Annotated Bibliography

Reference 1:

Lowden, David, Matthew Nicholson, and Lawrie Zion. “A profile of Australian sport journalists (revisited).” Media International Australia Incorporating Culture and Policy Aug. 2011.

This article compares the findings of two studies into Australian sports journalists, conducted some twenty years apart. The articles contrasts Henningham’s 1995 seminal study with a 2010 online survey distributed to working Australian sports journalists. The findings revealed little change in the two sports journalists. Like their predecessors, it was found that sports journalists today are male, white and in their 30s. Where the new breed of sports journalists differed, was in their educational level and location. It was found that today’s sports journalists are more educated and are more likely to live in Victoria. The lack of change, the articles concludes, is due to the industry being traditional, conservative and mostly unbent by changes to journalism as a whole. The authors thinks that ‘the messenger’ is of great importance, and goes so far as to suggest that understanding the journalist is more important than an analysis of the media texts and perhaps even the way audience’s receive it.

The article is written by credited academics in the area of sports journalism. They present the finding of the recent survey in a succinct manner and write in plain English. It’s an interesting read and is intended for the reader who is curious about the individuals who write the news they read. However, there are flaws in the article. For one, in the most recent study of Australian sports journalists, only about 120 journalists participated out of approximately the 500 invited. That’s a massive number of professionals unaccounted for, and they most accurate cross-section is not available.

Although the results of the studies are unsurprising, it sheds some light on why sports news looks and sounds the way that it does. The heavily saturated AFL news, for example, may be better understood when we consider that most work in Victoria. The authors of the article paint a clear picture of the Australian sports journalist and it would be useful for our own project to present information like this in a clear and concise way. We could be quite creative with our snap shot of the sports journalist; and could present this in a creative manner. Out of all the readings, this one has altered my perception of the project, in that I think it would benefit from a thorough analysis of ‘the sports journalist’. One poin in particular that has pricked my interest is the better-educated sports journalist.  I would be interested to interview and survey students currently undertaking the new Bachelor of Sports Journalism at La Trobe University. La Trobe University positions itself as a sports university. It would be interesting to speak with the future Australian sports journalist, to hypothesis how the industry will look in twenty years time.

Reference 2: *

Alysen, B 2012, ‘Online and social media’, The ELectronic Reporter: Broadcast Journalism in Australia, pp. 153-160.

Alysen outlines the recent developments that social media has had on the field of journalism. It touches on some of the advantages and disadvantages the new technology affords for journalists. For example, being able to use social media as another source of information (e.g. journalists following celebrities of Twitter). However, the article more thoroughly outlines some of the problems that have arisen out of social media; for example, the casual nature of the medium and its potential to blur the lines of professionalism. It draws on a number of small examples and focuses on a case study to illustrate these points.

The article is found in a book titled The Electronic Reporter”. The book is said to be ‘a staple for all tertiary journalism students in Australia’, however it seems rather simplistic for a tertiary standard text, especially considering the reader should be well versed in the area. Saying this, it is easy to read and doesn’t bog the reader with statistics or dry content. The points offered, albeit obvious, are relevant. It should be taken into consideration, the relatively unchartered waters of online and social media for authors of such texts. It remains unbiased and simply offers pros and cons for the new technology.

This article provides points that could be further expand on through research and analysis. For example, the text provided an example of an Australian sports journalist working in regional Victoria, Steve King. It argued that by King live-tweeting AFL matches he’s able to reach a global audience. In our project, we may want to litter it with real-world examples like this in order to keep reader’s interest.

Reference 3:

Lawri, Z, Spaaij, R and Nicholson, M 2011, ‘Sport media and journalism: an introduction’, Media International Australia, Incorporating Culture & Policy, no. 140, August, pp. 80-83.

This brief article outlines some pertinent developments between sport and the media. It argues that sport is difficult to critique without including some level of analysis between the role that media has in its portrayal to audiences. Basically, it argues that the two go hand-in-hand in an area some refer to as the ‘media sport complex’.

