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Australian Film Commission Act - Australian Film Commission - Report - 1993-94


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AUSTRALIAN FILM COMMISSION ANNUAL REPORT 1 9 9 3 -9 4

© Commonwealth of Australia

ISSN 0816-9682

CONTENTS

2 Chairman’s Letter

3 Reporting Summary

4 General Information

5 Powers, Functions, Objects

6 Power of the Minister

7 Contingency Liability Statement

7 Resources

8 Organisation Chart

10 Commissioners’ Profile

16 Executive Summary

22 Film Development

32 Marketing

40 Indigenous Branch

44 Industry and Cultural Development

54 Corporate Operations

63 Financial Statements

64 Summary of Cash Receipts and Payments

65 Audit Report on Financial Statements

66 Certification of the Financial Statements

67 Profit and Loss Statement

68 Balance Sheet

69 Statement of Sources and Applications of Funds

70 Notes to and Forming Part of the Financial Statements

79 Appendices

80 Appendix A - Special Events

82 Appendix B - Major Film Festivals and Multiple Selections

86 Appendix C - Awards

89 Appendix D - Publications

92 Appendix E - Applications Statistics

94 Appendix F - Industry Assistance

94 Policy

96 Film Development

120 Marketing

122 Industry and Cultural Development

126 Corporate Operations

128 Glossary

OAustralian Rim Commission 1993-1994

CHAIRMAN'S LETTER

26 September 1993

Senator Michael Lee

Minister for Communications and the Arts

Parliament House

Canberra ACT 2060

Dear Minister

It is my pleasure to present the Annual Report for the year ended 30 June 1994.

The year past has been one of consolidation for the Australian film industry generally.

This year's slate of feature films has won praise, admiration and box office with their original

vision and unequivocal Australianness. Two films screened in Official Selection at the 1994

Cannes Film Festival, Muriel's Wedding (dir: P.J. Hogan) and Priscilla, Queen O f The Desert

(dir: Stephan Elliott) and several had market screenings. The reception overall was one of high

enthusiasm and has already resulted in more visits from American distributors scouting new

product than ever before.

Films of note supported by the AFC during 1993-94 include the short film Just Desserts

(dir: Monica Pellizzari), the feature Talk (dir: Susan Lambert) and documentaries Memories

And Dreams (dir: Lynn-Maree Milburn) and Milli Milli (dir: Wayne Barker).

Highlights of the AFC’s year included the Distinctly Australian Initiatives, designed to provide

innovative support to writers and producers. The first round of support is now in place and we

thank the government for making this very exciting new program available.

The AFC places high priority on development and production of Indigenous films and the

organisation’s Indigenous Branch has been in operation since 2 August 1993. So far funds

have only been found to support two full-time Indigenous staff members but we are hopeful

that a special allocation can be found to assist Indigenous writers, producers and directors to

develop their own contribution to Australian cinema.

The end of 1993 saw the reappointment of the Deputy Chairman of the AFC, Christopher

Stewart, and the resignation of the Chairman Chris Noonan, due to his commitment to direct

his film Babe. The Commission acknowledges with gratitude the contribution Chris made as

Chairman of the organisation and is pleased that he was subsequently appointed a member

of the Commission for a further year.

To survive, the Australian film industry must grow and change and the AFC’s challenge is to

be in the vanguard of progress. We face the challenge with enthusiasm.

Yours sincerely

SUE MILLIKEN

Chairman

OAustralian Film Commission 1993-1994

SUMMARY OF REPORTING REQUIREMENTS

Enabling Legislation

Responsible Minister

Powers, Functions, Objects

Resource Table

Membership and staff

Basis of Staffing

Financial Statements

Activities and Reports

Operational matters

Subsidiaries

Freedom of Information

Freedom of Information Enquiries

Research Manager

Publications

Australian Film Commission Act (1975)

The Minister for Communications and the Arts

See pp 5-7

Seep 7

See pp 7-9

See pp 7, 58-59

See p 63

See pp 16-21

See pp 54-63

AFC has no subsidiaries

See p 62

Ms Kim Ireland, Telephone: (02) 321 6444

Ms Rosemary Curtis, Telephone: (02) 321 6444

See pp 89-91

OAustralian Rim Commission 1993-1994

GENERAL INFORMATION

Commissioners

Ms Sue Milliken, Chairman

Mr Christopher Stewart, Deputy Chairman

Ms Cathy Robinson, Chief Executive

Mr Robert Campbell

Mr Al Clark

Ms Laura Jones

Ms Liz Mullinar

Mr John Sexton

Mr Stuart Cunningham

Mr Chris Noonan

Senior Management

Ms Cathy Robinson, Chief Executive

Ms Lynn Gailey, Director Film Development

Ms Sue Murray, Director Marketing

Mr Ron Neale, Director Finance and Systems

Australian Offices

Head Office: Level 4, 150 William Street, Woolloomooloo, NSW 2011

Telephone: (02) 321 6444 Toll Free: (008) 22 6615 Fax: (02) 357 3737

Melbourne: 120 Clarendon Street, South Melbourne, VIC 3205

Telephone: (03) 279 3400 Toll Free: (008) 33 8430 Fax: (03) 696 1476

European Office

UK/Europe: 2nd Floor, Victory House, 99-101 Regent Street, LONDON W1R 7HB

Telephone: (71) 734 9383 Fax: (71) 434 0170

Auditors and Bankers

Auditors: Australian National Audit Office

Internal Audit: KPMG Peat Marwick

Bankers: Westpac Banking Corporation

Annual Report Enquiries

Mick Broderick, Publications Co-ordinator

Level 4,150 William Street, Woolloomooloo, NSW 2011

Telephone: (02) 321 6444 Toll Free: (008) 22 6615 Fax: (02) 357 3737

OAustralian Rim Commission 1993-1994

POWERS, FUNCTIONS, OBJECTS

AUSTRALIAN FILM COMMISSION The Australian Film Commission (AFC) is a federal statutory authority established in 1975 by

the enactment of the Australian Film Commission Act 1975.

The primary activities of the AFC are to:

• provide development and production funding for film and television projects;

• promote and facilitate international co-productions;

• assist the cultivation of new and critical audiences for film;

• support the marketing, distribution and exhibition of Australian programs;

• provide a central information resource for the film and television industry and monitor

industry developments; and

• provide advice to Government on film matters.

“ Film" is interpreted by the AFC in the broadest sense of “moving images” and

encompasses all film gauges and video.

Functions and Purposes of the Australian Film Commission

Section 5 of the Australian Film Commission A ct 1975 (as amended by the AFC Amendment

A ct 1988) lists the functions of the AFC as:

s5.(1)(a) to encourage, whether by the provision of financial assistance or otherwise, the

making, promotion, distribution and broadcasting of Australian programs;

(b) to promote and distribute any programs;

(c) subject to the approval of the Minister, to provide financial assistance to a State

or an authority of a State for the purchase by it of:

(i) Australian programs that are of an educational nature and of national

interest or importance; and

(ii) rights in respect of any such programs; and

(d) to encourage, whether by the provision of financial assistance or otherwise,

the proper keeping of recordings in archives in Australia.

(1 A) In the performance of its functions, the Commission shall give special attention to the

encouragement of:

(a) the making of experimental programs and programs of a high degree of

creativeness; and

(b) the making and appreciation of Australian programs and other programs as

an art form.

(2) The functions of the Commission specified in paragraphs (1)(a) and (b) may be performed

within or outside Australia.

(3) The Commission may carry out a matter within the functions specified in paragraph (1)(b)

by commissioning a person to undertake that matter.

(4) The Commission may perform its functions to the extent only that they are not in excess

of the functions that may be conferred on the Commission by virtue of any of the legislative

powers of the Parliament and, in particular, may perform its functions:

(a) by way of expenditure of moneys that are available for purposes of the

Commission in accordance with an appropriation made by the Parliament;

(b) by way of, or in relation to, trade and commerce with other countries, among the

States, between Territories or between a Territory of State;

OAustralian Film Commission 1993-1994

(c) for purposes related to broadcasting services;

(d) so far as they relate to the collection of statistics;

(e) for purposes related to external affairs; and

(f) for purposes in relation to a Territory.

Powers off the Australian Film Commission

Section 6 of the Australian Film Commission A ct 1975 (as amended by the AFC Amendment

Act 1988) lists the powers of the AFC:

s6.(1) The Commission has power to do all things necessary or convenient to be done for or

in connexion with the performance of its functions and, without limiting the generality of the

foregoing, has power -(a) to guarantee the repayment of, and payment of interest on, loans (including bank

overdrafts);

(b) to provide financial assistance to persons concerned with the making, promotion,

distribution or broadcasting of Australian programs under arrangements that entitle the

Commission to receive a share of the proceeds derived from the sale, hire, distribution

or broadcasting of the programs;

(c) to acquire rights in respect of programs;

(d) to accept gifts, devises, bequests and assignments made to the Commission

(whether on trust or otherwise); and

(e) to act as trustee of moneys, recordings or other property vested in the Commission

upon trust, or to act on behalf of the Commonwealth or an authority of the

Commonwealth in the administration of a trust relating to programs or to matters

connected with programs.

(2) The power of the Commission to give guarantees is subject to such limits as the Treasurer

determines as to the total amount of moneys (other than interest) the payment of which may

at any time be the subject of such guarantees.

(3) Notwithstanding anything contained in this Act, any money, recordings, or other property

held by the Commission upon trust shall be dealt with in accordance with the powers and

duties of the Commission as trustee.

(4) The Commission shall set out in its annual report prepared and furnished to the Minister

under Section 44 a statement o f -a) the guarantees given by the Commission under paragraph (1 )(a) during the year

to which the report relates;

(b) the limits that the Treasurer has determined under sub-section (2); and

(c) the total amount the subject of the guarantees referred to in paragraph (a).

Power of the Minister to Direct the AFC Section 8 of the Australian Film Commission A ct provides that:

The Minister may, by writing under his hand, give directions to the Commission with

respect to the exercise o f its powers o r the performance o f its functions but shall not give

such a direction with respect to a particular project.

Where the Minister gives a direction under this section he shall, within 15 sitting days after

giving the direction, lay before each House o f Parliament a copy o f the direction together with

his reasons for giving the direction.

During 1993-94, the Minister did not exercise his powers under Section 8 of the Act.

OAustralian Rim Commission 1993-1994

Contingency Liability Statement as at 3 0 June, 1 9 9 4

As required by Section 6, sub-section (4) of the Australian Film Commission Act 1975,

the following statement is furnished:

(a) guarantees given by the Commission during the year ended 30 June, 1994

amounted to $10,000;

(b) the limit that the Treasurer has approved for this purpose is $1,000,000; and

(c) the total amount subject to guarantee as at 30 June 1994, is $666,000.

Resources

The total funds available to the AFC in 1993-94 were $21.0 million, comprising $17.9 million in

Parliamentary Appropriations and $3.1 million in revenue.

As at 30 June 1994, the AFC employed 48 full-time and 2 part-time staff members.

Of these, 4 full-time were employed in the Executive Branch, 1 full-time in Policy, 10 full-time

and 1 part-time in the Marketing Branch (including overseas staff), 8 full-time in the Industry

and Cultural Development Branch, 10 full-time and 1 part-time in the Corporate Operations

Branch, 13 full-time in the Film Development Branch and 2 full-time in the Indigenous Branch.

Resource Table

(A) (B) (C) (D)

1993-94 1993-94 1994-95 Variation

Estimate Actual Estimate ((C)-(B))/(B)

F in a n c ia l $'000 $'000 $'000 %

Appropriation Bill No. 1

Running Costs

Salaries 2,721 2,697 2,930 8.6

Administrative Expenses 2,585 2,583 2,338 (9.5)

Total Running Costs 5,306 5,280 5,268 (0.2)

Program Costs

(excluding Running Costs) 15,738 15,751 16,120 2.3

Total Gross Expenditure 21,044 21,031 21,388 1.7

Less Revenue (3,000) (3,132) (2,500) (20.2)

Less cash on hand at beginning

of financial year (132) (132) (149) 12.9

Add cash on hand at end of

financial year 4 149 3 (98.0)

Total Appropriation 17,916 17,916 18,742 4.6

S ta ffin g - Actual Estimate -

Staff years (average) - 45.9 47.0 -

OAustralian R im Commission 1993-1994

ORGANISATION CHART AS AT JUNE 3 0 , 1 9 9 4

Executive

Chief Executive

Cathy Robinson

Policy Corporate

Advisor Lawyer

vacant K Ireland

— Executive Assistant

E O ’Brien

— Administrative

Support

K Schmalkuche

Marketing Film

Development

Director Marketing

S Murray

Director Film Development

L Gailey

Manager

International

Market

Development

M Leigh

— Administrator

Marketing

L Ellis

— Marketing

Co-ordinator

H Short

— Festivals and

Events

Co-ordinator

S McConnochie

I Assistant

Festivals and

Events

Co-ordinator

D Cepuran

— Administrative

Support

S Muddle

— Marketing and

Development

Manager

London

P Vasudevan

— Marketing

Project Officer

London

C Harris

— Festivals Officer

(part time)

London

C P in a

— Office

Administrator

London

J Hudson

— Principal Advisor Rim

Development

vacant

Project Project

Co-ordinator Co-ordinator

T Read S Armstrong

— Administrator Executive

Film Assistant

Development G McKinlay

F Robson

Project

Co-ordinator

M Hill

Project

Co-ordinator

Melbourne

C Dobbin

Administrator

Melbourne

J Miller

— Executive

Support

S Greenstein

— Administrative

Support

S Gerussi

Administrative

Support

Melbourne

B Nash

oAustralian Rim Commission 1993-1994

1 Project

Co-ordinator

Melbourne

CS klan

Corporate Operations

Industry and Cultural Development

Director Finance

and Systems

R Neale

— Manager C om puter

Operations

D Kaan

i

— A ccountant

J Self

L

Manager

Personnel

and Services

M Day

Revenue Control

and

Disbursements

C Bayari

— Accounting S upport

J Acheson

— Services

Co-ordinator

R Quarmby

— Assistant

Personnel

Manager

M Ghanem

Director Industry and Cultural Development

vacant

— Project — Research

Co-ordinator Manager

J Regan R Curtis

— Adm inistrator

Industry and

Cultural

Development

L Hall

In fo rm a tio n --------- — Publications

C o-ordinator Co-ordinator

K Gilroy M Broderick

Administrative —

S upport

A Carruthers

Manager

W omen's Program

Melbourne

H Glow

Services Services Reception

C Millett time^ A de Kerorguen

J Donnelly

oAustralian Film Commission 1993-1994

Indigenous Branch

— Manager

Indigenous

Branch

W Saunders

— Assistant

Manager

Indigenous

S Saunders

Sue Miiiiken Christopher Stewart

John Sexton Laura Jones

Stuart Cunningham

Catherine Robinson

Liz Muilinar

Chris Noonan

ΦAustralian Rim Commission 1993-1994

COMMISSIONERS' PROFILES

SUE MILLIKEN

(Appointed 9 December 1992 as Commissioner for three years)

(Reappointed 28 October 1993 as Chairman for three years)

Sue Milliken is one of Australia’s leading film producers. Her credits include The Odd Angry

Shot and Fighting Back (both with Tom Jeffrey) and The Fringe Dwellers. In 1990-91,

Ms Milliken was the Australian producer for Bruce Beresford’s Black Robe, the first official

feature film co-production between Australia and Canada. Her latest production is the feature

film Sirens directed by John Duigan and released in 1994.

In 1980, she set up the Australian operation of the completion guarantor, Rim Finances,

and continues to manage its Australian activities through Samson Productions.

In 1992, she chaired a review of the Western Australian film industry for the Western

Australian Department for the Arts.

In 1993, she received the Australian Film Institute’s Raymond Longford Award for her

contribution to the industry. Ms Milliken is a life member of the Screen Production Association

of Australia and served for four years as a member of the Film and Literature Board of Review.

CHRISTOPHER STEWART (Appointed 21 March 1991 as Deputy Chairman for three years)

(Reappointed 13 April 1994 as Deputy Chairman for three years)

Christopher Stewart is Chairman of the Bank of Melbourne. He spent seven years with a

firm of chartered accountants and then became a partner and eventually Managing Partner of

Pacific Film Productions.

Over the next 16 years, Pacific Film Productions produced some 400 films: children’s

adventure films, television series, documentaries and a feature. In 1972, the partners of

Pacific Film Productions decided to go their separate ways and Mr Stewart accepted an invi­

tation to join the newly formed RESI Building Society. When the Society acquired its banking

authority in July 1989 and became the Bank of Melbourne, he was appointed Chairman and

Chief Executive of the Bank.

He is a director of a number of public companies, Vice-President of the International

Union of Housing Finance Institutions and has been a member of a number of industry and

government committees.

ΦAustralian Film Commission 1993-1994

CATHERINE ROBINSON (Appointed 21 March 1991)

Cathy Robinson is the Chief Executive of the Australian Film Commission, a position she

took up in August 1989.

Prior to her appointment as Chief Executive, Ms Robinson held the position of Director,

Cultural Activities (now known as the Industry and Cultural Development Branch) at the

Australian Film Commission. From May 1980, until she joined the Australian Film Commission

in April 1986, Ms Robinson was Co-ordinator of the South Australian Media Resource Centre

in Adelaide.

She is a regular guest speaker at Art Forums and Seminars throughout Australia, has been

a Judge for film industry Award presentations, and is currently a Commissioner of the AFC

and is on the Board of the Communications Law Centre and the Humanities School Advisory

Committee of the University of Technology in Sydney.

