Data Dump

Post Production has to be one of the hardest parts.
Being involved in ANY project from start to finish is difficult. It’s challenging to continually be excited and curious about your work, but there comes a point – when production is finished and the end is in sight that I just want to give up!

Fed up wit my own efforts (and with the concept itself) the thing I want most of all is to leave it in the corner. The thing I want least of all is to tidy the loose ends – but doing that, and doing it well is the marker of success in any project.

It’s easy to record all of this STUFF, to make, and to create – but what you actually do with it is what society cares about. All the photos have to actually make it to social media to have any impact; the sketch videos need to be ordered and edited into a logical form to create a narrative; and the sound bytes need to be cropped and uploaded, so they can be heard!
But this takes so much effort and coming to terms with your work is hard.
Reflecting is hard.



Twin Peaks holds an important place in the study of television, in the field of genre, the understanding of audiences and of post broadcast television. Both the episode screened, and the entity that is Twin Peaks support the key characteristics of Post Broadcast TV.

Emerging in the late 1980‘s alongside the post modernist theory regarding active audiences and polysemic texts, Post Broadcast Television assumes audiences to be complex, consumers who understand a text in relation to other texts. A post broadcast television show will therefore draws on knowledge of other texts and their conventions in order to build its narrative.

Twin Peaks is more then just a television series. It exists as a multi-platform, transmedia text with the story world existing across two television series, a film (Twin Peaks: Fire Walk With Me), and a book. Twin Peaks becomes a world, a fictitious place where multiple stories exist. Each text can and does stand alone, however they are all interlinked and together they make up an entire story. Transmedia texts have garnered popularity with the rise of technology and the development of post broadcast television, the more complex narrative arcs allowing for deeper engagement with the characters and the story world.

Post Broadcast Television’s primary focus being entertainment rather then education, Twin Peaks follows the model of content America is so well known for producing. The text is polysemic: made for multiple audiences, and multiple meanings can be discerned from it. Until the creation and broadcast of Twin Peaks, public broadcasters, especially ABC (USA), has viewed audiences as separate groups. Segmented by gender, age and geographical location. The widespread popularity of the first season lead to a new understanding of audiences “…as an amalgamation of different sub-cultural groups rather than a homogenous mass, or even as an amalgamation of family units” (Nelson, 1996) As a result, texts produced became more sophisticated, the understanding of who and how texts could be accessed changed and niche audiences developed, as did the concept of post broadcast television.

Different to a great deal of American serial TV, Twin Peaks holds it’s audience in high esteem, assuming them to be intelligent beings who don’t need plot points spelt out or traditional production elements that emphasize drama (quick cuts, fast zooms) to hold their attention and keep them engaged. Instead it plays with sound and pace to create a surreal and unfamiliar experience for the viewer (such as in Cooper’s dreams). This unconventional style for serial tv led to great intrigue from the wider audience. It’s hybrid, complex nature place it in the category of post broadcast television.

Similar to Lynch’s other works, the television series is of a hybrid genre. It is not purely crime, nor drama, nor soap-opera. It is a mix of all of them and often pokes fun at each of these styles by over-exaggerating them or playing with the audiences notions of standard genre conventions. It contains many of the elements of a traditional soap-opera, but refutes this in multiple instances. For example, the inclusion of scenes from the fake soap-opera Invitation To Love, broadcast on the television sets of the citizens of Twin Peaks often shadows future events, or parallels the lives of the characters featured. The fleeting glimpses we are allowed into the program feature over-exaggerated the corny dialogue, soft lighting and close-ups of emotional expressions that we have come to associate as standard conventions of the soap-opera genre. The act of including a soap-opera within the world of Twin Peaks is making fun of that genre and a way in which Lynch can shoot down any ideas that Twin Peaks is intended to be a soap-opera.

Another example of playing with standard conventions occurs in the Pilot episode; Pete Martell is on the phone to Sheriff Harry Truman, explaining that he has just discovered Laura’s dead body. The scene is set up in a conventional fashion (cutting between the two on the phone) and we all want to know who, however, the Sheriff deliberately frustrates the audience by asking Pete, “Where?” and the scene ends. This sort of build-up and change in direction is common throughout the television series. Part of the entertainment factor of post broadcast television is knowing the conventions and experiencing them being played with.

These examples also support the idea that Twin Peaks was created for the new type of audience that emerged alongside post broadcast television. A sophisticated, intelligent audience, that consume television and other popular culture on a regular basis. These avid consumers understand the conventions of genre television allowing Lynch and Frost to play with the standard ‘rules’ to create a hybrid production.

Twin Peaks consistently plays with the interruptible nature of post-broadcast television. It is also very aware of itself as a production. It makes little attempt to provide the viewers with narrative closure. These factors add to the entertainment value for an audience who understand the conventions of genre television and are interested in experiencing this being played with to provide new content.



From ‘Twin Peaks,’ USA, to lesser peaks, UK: building the postmodern TV audience.(Sport, Globalization and the Media), Nelson, Robin, Media, Culture & Society, Oct, 1996, Vol.18(4), p.677, accessed August 24 2014

15 Ways To Work Overseas And Keep Traveling the World

Thought Catalog

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Don’t have enough money to go traveling? Think you can’t save enough in your current situation to realize your dream of traveling the world? Well, you are wrong.

The perception that travel is expensive keeps many people from embarking on a journey around the world. They think to themselves “it’s too expensive and too difficult and I’ll never be able to do it.” But travel is not as expensive as it appears and even if you can’t save thousands upon thousands of dollars, you can always find work overseas. It’s not as hard as you imagine and it’s an option overlooked too often by travelers.

Finding work overseas is not like finding a job in the United States. It’s a much more informal process, and if you remember you are looking for a job rather than a career, and stay flexible with your options, you’ll be able…

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More John Storey Junior Memorial Scholarship Reflection

As part of a scholarship I received I was encouraged to observe what goes on in other countries, and how we can maybe apply it back home as a way of improving what we already have. Sometimes it was easier to notice what I had at RMIT and not at Université Paul Valery then to notice what UPV had that RMIT didn’t. However, eventually, some things stood out (in both fields): 

  • social media as a classroom aid, as productive rather then counterproductive – the French university where I studied was, in some respects, a little behind the times, that, combined with my Dad (the academic) deciding to get twitter made it apparent that we do a great deal of positive learning and communication around learning via social media and there are still plenty of options for improving this!
  • cinema is something we should just do – maybe I’ve been taught to overthink it, I know this was true of my short film that I agonised over far too much! – picking up a camera and getting out there (especially for documentary making) might just be the most productive thing to do (of course when money and the time and effort of other people come into play planning is important, but not when it stops you from getting things done!)
  • maybe French students are taught that things could always be better (a harsh marking scheme and a critical approach), but maybe we are far too built up, infact creating and then inflating egos and self confidence – we are all important and special, but not more so then the person we sit next to on the tram
  • and in both contexts, it’s easy to get help if you are willing to ask for it!

One of my fellow exchangers posted this link on our group page, the last one, No one read your blog, don’t reference it, may be true. If it isn’t, I hope I’m not boring you with all my reflections.