The article acts an introduction for a journal that explores topics with greater analysis. For this reason, it is broad in focus and easily digestible. Rather than critiquing any issue in great detail, it paints an affectionate picture of the way in which sport is portrayed in Australian media. For example, it opens with an interesting fact – ‘ in Australian there are more journalists assigned to covering the AFL than there are assigned to politics’. The article is written for students who may be undertaking a journalism degree. It also assumes that as an audience we care about the AFL. Although football culture is strong in Victoria, there would be many people who don’t hold the game in the same esteem. Thus it risks alienating this audience through broad generalisations about our love for the game, without offering a critical alternative to those interested purely in its media qualities.

We could use this text as a way of breaking our reader into more meaty topics of analysis; for example, by opening arguments with interesting facts about Victoria’s obsession with sport. Overall, I believe this to be one of the most relevant texts for us to draw on. The influence will come not so much in way of content but in structure, tone and language.

 

Reference 4: *

Hargiattia, E 2010, ‘Minding the digital gap: understanding digital inequality matters’ in S Papathanassopoulous, Media Perspectives for the 21st Century, Taylor and Francic, Oxon, pp. 228-237, e-book, accessed 16 April 2013, http://rmit.eblib.com.au.ezproxy.lib.rmit.edu.au/patron/FullRecord.aspx?p=668429.

Hargiattai’s article is one in a compilation of sophisticated perspectives of our current media landscape. In her article she explores the digital divide and argues that even if everyone has access to the Internet, differences will remain in how they use the medium. For some members of the public the world of new media has made little difference to their lives and has not enabled them to join to sphere of public discourse that is occurring online. Hargiattai believes that this digital divide varies depending on socio-economic status.

Hargiattai is addressing a sophisticated and presumably tech-savvy audience. After all her article is published in a highly theoretical text about the changes in media. Her tone is blatant and does not offer much in way of a solution. It seems that her intention is to simply enforce that inequality between those who know how to do stuff online and those who don’t – exists. Her argument is well constructed, although does become convolute with the inclusion of too many statistics.

This argument of a ‘digital divide’ is one my group members discussed initially. It’s definitely an area that deserves focus for our assignment. However, we may be more inclined to discuss the ways in which older Australians (journalists and citizens alike) struggle with the wave of sports news going to online platforms.  It will be interesting to dissect, the level of engagement they have with new media sports content. What Hargiattai’s article explores, that we are yet to consider, is low-socio economic status as a barrier.

Reference 5:

Cover, R 2012, ‘Transforming scandal: the ‘St Kilda Schoolgirl’, digital media activism and social change’, Media International Australia incorporating Culture and Policy, no. 143, pp. 1-10

The article begins by summarising a sex scandal involving players of the St Kilda Football Club, AFL player-manager, Ricky Nixon and a 16-year-old girl (dubbed by the media as the ‘St Kilda Schoolgirl). Cover analyses the way in which he controversy played out in traditional and new media outlets. He argues that the way the ‘St Kilda Schoolgirl’ used digital media, could be regarded as digital media activism.

The article is well written and offers an engaging and interesting perspective of the events that unfolded. It discusses how both The AFL and schoolgirl utilised traditional media and digital media forms in the construction of the scandal’s narrative. It argues that this case produced shifts in how sport sex scandals are addressed in the public arenas and the way the victim is positioned within that. The idea of digital media activism at the hands of the schoolgirl, though argued well, do seem far-fetched. However Cover’s arguments are made more convincing when he defines media activism as not through ones motivations but through ones actions. In the case of the schoolgirl – the distribution of evidence, digital texts and engaging in interviews.

Like ‘Framing the Victim’ (2012) this article may be used in the construction of a peripheral story. However, this issue of ‘activism’ be better told as an example of ‘citizen journalism’. In this case, digital media was pivotal in the un-doing of elite football leagues at the hands of an adolescent. However, we may risk delving into an area we don’t wish to cover in our assignment, such as gender roles in the AFL or codes of silence within clubs.

Reference 6:

Waterhouse-Watson, D 2012, ‘Framing the Victim’, Australian Feminist Studies, vol.27, no. 71, March, pp. 55-70

This article looks at rape complainant testimony within the football code, as presented on three Australian television programs. Waterhouse explores the way in which devices are used to frame the testimony; such as, the use of narration, ‘expert’ testimony, music and editing.

The article looks at how non-commercial networks investigate and present unsavory stories about footballers and how this representation has the potential to cause pubic outcry. The author of the article is credible. Watherhouse has a PhD from Monash University for her extensive research and analyse of media representations of football in cases of sexual assault.  Further to this Watherhouse lectures at Monash in the areas of Media, Communication and English.