Ms Robinson studied Journalism at the South Australian College of Advanced Education

and Arts at Flinders University in Adelaide.

JOHN SEXTON (Appointed 27 October 1988 for three years)

(Reappointed 26 October 1991 for three years)

John Sexton is one of the most experienced and successful producers in Australia.

He has worked extensively in Australia, the United Kingdom, Europe and the United States

in feature film production, satellite and cable television and radio. He is experienced as a

researcher, reporter, on camera interviewer and film director for ABC (Four Comers, This Day

Tonight, Torque, A M and PM). He has completed more than 120 documentaries and

has produced corporate communications and company promotions for more than 50

multi national companies.

Mr Sexton’s film credits include Fatty Finn, Ginger Meggs, Phar Lap, Burke And Wills,

Outback, Crimebroker, Seventh Floor and the mini-series Bodysurfer.

ΦAustralian Film Commission 1993-1994

LAURA JONES (Appointed 26 October 1991 for three years)

Laura Jones is a screen writer. Her feature film credits include the original screenplay

for High Tide (1987), directed by Gillian Armstrong, produced by Sandra Levy and starring

Judy Davis; and the adaptation of Janet Frame’s autobiography An Angel At My Table (1990),

directed by Jane Campion and produced by John Maynard and Bridget Ikin.

Her television credits include the original teleplays Everyman For Herself and Cold Comfort

in the Spring and Fall Series, the pilot/series episodes for The Oracle and two series episodes

for Sporting Chance.

Ms Jones has been the recipient of three Australian Writers’ Guild Awards, the New South

Wales Premier’s Prize for Screen Writing for High Tide in 1988, the New South Wales

Premier's Prize for Screen Writing tor An Angel A t My Table in 1990, and the Best Screenplay

New Zealand Film Award for An Angel A t M y Table in 1991.

She has recently completed two feature film adaptations; Peter Carey’s Oscar And

Lucinda to be directed by Gillian Armstrong and, for Jane Campion to direct, Henry James'

The Portrait O f A Lady.

LIZ MULLINAR (Appointed 26 October 1991 for three years)

Liz Mullinar is the principal of Liz Mullinar Casting Consultants - Australia’s most awarded

casting consultancy. She is said to have more film and television credits than anyone else in

Australia, having cast many of our most important feature films and television series.

Liz trained as an actress and drama teacher in London before migrating to Australia in

1965. She became our first independent casting director when she established her company

in 1969. The company now has eight senior consultants with offices in Sydney, Melbourne

and Brisbane.

Her theatre interests include positions of the Chair of Belvoir Street, Board member of the

Griffin Theatre Company, and Board of Studies of the National Institute of Dramatic Arts

(NIDA). She is also a Director of Barron Films.

ΦAustralian Film Commission 1993-1994

ROBERT CAMPBELL (Appointed 26 October 1991 for three years)

Robert Campbell is the Managing Director for The Seven Network.

He began his career in the Australian media in 1972 as a Research Officer. Two years later

he made the move to television to ATV-10 in Melbourne as a Research Manager and went on

to become National Marketing Manager in 1975 and Director of Sales and Marketing in 1978.

In 1982, Mr Campbell was appointed Station Manager of ATV-10 Melbourne and at the

same time became a Director of the holding company, Austarama Television.

He moved to Brisbane two years later to join the Qintex Limited Group of Companies as

the General Manager of Commercial Television Station TVQ-0 (nowTVQ-10) Brisbane and

subsequently also became Chief Executive of Universal Telecasters. He also acted as Deputy

Director of the 1984 Olympic Games for The Ten Network.

In August 1987, he was appointed Chief Executive of The Seven Network and in

August 1991, he was appointed Managing Director of The Seven Network and a member

of the Board.

STUART CUNNINGHAM (Appointed 9 December 1992 for three years)

Stuart Cunningham is a film and media studies academic with a special interest in policy.

Mr Cunningham has extensive experience in research, writing and teaching on television,

film and related media, having worked in tertiary institutions in Australia, Canada and the

United States over a period of 19 years. He has also worked as a Researcher and Policy

Advisor at the Communications Law Centre and has won awards as a video maker.

Mr Cunningham is currently Associate Professor of Media Studies, School of Media and

Journalism, Queensland University of Technology. Specialising in film, media, cultural studies

and broadcasting policy, he has written three books, the most recent of which is

Contemporary Australian Television (1994). He is also co-editor of a major textbook

The Media in Australia: Industries, Texts, Audiences (Allen and Unwin, 1993). Mr Cunningham

is an editor of the leading Australian media studies journal Media Information Australia.

ΦAustralian Rim Commission 1993-1994

CHRIS NOONAN (Appointed 27 October 1990 as Chairman for three years)

(Reappointed 13 April 1994 as Commissioner for one year)

Chris Noonan’s involvement in film began at school where, at the age of 16, he directed

Could It Happen Here?, a spoof on high school life.

In 1970, he began working for the Commonwealth Rim Unit (now Rim Australia) and on

weekends during this two-year period wrote and directed the short black comedy Garbo.

In 1973, he won a place in the Australian Rim, Television and Radio School’s initial one year

directors' course. At the school he made three films including the much acclaimed cinema

short Bulls. In 1974, he returned to Rim Australia as a director and made 12 films including

the internationally successful cinema short about Darwin after Cyclone Tracy. His last film at

Rim Australia was the feature length telemovie Cass.

In 1979, he set up his own production company producing and directing Stepping Out,

the prize-winning documentary about a theatrical group of mentally handicapped people.

During the 1980s, he turned to drama, co-writing and co-directing two major Kennedy

Miller mini series, The Cowra Breakout and Vietnam. He also directed the telefeature

The Riddle O f The Stinson and the controversial 100-minute telefeature Police State.

He is a Board member of the Australian Screen Directors’ Association, and is currently

working as a writer and director in Sydney.

ΦAustralian Film Commission 1993-1994

F u lly fu n d e d b y th e AFC,

p ro d u c e d b y S o p h ie

Jackso n , d ire c te d b y

R o b e rt H e r b e r t a n d

w ritte n b y R o b e rt H e r b e r t

a n d A le x S m y th e , S q u a re

O n e dep icts th e c o llap se

o f th e M o d w o rld w h ic h ,

a t its p e a k , its m e m b e rs

h a d m a n a g e d to m a in ta in

a g a in s t a l l od ds a n d in

s p ite o f th e ' r e a l ' w o rld .

s

EXECUTIVE SUMMARY

RESEARCH In September 1993, the AFC commissioned a project examining technological change in film

and television production, distribution and exhibition over the past two decades. This project

will assess the implications of technological change and explore relationships between

Australian experience and that in the rest of the world. It is hoped it will provide a different

perspective on technological change from that contained in the ‘new product hype’ which

dominates so much of the writing about technological change.

A substantial research paper on the identification and development of creative talent in

the Australian film and television industries was commissioned in April 1994. The data and

information gathered for this paper was compiled from surveys carried out on the career

paths and educational backgrounds of talented professionals, and senior people in the

industry. The final report will be delivered September 1994.

COMMUNITY TELEVISION The Australian Broadcasting Authority (ABA) licensed a number of community television

stations in the latter half of 1993. The AFC organised a meeting of distributors, community

television groups, funding agencies and the Screen Production Association of Australia

(SPAA). It also prepared a discussion paper on the acquisition of programs by community

television. The AFC developed a draft policy to guide AFC decisions in the area of sales to

community television indirectly through its rights of approval over sales of titles in which it

has invested, and comments on this paper were sought through AFC News.

PUBLICATIONS The AFC commissioned the following publications during 1993-94:

• The fourth annual National Survey o f Film, Television and Video Production undertaken by

Entertainment Business Review and the AFC. Its findings included a decline in the number

and value of feature film production between 1991 -92 and 1992-93; while independent

television drama was stable, with a significant increase in telemovie production offsetting

declines in longer form drama.

• A research study entitled The Economics o f Film and Television in Australia, written by

Simon Molloy and Barry Burgan from the South Australian Centre for Economic Studies.

The study, commissioned the AFC and the (then) Federal Department of Arts and

Administrative Services, provides and economic analysis of the audiovisual industry,

highlighting its increasing significance. The report focuses on the role of the public sector

in assisting Australia derive the maximum possible advantage of this trend.

• Long Shots to Favourites by Mary Anne Reid. This is a set of case studies of Proof,

Romper Stamper and Strictly Ballroom. The case studies analyse the making, marketing

and performance of the three films.

THIRD NATIONAL DOCUMENTARY CONFERENCE The AFC provided financial assistance through the Industry and Cultural Development

Program and the Aboriginal and Torres Strait Islander Program for this conference to take

place in Sydney from 2-5 December 1993. A major paper on the representation of Asia and

Asians in Australian documentary since 1930 was written and published in the conference

papers with extensive film clips.

ΦAustralian Film Commission 1993-1994

AUSTRALIA AND NEW ZEALAND In March 1994, the AFC, in association with the Screen Production Association of Australia,

organised a series of seminars in Sydney and Melbourne to explain current developments in

the New Zealand film industry to Australian film and television program makers. These semi­

nars and other associated events provided a focus on the industrial and cultural relationship

between the two countries and encouraged greater understanding and closer co-operation

between their program makers and buyers. Feedback from both the New Zealand and

Australian participants attending the seminar was positive.

In April 1994, research commissioned by the AFC on television and cinema advertising

production in Australia and New Zealand was published TV and Cinema Advertising

Production in Australia and New Zealand by Mervyn Smythe and Associates. The aggregate

figure was published in the National Production Survey and represented a substantial

reduction in previous estimates for the size of the advertising industry over the last few years.

TRADE POLICY The Uruguay Round of the General Agreement on Tariffs and Trade concluded in December

1993, with two agreements of significance to the film and television industries.

The General Agreement on Trade in Services (GATS), which includes audio-visual services,

imposes certain general obligations on GATT members. These include requirements to

provide information about industry assistance and regulatory measures an obligation to treat

every nation’s services and services providers as favourably as that of a country's “most

favoured nation” (MFN) is treated; and other obligations including market access and treating

foreign services and providers as favourably as domestic ones. Australia has taken advantage

of exemption provisions available under the MFN obligation to exempt film and television co­

production treaties. Obligations under market access and treatment need only apply to the

extent that each country offers to have them apply. This means domestic television content

quotas will only have to be removed or lowered if individual nations decide to do so.

The second key agreement is the Trade Related aspects of Intellectual Property Rights

(TRIPS). TRIPS requires the introduction of “rental” rights to give copyright controls over rental

of computer programs and sound recordings. Countries are not required to introduce such

controls for cinematograph films if they have not experienced film rental-related problems.

TRIPS also requires the establishment of effective procedures to enforce copyright and other

intellectual property rights.

CORPORATIONS LAW Following representations from the AFC, SPAA and the Australian Film Finance Corporation

Limited (FFC) and others, the Australian Securities Commission (ASC) exempted from the

requirements of a prospectus and trust deed, contracts of employment or service with

creative or production personnel in film which included a share in the film's possible profits.

The AFC also released a standard form trust deed for use by filmmakers wishing to raise

some private investment for their projects and caught by the potentially costly provisions of

complying with the fund-raising provisions of the Corporations Law.

ΦAustralian Film Commission 1993-1994

RIGHTS In late 1993, the Federal Government indicated a wish to introduce moral rights legislation

and sought comment from the AFC and other arts bodies. The AFC had difficulty supporting

the introduction of moral rights for film or in works used in the making of a film, such as

screenplays and musical works.

A n a n th o lo g y o f 5 x 6

m in u to s th e m a tic a lly -

It was proposed to create a right of attribution— that is, to be named as the creator f in k e d com ic sh o rts of a work, and a right of integrity— i.e. to prevent changes to a work which would be

detrimental to the reputation of the creator.

Although it had no philosophical objection to the concept of a right of attribution,

the AFC believed the film industry had developed detailed practices for attributing

creators in film credits and promotional material. Underlying the concept of a right of

integrity was the assumption that there was a person whose individual contribution to

a creative production could be separately identified and safeguarded, which the AFC

believed was an inappropriate description of film production. Industry organisations

a b o u t in d iv id u a ls

c a u g h t up in th e

m a d n e s s a n d m a y h e m

o f m o d e rn lif e . F iv e

Easy P iz z a s is u s e d as

a m e ta p h o r fo r m o d e rn

l i f e — " fa s t, g re a s y

a n d r e a l ly n o t t h a t

g o o d f o r y o u ." The

film s h a v e a lr e a d y

and participants were clearly divided over the initial proposal to give these rights only r e c e iv e d w id e f e s tiv a l

tO directors Of film. e x p o s u r e .

A discussion paper has been released which has attempted to address some of the

concerns raised. Flowever, the application of moral rights to film remains problematic.

ΦAustralian Rim Commission 1993-1994

COPYRIGHT CONVERGENCE In January 1994, the Minister for Justice announced the establishment of the Copyright

Convergence Group to assess the rapid convergence of the telecommunications,

broadcasting, computing, entertainment and information industries and the likely implication

for users and owners of copyright material.

The AFC made submissions to the Group which subsequently released an Issues paper

outlining its preliminary views and held a public seminar to discuss these in June 1994.

There is widespread support for major changes to the existing Copyright A ct such as doing

away with specific rights according to the means of delivery and providing instead for a

general right of communication as well as and clarifying or doing away with outdated

definitions within the Act, such as cinematograph film.

However, as the technological ability to access and manipulate copyright material outstrips

the ability to control or prevent its usage, the traditional concepts of copyright ownership are

being severely challenged. The future may see copyright owners relinquishing their traditional

right to control use of their work and retaining the right to benefit economically from its use,

through central collecting agencies.

The Group's final recommendations are yet to be released.

BROAD BAND SERVICES EXPERT GROUP The Broad Band Services Expert Group invited submissions to its inquiry into issues relating

to the delivery of new communication services to homes, schools and businesses for public

discussion in 1994.

The AFC attended a 'New Creators Brainstorming Session’ on 13 May 1994. This session

attracted a wide cross-section of executives, owners of companies and government officials.

POLICY ORGANISATIONAL FUNDING AFC Policy provided organisational support during 1993-94 to the Australian Copyright

Council, the Arts Law Centre of Australia, the Australian Screen Directors’ Association,

the Communications Law Centre and 2SER FM Media Magazine.

Financial assistance was also provided to the Australian Council for Children's Films and

Television Council. This assistance was provided for the development of plans for a new

Centre. The proposal presented to the AFC focused on information, research and training

where the Centre would provide to the general community and especially young people an

extensive library, information and research service about the role and influence of mass

media on youth.

CORPORATE IDENTITY AFC embarked on a revision of its corporate identity and the development of a corporate

communications strategy to coincide with the Sydney office shift in location in August 1994.

After a national tender facilitated by the Publications Co-ordinator, designer Brian Sadgrove &

Associates in Melbourne was awarded the task of reworking the AFC logo to meet new and

existing technical requirements and develop a corporate house style for the full range of

9Australian Film Commission 1993-1994

stationery and corporate communications materials. A new flyer outlining the functions of the

AFC was produced as part of the new corporate identity for the 1994 Cannes market and

general distribution.

The full range of materials will be produced over the course of 1994-95.

PUBLIC RELATIONS A strategy for maximising public relations opportunities, facilitated by the Publications

Co-ordinator, was adopted which detailed a changing calendar of PR events with regular

policy discussion. The role of AFC public relations consultant Rea Francis was enhanced on a

trial basis for six months to grant AFC greater and speedier access to specialist media, and to

maximise publicity via heightened trade and industry contact. Evaluation of the strategy and

recommendations for further consideration will occur in early 1994-95.

INTERACTION WITH OTHER BODIES The AFC consulted regularly with film and television industry associations such as the

Australian Screen Directors’ Association; the Australian Writers' Guild; the Media,

Entertainment and Arts Alliance; the Motion Picture Distributors Association of Australia;

the Screen Producers’ Association of Australia; the Video Industry Distributors Association;

federal government departments (Communications and the Arts, Attorney-General’s, Foreign

Affairs and Trade, Industry Science and Technology, and Transport); federal, state and New

Zealand film assistance agencies and federal regulatory agencies (Australian Broadcasting

Authority, Office of Film and Literature Classification, and Trade Practices Commission).

CONSULTANTS Consultants engaged during the year included The Rea Francis Company, The Executive

Connection, Entertainment Business Review, Mary Anne Reid, the South Australian Centre

for Economic Studies, Janette Paramore, Annabelle Sheehan, Fran Lanigan, David Hanan,

Gilbert and Tobin, Liz Jacka, Marcia Langton, Mervyn Smythe, Dominic Case, Fred Harden

and the Australian Bureau of Statistics.

EXPENDITURE Total expenditure for Policy during 1993-94 was $294,751.

®Australian Film Commission 1993-1994

M a jo r it y fu n d e d b y

th e AFC w ith F ilm

V ic to r ia , p ro d u c e d b y

F io n a E a g g e r, d ire c te d

b y A n a K o k k in o s

a n d w r itte n b y

A n a K o k k in o s a n d

M i r a R o b e rts o n ,

O n ly The B ra v e has

b e e n w id e ly s e le c te d

For o v e rs e a s a n d

A u s tra lia n F estivals.

I t h a s a lr e a d y w o n

th e E rw in R a d o A w a r d

as B est A u s tra lia n F ilm

a n d th e G r a n d P r ix

A w a r d as B es t F ilm a t

th e M e lb o u r n e F ilm

F e s tiv a l.

