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Kelly McWilliam Kelly McWilliam i(A126966 works by)
Gender: Female
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Works By

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1 International Franchises Love Filming in ‘Aussiewood’ — but the Local Industry Is Booming Too Mark David Ryan , Kelly McWilliam , 2021 single work column
— Appears in: The Conversation , 28 June 2021;

'The Australian screen industry is booming.'
1 'It Was the Summer When Everything Changed …' : Coming of Age Queer in Australian Cinema Kelly McWilliam , 2018 single work criticism
— Appears in: Australian Screen in the 2000s 2018; (p. 191-206)
1 Mediatisation and Institutions of Public Memory : Digital Storytelling and the Apology Jean Burgess , Helen Klaebe , Kelly McWilliam , 2010 single work criticism
— Appears in: Australian Historical Studies , June vol. 41 no. 2 2010; (p. 149-165) 'Institutions of public memory are increasingly undertaking co-creative media initiatives in which community members create content with the support of institutional expertise and resources. This paper discusses one such initiative: the State Library of Queensland’s ‘Responses to the Apology’, which used a collaborative digital storytelling methodology to co-produce seven short videos capturing individual responses to Prime Minister Kevin Rudd’s 2008 ‘Apology to Australia’s Indigenous Peoples’. In examining this program, we are interested not only in the juxtaposition of ‘ordinary’ responses to an ‘official’ event, but also in how the production and display of these stories might also demonstrate a larger mediatisation of public memory.' (Publisher’s abstract p. 149)
1 The Global Diffusion of a Community Media Practice : Digital Storytelling Online Kelly McWilliam , 2009 single work criticism
— Appears in: Story Circle : Digital Storytelling Around the World 2009; (p. 37-75)
1 y separately published work icon Story Circle : Digital Storytelling Around the World John Hartley (editor), Kelly McWilliam (editor), Chichester : Wiley-Blackwell , 2009 Z1622573 2009 anthology criticism

'Everyone loves a story. Not everyone loves a computer. 'Digital storytelling' is a workshop based practice in which people are taught to use digital media to create shot audio-video stories, usually about their own lives, placing the universal human delight in narrative and self-expression into the hands of everyone, bringing a timeless form into the digital age, and giving a voice to the myriad tales of everyday life as experienced by ordinary people.

Story Circle is the first collection ever devoted to a comprehensive international study of the digital storytelling movement. Exploring subjects of central importance on the emergent and ever-shifting digital landscape - consumer-generated content, memory grids, the digital storytelling youth movement, and micro-documentary - Story Circle pinpoints who is telling what stories where, in what terms, and what they look and sound like. From China and Brazil to Western Europe and Australia, Story Circle charts how tales are being told in the digital age.' (Publisher's Blurb)
1 'We Don't Need No Education' : Adolescents and the School in Contemporary Australian Teen TV Kate Douglas , Kelly McWilliam , 2004 single work criticism
— Appears in: Teen TV : Genre, Consumption, Identity 2004; (p. 151-165) 'In this chapter we focus on Heartbreak High, arguably the most significant Australian 'quality teen television drama' of the 1990s. We explore how the programme’s diegesis negotiates and maps identities for contemporary Australian teenagers. More specifically, we examine constructions of teenage identities in contemporary Australian ‘quality teen television drama’ (hereafter referred to as ‘teen TV’) via representations of ‘the school’ and ‘post-school’ options within the programme. We investigate how Heartbreak High has responded to (whether by conforming to, or exceeding) the available cultural spaces for narrating adolescent experiences, but also to the broader social relationship between adolescents and schools. How does this programme represent the accord and tension between teens and schools? Do these representations offer diverse or uniform outcomes for their teen characters in relation to educational and post-school options, and what are the implications for Australian teen identities more broadly? We overview Heartbreak High and its reception, but also make comparative references to other Australian programmes that feature teens prominently.' (p.152)
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