Professional Documents
Culture Documents
Chapter One
Media Policy
cultural studies. This debate raised a series of issues that are critical to media and
approaches to state power, and the need for a comparative and historical
overcome some of the problems in media studies and media policy studies that
have arisen out of elitist, structuralist Marxist and cultural studies methodologies.
policy, and the bases for political agency arising from the relationship between
21
cultural policy goals, and political dominance of broadcasting policy. At the same
time, however, this period saw the emergence of a linkage between cultural
campaigns for media policy reform that gained momentum in the 1970s.
regulatory agencies; the expectation that the high profits of broadcast networks
Australian drama production and children’s programming; and demands that local
One of the most significant debates in Australian cultural studies in the 1990s was
the cultural policy debate. Tony Bennett, one of the leading protagonists in the
debate, argued that culture and cultural practices should be seen as ‘intrinsically
397). Bennett proposes that culture is best thought of as ‘a historically specific set
and conduct of extended populations are targeted for transformation - in part via
the extension through the social body of the forms, techniques, and regimens of
aesthetic and intellectual culture’ (Bennett 1992c: 26). For Bennett, this
populations.
cultural institutions were threefold. First, it would shift the emphasis of histories
of culture away from the ways in which intellectuals and critics interpreted
23
(eg. Hunter 1988a, Hunter et. al. 1991; Hunter 1994, Bennett 1995; Meredyth
1997; Meredyth 1998). Second, it would move cultural policy from being an
constitution of culture’ (Bennett 1992d: 397). Third, it would require critical and
the actual organisation of the political, institutional and policy fields it must
agencies and organisations with the capacity to do so’ (Bennett 1989: 11).
argued that cultural policy studies provided the possibility for research that
incorporated insights from the social sciences, such as politics and policy studies,
into how cultural policy is made, as well as expanding the scope for cultural
1992b: 535). Cunningham maintained that this turn from radical oppositional
current issues, but would provide the potential for a more dynamic engagement on
24
the part of cultural intellectuals with the political sphere, particularly through a
cultural policy theorists, or what Frankel terms the ‘cultural technocrats’, had
1992: 88, 270). In a similar vein, Bronwen Levy accused cultural policy studies of
governments,’ and being unable to deal with conflict, contradiction or the limits of
554). For Levy, it was essential that cultural studies retain criticism as its central
function, and that it project its political aim ‘beyond the limits of what appears
Both Frankel and Levy wished to retain criticism as the central function of
intellectual practice, but lacked a clear analysis of what political forces such an
25
intellectual practice could be articulated to. Both seemed to favour the idea that
the critical intellectual should operate within what Terry Eagleton (1984) termed a
movements. Such a counter-public sphere would enable a ‘shift [of] the role of
readership [that is] institutionalised rather than amorphous, able to receive and
interpret such work in a collective context and to ponder its consequences for
pragmatic one: the 1990s were marked in Australia, as in many other countries
since the demise of the Soviet Union and Eastern European communism in 1989-
90, by the virtual disappearance of what Peter Beilharz (1994) termed a ‘left
public sphere’ of political, social and cultural organisations, that had historically
has been that they frequently fail to link advocacy of cultural reforms on behalf of
particular social groups to political practices that can change the conduct of
institutional context.
the porosity of boundaries between state organisations and those of civil society.
Public spheres ... are brought into being not merely outside of and in
Kelly 1984) is, at least in the Australian context, ‘a creation of government policy,
27
Australia had far less to do with demands ‘from below’ for autonomous forms of
funding regimes since the Whitlam Labor government of the early 1970s. Rather
than marking a retreat into pragmatism, the engagement with cultural policy by
community arts activists provided a clearer basis for the articulation of intellectual
policy participants. He claimed that such an approach both unduly narrowed the
‘horizon of the thinkable’ (O’Regan 1992c: 420). In doing so, O’Regan argued
that a concern with cultural policy can serve a number of purposes, and different
central to the cultural policy studies ‘turn’. The outcome, for O’Regan, was an
cogent one, but could be seen to possess two related limitations. The first,
addressed above, is the claim that much of cultural studies and cultural criticism
commissioned and independent academic research, and political positions that are
for or against the reproduction of existing relations of social and cultural power. It
existence of porosity between state agencies and the institutions of civil society,
and that state agencies can be established which aim to represent the interests of
29
culture’, and the extent to which ‘the management of cultural resources in ways
intended to reform ways of life remains very much part of the active politics and
Australia was taken by Miller (1994, 1996) and Craik (1995), who argued that
theorists had overestimated the coherence and rationality of the policy formation
upon the role of government in the shaping of culture was also seen as leading to
neglect of the role played by the corporate sector as shapers of culture, and the
extent to which it has been the private sector, rather than the state institutions, that
There is also the concern that cultural policy theorists are too sanguine in their
conduct, and are insufficiently concerned with the limits of governance and the
governmental power.