FILM DEVELOPMENT

OBJECTIVES

Through the provision of financial support, advice and

purpose designed initiatives, the objectives of the Film

Development Branch are to: assist the development of

creative commercial film and television projects which

reflect a diversity in genre, format, budget and audience;

encourage and foster the development and production

of work and individuals likely to make a significant

contribution to the future of film, television and digital

media in Australia; assist filmmakers and creative

personnel in the enhancement of their professional skills

and experience; and enhance the financing opportunities

for Australian film and television projects through the

administration of the International Co-Production

Program.

PRINCIPAL PROGRAMS AND ACTIVITIES The Rim Development Branch offers two principal avenues of project assistance, each playing

a crucial role in the creative underpinning of a healthy Australian screen production industry:

• Development Investment Program, and

• Production Investment Program

Additionally, the Branch has responsibility for:

• New Image Research Program,

• Co-Production Program, and

• Distinctly Australian Initiative

Development and Production Investment Programs

Through its Development Investment Program, the Branch provides financial assistance to

cover the range of costs associated with script and project development, research, securing

of production financing and market placement of Australian film, television and digital media

programs, and caters for programs emanating from all sectors of the Australian industry

and culture.

Assistance is available for the development of feature films, mini-series, telemovies,

documentaries, short film, animation programs, experimental programs and works utilising

new technologies. Due to the substantial costs involved, prospectus preparation costs are

not eligible for AFC support.

The Production Investment Program is developmental in its focus. It provides opportunities

for the exploration of new approaches to images for the screen and provides opportunities for

those less experienced to demonstrate their abilities. Its investments are high risk and are

®Australian R im Commission 1993-1994

complementary to those made by the Australian Film Finance Corporation. Emphasis is given

to work that is exploratory and innovative and geared to lower budgets. Although projects will

have an identified target audience, they are unlikely to find finance in the marketplace by virtue

of content, approach to form and/or the level of experience of the key members of the cre­

ative team. Such investments are fundamental to replenishing the talent pool and developing

ideas that will take the Australian industry into the next century.

Applications for support are assessed having regard to:

• all aspects of the project, including the script, the creative team and the budget;

• the likelihood of projects seeking development finance obtaining production finance from the

AFC, or more usually other sources including the FFC;

• support for a diversity of work in both development and production;

• an imperative to support those projects which display significant Indigenous creative and

artistic control;

• projects which represent the cultural diversity of Australia;

• the limitations of Branch resources.

Applications are assessed by Film Development Project Co-ordinators who utilise

experienced external readers in making their decisions. Projects recommended for investment

may be approved under delegation by individual Project Co-ordinators, the Director Film

Development, the Chief Executive and the Commission.

Development Support

In the financial year 1993-4, $2,048,121 was invested in development of which $1,168,744

was for feature film, $372,905 for documentary, $171,800 for television drama, $70,270 for

short drama, $29,064 for experimental projects, $31,100 for animated programs and

$193,897 for works utilising new technologies.

Production Support

Production investment was approved to a wide range of projects. The year saw a shift in

patterns of expenditure from the previous three or four financial years with the expenditure

on low-budget feature films representing a smaller proportion of total production investment

expenditure.

Works Utilising New Technologies

The years of supporting works utilising new technologies and the growth of this sector in

the industry saw considerably greater application of funds to such works than ever before.

If Australia is to participate meaningfully in the media industries of the future which utilise new

technologies, it is essential to provide targeted support to a diversity of product embracing

the range of new technology applications and the range of program types. Australia has

already established itself at the cutting edge of the development of software, and has the

creative base and the technical expertise to become a significant player in the international

market. The investments made to date have enabled several small companies to establish

viable production bases and international distribution. Clearly, to defer investments in this

sector would be to deny the industry the opportunity to establish a competitive edge both

domestically and internationally. Decisions made in this fast developing area of the industry

will significantly effect the shape of the delivery and expression of Australian culture and

identity over the next 10 to 20 years.

OAustralian film Commission 1993-1994

Lew-budget Features

In addition to reviewing its guidelines annually, Film Development constantly monitors changes

in the industry to ensure its policy and practice are relevant, responsive, and effectively

delivered. Some o f the market resistance to supporting first and second time directors has

been eroded recently, especially for what are perceived as commercial projects with the risk

being in the relative inexperience of the director. The past five years have seen a consolidation

of the local market infrastructure with Australian sales agents playing a significant role along

with a number of smaller distributors. Budgets have continued a slow creep upwards with

films that five years ago could have been made for budgets of $1,5m now requiring budgets

of approximately $1,8m to $2m, taking them beyond the ability of the AFC to assist with

direct equity participation.

The AFC has consequently reassessed its role in feature film financing in the last quarter

of the reporting year. It decided to provide assistance to feature film production in two ways.

It will focus more closely on those low-budget features that represent a debut or second

feature for the director and which are also bold and challenging cinematic works. Works of

this kind not only represent the greatest risk but are both uncommon and important for the

development of the industry.

The AFC will, for a limited number of productions, provide a facility to discount presales

from Australian sales agents and or distributors. This mechanism of support recognises that

many productions with budgets of around $2 million with relatively inexperienced directors are

able to secure local market place attachments at a level which will enable the FFC to invest.

However, as the local infrastructure is a fragile one, Australian sales agents and the smaller

Australian distributors do not have the cash base of their international counterparts and

cannot often provide distribution advances. The AFC will provide the cash flow facility to

assist in a limited number of features reaching production at a relatively low cost to the AFC.

It will also assist the viability of the Australian infrastructure by ensuring that the extent to

which the local sales agents and smaller distributors are able to participate in the financing of

local product is supported.

Additionally, the AFC is keen to ensure that finance is available for the continued support

of 50-minute dramas. The demonstration of a director's ability is fundamental to the market

taking a risk on a director making a debut feature. For those directors who have directed only

short films, this can pose problems. The most successful short films are often those which do

not rely on either conventional narrative or direction of performance. However, 50-minute

dramas do provide the opportunity to demonstrate ability in both these areas, critical to

establishing whether a person is able to handle a feature.

Indigenous Programs The work supported during the year saw a marked increase in projects with a substantial level

of Indigenous creative and artistic control. In recent years, the expenditure on projects with

Indigenous content has been considerable. It has been significant in bringing projects to

fruition with strong roles for Indigenous protagonists and instrumental in making inroads into

market resistance to such programs. However, it is gratifying to see in the current year a

substantial shift from projects with Indigenous content being realised by non-lndigenous

filmmakers (albeit with advice and input from Indigenous people) to projects where creative

and artistic control has been in the hands of Indigenous people.

®Australian film Commission 1993-1994

Short Films, Animated Programs, Documentary

The reporting year has seen also seen an increase in the number of short films and animated

programs and thus an increase in expenditure in this area. A burgeoning of work in animation

is in part due to the impact changing technology has made.

The Microdoc Series was an initiative created by the AFC and the ABC which saw the

production of twelve short documentaries financed by the AFC, seven with a presale from the

ABC and also with, in most cases, partial financing from state film assistance agencies. This

initiative enabled support to be provided to 12 emerging documentary filmmakers at relatively

low cost, thus minimising the risk and maximising the opportunities which could be provided

to filmmakers guaranteeing an audience. The increased financing opportunities for documen­

tary over the past four or five years have been to some extent at the expense of opportunities

for less experienced documentary filmmakers. Thus initiatives such as Microdocs are seen by

the AFC as crucial to replenishing the talent base.

Similar initiatives are being explored for a range of program types and formats with a range

of partners. An initiative has been agreed between the AFC and the Special Broadcasting

Service (SBS) for the production of a series of 10 seven-minute comedy programs for

broadcast within a prime time comedy slot to showcase Australian comedic talent, both

directorial and performance.

A drama initiative is being discussed with the ABC and a dance program initiative with the

Australia Council and the ABC. A co-financing venture for short 35mm films is in negotiation

with Atlab Australia, Kodak (Aust) Pty Limited and Samuelsons.

Special Production Fund

This assistance to the industry has ensured a stable support mechanism exists to target a

range of innovative, high-risk projects including low-budget feature films, documentaries,

short films and experimental work. This avenue of production support facilitates the

development of emerging filmmakers and their projects so that the industry is able to benefit

from the creative renewal provided by new and talented players.

The Special Production Fund is incorporated within Film Development’s Production Program.

New Image Research Program

A review of the work of this program was undertaken in 1993-94. The support is provided by

way of grant and has been exclusive of fees for the filmmakers and any allocation for the

marketing of the programs supported. Plaving regard to the significant benefits which accrue

from the opportunities afforded by this program, it was determined that:

• the maximum level of support be increased from $10,000 to $20,000 to enable:

- modest remuneration for the filmmaker and participating performers/artists; and

- having regard to the difficulties of marketing these programs which operate outside

mainstream distribution channels and the importance of the work reaching audiences, the

allocation of a modest amount to cover marketing and publicity costs.

• the notional allocation for the total program increased from $100,000 per annum to $200,000.

ΦAustralian Film Commission 1993-1994

The Co-Production Program

The Program has continued through 1993-94 to provide a modest number of Australian

producers with a way of combining overseas and Australian creative contributions so as to

enjoy benefits available both here and abroad.

Following the successful conclusion of a new treaty with Italy late in 1992-93, negotiations

with Germany advanced well in 1993-94, as did negotiations with France, towards upgrading

the current arrangement to treaty status. Including the existing treaty with the UK, the overall

strategy has been to ensure that Australia has co-production relations with all four major

west European production economies. These give additional access to other EEC and

EFTA countries.

Progress has also been made toward concluding arrangements with Russia and

Japan and negotiations with Israel and Ireland have advanced. Arrangements with

both Canada and New Zealand facilitated new productions during the year.

For the first time since its inception in 1986, the Co-Production Program has been

subject of an independent audit and review, due for completion in early 1994-95.

Distinctly Australian Initiative Financial commitment for this Initiative is for a four-year period ($500,000 in the year

1993-94 and $1 million in each of the following years) and it is designed to provide enhanced

assistance for the development of producers and writers.

Four schemes of assistance were established in the inaugural year.

The Producer Assistance Scheme aimed to focus industry attention on the concept of

p ro d u c e d b y

F ra n x is k a W a g e n fe ld

a n d w r itte n a n d

d ire c te d b y D ia n a

Leach, B rie f S ecrets

is a n in tim a te

p o r t r a it o f p e o p le

a n d t h e ir u n d e rw e a r .

oAustralian Film Commission 1993-1994

rhe G a p , m a jo r it y

fu n d e d b y th e AFC

w ith N S W F T O , w a s

s ro d u e e d b y C h ris tin a

the highly creative, entrepreneurial and commercially astute producer as being

critical to the health and future of the industry. This scheme provided support to

established producers with demonstrable track records in the commercial film

and television industry. It recognised their proven ability to develop, finance,

produce and market programs which achieve audience reach and perform in

target markets. The scheme provided support which was not project specific and

which devolved the responsibility for the selection of projects to the producer.

The Producers’ Overhead and Expenses Support Scheme recognised that

relatively inexperienced producers face considerable difficulties as a result of the

lack of a secure working base. Without a body of work to establish a cashflow, financial con­

straints can prevent them from adequately servicing completed productions and from consoli­

dating access to the information and support they most need for current and future produc-

A n d re e f a n d H e le n

B o w d en a n d w r itte n

a n d d ire c te d b y

C h ris tin a A n d r e e f.

The film h a s a lr e a d y

r e c e iv e d w id e

fe s tiv a l e x p o s u r e .

tions. To ensure that younger producers were assisted in establishing viable companies, this

scheme provided support to contribute to annual overhead costs.

The shortage of excellent script editors and script consultants has long been of concern.

To assist in the professional development of skilled script and story editors, the Script and

Story Editing Employment Attachment Scheme was established. This scheme assisted in

increasing the number of experienced editors available to the industry and cost-effectively

provided support designed to assist a considerable number of individual projects and the

producers and writers of those projects.

©Australian film Commission 1993-1994

Australia's developing filmmakers often attract attention with the international release of

a first low-budget feature. Years in the making, the films can achieve recognition for the

filmmaker but often little by way of income. It is often those who achieve the greatest initial

success for whom the problem of supporting themselves in the short-term becomes the

most acute. Creating thinking time and the space to develop is difficult whilst the need to earn

an income is imperative. To assist in keeping these talented individuals distinctly Australian,

the AFC provided a limited number of stipends under the Stipend Scheme.

The inaugural Distinctly Australian schemes will be reviewed and additional schemes

developed.

Buyouts

Revenue generated from development investments bought out from projects proceeding

into production during the year totalled $641,212.28, a decrease of $377,793.72 from the

previous year. The 17 projects returning investment were: Aeroplane Dance (dir: Trevor

Graham), Angel Baby (dir: Michael Rymer), All Men Are Liars (dir: Gerard Lee), Between Two

Worlds (dir: Tom Zubrycki), Boys and Balls (dir: Sue Thomson), Facing the Music Lyndall

Hendrickson’s Way (dir: Manuela Alberti), Family Album (dir: Stephen Ramsey), Fifty Years o f

Silence (dir: Ned Lander), Gino (dir: Jackie McKimmie), Muriel's Wedding (dir: P J Hogan),

Mushrooms (dir: Alan Madden), Only The Brave (dir: Anastasia Kokkinos), Pat and Eddy’s

Greyhound Family (dir: Brian McKenzie), Red Ted and the Great Depression (dir: Pat

Laughren), Rough Diamonds (dir: Donald Crombie), Spider and Rose (dir: Bill Bennett) and

World Music From the Banana Belt (dir: Bill Leimbach).

The revenue generated by development buyouts is incorporated into the AFC's program

budget and is critical to ensuring the AFC’s continuing ability to assist new projects and

filmmakers.

OTHER INITIATIVES The annual review of the Film Development Branch Guidelines was conducted in December

1993. As a result, some changes were introduced including the provision of signed

assessments to applicants.

During the latter half of the year, considerable discussion took place with the Australian

Writers' Guild, the Australian Screen Directors' Association and the Screen Producers’

Association about the way in which the Distinctly Australian initiatives would be delivered

in 1994-95.

Discussions with the Australian Film Television and Radio School (AFTRS) have resulted

in a closer working relationship which encompasses the Production Budgeting and Rim

Management Manual and improved tutorials provided by the AFC for the AFTRS full-time

program and short courses around Australia.

The Filmmaker and Multi-Media Conference was mounted as a joint venture with the

AFTRS in October 1993. Hundreds of filmmakers, animators, producers, artists, company

representatives and others with a professional interest in recent developments in digital media

design, production, exhibition and distribution attended over four days of talks, discussions

and displays. Integrated digital media production is no longer a near-future promise but

a day-to-day reality with creative and entrepreneurial potential as a domestic and export

growth industry.

ΦAustralian Film Commission 1993-1994

A digest from the conference containing a sample of the many papers delivered was

also published.

The preparation of a set of 25 Safety Guidance Notes to be read in conjunction with the

Film Industry Safety Code was undertaken by the Branch and has required ongoing and close

liaison with all major industry organisations, particularly the Media and Entertainment Arts

Alliance and the SPAA. Film Development provided the leadership and finance for this venture

to be established and once the initial 25 Guidance Notes are completed, the initiative will be

handed back to the industry which will then continue the work. The Notes will be published

in the second half of 1994.

STAFFING As at 30 June 1994, Film Development employed 13 full-time staff.

Following the completion of Peter Sainsbury’s term as Principal Advisor Development,

the Commission embarked on a restaffing strategy. The position of Executive Creative Affairs

was established, taking responsibility for certain of the functions previously undertaken by the

Principal Advisor Development. Additionally, a new position, also entitled Principal Advisor,

was created. This position was intended to be filled by highly skilled, experienced and well

respected industry practitioners on short-term non-exclusive, overlapping contracts. It was

hoped that this approach would attract a high level of expertise to the AFC from practitioners

who might not feel able to dedicate three-year terms to the organisation. The position was

filled for a six-month period by John Maynard and Bridget I kin. The Commission monitored

this new arrangement and decided that, whilst it had been an interesting experiment,

it should not be continued. The position of Executive Creative Affairs was also reviewed

by the Commission and abolished in September 1993.

CONSULTANTS Consultants employed by Film Development Branch in 1993-94 were Nina Stevenson and

Lyndon Sayer-Jones who provided legal services. Mark Titmarsh was employed part-time as

the New Image Research Co-ordinator. Catherine Knapman (Knapman Films Pty Ltd) over­

saw the creation of the Production Budgeting and Him Management Manual and Tim Read

(Polygon Pictures Pty Ltd) was the consultant in charge of the Safety Guidance Notes.

Alessio Cavallaro was employed to run the 1993 Multimedia Conference. Dominic Case and

Jenny Woods acted as AFC representatives on AFC productions. John Maynard and Bridget

I kin were employed for six months in the Principal Advisor position within Rim Development.

