Post-1989 changes in the Eastern Bloc and the Arab world that recall Australia's regional television scene in the post-aggregation era

For years, television stations located in the First World have used high production values.

Plus, television stations in some neutral nations use the same values as the Western Bloc.

Global television stations have been influenced for years by public and private television broadcasters hailing from core Anglosphere nations, Latin America and mainland Europe.

In the Australian television scene, public and commercial networks have maintained their on-air looks similar to their First World counterparts, ever since it arrived in the mid-1950's era.

For the three main metro-based television networks in Australia, they have often borrowed their on-air looks from the US-based Big Three networks since their debuts, even in colour and digital.

The Nine Network (or Channel Nine), for example, uses the Still the One slogan, which hails from the campaign being used by ABC (US) for 2 non-straight seasons, starting in the 1977-1978 season.

Besides, Channel Nine's news division also utilizes the rotating striped globe, made by Cranston/Csuri Productions for ABC News (US), since 1984.

Plus, Channel Nine maintains long-term programming and stylistic similarities to CBS (US).

From 1989 to the turn of the 21st century, the Seven Network used its iteration of the Circle 7, closely based on one used by WJLA-TV from 1975 to 2001.

Seven also has a close relationship with NBC (US), often sharing news resources and promo styles.

On the other hand, Network Ten is owned by Paramount Global, which also owns CBS; this corporate alignment means on-air styles and content being more closely integrated.

The national television service of the unrelated ABC (which is the BBC's Australian answer) has used a distinctive, high-end, sophisticated and professional on-air look since its mid-1950's debut.

Whilst Australia's three metropolitan-based television networks have borrowed many elements from the US-based Big Three networks since their debuts, the unrelated ABC has had its own, like the BBC.

In the 1950's decade, newspaper groups that have controlled commercial television in Australia used an advertising model based on America's Big Three networks, in contrast to the BBC model.

Making the switch to PAL colour allowed commercial television outlets in Australia to better align with worldwide visuals.

For PAL, the adoption of glossy American graphics and promos in Australia was smooth.

Australia's metro places have three commercial television channels, plus the ABC and SBS.

Regional television stations in Australia operated under the solus system, where most viewers provided access to one local commercial station, plus the ABC and later SBS.

Under the solus system, commercial television stations in Australia's rural/regional places were fiercely independent and were not affiliated with any metro-based network.

This solus system meant allowing Australia's rural/regional television outlets to offer programs from all metro-based networks, as well as local programs.

During the era of the solus system, regional television in Australia endured a localized and independent approach (unique logos, locally-produced programs and low-budget presentation).

With aggregation, regional television in Australia became equal to their metropolitan counterparts.

For the solus system, it means that television stations located in Australia's rural/regional places have a basic and archaic look.

However, aggregation means using the high-gloss and metro-based look for Australia's regional areas.

Conversely, aggregation in Australia's regional television scene leads to a decline in localism.

Southern New South Wales is the first region in Australia to have this television industry be affected by aggregation, which came in late-March 1989.

Queensland is the second Australian region to have television be affected by aggregation on New Year's Eve 1990.

Northern New South Wales, Victoria and Tasmania come around in the early-to-mid-1990's.

Western Australia, South Australia and the Northern Territory are some Australian regions not to have television initially be affected by aggregation.

Both in metro and rural/regional markets, the television service of the unrelated ABC (Australia) has a unified Lissajous logo since the mid-1960's, unaffected by colour and aggregation.

Stations of the unrelated ABC (Australia) have bben identified by their unique calls.

This aggregation process was made possible through the Aussat system, which was the first domestic communications satellite system in Australia.

With its first two satellites launched in 1985 via NASA's Space Shuttle, plus a third one by an Ariane rocket, Aussat changed telecommunications down under.

Australia's aggregation model is studied and referenced by other countries seeking to modernize their television landscapes in a Western-like approach after the end of the Cold War.

