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Australia’s print media


Put aside anything published by propagandists Rupert Murdoch’s News Corporation or by John Fairfax Holdings. Below is a short list of Australian publications that maybe a trifle more truthful and less manipulative. I hope so as they are my sources for information about goings-on in Australia.

These corporations are profit-seeking businesses funded by advertisers who want their ads to appear in a supportive selling environment. These newspapers are also dependent on government and major business firms as information sources, and both efficiency and political considerations, and frequently overlapping interests, cause a degree of solidarity to prevail among government, major newspapers, and other corporate businesses. Government and large non-media business firms are also positioned (and sufficiently wealthy) to be able to pressure newspapers with threats of withdrawal of advertising, libel suits, and other direct and indirect modes of attack.

These factors linked together reflect the multi-levelled capability of the all powerful arcane, interconnected world of multinational corporations, government departments, think tanks and collectives to exert power over the flow of information. The corporate media is structured in a way that protects and furthers the interests of state-corporate power.

If these newspapers gets the bulk of their income from business advertisers, how likely do you think it is that they will tell the truth about any horrible things those advertisers might be doing?

Crikey’s aim is very simple: to bring its readers the inside word on what’s really going on in politics, government, media, business, the arts, sport and other aspects of public life in Australia. Crikey reveals how the powerful operate behind the scenes, and it tackles the stories insiders are talking about but other media can’t or won’t cover.

Crikey sees its role as part of the so-called fourth estate that acts as a vital check and balance on the activities of government, the political system and the judiciary. In addition, Crikey believes the performance and activities of business, the media, PR and other important sectors are worthy of public scrutiny.

Crikey is a showcase for information that might otherwise remain suppressed. It’s a place where people can go – anonymously or not – with information they believe is in the public interest. If Crikey publishes such information, its status is identified. Crikey aims for full transparency in what it publishes, but we recognise that unconfirmed reports can often be the starting point for the disclosure of important information. Where published material cannot be 100% confirmed, Crikey aims to ensure its readers know it is unconfirmed or uncorroborated.

Crikey aims to be fair and open in its journalism. It does not seek to be malicious, prurient or invade an individual’s privacy unless the information is relevant to an individual’s public or corporate duties.

In order to achieve its editorial aspirations, Crikey must also operate as a business. Its primary sources of revenue are subscriptions and advertising. Crikey aims to be open and honest in all its commercial activities, and reserves the right to reject any advertising it regards as unethical or in any other way unsuitable.

Most importantly, Crikey is independent and is not part of a media empire.

Green Left Weekly
In these days of growing media concentration, Green Left Weekly is a proudly independent voice committed to human and civil rights, global peace and environmental sustainability, democracy and equality. By printing the news and ideas the mainstream media won’t, Green Left Weekly exposes the lies and distortions of the power brokers and helps us to better understand the world around us.

Green Left Weekly, launched in 1990 by progressive activists to present the views excluded by the big business media, is now Australia’s leading source of local, national and international news, analysis, and discussion and debate to strengthen the anti-capitalist movements.

Meanjin was founded in Brisbane by Clem Christesen (the name, pronounced Mee-an-jin, is derived from an Aboriginal word for the finger of land on which central Brisbane sits) in 1940. It moved to Melbourne in 1945 at the invitation of the University of Melbourne. It currently receives funding from the university, the Literature Fund of the Australia Council for the Arts, CAL and Arts Victoria as well as receiving vital support through subscriptions and other sales. At the beginning of 2008 Meanjin became an imprint of Melbourne University Publishing.

