BSBDES403: LA021272 - Develop and Extend Design Skills and Practice.  

Sydney based Author Hayley McNamara, grew up in far North Queensland, 3 hours south of Cairns. There, alongside her two brothers lived with their single mum Kim and a small dog named Flash.

Previous to her move to Sydney, New South Wales, she enjoyed her travels in New Zealand. After living on the North Island for a year and a half, she continued her traveling adventures in Europe. 
Since being back in Australia as of 2019, she has dedicated her time to her debut novel. Due for publication in 2021, she envisions that this creative work will start her career as a professional novelist.  

With a creative flare for survival-adventures stories, her main goal is to become a New York Times best-selling author in that genre. 
Also, in addition to being a novelist, Miss McNamara has aspirations of becoming a screenwriter. Her main specialty in screenwriting will be Australian productions. In addition to this, her first Australian screenplay 'The Outside,' is currently in its beginning stages. 

For the foreseeable future, Miss McNamara intends to reside in Sydney, New South Wales where she will carry out the duration of her studies. 

In her spare time, she enjoys reading the works of Yuval Noah Harari and Cassandra Clare. Also, she participates on Vocal. This platform is an open platform to all with a flair for writing. There, she writes review-type articles on unique rising YouTubers.

With high hopes for the future, this aspiring author is one to look out for. So keep an eye out for her debut novel, 'The Well Dressed Woman,' due to hit shelves later this year. 

For the story ‘The May Day Letters,’ the chosen media to best portray this storyline is a TV series. This media is perfect for capturing the attention to detail needed to portray the storyline. For this reason, the series will span out across 10 episodes. These episodes will run approximately1 hour long.

The relevant personnel to assist in the research of this project will be historians and experts. The area of expertise will be the1940’s period; especially in relation to the second World War in Scotland.

Historical fashion consultants will assist in relaying details on the dress code. It is essential that casual wear for Scottish working women and men be the primary focus.

Dialect and speech specialists will also be liaised for assistance. It is essential the correct used of Scottish grammar, slang and punctuation is included. 

Additionally, historical specialists on the radical development of the roles of women will be consulted. Insight into life of the working-class women before and during the war will be a main focus point. 

The artistic style of this feature centers on a very raw and ‘hands-on’ perspective. The aim is to bring the viewer into the heart wrenching reality of factory workers and frontline nurses. The emphasis of the style will reside on the before and after of the main characters’ relationship with each other. The viewer will perceive their rough working conditions, but also will experience their living facilities, restricted diets and commutes. 

The tone of the story will project the feelings of determination through helplessness. Set to the visual backdrop of hectic areas and workplaces, the tone will also endeavor to capture the isolation and loneliness of being in foreign environments.

The aural elements like loud machinery, explosives and aircraft will assist in creating the full submersion of the viewer. This will assist the tone by heightening the frightening circumstances and surroundings.

To gather the essential information on this feature, consultations with historians will be the main foundation. Books pertaining insight on 1940’s politics, economics and popular culture will also be acquired. Additionally, libraries with access to historical records such as letters and telegrams will be evaluated. Informational websites on famous historical landmarks and infrastructures will also be carefully researched.  

Lastly, personal visits to actual locations the story will take place in will be mandatory. This ensures all involved will experience first hand the environment and atmosphere that still remains today. 

The narrative structure is set from the points of view of the two main characters. An indirect narrative approach will be utilized in the dialogue with direct speech. Medium long shots will display the tight working conditions, while also allowing the attention to detail of the surrounding set, but keep the key focus on the main character(s).

Long panned out shots will create a sense of isolation and loneliness in scenes where the characters are to feel alone. Furthermore, extreme close ups in stressful situations will be employed. This is to give the viewer a personal feel for the character. Also, it is to demonstrate the affects the stressful situation is causing. 

Plot Summary

When War is declared in Europe in 1939, two sisters go their separate ways to help in the war effort. Veronica, the more serious and intelligent of the two, becomes a factory worker while Evangeline, who’s more care-free and artistic, becomes a front-line nurse.

Vowing to always stay in communication, the sisters send long and detailed letters to each other. However, when their lives change drastically, almost by the hour, it is hard to uphold such vow.

Through air raids, bombings and postings to other countries, their relationship is stretched to its absolute capacity.