Some of the regions seeking to modernize television in a Western-like approach in the post-Cold War period include the Eastern Bloc, the Arab world and South and Southeast Asia.

Besides, Australia's regional TV aggregation model recalls America's cable television channels, which started on a low-budget and regional basis, then scaled nationally via satellite.

Noted US cable channels recalling Australia's regional television scene in this post-aggregation period include HBO, TBS and CBN.

Incidentally, both HBO and TBS are cable TV pioneers being held by TimeWarner, the latter of which spawned its sisters like CNN, the first 24-hour television news in the world.

Glasnost and perestroika, which are policies that Mikhail Gorbachev spearheaded, led many television services in the Eastern Bloc to be modernized, along with Solidarity, led by Lech Walesa.

The first Gulf War, as covered by CNN, modernized the technology and speed of television journalism around the world, moving towards continuous, live 24-hour news reports.

Metro television stations in Australia has operated with high production values for years.

Rural/regional television outlets in Australia has operated with fewer resources than metro ones before aggregation.

Since March 1989, aggregation for Australian TV has bridged the gap between metro-based networks (professional, glossy, high-end) and regional stations (under-resourced) in graphics and visuals.

With apologies to one of Aesop's Fables, before the aggregation process, the metro television scene in Australia was the fast-paced hare, whereas regional television was the slow-paced tortoise.

Plus, with apologies to the Cinderella fairy tale, before aggregation, Australia's metro television scene served as a beautiful princess; regional TV served as a banished and isolated servant.

Aggregation, with apologies to the Cinderella fairy tale, was the Fairy Godmother that turned regional television in Australia from a banished servant into a princess in graphics and visuals.

In addition, with apologies to Cinderella, the glass slipper by the rural princess wearing a ball gown to marry the three charming national metro TV princes in Australia was aggregation.

Using the aggregation process that was initiated in March 1989, with apologies to Cinderella, regional television in Australia has been transformed from a pumpkin into a carriage.

Locally-produced programs in Australia's regional television scene, conversely, were cancelled, which meant that, with apologies to Cinderella, the stroke of midnight caused the return to rags.

Furthermore, aggregation, with apologies to one of Aesop's Fables, also forced the regional television tortoise in Australia to run at the same speed as the metro hare in both technology and content.

Southern New South Wales is the first region in Australia to have this television industry be affected by Cinderella-like aggregation.

During the Cold War era, television in many countries of the Eastern Bloc came under strict communist control, with 1 or 2 channels usually carried under a monopoly.

Incidentally, television in the Eastern Bloc recalled regional TV in Australia under the solus system.

Hungary and Yugoslavia are noted exceptions to Eastern Bloc television during the Cold War.

Magyar Televízió (MTV), during the Goulash Comminism era, used more innovative and progressive station idents/break bumpers than the other Eastern Bloc broadcasters during the Cold War.

JRT used a presentation aligned with Western broadcasters during the Cold War.

Some countries in the Eastern Bloc also imported or were exposed to television programming from the Western world during the last decades of the Cold War.

Glasnost and perestroika are policies that allowed television services in the Eastern Bloc to modernize themselves, as well as Lech Walesa's Solidarity movement.

With glasnost, perestroika and Lech Walesa's Solidarity, television channels in the Eastern Bloc started having a modern feel by being exposed to global media and Western technologies.

Private television services broke the state monopoly held by television in the Eastern Bloc.

A modern feel all over the Eastern Bloc sparked by the reformist policies made by Mikhail Gorbachev recalls regional television in Australia in the post-aggregation era.

Even after Hungary's Goulash Communism period (and despite the 1997 debut of its private television sector), Magyar Televízió (MTV) still used its high-end graphics.

During this Cold War, with apologies to one of Aesop's Fables, television in the Western world was the fast-paced hare, while television in the Eastern Bloc was the slow-paced tortoise.

Meanwhile, in some Eastern Bloc countries, during the Cold War era, with apologies to one of Aesop's Fables, the fast-paced Western TV hare was an alternative to the slow-paced Eastern TV tortoise.