Script and Budget Assessors employed during 1993-94 were: John Alsop, Karin Altmann,

Judy Annear, Martha Ansara, Geoffrey Atherden, Tony Ayres, Philippa Bateman, Janet Bell,

Rod Bishop, Annie Bleakley, Annette Blonski, Andrew Bovell, Gil Brealey, Richard Brennan,

Michael Brindley, Sue Brooks, Anne Brooksbank, Philip Brophy, Robert Bruning,

Tony Buckley, David Caesar, Dominic Case, Tony Cavanaugh, Belinda Chayko,

Bob Connolly, John Conomos, Deborah Cox, John Cruthers, Bruce Currie, Will Davies,

Ysabelle Dean, Bert Deling, Linda Dement, Susan Dermody, Coral Drouyn, Don Ezard,

Don Featherstone, Francine Finnane, Graham Foreman, Richard Frankland, Peter Gawler,

Rob George, Phil Gerlach, Ross Gibson, Christopher Gist, Jutta Goetze, Posie Graeme-

Evans, Glenda Hambly, Julie Hannaford, Ross Harley, Tom Hegarty, Edward Fletherington,

Chris Hilton, John Hughes, Robin Hughes, Paul Humfress, Michael Hutak, Claire Jager,

©Australian Rim Commission 1993-1994

Peter Kaufman, Shelley Kay, Steve Knapman, Gayle Lake, Ned Lander, Fran Lanigan,

Denny Lawrence, Sylvia Lawson, Michael Leigh, John Lord, Pat Lovell, Clare Macken,

John Macumba, Robert Marchand, Jon McCormack, Margot McDonald, Hal McElroy,

Brian McKenzie, Jackie McKimmie, Megan McMurchy, Shirley McPherson, Tristram Miall,

Jill Milroy, Unjoo Moon, Richard Moore, Kathy Mueller, Mark Naglazas, Robert Nery,

Louis Nowra, Kathleen O’Brien, Jane Oehr, Melanie Ostell, Chris Peacock, Russell Porter,

Hannie Rayson, Tim Read, Bee Reynolds, Noel Richards, Vikki Riley, Julia Ritchie, David

Roberts, Brian Rosen, Glenys Rowe, John Ruane, Peter Sainsbury, Joan Sauers, Justine

Saunders, Mark Shirrefs, Jonathan Shteinman, Cathy Smith, Sue Smith, John Taylor,

Keith Thompson, Michael Thornhill, Alison Tilson, Nick Torrens, Victoria Treole, Chris

Tuckfield, Dennis Tupicoff, Phaedon Vass, Stephen Wallace, Chris Warner, Gary Warner,

Elizabeth Westwater, George Whaley, Lee Whitmore, Martin Williams, Moya Wood, Greg

Woodland, Angharad Wynne-Jones, Aviva Ziegler, Tom Zubrycki.

EXPENDITURE During 1993-94 the expenditure of the Film Development Branch was $10,562,468.

d ire c te d b y L isa M a tth e w s . R o s ie ( a fic ­

titio u s c h a ra c te r) has b e e n fo r g o tte n b y

h is to ry as th e perso n w h o r e a lly o f f ic ia lly

o p e n e d th e H a rb o u r B rid g e .

9Australian Rim Commission 1993-1994

The AFC d e v e lo p e d

th e s t r ip t to r M u r ie l's

W e d d in g w h ich w a s

p ro d u c e d b y L y n d a

H o u s e a n d Jo c e ly n

M o o rh o u s e a n d w r itte n

a n d d ire c te d b y P J

H o g a n . The film w a s

s e le c te d fo r D ire c to rs

F o rtn ig h t a t th e 1 9 9 4

C an n es F ilm F e s tiv a l

a n d w i ll b e r e le a s e d

in t e r n a t io n a lly in 1 9 9 5 .

OBJECTIVES

The objectives of the Marketing Branch are to promote

Australian film, television and creative talent internationally;

to service buyers; and to assist filmmakers to finance and

sell their films in the domestic and international market.

PRINCIPAL PROGRAMS AND ACTIVITIES International M arket Support

AFC marketing activities have a predominantly international focus. Resources are directed

to showcasing Australian programs, to generating sales interest, to drawing attention to new

talent and to providing an information service on behalf of the industry. These services are

delivered through the following activities.

Special Events

The international distribution of Australian film and television programs varies considerably

from country to country. The purpose of the special events program is to identify those

countries where more Australian programs could be distributed and there is the potential to

increase the commercial value of these programs. There are several ways to do this, such as

mounting film festivals and television seasons which provide an opportunity to view a wider

range of Australian film and television and generate media coverage.

The events this year were:

Spain

The Cine Australiano Rim Week in Madrid and Barcelona in October 1993 was a collaborative

effort between the Australian Embassy in Madrid and the AFC. The program consisted of

seven features: The Last Days Of Chez Nous, A Woman's Tale, Romper Stamper, Proof,

Return Home, The Prisoner Of St Petersburg and Holidays On The River Yarra and six shorts:

Just Desserts, Swimming, A House With Stripes, Sparks, Flitters and Requiem.

An Australian focus of international Art Cinema was presented at Semana de Experimental

de Madrid in April 1994. The program screened 51 films totalling 12 hours of program time

and it was the largest program of Australian experimental films ever seen outside Australia.

Marie Craven curated the program and the Marketing Branch covered all costs associated.

A smaller selection of these films was then taken to Paris to screen at the L’Entrepot Cinemas

in a weekly experimental film slot entitled ‘Scratch Projection’ and at the Arsenal Cinema in

Berlin as part of their weekly experimental film series.

Italy

The Pordenone Silent Film Festival presented a silent film program devoted to New Zealand

and Australian silent films in collaboration with the National Film & Sound Archive and the

AFC. The festival took place in October 1993, screening 20 films in the Australian section of

the program (see appendix A).

Taiwan As part of the Australian promotion undertaken by the Australian Commerce and Industry

Office in Taiwan in November 1993, the AFC put together a season of seven features which

Australian Film Commission 1993-1994

were sub-titled in Chinese and presented as a special focus at the Golden Horse Film Festival.

The season consisted of Dingo, The Last Days Of Chez Nous, Love In Limbo, The Silver

Brumby, Spotswood, Sweetie and The Year My Voice Broke and the delegation to accompa­

ny the event was Mark Joffe, John Tatoulis and AFC Chief Executive, Cathy Robinson.

p a r ts e x p lo r in g som e

c h ild h o o d im p re s sio n s

a n d f e a r s w h ic h th e

f ilm m a k e r , D e n n is

T u p ic o ff, e n c o u n te re d

w ith d o g s , D a r r a Dogs

h a s b e e n w id e ly s cre e n -

e d a t fe s tiv a ls a n d has

a lr e a d y w o n a n u m b e r

o f a w a r d s in c lu d in g th e

S ilv e r P la q u e f o r b e s t

a n im a tio n a t th e

Indonesia Australian Government promotions have been undertaken in the Republic of Korea

in 1992, Japan in 1993 and Indonesia in 1994. The AFC contributed a season of

films on television to the Korean promotion and has also contributed to Australia

Today: Indonesia 1994 in June with a television season. Broadcaster SCTV ran

The Man From Snowy River, Young Einstein, No Worries and Strictly Ballroom as

a mini-season. Manager, International Market Development, Michael Leigh,

chaired two sessions of the AFTRS seminar program which was also part of the

promotions.

C h ic a g o In t e r n a t io n a l Hong Kong

F ilm F e s tiv a l. jh e program which was screened in Taipei (minus Spotswood) was also screened

in Hong Kong in May 1994. The Hong Kong Arts Centre and the Australian

Consulate General organised the season with additional programs of Jane Campion's films

A Girl’s Own Story, After Hours, Passionless Moments, Peel and An Angel A t My Table.

The season was well attended and attracted good media coverage.

United Kingdom Australian programs have good exposure on British television but it was becoming increasingly

clear that many good feature films were not achieving cinema release. As cinema release not

only draws attention to the films and filmmakers, but also generates valuable publicity for

subsequent video and television releases, it was felt that a touring season of some of these

ΦAustralian Film Commission 1993-1994

features would be one way to improve the profile for these films. The AFC European office

negotiated with Foster’s Beer to sponsor the event, and with the British Film Institute (BFI) to

tap into some of its regional cinema circuit and the Barbican Cinema in London to launch

the season. The season opened on 25 March in London and then travelled to Cambridge,

Oxford, Edinburgh, Newcastle, Hull, Bradford, Leicester, Birmingham, Coventry, Nottingham

concluding in Bristol and Norwich in July 1994. The season generated extensive national

media coverage, excellent feedback from UK distributors who saw it as helping to expand

exhibition possibilities, and support from the agents and filmmakers.

Festivals

Festivals provide the opportunity to showcase new talent, to alert buyers and financiers to

new programs, and contribute to the discussion about Australian cinema. For filmmakers,

especially of short films and documentaries, festival screenings provide one of the few

opportunities for the filmmakers to see their films with an audience and to get some exposure

outside of Australia for their work. Festivals also concentrate on film as an artistic expression,

debating film language, content and ideas and for filmmakers, this is an important part of the

filmmaking process. For Australian cinema, which is a cultural ambassador, the festival

context is also important.

The AFC provides advice to filmmakers on the most appropriate festivals for their films

and coordinates entries to the major competitive, non-competitive and prestigious specialist

festivals. This year the AFC assisted in the coordination of 361 successful entries, representing

167 individual titles, to 137 international film and television festivals. (These figures do not

include titles screened at the special events in Spain, Italy, Taiwan and Indonesia.)

On the international festival circuit Australian films were well represented at the Hawaii (9),

Shanghai (6), London (15), Chicago (16), Bombay (10) and Seattle (10) film festivals.

Australian films/programs received 95 international awards (see Appendix C) with docu­

mentaries receiving 28 awards, features 35 awards, shorts 29, series two and telemovies one.

Asia Pacific Film Festival In 1992, this annual regional event was held in Seoul and the AFC used the opportunity to

launch its promotions in Korea. In 1993, the festival was held in Fukuoka, Japan and the

Australian entries were My Forgotten Man, No Worries, Redheads and the shorts Excursion

To The Bridge O f Friendship and Heart O f Pearl. As Sydney hosts the event in August 1994,

it was essential that there was a strong Australian presence at the festival and the delegation

to Japan consisted of Bob Weis, Head Delegate for SPAA, James Davem, Noriko Sekiguchi,

John McQuaid, David Elfick, Frank Howson, Danny Vendramini and the AFC Special Events

Consultant, Peter Page.

Venice Film Festival This year’s festival in September 1993, had significant selections from Australia with Bad Boy

Bubby in Competition and four films in the Non Competitive Window on Images section:

Hercules Returns, Memories And Dreams, Darra Dogs and Just Desserts. Bad Boy Bubby

was awarded five awards (see Appendix C) and Just Desserts received the inaugural Baby

Lion for Best Short Rim. Bad Boy Bubby sold extensively as a result of the festival exposure,

and the much awarded Just Desserts secured a theatrical release in Italy on top of its many

international successes.

ΦAustralian Film Commission 1993-1994

Berlin Film Festival

Paul Cox’s Exile was selected in Competition and David Elfick’s No Worries in the Kinderfest

(children’s section). The two directors, together with actors Claudia Karvan and Aden Young,

attended the festival in February 1994 and No Worries won the Best Film prize in the

Children’s Film Festival.

Cannes International Film Festival

Following the shared Palme d'Or for The Piano in 1993, there were expectations that this

year’s festival would be less successful, but it was clear after the screening of The Adventures

Of Priscilla, Queen Of The Desert (dir: Stephan Elliott) in Un certain regard at midnight on May

14 1994 that this was not the case. The film received an excellent response, extensive media

coverage and international distributors quickly rescheduled release dates to capitalise on

this response. Muriel’s Wedding (dir: P.J.Hogan) was the other official feature selection, in

Directors' Fortnight, and it received a wonderful response from the audience, critics and

buyers. The success of these two films spearheaded the Australian presence, and comple­

mented the strong interest in the eight new films premiering in the market and in particular

Spider And Rose, The Sum Of Us and Traps. Distribution deals were achieved for the market

films and numerous festival invitations were extended. The general consensus was the

Australian films were amongst the most interesting at the festival and market, that the industry

is becoming more sophisticated and that the new talent emerging gives reason for confidence

in the future.

Markets

The international film and television markets were traditionally a place to buy completed

programs but as the nature of financing films has changed the markets have become an

important place to discuss future projects and secure pre-sales to key countries, as well as

selling to smaller countries and exploiting back catalogue to the emerging new services

around the world. The AFC sets up exhibition stands at these markets which it then sublets

to Australian-based sales agents, provides advice to Australian independent producers

seeking to secure deals, and liaises with buyers to ensure that they are aware of the range of

programs available and who to buy them from. The AFC has been a regular attendee at two

television markets, both located in Cannes: MIPCOM (October) and MIP-TV (April). The stands

were shared by the Australian Children’s Television Foundation, Rim Australia, One World

Films, Special Broadcasting Service and Total Film & Television. Over 80 producers used

these facilities, many of whom are now market experts, as well as representatives from state

and federal funding agencies and some television and video acquisition executives. The ability

to see so many Australian agents at one time appeals to the buyers and the agents, and

producers benefit from the interaction which occurs on the stand. This year the AFC decided

to drop Monte Carlo from its calendar and the AFC office was taken over by Beyond

Distribution and ABC International.

The AFC also attended three feature films markets: MIFED in Milan (October), the

American Film Market in Santa Monica (February) and Cannes (May). The only office which

can be shared is that at MIFED and Southern Star Film Sales, M C Stuart & Associates and

Cinereel shared the two room office in 1993. Twenty-one new feature films were launched

ΦAustralian Rim Commission 1993-1994

at these three markets and those attracting most market interest were The Silver Brumby,

Bad Boy Bubby, Muriel’s Wedding and The Adventures o f Priscilla, Queen of the Desert.

Increasing the Australian and international profile of Australian actors is another facet of

the promotion of the industry which has been addressed this year. In June 1994, the AFC

conducted workshops for actors and agents in Melbourne and Sydney which addressed

personal and project specific publicity and promotions and ways in which actors can deal

with the media. The workshop panels were composed of actors, directors, producers,

journalists, publicists and a distributor and attracted 350 participants. The masterclasses

which followed with selected actors were conducted by US media consultant Lucius Barre

and 50 actors benefited from these sessions. Hilary Glow, Manager of the Women’s Program,

organised the workshops.

The AFC p r o v id e d m a r k e tin g

a s s ista n c e to Th e A d v e n tu re s

The biggest of the annual film markets is Cannes and it is also the one

which attracts the most Australians with an average of 120 producers, agents,

actors, directors, distributors, lawyers and representatives from government

agencies attending each year. The AFC maintained its regular service with an

information booth in the foyer of the Carlton Hotel which attracts a lot of daily

o f P r is c illa , Q u e e n o f th e

D e s e rt, w h ic h h a s r e c e iv e d

m a n y a w a r d s a n d m uch

a t t la im s in te Its M id n ig h t

S c re e n in g a t th e f 9 9 4 C an

F ilm F e s tiv a l. The film w as

traffic and is therefore a good point to distribute publicity material and screen­

ing details. The market and festival office is supplied with computer, fax and

video equipment for use by Australians and attracts a lot of daily business.

The AFC produces a range of promotional and publicity materials for dis­

tribution at the markets which include the annual feature film catalogues, TV drama, feature

and documentary checklists, a short film brochure and promo reels, in addition to a range of

leaflets on the industry. Each year the print run is increased to meet the demand. A booklet of

Australian directors who have directed a feature film since 1984 was produced for Cannes

p ro d u c e d b y R e b e l P e n fo ld -

R u ssell, A I C la rk a n d M ic h a e l

H a m ly n a n d w r itte n a n d

d ire c te d b y S te p h a n E llio tt.

and was particularly appreciated by foreign producers, distributors and festival directors.

©Australian Rim Commission 1993-1994

Services Support

Essentially all of the Marketing Branch's activities are service oriented with the client base

encompassing producers, directors, actors, festivals, buyers, distributors, exhibitors, state

government agencies, the media and other divisions of the AFC. Staff in the European

Office in London and the Marketing Office in Sydney are therefore not only involved in the

administration of the markets and festivals, but are also providing strategic advice to

filmmakers on marketing and securing finance, exploring new markets, undertaking research

and conducting seminars.

1 9 9 4 In t e r n a t io n a l

S tu d e n t E m m y t o r B est

D ra m a tic F ilm f o r

F r a ile jo n , th e s to ry

o f a y o u n g m a n 's

s e a rc h f o r a n s w e rs a n d

h is a d v e n tu r e s in th e

V e n e z u e la n A n d e s .

The AFC p r o v id e d

p o s t-p ro d u c tio n a n d

m a r k e t in g fu n d in g .

The European Office provides a base for producers visiting London in addition

to the project-specific advice provided on scripts and financing plans. The office

has a staff of four and is also engaged in festivals, special events, preparation for

the international markets and market-related research.

Film Development colleagues are provided with marketing assessments on

projects under consideration for significant production funding and once the project

is completed the Marketing Branch works with the filmmaker on the marketing

strategy and monitors the film’s performance.

The KPMG Media Management research into the Asia Pacific region was com­

pleted and launched in April 1994. The report covers China, Flong Kong, Indonesia, Japan,

Malaysia, Philippines, Republic of Korea, Singapore, Taiwan, Thailand and Vietnam.

The Marketing Branch conducted a seminar in Sydney on Test Screenings in December

1993. This seminar was designed to outline the process of audience testing for films in the

final production stage, how the system is applied in the US where testing is most prevalent,

and the Australian experience. Guests speakers from overseas were Richard Del Belso from

Warner Bros, Karen Hermelin from New Line Distributors and independent editor Stuart Baird

ΦAustralian Rim Commission 1993-1994

who were joined by Australian producers and test marketers. Over 120 people attended the

two-day seminar and the consensus was extremely positive and the expert advice has had a

positive impact on the way producers approach test screenings.

Financial Support

The Marketing Branch expends most of its budget on festivals, markets, special events, publi­

cations, seminars and special initiatives however financial assistance is available for marketing

loans and travel grants. This year, $165,000 was provided for marketing loans fsee Appendix

F), which was a significant drop on last year because the two films selected for Cannes,

The Adventures O f Priscilla, Queen O f The Desert and Muriel’s Wedding were represented by

Polygram and CiBy Sales respectively, both companies able to cashflow the marketing costs.

