Albert Moran
Biographic Data
| ID | 3687959 |
|---|---|
| NAME | Albert Moran |
| GIVEN NAMES | Albert |
| FAMILY NAME | Moran |
| SIGNATURE | MORAN A |
| AFFILIATIONS | Griffith University |
| VERIFIED | No |
| TOTAL WORKS | 43 |
| TOTAL CITATIONS | 79 |
| AUTHOR COUNT | 40 |
| EDITOR COUNT | 3 |
| FIRST PUBLICATION YEAR | 1988 |
| LATEST PUBLICATION YEAR | 2021 |
| H-INDEX | 5 |
Early initiatives, 1983-1994
This article remembers the foundational years of Tom O'Regan's academic career, focusing in particular on three scholarly initiaves - two book publications, An Australian Film Reader (1985) and The Australian Screen (1989) both co-edited with Albert Moran, and his partnership with Brian Shoesmith in founding the journal Continuum
What Price Hollywood
New Patterns in Global Television Formats
Television format traffic-public service style
Beginning in 1998, there has been an explosion in the flow of television programme formats worldwide witnessing to the advent of a global television system for programme production and distribution. In fact, this kind of programme adaptation and remaking had a long gestation that reaches back even before the beginnings of regular television broadcasting to the early 1940s. Media scholars were very slow over the subsequent half-century to register…
Understanding Screen Franchising
Handbooks about the business practice of franchising do not seem to consider whether the practice occurs in television and other media industries. This lack of regard is replicated by media and communication scholars who fail to consider how this kind of media licensing works, even though the term franchising' is frequently adopted. To place the topic in a wider realm of critical inquiry, this article analyses a set of distinct economic, legal an…
The place of television programme formats
Formats are king!' or so declares the trade publication TV Formats Weekly (Brzoznowski 2011: 4). Indeed there are solid grounds for such claims regarding the current place of this type of programming in television schedules around the world. Formats are perceived to be highly effective in mitigating commercial uncertainties brought about by multi channelling, and the social uncertainties associated with cultural mobility and de-territorialization…
TV Format Mogul
Vocal Hierarchies in Early Australian Quiz Shows, 1948-71
This article examines the complexities involved in transferring content and genre from one media platform to another by emphasising the shifting, fragile yet stabilising part that sound can play in such a transformation. Early television is often labelled as a period of 'radio with pictures', and this intriguing designation directs our attention to this 'moment' of changeover. This analysis explores the parameters of sound in television's displac…
Introduction
Sound is an ever-present, ever-changing component of communication and media. It has been a central part of the dramatic developments that have occurred in recording, screen exhibition, radio and television broadcasting and telecommunications technologies since the 1800s. Yet, in relation to audio-visual media forms in particular, sound is often seen as a secondary element - something that is subordinate to the visual immediacy and the assigned t…
Global Television Formats
Beginning in 1999 with Big Brother, the international television industry has seen a succession of mega programme formats over the past fifteen years. Yet, while critical researchers scramble to make sense of this phenomenon, the fact is that the practice of media franchising is not new, even if its place in the spotlight is relatively recent. To support my overall claim about the longevity of programme replication, I will consider the trajectory…
TV city
Television is a complex entity, more than even a technology and a cultural form. The recent ‘spatial’ turn in media research opens the way to a new understanding of the early years of regular television broadcasting in Brisbane. Television has its own set of physical and social geographies which this article traces. These have many overlapping and distinct sites, which are addressed. Analysis is organized around two main nodes, those of the city …
Reg Grundy
Adaptation and remaking are central dynamics of culture industries, most especially television. There is now a formal trade in program formats that is part of the evolution of a worldwide screen industry. However, the practice of program cloning is not new: various instances of such activity have been noticed by television historians. Yet systematic investigation of this earlier phase is largely lacking. One major reason has to do with the unavai…
Cinema-Going, Audiences and Exhibition
This special issue of Media International Australia represents an effort to progress critical understanding of the broader social and economic formations that shape the circulation and consumption of films. The collection provides a range of diverse and compelling insights into the processes of film circulation and viewing, both within the home and at the cinema. Accordingly, these articles address important questions such as: Why do audiences se…
Manuel
TV nation or TV city
For much of its history in the twentieth century, television was conceived mostly in national terms. American television, British television, Australian television and so on were thought of as distinct systems, even if they frequently displayed significant degrees of overlap. Such a notion has always been a convenient simplification. Television exists at a series of different spatial levels and the nationwide tier is only one of these. Recent int…