Character Summary

Veronica Mortimer is known for her tongue in cheek attitude being the older, more serious sister. Her main aspirations are to be an intelligent and stylish business woman. Often mistaken as stubborn, Veronica describes herself as headstrong and witty. She idolizes the femme fatale characters in films. Her strong, loving bond with Evangeline is often eclipsed when Evangeline outshines her for simply having a more likable personality. 

Evangeline Mortimer is the more playful, laid back of the sisters. She has talent in music and dancing. Though she worked in domestic service before the war, she was dubbed ‘the smart one,’ in the family. This was due to her proficiency in mathematics. Being more confident and careless, she comes across sometimes as being reckless. Adores her older sister for her attitude and style thinking that Veronica is more classic and witty. 

Historical Summary

In 1939, more than 10 million people spanning across 30 countries were a part of the beginning of what would become the deadliest conflict in modern history. As a result, the occupations of civilians changed, especially the typical gender roles of women. Women became recruited for production of weaponry and machinery such as mechanics, engineers and shipyard and factory labors often leaving their home towns to take on such roles.

Other jobs included nursing, WRBS volunteers, heavy vehicle drivers, air raid wardens and plumbers.

The story’s complexity is defined by the portrayal of the internal struggles the main characters face. This takes its primary toll on their sisterly bond throughout the consequences of war. 

This complexity is perfect for viewers searching for a story that goes beyond the typical depiction of WW2 and centers on the trials and tribulations of working women.     

The seven plot points that this question is referring to are:
1. Rags to riches;

2. Overcoming the monster; 

3. The quest;

4. Voyage and return

5. Comedy, 

6. Tragedy 

7. Rebirth.
In relation to a story that I have written, the main plot point that I make great use of is Quest. I feel this plot point is most suitable for my story as it is set to the theme of a survival/ adventure novel. In Addition to this, I also have written previous works including Voyage and return as well as The Quest. 
In future, I hope to utilize Tragedy and Rebirth into a potential stories plot.  

 2) Think of a story you’d like to write involving a field you’re unfamiliar with (e.g. quantum physicist) and do sufficient Internet research to gather enough information to write a 50w plot summary.
A story I’d like to write involving a field I’m unfamiliar with is, while I am a historical fiction enthusiast, ancient African. While a lot of focus is put on Ancient Egypt, the majority of African history involving the rest of the continent is largely unknown to me.
Proposed Story Summary
West Africa, 700 B.C. The goddess Oshun is the river goddess/ deity of the Yoruban people. Though a widely known goddess she, like many other gods and goddesses, must serve her time on this earth as a mortal.
This story endeavors to tell the story of such a time as she walks the path of a mortal, bound by human consequences. 

 3) List five unforgettable characters from any type of story you’ve experienced and write one sentence on what it is that make them memorable.
The first unforgettable character that comes to mind is Malva, Princess of Galnicia from the story The Princess and The Captain. This story came to me when I was 13 and gave me my first taste for adventure and survival stories. This character’s strong drive for freedom and adventure was something I’d never experienced before and hooked me instantly. There were multiple sides to this story that made it more than a typical, 'princess escaping an arranged marriage,' plot. 

The second amazing character is Veronica from A Brief History of Montmaray. Veronica, though not the main character, resonated to me most as she was such an advanced character for her time. While other characters were worrying about their debuts in society and so on, she was more focused on her works as a published author and her education. She was outspoken, intellectual and even learnt how a drive a car in Victorian era England.

The third character is James, ‘Jem’ Carstairs from The Infernal devices series. Jem is a unique character for his compelling backstory involving the gruesome murder of his parents. In addition to that, he lives with a chronic disease that is slowly killing him, but nevertheless, he still perseveres in helping his friends and trying to be the best student he can be. Though only 16, his philosophies and outlook on life and death are captivating. 

The fourth character is Lisbeth Salander from The Girl with the Dragon Tattoo. This book was a roller coaster ride from start to finish, but I nevertheless enjoyed this character. She was dark and gritty. Coming from an abusive family with a broken past, her intellect was unmatched even though her choices and behavior got her in trouble. I liked the fact that she was dangerous to be around, but that she used that to her advantage.

The fifth and final unforgettable character is Suzie Salmon from the Lovely Bones. This story was dark. It was centered around the rape and murder of a 15-year-old girl and her experiences in the afterlife. I read this book when I too, was a teenager. Every young girl fears this outcome on their young life and through Suzie's story I experienced it.
The innocent way in which Suzie was portrayed really touched me because she was so bone alike to myself at that age. 