Marketing loans are provided for completed films and cover delivery materials, publicity

materials and representation at festivals. Loans are interest-bearing and repayable from first

returns from gross proceeds. Decisions are made under delegation by the Director of

Marketing and the Chief Executive.

Travel grants are also available for directors whose films are selected for prestigious

international film festivals, with one grant per film. This year support for actors was introduced

and $15,000 is allocated to the top competitive festivals, Cannes, Berlin and Venice, to allow

actors to attend the festivals. Total travel grant support was $86,698. Grants are

recommended by the Festivals Co-ordinator and made under delegation by the Director

of Marketing fsee Appendix F).

INTERACTION WITH OTHER BODIES The Marketing Branch works directly with the overseas posts and the Department of Foreign

Affairs and Trade, state film bodies, film and television producers, actors, distributors and

broadcasters, festivals, industry associations and cultural organisations in Australia and

overseas.

STAFFING Twelve full-time and one part-time staff are engaged in the Marketing Branch in Sydney and

London as at 30 June 1994.

Consultants engaged during the year were Public Korea, Damien Stenmark, Maria Farmer

Publicity, KPMG Media Management, Pierre Rissient, Peter Callas, Marigold Communications,

Linda Jaivan, Lucius Barre and Graeme Isaac.

e x p e n d it u r e The total expenditure for the Marketing Branch on industry assistance activities during

1993-94 was $1,550,340.

ΦAustralian Film Commission 1993-1994

A M IC R O D O C fe a tu rin g a n

im a g is tic jo u rn e y a lo n g a n

A b o r ig in a l s o n g lin e ,

G o o ri G o o r i D re a m in g w a s

p ro d u c e d b y R a n d a ll W o o d

a n d B o b B la s d e ll. R a n d a ll

a ls o d ire c te d a n d c o -w ro te

th e film w ith V a n e s sa F is h e r

G u n a m in y . The film w a s co­

fin a n c e d b y th e AFC, F ilm

Q u e e n s la n d a n d th e ABC.

NDIGENOUS BRANCH

OBJECTIVES

These are to review and develop policies, guidelines and

strategies to provide for Indigenous access to AFC

funding programs so as to: further develop film

production and related skills among Indigenous people;

facilitate effective participation by Indigenous people in

all areas of Australian and international film industries;

promote the quality and diversity of Indigenous films to

maintain or improve competitive standards; and assist in

the development of wider audiences for films which are

written, directed or produced by Indigenous people. The Indigenous Branch was created in July 1993 on the recommendation of consultant

Shirley MacRherson and Associates in 1992. Her report recommended that an Aboriginal and

Torres Strait Islander Program be established within the AFC. The title of the Branch was

changed to Indigenous Branch in October 1993.

The AFC successfully negotiated with the Department of Employment, Education and

Training (DEET) for a jointly funded Aboriginal Employment Strategy within the AFC.

This initiative is also mirrored in three other national film agencies; the FFC, Film Australia

and the AFTRS and is expected to be conducted over three years.

Under the terms of the strategy, the Indigenous Branch consists of two permanent

positions, Manager and Assistant Manager. Another position currently housed within the AFC

is the law scholar who works closely with the resident corporate and entertainment lawyers.

During the year, a work experience placement was situated within the Branch taking on

a course of study and basic administrative duties.

Upon agreement with three other federal film agencies under the strategy, a National

Employment Strategy Co-ordinator will be employed and housed within the Indigenous

Branch of the AFC.

PRINCIPAL PROGRAMS AND ACTIVITIES The range of functions permits Indigenous Branch participation in all areas of AFC activity that

affect Indigenous involvement in the film industry and to exert influence in those areas.

Consistent with this, the Indigenous Branch has the following functions:

• Providing advice to the AFC on applications seeking assistance for Indigenous film projects

or other assistance sought by or for Indigenous people.

• Participating in decision making on whether and to what extent the AFC should assist

applications for assistance for Indigenous film projects or other purposes.

• Monitoring performance by Indigenous interests funded by the AFC.

• Reviewing and providing advice on matters relating to AFC performance as it affects

Indigenous people and their involvement in the film industry, having particular regard to:

ΦAustralian Film Commission 1993-1994

- the appropriateness of its objectives, policies, functions and procedures to address

Indigenous needs for advancement in the film industry;

- the kind and level of assistance sought by Indigenous people and the adequacy of AFC

estimates and budgets provided for this purpose.

• Liaison with and provision of information to Indigenous people on the range and availability

of assistance from the AFC and directing them to other organisations from which assistance

can be obtained.

• Liaison with other organisations which assist Indigenous people to engage in the film

industry with a view to obtaining assistance from them and the AFC.

• Advice on in-house training for Indigenous people in the AFC through selection and

secondment from other organisations.

Indigenous Audio Visual Practitioners Data Base

The aim of this aggregation is to enable the Indigenous Branch to better cope with the

requests which come from people seeking an Indigenous director or film crew, through

to consultants, drivers, caterers, writers and liaison personnel. These requests come in at

random and because of the lack of data are processed in an ad-hoc manner with only a

selected few individuals and organisations receiving benefit, in order to adequately meet these

enquiries in a manner which is equitable, the Branch is in the process of establishing a data

base of Indigenous people who either have current work commitments in the audio visual

industry or aspirations to become involved. The information the Branch requires relates

specifically to the current skills, educational standard, career and enterprise aspirations of

the individual or group.

This skills audit is to be carried out in conjunction with a labour market survey of a cross­

section of industry. Together, they both form a strategy designed to provide the industry with

access to a new skills base and to match individuals with an employer, or the individual with

the appropriate training institution should they require further skilling, in order that Indigenous

people realise their full employment potential in this industry.

New Initiatives Program

This program has seen the creation of two identified Indigenous positions within Metro

Television in Sydney and Open Channel in Melbourne. The primary role in these organisations

is for the individuals employed to gain production/administration experience and to also

create training opportunities for other Indigenous people interested in a career in the audio

visual industry.

Film Career Development Workshops Many Indigenous audio visual creators have only been involved in the production of documen­

taries. The reason for this is that in the past most films produced about Indigenous Australians

were from a non-lndigenous view point. Indigenous audio visual creators used documentaries

as a way of “putting the story right.” The nature of this genre is limited in its capacity to employ

people; it is marketed differently; it does not use production design in the strict sense of the

word and is generally of a lower budget. As a result of this, many Indigenous audio visual cre­

ators are producers, directors and writers who have limited knowledge of the other tasks car­

ried out on drama and feature films sets. For example, on a $2 million feature set alone,

upwards of 30 crew are required to be involved.

9Australian Film Commission 1993-1994

The Indigenous Branch has been negotiating with state based Indigenous organisations in

Victoria and Queensland, whose role it is to establish education and training priorities within

individual communities. The object is to conduct workshops within these communities to

sensitise community leaders as to the opportunity for employment in an industry few are

familiar with.

The Branch has been very active in the state film culture organisations like the Western

Australian Film and Television Institute (FTI) and training organisations like the state AFTRS

groups in South Australia, Western Australia and Victoria. This activity has been focused on

the establishment of an ongoing co-ordinated approach to the training and development of

Indigenous audio visual creators.

Cross Cultural Workshops

The AFTRS in conjunction with the AFC held a series of cross cultural workshops funded by

DEET in both Melbourne and Sydney. Eight workshops were held with 142 staff attending

from Film Australia, AFC and the AFTRS. The seminars were aimed at promoting greater

awareness and understanding of the needs and aspirations of Indigenous Australians

involved in audio visual production for staff of the four federal film agencies participating

in the employment strategy.

Senior management from both the AFTRS and the AFC along with the Chairman of the

AFC were also in attendance at the seminars. Future workshops are planned for agency staff

who were unable to attend the initial series.

INTERACTION WITH OTHER AGENCIES The Branch participates and conducts regular meetings with both state and federal organisa­

tions whose responsibilities are to foster or service audio visual creation and also with those

whose function is to service the Indigenous section of the Australian community. This has

seen Branch staff attend meetings with: Screen Producers Association of Australia (SPAA);

Imparja Television; Fiuman Rights Commission; Aboriginal Arts Board; Australian Screen

Directors of Australia (ASDA); Central Australian Aboriginal Media Association (CAAMA);

Department of Employment Education and Training (DEET); Victorian Aboriginal Education

Association Incorporated (VAEAI); Film Australia; Australian Film Finance Corporation (FFC);

Women in Film and Television (WIFT); Aboriginal and Torres Strait Islander Commission

(ATSIC); Australian Film, Television and Radio School (AFTRS); Townsville Aboriginal and

Islander Media Association (TAIMA); Tasmanian Aboriginal Corporation (TAG); Western

Australian Film and Television Institute (WAFT1); The Songlines Agency; and Murriimage.

STAFFING The Indigenous Branch is comprised of two permanent positions, Manager and

Assistant Manager.

©Australian Rim Commission 1993-1994

; A lii

'W h e n th e p a s t re fu s e d to

b e b u rie d i t m u s t b e m e t

in th e p r e s e n t F u l l y

fu n d e d b y th e AFC, p r o ­

d u c e d b y Jo h n W in te r

a n d d ire c te d a n d w r itte n

b y M a rg o t N a s h , V a c a n t

Possession w i ll b e com ­

p le t e d in O c to b e r 1 9 9 4 .

INDUSTRY AND CULTURAL DEVELOPMENT

OBJECTIVES

The objectives of the Industry & Cultural Development

Branch (ICD) are to encourage a diversity of film and

video production; to provide a focus for the independent

film and video community through support for resource

organisations; to facilitate co-ordination of the activities

of film organisations; to encourage the distribution and

exhibition of independent non-commercial film and video

programs; to encourage debate and analysis in the

film and wider Australian community by supporting

publications, seminars, conferences, travel and study,

and research and development; to facilitate research

and analysis of the Australian film industry through the

collection and dissemination of data and information;

and to increase the participation of women in all areas

of film, video and television production.

PRINCIPAL PROGRAMS AND ACTIVITIES

Overview

In response to the directive from the Commission in September 1992, the Industry and

Cultural Development Branch continued with the implementation of the ICD Reassessment

Report and discussions with the necessary parties. The report's recommendations

concentrate on providing a stimulus to the film culture area and assisting supported

organisations to review and consolidate their activities. The longer-term aim of increasing

the funding flexibility within the program is something which will be achieved progressively.

In March, the ICD Project Co-ordinator undertook a three-week trip to Los Angeles,

New York and London to meet people:

• working in organisations similar to those currently funded by the AFC,

• working in government organisation, and

• undertaking a similar funding roles as to that of the ICD Branch.

The trip provided an opportunity to meet people working in the film culture sector

internationally and to discuss their activities, their current areas of concern and the constraints

faced within different funding and cultural structures. The challenges faced overseas are not

dissimilar to those faced within Australia, those of dwindling funding dollars, the creation of

new audiences and the maintenance of revenue bases in the current economic climate. The

greatest advantage America and the UK have over Australia is the large population base upon

which to draw audience/membership and income generation. The history of philanthropic

ΦAustralian Film Commission 1993-1994

trusts for artistic and cultural endeavour in the US also means that the groups have another

avenue of support available to them that is virtually unknown in Australia.

Funding Policy

Industry & Cultural Development has continued to provide assistance to non-commercial

distribution, exhibition, publications, education, film analysis and exhibition underwriting.

ICD has continued to support the development of an active, diverse and informed film

culture in Australia through the following six programs:

• Cultural Development

• Film Documentation and Communication

• Production Resources Support

• Distribution, Exhibition and Festivals

• Research and Information

• Women's Program

The Industry & Cultural Development guidelines and Women’s Program guidelines

define the funding criteria of the branch. The Commission makes funding decisions for film

organisations for each calendar year. The ICD Project Co-ordinator assesses applications

for special purpose assistance, in consultation with specialist assessors, where appropriate,

and final decisions are made under delegation by the Chief Executive.

Funding for the Women’s Program is provided through Industry & Cultural Development.

The manager is responsibile for the activities of this Program and reports to the Chief

Executive. Support schemes may be initiated by the Manager of the Women’s Program

or offered in response to proposals submitted to the Program.

Cultural/Audience Development

The aim of this program is to provide assistance for the presentation and exploration of a

wide range of film activities and industry related issues to the filmmaking and film-going

public. A broad spectrum of activities are supported under this program including seminars,

conferences and forums that explore cultural and industrial matters and awards that

recognise achievement within the Australian film and video community.

These activities are undertaken by organisations receiving ongoing support as well as

those receiving project specific assistance. Organisations receiving support under this

program in 1993-94 included the Australian Teachers of Media (ATOM), Brisbane

Independent Filmmakers, Film and Television Institute, Metro Television, Open Channel,

the Queensland Cinematheque, and Sydney Intermedia Network.

Awards supported this year include the AFI Awards, the AWGIE awards, and the

Australian Teachers of Media Awards. Two awards for students graduating in 1993 included

Justine Gaudry for “Best Film” category with her experimental film Memory Snares at the

Third Golden Eye Awards for graduating students of the University of Technology Sydney,

and Douglas Brooks for “Best Achievement in Screenplay Award” for his film Seething Night

at the awards for VGA School of Film and Television students. As well as encouraging

individual students, these awards are recognised as an important opportunity to profile and

promote student work to the industry, distributors, festivals, the media and funding agencies.

Over 500 people involved in documentary production, distribution, exhibition and broad­

casting attended the Documentary Conference held in Sydney’s Chinatown over four days

®Australian Film Commission 1993-1994

in December 1993. The major themes of the Conference were to examine new technology

and delivery systems, to develop new relationships with filmmakers and broadcasters in the

Asia Pacific region and to look at recent and imminent changes within Australia which may

alter the future environment for documentary filmmakers.

The sixth Australian History and Film Conference was held at La Trobe University in

Melbourne between 30 November and 4 December 1993. Registrations of over 150 included

academics and students of media or history as well as many filmmakers and archivists,

linguists, and an architectural historian. Approximately 80 formal papers were presented,

in addition to a filmmaker forum, a panel on the Centenary of Cinema, a special screening and

panel on The Woman Suffers (dir: Raymond Longford) and a panel on Labour History films.

Geoff Weary, in his eight-week residency, co-hosted by the Faculty of Humanities at

Griffith University and Griffith Artworks, has produced a single channel version of a multi­

channel experimental video work. As Filmmaker-in-Residence, Geoff is available to University

students and staff as well as members of the Brisbane film, video and art communities for

demonstrations and seminars.

Film Documentation and Communication

The aim of this program is to assist with the documentation and dissemination of information

relating to all aspects of the film industry. Research and documentation projects that relate

to film and video production, exhibition, distribution, criticism and analysis are supported

under this program. During the year, ongoing assistance was provided to Cantrills Fitmnotes,

Cinema Papers, Continuum, Film news, Metro and Small Screen.

Scott Murray received assistance to compile and edit Australian Film 1978-1992 which

was published by Oxford University Press in late 1993. This major new reference book

examines theatrically released feature films. The films are arranged chronologically and

each entry includes full credits and cast details, as well as a critical discussion by one of

Australia’s leading film critics. Each film is accompanied by at least one photo still. There is

also a detailed bibliography, filmographies of major Australian filmmakers, and a full

examination of the animated features of Yoram Gross.

The Australian Council of Film Societies (ACOFS) is compiling the seventh edition of their

National Feature Film and Video Catalogue which lists every feature length film available on

16mm or video for the past three years with details of all distributors. The catalogue gives

details on running time, country of origin, director, distributor, screen size, colour or black

and white, year of production, subtitles or dubbed. The catalogue will be indexed by director,

distributor and title and will includes feature length documentaries, film study extracts,

films on films and short fiction films and videos.

The Australian & New Zealand Catalogue o f New Films and Videos, which lists local and

imported films and videos available for sale and rental in Australia and New Zealand, is now

available on disk. This Catalogue was supported by ICD in 1992-93 although the disk version

was released during 1993-94. The database which has been compiled since 1984 includes

over 22,000 titles. It includes all 35mm, 16mm and video features, shorts, documentaries

and home video releases as well as all educational titles and special interest areas. Entries on

the database can be found by program title, topic, distributor, director, producer and other

credits include: production company, country of origin, year of completion, cast,

ΦAustralian Film Commission 1993-1994

format/gauge, synopsis/subject, awards and whether it includes supertext/subtitles.

Subscribers to the database on disk will receive details on new releases every four months.

The database will also be available on CD ROM under the title of Film & Video Finder.

Production Resources Support

The aim of this program is to provide support to film organisations to improve and maintain

quality production facilities. In making such resources accessible to the community,

these organisations serve to develop the professional skills of low budget film and video

program makers, especially in the regional areas of Australia. Assistance provided by these

organisations can also include assisting new and inexperienced filmmakers with the making

of their programs. Limited assistance is available for the development and maintenance of

production facilities and resources.

The organisations supported under this funding program in 1993-94 included the Media

Resource Centre and Co-Media in Adelaide, the Film and Television Institute in Perth, Open

Channel in Melbourne, Sydney Intermedia Network and Metro Television in Sydney and the

Central Australian Aboriginal Media Association (CAAMA) in Alice Springs. Of these

organisations, both Metro Television and Open Channel have extensive involvement and

liaison with the Community Broadcasting Association of Australia.

Distribution, Exhibition and Festivals

The support offered under this program is designed to provide the public with a diverse

selection of film, video and media programs and is aimed at developing new audiences and

markets for such. In addition to subsidies to Australian film festivals, organisations and

exhibitors of independent Australian film, the AFC provides underwriting for cinema house

costs to exhibitors willing to take risks with unconventional programs and seasons of

Australian films. This assistance is crucial for the development of the Australian film industry.

