Project Timeline 2005–2010

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‘Funding’ covers how and who funds A – V content and distribution; how producers and distributors are paid for services.

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Title & Details



  • Andy Donovan, Director, Inter-Arts   (AD)
  • Libby Christie, Executive Director, Arts Funding (LC)
  • Nick Herd, Director, Research and Strategic Analysis (NH)
  • Jackie Bailey, Research Analyst  (JB)
  • Annmarie Chandler, OTB Facilitator (AC)
  • Ross Gibson, OTB Facilitator (RG)

Focusing Question

Where are the Arts in the Future of Australian Television?

Draft Agenda for the workshop

  • 9.30am – Introduction

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Compiled according to the major drivers; people, content, funding, governance, technology. Notes for each individual interviewee are also available.
(Numbers in brackets denote a respondent)

Surprises over the last 10 years

First, a brief history of previous occasions in which the Film and TV industry has proclaimed the imminent end of the world, as we know it!

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PARTICIPATION here and in matrices relating to each of the key drivers is the extent to which someone watching television content can do more than just watch it: Participation could also be the extent to which viewsers allow information to be collected about them for interactive advertising or content suggestions.
Participation is about the extent to which people participate in …(continue reading)

The Participants

From January to March 2008 I was engaged in interviewing 18 of the 20 current participants/partners in the project. The full list of current participants is:
[Ross Gibson  comments in Red]

  • Kim Anderson
    USyd, Fellow of Senate
  • Trevor Barr
    Swinburne, Director Convergent Communications
  • Eric Beecher
    Publisher, Crikey.Com
  • Christian Bernecker
    Lazard Carnegie Wiley, VP
  • Tania Chambers

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Shannon O’Neill is a media artist, academic and curator. He was inaugural director of Electrofringe and now organises the Sydney leg of Liquid Architecture contributing much to the development of genuinely new sound and music in Australia. For the last 15 years he has explored and expanded the possibilities of radio broadcasting, first on community radio and later for 2MBS-FM. …(continue reading)

Chris Caines works at the intersection of cinematic practices & transformational new technologies with an interest in what these hybrids can add to the art of storytelling. He’s worked in short film & post-production and in recent years has been producing site specific fiction & documentary projects utilising mobile phones and other forms of location aware media. He is a …(continue reading)


  • Slowness of broadband speeds
  • Lack (of television channels) in rural Australia
  • Lack of national curriculum, consequent loss of opportunity to teach using Australian digital content
  • Nomophobia – importance of mobile phone, devastating feeling of being cut off from the world or news of family
  • Degrees of User Generated Content and ease of accessibility – ‘almost everything I can

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No real surprises, perhaps slowness of IPTV to take off


  • IPTV in Australia different from rest of world (France, Italy, Hong Kong, US) where digital broadcast pay-TV channels on IPTV drives high ARPU. Enables triple play (digital tv, broadband, voice), but in Australia cable and satellite are still more economically viable than IPTV.
  • Cost of IPTV coming

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Key words and themes

Media portability; wireless expectations; “snacking” versus sustainable content; shifts in free trade, globalisation, local and protected markets; revisions to the relationship/funding structures between the free to airs and the independent production sector; “sharing the risk”.


  • The portability of media and its responsiveness to location for information and entertainment not imagined 10 years ago.
  • Truncation

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  • storage capacity and how it changes relationship with content which is now portable and shareable
  • Total portability as in iPhone/multiplatform accessibility as in Apple TV.
  • Engagement with content
  • Intensity of engagement
  • Consumer initiation (uses “Lost” as an example of complex community interaction delivering new content in ways unintended by the original creators. Asks how now those interactions might

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