AustLit

'1931, Northern Australia. The destinies of Travis, a white bounty hunter, and Baywara, an Indigenous man trying to save what remains of his family, intersect. Twelve years after a tragedy that scarred them both, a manhunt pits them against each other.'

Source: Berlinale program.

'Two siblings, Sophie and David, discover and release three amazing creatures from special science jars hand made by famous naturalist Albert Derwent . Ooble, Crunch and Barka are not ready for repatriation so Sophie , with the help of Derwent’s BigBook, introduces them to her Survival of Species program. They learn to avoid Professor Van Riceberger, his Jar Trackers and his assistant Chang. The creatures have no plans to return home. They are out and there is no going back.'

Source: Screen Australia.

When Yama's uncle is kidnapped by the most powerful cat in Catropolis, Yama transforms himself into Sumo-Mouse, with the help of an ancient o-icho with mystical powers.

Although Sumo Mouse was made for Australian television network Network 10 by Australian production company Moody Street Kids, it made extensive use of Canadian script-writers, in addition to Australian script-writers.

Steve 'The Wog Boy' Karamitsis inherits a beach on the resort island of Mykonos from an uncle he's never met. When he goes to Greece to reclaim the inheritance, he is accompanied by his best mate Frank, whose seduction powers seem to be fading. During the course of their adventures, Steve and Frank find love and go up against Steve's ambitious cousin who is out to claim the inheritance for himself.

Alexandra Wilson is a normal girl living in an average suburb. She can sing brilliantly (she's a songwriter at heart). She's funny and driven. Alex's band is her life, and her band-mates, expressive Amanda Tucci and realist JB Deekes, are her closest friends. There's also Marcus, their lead guitarist: he's a year older, and, well, rather attractive. Alex has two grounded parents, Anita and Jim, and one very centre-stage younger sister, Zoe. Life is very normal. But ...

Since birth, Alex has caused a succession of strange, somewhat magical events. Fortunately, she's been able to conceal, ignore, or deny them all. But then Kuru, a young man dressed in exotic robes, and Anala, a decorated adult elephant who has a tendency to vanish now and again, arrive on Alex's doorstep. Kuru explains that Alex is actually Princess Liliuokalani Parasha Khaled Persphone Amanirenas of Manjipoor.

Alex is not so sure about that! But the magical effects she seems to cause have recently blossomed. It's scary. Alex asks Kuru and Anala to leave, but they won't go anywhere. They are under the royal command of Omar, Chief Advisor to the former Queen Nefari, to bring the princess home to rule.

Manjipoor is an exotic, mystical kingdom that exists very close to our world--but not in it. The nation was born six hundred years ago when 'gifted' people (sorcerers, oracles, and witches) fled persecution and created their own territory, and later, for their protection, moved it to a parallel location by magical means!

Kuru's mission is made easier when Alex's parents accept him as an 'exchange student' and he is invited to stay at their home. He does his best to fit in at Alex's school. Alex keeps her identity as a princess a secret from everybody but Amanda and JB, but it's an ongoing problem concealing a wilful, sometimes-invisible elephant in her backyard.

Omar's recent revelation of the existence of Manjipoor's secret princess shocks and threatens Vashan, the last royal relative in a conflicted and dying dynasty, who fully expected to rule. Aided by his skilful servant Diva, Vashan acts--first subtly, then overtly--to prevent his cousin Alex from claiming her inheritance.

Back in 'The Old World'--our world--Kuru's persistence with Alex starts to have an effect. Alex begins to practise and accept her magic--and it often goes awry. It's not easy being a teenager with magical powers! Alex uses her magic to rectify some very teenage-related issues, as well as to bend the occasional rule, but she draws the line at using magic in her music or for the band. They've got to prove they're good enough without it!

Following an encounter in Manjipoor where Alex learns some of the history of her real mother, Queen Nefari, and is introduced first hand to Vashan's enmity, she awakens to the strong qualities developing inside her and the need for her in Manjipoor as a princess.

Simultaneously, Alex, Amanda, Marcus, and JB improve as a band. They get gigs, and Alex's confidence as a singer increases. Alex finds the pull between both worlds conflicting. When Vashan becomes increasingly bold in his endeavours to undermine and overtake Alex, his actions precipitate a series of stunning revelations affecting the lives of Alex, Kuru, Anala, and Omar and the future of Manjipoor. Alex finds she must make a choice about where her real destiny lies ...

Source: Jonathan M Shiff Productions website, http://www.jonathan-m-shiff.com.au/
Sighted: 15/12/2009

Australian-Canadian co-production.

'Follows 11-year-old Madison Marples-Macintosh AKA Maddie, who writes the 'Dear Abby' column for her school newspaper. While her eccentric parents and attention-seeking friends perform centre stage, Maddie prefers to take notes from the sidelines.'

Source: Screen Australia.

A sequel to Pirate Islands, The Lost Treasure of Fiji send three children--Tyler, Kirra, and Alison--from Fiji, where they are attending the launch of a new computer game, to the tropical Pirate Islands, where they face the swaggering Blackheart, his untrustworthy second-in-command Lily, and various other dangers. As in the first series, the protagonists must solve the game from within in order to exit back to the real world.

Like Pirate Islands, The Lost Treasure of Fiji was never released in its entirely on DVD in Australia, the US, or the UK. Unlike Pirate Islands, it was also never released as a cutdown film version.

