Michele D Ryan
Datos Biográficos
| ID | 1047707 |
|---|---|
| NOMBRE | Michele D Ryan |
| NOMBRES | Michele D |
| APELLIDO | Ryan |
| FIRMA | RYAN M D |
| AFILIACIONES | Queensland University of Technology |
| ORCID | 0000-0002-1544-1007 |
| VERIFICADO | Sí |
| TOTAL DE OBRAS | 26 |
| TOTAL DE CITAS | 28 |
| TOTAL COMO AUTOR | 26 |
| TOTAL COMO EDITOR | 0 |
| PRIMER AÑO DE PUBLICACIÓN | 1999 |
| AÑO MÁS RECIENTE DE PUBLICACIÓN | 2025 |
| ÍNDICE H | 2 |
From digital originals to skip ahead
Web series are short - meaning shorter than television - narrative, episodic series distributed via online and social media platforms. Despite originally being a medium heralded for its independence from legacy media and public institutions, web series have increasingly become a more institutionalised form supported within publicly funded film and television production ecosystems in various countries worldwide, including Australia. This raises qu…
Dementia and contemporary horror movies
Over the last decade, a small but growing cycle of ‘dementia horror’ movies were released that revolve around antagonists with dementia, or stories where the condition itself is a monster or parasitic force that erodes the protagonist’s self. These films are part of a much larger public discourse about the dementia syndrome and ageing, and a surge in screen stories revolving around protagonists – rather than secondary characters – with dementia. …
Where are they now? Career sustainability and Australian web-series producers
Over the last decade, several professionalising amateur Australian content creators making popular web series distributed on multiple open platforms broke into the television industry and have since developed promising professional careers. The limited scholarly research into the career trajectories and sustainability of web series creators has typically been conducted as normative critique of the value of web series labour. In contrast, we look …
Film, cinema and streaming
The Australian feature film production sector has long been supported by government regulation and subsidy to ensure an Australian voice in the domestic film and television market and to produce screen content that represents the nation’s culture, society and history on screen. Throughout Australian film history, cinema and theatrical release have been central to how domestic movies have been distributed to domestic and international audiences. H…
Blockchain and publishing
There is a small but growing volume of scholarly research and technological experiments in relation to blockchain and book publishing. However, to date, appropriate and feasible blockchain models for rights management and copyright exploitation remain largely untested. Furthermore, extant research has focussed on author-centred models of intellectual property and royalty management, with limited focus on publisher-centred models. Consequently, th…
The creative sustainability of screen business in the Australian regions
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 conte…
Demand’ for culture and ‘allied’ industries
This paper draws policy insights from the first comparative analysis of multiple hotspots of regional cultural and creative activity across Australia. Focussing on the state of Queensland, it provides three interlinked findings relevant to international cultural policy debates. The first – municipal agency – goes to the crux of the value of studying small regions. We examine the degree to which Cairns, an isolated, small regional city, can exerci…
Culture, Communication and Hybridity
This paper proposes that cultural hybridity presents an important way of synthesizing the study of culture and communication in the context of globalization. It explores the historical development of rap and hip-hop as translocal cultural forms, that have their roots in U.S. African-American culture, but have been adapted in multiple ‘translocal’ contexts around the world. It takes the highly successful Chinese online entertainment program The Ra…
Essays from the inaugural Screen Studies Association of Australia and Aotearoa New Zealand conference (2016)
The essays gathered in this issue of Studies in Australasian Cinema are selected from, and broadly representative of, the methods and topics brought together at the inaugural SSAAANZ conference. Collectively, the essays speak to a broad conception of screen studies and diverse critical concerns across film and television exhibition and reception, documentary film, pedagogy and screen culture. Constantine Verevis and Deane Williams’ article analys…
Australian screen studies
Australian screen studies courses, including ‘Australian Cinema’, ‘Australian National Cinema’, ‘Australian Film’, and ‘Australian Film and Television’, among others, have long been offered in the creative arts, education, humanities and social sciences in Australian higher education. At the core of these courses’ curricula is viewing and studying movies, documentaries, and television programmes. However, despite recent research into broad curric…
Returning to Australian horror film and Ozploitation cinema debate
Australian Cinema Studies
Since the mid-1970s, the subject Australian Cinema, and its various synonyms and neologisms, has been studied in humanities, social sciences and the arts in Australian higher education, and research in the field has played an important role in informing the critical approaches underpinning curriculum. Yet to date there is limited insight into the types of subjects offered, approaches to curriculum and syllabus, and their alignment with research. …