The story Haven’t They Grown, definitely left me most surprised by the stories final conclusion. The story begins with a woman finding her long lost friend after 15 years. This reunion however, is eclipsed in horror at her confusion of realizing that her two children, a boy and a girl haven’t grown in 15 years. They have the same names and even wear the same clothes. 
In conclusion, at the end of the book, the main character finds the death certificate of one of the children. Now, towards the middle of the story, you gather that the friend isn't mentally stable and that there's a whole bigger picture going on.
That bigger picture being that her original child of 15 years ago, is alive and grown up and living with her father. 
In conclusion, her friend basically suffered a mental breakdown after the accidental death of one her previous children (her son). In her grief and refusing to live a shattered life, she cloned her two kids. She did this so that she could basically re-live her life as if nothing had happened in the first place. 
This extended even to her nanny and her new husband being in on the whole fake façade.    

Script Writing Capability Assessment Pieces

PRESENTER:

So today on the show, we welcome to the broadcast a Queensland based musical theatre performer by the name of Shari Lazzaroni. Shari welcome to the Studio, how are you today?

SHARI:

Thank you so much for having me, yeah really good.

PRESENTER:

Wonderful! Great to have you on the show. So, Shari I understand you’ve starred in a vast array of productions such as Annie The Musical, I Can’t Stand Lorraine and Strictly Ballroom all by the age of 22, which are some outstanding achievements by the way. I myself have seen your performance for ‘I Can’t stand Lorraine,’ it was great, it was funny. So starting firstly to kick off this interview with your background, where did all this begin? Where did you grow up?

SHARI:

I grew up in Townsville which is in North Queensland. It’s a fairly small city and I actually only started… I tried out for my first musical when I was… probably I think I was 18 at the time. So just after I graduated from High School. I just decided I wanted to do it because in High school I was way too shy and I had crippling stage freight. And then I was like, you know what, this is always what I’ve wanted to do, so let’s give it a go and audition.

PRESENTER:

Wow great. Ok so, when you were younger who or what was your biggest influenced for perusing musical theatre? What brough you to it so to speak?

SHARI:

I think it was just a case of I love dancing, I love singing and I love acting so when I sort of… found musical theatre it was like, great! I get to do all these things all at the same time and use a little bit of all those skills which is what I loved about it.

PRESENTER:

Ok so, I understand as well that you were 10 when you got your first acting job in an advertisement for radio. Was this the age you realised you wanted to pursue a show business type of career?

SHARI:

I think probably even younger, maybe even more like three or four. I’d always been singing around the house with a microphone and karaoke machine and I just enjoyed doing it so much.

PRESENTER:

Yeah those are some fun memories. I think even I myself got a karaoke machine back in the good old days. They were a huge staple through the early 2000’s I believe.

So, a little bit more on your home life. How would you describe your home life growing up in terms of, do you come from a blue-collar working family for example, or a more corporate background?

SHARI:

I’m sort of split. My mum is a research scientist, she has a pretty cool job. It’s a bit different from all the regular mums out there. My dad, essentially is an accountant so…

PRESENTER:

Ok

SHARI:

…nothing too exciting there. Nothing, really musical about them but yeah, I guess mum put me in dancing and singing sort of, a bit younger than pre-school age and I just loved it.

Music fade down

PRESENTER:

Wow, great ok. So, with your home life now, with your busy schedule, do you have any selfcare or mental health habits to keep up with being a part of such a high-demand industry? 

SHARI:

I think the most important thing to do is really look after yourself, particularly just before you’re about to perform. Like at the moment we’re 2 weeks out from a show and its usually the time everyone comes down with the flu and starting to feel pretty unwell. So, you know, taking your vitamins, trying to eat as good as you can, trying to get as much sleep as you can and yeah, just generally looking after yourself.

PRESENTER:

Yeah of course, very, very important. So, what would you say the most important factor is in balancing your home life? Like going out with family and friends, taking holidays, exercising, that type of thing?

SHARI:

I think the solution I had for that was to actually involve my partner in the thing that I was doing. So, getting him involved behind the scenes in crew and getting him to help out on jobs so that we could actually spend time together while I was out rehearsing. So, it’s kind of the only way to do It really.   

PRESENTER:

Yeah that’s a great idea though, that’s really innovative. So, with your hometown, I’m interested to know what are the opportunities like at the moment, musical theatre wise?