Furthermore, during the Cold War era, with apologies to Cinderella, television in the First World was a beautiful princess, whereas television in the Eastern Bloc was a banished and isolated servant.

In some Eastern Bloc countries, during the Cold War era, with apologies to Cinderella, the Western TV princess served as an alternative to the banished and isolated Eastern TV servant.

With apologies to Cinderella, glasnost and perestroika were Fairy Godmothers that elevated the Eastern Bloc's on-air TV looks from banished and isolated servants to princesses in graphics and visuals.

Likewise, with apologies to Cinderella, glasnost and perestroika were glass slippers being used to allow princesses wearing the ball gown in the Eastern Bloc to marry the charming Western princes.

Using glasnost and perestroika, with apologies to Cinderella, television presentation across the Eastern Bloc has been transformed from a pumpkin into a carriage.

Likewise, glasnost and perestroika meant that, with apologies to Cinderella, the stroke of midnight had caused the end of the old guard for television presentation in the Eastern Bloc.

Besides, glasnost and perestroika, with apologies to one of Aesop's Fables, also forced the Eastern Bloc tortoise to catch up with (and win over) the fast-paced Western hare.

With apologies to one of Aesop's Fables, Magyar Televízió (MTV), during the communist era, was the fast-paced Hungarian hare, using a more innovative and progressive presentation.

As for JRT, it was the fast-paced Yugoslavian hare during the Cold War.

In addition, with apologies to Cinderella, Magyar Televízió (MTV), during the communist era, was the beautiful Eastern Bloc princess, with an on-air look using a glass slipper and a ball gown.

Meanwhile, for JRT, it was the beautiful non-aligned princess during the Cold War.

Vzglyad is one of the radical Soviet programs during the era marked by glasnost and perestroika.

Blending news magazines à la 60 Minutes with MTV-like music videos, Vzglyad forever changed the television landscape in the Eastern Bloc.

Labvakar is one of the versions being created in response to Vzglyad's success, popularity and format. 

In the Arabic-speaking countries of the Middle East, just before CNN's coverage of the first Gulf War period, television stations have a basic and archaic on-air look.

However, partly due to CNN's Gulf War coverage, television assets in Arab countries started having a modern feel by being exposed to global media and Western technologies.

A modern and contemporary feel for television in the Arab world, partly due to CNN's first Gulf War coverage, recalls regional television in Australia in the post-aggregation era.

CNN's coverage of the first Gulf War has led to broader changes in the content and style of television programming in media across the Arab world, but also spurred cosmetic modern graphics.

For years, with apologies to one of Aesop's Fables, before CNN's Gulf War coverage, television in the Arab world was a slow-paced tortoise in graphics and visuals.

With apologies to Cinderella, just prior to CNN's coverage of the first Gulf War, television in the Arab countries of the Middle East was a banished and isolated servant.

CNN's coverage of the first Gulf War, with apologies to Cinderella, served as the Fairy Godmother that transformed television in the Arab world from a servant into a princess in graphics and visuals.

Plus, CNN's Gulf War coverage, with apologies to Cinderella, served as the glass slipper being used by Arab television princesses to marry the charming Western TV princes.

In addition, the live coverage of the first Gulf War on CNN, with apologies to Cinderella, also made the Arab television sector transform from a pumpkin into a modern 24-hour news carriage.

With apologies to Cinderella, CNN's live Gulf War coverage likewise meant that the stroke of midnight caused the end of the old guard for television presentation in the Arab world.

Besides, CNN's coverage of the Gulf War, with apologies to one of Aesop's Fables, also forced the Arab tortoise to catch up with the fast-paced Western hare.

Contrasting to the unusually high Western-style production values of the television scene in communist Hungary, pre-1986 Icelandic television had a basic and archaic feel during its first 20 years.

Limited broadcast hours emphasized pre-1986 Icelandic television: nothing on Thursdays and in July.

