AustLit

'Against a new and exciting backdrop of prehistoric beasts and shamanism, a clever and talented 12-year-old boy named Enyo, who is learning to understand the language of animals, reads hidden messages and 'sees' glimpses of the future, will take us on a spectacular journey of fantasy, fun and wild adventure.'

Source: Screen Australia. (Sighted: 16/8/2012)

'Slipping down the plughole starts the ride of a lifetime for John Stanley Staines and his sister Mary Jane. They travel a maze of drains all the way to a huge underground world full of fantastic creatures and fabulous places. Even though it lies right beneath us it's a world most people don't know about. It's a world only kids can get into'.

Source: Screen Australia. (Sighted: 26/9/2012)

Two students--easy-going and not terribly academically inclined Toby and unpopular teacher's pet Elizabeth--are hit by an unusual magnetic pulse that transforms them both into scientific geniuses. While Toby is uncomfortable with his new power and not certain how to put it to use, Elizabeth revels in hers, hoping to dominate the school.

Creator Jonathan M. Shiff notes (in the media kit for season one) that

'I wanted the series to be grounded in real teenagers and an authentic school environment - bringing the chaos of teenage emotions and friendship to the backdrop of science and adventure. Wicked Science is very much driven by Elizabeth's desire to catch Toby's attention and instead of witchcraft or magic it is science she uses as the tool'.

The production company also liased with Australian Teachers of Media (ATOM) to create a study guide that would enable teachers to use Wicked Science as a starting point for classroom discussions of science, its place in society, and the specific scientific concepts explored in the series.

'Enter the world of Medical Defence Australia, a medico-legal organisation that exists to defend doctors and where necessary compensate patients. All cases at MDA combine elements of law and medicine so each case is managed by a doctor and a lawyer who agree on how to proceed. It's a unique organisation that delves into morally complex and emotion filled relationships between doctors and patients.'

Source: Australian Television Information Archive (http://www.australiantelevision.net/mda/mda.html). (Sighted: 22/2/2013)

A teen drama set in a school divided between mainstream high-school students and students with the potential to compete in sports at an Olympic level.

The two series had distinct storylines.

Series one:

The first day at any new school is always tough but when your schoolmates can run 100 metres in 11 seconds, clear 1.8 metres in the highjump and include the national junior champions in ten Olympic sports...you have to be a winner. (Via Screen Australia)

Series two:

The second series follows the fortunes of the soccer team as they strive for a place in the league play-offs. The team's problems on the field are complicated by problems off the field as allegiances and alliances between the kids (divided into Book Worms and Sports Freaks) shift and develop. (Via Screen Australia)

Mirror, Mirror II was a sequel to Mirror, Mirror, but only in so far as both programs involved travel between two time periods through the agency of a magic mirror, allowing people who live in the same house at different times to interact with one another. The two programs were closely linked aesthetically, including identical title sequences. However, the programs had very little overlap in script-writers.

In this series, Daniel and Fergus McFarlane (from the late 1990s) and Constance de Lutrelle (fom the 1860s) travel between each others' time periods, experiencing culture shock from such events as sealing (in the 1860s) and school discos (in the 1990s). As with the original series, there is also a significant object over which the protagonists struggle: in this case, a mysterious crown.

'Every day is an adventure for the pilots at Big Sky Aviation. A high spirited bunch to start with, they can't help but relish the kind of job that sees them one day flying to a medical emergency on a remote property deep in the outback, the next on a tricky city mission and another soaring over some of the most beautiful tropical coastline in the world. BIG SKY is an action adventure series with heart, humour and nerves of steel.'

Source: Screen Australia. (Sighted: 9/4/2014)

'Staff in an emergency department of a large Australian hospital have become addicted to the adrenalin rush they experience while dealing with life and death emergencies.'

Source: Screen Australia.

An American/Australian co-production, this series was a revival of the original 1964 - 1967 series Flipper.

The show's production is sharply divided between seasons one and two on one side and seasons three and four on the other.

Seasons one and two aired in first-run syndication in the US, as American television networks turned away from funding comparatively expensive one-hour dramas in the late 1980s and 1990s. These two seasons were made in Australia and took advantage of local directors and other crew, but, notably, the script-writers were exclusively American (as far as they have been traced).

For seasons three and four, Flipper left first-run syndication and aired in the US on the new network PAX TV (now Ion Television). These two seasons were also made in Australia and directed by Australians, but for the first time, they also used Australian script-writers: of the writers who have been traced for seasons three and four, all of the season three writers and the majority of the season four writers are Australian.

For full information on the script-writers, see the list of episodes on the film details page of this record.

When fourteen-year-old Jo Tiegan is given an antique mirror by a mysterious antique-shop owner in 1995, she finds she can travel through the mirror's surface into her bedroom as it was in 1919. She and the house's previous occupant, Louise Iredale, become firm friends, but find themselves caught up in two interlocking mysteries: the presence of a container of toxic chemicals in Louise's neighbour's well (which seriously injures two of Jo's classmates during an archaeological excavation in 1995) and the entrapment of Nicholas Romanov (the Tsesarevich Alexei Nikolaevich) by Louise's neighbour, who has smuggled him out of Russia in the hopes of selling him to the highest bidder.