The organisations supported under this funding program in 1993-94 included the

Australian Film Institute, AFI Distribution, the Australian Teachers of Media, Electronic Media

Arts (Australia), the Film and Television Institute, the Mercury Cinema, the Media Resource

Centre, the Melbourne Super 8 Rim Group,Modern Image Makers Association (MIMA),

and the Museum of Contemporary Art.

The Melbourne International Film Festival, Brisbane International Film Festival and the

Sydney Film Festival (incorporating the Travelling Film Festival) as well as a number of smaller

festivals were all assisted throughout the year.

A loan was provided to the Jewish Film Foundation to cashflow the Festival of Jewish

Cinema held in Melbourne and Sydney during November 1993. The festival succeeded in

increasing attendances in both cities with admissions reaching almost 16,000. Festival guests

Remy Duchemin from Paris, Guita Schyfter from Mexico and Warren Mitchell were all very

well received.

A grant was provided to assist the development of the Museum of Contemporary Art’s

Rockets to the Eye: The Century of Expanded Cinema exhibition. This large exhibition

concerning the origins of the cinema, its essence and potential will focus on artists who

have been inspired by the work of early filmmaker Georges Melies. The exhibition is expected

to open in December 1995 to coincide with the Centenary of Cinema. The exhibition will

be curated by Peter Callas and David Watson and will comprise 12 installations occupying

OAustralian Rim Commission 1993-1994

Is la n d o f M a g ic ia n s

the entire third floor galleries of the MCA. Film screenings, performances, lectures

and symposium will be held to accompany this exhibition.

An exhibition of the films and working techniques of experimental filmmaker,

Paul Winkler, will be jointly developed and curated by Brian Doherty of Sydney

Intermedia Network, Paul Winkler and David Watson of the Museum of

Contemporary Art.

is a N e w Im a g e

R e s e a rc h p ro je c t b y

M ic h a e l S tru m — a 3 D

c o m p u te r a n im a tio n to

v id e o a b o u t a m a g ic

p la c e w h e r e sym b o ls

o f l i f e , b irth a n d d e a th

a r e a c tu a lis e d in m u lti-

The exhibition is planned for early-mid 1995 and will feature a number of displays d im e n s io n a l s p a te .

showing modified equipment, light boxes, displays of mattes and a continuously

running short video.

A personally introduced retrospective of work will screen at weekly intervals throughout

the duration of the exhibition.

Research & Information

Research & Information (R&l) provided assistance in the form of data on the Australian film

industry to government, journalists, filmmakers and industry groups such as the AFTRS,

the Australian Bureau of Statistics, Screen Digest, the American Film Marketing Association,

distributors and individuals to facilitate the preparation of reports and articles on the industry.

One of the main tasks undertaken in 1993-94 has been the preparation of data for

publication in the third edition of Get The Picture (publishing date: September 1994).

Get The Picture collates a wide range of economic and cultural data on the Australian film,

television and video industries. In addition to updating data presented in the second edition,

all areas-production, distribution, critical, audience and information-have been expanded.

R&l answered over 3,217 requests for information on the Australian and international film

and television industries compared to 2,068 in the previous year. This increase has been

achieved through effective rostering of inquiry staff and the ongoing development of sources

which facilitate the provision of information. Handouts such as the Overview of the Australian

OAustralian Rim Commission 1993-1994

Film Industry, Information for Overseas Filmmakers, International Agents for Australian Feature

Films/Programs and the US and UK distributors lists were regularly updated through the year.

Major revisions were made to the US and European Cable TV lists. Information on sales

agents handling Australian films was verified through the annual update program, ensuring

that sales information is current.

In addition to providing major support to R&l’s inquiry service, the ongoing data collection

program was used to collate annual figures covering the production, distribution, and critical

reception of Australian films as published in the National Production Survey 92-93; regular

a n im a tio n film a b o u t

A u s tra lia n s u b u rb ia .

T o ta l R ecessio n is

p ro d u c e d a n d w r itte n

b y D u r a n d G r e ig a n d

H u g h F r e y ta g a n d d ir ­

e c te d b y D u r a n d G re ig ,

The AFC a n d F ilm S o u th

A u s tr a lia c o -fin a n c e d

th e p ro d u c tio n .

editions of the Features, TV Drama and Documentary Checklists and the award

and critical response sections of Long Shots to Favourites. Disk copies of the

Checklists were supplied to the AFI, Film and Television Institute, NSW Film and

Television Office and AFTRS to assist in the dissemination of current information on

Australian film and television production.

Retrospective data projects undertaken during the year included the entry of

production details for Telemovies 1970 to 1979, Feature film budgets 1970 to

1987, screening details of Australian films/programs in the following countries:

Austria, the Czech Republic, Denmark, Hong Kong, Hungary, Norway, Poland and

Sweden from 1985 to 1993, where available.

In addition to the monitoring undertaken by R&l staff, the data program relies on the gen­

erous co-operation of national agencies, distributors, sales agents, producers and film agen­

cies to maintain its data collection program.

©Australian A m Commission 1993-1994

R&l continued its participation in the Statistical Advisory Group (SAG). Assistance was

given to the Australian Bureau of Statistics' Service Industries Survey in the compilation of

consultation groups and survey forms for the major survey of the Motion Picture Production,

Distribution, Television and Exhibition Industries to be undertaken by ABS in 1994-95.

Databases

The documentation of database procedures continued with the publication of manuals for

data entry into R&l’s Production databases. Programming work focussed on production of

data and lists for the third edition of Get The Picture and streamlining the production of

the Checklists. One off requests for data such as lists of awards, festivals, documentaries

and shorts according to specific criteria were provided to other AFC departments and

external clients.

Publications

The publications program facilitates the dissemination of information on AFC activities and

the Australian film industry. A list of publications available from the AFC is available upon

request (see also Appendix D).

Eleven issues of AFC News, the AFC monthly newsletter, were published in the last

financial year. Approximately 4,500 were distributed each month as an insert in Encore and

over 2,500 copies were mailed to Australian and overseas recipients. The AFC Annual

Report 1992-93 was compiled and distributed. Over 1,300 copies were distributed in

Australia and overseas.

Other activities included layout and production of Features, TV Drama and Documentary

Checklists; liaison over corporate signage for the new Melbourne Office; the production of

corporate advertisements for a variety of newspapers and publications both nationally and

internationally; advice and liaison for the design and printing of the report Long Shots to

Favourites·, producing conference materials for the “Doing Business with New Zealand”

seminars; a second printing was arranged for Marcia Langton's monograph; Simon Molloy

and Barry Burgan's report The Economics o f Film and Television in Australia was produced.

W O M EN'S PROGRAM The Women’s Program is responsible for implementing initiatives designed to increase the

participation of women, at mid-career level, in the film and television industry. The Program’s

initiatives are intended to provide support and advice to women filmmakers in order that they

may be able to develop and refine their ideas, concerns and skills.

The Women’s Program provides a range of filmmaker support and industry assistance

programs with the objectives of:

• increasing the representation of women in key creative roles and senior technical positions

in the industry;

• raising awareness about women’s contribution to and participation in the film industry by

facilitating the dissemination of information and ideas about women filmmakers, their films

and their role in the industry.

Women's Archival Project This scheme provides the opportunity to document the lives of women who have made

significant contributions to Australian life. This year, an archival interview with Mrs Margaret

Whitlam has been made by Sydney filmmaker, Jenny Ainge.

9

Australian Rim Commission 1993-1994

Film Technicians' Support Scheme

As women are under-represented in the technical areas of filmmaking, the Women’s Program

has developed this scheme to assist women film technicians to upgrade their skills.

Successful applicants are drawn from the technical areas of filmmaking; sound, cinema­

tography and editing. Under this scheme, in the November 1993 round, seven women were

supported and there was a second round of applications in June 1994.

Script Laboratory

As a follow-on to the previously successful workshop held in Melbourne last year, this labora­

tory was held in Sydney for senior women script writers and provided an opportunity for the

eight participants to discuss aspects of craft including narrative structures, character and

representation.

Negotiation Skills Workshop: Western Australia

For 16 West Australian women producers and directors, this two-day workshop included

issues to do with communication and negotiation skills as well as ’pitching’ projects to the

funding agencies and producers. The workshop was jointly funded with the AFTRS.

Directors' Workshop

This workshop is with actors on particular film projects about to go into production in order to

assist in the development of the skills of the director. This year the Women’s Program has

assisted three directors through this scheme. .

Workshop On Communication, Negotiation And The Pitch

The workshop focused on developing the necessary skills to pitch a story effectively.

It was designed to increase levels of confidence in the task of deal negotiation for producers,

writers and directors, and was co-funded with the AFTRS.

One-Off Grants

The Women’s Program offered one-off grants to support:

• a producer who has been working in the low budget area to make the leap into feature

length or larger scale projects;

• a director who was supported in the form of a fee subsidy which enabled her to attend an

AFTRS workshop on the director-actor relationship.

Women Working With New Technologies

Co-funded with Film Victoria, this event coordinated by the Modern Image Makers Association

(MIMA), was established to present a multi-artform program and to explore the work of

Australian women working with new imaging technologies. This included a forum for the

exhibition and discussion of this work and provided an opportunity to educate practitioners

about available options, methods and processes.

Special Grants The Women’s Program provided support towards the publication of the 1993 National SWIFT

Directory (a directory of women working in the film and television industry).

Along with the Industry and Cultural Development Branch, the Women’s Program provided

funding towards each of the state-based Women in Film and Television (WIFT) organisations

in NSW, VIC, SA, QLD and WA. The funding is intended to provide opportunites for each of

the WIFT state chapters to initiate specific projects including a mentor scheme which will

Australian Film Commission 1993-1994

establish a system of attachments between senior filmmakers and less experienced ones.

Consultancy

The Women’s Program employed Annette Blonski as a consultant to research and explore

a number of initiatives arising from the recommendations in the 1992 Report on Women's

Participation in the Film and Television Industry ('What Do I Wear For a Hurricane?’).

The consultancy has included an investigation into: child care needs within the industry,

training options for women in technical areas, and issues to do with work place culture and

professional development for women in the industry.

INTERACTION WITH OTHER BODIES As many of the events and organisations funded by Industry & Cultural Development also

received joint funding from State Government film offices consultation-both formal and

informal-occurred over the past year. Principal contacts included: the Department for the

Arts (Western Australia), the Department for the Arts and Cultural Heritage (South Australia),

Rim Victoria, South Australian Rim Corporation, the New South Wales Film and Television

Office, Film Queensland and Arts Victoria. Overseas: British Film Institute, Institute of

Contemporary Arts, London Film Festival, London Production Fund, London Filmmakers

Co-operative, Museum of Moving Image, Video Arts, Association of Independent Video

and Filmmakers, Deep Dish TV Network, Film Forum, Independent Feature Project, Museum

of Modern Art, New York Foundation for the Arts, Tribeca Film Centre, Women Make Movies,

Academy of Motion Picture Arts and Science, American Cinematheque, Department

of Film & Television, UCLA.

Research and information is in regular contact with a wide range of agencies including AFI,

NFSA, MPDAA, VIDA, ABS, state and national film agencies, film and television producers,

agents, distributors, broadcasters in Australia and overseas.

Over the course of 1993-94 the Women’s Program has enjoyed the support of the

following agencies: Australian Film Television and Radio School, Industry Training Fund for

Women (Negotiation Skills Workshop-West Australia), Australian Film Institute and the Nat­

ional Film and Sound Archive (Archival Project), Modem Image Makers Association (Women

and New Technologies), Film Victoria (Women and New Technologies), WIFT Australia and

WIFT NSW, VIC, OLD, SA and WA, and Work and Childcare Advisory Service (Vic).

STAFFING As at 30 June 1994, Industry & Cultural Development (including Research & Information and

the Women’s Program) employed eight full-time staff.

CONSULTANTS Consultants engaged during the years were Annette Blonski, Jo Bell, Sue Maslin,

Nannie Rayson, Amree Hewett, Anabelle Murphy, Andrew Zielinski, Clever Types, KPMG

Management Consulting, Clarke & Company Consulting Pty Ltd, Lea Films, Shelley Spriggs,

Entertainment Business Review, Mary Anne Reid and Blake Murdoch.

e x p e n d it u r e As at 30 June 1994, Industry & Cultural Development (including Research & Information and

the Women’s Program) expenditure totalled $3,293,512.

ΦAustralian film Commission 1993-1994

* φ * *

m m

« Λ »

h

F u lly fu n d e d b y th e

AFC, p ro d u c e d b y

B illy M c K in n o n a n d

K r iv S le n d e rs a n d

w r itte n a n d d ire c te d

b y K riv S le n d e rs ,

M o th e r la n d is th e

s to r y o f tw o L a tv ia n

th e f ilm -

m a k e r 's g r a n d m o th e rs ,

w h o , a lth o u g h lo n g

e x i le d fro m t h e ir

CORPORATE OPERATIONS

OBJECTIVE

The objective of the Corporate Operations Branch is to

provide the administrative, personnel, computing and

accounting support services to facilitate the achievement

of the Australian Film Commission’s objectives.

PRINCIPAL PROGRAMS AND ACTIVITIES Finance And Systems Branch

Finance and Accounts

AFC income of $21,048,360 is derived from Government Appropriations of $17,916,000 and

supplemented with additional revenue of $3,132,360. This additional revenue was made up

of production investment recoupment, profit on production investments, buyout of script

development, recoupment of loans, and interest earnings on funds.

The following chart shows the comparative level of appropriation, revenue and total

expenditure for the past ten years.

Revenue end Appropriation - 10 years

Millions o f dollars ■ Appropriation ■ Revenue

Total expenditure of $21,030,687 in 1993-94 was made up of $2,696,788 in Salaries,

$2,582,825 in Administrative expenses, and $15,751,074 in Industry Assistance Program

expenditure. This Program expenditure comprises equity investments, loans, grants, under­

writing, cultural organisation assistance, research, database development, marketing and fes­

tival expenses. The Commission also provides assistance to filmmakers and organisations by

acting as guarantor for bank loans, with a total of $666,000 in bank guarantees at 30 June 1994.

ΦAustralian Film Commission 1993-1994

The following chart provides an analysis of the Commission’s total level of expenditure

separated into Salaries, Administrative and Program expenditure, for the past ten years.

Expenditure - 1 0 Years

Millions of dollars ■ Program ■ Salaries ■ Administrative

I I I I I I I I I 0 l O C O h - C D O i O t - C M C O - ' i · 0 0 C O C O C O 0 0 0 5 0 5 0 5 0 5 0 5 I I I I I I I I I I ’ s t m t o r ' - c o m o i — c n c o ο ο ο ο ο ο ο ο ο ο ο ο σ > σ > σ > σ >

Detailed information relating to the 1993-94 year, can be found in the AFC Financial

Statements (see pages 70-78).

Computers

The computer facility of the AFC continued to expand during 1993-94.

Macintoshes are the only personal computers used at the AFC. One Power PC and

sixteen 68040 Macintoshes were purchased this year, completing the progressive upgrading

of computers to at least an 68030 processor with five Megabytes of FiAM. Upgrading of

LaserWriters is also proceeding; seven new ethernet compatible printers were purchased.

Notebook computers with internal fax modems continue to be extensively used by staff while

travelling on AFC business.

Training courses were conducted in-house on the major applications and the computer

training room was well utilised by staff. Formal one-to-one computer induction courses were

introduced and completed by all new staff. Users continue to have a high level of competence

in the frequently used applications; technical support is only rarely sought on elementary

problems. Due to the high level of computer literacy among several key people in each depart­

ment, many of the simpler technical problems are now solved at user or departmental level.

Staff in the receptionist positions in both London and Melbourne offices continue to carry

out software upgrades, perform backups and regularly consult with the Sydney operations staff.

External electronic data sources are continuing to be used by the AFC. Major Government

legislation and publications are available to all users on the File Server. The AFC has access to

CompuServe and AppleUnk accounts and has recently acquired an Internet TCP/IP address.

ΦAustralian Rim Commission 1993-1994

The Australian Securities Commission on-line company and personal searches continue to be

actively used for legal purposes.

The electronic mail link between the Sydney and Melbourne offices continues to be

actively used. Desktop faxing was introduced this year and is finding widespread use,

especially where bulk mail-outs are involved. A system which continuously monitors critical

network services (like routers, file- mail- and fax-servers) and automatically pages the

Computer Operations Manager if a service “goes down” has improved the level of pro-active

network support and hence the reliability of those services.

With the move to new premises, the Sydney office “Coax” ethernet is to be replaced with

an integrated wiring solution, incorporating data, voice and making allowance for expansion

into video and desktop video conferencing. Due to an additional $20,000 being made avail­

able, much of the hardware infrastructure for the new network-including new ether-switching

“collapsed backbone” technology-has already been purchased. Unfortunately, there was not

adequate space available for a dedicated training room in the new plans, but provisions are

being made to have a multi-purpose meeting room designed for this application.

The Honeywell "DPS6 plus" mini-computer continued to be used for the AFC accounting

system. Software terminal emulators on personal computers now outnumber terminals and

this trend will continue. A report was prepared by KPMG Peat Marwick to give a broad

overview of the requirements in Information Technology for the development of a centralised

database, integrated with a new accounts system, which will eventually allow the decommis­

sioning of the Honeywell mini-computer. This step is necessary because of the very limited

connectivity between the Honeywell and Macintosh systems, as well as the outdated propri­

etary operating system required by the Honeywell.