Defining entertainment
Entertainment is a key cultural category. Yet the definition of entertainment can differ depending upon whom one asks. This article maps out understandings of entertainment in three key areas. Within industrial discourses, entertainment is defined by a commercial business model. Within evaluative discourses used by consumers and critics, it is understood through an aesthetic system that privileges emotional engagement, story, speed and vulgarity.…
A silver bullet for Australian cinema? Genre movies and the audience debate
There has been a renaissance in Australian genre cinema in recent years. Indeed, not since the 1980s have Australian genre movies across action, adventure, horror and science fiction among others, experienced such prominence within production, policy discourse and industry debate. Genre movies, typically associated with commercial film-making and entertainment, have been identified as a strategy to improve the box-office performance of Australian…
Putting Australian and New Zealand horror movies on the map of cinema studies
This Australasian horror special issue is an important step forward in putting Australian and New Zealand horror movies on the map of film and cinema studies as a subject worthy of intellectual debate. The journal issue is the first devoted solely to the academic discussion of Australasian horror movies. While an Australian horror movie tradition has produced numerous titles since the 1970s achieving commercial success and cult popularity worldwi…
Australian cinema's dark sun
There has been a boom in Australian horror movie production in recent years. Daybreakers (2010), Wolf Creek (2005), Rogue (2007), Undead (2003), Black Water (2008), and Storm Warning (2006), among others, have all experienced varying degrees of popularity, mainstream visibility and cult success in worldwide horror markets. While Aussie horror's renaissance is widely acknowledged in industry literature, there is limited research into the extent of…
Towards an understanding of Australian genre cinema and entertainment
While Australian cinema has produced popular movie genres since the 1970s, including action/adventure, road movies, crime, and horror movies, genre cinema has occupied a precarious position within a subsidized national cinema and has been largely written out of film history. In recent years the documentary Not Quite Hollywood (2008) has brought Australia's genre movie heritage from the 1970s and 1980s back to the attention of cinephiles, critics …
Film, Cinema, Screen
Screen industries around the globe are evolving. While technological change has been slower to take effect upon the Australian film industry than other creative sectors such as music and publishing, all indications suggest that local screen practices are in a process of fundamental change. Fragmenting audiences, the growth of digital video, distribution and exhibition, the potential for entirely new forms of cultural expression, the proliferation…
Next-Generation 'Filmmaking
Digital production and distribution technologies may create new opportunities for filmmaking in Australia. A culture of new approaches to filmmaking is emerging, driven by 'next-generation filmmakers' who are willing to consider new business models, from online web series to short films produced for mobile phones. At the same time, cultural representation itself is transforming within an interactive, social media-driven environment. Yet there is …
Whither Culture? Australian Horror Films and the Limitations of Cultural Policy
Cultural policy that attempts to foster the Australian film industry's growth and development in an era of globalisation is coming under increasing pressure. Throughout the 2000s, there has been a substantial boom in Australian horror films led by 'runaway' horror film Saw (2004), Wolf Creek (2005) and Undead (2003), achieving varying levels of popularity and commercial success worldwide. However, emerging within a national cinema driven by publi…
An Innovation Agenda for the Creative Industries
What would an innovation systems approach to the creative, and especially the digital, content industries look like? This is important for two reasons: such an approach may open up dynamic and central policy territory which has been the preserve of science, engineering and technology (SET) worldwide; and it asks new questions, outside the domain of cultural support, which may precipitate a more holistic approach to the creative industries. This a…
From Multimedia to Digital Content and Applications
This article analyses the two policy moments of digital content industries policy development of the Keating (1992-96) and Howard (2001-04) governments. In bringing these two moments into dialogue, our aim is to illuminate and evaluate the broader policy frameworks, and the political and policy contexts, which gave rise to and subsequently shaped these different digital content strategies. The Keating government connected culture and services to …
Developing the Alternative Communications Policy Framework