SHARI:

We have 2 musical theatre companies in Townsville that are operating and they tend to do two major musicals each per year. So, there’s four opportunities per year plus the smaller cabaret shows that they do in between. So, there’s plenty of opportunities you know, some musicals will speak to you more and you’ll be really keen for them and then others not so much and you won’t try out for that one. But yeah, there’s a fair bit going on and it’s getting bigger.

PRESENTER:

That’s great. In the busy world of musical theatre preforming, how do you mentally prepare for a show?

SHARI:

Music. Just pumping some beats, getting ready with all the you know, the girls in the dressing room and just having a laugh, having some fun and helping each other out. We obvious do a vocal warm up, a dance warm up and you know, as you’re hearing the crowd come in and hearing them talk and the noise you get really pumps you up and gets you really excited that there’s actually people out there to see you…

PRESENTER:

Yeah, creates that nice atmosphere to get it all going.

SHARI:

Yeah.

PRESENTER:

And in terms of the field at the moment, is it competitive?

SHARI:

Incredibly. Especially for females because we do have so much talent at the moment, particularly young women. Yeah, you’ve kind of got to have that dancing and singing.

PRESENTER:

Yeah, you’ve got to be a triple threat so to speak.

SHARI:

Yeah, you’ve got to have all those things. And even then, it’s tricky because it can come down to how someone looks or you know, potentially who you know or what the vision is for that show.

PRESENTER:

Ok yeah, and in terms of the casting process I’m very curious to know, as I myself I’m not too familiar with the process. So, what is that process like?

SHARI:

So basically, once you get word that there will be an announcement that a particular musical is being performed by a company they will release an audition pack and you basically just email through with the character or characters that you’re interested in auditioning for and then they send you the pack with the song and some dialogue and you learn that as well as the call back material as well if you need it. You’ll learn it, usually you’ll have a couple of weeks, sometimes I’ve had only a couple of days which is fairly common. Then you’ll turn up to about a panel with the smallest being three but sometimes there will be 10 people in the room is just depends.

PRESENTER:

Ok, yeah.

SHARI:

And yeah, and then you just go from there.

PRESENTER:

Ok so, is it more commonly group auditions or is it more commonly one on one auditions?

SHARI:

I have always had solo auditions. That’s been my experience. I know that some of the really big shows, they will do group auditions if they’ve got you know, hundreds of people trying out and they do it with children quite often. But with adults it tends to be a solo audition. So just you singing, just you acting except for dance of course, which is usually small groups. 

PRESENTER:

Ok wow, interesting. So, at the moment are you represented by an agency? 

SHARI:

No not currently. No.

PRESENTER:

Well there’s lots of room for that in the future should you ever choose to do that.

SHARI:
Yeah exactly right. And just see where it takes me.

PRESENTER:

So, I’m going to throw in a moderately deep question now, if you could go back in time to the beginning of your career and say anything to your younger self, what would that be?

SHARI:

I would say just don’t be scared to put yourself out there and take those opportunities. Like if I’d started this when I was younger, I’d potentially could’ve been doing all these years something that I loved so much and I would’ve had way more experience. Yeah there was so many missed opportunities and fun really, that I didn’t take because I was scared of judgement and scared that I wasn’t good enough or stage fright. Now that I’ve overcome it, I just can’t get enough of it.

PRESENTER:

Wow great. I’m curious about in between/ gigs/ jobs or castings in the stretches where you don’t have performing work lined up. What keeps you motivated?

SHARI:

I think trying to keep up with your singing and practice is a really good one and trying to partake in dancing and other forms or particularly trying to join in with smaller shows so as you mentioned, ‘I Can’t Stand Lorraine,’ was an original performance written up a local director and that was something I usually wouldn’t go for and it challenged me in so many different ways in that role. So yeah, just trying to get involved in smaller things that first might not seem like your thing but they turn out to be pretty fun.

PRESENTER:

Of course, wonderful. So, in terms of your ultimate goals for the foreseeable future, the light at the end of the rainbow so to speak, what’s the one goal you want to achieve preforming wise?

SHARI:

For me, I think it would be probably be being cast in potentially a fairly lead role that has quite a number of solos in one of our large-scale shows.

PRESENTER:

Performing somewhere like Sydney maybe? (laughs)

SHARI:

Yeah sure. Anything professional or something where I’m sort of the more headliner of the show.

