This paper challenges the orientations and assumptions underpinning policies for disadvantaged young people (DYP) in Australia. We argue that policy interventions for young people generally exhibit a binary divide, some policies fostering leadership and creative endeavours targeted on 'high-functioning' young people, especially within educational and arts milieus, while other policies, focusing on DYP, take a remedial orientation. The basis for this binary divide is, we argue, flawed social constructions of young people, constructions that pathologise or privilege behaviours, attitudes and lifestyles. The consequences for DYP are that remedial policies, designed to get and keep young people 'on track', are often ignoring deeper developmental needs. Using recent research findings from arts programmes for young people, the paper argues for a broader policy orientation, including developmental needs, to strengthen remedial policies and programmes and open the potential for pathways to resilience.
In the context of digital media convergence, Richard Harris in his recent monograph Film in the Age of Digital Distribution (2007) acknowledges the need for urgent Australian research into the future of the screen production industry when he says, "I believe that government and industry need to stand back, take a long hard look at where the industry is likely to go over the next ten to twenty years, and start asking questions about the future place of content within it" (Harris, 2007, p.61). He asks questions including 'how do we navigate this emerging media landscape?', 'how can Australian films take advantage of these opportunities and challenges?' and 'what innovative approaches are there for distribution?' As the consumer market, especially among the under 25s, becomes increasingly fragmented and divided into niche audiences (Balnaves, O'Regan and
The development of global social networking sites using Web 2.0 technologies (MySpace, Facebook, YouTube, Wikipedia, Flickr, etc.) is signalling a shift in media usage towards an environment in which the distinction between producer and consumer is less clearly defined. While audiences still demand and enjoy a quality professional product, their active personal experience of media production means that they are no longer content to remain outside the production process. This paper outlines the first part of a multi-stage research project that is monitoring responses on both sides of the divide. Through analysis of media coverage, policy reports, submissions to government and interviews with a number of senior executives in leading Australian screen agencies and industry organisations, we have identified four distinct categories of Australian film industry response to technological change and shifts in media consumption, provisionally referred to as ‘Denial’, ‘Panic’, ‘Embrace’ and ‘Co-create’. In this paper, we offer a critical examination of these responses.
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