movies and TV shows, the production companies/producers AND writers – ‘the team’, as such fueling the creative engine in an industry (U.S.) in which, particularly in cable TV, hotbed of highly original filmed drama, the writer is held in the highest esteem (as many of the hit productions derive from their fertile and sometimes weird, offbeat minds). Were the local writers to be held in this same, or even similar, standing, all SPAA had to do nearly two weeks back when Tony raised this issue was say, “Oops, sorry folks, here’s a new listing of the projects – producers, writers, directors.”
27 Oct 11
2:48 pm
It really says it all, doesn’t it? At least now it’s right out there for everyone to see. Screenwriters only count for a very small window of time when an real IDEA
(as opposed to a vague subject area masquerading as an idea) is needed, a story developed and a screenplay written. After that, the door is firmly closed and the screenwriter is no longer part of what has suddenly become the producer and director’s ‘vision’. We are no longer relevant. In fact, as SPAA has so accurately shown, we no longer exist…
(Except for that incessant, barely audible ‘whinging’ coming from some distant corner…’All quiet on the set please! What’s that nobody carrying on about the other side of the door? Somebody bury them. Sorry – what? Oh okay – just get them to go away then. Until next time we need a story.)