PRESENTER:

Yeah, have your name in lights so to speak. The golden showbiz moment. So, in five years’ time, where do you see yourself on the whole? Work, personal life, the lot. What’s the ultimate goal for five years down the road?

SHARI:

That’s a good question, I think in five years I’d be hoping to start a family although we have so many incredible mums that still manage to still participate in theatre a lot. They’re very involved, they bring their kids. I know people that have even done in pregnant or very, very new born babies. They’re pretty amazing being able to do that so…

PRESENTER:

That’s very inspiring isn’t it?

SAHRI:

Yeah definitely.

PRESENTER:

So, what makes or potentially will make you feel successful as a musical theatre performer in this tough industry?

SHARI:

Good question. I think it maybe comes back to having that lead role potentially or being able to show off a character that’s deep and that you can make your own and being able to really show off your voice by yourself rather than always on a stage full of a couple of people I think that would be the most success for me.

PRESENTER:

Wow that’s a great answer. And so, is there anything else in the near future that you plan on achieving, I understand you also attend JCU University at the moment, what are you studying?

SHARI:

Studying law at the moment. Kind of one of those things that’s it’s more my realistic kind of aspirations. You know, theatre and performing is something that I love and that I hope I can pursue more and more, but you know, it’s one of those things that I have as back up If I need it.

PRESENTER:

Yeah that’s wonderful, because I suppose with preforming, you can’t always get steady work which is just unfortunately the hard truth really of show biz life.

Music fade down

End of Segment four.

Music fade up. 

Voice Grab: You’re listening to 98.8 Station Central Live Wire Sydney.

PRESENTER:

So, I understand, you’re also an ex-professional level Ballroom dancer. Which is amazing! Do you still do any Ballroom dancing for fun or on the side?

SHARI:

I like to call myself a bit of a retired ballroom dancer. It’s such a demanding industry of itself. You really need to commit all of your time and energy to the sport and I sort of in my late teens decided that I was ready to finish the competition at least for now. I really hope that one day I can get back into to it when I’m ready to recommit myself to it again.

PRESENTER:

Of course. You could even maybe open up a dance studio even if you wanted to in the future maybe?

SHARI:

Yeah, maybe. That would be cool.

PRESENTER:

So, an interesting fact I found out about you in relation to your dance experience was that you choreographed a dance sequence on the popular reality TV show, Married At First Sight in 2018. That’s incredible for starters, so tell me a bit about that.

SHARI:

It was honestly just such a random experience. I was living at the time on Magnetic island which is an island just off the coast of Townsville and I used to teach a handful of older people ballroom dance for fun and I got a call from the owner of the hall when she said she’d been approached by the channel. She told me she had no ballroom experience and asked me if I’d be willing to do it and there was such little notice, really only less than a week when they called me and told me, ‘ok this is what we’re looking for can you do it,’ and I said ‘yeah alright.’ I just couldn’t turn down an opportunity like that. Not one that was too cool and too unique.

PRESENTER:

Wow so, apart from dancing, do you have any other hobbies or interests at the moment that you partake in?

SHARI:

Honestly musical theatre just takes up all my spare time that I do have. Pretty much, no not really.

PRESENTER:

Oh, nothing wrong with that at all. So, if you couldn’t pursue musical theatre as your creative outlet what would you pursue?

SHARI:

I think I’d probably still be ballroom dancing or some form of dancing or even teaching dancing. I think the thing I was missing out on when I was dancing was that singing element and acting too, to an extent. I wasn’t getting that opportunity to sing and that’s why I went into the musical theatre realm but now I’d probably say I’d still be dancing. Quite possibly something movement or voice related.

PRESENTER:

What’s your, with your focusses in life at the moment - I understand you are a newlywed, congratulations by the way. So, is your focus predominantly on married life for the moment?

SHARI:

Thank you. I don’t think anything’s necessarily changed. I think my husband is really supportive of me pursuing the arts and he’s really actively involved in it to be able to spend time with me still and he’s super supportive so I don’t think it’s really changed anything and yeah, he’s great.

PRESENTER:

Wonderful. So, in terms of the driving force of your career, what about musical theatre are you most passionate about?

SHARI:

I think when you get a really, really good song. Telling a story through song is something that can either be so incredible or so awful to work with really.  I think trying to expose new people or trying to convert new people that typically hate musical theatre and having them come to a show and going, ‘you know that actually that was kind of awesome,’ that’s the biggest kick I get out of it for me.

