News

News

from the ASPERA community

  • John Bean Memorial Scholarship
    The ABC and Griffith University John Bean Memorial Scholarship for Cinematography as established in memory of Griffith University alumnus and ABC cameraman John  Bean, who died tragically in a helicopter accident in 2011. The objective of this scholarship is to recognise the talent of the late John Bean – an alumnus of the Griffith Film School (GFS) and mentor of Continue Reading...
  • Call for papers – ASPERA 2017 Conference
    BOND University 21-23 June 2017 The Australian Screen Production Education and Research Association (ASPERA) 2017 annual Conference will be held at Bond University, on the Gold Coast Australia. This year’s conference is interested in what excites you, as researchers, educators and creators of screen production. The conference convenors invite papers, topics for panels, interactive workshops, posters and exhibit that explore Continue Reading...
  • Various lecturer positions @ AFTRS
    AFTRS is currently advertising several six-year lecturer positions. Lecturer Vacancies include the following disciplines: * Editing * Directing * Cinematography * Screenwriting * Producing * Music*...
  • Filmmaking Research Network (FRN)
    The Filmmaking Research Network (FRN) is a UK-Australia initiative funded by the Arts and Humanities Research Council. The project is lead by Joanna Callaghan at University of Sussex, UK with Dr Susan Kerrigan, University of Newcastle, Australia. The aim of the Filmmaking Research Network is to develop understanding and consolidate the field of filmmaking research by sharing best practice internationally Continue Reading...
  • Emerging visions: career success factors in Australian screen production
    Craig Rossiter Queensland University of Technology craig@ignitionfilms.com.au Celeste Alcaraz Griffith University c.alcaraz@griffith.edu.au Abstract A long-term career in screen production is elusive for most. An analysis of feature film and documentary credits by Screen Australia over the last 40 years suggests that only between 5 and 10 per cent make more than five feature films in their career....
  • Sci-fi movies 101: an international online collaboration and research-led production (starring robots)
    Lisa Dethridge School of Media and Communication, RMIT University lisa.dethridge@rmit.edu.au Damian Schofield Department of Computer Science, State University of New York damian.schofield@oswego.edu Abstract This paper discusses an example of global media production in an educational context that is also a model for online intercultural exchange. We investigate the process of an international, research-led film production project between two universities, RMIT Continue Reading...
  • Virtual historical reality: verisimilitude and the history documentary
    Debra Beattie Queensland College of Art, Griffith University debra.beattie@griffith.edu.au Daniel Maddock Queensland College of Art, Griffith University d.maddock@griffith.edu.au Abstract There are two ways to conceive of the cinema of the Real: the first is to pretend that you can present reality to be seen; the second is to pose the problem of reality. (Morin, quoted in Lee-Wright 2010) The close Continue Reading...
  • The immersive cinematic sound space: audience perspectives
    Damian Candusso Charles Sturt University dcandusso@csu.edu.au Abstract The changing materiality of moving images and picture sources is a crucial aspect of the space in which screen stories are told. Technologies that capture and present moving images are responsible for our understanding of what we see as audiences; and as makers, how we create reality on screen....
  • Rethinking genre theory for screenwriting practice: using Mikhail Bakhtin’s theory of discourse
    Simon Weaving University of Newcastle simon.weaving@newcastle.edu.au Abstract Screenwriters are frequently encouraged to use genre as an approach to developing their cinematic storytelling, but—with a personal interest in creating a feature length film noir film—I was concerned that applying genre conventions might result in a highly clichéd screenplay. In order to better understand how genre can be used in practice as Continue Reading...
  • Looking in a mirror or through a window: mainstream audiences and gay men portrayed in film and television
    Nick Bamford Bournemouth University nbamford@bournemouth.ac.uk Abstract As 21st century LGBTI emancipation continues apace, screen representations are following suit. But all too often gay-themed films attract only gay audiences, and so tend to “preach to the converted” rather than supporting that emancipation by attracting mainstream, heterosexual audiences....
  • Transformative meeting: the creative moment in screen performance
    Helen Goritsas Academy of Information Technology helen.goritsas@ait.nsw.edu.au Abstract In this paper the creative moment in screen performance will be examined. An encounter theory of modern cinema will be introduced and the connectedness of the process of screen performance in filmmaking and its reception explored. The encounter perspective, reflecting an interpretation of creativity based on a traditional romantic view of art, Continue Reading...