30
The genesis of many of these problems lay in the manner in which cultural
findings arising out of the social sciences or policy studies. Craik argues that
adequately engage with the dynamics of policy formation and its relationship to
the political process. It was claimed that such approaches to cultural policy
in actual policy processes (Craik 1995: 205). Miller (1994) argued that, in the
cultural studies, there was confusion between advocacy for engagement with
policy processes concerned with media and culture, and critical analysis of the
organising principle of arts and media policy across industrialised societies, which
has been more notably a characteristic of European states where there are strong
31
Britain and the United States have been more reluctant to develop cultural
Craik (1996) and Vestheim (1996) have developed four ideal-type models of
Table 1.1
The cultural policy debate brought a renewed focus upon institutional analysis in
cultural studies. The concept of institutional power that was developed, as being
positive and productive, owed a great deal to the work of Michel Foucault.
captured. Rather, Foucault believed that power operated among individuals and
1990). What emerged from Foucault’s work was a particular way of theorising
the relationship between power and government, with power being associated
than a question of government. This word must be allowed the very broad
meaning which it had in the sixteenth century. ‘Government’ did not refer
practices are constitutive of a social field. This concept is derived from Foucault’s
1990). It has been used by Jacques Donzelot in his account of the diverse
between promoting the economic wealth of the society and the health and well-
identities, or how they provide the cognitive and discursive conditions for the
noting that the preservation and reproduction of both depends upon their ability to
provide ‘a set of analogies with which to explore the world and with which to
justify the naturalness and reasonableness of the instituted rules, and it can keep
its identifiable continuing form’ (Douglas 1986: 112). Rather than seeing
system that formed the basis for shared discourse. This is consistent with Scott’s
institutions, and how they frame situations and define identities, as well as by a
public memory would not, however, provide a sufficient basis for the continuation
decision-making and action, it follows that effective social and political agency
includes, but need not be restricted to, legally - sanctioned formal bodies such as
corporations, state agencies, trade unions, political parties, etc. At the same time,
institution in two senses: as both a set of shared ideas and conventions that
the literature on collective action and the limits of individualism. Friedland and
adequately account for power is most apparent in the exclusion of so-called ‘rent-
central to the exercise of economic power. Campbell and Lindberg (1990) extend
this focus on property rights as central to economic power with the observation
that the state is both a social actor and an institutional structure, with state
As such, the role of state agencies in creating and administering these structures
angle, Elster (1985) has argued that a concept such as class consciousness requires
emerge, and the capacity to undertake actions that demonstrable gains from co -
operation.
Media policy studies has been characterised by detailed institutional and policy
that combine the study of media institutions with analysis of media politics in the
1986; Siune and Truetzschler 1991; McQuail and Siune 1998). In Australia, two
approaches to the study of media policy have predominated. The first approach,
that of ‘media mates’, places a primary emphasis upon the interaction between
The ‘media mates’ approaches to Australian media policy tell a lively and
media proprietors, most notably the Packer and Murdoch families, and leading
figures in both the Liberal and Labor Parties. Its underlying strengths lie in its
focus upon the broad reach and highly concentrated ownership of Australian
media, and the myriad ways in which this connects with political power and
analysing media policy. It adopts what Dunleavy and O’Leary (1987) term the
cipher image of public policy, where policy development is largely seen as the
The ‘media mates’ approach also simply assumes two points that need to
Nordlinger (1981), Skocpol (1985) and Block (1987) have drawn attention to the
problems that arise from assuming that public policies are largely determined by
the balance of forces and priorities of powerful groups outside of the state
institutions. Skocpol has argued that ‘the formation, let alone the political
structures and activities of the very states the social actors, in turn, seek to
organisational leadership and are duly ratified and implemented at lower levels.
