Media

In recent times, we hear, stars of TV serials such as Neighbours and Home and Away have been mobbed on arrival at Heathrow Airport, and recognized even in Finland – Australian production houses appear to have a talent for capturing on screen alluring fantasies and traumas for purveying to mass audiences, both home and away. The foundations for this sorely-needed export industry were doubtless laid in the 1940s and 50s, when Australian radio serials and drama were heard around the globe, at least in English-speaking countries (subtitles are difficult on radio). At home, hundreds of hours of drama were pumped out every year on ABC and commercial stations ...

At a recent international conference at Victoria Falls, Mr Rupert Murdoch spoke passionately of the role of a free press. His national masthead, The Australian, reported the essence.

From the beginnings of white settlement, Australia has had, an economy based almost entirely on rural production. The effects of a rural economy and population influencing broad social attitudes, not surprisingly, has resulted in a culture wherein the ‘up-country bushman’ and the legendary ‘outback’ are the very essence of this nation’s lore. And comedy has been a significant element of the lore. The early Australian writers ‘Steele Rudd’, Edward Dyson, ‘Banjo’ Patterson and Henry Lawson among many have celebrated some aspect of country life, as it was, with comedy; and so, of course, have the black and white artists working for the Australian press. Indeed, Australia today is the last remaining country observing her rural origins in graphic satire. One of the more significant twentieth century creators of Australian bush comedy was the magnificent pen-draughtsman Percy Leason.

One of the truly astonishing accounts to emerge in Munster’s account concerns another US president, John F. Kennedy, whose press secretary, Pierre Salinger, forged a cable in Murdoch’s name to kill a Murdoch report of an off-the-record talk he had with the president. The cable, sent through State Department channels, was signed ‘Murdoch’.

‘Magazines and newspapers in Australian literature’ is a more troublesome subject than it may at first sight appear. Within its scope lurk issues and problems that preoccupy and sometimes bedevil much Australian literary criticism and cultural commentary. Indeed, the method and content of this book provide a helpful approach to those perennial issues.

Schools are the subject of very mixed treatment by the media. On the one hand, some publish regular feature articles, or even weekly columns; many of a high standard, dealing with education issues. On the other, news stories often focus upon criticism, all too often uninformed, by some public or political personality. Problems in schools are sensationalised, but positive achievements rarely reach the news pages.

Iola Matthews has provided a tool to help those concerned with schools to improve this situation. Media Handbook is a clearly written and intensely practical guide to local school councils and others. It tells how to write and use press releases, how to organise press conferences, how to conduct interviews with the media, and other aspects of the publicity game.

The photograph is our time’s supreme form of self-expression. Wherever we look, we are surrounded by photographs – in books, on posters, in magazines, newspapers, packaging, and of course in films and television. The photograph is universally understandable and so appears not to need explanation to supplement it. Its power to convey experience increases as superfluous details are eliminated. And it attains its highest potential when the representation becomes purely symbolic.