  • The scholarly studio: developing a new aesthetic of the multi-camera television studio as an academic research tool
    Trevor Hearing Bournemouth University thearing@bournemouth.ac.uk Abstract This paper examines the potential to develop live multi-camera screen production methods as a scholarly form of communication. Drawing on experimental work in broadcasting in the 1970s and early 1980s, exemplified by The Journal of Bridget Hitler (Saville 1981), and recent developments in multi-camera live-streaming online and to cinemas the paper asks if we Continue Reading...
  • Evocative moments with smartphone cameras
    Marsha Berry RMIT University marsh.berry@rmit.edu.au Abstract Photography and video making have become entangled with mobility and mobile social media as experienced in everyday life. This, in turn has affected how smartphones and applications influence contemporary everyday aesthetics. Romance, memory, nostalgia, playfulness and epiphany all play a part in the desire to create evocative still and moving images that capture creative Continue Reading...
  • Narrative comedy screenwriting: the role of critical reflection in creative practice
    Susan Cake Queensland University of Technology sue.cake@hdr.qut.edu.au Abstract Larger classes, reduced class contact time and increased use of casual staff pose challenges to holistic, project-based approaches to teaching screenwriting in the vocational education and training (VET) sector. This paper examines the impact of critical reflection on the process and artefacts of writing a narrative comedy series “Fighting Fit”. It is Continue Reading...
  • Finding the lightbulb moment: creativity and inspiration in the teaching of the craft of screenwriting
    Margaret McVeigh Griffith Film School m.mcveigh@griffith.edu.au Abstract The writing of a screenplay requires inspiration and its development via the processes of creativity and the tools of craft. This paper explores a practical integration of creativity and craft in The Creativity Workshop for Screenwriting, a workshop intensive where university screenwriting students were encouraged to seek inspiration through a structured series of Continue Reading...
  • The special place of fiction in creative practice research: a screenwriting approach
    Craig Batty RMIT University craig.batty@rmit.edu.au Abstract Creative practice research has become a staple of many university research cultures, and is core to the work of many members of the Australian Screen Production Education and Research Association community. We know of its potential as a site of knowledge production and dissemination; we know of its fabric and guiding principles; and we Continue Reading...
  • The filmmakers’ research perspectives: an overview of Australian and UK filmmaking research
    Susan Kerrigan University of Newcastle susan.kerrigan@newcastle.edu.au Joanna Callaghan University of Sussex J.Callaghan@sussex.ac.uk Abstract Filmmaking research is part of the broader practice research paradigm – known as practice-led, practice-based and creative practice research – where films are created as research outputs in fiction, documentary and hybrid forms. Filmmaking researchers’ enquiries into production practices, techniques, modes and genres used in cinema, television Continue Reading...
  • CILECT Congress 2016 registration still open
    When: 20-24 November 2016 Where: Brisbane, Australia Theme: Ethics/Aesthetics Further details: cilect_congress_2016_invitation Online registration: http://bit.ly/2eVzaYq...
  • Research Fellowship Opportunity
    2017 AFIRC Research Fellowship The AFI Research Collection, in partnership with Screen Cultures from the Centre for Communications, Politics and Culture, is pleased to announce the 2017 AFIRC Research Fellowship. Proposals are invited from scholars wishing to undertake research that utilises and promotes the resources of the AFI Research Collection. The Fellowship is designed to showcase the unique holdings of Continue Reading...
  • Morning coffee ‘n chat
    Question: What should a 'disruptive' journal of media practice look like? Grab a morning (virtual) coffee with us and join us in sunny Melbourne for a discussion about creative practice research and 'publishing' practice-based research artefacts. As part of a special issue of the Journal of Media Practice, hosted by colleagues at the UK's Centre for Disruptive Media, we've begun Continue Reading...
  • ASPERA’s new look
    The past 12 months been very busy and productive ones. We redesigned ASPERA's logo to better reflect our peak body status, ensuring that key elements from the old design be retained.  By reversing the RGB 'tissue box' device and placing it over black instead of white, the once shy logo now boldly stands out, appropriately suggestive of who we are, why we exist and what we Continue Reading...
  • President’s report
    For the past year ASPERA has operated a newly expanded executive with seven elected members. This has made convening meetings more challenging, however all have been present for most executive meetings. The increased capacity of the executive, with a formally constituted research subcommittee (RSC) chair and online communications editor, has allowed us to achieve a great deal. John Cumming ASPERA Continue Reading...