(Scott 1979, 1986; Tomlinson 1982) have pointed to the limitations of assuming
instead argue that corporate strategies have to be seen as the result of particular
and contingent forms of decision and action, with the forms of calculation,
agents being highly variable across nations, on the basis of a diverse and
historically - based range of legal, economic, political, social and cultural factors.
defending the political economy approach to media, Mosco points to ‘the value of
theorising the social totality ... [and] conceptions of power that derive from the
Murdock (1982) argued that it was most useful to understand corporate control as
power for large media corporations is not personal but structural, driven by the
Marxist approaches to corporate strategy and behaviour, which argued that ‘the
study of … capitalism should not crystallize on the question of whether the units
form prevails, it is still the rationality of the system, its logic of accumulation,
for understanding the practices of institutions and other social agents. Since
40
totality that dictate their conduct. In his own writing, Marx stressed the extent to
which ‘the characters who appear on the economic stage are merely
‘the individual has an effect only as part of a social power, as an atom in a mass
(Marx 1981: 295), since the process of competition produces a set of mechanisms
whereby ‘the many capitals force the inherent determinants of capital upon one
The claim that the practices of institutions can in some sense be ‘read off’
from an abstract mode of analysis of the capitalist mode of production has been
subject to a withering critique by Cutler et. al. (1977, 1978). These authors have
capitalism as a social totality can provide the foundations for understanding the
actions of individual institutional agents. This is argued by Cutler et. al. on the
with their own distinctive laws, regulations and policies, and the fact
calculation upon which these are based, and the widely divergent
Cutler et. al. argued against the concept of a mode of production, instead
proposing that connections between social relations, institutions and practices can
economic agents independently of the laws and policies through which they
operate within particular national economies. State policy is central to the creation
all levels, from monetary policy to corporations and industrial laws, and there is
capitalism and the associated forms of law and policy at the level of national
in their own right, rather than as ‘reflecting’ other ‘global’ structural determinants,
explain policy formation through theories of the state based upon underlying
structural analyses of society. Vincent Mosco (1988, 1989) has argued that
1988: 119). What is apparent from Mosco’s account is that he defines the state as
a unified social agent with a singular set of interests, and an ability to make
decisions and act upon them. At the same time, however, the state’s interests are
not its own; instead, its forms of control over decision-making and policy agendas
are ‘expressions of dynamic processes and power relations in the entire social
system’, and ‘a vehicle for maintaining class power without directly appearing to
do so’ (Mosco 1988: 117, 118). The problem with this structuralist-Marxist
approach is, as Les Johnston has observed, it ‘leaves us with the uncomfortable
(Johnston 1986: 69). Politics located at the level of particular institutional sites
more fundamental, set of political relations, formed at the society - wide level of
antagonistic class relations, which are then reflected back onto the level of
sector.
agency and structure that has dogged critical social theory. Giddens’ approach
aims to account for the longevity and the constitutive roles of particular
structuralist analysis to presume that agents simply occupy ‘places and functions’
within overarching structures for which institutions provide the conduit. For
that continuously organise the behaviour of social agents (Giddens 1979: 64-65).
Institutions are both the medium for and the outcome of practices that constitute a
social system, and exist as forms that both mediate and transcend the duality of
agency and structure. They do not just work ‘behind the back’ of the social actors
who produce and reproduce them, but work through the active engagement of
social actors who possess knowledge of their operations and choose to interact
with them: ‘such knowledge is not incidental to the operation of society, but is
structure refers, in the first instance, to ‘the structuring properties allowing the
for discernibly similar social practices to exist across varying spans of time and
space and which lend them “systemic” form’ (Giddens 1984: 17). These
embedded structural principles, such as the ones that constitute the distinctively
capitalist form of class society, are those most deeply implicated in the
comparable societies. Structures, however, have a duality, whereby they are both
relatively enduring over time and across societies, and subject to conditions of
relatively invariant institutional forms, and systems, which constitute the domains
within particular periods of time and social spaces where relations between actors
A focus upon the duality of structures also points to a need to uncouple the
concept of agency from its association with individuals. Barry Hindess (1986,
45
1989) has defined an agent as a locus of decision and action (Hindess 1989: 3).
