Cirrus@Austlit

'1931, Northern Australia. The destinies of Travis, a white bounty hunter, and Baywara, an Indigenous man trying to save what remains of his family, intersect. Twelve years after a tragedy that scarred them both, a manhunt pits them against each other.'

Source: Berlinale program.

'When Johnno and his friends survive the freak storm that rips apart their yacht, they're just glad to be alive. That is, until reality hits: they've washed up on an uninhabited island with few supplies, no phone and no way to get home.

'The situation becomes even more desperate when the four teenagers discover they are not alone on the island. There's a hideout where men with guns are covering up a dark secret that they will protect at any cost.

'With nowhere to run, Johnno and his friends are forced into a dangerous game with the criminals as they fight to save one of their own.

'The Other Side of Nowhere is a dangerous place to be when you're hungry, trapped, and being hunted. ' (Publication abstract)

Three sisters die in a sudden and catastrophic carriage accident. Frustrated that they've been robbed of their full lives, they petition for a second chance--only to find themselves returning 150 years after their death, their old home now a boarding school. Not only must they become accustomed to modern life, but they mustn't let anyone know that they're 'living' ghosts.

Dead Gorgeous was created by British-born script-writer Barbara Slade, who already had a long work history with children's programming in both the U.K. and the U.S.A. Originally commissioned by Nickelodeon UK (who chose not to pick up the series after viewing the pilot), the series was ultimately made with the involvement of several broadcasters and production companies in both the U.K. and in Australia.

The series was filmed in Australia, and both directors were Australian. However, the majority of the script-writers (who, between them, produced the majority of scripts) were British: Australian script-writers Sam Carroll, Peter Templeman, and Sarah Rosetti contributed scripts to the program.

Four children stumble into the secret underground lair of a long-dead super-hero, the Silver Shadow. Defeated (and killed) by his arch-nemesis, The Crab, in the 1950s, the Silver Shadow lives on as a digital recording in his base's computer. Just as he convinces the four to take up his role as the city's defender, The Crab, now an old man in a retirement village, trains his grand-daughter to be his own successor.

As with other programs produced by the Australian Children's Television Foundation (ACTF), Legacy of the Silver Shadow concentrated strongly on questions of self-identity, peer pressure and conformity, and individualism.

Australian Screen includes some clips from Legacy of the Silver Shadow: http://aso.gov.au/titles/tv/legacy-silver-shadow-feral/clip1/ (Sighted: 23/2/2012). The program is also available on DVD via the ACTF.

'Caught in a collision between the modern world of rap, football, street cred and the oldest living culture on earth, Lorrpu, Botj and Milika are three teenagers who once shared a childhood dream of becoming great hunters together. But things have changed and their paths are diverging. The film is about the search for identity, making the journey from adolescence to adulthood and the implications of belonging to a larger social group, whether it be culture, a family or a group of friends'.

Source : http://librariesaustralia.nla.gov.au/ (Sighted 8 July 2009).

The president of Catalyst software company hires five high-school whiz-kids to help save her failing business.

The program's interest in artifical intelligence, the Internet, and the video-game industry was comparatively unusual for the time. As with other Australian Children's Television Foundation programs, the focus was on the child protagonists, all Melbourne high-school students with a keen interest in video gaming, who are recruited as games testers by Alexandra Davis, president of Catalyst, in the hopes that they will be able to revitalise her failing business.

Produced in association with the Disney Channel, Crash Zone was successful in Canada and the United Kingdom, as well as Australia.

A young English girl, Penelope Townes, finds an opal pendant in her attic and, in playing with it, releases two Australian genies (father Bruce and son Baz). When Penelope inherits a property in Australia, the genies are delighted to be able to return home. But they are still under Penelope's control and subject to her whims–a situation complicated by Penelope's neighbour, Otto von Meister, insisting that the opal is really his by rights and by Bruce falling in love with Penelope's mother, Lady Diana.