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1 The Creative Sustainability of Screen Business in the Australian Regions Susan Kerrigan , Mark David Ryan , Phillip McIntyre , Stuart Cunningham , Marion McCutcheon , 2020 single work criticism
— Appears in: Studies in Australasian Cinema , vol. 14 no. 2 2020; (p. 111-129)

'Public focus on screen business in Australia has been shaped by the information needs of the regulatory and content investment agencies that monitor and support screen content made under the creative control of Australians. This has meant that available data has concentrated on the types of content that have been deemed to require regulatory support – feature films, documentaries and television drama, with more recent interest in short-form content intended for streaming and online platforms and games. The expansion of the notion of screen business has led to a series of Screen Australia reports that focused the debate on value frameworks that included cultural, economic and audience values. These reports informed the 2017 Federal Government inquiry into the Australian Film and Television Industry – they do not, however, provide insights into how screen business is incorporated into localised regional economies and they tend to downplay the cultural contributions from the television and advertising sectors. By looking at screen business in four regional Australia cities we demonstrate how four modes of screen production, which include commercial and corporate content, is being made sustainably in the regions and that regional screen content production activities are an important part of the national screen production ecosystem.' (Publication abstract)

1 Pursuing Extreme Romance : Change and Continuity in the Creative Screen Industries in the Hunter Valley Phillip McIntyre , Susan Kerrigan , 2014 single work criticism
— Appears in: Studies in Australasian Cinema , vol. 8 no. 2/3 2014; (p. 133-149)
'Innovation is at all times accompanied by tradition and creative action of all types takes place against a backdrop of continuity and change, as stated by Keith Negus and Michael Pickering in their 2004 book Creativity, Communication and Cultural Value. On page 91, they write: ‘It is only by thinking about their interrelationship that we can understand processes of creativity and cultural change.’ These assertions can be seen most readily in the creative screen industries that exist in the Hunter Valley of New South Wales. Whether we are talking about networked, broadcast, cinematic or virtual screen industries, it can be seen that the Hunter Valley, centered on the city of Newcastle, has participated, and continues to participate, in the multiplicity of production practices that typify this industry. From Yahoo Serious's Young Einstein to Jamie Lewis's Mikey's Extreme Romance, from NBN Television's Big Dog to the independent documentary The Face of Birth, from the Shoot Out competition to the Real Film Festival, from the contributions of Enigma to the Feel Inspired promotions of Out of the Square Media, the creative screen industries have been well represented in the Hunter Valley and are supported by the regional film agency Screen Hunter. These screen industries are like all creative industries in that many of the creatives who work in these sectors depend on patronage to do what they do (Dawson and Holmes 2012, 10). That may come in the form of direct payments for their skills or by being subsidized by other related work, for example in the advertising industry or being embedded within institutions that need those screen-based skills. There is an increasingly entrepreneurial bent among these creative screen workers. All of them are engaged in one way or another with the generation and exploitation of intellectual property, which comes with an increasing reliance on digital technologies. This paper intends to map the creative screen industries in the Hunter Valley, outline where they came from, and attempt to place them inside a fast-changing global context.' (Publication abstract)
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