Loans of Computer Equipment to Cultural Organisations

The AFC provides computer equipment on loan to film cultural organisations, as well as

limited technical support. This is particularly useful for the smaller organisations which

otherwise could not afford to purchase computer equipment or technical support.

Organisations apply for specific pieces of computer equipment and these requests are

evaluated in association with the ICD and Policy branches. The requests that are granted by

the AFC are covered by a loan agreement between the AFC and the organisation.

In 1993-94, $50,002 was spent in this area supplying organisations with 14 computers,

5 LaserWriters, 5 tape backup units, 3 hard disks, 2 dot matrix printers, 2 bubble-jet printers,

1 Scanner and 1 CD ROM drive.

An in-depth review and training session was conducted by the AFC for Open Channel in

Melbourne to assist them with plans to upgrade their computer network from LocalTalk to

10Base2 ethernet. Network equipment and software which was excess to the AFC needs

(due to relocation) was also supplied to assist Open Channel with this project.

A formal review and recommendations of the API’s Macintosh network was undertaken by

the AFC in 1992-93 and the critical aspects of this report have been implemented by the AFI

this year.

Most of the organisations which have computer equipment on loan were visited by the

Computer Operations Manager to provided technical assistance in any area related to

computers where training or assistance was needed.

©Australian Rim Commission 1993-1994

Revenue Control and Disbursements

Revenue Control

There are two main categories of film revenue which the AFC receives. The first is revenue

from films for which the AFC is the disbursement agent. The second category of revenue

comes from films where another party is the disbursement agent, and in which the AFC is an

investor. In both instances, the AFC has an interest in monitoring the sales performance of

these films in the marketplace in order to receive its proper share of gross proceeds. Revenue

Control monitors the portfolio of the AFC’s interests in the various media and world territories,

and actively investigates overdue returns. In order to achieve these aims, the AFC maintains a

close liaison with producers, investors’ representatives and distributors. Revenue Control

communicates on a continuous basis with producers of films with significant AFC financial

involvement to ensure that due revenue is received by the AFC. To this end, Revenue Control

ensures that marketing reports are provided to meet the obligations stated in film investment,

production and marketing contracts.

Disbursements

The AFC is the disbursement agent for over 400 films. The forms of the AFC assistance in

these films include production investment, marketing loans and overage loans. The earliest

disbursement films go back to the early seventies. The AFC makes no direct charge for acting

as the disbursement agent. The number of films disbursed by the AFC increases all the time

as the current convention is for the AFC to be the disbursement agent for the films it finances.

The AFC liaises with producers in order to follow sales performances, theatrical and video

releases, and TV broadcasts of its disbursement films, locally and internationally.

Gross proceeds received from distributors for disbursement projects are deposited into the

Disbursement Trust Account which is a separate bank account. Gross proceeds for individual

films are disbursed to their investors, accompanied by appropriate revenue statements,

at intervals set out in the production agreements. The Revenue Control and Disbursements

Officer handles inquiries from investors on a broad range of matters. Distribution expenses

and deferments for the films are also paid out from the disbursement account.

In the 1993-94 financial year, $2,039,024 was paid out from the Disbursement Trust Account.

Human Resources

Staffing Overview The AFC has an office located in Melbourne, a European office in London and the head office

in Sydney. The AFC employment policy encourages movement between the AFC and the inde­

pendent film community by engaging staff on an average three year contract basis. This sys­

tem gives the AFC more flexible staffing arrangements; greater flexibility to employ temporary

and part-time staff to cope with overload and one-off projects; and to provide a high level of

responsiveness to the industry the AFC serves. All staff are employed under the Australian Film

Commission Act 1975 and conditions of service are on par with the Public Service Act 1922.

Training The AFC exceeded the 1.5% guarantee level of salary expenditure on training. The 1993-94

training program emphasised individual training and development needs, both short and long­

term, including: support through the study assistance scheme; encouraging attendance

at in-house or external specialised seminars on particular issues of direct relevance to the

OAustralian Film Commission 1993-1994

participant's job; continuing computer education; and general personal and management

skills development courses. The AFC in developing a workplace agreement began to work

toward the introduction of Competency Based Training (CBT).

The AFC also provided support for a number of industry based training schemes, including

SPAA Take 6, the Screen Producers Association of Australia conference.

Th e AFC p r o v id e d

Equal Employment Opportunity (EEO) The AFC is committed to fostering a work environment which encourages diversity in

its staffing and even-handed treatment of its employees. The AFC EEO Program

incorporates specific actions and quantitative methods.

The broad objectives are to:

d e v e lo p m e n t in v e s t­

m e n t to w r it e r /d i r e c t o r

M ic h a e l R y m e r's

fe a t u r e film d e b u t

w h ic h w a s p ro d u c e d

b y J o n a th a n S h te in m a n

a n d T im o th y W h ite .

• improve awareness of EEO principles amongst all staff particularly at induction level

and to improve the level of participation at policy and implementation level for all staff;

• improve management awareness of its responsibilities under the EEO Program;

• ensure that all staff are aware of their rights and responsibilities in relation to their

terms and conditions of employment and that these conditions are applied equitably

A n g e l B ab y s tars

J a c q u e lin e M c K e n z ie

a n d Jo h n Lynch a n d is

d u e to r r e le a s e in 1 9 9 5 .

to all staff;

• review AFC general personnel policies and practices to ensure they properly reflect the AFC

EEO commitment;

• develop a work experience or trainee program that will attract members of the target groups;

• increase the number of employees from the target groups;

• collect EEO data from both employees and position applicants and develop a database to

collate EEO statistics;

and in the longer term:

• maintain an appropriate mix of males and females recruited at or promoted to senior

management level;

©Australian Rim Commission 1993-1994

I

• increase the number of employees from the target groups and to try to maintain that level

when it has been achieved throughout the AFC structure;

• ensure that employees from the target groups are given the same opportunities for training

and promotion as other staff.

The AFC EEC data is not reproduced here as it is not extensive enough to protect the

privacy of individuals.

u rb a n A b o r ig in a l m a n is

th r o w n in to th e life o f Industrial Democracy

th e p r iv a t e e y e a f t e r h is

K o m b i v a n is s to le n .

T h e L ife o f H a r r y D a re

w a s m a j o r it y fu n d e d b y

th e A FC w ith F ilm S o u th

AFC management has an arrangement for consultation and negotiation with the

Public Sector Union, the Australian Film Commission Joint Consultative Council.

The existence of the Council does not inhibit the day-to-day management of the

AFC, discussion and consultation between staff, supervisors and management in A u s tr a lia , p ro d u c e d b y

T e rry C h a ra ts is a n d

B a r b a r a G ib b s , d ire c te d

b y A le lc s i V e llis a n d

the ordinary course of their duties, or the operation of other consultative forums

within the AFC. Without limiting the scope of consultation and negotiation,

the Council may consider: human and financial resource management plans;

w r it t e n b y G e r a ld

T h o m p s o n . The film w i ll

b e c o m p le te d a t th e e n d

o f 1 9 9 4 .

occupational health and safety; equal employment opportunity; personnel policies

and practices; staff development/training; organisational objectives; technological

change; review processes; conditions of employment; industrial democracy.

The AFC is party to a S134 Agreement for Improving Productivity, Jobs and

Pay in the AFC: 1992 to 1994. The AFC has established a Workplace Bargaining

Committee, representing staff at all classification levels, to look at ways to improve

productivity and efficiency.

The AFC Joint Consultative Council is currently negotiating the terms and conditions of an

Enterprise Agreement for the organisation, which will incorporate the aims and objectives of

the organisation through the development of a corporate plan.

ΦAustralian Film Commission 1993-1994

I

Occupational Health and Safety (OHS)

T h e A F C h a s a n O c c u p a tio n a l H e a lth a n d S a fe ty p o lic y w h ic h e m p h a s is e s th e im p o rta n c e o f

p re v e n tiv e m e a s u re s .

There were no compensation claims made during the year 1993-94.

CORPORATE AND PORTFOLIO OVERVIEW Social Justice Overview

Access and Equity

The broad objectives of the AFC Access and Equity Plan are to:

• facilitate equitable access by Australians to AFC funding programs, regardless of their

ethnicity, culture, language or gender;

• c o n tr ib u te to th e e x p lo ra tio n a n d re fle c tio n o f A u s tra lia ’s c u ltu ra l d iv e rs ity , b o th in film s

A u s tra lia n s v ie w a n d in th e b ro a d e r d e v e lo p m e n t o f A u s tra lia 's film c u ltu re ;

• provide appropriate opportunities to people within the access and equity target groups to

obtain employment with the AFC as vacancies arise.

During 1993-94, the AFC established the Indigenous Branch, which promotes access

into the film industry for Indigenous Australians. The support of women in the film industry

continued through the Women's Program. Film Development, Marketing and ICD continued

to support a range of productions, organisations and events which contributed to the

development of Australia’s cultural diversity.

Details of particular activities are included in Branch and program descriptions.

Throughout the financial year, the AFC continued its aim of ensuring staff at all levels

participate in cross-cultural awareness training by the end of 1994.

From June 1992, information on AFC activities has been regularly sent to 37 ethnic

magazines and newspapers via the AFC monthly newsletter AFC News to assist in the

dissemination of information about AFC activities to ethnic groups.

For the second year, access and equity data has been collected on a voluntary basis for

Rim Development and ICD funding applicants. The response rate has again been too low for

reliable analysis of ethnic background. Information on applicants’ sex has been collated by

and is reported in the Application Statistics (see Appendix E).

Information on AFC funding activities is disseminated through AFC News. The newsletter is

distributed widely by direct mail and insertion into the trade journal Encore to a wide range of

industry and non-industry government agencies, individuals and journalists/publications.

Other Resources

Fraud Control The AFC has a number of measures in place to deter fraud, including: regular audits by

internal audit (KPMG Peat Marwick) and the Australian National Audit Office; alerting staff and

consultants to the necessity to avoid conflict of interest when attending to AFC business;

AFC Personnel and Financial delegations taking care to ensure that authority for expenditure of

public money is spread through the organisation at the most appropriate levels which affects

administrative expenditure and the distribution of funds for industry assistance. Some specific

examples are: a system of sub-programs for all expenditure to enhance AFC ability to detect

fraud; segregation of duties to provide a system of checks and controls; all mail-opening is

ΦAustralian film Commission 1993-1994

witnessed and accounts processing for payment requires at least two signatures.

COMMENTS BY THE OMBUDSMAN During the 1993-94 financial year, no reports were made by the Ombudsman under section

15 of the Ombudsman Act 1976 (Cth), nor is the AFC aware of any reports made by the

Ombudsman concerning the AFC under sections 16 (reports to Parliament), 17 (reports to

the Prime Minister) or 19 (annual and additional reports) of the Ombudsman Act 1976 (Cth).

The Ombudsman has not recommended any Acts of Grace payments.

DECISIONS OF COURTS AND ADMINISTRATIVE TRIBUNALS There have been no judicial decisions nor decisions of administrative tribunals handed down

during the 1993-94 financial year which have significantly affected or which in the view of the

Secretary of the Department of Communications and the Arts, could significantly affect the

operation of the AFC in the future.

FREEDOM OF INFORMATION (FOI) During the 1993-94 financial year, the AFC received two requests pursuant to the Freedom of

Information Act 1982 (Cth).

Initial enquires concerning access to documents may be made to the Freedom of

Information Officer of the AFC, 150 William Street, Woolloomooloo, 2010.

A statement of the documents in the AFC's possession, which are customarily made

available to the public upon request free of charge, and of documents available for purchase

by the public, are contained in Appendix D.

PRIVACY During the 1993-94 financial year, the AFC has not been served with any copies of reports by

the Privacy Commissioner under section 30 of the Privacy Act 1988 (Cth), nor any copies of

determinations by the Privacy Commissioner under section 52 of that act (following investi­

gation of a complaint under section 36). The Privacy Commissioner made no determinations

under section 72 of the Privacy Act (to disregard a breach of an Information Privacy Principle).

CONSULTANCY The AFC used a number of consultants during 1993-94. The AFC generally engages a

consultant for a short time to provide particular expert or independent advice on one-off

specialist projects, excepting computer programming and public relations, where it is practical

to have continuity in the provision of these services over a longer period. It is not cost-effective

for the AFC to advertise all its consultancies. Some of the major consultancies during 1993-94

included the development of a corporate plan; revision and development of a new corporate

image; TV ratings; public relations; developing computer software; negotiation of international

co-production treaties; and a variety of legal and audit services.

The names of consultancies valued at over $2,000 have been included at the conclusion

of individual program descriptions. For the Corporate Operations Branch in 1993-94, such

consultants were: Project Control Group in the negotiations for relocating the head office

operations in Sydney to a new site.

STAFFING The Corporate Operations Branch employed 10 full-time, and 1 part-time staff as at 30 June 1994.

EXPENDITURE During 1993-94, the Corporate Operations Branch program expenditure was $50,002.

Australian Rim Commission 1993-1994

INDEPENDENT AUDIT REPORT

Australian National Audit Office, Sydney

To the M inister fo r Com m unications and the Arts

S c o p e

I have audited the financial statem ent of th e Australian Film C om m ission fo r th e year ended 3 0 June 1994.

The statem ents com prise:

• C ertifications o f Financial S tatem ents

• O perating Statem ent

• Statem ents of Financial Position

• S tatem ent o f Cash Rows, and

• N otes to and form ing part o f the fin an cia l Statem ents

The C om m issioners are responsible for th e preparations and presentation o f the financial statem ents and the

inform ation contained therein. I have co nd u cte d an independent audit o f th e financial statem ents in order to

express an opinion on them to the M inister fo r C om m unications and the Arts.

The audit has been conducted in accordance w ith Australian National A udit Office Auditing Standards, w hich

incorporate th e Australian Auditing Standards, to provide reasonable assurance as to w hether the financial

statem ents are free of m aterials m isstatem ent. A udit procedures included examination, on a test basis, of

evidence supporting the am ounts and other disclosures in th e financial statem ents, and the evaluation of

accounting policies and significant accounting estimates. These procedures have been undertaken to form

an opinion w hether, in all material respects, th e financial statem ents are presented fairly in accordance w ith

Australian accounting concepts and standards and statutory requirements so as to present a view w hich is

consistent w ith m y understanding o f the C om m ission’s financial position, th e results of its operations and its

cash flows.

The audit opinion expresses in this report has been form ed on th e above basis.

A u d it O p in io n

In accordance w ith section 44(2) o f the Australian Film C om m ission A ct 1 9 7 5 ,1 now report th a t the state­

m ents are in agreem ent w ith th e a ccounts and records of th e Com m ission, and in my opinion:

(i) the statem ents are based on prop e r a ccounts and records

(ii) th e statem ents show fairly in accordance w ith Statem ents of A ccounting Concepts and applicable

A ccounting Standards the financial transactions a nd cash flows for the year ended 30 June 1994

and th e state o f affairs o f the C om m ission as at th a t date

(iii) th e receipt, expenditure and investm ent o f moneys, and th e acquisition and disposal o f assets, by the

C om m ission during th e year have been in accordance w ith the Australian Film Com m ission A ct

1975, and

(iv) th e statem ents are in accordance w ith th e Guidelines fo r Financial Statem ents of Public Authorities

and Com m ercial Activities.

L.M. O 'Brien

A cting Executive Director

16 S eptem ber 1994

φ Australian Rim Commission 1993-1994

AUSTRALIAN FILM COMMISSION CERTIFICATION OF THE FINANCIAL STATEMENTS

In our opinion the financial statem ents of th e Australian Film Commission, including the notes thereto, have

been properly draw n up so as to show fairly:

• the operating result for

• th e financial position as at the end of, and

• the cash flow s during

th e financial year.

The Statem ents have been prepared in accordance with the applicable Australian accounting standards and

concepts, and the “Guidelines for Financial Statem ents of Public Authorities and Commercial Activities"

issued by the M inister for Finance.