An agent must have reasons for some of the actions they undertake, and means of
These actions may in turn be based upon an agent’s assessment of its interests, but
but so too can a variety of social institutions, such as political parties, trade
corporate enterprises and state agencies (Hindess 1989: 90-92; cf. Rorty 1988:
Ch. 1). One important implication of such an approach to agency is that the
genders. The reason is that such social entities, even if they can be presumed to
have shared interests, cannot make decisions and act upon them, even if actions of
the agents that represent such interests (eg. trade unions as representatives of
working class interests) may in some cases depend upon the actions of others
of such agents in their own right, and in the sites specific to their forms of
decision-making and action. This does not mean that the actions of such agents
float free of any forms of institutional or structural constraint, but it does mean
since they are themselves loci of decision and action within particular decision-
making sites.
The institutional structure of broadcasting derives, in the first instance, from the
dual nature of the airwaves (spectrum) as both a public resource and a form of
property that can be privately owned. The direct relationship that exists between
the institutional arrangements that enable that broadcaster to have access to the
public, but also with regulatory agencies that have responsibility for spectrum
allocation and management, and which have the capacity to require broadcasters
access to scarce and public spectrum space. While the case for regulation of
broadcasting on the basis of its potential social impact emerged at an early stage
and was enshrined in the US Radio Act of 1927, which established that broadcast
licensees should uphold the ‘public interest, convenience and necessity’ (Krasnow
and Longley 1978; Streeter 1995). Out of the notion of a ‘public interest’ in
frequency, were not to view that licence as a property right. The airwaves
were deemed to be the property of all the people … and the holders of
broadcast regulation was founded upon a public domain argument, that the
airwaves were a natural resource held in common ... The state acted to
protect and safeguard that commonly held resource ... In a very real sense,
Smith has described the concept of the public interest as containing ‘sub-textually
a sense of the existence of a natural conflict between individual and public goods,
between the natural strivings of people for their own betterment and the social
benefit which might ensue from a partial or temporary denial of self - gain’ (Smith
1989: 11). Smith has observed that there have been three major attempts to
guarantee the ‘public interest’ in broadcasting. The first has been monopolisation
European, Asian, African and Latin American countries, and closely tied
which the United States is the most prominent example of, and which has to deal
with what Smith describes as ‘a permanent tension ... between what might be
(Smith 1989: 20). Finally, there are those countries such as Australia and Canada,
typically tell of its betrayal in the warp and weft of actual regulatory practice.
Robert McChesney has argued that the passing of the Communications Act of
broadcasting, and that since this time contestation of the institutional and
of the Radio Act of 1927 and the Communications Act of 1934 had the paradoxical
regulator ‘to simultaneously designate licences as both property and not property’,
with the consequence that the FCC appears to ‘engage in after-the-fact regulation
112). Nonetheless, for all of its limitations in practice, the concept of public trust
the failure of commercial broadcasters to meet the demands placed upon them, by
both regulatory agencies and by the critics of regulatory practice, draws attention
to the continuing public status of broadcast property and the collective notions of
‘public interest’ enshrined in the concept of ‘public trust’. Such failures have
implicitly raised larger questions about the social nature of private property and
the inescapably public nature of the broadcast medium. The authors of the 1954
50
following terms:
If the public puts up with inferior television, it will only have itself to
blame if it fails to take advantage of the means provided for the expression
Policy Settlements
are constituted by ‘determinate sets of rules, resources and relations which have
some degree of durability in time and some extension in space (Thompson 1995:
12-13). At the same time, it has been argued in this chapter that, while an
required in media and cultural studies, this should not become a structural edifice
Michel Aglietta (1987, 1998) and Alain Lipietz (1987), among others, provides
one example of such a framework. Michel Aglietta has argued that stability in
capitalist economies is premised upon the ability to effectively align the dynamics
within a particular society, defined as ‘a set of mediations which ensure that the
distortions created by the accumulation of capital are kept within limits which are
compatible with social cohesion within each nation’ (Aglietta 1998: 44).
