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Featured researches published by Sean Maher.


Studies in Australasian Cinema | 2015

Screen production enquiry: A study of five Australian doctorates

Susan Kerrigan; Leo Berkeley; Sean Maher; Michael Sergi; Alison Wotherspoon

Within Australian universities, doctoral research in screen production is growing significantly. Two recent studies have documented both the scale of this research and inconsistencies in the requirements of the degree. These institutional variations, combined with a lack of clarity around appropriate methodologies for academic research through film and television practice, create challenges for students, supervisors, examiners and the overall development of the discipline. This paper will examine five recent doctorates in screen production practice at five different Australian universities. It will look at the nature of the films made, the research questions the candidates were investigating, the new knowledge claims that were produced and the subsequent impact of the research. The various methodologies used will be given particular attention because they help define the nature of the research where film production is a primary research method.


World Review of Entrepreneurship, Management and Sustainable Development | 2018

Emergence of film industries in small countries: on the needs for an integrated cluster and branding strategy

Annalisa Brambini; Sean Maher; Jan Vang

Studies on the spatial organisation of film industries have grown steadily during the last decade. This literature has, however, neglected to pay attention to the specificities of the challenges faced by small countries aimed at building up a film industry in the context of global dominance by media conglomerates located in major audio-visual hubs. The conventional cluster and regional innovation systems-literature highlight respectively, reduced transaction costs, cluster-based learning and knowledge externalities, tax incentives and systemic effects in explaining the spatial distribution of film activities. These issues are all supply factors. We illustrate how the supply factor-based explanations need to integrate demand side factors for explaining emergence of film clusters located in small countries. Based on an original case study on the emergence of the Copenhagen film cluster, we document how the co-evolution of cluster externalities and shared branding (i.e., demand side) paved the way for its successful transformation.


Studies in Australasian Cinema | 2016

Australian feature films and distribution: Industry or cottage industry?

Sean Maher; Jon Silver; Susan Kerrigan

ABSTRACT Feature films remain critical flagships to any national film industry. Australian feature films can be highly commercial endeavours that also perform symbolic functions by embodying the national imaginary in big screen based sound and imagery. They conduct a dialogue with domestic audiences as well as showcase key aspects of Australia in the global film festival circuit. As the pre-eminent filmmaking form, feature films also serve as important launchpads for the careers of many Australian writers, directors, actors and technical crew. In the wake of over a decade of diminished share of local box office obtained by Australian feature films, Australian feature films and distribution: industry or cottage industry?, examines issues in the production sector affecting the performance of Australian feature films and some responses by the central funding and support screen agency, Screen Australia.


Studies in Australasian Cinema | 2015

Education paths for documentary distribution: DAF, ATOM and the study guides that bind them

Ruari Elkington; Sean Maher

An expanding education market targeted through ‘bridging material’ enabling cineliteracies has the potential to offer Australian producers with increased distribution opportunities, educators with targeted teaching aids and students with enhanced learning outcomes. For Australian documentary producers, the key to unlocking the potential of the education sector is engaging with its curriculum-based requirements at the earliest stages of pre-production. Two key mechanisms can lead to effective educational engagement; the established area of study guides produced in association with the Australian Teachers of Media (ATOM) and the emerging area of philanthropic funding coordinated by the Documentary Australia Foundation (DAF). DAF has acted as a key financial and cultural philanthropic bridge between individuals, foundations, corporations and the Australian documentary sector for over 14 years. DAF does not make or commission films but through management and receipt of grants and donations provides ‘expertise, information, guidance and resources to help each sector work together to achieve their goals’. The DAF application process also requires film-makers to detail their ‘Education and Outreach Strategy’ for each film with 582 films registered and 39 completed as of June 2014. These education strategies that can range from detailed to cursory efforts offer valuable insights into the Australian documentary sectors historical and current expectations of education as a receptive and dynamic audience for quality factual content. A recurring film-maker education strategy found in the DAF data is an engagement with ATOM to create a study guide for their film. This study guide then acts as a ‘bridging material’ between content and education audience. The frequency of this effort suggests these study guides enable greater educator engagement with content and increased interest and distribution of the film to educators. The paper Education paths for documentary distribution: DAF, ATOM and the study guides that bind them will address issues arising out of the changing needs of the education sector and the impact targeting ‘cineliteracy’ outcomes may have for Australian documentary distribution.


International Journal of Business and Globalisation | 2013

Policy measures for creating an integrated and brand-focused innovation system for film industries in shadow nations: an application to Australia's national film industry

Sean Maher; Annalisa Brambini; Jan Vang

Shadow nations face particular problems in constructing competitive film industries. Shadow nations refer to nations whose relative competitiveness suffers from easy product substitutability by products initiated, produced and distributed by powerful actors, such as media conglomerates located in Hollywood. The dominant literature has so far neglected the developing policy recommendations for dealing explicitly with the challenges of shadow nations. This paper aims to develop and apply a normative model for the development of film industries in shadow nations. The model integrates insights from innovation system studies and place branding. The developed model is applied to the Australian film industry as Australia represents a typical shadow nation within the film industry.


Journal of Writing in Creative Practice | 2016

Noirscapes: Using the screen to rewrite Los Angeles noir as urban historiography

Sean Maher; Susan Kerrigan


ARC Centre of Excellence for Creative Industries and Innovation; Creative Industries Faculty; Institute for Creative Industries and Innovation | 2015

Re-thinking ancillary: Australian screen content in education

Sean Maher; Ruari Elkington


AAG Annual Meeting | 2014

Emergence of Film Industries in Small Countries: On the Needs for an Integrated Cluster and Branding Strategy

Jan Vang; Annalisa Brambini; Sean Maher


Creative Industries Faculty | 2013

Policy measures for creating an integrated and brand-focused innovation system for film industries in shadow nations : an application to Australia's national film industry

Sean Maher; Annalisa Brambini; Jan Vang


Film Festival Selection and Screening | 2011

The Brisbane Line

Sean Maher

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Ruari Elkington

Queensland University of Technology

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Jon Silver

Queensland University of Technology

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