PRESENTER:

Yeah because it is an amazing experience. I have to say like going to see a play, especially if it’s a play that can make you laugh or a play that can make you cry, it takes you on a journey nonetheless really.

SHARI:

Completely. Like when I watch theatre, I just never want it to end. I just get so immersed in it knowing the effort that the performers go through and everyone behind the scenes.

PRESENTER:

Yeah, it just a different experience then watching a movie or a TV show I find.

SHARI:

Completely. You get so much more attachment to the character and you feel them so much more and you just get to follow their journey.

PRESENTER:

Amazing. So, if you had to do something for free for the rest of your life, you absolutely were forced to, what would that be and why?

SHARI:

Definitely singing for sure. I am the sort of person that sings to my emotions whenever I’m sad or whatever. I particularly love to sing to work through that. It’s something I do for free all the time anyway so wouldn’t be a whole lot different.

PRESENTER:

So as hectic as I’m sure your schedule is at the moment, when you do have free time, what do you do?

SHARI:

I love to just chill out. I love to just get into some comfy PJ’s and watch some Netflix shows or something.

PRESENTER:

That is the life right there. Couldn’t agree more.

SHARI:

I love my downtime more than anything and I also love to snuggle my puppies.

PRESENTER:

That is great. I’d be happy with that for the rest of my life too.

SHARI:

Yeah if only someone could pay me to do that.

PRESENTER:

Oh, I would volunteer as tribute happily to be paid to do that! Well that nearly concludes our interview for today Shari, but I must throw in a bonus question for the road. So here it goes: Are you a cat or a dog person?

SHARI:

Dogs for sure!

PRESENTER:

Yeah, dogs?

SHARI:

Yep, for sure.

PRESENTER:

I completely agree with that, I love dogs.

SHARI:

I still love my cat though…

PRESENTER:

Well Shari, thank you very much for being here with us on the show today, very much enjoyed having a chat with you.

SHARI:

You’re welcome thanks so much for having me.

PRESENTER:

 If you enjoyed Shari on the show with us today as much as I have, be sure to catch her in her next stage production of Kinky Boots, preforming at the Townsville Civic Theatre on the 25th of March to the 4th of April. Get your tickets now through ticketek.com before they run out or on the Townsville Civic Theatre website as well, I will definitely be there and I hope to see you there too. Thank you for tuning in, I’m Hayley Terraine live with you here and up next we have the latest news and weather.

Copyright Capability Assessment Pieces

Task 1

The first steps in distributing my content to my target audience would be to establish the correct distribution proceedings within copyright guidelines. ScreenRights Australia, a non-profit membership-based organization facilitates just that with access to content across a wide range of educational topics. This organization would be a good first approach in negotiating a distribution agreement. It would be in my best interests to establish a meeting with them in regards to my content and their viewers with specific stress on weather my content (targeted at school aged viewers) would reach younger audiences. This is essential as its viewers interacts with screen and media content based off of subscriptions.

I would negotiate further to ensure my short film would be promptly advertised accordingly. It is ideal to do this before its debut so that interest would peek before the launch date. This in turn would hopefully draw more viewers to watch the short film on its release date. Also, within the negotiation deal would be all applicable information about myself and other collaborators. This is vital so viewers who are interested in the fine print of the work can see who the film’s creators are should this spark their interest.

The essential copyright that I wish to apply to this creative work is ensuring I own the complete ownership of my content. Use of my work is technically ‘on loan’ (under contract/ a signed copyright compliance policy), to any streaming service. Reproduction of my film is prohibited in video or any other digital format as well as downloading. Furthermore, I must always be notified if the film is to be played and/or viewed in public, (eg. TV or internet) should any organization with permission, choose to do so.  

The relevant legislation to further reinstate my copyright claim on my own material is, ‘The Copyright act’ (est. 1968). Under this act, subject matter ‘other than works’ like films, sound recordings, broadcasts and published editions, are protected under Australian law. 

After extensive research, the organizations I would contact for information in regards to intellectual property and moral rights is The Arts Law Centre and IP Australia. These reputable organizations can assist in my understandings of the below points.

The first point I feel I need to broaden my knowledge on, is the respectful and moral rights surrounding indigenous collaborations on creative works. If ever I choose to take or create a project on or about indigenous sacred land, or involving an indigenous cultural reference or person, I want to be well informed about what I can and can’t do and so on. 