The findings of the ACCC report, Emerging Market Structures in the Communications Sector, in June 2003 painted a bleak future for the Australian communications and media industries unless some major policy and regulatory changes are implemented. This report, along with the very important recommendations it made, is paralleled by a number of equally important contemporary issues regarding the future of these industries, such as telecommunications …
Art
Financing Creative Industries in Developing Country Contexts, a report prepared for United Nations Conference on Trade and Development (UNCTAD) XI, High level Panel on Creative Industries and Developm…
In this paper we address some issues of financing for creative industries in developing countries, including the relationship between financial investment and best practice. The discussion illustrates how different modes of finance are adopted – or how they might be employed to develop sustainable and export orientated creative industries. In addition, we touch upon the larger and more difficult question of why cultural products and services from…
Culture, Communication and Hybridity
This paper proposes that cultural hybridity presents an important way of synthesizing the study of culture and communication in the context of globalization. It explores the historical development of rap and hip-hop as translocal cultural forms, that have their roots in U.S. African-American culture, but have been adapted in multiple ‘translocal’ contexts around the world. It takes the highly successful Chinese online entertainment program The Ra…
Towards an understanding of Australian genre cinema and entertainment
While Australian cinema has produced popular movie genres since the 1970s, including action/adventure, road movies, crime, and horror movies, genre cinema has occupied a precarious position within a subsidized national cinema and has been largely written out of film history. In recent years the documentary Not Quite Hollywood (2008) has brought Australia's genre movie heritage from the 1970s and 1980s back to the attention of cinephiles, critics …
Next-Generation 'Filmmaking
Digital production and distribution technologies may create new opportunities for filmmaking in Australia. A culture of new approaches to filmmaking is emerging, driven by 'next-generation filmmakers' who are willing to consider new business models, from online web series to short films produced for mobile phones. At the same time, cultural representation itself is transforming within an interactive, social media-driven environment. Yet there is …
An Innovation Agenda for the Creative Industries
What would an innovation systems approach to the creative, and especially the digital, content industries look like? This is important for two reasons: such an approach may open up dynamic and central policy territory which has been the preserve of science, engineering and technology (SET) worldwide; and it asks new questions, outside the domain of cultural support, which may precipitate a more holistic approach to the creative industries. This a…
Where are they now? Career sustainability and Australian web-series producers
Over the last decade, several professionalising amateur Australian content creators making popular web series distributed on multiple open platforms broke into the television industry and have since developed promising professional careers. The limited scholarly research into the career trajectories and sustainability of web series creators has typically been conducted as normative critique of the value of web series labour. In contrast, we look …
Demand’ for culture and ‘allied’ industries
This paper draws policy insights from the first comparative analysis of multiple hotspots of regional cultural and creative activity across Australia. Focussing on the state of Queensland, it provides three interlinked findings relevant to international cultural policy debates. The first – municipal agency – goes to the crux of the value of studying small regions. We examine the degree to which Cairns, an isolated, small regional city, can exerci…
Whither Culture? Australian Horror Films and the Limitations of Cultural Policy
Cultural policy that attempts to foster the Australian film industry's growth and development in an era of globalisation is coming under increasing pressure. Throughout the 2000s, there has been a substantial boom in Australian horror films led by 'runaway' horror film Saw (2004), Wolf Creek (2005) and Undead (2003), achieving varying levels of popularity and commercial success worldwide. However, emerging within a national cinema driven by publi…
From Multimedia to Digital Content and Applications
This article analyses the two policy moments of digital content industries policy development of the Keating (1992-96) and Howard (2001-04) governments. In bringing these two moments into dialogue, our aim is to illuminate and evaluate the broader policy frameworks, and the political and policy contexts, which gave rise to and subsequently shaped these different digital content strategies. The Keating government connected culture and services to …
Damned Women
Art
An Innovation Agenda for the Creative Industries
What would an innovation systems approach to the creative, and especially the digital, content industries look like? This is important for two reasons: such an approach may open up dynamic and central policy territory which has been the preserve of science, engineering and technology (SET) worldwide; and it asks new questions, outside the domain of cultural support, which may precipitate a more holistic approach to the creative industries. This a…