Introduction
Global franchising, local customizing
Contemporary international television offers a rich site for the investigation of matters concerning cultural adaptation. Over the past 20 years, a formalized, organized system has developed whereby program production knowledge can be borrowed from place to place for the re-creation of a television program in another territory. The TV program format is a kind of template or recipe whereby particular industry knowledges are packaged to facilitate …
New Flows in Global TV
Chapter 1: 'Issues' - Page 11 - Albert Moran Chapter 2: 'Places' - Page 23 - Albert Moran Chapter 3 :'Rhetorics' - Page 43 - Albert Moran Chapter 4: 'Stars' - Page 59 - Albert Moran Chapter 5: 'Languages' - Page 75 - Albert Moran Chapter 6: 'Geographies' - Page 89 - Albert Moran Chapter 7: 'Envoys' - Page 111 - Albert Moran Chapter 8: 'Piracy' - Page 129 - Albert Moran Chapter 9: 'Outposts' - Page 143 - Albert Moran Chapter 10: 'New flows in glob…
TV Formats Worldwide
Beginning around 2003, television studies has seen the growth of interest in the genre of reality shows. However, concentrating on this genre has tended to sideline the even more significant emergence of the program format as a central mode of business and culture in the new television landscape. Localizing Global TV redresses this balance, and heralds the emergence of an important, exciting and challenging area of television studies. Topics expl…
When TV Formats Migrate
Debate concerning media globalisation is paralleled by discussion of the emergence of a world language system. Will we all watch the same television programs and discuss them in English in the future? This article examines the dual linguistic structure which underlines the international circulation of TV program formats. It suggests that there is increasing homogeneity concerning business dealings to do with TV formats, even while there is increa…
Television's New Engines
Internationalization is a key to the success of television formats. To understand format trade it is necessary to draw out distinctions between formats and genre. Engines— innovations in programming engineered by format devisors—allow formats to regenerate and hybridize across genres. The core principle of formats, however, is the practice of franchising. Causal relations can be established between formats, engines, and the tradability of televis…
Makeover on the move
In 2006 Freehand TV produced the local version of the BBC lifestyle programme Honey We're Killing the Kids for Network Ten in a format deal with BBC Worldwide Australasia. In 2004 the Seven Network
New Television, Globalisation, and the East Asian Cultural Imagination
Challenging assumptions that have underpinned critiques of globalization and combining cultural theory with media-industry analysis, this book gives an account of the evolution of television in the post-broadcasting era, and of how programming ideas are creatively redeveloped and franchised in East Asia. In this study of television-program adaptation across cultures, the authors argue that adaptation, transfer, and recycling of content are multip…
New Television, Globalisation, and the East Asian Cultural Imagination
Challenging assumptions that have underpinned critiques of globalisation and combining cultural theory with media industry analysis, Keane, Fung and Moran give a groundbreaking account of the evolution of television in the post-broadcasting era, and how programming ideas are creatively redeveloped and franchised in East Asia. In this first comprehensive study of television program adaptation across cultures, the authors argue that adaptation, tra…
Localising Global Television
With format programming now a business and cultural mainstay of global television, this article focuses on processes whereby adaptation takes place. A key figure in such an interchange is the visiting producer who has production expertise in the adaptation of a particular format. These occasions of remaking or translation involve cross-cultural exchange between the global and the local. Usually, there is mutual recognition of the need to vary a f…
New Flows in Global TV
Chapter 1: 'Issues' - Page 11 - Albert Moran Chapter 2: 'Places' - Page 23 - Albert Moran Chapter 3 :'Rhetorics' - Page 43 - Albert Moran Chapter 4: 'Stars' - Page 59 - Albert Moran Chapter 5: 'Languages' - Page 75 - Albert Moran Chapter 6: 'Geographies' - Page 89 - Albert Moran Chapter 7: 'Envoys' - Page 111 - Albert Moran Chapter 8: 'Piracy' - Page 129 - Albert Moran Chapter 9: 'Outposts' - Page 143 - Albert Moran Chapter 10: 'New flows in glob…
Global Television Formats
Beginning in 1999 with Big Brother, the international television industry has seen a succession of mega programme formats over the past fifteen years. Yet, while critical researchers scramble to make sense of this phenomenon, the fact is that the practice of media franchising is not new, even if its place in the spotlight is relatively recent. To support my overall claim about the longevity of programme replication, I will consider the trajectory…
Global franchising, local customizing
Contemporary international television offers a rich site for the investigation of matters concerning cultural adaptation. Over the past 20 years, a formalized, organized system has developed whereby program production knowledge can be borrowed from place to place for the re-creation of a television program in another territory. The TV program format is a kind of template or recipe whereby particular industry knowledges are packaged to facilitate …
