Collection of papers by Eric Michaels written during period of work with Warlpiri on development of Aboriginal television; all papers annotated separately; foreword by Dick Hebdige discusses Michaels's style of analytical assessment; Marcia Langton describes his work at Yuendumu; Michael Leigh describes his work at the Australian Institute of Aboriginal and Torres Strait Islander Studies and the developments in Aboriginal filmmaking since Michaels's death.

Bad Aboriginal Art is the extraordinary account of Eric Michael's period of residence and work with the Warlpiri Aborigines of western Central Australia, where he studied the impact of television on remote Aboriginal communities.

Cultural studies has emerged as a major force in the analysis of cultural systems and their relation to social power. "Rather than being interested in television or architecture or pinball machines themselves - as industrial or aesthetic structures - cultural studies tends to be interested in the way such apparatuses work as points of concentration of social meaning, as 'media' (literally)", according to John Frow and Meaghan Morris. Here, two of Australia's leading cultural critics bring together work that represents a distinctive national tradition, moving between high theory and detailed readings of localized cultural practices. Ethnographic audience research, cultural policy studies, popular consumption, "bad" aboriginal art, landscape in feature films, style, form and history in TV miniseries, and the intersections of tourism with history and memory - these are among the topics addressed in a landmark volume that cuts across myriad traditional disciplines.

Ten years after Hurricane Katrina, outsiders will have two versions of the Katrina experience. One version will be the images they recall from news coverage of the aftermath. The other will be the intimate portrayal of the determination of New Orleans residents to rebuild and recover their lives. HBO’s Treme offers outsiders an inside look into why New Orleanians refused to abandon a place that many questioned should not be rebuilt after the levees failed. This critically acclaimed series expanded the boundaries of television making in its format, plot, casting, use of music, and realism-in-fictionalized-TV. However, Treme is not just a story for the outside gaze on New Orleans. It was a very local, collaborative experience where the show’s creators sought to enlist the city in a commemorative project. Treme allowed many in the city who worked as principals, extras, and who tuned in as avid viewers to heal from the devastation of the disaster as they experimented with art, imitating life, imitating art. This book examines the impact of HBOs Treme not just as television making, but in the sense in which television provides a window to our worlds. The book pulls together scholarship in media, communications, gender, area studies, political economy, critical studies, African American studies and music to explain why Treme was not just about television.

In the rich tradition of mobile communication studies and new media, this volume examines how mobile technologies are being embraced by Indigenous people all over the world. As mobile phones have revolutionised society both in developed and developing countries, so Indigenous people are using mobile devices to bring their communities into the twenty-first century. The explosion of mobile devices and applications in Indigenous communities addresses issues of isolation and building an environment for the learning and sharing of knowledge, providing support for cultural and language revitalisation, and offering the means for social and economic renewal. This book explores how mobile technologies are overcoming disadvantage and the tyrannies of distance, allowing benefits to flow directly to Indigenous people and bringing wide-ranging changes to their lives. It begins with general issues and theoretical perspectives followed by empirical case studies that include the establishment of Indigenous mobile networks and practices, mobile technologies for social change and, finally, the ways in which mobile technology is being used to sustain Indigenous culture and language.

Fuelled by a distrust of big media and the development of mobile technologies, the resulting convergence of journalism praxis (professional to alternative), workflows (analogue to multipoint digital) and platforms (PC to mobile), result in a 24-hour always-on content cycle. The information revolution is a paradigm shift in the way we develop and consume information, in particular the type we call news. While many see this cultural shift as ruinous, Burum sees it as an opportunity to utilize the converging information flow to create a galvanizing and common digital language across spheres of communication: community, education and mainstream media. Embracing the digital literacies researched in this book will create an information bridge with which to traverse journalism’s commercial precarity, the marginalization of some communities, and the journalism school curricula.

Edge of Empire examines struggles over urban space in three contemporary first world cities in an attempt to map the real geographies of colonialism and postcolonialism as manifest in modern society. From London, the one-time heart of the empire, to Perth and Brisbane, scenes of Aboriginal claims for the sacred in the space of the modern city, Jacobs emphasises the global geography of the local and unravels the spatialised cultural politics of postcolonial processes. Edge of Empire forms the basis for understanding imperialism over space and time, and is a recognition of the unruly spatial politics of race and nation, nature and culture, past and present.