Mark Evans

Regulating the Emergent: Cyberporn and the Traditional Media

This article examines the manifestation of moral panic around pornography on the Internet. It seeks to detail the panic as it unfolded through the traditional media, comparing and contrasting that to panic on the Internet itself. Through primary research the paper reveals the extent to which pornography is readily available on the Internet, and who can gain access to it. The paper concludes by investigating the repercussions for social policy in Australia as a direct result of cyberporn panic.

Popular Music Education

Teaching popular music in higher education is multidimensional. This chapter considers how best to train students for sustainable career trajectories within the new music industries. To date, business education, particularly in tertiary settings, has tended to be treated in isolation from the ‘music’ component. This chapter will show how contemporary music education needs to reflect the convergence between the artist and ‘business’, and address the management of expectations. Multiple creativities underpin the integrated model for popular music education presented in this chapter. The relevance of artistry, individuality and entrepreneurship to music education is discussed. The chapter concludes with the ways in which education can address and prepare popular music students for the realities of practice that they may encounter.

Education and the New Convergent Journalist

Evans explores the relation between education and the new convergent journalist. The rapid emergence of a global, converged media environment provides the opportunity to explore innovative pedagogies, collaborations, and professional outcomes for journalism graduates. Evans advocates a university curriculum built on the premise that new journalism is global, connected, networked, ethical, and independent.

Hearing loss: theoretical absence and visual bullying

The origins of Anglophone cultural theory in the mid-twentieth century were predominantly scopocentric, partly because of its epistemological history, and for the ncognate reason that visual tropes are so deeply embedded in the English language. As this scopocentricity comprehensively colonised cultural research, studies of nonvisual practices and texts were both marginalised and deformed. The discipline of film studies was dominated by attention to visual theoretical models, centred for nexample on “the gaze”. Studies of film sound have burgeoned in recent times, but often have been hobbled by inappropriately scopic theoretical models, or they have neschewed these models by withdrawing into more purely empirical approaches, such as genre studies or atomised “case studies”. While disclosing what E.P. Thompson called “the poverty of theory”, such studies have often found themselves in a conceptual no-man’s land. Without proposing a return to theoretical “master narratives” which compromise the integrity of the text, we argue that studies of film nsound should build on the work of scholars like Philip Tagg to develop further theoretical modelling based on the specificity of sound and its deployment in film.