from 1945 to 1970 was based around a more interventionist and regulatory role
labour that has been termed ‘Fordism’, after the industrial production and labour
1984; Lipietz 1987; Murray 1989). Thjs developed in the context of a global
capitalist economic ‘Golden Age’ or ‘Long Boom’ (Armstrong et. al. 1984;
Bowles et. al. 1984; Marglin and Schor 1990). Under the ‘Fordist’ historic
compromise, organised labour secured a degree job security and wages growth, in
exchange for conceding to management the right to reorganise the labour process
52
norms and ‘ways of living’ which underpinned this regime, constituted structures
Francis Castles (1985, 1988) and Stephen Bell (1997, 1998) have
interests develop a ‘broadly agreed conception of mutual gain’ that is less about
achieving consensus and more upon establishing the terms and conditions under
existence of ‘a power above the conflict that is sufficiently trusted by all parties to
national context where ‘the state is both strong and seen to be capable of action
autonomous of the interests of any particular collective actor’ (Castles 1988: 77).
broadly defined as the mix of state intervention and market forces that structures
political economy in any given era’ (Bell 1998: 157). Bell proposed that the
the 1970s could be explained through the intersection of two policy settlements.
First, there is the model of ‘domestic defence’, that used a mix of tariff protection,
powerful economic interests (both capital and labour), political leaders, state elites
Second, there is the ‘Fordism’ model of state regulation, welfarism and regulation
provide important insights into the development of the institutional framework for
(1992) and Hartley (1999) have established the central place of broadcast
social and cultural institutions that underpinned a ‘modern’ mode of life in the
54
World War II ‘Long Boom’, observing that in this period ‘“mass” housing was
which in turn became the advertising medium of choice for promoting the values
of domesticity and the products and services by means of which that ideology
the production and distribution of programs, and the broader patterns of industrial
Table 1.2
capitalist economies, a threshold question is the extent to which ‘the public’ are
broadcast media content. If the public are recognised as having the capacity to
public relationship, where the regulator has obligations to the public as citizens to
represented in the policy domain by institutional agencies with their own rules of
claim to represent either the ‘public interest’ or particular interests (eg. children,
collectivity beyond the market place’ (Hawke 1993: 14). The first major public
Broadcasting, argued that ‘there is no reason why the public should be asked to
accept anything less than the highest possible ethical standards that can be
Parliament 1942: 60). This public trust discourse formed the basis for state
licensees, and weak and compliant regulatory agencies. As a result, demands for
greater public involvement in the broadcast policy process, were ongoing areas of
political struggle up to the 1970s. Another element of the policy settlement was
the highly profitable ownership structure that emerged out of laws governing
networking and barriers to entry, and the question of whether the monopoly
the United StatesThis in turn created demands for policy intervention to secure
levels of local content, particularly in the area of drama, that would enable the
the Commonwealth of Australia 1954) provides revealing insights into the politics
its audiences and program content was based upon an implicit cultural
evolutionism, arguing that audience use of the medium would improve over time
58
1954: 34). The Report advocated use of the ‘compulsive period’ of TV viewing as
one that ‘gives an opportunity to widen the interests of the viewer’, so that more
subsequent period, where ‘the viewer becomes more selective’ in their viewing
document read on its own terms, the Royal Commission’s vision of Australian
culture is figured forth as both the object and instrument of government’ (Bennett
‘a means of managing the public by having it manage itself’ (Miller 1992: 12).
commercial television was how little it was informed by this reformist trajectory.