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  • 2016 ASPERA Conference
    ASPERA Annual Conference 2016 : The Big Questions Registration now open, details available here Accommodation and Getting Around here Call for Papers,  now closed,  and submission dead lines here Supported by the Centre for Creative and Cultural Research Faculty of Arts and Design University of Canberra...
  • ASPERA Boot Camp
    From screen production to academic publication – and back again An ASPERA research sub-committee boot camp for HDRs and ECRs Monday July 4 2016, University of Canberra 1.30-5.30pm This free pre-conference event is aimed at higher degree by research candidates and early career researchers who are keen to publish scholarly articles and book chapters based on their creative practice research. Continue Reading...
  • Notice of the ASPERA Annual General Meeting
    This is to advise of the upcoming annual general meeting of the Australian Screen Production Education and Research Association. This meeting will conclude the 3 day ASPERA annual conference. The details of the annual general meeting are as follows: Date:  7 July 2016 Time:  3.20pm Place:  Building 6 Level B room 45, University of Canberra, University Drive, Bruce ACT...
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  • Writing with/on/for the Screen
    A special issue of the Journal of Writing in Creative Practice, co-edited by Craig Batty and Susan Kerrigan, has just been published. Themed 'Writing with/on/for the Screen', the special issue features 8 articles authored by members of the ASPERA community....
  • 2016 Screen Futures Summit
    An international conference for the education and screen industries. It will inspire and connect content makers, classroom teachers, educators and media lovers through robust conversation and creative workshops with future-focused leaders. 1-3 July 2016 - Melbourne, Australia...
  • Creative Practice Research Seed Grant
    Applications close 13 June 2016 ASPERA offers the ‘ASPERA Creative Practice Research Seed Grant’ to encourage the expansion of screen-related creative practice research projects by members of the ASPERA community. It aims to support research and facilitate collaborative cross-institutional research by contributing directly to such research activities or assisting in the preparation and submission of major grant applications leading to Continue Reading...
  • Opportunities at Swinburne
    Two full-time ongoing academic positions available commencing mid-2016 Swinburne School of Film and Television, Melbourne Lecturer/Senior Lecturers in Film and Television Applications close: 5pm AEDT, Friday 26 February 2016...
  • Call for films and papers: Sightlines: Filmmaking in the Academy
    The Centre for Communication, Politics and Culture at RMIT University, with the support of ASPERA, is pleased to announce the second Sightlines festival, 28 - 29 Nov 2016....
  • January 2016 Newsletter
    Contents: Google group closing PhD scholarships Docuverse Creative Arts Research symposium...
  • ASPERA 2015
    The ASPERA 2015 refereed conference proceedings are now available! 9 papers ranging from screenwriting to mobile media to education - please read and spread the word! Thanks to all authors for their contributions to screen production research....
  • November 2015 Newsletter
    Contents: - 2015 ASPERA Creative Practice Research Seed Grant awarded to Dr Karen Pearlman - CILECT Congress 2016 - AFTRS Summer School offer - ASPERA Conference...
  • Let’s see what we can see: combining knowledge and perception centred understandings of moving image materiality
    James Verdon Swinburne University of Technology jverdon@swin.edu.au Abstract The changing materiality of moving images and picture sources is a crucial aspect of the space in which screen stories are told. Technologies that capture and present moving images are responsible for our understanding of what we see as audiences; and as makers, how we create reality on screen....
  • From Barbie Video Girl to Smartphones: How portable media devices are shaping new screen production practices
    Dean Keep Swinburne University of Technology dkeep@swin.edu.au Abstract From Barbie dolls capable of recording video through to tablet computers and smartphones with cameras, portable digital media devices are arguably changing our relationship with technology and providing new and innovative means to produce a wide range of video content....
  • Exploring Primary and Emotional Goals within an Agent-Oriented, Animation Production Process
    Steven Murdoch Swinburne University of Technology stmurdoch@swin.edu.au Abstract The creation of 3D character animation is underpinned by the expertise in animation software, movement and creative screen techniques. With these varied foundations, the intricacies of the production process are challenging for an animator to communicate beyond the animation department....