Known primarily as a literary magazine, Christesen ensured that Meanjin reflected the breadth of contemporary thinking, be it on literature, other art forms, or the broader issues of the times. This breadth has characterised Meanjin for more than 70 years, continuing under its eight subsequent editors – Jim Davidson, Judith Brett, Jenny Lee, Christina Thompson, Stephanie Holt, Ian Britain, Sophie Cunningham and Sally Heath. A list of the contributors to Meanjin includes Australian writers Judith Wright, Kylie Tennant, Manning Clark, Vance & Nettie Palmer, A D Hope, Dymphna Cusack, Martin Boyd, Alan Marshall, Dorothy Hewett, Peter Singer, Vincent Buckley, Donald Horne, Patrick White, Gwen Harwood, Bruce Dawe, David Malouf, Humphrey McQueen, Jack Hibberd, Roberta Sykes, Helen Garner, Alex Miller, Frank Moorhouse, John Morrison, Hal Porter, Rodney Hall, A A Phillips, Peter Carey, Alice Pung, Michelle de Kretser, J M Coetzee, Carmen Callil and Dorothy Porter. International authors published include Jean-Paul Satre, and Kurt Vonnegut.

Overland magazine
Overland, the most radical of Australia’s long-standing literary and cultural magazines, celebrated its 50th year in 2004.

Publishing features, fiction, poetry, reviews, comment, artwork and opinion pieces, Overland is committed to engaging with important literary, cultural and political issues in contemporary Australia. It has a tradition of publishing dissenting articles with a political and cultural focus.

With ‘culture that matters … since 1954’ as its motto, Overland is the only high-profile Australian literary magazine that sees the publication and advancement of new and marginal writers as part of its charter.

Produced quarterly, Overland was founded in 1954 under the editorship of Stephen Murray-Smith, with the motto ‘temper democratic, bias Australian’. At the time it incorporated The Realist Writer, the journal of the Melbourne Realist Writers’ Group.

Contributors over the years include Peter Carey, Patrick White, Garry Disher, Elizabeth Jolley, Stuart Macintyre, David Foster, Germaine Greer, Dorothy Hewett, Bob Ellis, Mark Davis, Sam Watson, David Williamson, Thomas Shapcott, Judith Wright, Rodney Hall, Gwen Harwood, Thea Astley, Alan Marshall, Xavier Herbert, Amanda Lohrey, Eric Beach, Bruce Dawe, Frank Moorhouse, Manning Clark, Humphrey McQueen, Christina Stead, Geoffrey Dutton, Max Harris, Chris Wallace-Crabbe, Nancy Cato, Frank Hardy, Lily Brett, Peter Porter, James McAuley, Geoffrey Serle, Graham Pitts, Desmond O’Grady, Robert Adamson, Ian Turner, Jack Hibberd, Dean Kiley, Christos Tsiolkas, Alex Buzo, Martin Flanagan, Marcia Langton, Fiona Capp, Margaret Simons, Linda Jaivin and many others.

Yet Overland also gives a voice to the experiences that are excluded from the mainstream media and publishing outlets. The magazine has been part of an ongoing attempt to document lesser-known stories and histories, dissect media hysteria and dishonesty, debunk the populist hype of politicians, give a voice to those whose stories are otherwise marginalised, misrepresented or ignored, and point public debate in alternative directions.

While Overland remains committed to the quarterly print journal, the journal’s project now also includes regular online publication.

The Daily Bludge
The Daily Bludge seeks to provide a fresh perspective on current affairs and political events in Australia and around the world.

We wish to expose our readers to a broad diversity of opinions, so if you are interested in contributing an article or in joining our team of bloggers please shoot us an e-mail at

A rough guideline for article submissions are as follows:

  • Feel free to write about any topic of your choosing
  • Word length should generally be somewhere between 400 – 1000 words (longer is acceptable)
  • Controversial points of view are welcome as long as you articulate your argument clearly
  • If you need any sort of clarification please e-mail us at

If you have artistic skills and want to contribute the odd political cartoon, please do. If you have artistic skills, but aren’t quite sure what to draw feel free to contact us at – I’m sure we can throw around a few ideas.

Also, budding photojournalists out there are welcome to submit photos for use in articles or for addition to a soon-to-be-formed image gallery.


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