Sjónvarpið (RÚV) operated on a shoestring budget during its first 20 years, which recalled Australia's regional television industry under the solus system.

By the 1990's, Icelandic television had similar values to Hungary in graphics and visuals.

Stöð 2/Syn TV is the channel changing Icelandic television presentation.

Ever since the October 9, 1986 debut of Stöð 2/Syn TV, a modern and contemporary feel for Icelandic television has recalled Australia's regional TV scene in the post-aggregation era.

From 1966 to 1986, with apologies to one of Aesop's Fables, Sjónvarpið was an unusually slow-paced television tortoise in graphics and visuals for a capitalist nation.

With apologies to one of Aesop's Fables, during the Cold War period, Magyar Televízió (MTV) was an unusually fast-paced television hare in graphics and visuals for a nation in the Eastern Bloc.

During its first 20 years, with apologies to Cinderella, Sjónvarpið had been a unusually banished and isolated servant in both graphics and visuals for a capitalist nation.

Meanwhile, with apologies to Cinderella, MTV was an unusually beautiful communist princess.

The private television sector, with apologies to Cinderella, served as the Fairy Godmother transforming Icelandic TV into a princess in graphics and visuals.

Likewise, with apologies to Cinderella, this private TV sector was a glass slipper that allowed Icelandic princesses wearing the ball gown to marry the charming Western European/Hungarian TV princes.

With apologies to Cinderella, the October 1986 arrival of the private television sector in Iceland meant that the stroke of midnight caused the end of the old guard for television presentation.

Besides, the 1990's, with apologies to Cinderella, forced television presentation in Iceland to transform itself from a pumpkin into a carriage.

Furthermore, the 1990's, with apologies to one of Aesop's Fables, also forced the slow-paced television tortoise in Iceland to catch up with (and win over) the fast-paced Western TV hare.

Until the 1990's era, television in both Greece and Turkey had a basic and archaic on-air look until the 1990's.

By the 1990's, Greek/Turkish television had similar high production values to Western ones.

Mega Channel (Greece), ANT1 (Antenna), Star Channel and Skai TV/Alpha are some of the private television channels changing television presentation in Greece.

Star TV, Show TV, Kanal D and ATV are some private channels changing Turkish television.

Ever since private television arrived in both 1989 and 1990, a modern feel for Greek/Turkish television presentation has recalled Australia's regional TV scene in the post-aggregation era.

With apologies to one of Aesop's Fables, until the 1990's decade, television in both Greece and Turkey served as a slow-paced television tortoise in graphics and visuals.

Likewise, with apologies to the Cinderella fairy tale, television in both Greece and Turkey had been a banished and isolated servant in both graphics and visuals until the 1990's.

Plus, with apologies to Cinderella, television in Western Europe was a beautiful princess.

By the 1990's decade, with apologies to Cinderella, both Greece and Turkey have become princesses as facilitated by the private television Fairy Godmother in television presentation.

Plus, with apologies to Cinderella, the private television sector was a glass slipper that allowed both the Greek and Turkish princesses wearing the ball gown to marry the charming Western TV princes.

In the 1990's, with apologies to Cinderella, both Greek and Turkish television have transformed from a pumpkin into a carriage.

Furthermore, the 1990's, with apologies to one of Aesop's Fables, also forced the slow-paced television tortoises in both Greece and Turkey to catch up with (and win over) the fast-paced Western hare.

Meanwhile, during its first decade, television in South Africa had a basic and archaic on-air look.

By the 1990's, South African television had similar high production values to Western ones.

Electronic Media Network (M-Net) is one of the private television channels that changed television presentation in South Africa.

For M-Net, magic is the common theme.

Since private television arrived in 1986, a modern feel for South African television presentation has recalled Australia's regional TV scene in the post-aggregation era.

Until 1986, with apologies to one of Aesop's Fables, South African television had been a slow-paced tortoise in graphics and visuals.

With apologies to Cinderella, South African television served as a modest girl in graphics and visuals during its first decade until 1986.

