Djoymi Baker Djoymi Baker i(20903649 works by)
Gender: Female
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Works By

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1 ‘I Don’t Even Know What the Australian TV Shows Are’ : How Streaming Has Changed Kids’ Viewing in Australia Jessica Balanzategui , Djoymi Baker , 2024 single work column
— Appears in: The Conversation , 20 August 2024;

'It has been almost ten years since Netflix and Stan first started offering streaming services in Australia.'

1 Why Are Adults Without Kids Hooked on Bluey? And Should We Still Be Calling It a ‘kids’ Show’? Jessica Balanzategui , Djoymi Baker , 2024 single work column
— Appears in: The Conversation , 2 May 2024;

'“Bluey mania” shows no sign of abating. Bluey’s season finale, The Sign, was the most viewed ABC program of all time on iView.'

1 Film Genre Now : RMIT University Student Dossier Djoymi Baker , Lucie McMahon , 2024 single work essay
— Appears in: Senses of Cinema , January no. 108 2024;

'This dossier represents emerging writers from RMIT University’s undergraduate Film Genre course, as they explore ways that an individual film may use, knowingly play with or revise genre tropes, in the midst of other artistic, industrial and socio-historical factors. The ubiquity with which the idea of genre circulates in popular culture may potentially present a somewhat misleading picture of consensus that the course then problematises and unpacks over a semester. As Steve Neale points out, genre does not merely consist of a set of “conventions” used within films, but also “systems of expectation and hypothesis” among audience members. In turn, these genre expectations can be influenced by marketing materials and reviews. Films that were first marketed as one genre can be subsequently re-labelled as another genre by scholars and critics, or by the industry itself. In the contemporary era, streaming services frequently use multiple and sometimes “oddly specific” genre labels, in ways that challenge a dominant idea expressed by Rick Altman that “if it is not defined by the industry and recognized by the mass audience, then it cannot be a genre.  As such, while the repetition of recognisable codes and labels may be central to our understanding of genre, so too variation in how genre is used – by filmmakers, the film industry, and audiences – is also key to the genre system.' (Introduction)          

1 Beyond Bluey : Why Adults Love Re-watching Australian Kids’ TV from Their Childhoods Djoymi Baker , Jessica Balanzategui , Joanna McIntyre , Liam Burke , 2021 single work column
— Appears in: The Conversation , 16 November 2021;

'Due to the COVID-19 extended lockdowns this year, as well as greater accessibility on streaming services, many adults have been returning to their childhoods via nostalgic kids’ TV viewing.' (Introduction)

1 ‘An Idealised Australian Ethos’ : Why Bluey Is an Audience Favourite, Even for Adults Without Kids Liam Burke , Djoymi Baker , Jessica Balanzategui , Joanna McIntyre , 2021 single work column
— Appears in: The Conversation , 29 September 2021;

'Bluey, the Emmy award-winning animated series about a family of anthropomorphized cattle dogs, has become a ratings phenomenon since it was first broadcast on the ABC in 2018. Bluey follows the eponymous six-year-old Blue Heeler, her younger sister, Bingo, and their playful parents, Bandit and Chilli.' (Introduction)

1 Round the Twist’s Fans Grew up – and Their Love for the Show Grew with Them Jessica Balanzategui , Djoymi Baker , Joanna McIntyre , Liam Burke , 2021 single work column
— Appears in: The Guardian Australia , 10 September 2021;

'Australian kids’ TV show Round the Twist gained an international following when it was first broadcast in 1989-1990. Broadcast over four seasons up until 2001, young audiences were thrilled by the supernatural adventures of the lighthouse-dwelling Twist family.' (Publication summary)

1 The Shock of the Old: The ‘Documentary’ Fiction Film Moment with COVID-19 Djoymi Baker , 2020 single work criticism
— Appears in: Senses of Cinema , July no. 95 2020;

'The current pandemic has not only prompted revived interest in viral dystopian films, but also inflects the way we engage with even the most mundane filmic images. David Edelstein reflects, “the other day I swear I was watching a movie where a guy coughed and I flinched”. This embodied reaction indicates the affective bridge between the screen and the self. Vivian Sobchack argues that even when watching a fiction film, viewers may find themselves having ‘home movie’ and ‘documentary’ moments when they see something connected to their real-life experiences. Building on Sobchack’s work, I have argued elsewhere that the ‘home movie’ moment may be a fleeting interruption or a deeply felt resonance, inspired by sight or sound, with the potential to create an uncanny liminal viewing experience. During the pandemic, it is the surprise of film scenes with new and unintended resonance with the lockdown, or alternatively, scenes now positively alarming in their divergence from our current predicament. This is the shock of the old.' (Introduction)

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