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This month’s program considers how what might be unacceptable one decade becomes fashionable or lauded the next. Can news programs and documentaries help audiences put news and social events into a broader cultural and historical context?
No Sex, No Violence, No News
1995 | 55 Minutes | Director: Susan Lambert, Stefan Moore
No Sex, No Violence, No News goes behind the scenes of the battle for control of China's airwaves. Following producers, distributors, satellite moguls, advertising executives and a widely respected observer of Chinese society, this film looks at how business is conducted in a bizarre world where official party propaganda merges with Hollywood and MTV.
Beliefs, Values and Customs
1985 | 60 Minutes | Director: Greg Reading
Is it possible to generalise about the beliefs, values and customs of a nation? Is there a national character - an Australian identity? Does the “typical Aussie” exist or is he (rarely she!) some mythical creation in the minds of our writers and advertisers? How is the changing nature of Australian culture affecting our beliefs, values and customs? This program explores possible answers to these questions.
Media Nomads - The Thaiday Brothers
2002 | 26 Minutes | Director: Donna Ives
Bill and Mick Thaiday are father figures in indigenous broadcasting. They've travelled about like a couple of nomads for almost two decades, developing Aboriginal radio stations in remote areas of Australia and sharing their knowledge. Both Bill and Mick have a passionate belief in the importance of Aboriginal culture being reflected in the media, and how this can reinforce the Aboriginal sense of identity and strengthen the process of self-determination.
From the Tropics to the Snow
1964 | 28 Minutes | Director: Richard Mason, Jack Lee
A film about a film about Australia. It's 1962 and a scriptwriter and a director argue their approaches to the problem of a comprehensive documentary about Australia: one favours an experimental style, the other a more conventional approach. Excerpts, wittily observed, from both proposed films indicate the faults of each, and the problems of making such a film are chronicled with considerable humour.
1999 | 55 Minutes | Director: Hugh Piper
The Post looks at Cambodia through the eyes of a small group of journalists working on The Phnom Penh Post, an independent English language newspaper that has chronicled the country’s recent turbulent history. The central characters are the American editor and publisher, Michael Hayes, and his band of expatriate and Khmer reporters. Their contrasting views bring new layers of insight, pathos and sometimes humour to one of the greatest national dramas of our time. The film begins in the tumultuous aftermath of the national elections. There is no coalition government in place, the country seems on the verge of economic collapse and the paper itself is struggling to survive. But just as the paper is going to press, news comes in that opposition leaders Prince Ranariddh and Sam Rainsy are returning, paving the way for the formation of a new government. The change of mood is palpable as hope emerges that the country and the paper might get back on their feet.