Although the article and its topic does not fall into our overarching research area of ‘changes in news’ it may act as the basis for a peripheral story of the representations of footballers who have been accused of a crime. These representations of footballers in traditional media could examine they way filmic techniques and language alter our perceptions of events and the victim/villain equation. Not exclusive to allegations of sexual assault, our group may want to expose the methods of story-telling adopted by traditional media to persuade public opinion in incidence of players taking banned substances (Ben Cousins) or reports of inappropriate behavior between footballers, football management and minors (St Kilda school-girl).

Reference 7:

Harrington, S 2012, ‘Australian journalism studies after ‘journalism’: breaking down the disciplinary boundaries (for good)’, Media International Australia incorporating Culture and Policy, no.144, August, pp.156-162.

This article suggests that if journalism is to remain a pertinent as an academic discipline, it must change its way. The author suggests that action must be taken to transform journalism from its heavily constrained traditional boundaries, towards a liberal range of media outputs.

The author’s insights are rather radical. His arguments for the most part appear weak because it seems to rely too heavily on the ideas of other academics. Although written in plain English, it is difficult to discern his thoughts and opinions from those of the academic he quotes.

Having said that, the radical nature of some of the ideas offered in the text may make it an interesting point of reference for our assignment. I tend to agree with the ideas offered by Harrington, but am confused by the way in which these desired changes should be approached. At the very least it could be used to inject some excitement and promise for the future of the medium. We would just need to articulate the message more succinctly than Harrington.

Reference 8:

Hutchins B 2012, ‘Sport on the Move: The Unfolding Impact of Mobile Communications on the Media Sport Content Economy’, Journal of Sport and Social Issues, pp. 1-20

In this article, Hutchins discusses how mobile devices have altered the way in which fans engage with sport content. Hutchins provides a deep analysis of the use of mobile in the regards to sport. He is writing for a highly engaged reader with a particular interest in the big business aspects of sports. Particular emphasis is placed on telecommunications companies, such as Telstra and their involvement in propelling Australian sport into the mobile environment.

To be honest, the analysis is such that it may be difficult to reflection with the task at hand is confusing. Apart from the paragraph that discussed the 1 billion dollar investment between the AFL and Telstra, I think this level of analysis can become messy when trying to relate the information to our own task. I don’t discredit it as a source, and do believe it could be invaluable, but only if we wish to focus on sport in relation to mobile technology.

word count: 2278

 

* I have been unable to remove the massive spaces in these references. There doesn’t appear to be anything that could be causing it in the HTML coding.

 

 

Narrowing the Topic

Our topic needs to be more clearly focused and structured. Rachel helped us to visualise the stages of our research and how the broader issues will filter down to specific and interesting examples within our case study; The AFL.

1) The Broad Issue: Changes in News

  • The Digitalisation of News/convergence media
  • Infotainment as News
  • 24-hour News cycle
  • The Rise of the Citizen Journalist
  • Ownership
  • Ethics, Bravery and Bias in regards to Journalists
2) Narrowing the scope: Sports Media
  • Broad brushstroke observations, e.g. Sports News features at the back of the paper.
3) The Case Study: AFL
For example:
  • Digitalisation: Fox Football, online coverage, extra footage, extended player interviews. Games, apps, gambling.
  • Infotainment: Footballers as celebrities, The Footy Show, Before the Game
  • Citizen Journalism: St Kilda school-girl, released images via Facebook
  • Ownership: The AFL employing more football journalists than the Herald Sun; bias/credibility
4) Overview and Conclusions: To what extent has the delivery of AFL news changed to compliment broader changes in the News sector? 

The Post-Mortem on Journalism Reform: What Happens Now?

Rachel Wilson tipped my group members off about a Melbourne University lecture that may be of interest to us. Last night we ventured to the venue to hear an expert panel line-up discuss and debate the failed attempts by Federal Government to regulate the Australian Press Council. The night’s speakers consisted of Julian Disney, who is also The Chair of the Australian Press Council, Jonathan Holmes, presenter of ABC’s Media Watch and Greens Senator, Scott Ludlam. The panel discussion was moderated by Margaret Simonos.