Mirror, Mirror was a co-production between Australian-based Millennium Pictures (founded five years earlier by show creator Posie- Graeme-Evans) and New Zealand-based Gibson Group.

The program was successful and highly awarded, and was followed two years later by a loose sequel, which shares nothing with the original series but the basic premise of time travel through a mirror.

'Fast-paced series spin-off of the hit feature film. Filmed at an abandoned school in Sydney's Maroubra, this program was about an ethnically diverse group of students attending Hartley High School.'

Source: National Film and Sound Archive record.

A 'second-generation' Skippy, with Ranger Hammond's younger son Sonny grown up and running an animal-based theme park, Habitat, on Australia's Gold Coast, in company with his ten-year-old twins, Jerry and Lou. The theme park is adjacent to a national park, bringing in Ranger Dave as a character, along with Sonny Hammond's housekeeper Thelma and assistant Kate.

An Australian television series which deals with the New South Wales Police Rescue Squad and its work attending to various incidents from road accidents to train crashes.

G.P. is an Australian television series that ran for eight seasons. Set in and around a fictional general medical practice in an inner-city suburb, the storylines explore the professional and personal lives of the doctors and staff who worked there.

A one-hour soap opera focusing on life in a gritty inner-city suburb.

According to Moran, in his Guide to Australian TV Series, c/o The Bartons was based on a sixteen-minute student film written and directed by Jocelyn Moorhouse while she was studying at the Australian Film, Television and Radio School.

Says Moran, 'Entitled The Siege of the Bartons' Bathroom, the film was in effect a kind of pilot for the series and became the basis of the first episode'. Moorhouse also contributed nearly half the scripts for the series. To quote Moran, 'The various episodes both comic and serious dealt with their family life and that of their community'.

Home and Away is a television serial created by Alan Bateman and produced by the Seven Network. The idea for the series came to Bateman (then head of drama at Seven) after he stopped to buy ice-creams in a small country town in southern NSW. While chatting to some locals, he learned that the town was unhappy about plans to build a home for foster kids from the city. At that time, Channel Seven was still smarting from its decision to let Neighbours go to the Ten Network, where it had become hugely popular, and was looking to create another series to rival its success. Bateman saw in the idea that became Home and Away the potential for plenty of storylines and conflict by having streetwise city kids being relocated to a small regional environment,

In the beginning, the series focused on Pippa and Tom Fletcher, who, being unable to have children of their own, decide to become foster parents. When Tom is retrenched from his city job, the couple buy the rundown Summer Bay Caravan Park and move there with their five foster children. Soon after arriving, they also take in troublesome Bobby Simpson.

The series debuted in January 1988 with an hour-long telemovie. Although this rated well, the series itself took some while to develop an audience. Having learned their lesson from the Neighbours debacle, Network Seven gave its new show time, and its ratings gradually increased. As with Neighbours, the Home and Away series and performers became very popular in the United Kingdom.

An anthology series of children's stories, mixing live-action episodes with animation, clay animation, and puppetry. The stories, aimed specifically at the under 10s, are drawn from a variety of sources, including children's books, fairy tales, myths, and original ideas. Some of the episodes have involved, for example, Snow White as a punk bikie and the seven dwarves as a motorcycle gang; a pet stegosaurus; a boy with wheels instead of toes; and Trevor the glider-plane-catching cat.

According to Patricia Edgar,

Thirty separate self-contained dramas of differing lengths were to be packaged into half-hour episodes. The project was designed to showcase new, creative talent in the television industry. Competitions were run at the Australian Film and Television School and Swinburne Institute of Technology for the best concepts suitable for inclusion in the Kaboodle package, with prizes of $1000 awarded. The Foundation sought promising but inexperienced writers, would-be producers, directors and even accountants who wanted to earn their first credit to enable them to find a future in the industry.

Source: Patricia Edgar, Bloodbath: A Memoir of Australian Television, Melbourne: Melbourne UP, 2006, pp.175-76.

Kaboodle was produced in two series, the first of which included some live-action segements, but the second of which was entirely animated.

For a full list of episodes, see Film Details.

Episode listing for Kaboodle series two courtesy of the Australian Children's Television Foundation.

Frequently described as an 'Australian western', Five Mile Creek was based on Louis L'Amour's 1982 novel The Cherokee Trail, with the action moved wholesale to Australia.

A co-production between the Seven Network and the Disney Channel, the program, according to Moran in his Guide to Australian TV Series, 'revolved around two women, Kate Wallace and the American Maggie Scott, who ran a stage way station at Five Mile Creek in New South Wales.' Moran also notes that it 'was the most expensive series ever filmed in Australia up to that time, costing Disney $12 million for the first two series, although this was still thought to be about half of what it would have cost in Hollywood.'

The series did poorly on Australian television but extremely well on the Disney Channel in the United States. According to Moran,

Five Mile Creek was a kind of stunning confirmation that Lew Grade was right all those years earlier in thinking that the Australian outback could be adapted to the genre demands of the western. Indeed in Five Mile Creek the reciprocal parallels and symmetries between America and Australia are pushed in a deliberate and warmly calculating way. The Australian bush is, as it were, transfigured so that it seems intrisically like part of the Old West.

In contrast to this Australian/American fusion that Moran notes in the program's sensibility, he also notes that it had the Disney Channel's 'cultural/commercial values written all over it.'