By the 1990's, with apologies to Cinderella, South Africa had been a princess as being facilitated by the Fairy Godmother (M-Net) in television presentation.

With apologies to Cinderella, the private television sector was a glass slipper being used to allow South African princesses wearing the ball gown to marry the charming Western TV princes.

Plus, with apologies to Cinderella, the October 1986 debut of M-Net meant that the stroke of midnight caused the end of the old guard for television presentation.

In addition, with apologies to Cinderella, television presentation in South Africa had been transformed from a pumpkin into a carriage.

Furthermore, the 1990's, with apologies to one of Aesop's Fables, also forced the slow-paced television tortoise in South Africa to catch up to (and win over) the fast-paced Western TV hare.

During its first 30 years, from the mid-1960's era until New Year's Eve 1993, television presentation in Singapore had a basic and archaic look.

In mainland China, under Mao Zedong, television stations have a basic and archaic on-air look.

But under Deng Xiaoping as its paramount leader, television outlets in mainland China began having a modern feel by being exposed to global media and Western technologies.

Since Deng Xiaoping, using modern graphics has been a cosmetic task, but it has also brought broader changes in the content and style of television programming in mainland China.

A modern feel in mainland China since the 1990's decade recalls regional television in Australia in the post-aggregation era.

On the other hand, in Vietnam, during the first years after the 1975 reunification as a fully-communist country, many television stations have a basic and archaic on-air look.

However, with Doi Moi, television assets in Vietnam began having a modern feel by being exposed to global media and Western technologies.

Many regions of the world, often using a basic and archaic television presentation in the past, endured changes during the 1990's and beyond, recalling regional television in Australia after aggregation.

These include the Eastern Bloc, the Arab world and Asia.

BS Graphics is a former motion graphics studio being founded in 1993 by Sergey Bazhenov; it helped modernize the motion graphics scene in early post-Soviet Russia.

Prior to BS Graphics, Russian television relied on analog transitions or character generators.

However, BS Graphics earned fledging Russian channels a corporate look, but also elevated television commercials from video to cinematic and acted as a school for younger digital artists.

Incidentally, BS Graphics' influence in modernizing the motion graphics and broadcast design field in Russia's post-Soviet era recalls Australia's post-aggregation regional TV in graphics and visuals.

Some things for BS Graphics include the Quantel HAL and SGI and Softimage technologies.

With apologies to one of Aesop's Fables, television in early post-Soviet Russia served as a slow-paced tortoise in graphics and visuals.

Likewise, with apologies to the Cinderella fairy tale, television in early post-Soviet Russia served as a banished and isolated servant in graphics and visuals.

However, with apologies to the Cinderella fairy tale, BS Graphics was a Fairy Godmother that turned television presentation in post-Soviet Russia into a high-end princess in graphics and visuals.

BS Graphics, with apologies to Cinderella, served as a glass slipper being fitted to allow this Russian television princess to marry the charming and high-end Western graphic princes.

Plus, with apologies to Cinderella, the 1993 founding of BS Graphics meant that the stroke of midnight caused the end of the old guard for television presentation in post-Soviet Russia.

In addition, with apologies to Cinderella, television in post-Soviet Russia had been transformed from a pumpkin into a carriage with BS Graphics.

The computer graphics division of the ITC company was one of the first private companies located in post-1989 Poland to produce high-end 3D computer animation in graphics and post-production.

Driving the vision for ITC's computer graphics division was Pawel Dzierwa.

For ITC's computer graphics division, which Pawel Dzierwa had led, it recalls regional television in Australia after aggregation.

The BBC won the Queen's Award on numerous occasions for its worldwide achievements.

Large foreign sales by ITC during the 1960's and beyond led to ACC winning the Queen's Award for Export on numerous occasions.

Quantel won the Queen's Award on numerous occasions for its innovative software being utilized on motion pictures and television.

EMI won the Queen's Award on numerous occasions for its work in the music industry.