Mark Gibson Mark Gibson i(A114059 works by)
Gender: Male
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Works By

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1 Editing After Exit – Alienation and Counter–Alienation in the Cultures of Cultural Studies Journals Mark Gibson , 2021 single work criticism
— Appears in: Continuum : Journal of Media and Cultural Studies , vol. 35 no. 3 2021; (p. 356-368)

'The paper addresses the implications for the contemporary academy of changes in the organization of journal editorship. Taking the example of cultural studies and the journal Continuum, it considers the shift from the intimate ‘artisanal’ mode in which many journals have had their origins to more impersonal alienated forms, organized through market or quasi-market relations. A common interpretation of this shift is that it has been driven by the interests of large commercial publishers, who have subordinated editing to the requirements of ‘academic capitalism’. In contrast to this, the paper suggests that the demise of the artisanal mode might be understood through A.O. Hirschman’s concept of ‘exit’. Market or quasi-market forms have not been imposed but rather chosen as a response to a situation in which alienation has already occurred. The perspective allows us to see editorial work ‘after exit’ not as passively driven by external forces, but as involving its own kinds of creative choices. For the case of Continuum, particular tribute is paid in this context to the editorial direction of Brian Shoesmith.' (Publication abstract)
1 Creativity and Attenuated Sociality : Creative Communities in Suburban and Peri-Urban Australia Mark Gibson , 2015 single work criticism
— Appears in: Creative Communities : Regional Inclusion & the Arts 2015; (p. 47-61)
1 Fringe to Famous : Bohemians, Entrepreneurs, Audiences and the Enabling State Tony Moore , Mark Gibson , 2015 single work criticism
— Appears in: Australian Studies – Proceedings of the 14th International Conference of Australian Studies in China 2015; (p. 20-34) 'Since the 1980s, there has been an increasingly fertile cross-over between 'alternative' arts practice and popular culture industries. Yet this cross-over between what Pierre Bourdieu called the market of limited and extensive production is not new, and a recent historical study of Australian bohemia by this article's co-author, identified a long tradition stretching back to the nineteenth century of creative practitioners circulating between small scale experimental initiatives in art and culture and the mainstream publishing, design, cinema, broadcasting and other cultural industries. The paper considers how this circulation between markets has been important for Australia's creative economy as an 'innovation system' and its contributed to the 'national dreaming' and other diverse forms of identity. In the context of the Federal Government's 2013 Creative Australia national cultural policy, the paper outlines a larger research project of identifying the institutional relationships and policy settings, which favour or inhibit translations for the margins to the mainstream, from fringe to famous.' (20)
1 2 Four Corners Mark Gibson , 2014 single work companion entry
— Appears in: A Companion to the Australian Media : F 2014; (p. 180-181)
1 Tchk, Tchk, Tchk: Skippy the Bush Kangaroo and the Question of Australian Seriousness Mark Gibson , 2014 single work criticism
— Appears in: Continuum : Journal of Media & Cultural Studies , vol. 28 no. 5 2014; (p. 574-582) 'Skippy the Bush Kangaroo is one of Australia's all-time most successful cultural exports. Sold to 128 countries and dubbed into 25 languages, it had a global audience in the early 1970s of more than 300 million. Yet Skippy has always has received remarkably little critical attention. A significant reason for this is that it has always resisted being taken seriously...'
1 Offshore Processes: International Perspectives on Australian Film and Television Therese Davis , Mark Gibson , Tony Moore , 2014 single work criticism
— Appears in: Continuum : Journal of Media & Cultural Studies , vol. 28 no. 5 2014; (p. 571-573) 'The focus of this special issue of Continuum is on the international or 'offshore' life of Australian film and television, shifting attention away from questions of national self-interactions of its production, both past and present...'
1 Desert Wanderings : The Search for Hope in 'Post-Tampa' Australia Mark Gibson , 2003 single work review
— Appears in: Continuum : Journal of Media and Cultural Studies , vol. 17 no. 2 2003; (p. 215-222)
— Review of Goodbye Babylon : Further Journeys in Time and Politics Bob Ellis , 2002 selected work essay prose
2 5 y separately published work icon Continuum : Journal of Media and Cultural Studies Continuum: The Australian Journal of Media & Culture Tom O'Regan (editor), Brian Shoesmith (editor), Alec McHoul (editor), Toby Miller (editor), Robyn Quin (editor), David McKie (editor), Alan McKee (editor), Ian Hutchinson (editor), Michael O'Shaughnessy (editor), Hilaire Natt (editor), Greg Noble (editor), Panizza Allmark (editor), Mark Gibson (editor), Z1778186 1987 periodical (73 issues) (taught in 3 units)

Continuum began as a joint initiative between Tom O'Regan at Murdoch University and Brian Shoesmith at Edith Cowan University, Perth. From 1991-5 it was wholly located in the Centre for Research in Culture and Communication at Murdoch University. From mid-1995 it was located in the Department of Media Studies at Edith Cowan University.

Continuum is a thematically based cultural studies journal. The primary focus of the journal is upon screen media, but it also includes publishing, broadcasting and public exhibitionary media such as museums and sites. Journal editors are particularly interested in (1) the history and practice of screen media in Australasia and Asia ; (2) the connections between such media (particularly between film, TV, publishing, visual arts and exhibitionary sites). Each issue is devoted to the exploration of a particular cultural site. Sites have included Indigenous media, television, Asian cinema, media discourse, film style, publishing, photography, radio, 'Screening Cultural Studies', electronic arts in Australia and 'Critical Multiculturalism'. The journal is committed to articulating the energies, fragmentations, and loose coalitions that attend such cultural sites.

(Source : Continuum)
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