  • Diving into film production process – in search of the ‘interpretant’ in screen adaptation
    Susan Thwaites University of Canberra Abstract The role of a screenwriter in an adaptation is not just to condense and capture the essence of the novel; s/he writes for many readers. The role of the cinematographer is not just to frame the image and get the exposure right; s/he visualises the internal....
  • “It’s the Wild West out there”: Can web series destabilise traditional notions of script development?
    Stayci Taylor RMIT University stayci.taylor@rmit.edu.au Abstract This paper proposes that the concept of ‘script development’—already an ambiguous and arguably unexamined term—is further complicated by the rise of the ‘webisode’, drawing from existing discourse and scholarship on web series, much of which focuses upon (and/or problematises) an assumed amateur/professional binary that would cast online media as ‘other’....
  • Screen Production and Knowledges of the Body
    Smiljana Glisovic RMIT University smiljana.glisovic@rmit.edu.au Abstract Screen production can be much more than a representational mode; it can be a powerful tool to investigate subjects that are difficult to represent or pin down. It has been theorised that an important feature of the intercultural film is to move beyond the seeable and sayable towards a more haptic experience of the Continue Reading...
  • Australian Streaming Services and the Relationship Between Viewing Data and Local Television Drama Production
    Alexa Scarlata University of Melbourne a.scarlata@student.unimelb.edu.au Abstract The recent introduction of video streaming services into the Australian television industry has already had a significant impact on the local broadcast and subscription ecology.  ...
  • Experimenting with Distribution Models for the PhD Documentary
    Patrick Kelly RMIT University patrick.kelly@rmit.edu.au Abstract This paper examines the experimental process for a filmmaker who takes a traditional feature-length PhD documentary film and explores new distribution options for it, including Video On Demand (VOD), video capabilities on Social Networking Sites, and various models of Interactive Documentary. In other words, how does a filmmaker release a documentary, made for academic Continue Reading...
  • Fostering Students’ Collaboration Skills in University-based Screen Production Courses
    Kath Dooley Curtin University kath.dooley@curtin.edu.au Abstract Film and video production is globally experiencing rapid and fundamental change, thanks to the development of new technologies and platforms across production, distribution and exhibition....
  • Best Intentions TV pilot
    Sightlines Journal, issue 1, 2015 Screenplay (46kB PDF) Authors: Marilyn Tofler & Jeremy Stanford (screenplay) and Marilyn Tofler (research component)...
  • Mother’s Day
    Sightlines Journal, issue 1, 2015 Author: Andrew O'Keefe...
  • Eating Cultures
    Sightlines Journal, issue 1, 2015 Author: Holly Giesman...
  • How many ways to say you?
    Sightlines Journal, issue 1, 2015 Author: Bettina Frankham...
  • The Sister
    Sightlines Journal, issue 1, 2015 Author: Kath Dooley...
  • My Mother’s Village
    Sightlines Journal, issue 1, 2015 Author: Aaron Burton...
  • QUT students meet David Lynch
    Dr. Mark Ryan (centre with hat), A QUT senior lecturer, and 30 film, screen and animation students were invited to an hour-long Master Class David Lynch at GOMA, Brisbane, on March 14. More info available here....
  • President’s Oct 2015 Newsletter
    This is the first of what I hope will be a series of occasional newsletters on the activities of the ASPERA committees in coming months....
  • Shock Room screening at ACMI Wednesday 25th November
    Kathryn Millard's feature documentary Shock Room will screen at ACMI Wednesday 25th November 6.30 pm. The screening will include a Q and A about the project with Kathryn. Shock Room recently premiered in Australia at Antenna Documentary Festival where it won 'Best Feature Documentary'....
  • Viewpoints
    With the support of ASPERA, a range of participants were asked to respond to three questions: 1) What do you think the relationship should be between the screen industry and academic film makers?...
  • Viewpoints
    3) Do you think academic filmmaking needs written text to count as research?...
  • Viewpoints
    2) How do you think academic filmmaking could be funded?...
  • CILECT Congress 2016
    In November 2016, just over 1-year hence, Griffith Film School (GFS) will be hosting CILECT Congress, 2016 in Brisbane. CILECT is the World Association of Film Schools and it is expected that many CILECT member institutions will send delegates to attend this Congress, the theme of which will be ‘Ethics and Aesthetics’. All ASPERA institutions and their faculty are coupled Continue Reading...
