Thesis (PhD)--Macquarie University, Faculty of Arts, Dept. of Media, Music, Communication & Cultural Studies, 2012.
Bibliography: p. 211-275.
Introduction : crossovers and narratives of birth and death -- Births, deaths and marriages : crossovers and the marking of periods of crisis -- Overcoming the tyranny of distance : a historical cycle of popular music and media border crossings in Australia -- Music video programming and the curious case of the enduring Australian market -- The resurgence of television music quiz programs in Australia -- Conclusion : surviving the next round of births, deaths and crossover.
This thesis explores the relationship between popular music and media during times of industrial and cultural crisis. I show that these periods of change are marked by narratives of 'birth' and 'death', and that the interactions between music and media during these turbulent times are vital in overcoming any proposed threat, and ultimately help to provide innovation. I develop the term 'crossover' as a way to describe this process of cross industry and cross cultural pollination. I offer examples of popular music and media crossover (both as a noun and a verb) as a way to explore representations and assertions of national identity locally (within Australia, to Australian audiences), but also as a way of exploring how music and media rely on each other within an increasingly globalised arts marketplace generally. -- The thesis begins with a broad historical analysis of music/media crossover, then narrows to explore the Australian experience. I show that the Australian market remains unique and that music/media crossovers have historically engaged audiences and artists here during periods of change (often using tactics that are markedly different to what has been employed internationally). I then explore the current period of change, demonstrating how more contemporary crossovers have developed and been sustained. Specifically, I demonstrate the continued success of music video programming on Australian free to air television, and the recent return of televised music quiz programs on public service broadcasters. The focus on the Australian market provides an important counterpoint to internationally dominant narratives of change such as those from the United States and United Kingdom, showing that crossovers are formed to meet the distinct needs of local markets rather than as part of a more generalised international convergence of content and industries.