For our Media Industries project my group will be questioning the way in which AFL sports news is delivered and received by audiences. How have changes in the media landscape effected that way the game is played and the responsibility of journalists.

After last night’s lecture I have thought more about the way my group members and I could approach our topic and question. I believe it would be interesting to explore to greater detail the ethics and regulations of sports media bodies. Especially in relation to the proposed reform but forward by the Government.

Julain Disney

  • Described the last 18 months as a tragedy, believing that the wrong inquiry was set up. There were insufficient negotiations of the bill and it was rushed through Parliament
  • One of the problems with the bill is that it was too weak in practice
  • Disney believes that there is a problem in media-standards and has concerns with the viability of the business
  • For future it would be a positive change if journalists were took a less defensive approach
  • There should be a move towards a convergent media system and the implementation of pro-active work of good codes of conduct in industry and the community
  • The developing and monitoring of standards would be a positive for good journalism
  • In regards to complaints, there should be a faster response time
  • There needs to also be a broader spectrum of responses to problems, such as letters of opinion
  • People have a fear that complaining will only make matters worse
  • There should be an encouragement towards the emergence of quality online news
  • There is a lack of diversity in the mainstream and our only hope is online
  • We must develop a stronger consumer voice. Its not wise to rely on a regulator
  • There are too many people not willing to express their opinions
  • Convergence media regulator; lack of secure membership and resources

Scott Ludlam

  • The corporate, unelected media entities. A power and voice that own the shrinking number of shrinking platforms
  • Has a glass half-empty outlook on the situation
  •  In answer to the question, “what is a journalist…is a Tweeter a journalist?” … the answer is ‘scale’
  • You can’t mediate the internet but you can regulate a newspaper

 

The question of Bias. We need bias. Some people think the ABC is biased. Jonathan; you don’t want a regulator to regulate bias. The more bias the better.

News needs two things; fairness and accuracy. In opinion pieces that no requirements of factual accuracy, says Jonathon. Julian says this is not entirely true.

The problem with bias (Julian) Bias= motive and intent. A journalist should always ask themselves, what are the elements of the story that could be called unfair? The Abbott/Gillard test: Change the issue and change the people involved…is it still fair?

Social media is an enormous weapon for change.

The AFL has more football journalists that the Herald Sun.

 

Reflecting on Audio Arts and RWAV

Lightroom Tutorials: Lightroom Tutorials: Vintage Radio

1 – collaboration


Working well in a team context has been most important in radio studies this semester. Most of the tasks set in this subject involve your peers, namely the weekly spot on Triple R and the major Audio Arts assignment.  There are certainly programs which aid in effective collaboration between group members. For example constructing a Facebook page. Having a space for all the members to go to in order to reach their respective members as well as up to date information is most important. In both RWAV and audio arts, it was necessary for everyone to take an active role in the Facebook wall. Asking and answering questions ensured problems could be avoided before the stressful eleventh hour. One of the major collaborative achievements was Audio Arts. I believe my group members and I managed to collaborate well during all aspects of the production and post-production of our piece, Sharehouse.

One way in which effective collaboration was maintained was by working on the piece consistently and in total consultation with one another. Though role division is important in most group work contexts, Emily, Georgie and myself find that we work well when we are equally involved in all aspects of the task.  This meant, scripting as a group (on Google Docs), voicing the characters ourselves, and finally editing it together in the suites. It worked for us because we enjoyed the radio play we had written, and though we began to grow tired of hearing the corny jokes over and over again in the editing suites, it taught us to become less precious and more ruthless with what bits would end up on the cutting room floor. Thankfully we are good friends and don’t take it personally when the lines you wrote, don’t make the cut.

Collaboration was perhaps more dynamic within Room With A View because the group was larger and the climate more temperamental. Here things like division of roles was most important. If you were, the producer, for example, it was your responsibility to email Elizabeth the running sheet and run ideas past her. Presenters, were responsible for writing down interview questions and the panel operator had to ensure that the promos that had to be played during the hour, were played. Pretty obvious stuff, but still important to specify early on in the group, to ensure the smooth running of the show. For the most part, all group members did their fair share of the work load. Again, Facebook was used as means for us to touch base with one another. Though it would usually ‘come alive’ at the 1 week to go mark, it was still very important to have throughout the semester as occasionally ideas for potential talent or a cool song were jotted at random.