The second point is ownership. In relation to ownership in its entirety, I’d like to broaden my understand on ‘who exactly can own what’ when it comes to certain IP situations. An example of this is what happens when the creator is under the age of 18. This would greatly assist me in the future with projects, even if now I feel I have an understanding of this subject matter. I feel, however, that there is an opportunity still to learn where I stand, no matter who I collaborate with.

The third point is I wish to learn more about the different statutory licenses you can obtain. This is in relation to artistic works not limited to films. For example, photos, sounds, voice over’s and broadcasts for educational and academic purposes. My understanding stands currently at short film statutory licenses and the works that that would involve.

For the ongoing use and distribution of my short film, licensing and copyright agreements are essential to my continued career in the screen and media industry. Establishing first and foremost that I, (and/or the co-collaborators) own the rights to any and all material affiliated with me is fundamental for receiving recognition/ artistic credit. This is in place so that should anyone reference, use or sample it in future the royalties come back to me. Also, for future collaborations with other content creators who may want to reference my ongoing works.  

Furthermore, receiving the rightful royalties/ revenue from my work will not only assist me in continuing to sustain myself financially, but also to assist my ongoing works in future projects.

For this insightful unit on copyright, my knowledge and understanding begins about my experience learning about different elements to copyright that I’d never previously considered. An example of this is moral rights. My understanding of this aspect of copyright before opening this unit was minimal. Rightfully respecting cultural elements to material for fair use, sampling, or coordinating into my own work, is an area I wish to explore further when I co-collaborate with indigenous content creators. 

Furthermore, as a writer, I find myself getting excited over writing new projects and ideas without giving, if I’m honest, much thought or consideration to the copyright process and possible detours that may surround a possible successful project. This unit opened up my awareness to the process of copyright and just how deep, ‘that rabbit hole can go,’ so to speak. This process will most definitely be of most importance to any work I undertake in the screen and media industry, so ensuring my understanding of copyright ‘in’s and out’s’ is of most importance.

Continuing on, another good example is copyright infringements. I was aware of this aspect previously, however the, ‘what happens next?’ aspect of when an infringement is made was a grey area for me. To elaborate further, the area I found most intriguing was securing copyright and moral rights claims through credible sources. It had honestly never occurred to me the need to 100% check the source I’m obtaining the rights to use other creators work from, as some sources may allow me to use said works, but they themselves might not even have that right to begin with. This only falls back onto the creator for not source checking.

Next, I was enthralled in learning and discovering about commercially showing DVDs and YouTube videos for educational purposes in the classroom. It had not been previously brought to my attention that when you show DVD media for entertainment purposes and members of the public are present, legally, you would be required to obtain a ‘non-theatrical exhibition license.’ Screening such media like a DVD to the public hired through a video store is in breach of license. This made me wonder about how many other licenses are needed for other public viewings of other entertainment material, like for example paintings and music.

As a final element to this assessment, highlight 2 organizations that will inform your ongoing work as a Screen and Media practitioner in the industry, that are relevant to copyright, moral rights or intellectual property.

The first organizations I would console for information on relevant copyright, moral rights and intellectual property would be Buisness.gov.au. This website is a government run and registered information source that has many copyright related pages and links updated frequently to keep updated on changes to copyright in general from within Australia and around the world. From information about registering your trademark for either yourself or a business, managing and handling intellectual property overseas, to a simple and quick explanations on any copyright related quandaries you have. This website, in future, will surely be go-to when enquiring about any news, updates of changes in copyright laws and proceedings I myself am not familiar with.

The second organization is The Arts Law Centre of Australia. This organization is a central information hub with information sheets, current news, legal samples catered for artists and art organization support forums. From educational workshops and webinars, to advocacy for artists in indigenous communities as well as legal advice, The Arts Centre is a great immersive learning platform on the matter as well as a plethora of other important related information and support. I was amazed at the seemingly never-ending links and tabs about all the information they offer and provide (albeit somewhat postponed due to Covid-19) in relation to myself and others. I imagine no matter what aspect of the screen and media industry I partake in; this information center will be a strong point of call for any and all related information on the matter.

