Katya Anne-Madsen Johanson Katya Anne-Madsen Johanson i(A98425 works by) (a.k.a. Katya Johanson)
Gender: Female
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1 Booktopia, Australia’s Biggest Online Bookseller, Is Poised for Collapse. That Doesn’t Mean Bookshops Are in Trouble Katya Anne-Madsen Johanson , Bronwyn Reddan , 2024 single work column
— Appears in: The Conversation , 4 July 2024;

'At its height, Australia’s largest online bookseller, Booktopia, had a A$2.4 million turnover, 5 million customers, and sold a book “every 3.9 seconds”. This week, it entered voluntary administration, a month after announcing the axing of 50 jobs and resignation of senior staff, including its chief executive. Shares had fallen to 4.5 cents, compared with about $3 a share in 2021.' (Introduction)
1 From ‘Fiction Fanatic’ to ‘Book Abstainer’ : Which Type of Reader Is Your Teenager? L. M. Rutherford , Andrew Singleton , Bronwyn Reddan , Katya Anne-Madsen Johanson , Michael Dezuanni , 2024 single work essay
— Appears in: The Conversation , 5 April 2024;
1 #Ownvoices, Disruptive Platforms, and Reader Reception in Young Adult Publishing L. M. Rutherford , Katya Anne-Madsen Johanson , Bronwyn Reddan , 2022 single work criticism
— Appears in: Publishing Research Quarterly , September vol. 38 no. 3 2022; (p. 573–585)

'The concept of #ownvoices writing has gained traction in contemporary publishing as both a genre of reader interest and a focus for debates about authors’ rights to write cross-culturally. This paper examines tensions the #ownvoices movement reveals between the commissioning, publishing, and critical reception of a book, using debate about Craig Silvey’s Honeybee, an Australian novel focalized through a young trans protagonist but written by a straight male author. Drawing on the theory of recognition, it analyzes author and publisher media interviews, social media, and literary reviews in mainstream publications, which are given context through with selected interviews with Australian publishers. Misrepresentation and appropriation are concerns for many readers, while judgements about aesthetic quality vary. Structures within the book industries limit the economic representation of diverse creators which, in turn, has implications for the diversity of experience represented in young adult fiction and its literary quality.'  (Publication abstract)
1 The Cut-through Concept : 52 Tuesdays, Festivals and the Distribution of Independent Australian Films Virginia Murray , Katya Anne-Madsen Johanson , 2015 single work criticism
— Appears in: Studies in Australasian Cinema , January vol. 9 no. 1 2015; (p. 52-65) 'As a consequence of the opportunities provided by international film festivals and the perceived limitations of conventional distribution, Australian independent producers find new ways to engage audiences through film festival involvement and targeted use of social media. This article examines this phenomenon with a case study of Closer Productions' 52 Tuesdays. With investment from the South Australian Film Corporation and the Adelaide Film Festival, and awards from Sundance and Berlin Film Festivals, 52 Tuesdays secured US distribution prior to its Australian release in May 2014. Central to the interest generated in 52 Tuesdays is the approach Closer Productions took to marketing, which replicated the game-like challenge, the film-makers imposed upon the making of their own project. This article suggests that while traditional roles of intermediaries – sales agents and distributors – in the independent sector are shifting to accommodate the growing status of festivals, they are far from disappearing, and the liberating impact of digitisation on film production in providing more control to film-makers is yet to be realised.' (Publication abstract)
1 The Reader as Audience : The Appeal of the Writers' Festival to the Contemporary Audience Katya Anne-Madsen Johanson , Robin Freeman , 2012 single work criticism
— Appears in: Continuum : Journal of Media & Cultural Studies , vol. 26 no. 2 2012; (p. 303-314) 'The contemporary popularity of the writers' festival might appear something of a contradiction, given that such festivals are based around an art form that has been chiefly a solitary experience for the reader for several centuries. Taking the 2009 Eye of the Storm Writers' Festival in Alice Springs as its case study, this article examines the motivations of the audience for participating in community-based writers' festivals. Interviews with audience members suggest that the writers' festival serves a much larger cultural and social role for the audience participant than simply increasing their enjoyment of literature.' (Authors abstract)
1 2 y separately published work icon 'Your Genre is Black': Indigenous Performing Arts and Policy Hilary Glow , Katya Anne-Madsen Johanson , Strawberry Hills : Currency Press , 2009 Z1558136 2009 single work criticism 'Indigenous performing arts have developed enormously since the early movement in 1970 and now face a dilemma between fulfilling community responsibilities, which have largely motivated and supported this growth, and the new generation of professionally-trained artists achieving the artistic autonomy which are now demanding. Government funding for Indigenous work has to date been couched in terms of its contribution to employment, health and social good. Artists are now calling for an end to sympathetic indulgence of less-than-the-best in favour of a challenge of a place in the national and international arena. The authors examine these tensions and outline the hurdles yet to be overcome before a new cultural policy will be established that not only recognizes talent but promotes it.' (Publisher's blurb)
1 Publishing and Bookselling Lorien Kaye , Katya Anne-Madsen Johanson , 2007 single work criticism
— Appears in: Making Books : Contemporary Australian Publishing 2007; (p. 68-80)
1 y separately published work icon The Role of Australia's Cultural Council 1945-1995 Katya Anne-Madsen Johanson , Melbourne : 2000 Z1306620 2000 single work thesis This thesis examines the concept of a cultural council as it was expressed in Australian public debate over fifty years, exploring the discrepancy between the idea of the council and the form in which the council has been institutionalised.
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