Television's New Engines
Internationalization is a key to the success of television formats. To understand format trade it is necessary to draw out distinctions between formats and genre. Engines— innovations in programming engineered by format devisors—allow formats to regenerate and hybridize across genres. The core principle of formats, however, is the practice of franchising. Causal relations can be established between formats, engines, and the tradability of televis…
Makeover on the move
In 2006 Freehand TV produced the local version of the BBC lifestyle programme Honey We're Killing the Kids for Network Ten in a format deal with BBC Worldwide Australasia. In 2004 the Seven Network
The International Face of Australian Television
Australian television has always been part of an international cultural system. Programming, personnel, material resources, ideas and knowledge are among the elements that, historically, have moved between an audiovisual space, both here and elsewhere. Media executive Reg Grundy has been an important figure in this system. Over nearly 40 years, he built a television empire of considerable international significance. After sketching out this caree…
(RE)Presenting Local Content
This article looks at the increasing incidence of television format flows in the Asia-Pacific, and draws upon findings from a three-year, 11-country study. It argues that format activity is both a consequence of demand for low-cost content and a catalyst for change in local content. Fashioning formats has become a means of financial and cultural insurance. Media producers in Asia have joined the international television format trade circuit. This…
National broadcasting and cultural identity
(1996). National broadcasting and cultural identity: New Zealand television and Shortland Street. Continuum: Vol. 10, Aotearoa/New Zealand: A New Mediascape, pp. 168-186
Some beginnings for Australian television
The place of television programme formats
Formats are king!' or so declares the trade publication TV Formats Weekly (Brzoznowski 2011: 4). Indeed there are solid grounds for such claims regarding the current place of this type of programming in television schedules around the world. Formats are perceived to be highly effective in mitigating commercial uncertainties brought about by multi channelling, and the social uncertainties associated with cultural mobility and de-territorialization…
Vocal Hierarchies in Early Australian Quiz Shows, 1948-71
This article examines the complexities involved in transferring content and genre from one media platform to another by emphasising the shifting, fragile yet stabilising part that sound can play in such a transformation. Early television is often labelled as a period of 'radio with pictures', and this intriguing designation directs our attention to this 'moment' of changeover. This analysis explores the parameters of sound in television's displac…
Cinema-Going, Audiences and Exhibition
This special issue of Media International Australia represents an effort to progress critical understanding of the broader social and economic formations that shape the circulation and consumption of films. The collection provides a range of diverse and compelling insights into the processes of film circulation and viewing, both within the home and at the cinema. Accordingly, these articles address important questions such as: Why do audiences se…
Introduction
Localising Global Television
With format programming now a business and cultural mainstay of global television, this article focuses on processes whereby adaptation takes place. A key figure in such an interchange is the visiting producer who has production expertise in the adaptation of a particular format. These occasions of remaking or translation involve cross-cultural exchange between the global and the local. Usually, there is mutual recognition of the need to vary a f…
Cultural Power in International TV Format Markets
A recent volume on international television is instructive in pinpointing the strengths and shortcomings of research on the matter of globalization and media (Elasmar, 2003). Announcing a paradigm shift, the editor sees the collection of essays breaking with an older model of cultural imperialism in favour of a more diverse understanding of the influence and effects of TV programmes imported from elsewhere, most especially the United States (Elas…
Inside publishing
Nation building
Nation building
King of the Coral Sea an interview with Lee Robinson
No more virgins'’
Inside publishing
Writing non‐fiction
Some beginnings for Australian television
National broadcasting and cultural identity
(1996). National broadcasting and cultural identity: New Zealand television and Shortland Street. Continuum: Vol. 10, Aotearoa/New Zealand: A New Mediascape, pp. 168-186
National identity and the television comedy game show
(1996). National identity and the television comedy game show: The case of Man O Man. Continuum: Vol. 10, Australian Screen Comedy, pp. 78-96
Film Policy
Popular Drama
Television formats in the world/the world of television formats
In 1949 British author George Orwell published Nineteen Eighty-Four, a novel that told of a future totalitarian society. Like his Animal Farm that had appeared 4 years earlier, the new book marked Orwell’s continued disenchantment with political regimes based on ideological foundations that attempted to govern all aspects of the private and public lives of its citizens. To symbolize the constant surveillance of his fictional citizens of the futur…