2 – production processes


Scripting Sharehouse was probably the most enjoyable aspect of the Audio Arts production. Emily, Georgie and I used GoogleDocs to write the script, with each working from an individual laptop. It was balls of fun. We would embody the characters and act out the scenes. In this way the dialogue formed organically from these improvisations. Someone was usually speed typing the banter on their laptop. We found it easier to have a rough plan of how we wanted the plot to progress and a break down on the scenes, because we sometimes went off the beaten track with our improvisations. One of us had to regularly pull the others back to the story and ensure that every line had a purpose. This was important as we didn’t want our radio play to run too long.

Editing was arguably more important than the script because so much of the play’s ‘comedy’ was about its timing. We found ourselves moving the narrators interjections milliseconds earlier or later to achieve a better sense of timing. Given the technical limitations of editing in a group (one keyboard), we used our time in the suites wisely. Whilst one person was controlling the pro-tools, another would be scouring the net for sound-effects, whilst the other group member would take on the role of editor. Calling the shots on what take was best and when to place sound-effects. As anyone who has worked in the editing suites would agree, it’s best to mix up roles, to avoid the dreaded brick wall moment.

3 - wider connections


In terms of wider connections between elements of radio studies and things outside of the course. There are a couple of examples that spring to mind. In Audio Arts, my group was attracted to creating a piece with a distinct sense of humor and irony, akin to GIRLS the television show. The use of an English narrator, who delivered blunt, dry, sometimes dark lines was an attempt to mimic the the narrative aspect of shows like Come Dine with Me and Arrested Development.

In Room with a View connections that were made mostly came from our daily life. For example in our most recent show, Georgie suggested we interview someone from Swordcraft because she had driven past this medieval role-playing gang before and thought it would make a most interesting Triple R subject. She was right. It’s a good way to find content for the for show, because if one person finds it intriguing, chances are others will to. On a couple of occasions our RWAV show  featured a film-review. The films that were reviewed were current and usually slightly obscure. Again, we were drawing on things outside of radio, that we knew Triple R listeners would gravitate towards. This also included our eclectic choice of playlists, and content covered.

Links

Room With A View October 1st (group annotation)
Buzz Cuts review
Room With A View July 16
Buzz Cuts feedback
Panel Training With Kit
Audio Arts peer comments and reviews

This is a summary post

The task of summarising the whole participatory project seems like quite the obstacle, but lets see how I go. From the outset, I do believe I worked consistently on the project and did my fair share of the work.

We threw about a number of ideas in Week 1. The seedlings (pun definitely intended) of THE PLANT PAGE were thrown in a discussion of what we could offer users that was difficult to achieve online.

“You can’t really be outside or in a garden if you’re on the internet”…”Well you can, but only if you’re literally working on your laptop in the garden”…”A lot of people don’t have a back-yard”….”We could recreate that for them”…”Like they could go to our page and there would be photos and videos of grass, flowers etc”…”they could be right there in the thick of it”…”totally immersed”…”heck, we could even make a Korsakow of it”…

At roughly that stage the conversation stopped, but we concluded that it wasn’t a half bad idea and we would flesh it out more in the days to follow.

What have you contributed to the project team

  • I was a proactive contributor to the group project. My role within The Plant Page team was to curate the Instagram page and be the creative director. I volunteered to do these jobs because they were aspects of the project that I was most impassioned about.
  • I was available for my group members, I would respond to questions posted on the Facebook wall.
  • I reblogged imaged for our Tumblr page.
  • I was present for all group meetings and met deadlines
  • I constructed the power-point presentation and presented it to my peers and teachers on Monday alongside Melissa.

Identify the key insights you have personally made through the Participatory Project

Not to be so precious with the project. I think it’s really important to be passionate about your work and ideas but not to the extent where it can stifle the creativity of others. One of our projects point of difference was that it didn’t require lots of submissions. We would, find the submissions that we liked and thought would suit our aesthetic. Though I do think that element of our project was important and helped create a beautiful looking project, I feel that it perhaps wasn’t suited to the participatory nature of the project. Arguably, ‘participation’ would come from viewership as a result of people liking the good quality work that we were showcasing via our Instagram and Tumblr.

 

 How you have rethought contemporary media practice.