From Multimedia to Digital Content and Applications
This article analyses the two policy moments of digital content industries policy development of the Keating (1992-96) and Howard (2001-04) governments. In bringing these two moments into dialogue, our aim is to illuminate and evaluate the broader policy frameworks, and the political and policy contexts, which gave rise to and subsequently shaped these different digital content strategies. The Keating government connected culture and services to …
Developing the Alternative Communications Policy Framework
The findings of the ACCC report, Emerging Market Structures in the Communications Sector, in June 2003 painted a bleak future for the Australian communications and media industries unless some major policy and regulatory changes are implemented. This report, along with the very important recommendations it made, is paralleled by a number of equally important contemporary issues regarding the future of these industries, such as telecommunications …
Whither Culture? Australian Horror Films and the Limitations of Cultural Policy
Cultural policy that attempts to foster the Australian film industry's growth and development in an era of globalisation is coming under increasing pressure. Throughout the 2000s, there has been a substantial boom in Australian horror films led by 'runaway' horror film Saw (2004), Wolf Creek (2005) and Undead (2003), achieving varying levels of popularity and commercial success worldwide. However, emerging within a national cinema driven by publi…
Putting Australian and New Zealand horror movies on the map of cinema studies
This Australasian horror special issue is an important step forward in putting Australian and New Zealand horror movies on the map of film and cinema studies as a subject worthy of intellectual debate. The journal issue is the first devoted solely to the academic discussion of Australasian horror movies. While an Australian horror movie tradition has produced numerous titles since the 1970s achieving commercial success and cult popularity worldwi…
Australian cinema's dark sun
There has been a boom in Australian horror movie production in recent years. Daybreakers (2010), Wolf Creek (2005), Rogue (2007), Undead (2003), Black Water (2008), and Storm Warning (2006), among others, have all experienced varying degrees of popularity, mainstream visibility and cult success in worldwide horror markets. While Aussie horror's renaissance is widely acknowledged in industry literature, there is limited research into the extent of…
Towards an understanding of Australian genre cinema and entertainment
While Australian cinema has produced popular movie genres since the 1970s, including action/adventure, road movies, crime, and horror movies, genre cinema has occupied a precarious position within a subsidized national cinema and has been largely written out of film history. In recent years the documentary Not Quite Hollywood (2008) has brought Australia's genre movie heritage from the 1970s and 1980s back to the attention of cinephiles, critics …
Film, Cinema, Screen
Screen industries around the globe are evolving. While technological change has been slower to take effect upon the Australian film industry than other creative sectors such as music and publishing, all indications suggest that local screen practices are in a process of fundamental change. Fragmenting audiences, the growth of digital video, distribution and exhibition, the potential for entirely new forms of cultural expression, the proliferation…
Next-Generation 'Filmmaking
Digital production and distribution technologies may create new opportunities for filmmaking in Australia. A culture of new approaches to filmmaking is emerging, driven by 'next-generation filmmakers' who are willing to consider new business models, from online web series to short films produced for mobile phones. At the same time, cultural representation itself is transforming within an interactive, social media-driven environment. Yet there is …
A silver bullet for Australian cinema? Genre movies and the audience debate
There has been a renaissance in Australian genre cinema in recent years. Indeed, not since the 1980s have Australian genre movies across action, adventure, horror and science fiction among others, experienced such prominence within production, policy discourse and industry debate. Genre movies, typically associated with commercial film-making and entertainment, have been identified as a strategy to improve the box-office performance of Australian…
Defining entertainment
Entertainment is a key cultural category. Yet the definition of entertainment can differ depending upon whom one asks. This article maps out understandings of entertainment in three key areas. Within industrial discourses, entertainment is defined by a commercial business model. Within evaluative discourses used by consumers and critics, it is understood through an aesthetic system that privileges emotional engagement, story, speed and vulgarity.…
Returning to Australian horror film and Ozploitation cinema debate
Australian Cinema Studies