  • MINA
    Date: 19 Nov 2015 Time: 9am-5.30pm (Symposium) 6.30pm-8pm (Screening) Venue: RMIT University, Building 80, Level 1, Room 2, Swanston Academic Building, City The MINA Symposium and Screening provides a platform for filmmakers, artists, designers, researchers, educators and industry professionals to debate the prospect of wireless, mobile and ubiquitous technologies in art and design, education, and the creative industries and on-going Continue Reading...
  • Studies in Australasian Cinema – ASPERA special issue 1
    This special issue of the well known journal is now available online, and will be in print later this month. Editors Susan Kerrigan and Craig Batty can offer up to 50 readers free access to the editorial introduction by clicking here. This introduction sets the scene for screen production research and gives an overview of the 6 full articles by Continue Reading...
  • New Screen Makers Conference
    On Tuesday 9 June the Media Resource Centre (MRC) launched its New Screen Makers Conference to be held at the Mercury Cinema on 18-19 July 2015. The aim of the conference is to prepare the next generation of screen makers on what they need to know to build a sustainable career. Speakers will focus on new career pathways and monetisation Continue Reading...
  • Moving Image Narrative (MIN) Research Cluster
    Moving Image Narrative is a site for a collaborative and interactive, text, image, sound, and moving image based experimental research journal. It is also a project seeking to engage with local and international research related to; sound, image, movement, narrative, storytelling. The Moving Image Narrative (MIN) Research Cluster, a ragbag collection of artists, professionals, academics, associated with Film, Visual and Continue Reading...
  • CFP: Gender and the Screenplay: Processes, Practices, Perspectives
    A special issue of Networking Knowledge: Journal of the MeCCSA Postgraduate Network eds. Louise Sawtell and Stayci Taylor (RMIT University, Melbourne) While plenty has been written about gender representation on screen, much less has been written about gender in regards to screenplays. Emerging scholarly research around screenwriting practice often focuses on questions of the craft – is screenwriting a technical Continue Reading...
  • Call For Papers Extension: A one-day symposium on The Films of Ivan Sen
    University of Canberra, Friday 10 July 2015 Internationally acclaimed filmmaker Ivan Sen has written and directed a number of feature films including Beneath Clouds and Mystery Road, as well as Loveland, a sci-fi romance currently under-development. He is recognised for his low budget, minimal crew approach to filmmaking as well as his short films and documentaries. By highlighting the work Continue Reading...
  • Call for Papers: Female Authorship in Contemporary Documentary Media
    In conjunction with women’s increasing claim to equal societal rights and vocalisation on a global scale, women have also taken centre stage in the documentation of contemporary issues. Of course, this is not a new phenomenon per se; in terms of culture and scholarship women have been seeking to establish myriad voices and perspectives on issues of gender, politics, history Continue Reading...
  • ASPERA Creative Practice Research Seed Grant deadline
    The ASPERA Executive reminds you the ASPERA Creative Practice Research Seed Grant deadline for submissions is May 22, 2015. Please send your application using the supplied pro forma available here on or before this date....
  • Walking on the Dark Side: Images, Techniques and Themes in Student Short Films
    Diane Charleson Australian Catholic University diane.charleson@act.edu.au Abstract When it comes time for Australian film students to produce their major projects, they are usually given complete freedom to choose their topics. Having been a lecturer involved with student short film production for over ten years, I have often been struck by the recurring images and themes that tend to emerge....
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Creative Screen Labour: Capital Reciprocity in 
Micro-Budget Corporate Documentary
    Samuel Hutchinson University of Newcastle sam.hutchinson@newcastle.edu.au Abstract Screen production is often described as ‘a love project’ when the film is made on a micro-budget, using volunteer labour and complex reciprocal arrangements to ensure it is completed to a professional standard. This research explores what drives a crew member work unpaid on a friend’s film....
  • Database Documentaries: New Documentary Practices in Emergent Narrative Spaces and the Classroom
    Dean Keep Swinburne University of Technology dkeep@swin.edu.au Abstract The development of sophisticated portable media tools, social media applications and high-speed communication networks has arguably changed our understanding of the documentary form. Database documentaries offer filmmakers and audiences new ways to produce and/or experience a wide range of narrative forms....
  • Researching ‘The Shoot Out Filmmaking Festival’ by Targeting Creativity
    Kristi Street University of Newcastle kristi.street@newcastle.edu.au Abstract The Shoot Out 24 Hour Filmmaking Festival began in Newcastle in 1999 and ran annually until 2008. The premise was that films had to be made in a 24-hour period and to authenticate the festival timeframe each film included specific items filmed at local sites. In some years the festival attracted up to Continue Reading...