Mortified follows the trevails of eleven-year-old Taylor Fry, as she copes with the general embarrassment of having parents, as well as being annoyed by her sister, jealous of her neighbour, and completely oblivious to her best friend's crush on her. The program inserts some fantasy elements into the otherwise straight comedy-drama by having Taylor speak directly to the camera, using elaborate fantasy sequences to explore her daydreams, and showing her over-active imagination as bringing seemingly inanimate objects to life.

Mortified was the last major work of television producer and screenwriter Angela Webber before her early death in 2007.

Three young girls accidentally stumble on a tidepool on a secret island; when bathed in moonlight, the tidepool transforms them into mermaids, with great powers over water--but also a tendency to sprout a tail whenever they come into contact with water.

The original three mermaids--Emma, Cleo, and Rikki--separate at the end of season two, when the actress playing Emma left the show. In season three, another character, Bella, is added: Bella had become a mermaid in an unrelated incident some years earlier.

The mermaids also face various antagonists, ranging from rivals (e.g., the antagonist for season two, Charlotte, who manages to obtain similar powers from the moon pool) to those who wish to exploit the mermaids for their own profit.

As with Jonathan M. Shiff's other productions, the program is aimed largely at young teen audiences.

After stumbling on a secret super-computer, clumsy pizza delivery boy Scooter transforms himself into Secret Agent X-19, undertaking a double life of international intrigue.

The program draws its inspiration from straightforward spy films, such as the James Bond franchise, as well as their parodic counterparts, such as Get Smart, from which Scooter: Secret Agent draws its comedic tone. Simultaneously, the program makes extensive use of both stuntwork (including wire work) and special effects in order to provide Scooter with a a range of science-fiction gadgets.

'Erica Yurken, certain of her glittering career on the stage and her place in the world, is upstaged and forced to come to grips with her own reality when Alison Ashley arrives at the school. A comedy about the trials and tribulations of schoolyard rivalries, embarrassing family situations and the awkwardness of teenage years.'

Source: Screen Australia. (Sighted: 4/12/2013)

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.

Saskia (living in Australia) has on online friendship with Noah (living in the UK). Each 'deceives' the other with their online personas, Indy (for Saskia) and Max Hammer (for Noah): Indy and Max allow Saskia and Noah to be the people they hope to be, without any of their own anxieties and uncertainties. Despite this element of deceit, the friendship between the two is presented as genuine and strong. The program received much praise when it first aired for offering a counter-argument to the anxiety that often marks debates about online friendships.

According to Patricia Edgar's account of the creation of this program,

To take such an abstract philosophical concept and create involving stories with appealing characters was a difficult task for any writer. Elaine and I needed smart observers of people and situations who understood the world Noah and Saskia inhabit, who had a flair for sharp, witty dialogue for a modern, pacy story. With the different components in the United Kingdom, Australia and cyberspace, it could be structurally confusing. Chris Anastassiades, who had written the Yolngu Boy script and worked for several other ACTF projects, was the answer, along with Sam Carroll, a young woman who had not yet been spoiled by the demands of writing formulaic drama. She brought her youth and vitality to Saskia; Chris would write Noah.

(Source: Patricia Edgar, Bloodbath: A Memoir of Australian Television, Melbourne: Melbourne University Press, 2006, p.401.)

Further Reference:

'Interview with Paul Nichola'. The Making of Noah and Saskia. ABC.(http://www.abc.net.au/rollercoaster/noahandsaskia/behind_the_scenes/making_of/paul_interview.htm). (Sighted: 12/9/2012).

'Interview with Pino Amenta'. The Making of Noah and Saskia. ABC. (http://www.abc.net.au/rollercoaster/noahandsaskia/behind_the_scenes/making_of/pino_interview.htm). (Sighted: 12/9/2012).

'The comic story of Danny, who thinks he's the world's best actor–but has never had a speaking part–and Marcus, who thinks he's the world's best heist man–but has never had a score.'

Source: Australian Film Commission (http://afcarchive.screenaustralia.gov.au/filmsandawards/recentfilms/0304/feature_87.aspx). (Sighted: 12/2/2014)

Four children stumble into the secret underground lair of a long-dead super-hero, the Silver Shadow. Defeated (and killed) by his arch-nemesis, The Crab, in the 1950s, the Silver Shadow lives on as a digital recording in his base's computer. Just as he convinces the four to take up his role as the city's defender, The Crab, now an old man in a retirement village, trains his grand-daughter to be his own successor.

As with other programs produced by the Australian Children's Television Foundation (ACTF), Legacy of the Silver Shadow concentrated strongly on questions of self-identity, peer pressure and conformity, and individualism.

Australian Screen includes some clips from Legacy of the Silver Shadow: http://aso.gov.au/titles/tv/legacy-silver-shadow-feral/clip1/ (Sighted: 23/2/2012). The program is also available on DVD via the ACTF.

A live-action puppet show, Li'l Horrors followed the misadventures of the students at a school run by Morbidda Bates, a retired horror-film actress. The students included examples of key monsters from horror films: vampires, Frankenstein's monster, gorgons, mummies, zombies, werewolves, and swamp creatures.

According to December Films' press release for the series:

Li'l Horrors is a children's puppet sitcom specifically produced for the 5-8 year old age group. This is an age group who are currently not well catered for. Much programming is made for pre-schoolers and for 9 year olds and above. Li'l Horrors is created for this in between age group. It does not talk down to its audience or aim over its head. It is, however, infused with enough wit and off-the-wall humour to engage an even wider audience. Aimed well at [its] target audience, it is modern, slick, sly, funny and irreverent.

The program also focuses strongly on difference, with each of the characters quite strongly physically different from one another, as well as widely different in behavious and characteristics.