In terms of contemporary media practice, I have seen the importance of being able to a) follow through with plans but, more importantly b) be flexible to altering those plans. I don’t see any harm in having a very clear idea of what you are after in terms of a product or experience for your users. I think it shows that you are passionate about delivery something of quality. Having said that, you can’t predict how people will approach the things you construct, if they will answer your ‘call’, and whether or not they will give you what you are after. It’s in these moments that being a ‘flexible’ contemporary media practitioner come into play. Ultimately, your work and product will become better because of it.

 

Let’s self assess shall we

Here is a link to my old assessment matrix.

Craft and create an online voice that is quirky, interesting and insightful. I learnt which platforms appeal to me and which don’t in this course. I don’t feel comfortable on Twitter, but I have developed a real liking for Instagram. I would like to keep the participatory project alive, at least via the Instagram channel. This has been quite a revelation for me because although the ‘voice’ created isn’t personally my own, for it’s really a showcase of other people’s work. I am really passionate about it and find great enjoyment in sharing interesting images of plants to our small (but growing) follower list.

85/100

My student blog: I grew to enjoy keeping a blog of my studies in the course, because unlike previous semesters, I’m not so precious with it. Instead of long backlog of blogs posts ‘that I should really do’, I began uploading things that I previously would have considered too ‘scrappy’ for publication. For example, I know will photograph my hand-written notes as opposed to re-writing them. This saved me considerable time to focus on more urgent matters regarding our participatory project.

75/100

Overall, I believe I have demonstrated very good attendance within the subject. I didn’t always go to the lectures, but I would follow up on what was covered by checking out the blog and scrolling through the #im212 hashtag afterwards. However, I was physically present in the majority of tutorial classes. Further to this, I’m almost certain I attended all group meeting for the participatory project, which was vital for the project’s success.

85/100

Overall HD

 

Plantpage on Slideshare

Click to View

Initially we wanted The Plant Page to be a hub for all things plant related, a kind of escape or sanctuary that users could go to as a break from other web-based and presumably more stressful tasks.

To the left of the screen is a week 1 brainstorm. As you can see the idea was to collect content, images, videos, audio and present on a platform that would allow the user an immersive kind of experience. The arrows indicate which platforms we eventually focused our attention on, they being Instagram and Tumblr. Also, and although not in a hard-copy sense, there has been a zine like quality to our project and from our initial brainstorm we also went through with featuring interviews.

This earlier shot of our Tumblr page reveals the initial concept to create an “impression” of a garden. There was little information about who or what we were, and we were more interested in building up content to fill the screen. I say there is a zine like quality to our final work as the groups objective and goals changed. We decided that rather than collecting an abundance of works we would conduct ourselves more like editors seeking out quality pre-existing, photographs of plants. As a result, the tumbler become more streamlined and sparse with the focus on individual, interesting works and information about person who created and/or captured the arrangement via an interview. The profiles function leads you to the interviews.

Our instragram, though not as dramatically changed too. With a less clustered description of what we required and one link to our portfolio.

As well as using Tumblr to showcase works, we used it to find images. It was important to maintain professionals and a friendly repoar with the user whose work we wanted to feature. There was kind of a formula used in going about gaining permission to use their work.

Insights

1. What works for many, doesn’t always work.
We knew the prescribed method of getting our work out there in order to get submissions or attention was to do calls outs on platforms like Facebook to friends and other users.
Initially we started doing that, and it was successful in the sense that we had lots of submission but unfortunately, either our criteria wasn’t timely enough or people didn’t heed to the setup of our aesthetic. They were either very cliché shots of flowers, reblogged from another source or didn’t capture enough of how we envisioned the submissions to be in quality or uniqueness of perspective.
Thus we came to the conclusion that we should be scouting for work that already met our criteria and came from an original source then simply calling out for some and hoping ones we liked would funnel through.

Instagram and Tumblr worked really well with this process however although we had minor issues with both such as contacting and technical problems.

This process of the one to one interaction versus the one to many call out is we agree quite an onerous task and can be very slow. However, it met with the conditions and quality that we put to our work and really, it created quite the visual feast.

