Introduction: From Art School to Beer Barn
1. Imagining Hybridity: A History of the Present
2. Subverting the High Ground: The Hybridity of Punk and Post-punk
Music in Australia
3. Subcultural Design: Wearing our Art on our Sleeve.
4. From Fringe Theatre to Prime Time: The Case of Comedy
5. Alternative Visions: The Indigenous Wave and Australian
Independent Cinema
6. The Fringe in Freeplay: The Independence of Independent
Games
Conclusion: Designing Osmotic Ecologies
References
Index
Using Australian case studies, Fringe to Famous offers a critical roadmap for understanding the relations between “alternative” creativity and “mainstream” popularity in contemporary cultural industries.
Tony Moore is Professor in Communications and Media
Studies at Monash University, Australia, with interests in the
interplay between creative and political countercultures and
mainstream society. He is author of three books and leads the
Australian Research Council Projects Conviction Politics: The
Convict Routes of Australian Democracy and Comedy Country:
Australian Performance Comedy as an Agent of Change. Tony has also
worked as a documentary maker at the Australian Broadcasting
Corporation and commissioning editor at Pluto and Cambridge
University Press.
Mark Gibson is Professor of Media and Associate Dean, Media,
Writing and Publishing at RMIT University, Australia. He was
previously head of Communications and Media Studies at Monash
University, and has also worked in media and cultural studies at
Murdoch University and Central Queensland University, Australia. He
has research interests in cultural industries and the intellectual
legacy of countercultural movements of the 1960s and 1970s. He is
author of Culture and Power: A History of Cultural Studies
(2007).
Chris McAuliffe is Emeritus Professor, School of Art and
Design, Australian National University. He was previously head of
the Centre for Art History and Art Theory and Sir William Dobell
Professor at Australian National University. From 2000–2013 he was
Director of the Ian Potter Museum of Art, the University of
Melbourne. He taught art history at the University of Melbourne and
was Visiting Professor of Australian Studies at Harvard University
(2011–12), USA.
Maura Edmond is a Senior Lecturer in the School of Media,
Film and Journalism at Monash University, Australia. She researches
the contemporary media, arts and cultural industries, with a focus
on digital transformation, policy and gender. Her work has been
published in European Journal of Cultural Studies, New Media and
Society, Television and New Media, The Bloomsbury Handbook of
Popular Music Policy (2021) and Toward Gender Equality in the Music
Industry (Bloomsbury, 2019).
Fringe to Famous rejuvenates enduring but stale debates between
intrinsic and instrumental approaches to cultural value with a
fresh take on their productive tension but necessary
complementarity. It achieves this while diving deep into diverse
and exhilarating histories of Australian cultural scenes of recent
decades.
*Stuart Cunningham, Distinguished Professor of Media and
Communications, Queensland University of Technology, Australia*
I learnt such a lot from this book about the richness of Australian
popular culture over recent decades. But it’s also a superb
rethinking of the relations between margins and mainstreams in
cultural production. Anyone interested in the cultural industries
should read it.
*David Hesmondhalgh, Professor of Media, Music and Culture,
University of Leeds, UK*
Through a deep weaving together of the rich individual stories,
communities, and economic negotiations of over four decades worth
of pioneering Australian creativity, Fringe to Famous presents a
theoretically rich but also very human picture of the complex
entanglements of contemporary cultural ecologies. Moving beyond
simple binaries of mainstream/alternative, subculture/selling out,
independent/co-opted, it situates the economic realities of making
a living as an artist within a complex and diverse world where hope
for something more, something better as represented by the ‘fringe’
remains very much alive.
*Susan Luckman, Professor of Culture and Creative Industries,
University of South Australia*
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