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.
'The day of Bianca's wedding has arrived, Vittorio waits nervously at the alter as his stunning bride walks down the aisle towards him. They say their vows but Bianca hesitates for a moment and then tells Vittorio that she can't marry him. In front of all her friends and family she rushes back down the aisle and into the arms of her true love, Liam Murphy. In shock, Vittorio tries to drag Bianca away from Liam, but Romeo steps in and lands a punch that knocks him out cold. Bianca and Liam ride off into the sunset on his Harley Davidson. In the meantime, John and Gina save the day. Not being one to waste a good opportunity, John is prompted by Gina into telling everyone that there will still be a wedding today between himself and the beautiful Gina Austin. Colleen is quick to offer her services as Matron of Honour and Xavier happily steps in as best man. All seems to be going well until Xavier sees April's tear streaked face. She is being taken back to Europe by Joanne and has no idea if she will ever return to Summer Bay. There are more tears from Nicole when she confesses to Marilyn that she is pregnant to Penn Graham! Detective Robertson really spoils the party when he arrives with Graves to arrest Alf for Penn's murder. The residents of Summer Bay watch as Alf is taken away in handcuffs!'
Source: Home and Away homepage, www.au.tv.yahoo.com/home-and-away/ (sighted 08/11/2011)Sydney : Channel 7 , 2010
'With humour, honesty and self-deprecating charm, one of Australia's best known TV actresses lifts the lid on life - both on-screen and off.
'From a young age, I could lie like a chop in gravy. I loved the thrill of crafting a story. It wasn't until my twenties that I made the connection that lying is a lot like acting…
'For almost 30 years, Lynne McGranger has been entertaining TV viewers all around the world. As a veteran on the popular soap Home and Away, her much-loved character Irene Roberts has long been a font of wisdom, good humour and unforgettable lines.
'But Lynne's story goes far beyond Summer Bay. From an Aussie childhood full of fad diets (tuna, milk and oranges, anyone?) to the relationship heartaches, career disasters and difficult choices that would change her life forever. But then Lynne landed a 'guest role' on Home and Away that's lasted 29 years and counting …
'Acting Up: Me, Myself & Irene is a warm, hilarious and intimate look inside the life of one of Australia's living TV legends.' (Publication summary)
'Despite an often‐repeated cliché that gender and sexually diverse characters are relatively absent from film and television, Australian screen production has a very rich history of representing sexual and gender diversity: greater than nineteen wide‐release films since 1993, including internationally recognized films such as Priscilla, Queen of the Desert (1994), The Sum of Us (1994), Head On (1998), and The Monkey’s Mask (2000), portray gender and sexual diversity. Nine Australian films with LGBTQ, gender, and sexually diverse themes were released between 2013 and 2018, indicating an entrenchment of LGBTQ representation on Australian screens. Characters in major Australian television dramas and soap operas, such as Home and Away and Neighbours, have increased in regularity and complexity over the past two decades. Sexual stories, including narratives of minority sexual lives, have never, of course, been repressed or invisible, but according to Ken Plummer, they have long been central to contemporary Western culture (4). Stories representing gender and sexually diverse subjects depicting identity struggles and articulating minority health outcomes are a major and ongoing part of Australian creative production. What is significant in cultural analysis is not questions of visibility or invisibility but how the continuities and disruptions of depictions of gender and sexual minorities play a significant, pedagogical role in social participation, social harmony, acceptance, individual health and wellbeing, and community belonging (Cover, Queer Youth Suicide; Emergent Identities).' (Introduction)
'This article presents findings from interviews conducted with first and second-generation Asian Australian audience members as part of a project on the histories of television and migration in Australia. The data presented here is (a) testament to the agency of migrants in choosing what to watch beyond what might be expected on the basis of primordial markers such as ethnicity, and shows that factors such as generation of migration and education status play a significant role; and (b) differences in patterns, as well as influences between generations within a family unit. This means that the influence of cultural elements from parents or grandparents’ generations, as well as the impact of technology on younger viewers appears to be more marked. Additionally, in the case of the first generation, there is a noticeable desire to watch mainstream Australian content (such as Home and Away), where this usually changes to a longing to be ‘represented’ for subsequent generations. These trends, while not based on a representative sample, give us an indicative glimpse into shifts in migrant media cultures, and reinforce the need for an intersectional approach to audience studies. What this analysis contributes is the importance of foregrounding the relationality of viewing practices, especially in a migrant family setting.' (Publication abstract)
'Theories of embodiment recognise the critical politics of emplacement associated with the body, as well as its situatednesses in, and as, sites of performance. What happens when such locations shift due to crossings in terms of bloodlines, caste, class, family, gender, nation, race, region, religion, ability and sexuality, among others? How do embodiments that cross perimetres of categories inhabit their place and being, both in the Bourdieusian sense of habitus as well as that of phenomenologists like Merleau-Ponty? Following from these questions, we examine and explore the ways in which Asian Australian land/mind/body scapes and embodiments are made meaningful in changing contexts of communities and crossings, how habitations over space, time and history challenge our ideas of being and body. The theme of embodiments and inhabitations reflects on past practices that have shaped, and continue to shape, the lives of Asian Australians, and to interrogate these practices while also moving beyond them to generate new knowledge. Our analyses push the boundaries of notions of home, rootedness, belonging and place, and past and present: we re-invent, instead of simply responding to the limited ways in which Asian Australians have been hitherto conceptualised and their experiences understood in dominant discourses.' (Publication abstract)
Going to school is one of the few life experiences almost everyone shares. From the time children began to be educated in small groups in Britain, there were school stories in popular culture, beginning with what many consider the first novel for children, Sarah Fielding’s The Governess; or, The Little Female Academy (1749). (Introduction)
The definitive history of Australian TV soaps, Super Aussie Soaps examines Australian television serials, in chronological order from 1958 to the early 2000s. Among the series presented are Bellbird, Number 96, The Sullivans, Prisoner, Sons and Daughters, Neighbours and Home and Away.