Since the mid-1970s, the subject Australian Cinema, and its various synonyms and neologisms, has been studied in humanities, social sciences and the arts in Australian higher education, and research in the field has played an important role in informing the critical approaches underpinning curriculum. Yet to date there is limited insight into the types of subjects offered, approaches to curriculum and syllabus, and their alignment with research. …
Essays from the inaugural Screen Studies Association of Australia and Aotearoa New Zealand conference (2016)
The essays gathered in this issue of Studies in Australasian Cinema are selected from, and broadly representative of, the methods and topics brought together at the inaugural SSAAANZ conference. Collectively, the essays speak to a broad conception of screen studies and diverse critical concerns across film and television exhibition and reception, documentary film, pedagogy and screen culture. Constantine Verevis and Deane Williams’ article analys…
Australian screen studies
Australian screen studies courses, including ‘Australian Cinema’, ‘Australian National Cinema’, ‘Australian Film’, and ‘Australian Film and Television’, among others, have long been offered in the creative arts, education, humanities and social sciences in Australian higher education. At the core of these courses’ curricula is viewing and studying movies, documentaries, and television programmes. However, despite recent research into broad curric…
Culture, Communication and Hybridity
This paper proposes that cultural hybridity presents an important way of synthesizing the study of culture and communication in the context of globalization. It explores the historical development of rap and hip-hop as translocal cultural forms, that have their roots in U.S. African-American culture, but have been adapted in multiple ‘translocal’ contexts around the world. It takes the highly successful Chinese online entertainment program The Ra…
The creative sustainability of screen business in the Australian regions
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 conte…
Demand’ for culture and ‘allied’ industries
This paper draws policy insights from the first comparative analysis of multiple hotspots of regional cultural and creative activity across Australia. Focussing on the state of Queensland, it provides three interlinked findings relevant to international cultural policy debates. The first – municipal agency – goes to the crux of the value of studying small regions. We examine the degree to which Cairns, an isolated, small regional city, can exerci…
Film, cinema and streaming
The Australian feature film production sector has long been supported by government regulation and subsidy to ensure an Australian voice in the domestic film and television market and to produce screen content that represents the nation’s culture, society and history on screen. Throughout Australian film history, cinema and theatrical release have been central to how domestic movies have been distributed to domestic and international audiences. H…
Blockchain and publishing
There is a small but growing volume of scholarly research and technological experiments in relation to blockchain and book publishing. However, to date, appropriate and feasible blockchain models for rights management and copyright exploitation remain largely untested. Furthermore, extant research has focussed on author-centred models of intellectual property and royalty management, with limited focus on publisher-centred models. Consequently, th…
Financing Creative Industries in Developing Country Contexts, a report prepared for United Nations Conference on Trade and Development (UNCTAD) XI, High level Panel on Creative Industries and Developm…
In this paper we address some issues of financing for creative industries in developing countries, including the relationship between financial investment and best practice. The discussion illustrates how different modes of finance are adopted – or how they might be employed to develop sustainable and export orientated creative industries. In addition, we touch upon the larger and more difficult question of why cultural products and services from…
Dementia and contemporary horror movies
Over the last decade, a small but growing cycle of ‘dementia horror’ movies were released that revolve around antagonists with dementia, or stories where the condition itself is a monster or parasitic force that erodes the protagonist’s self. These films are part of a much larger public discourse about the dementia syndrome and ageing, and a surge in screen stories revolving around protagonists – rather than secondary characters – with dementia. …
Where are they now? Career sustainability and Australian web-series producers
Over the last decade, several professionalising amateur Australian content creators making popular web series distributed on multiple open platforms broke into the television industry and have since developed promising professional careers. The limited scholarly research into the career trajectories and sustainability of web series creators has typically been conducted as normative critique of the value of web series labour. In contrast, we look …
Sociology (18 obras) · Political science (17 obras) · Cultural Industries and Urban Development (15 obras) · Art (13 obras) · Cinema and Media Studies (12 obras) · Business (11 obras) · Movie theater (11 obras) · Visual arts (11 obras) · Computer Science (10 obras) · Law (10 obras)