1. It’s not just about the quality of the work, but the quality of the relationship.

The one on one interaction really led to a different kind of revelation about our potential audiences.
Many of them were moderate to hard-core and very young and amateur. A good deal of them were entrepreneurial about their creativity – they were happy to give us permission and mutually promote us as we were promoting them. We also found surprisingly that many of them came from overseas rather than Aus, were women and interestingly some came from the seniors demographic who had just discovered Instagram and were photographing their backyards or gardens they had cultivated.

Not only did we find out more about them through the one on one relationship but we also nurtured and maintained a rapport with them that really led to them coming back for more than the work but also for the friendship and mutual exchange. While we wanted to be consistent about the high quality of the work, we also found ourselves dependent on the high quality of our relationships.
Our viewers followed our work, promoted our work for us, gave us endless permission and happily commented often on more than one or two works. But the greatest thing we discovered was that they kept coming back.

1. Go offline and get creative.

Our focus has always been the online but plants are all around us, especially here at RMIT so we thought another way of getting people’s attention was through an offline, on the streets promotional campaign.

We put up posters, QR codes, sticks and stickers in various areas that we thought might encourage users to either check the page out or take a photo in the area. We wanted to keep the visual branding mysterious but visually incentive and pleasing. But we still kept in mind that we wanted to make it easy for people to check out hence the QR codes and simple branding. We also tracked it by using a bitly code on our analytics to track people checking it out from specific QR codes. Our results were not fantastic but in our mind, an offline strategy could always work especially if we’d had more time to dedicate towards it.

RWAV feat: Elliot Loney & Swordcraft

RUNNING SHEET
RWAV running sheet 1/10

LINK TO ROAR WITH AUDIO LINK

Our most recent RWAV show (1/10) is also the one I consider to be the most interesting, professional sounding and enjoyable RWAV experience we’ve had in group 4. Although each week members hang around sheepishly to hear feedback from the station on how it went, we can also govern its success or failure with our own opinion on how it would have sounded for a Triple R listener.

My role

My role within the group this week as was it in the show previous, was  to panel. Last time I paneled there were a couple of hiccups. ID’s and promos were not playing, I forgot to turn on guest’s microphone, only realising when I could see the concerned expressions of the producers through the glass.

In preparation for this show I re-watched the small iphone videos I recorded of Kit showing me how to panel. That was a nice refresher heading into this week. I also re-worked the group’s running sheet to be more panel-operator friendly. I know I’m quite a visual person and in the sometimes stressful and chaotic studio room climate, a wordy running sheet can be rather confusing.

I made bold the buttons that were to be ON during each segment and identified them with a colour. CD1 green, Computer yellow, Mics red.

 

This related to the colour of the buttons on the panel. Although it may be hard to tell in this photo.

 

During the show, I would be super mindful of what was to come next. I would tell myself over and over again what the next step was. Hense the notes made in green pen. TURN OFF THE MICS!!! is obvious and undoubtedly no professional radio panelist is writing that on their running sheet. I’m not a professional and my last panel experience wasn’t the most wonderful. I don’t mind if I literally have to spell out the steps or denote a colour to each segment of our show. One day it will become second nature.

This time around I was far happier with my paneling. Everything ran smoothly and everything that was supposed to play did. Elizaebeth even commented on the good paneling after the show. I suppose that good paneling is when you forget that their is someone turing mics on and off and bringing in the right song and the right volume. It should be seamless and none-distracting with as little dead air as possible, so to not detract from the presenters and guests.

 

The show

I was really pleased with how this show was run. I thought it was varied, interesting and that all members contributed successfully to its success. It was of-course, not without set-backs. It’s been a week since this show went to air and as Elizabeth always advices, its a good idea to listen back to the show a week or so later, as we won’t be so personally attached to it and better be able to evaluate it critically.

  • Georgie sounds excited and confident
  • Excellent and relevant banter at the start: It’s so easy to churn out the same stock-standard introduction. A comment about the weather or public transport. Our presenters presented some banter regrading the AFL Grandfinal that happened the weekend just prior. Ben’s stab at Richmond is simple and funny and the banter doesn’t drag on for too long as Georgie reveals that she didn’t know which teams were playing until two hours prior to the game starting. Then we are into your typical introduction, were the show’s content is rattled off. It sounds informal, relaxed and like it will be a cool show, with good music.
  • There is a bit of dead air between the end of the song and bringing it back to Georgie. Georgie introduced Callum from Swordcraft (medieval role-playing group)
  • Swordcraft interview: I think this was one of the most interesting interviews we’ve done. It sounded professional and its conversational manner was very Triple R. I think its success boils down to two elements. 1) The presenters are listening. Rule “can’t hit too hard”… Ben “what’s too hard?” 2) Excellent subject matter.  Callum is friendly. There is nice laughter between all those involved. Callum accepts and makes fun of the cliches that exist surrounding something like this. Ends with the questions about where they can find our more information.
  • The music: old school/ hip hop. This week we ran with more of a theme then in week’s previous.