Television Across Asia
This book explores the trade in television program formats, which is a crucially important ingredient in the globalisation of culture, in Asia
Film Policy
(RE)Presenting Local Content
This article looks at the increasing incidence of television format flows in the Asia-Pacific, and draws upon findings from a three-year, 11-country study. It argues that format activity is both a consequence of demand for low-cost content and a catalyst for change in local content. Fashioning formats has become a means of financial and cultural insurance. Media producers in Asia have joined the international television format trade circuit. This…
Cultural Power in International TV Format Markets
A recent volume on international television is instructive in pinpointing the strengths and shortcomings of research on the matter of globalization and media (Elasmar, 2003). Announcing a paradigm shift, the editor sees the collection of essays breaking with an older model of cultural imperialism in favour of a more diverse understanding of the influence and effects of TV programmes imported from elsewhere, most especially the United States (Elas…
Understanding the global TV format
Recent years have seen an astonishing growth in the adaptation of program formats in television systems across the world. Under the new market conditions of the multi-channel cluster brought about by new technologies and increased privatization of service, the adaptation of successful and popular TV formats from one place to another is occurring on an increasingly regular basis. Hence, the remaking of different national versions of Big Brother an…
The International Face of Australian Television
Australian television has always been part of an international cultural system. Programming, personnel, material resources, ideas and knowledge are among the elements that, historically, have moved between an audiovisual space, both here and elsewhere. Media executive Reg Grundy has been an important figure in this system. Over nearly 40 years, he built a television empire of considerable international significance. After sketching out this caree…
New Television, Globalisation, and the East Asian Cultural Imagination
Challenging assumptions that have underpinned critiques of globalization and combining cultural theory with media-industry analysis, this book gives an account of the evolution of television in the post-broadcasting era, and of how programming ideas are creatively redeveloped and franchised in East Asia. In this study of television-program adaptation across cultures, the authors argue that adaptation, transfer, and recycling of content are multip…
New Television, Globalisation, and the East Asian Cultural Imagination
Challenging assumptions that have underpinned critiques of globalisation and combining cultural theory with media industry analysis, Keane, Fung and Moran give a groundbreaking account of the evolution of television in the post-broadcasting era, and how programming ideas are creatively redeveloped and franchised in East Asia. In this first comprehensive study of television program adaptation across cultures, the authors argue that adaptation, tra…
Localising Global Television
With format programming now a business and cultural mainstay of global television, this article focuses on processes whereby adaptation takes place. A key figure in such an interchange is the visiting producer who has production expertise in the adaptation of a particular format. These occasions of remaking or translation involve cross-cultural exchange between the global and the local. Usually, there is mutual recognition of the need to vary a f…
Mapping Media
This issue addresses a 'spatial turn' in communication or media studies. By becoming attuned to the specificities of place, research inevitably becomes embedded within real-life situations that acknowledge the similarities but also differences between localities brought about by, for example, processes of uneven development, local variations in social organisation and the articulation of creative networks that are critical to the cultural product…
Television's New Engines
Internationalization is a key to the success of television formats. To understand format trade it is necessary to draw out distinctions between formats and genre. Engines— innovations in programming engineered by format devisors—allow formats to regenerate and hybridize across genres. The core principle of formats, however, is the practice of franchising. Causal relations can be established between formats, engines, and the tradability of televis…
Makeover on the move
In 2006 Freehand TV produced the local version of the BBC lifestyle programme Honey We're Killing the Kids for Network Ten in a format deal with BBC Worldwide Australasia. In 2004 the Seven Network
Introduction
Global franchising, local customizing
Contemporary international television offers a rich site for the investigation of matters concerning cultural adaptation. Over the past 20 years, a formalized, organized system has developed whereby program production knowledge can be borrowed from place to place for the re-creation of a television program in another territory. The TV program format is a kind of template or recipe whereby particular industry knowledges are packaged to facilitate …
Sociology (28 works) · Media studies (24 works) · Political science (22 works) · Business (21 works) · Advertising (20 works) · Computer Science (20 works) · Media Studies and Communication (16 works) · Art (13 works) · Asian Culture and Media Studies (12 works) · Law (12 works)