Dr J.R. Darling, a member of the Australian Broadcasting Control Board who had
59
responsibility for the drafting of program standards for commercial television, has
referred to the ‘considerable hope’ that existed at the time about how ‘television
could be a powerful influence for good in the country and that through the box a
true democracy could be born’ (Darling 1978: 211-212). The reasons why
commercial television did not develop in the ways foreseen by these public
the rejection of arguments for public monopoly had also involved a substantive
citizenship education and nation-building. The result was that attempts to institute
these priorities upon television would continue to work ‘against the grain’ of the
logic of commercial ratings and mass audiences. The institutional problem lay
even an initiator of research which could enable informed public debate about
television and its impact. What developed in the early years of Australian
television was a closed policy framework, where the ABCB was unwilling to use
Section 109 of the Broadcasting and Television Act 1953. Instead, the ABCB
relied upon what has been described as a mix of ‘gentleman’s agreement and
friendly gestures’, in a context where the Board and licensees were ‘a very happy
family in those days’,2 and where the Board was fearful of Ministerial rejection of
Horwitz has termed regulatory capture. Horwitz defines a captured agency as one
systematically ignores the public interest’ (Horwitz 1989: 29). Regulatory failure
agency with the industry which it regulates, and its bases include: (1) recruitment
procedures which tend to draw those already associated with the industry into
being its regulators; (2) the need for good working relations with the regulated
in the industry; and (3) a structural relationship of weakness on the part of the
regulatory agency vis-a-vis the industry which it regulates. Mark Armstrong found
outskirts of which various opposing forces in the community became bogged: the
elusive drafting and legal status of the standards prevented them from actually
coming into direct conflict’ (Armstrong 1981: 135). The Vincent Report, released
in 1963, was harshly critical of the ABCB, arguing that it should have ‘long since
abandoned its policy of “sweet reasonableness” and taken much firmer action
with the commercial stations’ (Parliament of Australia 1963: 6). These findings
are consistent with Horwitz’s sketch of the captured regulatory agency, that not
only fails to adequately police the conduct of the industry which it has been
empowered with the responsibility to regulate, but whose legislative basis and
61
Senate Inquiry into how to encourage Australian film and television production,
Report itself had little immediate impact on the media policies of the Menzies
significant impact upon its conduct, it nonetheless acted as a catalyst for media
reform in Australia that was to have a more significant impact in the 1970s.
Bertrand and Collins (1981) and Dermody and Jacka (1987) observed that the
representatives, social reformers and cultural nationalists, across the film and
television sectors, that would be the principal drivers of media policy reform for
alliances, such as the Australian National Television Council, formed in 1965, the
Australian Mass Communications Council, which emerged in 1969, and the ‘TV:
that complemented the ongoing policy activism of unions such as the Actors’ and
coalitions would link greater openness in media policy processes to campaigns for
television broadcasters in particular. They also drew attention to the closed nature
62
of the policy and regulatory process, and the absence of a tradition of activism
from within the policy process, such as that which emerged in the United States in
programming imported from the United States, observing that, in 1962, 97 per
the lack of local TV production to the absence of enforceable local content quotas
and in turn linked this to the lack of a developed Australian film industry. In doing
so, it linked campaigns for a local content quota for Australian TV drama to
support for the development of an Australian film industry (Dermody and Jacka
1987: 50-54). It also linked campaigns for local content quotas to the wider
liberals (eg. Phillips 1988) and Marxists (eg. Turner 1987) around the argument
for a distinctive national culture as a condition for social advancement, and which
saw the lack of a local film production industry as preventing the cultivation of a
MacCallum as being ‘as much a part of the community’s culture as its sport … it
to the rest of the world (MacCallum 1968: 67). Demands for a strengthening of
63
groups such as the Australian Film Council and the Film and Television
Committee of the Australian Council for the Arts would receive a sympathetic
hearing from Liberal Prime Minister John Gorton (1968-69) and the Labor Prime
Conclusion
broadcast media system takes its particular forms out of a combination of a ‘dual
commercial broadcasters have dealt with relatively weak regulatory agencies, and
where the scope to extend citizenship discourses around the ‘public trust’ aspects
over the conduct of commercial broadcasters was minimal during the period of
ABCB responsibility. This was partly because of close links between the Menzies
and other Liberal-Country Party governments and major media proprietors, but it
was also because both the self-organisation of prospective critics and the
developmernt of policy discourses that would enable a wider scope for the
organisation of the public as citizens would only gradually develop in the course
of the 1970s and 1980s, although their institutional origins can be traced to the
television producers, media policy activists, and cultural nationalists, around the
demand that governments and regulatory agencies will set and enforce rules that
towards Australian media policy that would be influential in the 1970s and 1980s
thus emerged in the 1960s, based around demands for an enhanced political