My first choice, Buisness.gov.au, I found to be a more straight-forward approach to IP and copyright information being a government supported website. In relation to moral rights and intellectual property, the available option to call a hotline that links you to a business expert on the matter, who not only will assist you online, but also assist you with face to face drop in appointments, was the first readily available option on getting support and advice on the related matter which I greatly appreciated. This organisation hosts many opportunities to participate in workshops and webinars about related business subjects that were being suggested, as well as the news bulletins displayed at the bottom of the webpages with relating business articles for businesses and organizations taken from credible sources. All in all, it’s a trusted source, firstly being from the government, and secondly for its encouragement to call and talk to experts about your quandaries.

For my second organization, The Arts Law Centre, by my understanding, this is more of a community based non-profit and independent organization with its aim focused on providing free or low cost advise, education and resources to all artists across a wide variety of creative arts. In relation to Intellectual property and moral rights, this organization provides focused legal and business support to those artists seeking assistance. This support is in addition, but not limited to copyright, defamation, contracts, indigenous culture and many more important legal topics of that nature.

Conducting Research Capability Assessment 

Activity 1:

The main source of information that will help Tony, the stage play writer, in researching this issue is to use primary research tactics. This will allow for the focus of the research to be about gathering first hand accounts of experiences. These first hand accounts will be carried out at detention centers via conducting interviews, focus groups and/ or visits to onsite locations. This will give for some in-depth first-hand accounts of the subject matter and the data collected can be more precise for the sake of realism.

Also, secondary research tactics will be incorporated to gather the statistics about the number of asylum seekers currently on asylum visas in Australia.

To assist Jill in her writing about the middle East, Tony would start gathering his information by firstly reading relevant news reports and published papers to gain an understanding of where the subject matter currently stands. Next, he would conduct phone interviews with as many experts as would be willing to speak with him on the situation and asking open ended questions to gain as much information as possible.

The information sources Tony would use to assist Jill in her writing would be, firstly, literature searches, for reviewing all readily available materials to familiarize himself as much as possible on the topic. Next, checking official government websites with updated information pertaining to the ongoing issues in the middle East. Lastly, gathering first-hand accounts from experts or current/ ex-asylum seekers that are either actively residing in the middle East (or have been recently) in regards to the subject matter. Also, as a side reference, Tony could contact journalists who have covered stories onsite in the middle East as well as read their articles on their experience/ findings.

My assessment on the reliability of these sources in terms of relevancy pertaining to the issue are ‘mostly relevant’. Sources like the updated government websites, experts on the issue and ex-asylum seekers from the middle East will be more relevant in terms of their information than published material from, say, a year ago. This material, while still being relevant to some degree, but will not exceed the sources listed above in terms of relevancy.

In terms of currency, these sources are still current to the issue if the issue doesn’t progress into either a negative or positive circumstance. If the situation about asylum seekers was to drastically change over night then Tony would have to change his sources to make the information more current.

Finally, the validity of these sources will be checked by comparing these sources to others (e.g. universities with credibility, other academic articles, books) to ensure no opposing information discredits the sources and is backed professionally.

Question 1: From the very beginning of your term as a councilman, what new growths and developments implemented during your term are you most proud of? (Open)

Question 2: What do you personally view as your greatest achievement during your term? (open)

Question 3: When you stepped down as councilmen, what was the hardest aspect to let go of? (open) 

Question 4: You’re still extremely active in our community, will you continue to participate publicly in the region for years to come? (close)

The trade-off between information yield and cost in regards to this situation is that in order to get the right, accurate and necessary data points more time and a bigger budget is required. To gather information within that small time frame and on a shoe string budget wouldn’t be accurate and thus provide with misleading data and incorrect presentation of information.

The limitations to the research of the closure of the theatre are that the budget and timeframe are too low for accurate data collection. The quality of the data is poor due to the subject group chosen for the survey. This particular group perhaps will only rent the theatre for a short period of time and therefor don’t rely solely on its resources unlike another, more heavily involved group for example, and thus also effects the accuracy of the data.

The relevance of the data is affected because, let’s say over the span of a year, different members and groups of the community would need the theatre for different events, like school plays, community shows and charity fundraisers. Because this researcher has chosen to pick a group from one particular point of the year, the data is missing vital information from other groups who maybe use the theatre every year, a few times a year for open and closed events instead just a once off.

The researcher, if he truly cared about the accuracy and point of his research should ask for more time and a bigger budget for data collection and explain its importance in relation to the theatre and the community.

Sketch two rough drafts of a design logo with the theme of World Hunger. The slogan is 'Help Children Hungry For More.' 
After you've finished the sketches, then design logos for both design's in Adobe PhotoShop.