  • Development of a University Feature Film 
Production Model
    Tom Young Flinders University thomas.young@flinders.edu.au Abstract This paper presents one possible model for constructing a university feature film production course. This approach was developed through my Screen Production PhD (Young 2013), where I researched my role as a feature producer on Double Happiness Uranium (2013)....
  • Sightlines
    With the support of ASPERA, Sightlines: Filmmaking in the Academy was a film festival/conference held at RMIT University in November 2014. A range of participants were asked to respond to the question: do you think academic filmmaking needs written text to count as research? Here are their responses, filmed and edited by Nicholas Hansen....
  • Creative Practices Research Methodology Bibliography
    UTS: Communication, Creative Practices Group Creative Practices Research Methodology Bibliography (144kb PDF) by Marie McKenzie....
  • The Anonymous Actor – Ethics and Screen Production Research
    Leo Berkeley RMIT University leo.berkeley@rmit.edu.au Abstract All research in Australian universities involving human participants needs approval from human research ethics committees, who make judgments consistent with accepted ethical principles that have recently been captured in the National Statement on Ethical Conduct in Human Research (2007). Making a film as an academic research project is a relatively recent phenomenon and there Continue Reading...
  • Creative practice as a research tool: benefits and pitfalls
    George Karpathakis Edith Cowan University g.karpathakis@ecu.edu.au Abstract In this paper I examine how my creative practice as a filmmaker prepared me for academia. I argue that the rigors of filmmaking are transferable to other disciplines....
  • Applying creativity theories to a documentary filmmaker’s practice
    Susan Kerrigan University of Newcastle susan.kerrigan@newcastle.edu.au Abstract The generally accepted definition for a documentary is ‘the creative treatment of actuality’ (Grierson, 1933, p. 8). Documentary scholars have rigorously discussed and dissected, the meaning that Grierson may have intended for this phrase, (Corner, 1996; Higson, 1995; Montagu, 1964; Winston, 1995). While the terms ‘treatment’ and ‘actuality’ have been debated and defined, Continue Reading...
  • A Good Take: The process as a site for screen production research
    Leo Berkeley RMIT University leo.berkeley@rmit.edu.au Abstract Screen production as an academic research discipline has struggled to establish itself, both within the broader higher education sector and in relation to the film and television industry. The lack of conceptual and analytical frameworks with which to understand screen production and which resonate with the experience of professional practitioners contributes to this....
  • Encouraging Critical Practice in Media Students: The Digital Dossier Initiative
    David Carlin RMIT University david.carlin@rmit.edu.au Paul Ritchard RMIT University paul.ritchard@rmit.edu.au Abstract In a fluid and rapidly changing media landscape, today’s screen production students more than ever require skills in ‘critical practice’ to enable them to play leading roles in tomorrow’s screen culture and industries. It is extremely difficult to find pedagogical approaches that facilitate student learning of creative and technical Continue Reading...
  • Talking With Dinosaurs? Some reflections on the role of the documentary in screen production education
    Pat Laughren Griffith University p.laughren@griffith.edu.au Abstract This paper reflects on the role of the documentary in screen production education and the implications for Australian screen educators of current debates about the form’s place in the audiovisual schedule....
  • Writing and Improvising the Digital Essay Film: the Boot Cake
    Kathryn Millard Macquarie University kmillard@scmp.mq.edu.au Abstract This paper reflects on the process of writing and producing the author’s feature- length non-fiction film about Chaplin imitators in India: The Boot Cake. (www.thebootcake.com) It aims to contribute to debate about 1. innovative screen production processes and aesthetics, and 2. the value accorded screen practice research in universities. Writing and Improvising the Digital Continue Reading...
  • A Safety Induction ‘Blue Card’ for the film, television and new media industry in Queensland and Australia
    Nicholas Oughton Griffith University n.oughton@griffith.edu.au Abstract Failures to manage occupational risk competently and comply with occupational health and safety (OHS) legislation can jeopardise the attainment of business objectives, limit or negate profits, and inhibit an entities sustainability. Enterprises and individuals failing to manage occupational risk appropriately may also incur financial or custodial penalties. Some businesses may even be curtailed as Continue Reading...