Playlist

I know you got soul – Eric B & Rakim

Me, myself and I – De la Soul

Twistin it up – Remi ft Chris Scott

I left my wallet in El Segundo – A Tribe Called Quest

Recognise – Oscar and Martin

Fudge Pudge – Organized Konfusion

 

  • Paneling: Needs to be quicker. More seamless. A tribe called quest.
  • Lou Lou’s Loo Review: Read, scripted. Emily sounds funny, relaxed. Elizabeth made the comment that it isn’t Triple R to read from a script. Stumbles over the script. I like Georgie’s interjection “same here”. If you get my drift Ben “I don’t but carry on”.
  • Elliot Loney Interview:

    Comedian, does impersonations. I was mindful of the levels in this interview because I couldn’t predict when he would raise his voice. I had my hand over the levels, ready to fade it down if he burst into a character. It’s nice when he gets the presenters involved. Clearly talented. Difficult to prepare for an interview like this. Highlights include his Morgan Freeman impersonation. He was drinking a cup of coffee. The joker. Natural performer. Our presenters take a more passive seat in this interview, but in interviews like this, the talent has to drive the interview. The presenters have to take a back-seat to Elliot.

 

Audio Arts Comments and Grades

1. Off the Metre

  • really excellent use of sound effects
  • voices a bit to soft at times
  • the car/driving sound effects are very strong
  • great sense of place is established
  • at times difficult to understand characters/relationships
  • the bridesmaid scene very funny b/c of the layering of voices
  • I like the concept. It became clearer and more concise as the story progressed.
  • I though the start could have been stronger and I think the news report could have been ditched. Kind of jarred with the rest of the story I felt

16/20

2. 50 shades of Greeeeey

  • The Dot character was highly entertaining
  • Excellent caricature
  • Nice self-reflexivity
  • Cool sound effects
  • Script is terrific
  • Shame about the levels. sound effects too loud in parts
  • Seriously funny

17.5/20

3. The end of radio

  • Initially confused
  • Is it a retrospective of radio?
  • Felt like it was trying to do too much.
  • Pace could have been faster
  • The “vox pops” are highly engaging and the strongest part of the piece
  • I would have simplified the structure and made it all about the vox-pops
  • I can’t tell if the Claire and Blake show has been scripted or not. At times its sounds too ‘off the cuff’ and I find myself growing bored of the presenters. I think it would have been better if they were stereotypes of radio shock-jocks.
  • The interview towards the end of the piece is funny and engaging.

15/20

4. In the swim team

  • Place is established very well
  • The narrators voice is smooth and nice to listen to, but could have been slightly more emotive and layered
  • The second voice we hear sounds too much like they are reading from a script
  • The male voice is inviting and strong
  • The old, raspy female voice works so well
  • Lovely, interesting story. Works so well.
  • Water sound effects are brilliant

19/20

5. In these shoes

  • I felt this piece had some incredibly strong elements but I thought other sections could have been cut
  • Train sound effects are wonderful
  • The story read by Maddie Rebbechi is the most touching/beautiful moment in the piece. Very emotional and engaging.
  • I felt that going back to the narrator was kind of unnecessary, the piece was strong enough and perhaps didn’t need so much context. The audiences would have engaged with it none-the-less.
  • The “vox pops” were engaging and interesting
  •  I thought the description of the shoes by Bianca to be too long and it didn’t add much to the piece
  • The strongest elements were the creative stories read and the final song.

17.5/20

 

Flog FM

  • excellent establishment of place (radio station, car, how it actually sounded on radio)
  • perhaps too many references to commercial ventures (e.g. sushi sushi, Tom Waterhouse Sports Bet) may detract from the piece’s longevity
  • I was laughing the entire way through
  • I thought the script was very clever and the characters were clear
  • The story tied together really well

19/20