Chairman

Sue Milliken Cathy Robinson

Chief Executive

16 S eptem ber 1994

Australian Film Commission 1993-1994

AUSTRALIAN FILM COMMISSION OPERATING STATEMENT FOR THE YEAR ENDED 3 0 JUNE, 19 94

1994 1993

Note $ $

COST OF SERVICES

O p e ra tin g E x p e n s e s

Salaries and Adm inistration (4) (5) 5,468,566 5,234,167

Program Expenses

Special industry assistance (6) 5,838,600 5,827,118

Loans (including interest) w ritten off (6) 58,036 253,226

Investm ents w ritten o ff (6) 1,329,392 1,484,359

A m o un ts set aside to provisions:

Loans (6) 253,045 (125,731)

Investments (6) 7,044,725 6,484,798

T o ta l O p e r a tin g E x p e n s e s 19,992,364 19,157,937

O p e ra tin g R e v e n u e s fro m In d e p e n d e n t S o u rc e s

Profit on fully recouped Film Investm ents 489,537 326,743

R ecovery o f W ritten O ff Loans and Investm ents 825,189 209,893

Interest Earnings (3) 365,005 308,516

O ther (3) 32,396 55,132

T o ta l O p e r a tin g R e v e n u e s fro m In d e p e n d e n t S o u rc e s 1,712,127 900,284

N e t C o s t o f S e rv ic e s 18,280,237 18,257,653

REVENUE FROM GOVERNMENT

Parliam entary Appropriations received (2) 17,916,000 17,119,000

O p e ra tin g R e s u lt (364,237) (1,138,653)

OUTSIDE INTERESTS AND TRANSFERS

A c c u m u la te d O p e ra tin g R e s u lt a t B e g in n in g o f F in a n c ia l Y e a r 11,345,979 12,484,632

A c c u m u la te d O p e ra tin g R e s u lt a t E n d o f F in a n c ia l Y e a r 10,981,742 11,345,979

T he accom panying notes form an integral part o f these financial statem ents

ΦAustralian Rim Commission 1993-1994

AUSTRALIAN FILM COMMISSION STATEMENT OF FINANCIAL POSITION AS AT 3 0 JUNE, 1994

1994 1993

Note $ $

CURRENT ASSETS

Cash 149,138 131,861

Receivables (7) 11,534 10,749

Other (7) 300,460 101,416

T o ta l C u rre n t A s s e ts 461,132 244,026

NON-CURRENT ASSETS

Receivables (8) 828,473 986,944

Investments (9) 10,001,733 10,277,933

Property, Plant and Equipment (10) 480,185 543,595

T o ta l N o n -c u rre n t A s s e ts 11,310,391 11,808,472

T o ta l A s s e ts 11,771,523 12,052,498

CURRENT LIABILITIES

Creditors 13,727 73,409

Provisions (13) 321,736 276,922

Other (13) 351,987 264,671

T o ta l C u rre n t L ia b ilitie s 687,450 615,002

NON-CURRENT LIABILITY

Provisions (13) 102,331 91,517

T o ta l N o n -c u rre n t L iab ility 102,331 91,517

Total Liabilities 789,781 706,519

N e t A s s e ts 10,981,742 11,345,979

EQUITY

Accumulated Operating Results 10,981,742 11,345,979

T o ta l E q u ity 10,981,742 11,345,979

The accompanying notes form an integral part of these financial statements

ΦAustralian Film Commission 1993-1994

AUSTRALIAN FILM COMMISSION STATEMENT OF CASH FLOWS FOR THE YEAR ENDED 3 0 JUNE, 1994

1994 1993

Note $ $

CASH FLOWS FROM OPERATING ACTIVITIES

Inflows:

A ppropriation Received from th e C om m onwealth 17,916,000 17,119,000

Interest Earnings 333,834 302,531

O ther Operating Revenue Receipts 1,347,122 591,768

19,596,956 18,013,299

O utflow s:

P aym ents to Suppliers, Clients and Employees 11,168,673 10,463,942

N e t C a s h P r o v id e d o r U s e d b y O p e ra tin g A c tiv itie s (14) 8,428,283 7,549,357

CASH FLOWS FROM INVESTING ACTIVITIES

Inflows:

R ecoupm ent of Loans 136,009 259,974

R ecoupm ent of Investm ents 1,335,652 1,809,569

P roceeds o f Sale o f Property, Plant and Equipment 9,500 18,000

1,481,161 2,087,543

O utflows:

E xpenditure on Industry A ssistance Loans 257,449 488,817

Expenditure on Industry A ssistance Investments 9,433,569 8,853,264

Purchase o f Plant and Equipm ent 201,149 279,706

9,892,167 9,621,787

N e t C a s h P ro v id e d o r U s e d in In v e s tin g A c tiv itie s (8,411,006) (7,534,244)

Net Increase in Cash Held 17,277 15,113

Cash at B eginning of Reporting Period 131,861 116,748

C a s h a t E n d o f R e p o rtin g P e rio d 149,138 131,861

The accom panying notes form an integral part o f these financial statem ents

ΦAustralian Film Commission 1993-1994

AUSTRALIAN FILM COMMISSION NOTES TO AND FORMING PART OF THE FINANCIAL STATEMENTS FOR YEAR ENDED 3 0 JUNE, 19 94

1. Statement of Accounting Policies

The following sum m ary explains the significant accounting policies that have been adopted in the preparation

of th e accounts.

(i) B a s is o f A c c o u n tin g

Section 37 of the Australian Rim Com m ission A ct 1975 requires th e Com m ission to keep proper accounts

and records o f th e transactions and affairs o f the Commission in accordance w ith accounting principles

generally applied in commercial practice. Section 4 4 requires the accounts to be presented in a form

approved by the Minister for finance. A cco u nts are kept on the basis of historical cost.

The Australian Film Commission’s activities relate to the film and television production industry in Australia.

(ii) F in a n c ia l A s s is ta n c e to P ro d u c e rs o f A u s tra lia n F ilm s

The C om m ission provides assistance for th e purposes of fostering and developing an Australian film and

television production industry.

financial assistance for individual film projects is provided to th e producers of Australian films in the form

of grants, loans, and investments.

A ssistance in the form of loans, and investm ents are carried at full value, less any provision for loss, until

recouped o r w ritten off.

Provisions fo r loss, based on expected recoveries are determined for individual projects, except for

investm ents funded during the current year. The provision for loss fo r investments funded during the current

year is calculated using a percentage based on the Com m ission's history of recovery o f investments.

It is considered to be to o early in the first year to m ake an informed individual assessment.

A Special Production Fund was established in 1983-84 to support high quality films which had the

potential for com m ercial viability. The Special Production Fund guidelines were revised in 1988-89 to

em phasise support fo r innovative projects, projects o f a less obvious com m ercial character, and to assist

new talent w hich m ay be disadvantaged by th e com m ercial focus o f the Australian Film Finance Corporation.

Funding by the G overnm ent for the C om m ission’s production program has continued although the Special

Production Fund has ceased to be treated as a separate fund.

In 1993-94, $500,000 in increased Appropriation w as provided as part of the Distinctly Australian initiative.

This has resulted in im proved producer support and script development through new initiatives.

(iii) P ro p e rty , P la n t a n d E q u ip m e n t

Items of Property, Plant and Equipment are capitalised at historical cost provided the c o st is $500 o r greater.

Depreciation and amortisation are calculated in accordance with the straight line m ethod over the assets'

estim ated useful life to a residual value of $1.

Assets have not been revalued using the recoverable am ount test, as the Com m ission is a ‘ N ot-for-profit’

entity and exem pt under the revised AAS10 standard. The service potential o f those assets is primarily related

to the provision o f services rather than the generation of cash flows.

(iv) Taxatio n

Under Section 41 of the Australian Film Com m ission A c t 1975, the Commission has not been subject to

taxation under any law o f the C om m onwealth o r o f a State or Territory. Flowever, in 1986-87, the Commission

becam e subject to the Fringe Benefits Tax under th e Fringe Benefits Tax (Application to the Commonwealth)

A ct 1986.

ΦAustralian film Commission 1993-1994

M F o re ig n C u rre n c y

Foreign currency transactions are translated to Australian currency at th e rates o f exchange ruling at the

dates o f th e transactions. A m ounts receivable and payable in foreign currencies are translated at the rates of

exchange ruling a t balance date. Exchange differences relating to am ounts payable and receivable in foreign

currencies are brought to a ccount in the O perating Statem ent in th e financial year in which the exchange

rates change, as exchange gains o r losses.

(vi) Comparative Figures

The form at o f th e C om m ission’s fin an cia l S tatem ent has changed. The com parative figures for 1992-93 of

Salaries and Adm inistration, a nd P rogram Expenses within th e O perating S tatem ent have been adjusted to

com ply w ith th e revised form at.

2. Appropriation Received from the Commonwealth

M oneys Provided under Appropriation A c t No. 1

M oneys Provided under Appropriation A c t No. 3/5

1994 1993

17,894,000 17,019,000

22,000 100,000

$17,916,000 $17,119,000

3. Operating Revenue

Included in operating revenue are th e follow ing item s entering into the determ ination of operating revenue:

1994 1993

Interest earnings

On film industry loans 40,923 46,178

On investm ent o f cash balances 317,117 249,522

On D isbursem ent Trust balances 6,965 12,816

$365,005 $308,516

Other

Revenue fro m Special Industry A ssistance 30,289 52,434

M iscellaneous 2,107 2,698

$32,396 $55,132

ΦAustralian Film Commission 1993-1994

4. Salaries and Administration

Salaries and Adm inistration consists of the follow ing item s entering into the determination of the

operating result:

1994 1993

Com m ission M em bers' Remuneration 89,200 60,192

Salaries 2,236,751 2,097,818

Superannuation - Employer’s C ontribution 159,397 200,021

Adm inistration 2,139,403 2,028,948

London Office Expenses 290,058 337,471

Depreciation o f Property, Plant and Equipm ent 254,791 257,947

Am ounts set aside to provisions:

Annual Leave 207,672 187,010

Long Service Leave 51,344 19,340

Doubtful Debts 417 3,383

Exchange Rate Loss 276 133

Net Loss from sale/disposal o f assets 2,258 2,504

Rem uneration o f Auditors for Auditing th e Accounts 37,000 39,400

$5,468,566 $5,234,167

5. Commission Members' and Executives Remuneration

1994 1993

Total incom e and other benefits received o r receivable

by Com m ission mem bers from the Com m ission $89,200 $60,192

1994 1993

$ Bands N um ber Num ber

$ 0 - $9,999 6 9

$ 1 0 ,0 0 0 -$ 1 9 ,9 9 9 2 1

8 10

The Com m ission mem bers during 1993-94 were: Sue Milliken (Com m issioner to 2 7 /1 0/93 and Chairman

from 28/10/93), Chris Noonan (Chairman to 2 6 /1 0 /9 3 and Com m issioner from 13/04/94), Christopher

Stew art (Deputy Chairman), Cathy Robinson (Chief Executive), John Sexton, Laura Jones, Liz Mullinar,

B ob Campbell, and Stewart Cunningham.

Part-Time M em bers’ Fees are determ ined under the Remuneration Tribunals A ct, 1973. Under the

Superannuation Guarantee (Administration) A c t 1992, and the Superannuation (Productivity Benefit) Act

1988, Mem bers are entitled to have em ployer Superannuation contributions m ade to an approved scheme.

C ontributions of $7,757 which are not included in th e above incom e and other benefits total, were m ade in

93-94. Contributions o f $44,790 were m ade in 92-9 3 but $30,560 o f this w as in relation to prior years.

The Chief Executive is a part-tim e C om m ission m em ber for w hich no additional remuneration is paid.

Australian Rim Commission 1993-1994

7. Current Assets

1994 1993

R e c e iv a b le s

S undry Debtors 15,004 13,989

Less: Provision fo r Doubtful Debts 3,470 3,438

$11,534 $10,551

O th e r

Prepaym ents and accrued income 300,460 90,049

D eposit fo r asset purchases 0 11,565

$300,460 $101,614

8. Receivables - Non-current Assets

1994 1993

L o a n s b ro u g h t fo rw a rd from p re v io u s y e a r 1,642,313 2,624,024

A dd: Advances during the year 257,448 488,817

Accrued interest on outstanding advances 40,923 46,178

1,940,684 3,159,019

Less: Recoupm ents during the year 145,761 300,167

1,794,923 2,858,852

Less: Am ounts w ritten off during the year to the

Provision & Operating Statem ent

film Developm ent 82,910 1,061,310

Marketing 18,036 155,229

Industry and Cultural Development 0 0

Loans carried forw ard at year end 1,693,977 1,642,313

Less: Provision fo r Loss 865,504 655,369

T o ta l R e c e iv a b le s (Loans) $828,473 $986,944

9. Investments - Non-current Assets

1994 1993

In v e s tm e n ts b ro u g h t fo rw a rd fro m p re v io u s y e a r 31,831,015 31,667,465

A dd: Investments during the year 9,433,569 8,853,264

41,264,584 40,520,729

Less: Recoupm ents during the year 1,335,652 1,809,569

39,928,932 38,711,160

ΦAustralian Rim Commission 1993-1994

1994 1993

Less: A m ounts w ritten off during th e year to the

Provision & Operating Statem ent

Film Developm ent 5,858,449 6,872,305

Industry and Cultural Developm ent 7,500 7,840

Policy S u p po rt 39,000 0

In v e s tm e n ts c a r r ie d fo rw a rd a t y e a r e n d 34,023,983 31,831,015

Less: Provision fo r Loss 24,022,250 21,553,082

T o ta l In v e s tm e n ts $10,001,733 $10,277,933

, Property, Plant and Equipment

1994 1993

Furniture, fix tu re s and Fittings - at cost 452,052 415,490

Provision fo r Depreciation (336,257) (279,509)

115,795 135,981

Office M achines - at cost 684,926 683,189

Provision for Depreciation (534,675) (460,224)

150,251 222,965

C om puter E quipm ent - at cost 1,459,653 1,323,052

Provision fo r Depreciation (1,245,514) (1,147,804)

214,139 175,248

M otor Vehicles - a t cost 0 19,791

Provision fo r Depreciation 0 (10,390)

0 9,401

T o ta l P ro p e rty , P la n t a n d E q u ip m e n t - N e t B o o k Value $480,185 $543,595

Sale/Disposal of Assets

1994 1993

Proceeds from Sale of Assets 9,500 18,000

W ritten D ow n Value of Assets S old/Disposed 11,758 20,504

N e t G a in (L o ss ) o n S a le /D is p o s a l o f A s s e ts ($2,258) ($2,504)

ΦAustralian film Commission 1993-1994

12. Disbursement Trust

The C om m ission provides assistance to producers and investors o f various films by handling the receipt

and disbursem ent o f returns. The funds received fo r this purpose are held in trust, in a separate bank

account. The accounting records of this Disbursem ent Trust are maintained on a cash receipts and payments

basis. The AFC is entitled to retain the interest earned on the account in lieu o f a service fee fo r providing this

facility. Net earnings in 1993-94 on the account w ere $6,965 (1992/93 - $12,816).

The financial statem ents o f the Disbursem ent Trust are set out below.

A u s tra lia n F ilm C o m m iss io n D is b u rs e m e n t Tru st

S ta te m e n t o f R e c e ip ts a n d P a y m e n ts F o r Y e a r E n d e d 3 0 J u n e , 1994

1994 1993

Balance 1 July, 1993 375,249 807,462

Plus: Receipts 2,046,734 1,367,292

Funds available fo r disbursement 2,421,983 2,174,754

Less: Payments 2,039,024 1,799,505

Balance 30 June, 1994 $382,959 $375,249

A u s tra lia n F ilm C o m m iss io n D is b u rs e m e n t T rust

S ta te m e n t o f A s s e ts a n d L iab ilitie s a s a t 3 0 J u n e , 1994

1994 1993

A ssets:

Cash at Bank 300,022 292,355

Bank Bill 82,937 82,894

$382,959 $375,249

L iab ilitie s:

Am ounts held pending Disbursement 335,360 327,339

Unclaimed Disbursements and Unidentified receipts 47,599 47,910

$382,959 $375,249

13. Liabilities

P ro visio n s

C u rre n t

Provision for Annual Leave

Provision for Long Service Leave

1994 1993

277,217 236,475

44,519 40,447

$321,736 $276,922

©Australian Rim Commission 1993-1994

1994 1993

N o n -c u r r e n t

Provision fo r Long Service Leave $102,331 $91,517

O th e r

C u rre n t

A ccrued Expenditure $351,987 $264,671

14. Reconciliation of Operating Result with Cash Flows from Operating Activities

1994 1993

O p e ra tin g R e s u lt (364,237) (1,138,653)

Depreciation 254,791 257,948

A m ounts provided for

Long Service Leave 14,885 19,340

Annual Leave 40,743 41,622

Losses o n Film A ssistance Investm ents and Loans 7,297,770 6,359,067

Industry A ssistance Investm ents and Loans w ritten off 1,387,428 1,737,586

N et Interest A ccrued on Industry A ssistance Loans (31,171) (5,985)

Increase (Decrease) in S undry C reditors and Accruals 25,645 156,470

Decrease (Increase) in S undry D ebtors and Prepayments (199,829) 119,458

Loss (Gain) on Disposal o f Plant and E quipm ent 2,258 2,504

N e t C a s h P r o v id e d o r u s e d b y O p e ra tin g A c tiv itie s $8,428,283 $7,549,357

15. Superannuation

The C om m ission has paid to th e C om m onw ealth Superannuation Schem e (CSS) and the Public Sector

Superannuation schem e (PSS) each year a contribution in o rder to discharge its accruing liability for

superannuation.

The C SS provides a pension plus refund o f contributions and interest benefit and is closed to new

entrants. The PSS replaced th e CSS for n ew entrants and is a defined benefit schem e based on a multiple

of final average salary.

In 1993-94, th e contribution rate fo r th e C SS w as 0% and fo r the PSS 8% , involving total contributions

o f $59 ,92 7 in 1 993-94 ($67,119 in 1992-93). The low er contribution rates from 1993-94 resulted from

actuarial advice th a t previous contributions w ere higher than necessary. These low er rates will apply until

30 June 1995.

C ontributions o f $64,753 w ere m ade in 1 993-94 to com ply w ith the Superannuation Guarantee

(Administration) A c t 1992, and the Superannuation (Productivity Benefit) A ct 1988 ($47,732 in 1992-93).

Separate superannuation cover, with AFC contributions o f up to 16%, of salary was arranged for certain

SES em ployees o n fixed term contracts. $ 25 ,87 9 w as paid in 1993-94 ($25,710 in 1992-93).

16. Insurance

The Australian Film Com m ission as a general rule acts as its o w n insurer. In som e instances insurance is

taken out. Exam ples of these are w orkers’ com pensation and overseas property insurance.

OAustralian Film Commission 1993-1994

17. Commission Members’ Interest in Contracts

During 1993-94, no Com m ission M em ber has received o r has becom e entitled to receive any benefit

(other than a benefit included in note 5 o r the fixed salary o f a full-time employee) by reason o f a contract

m ade between the AFC and the Commission M em ber, o r w ith a firm o f which the Com m ission Member

is also a m em ber o r has a substantial financial interest, other than in respect of:

(a) In th e ordinary course of business, the C om m ission approved an operating grant fo r the Australian

Screen Directors A ssociation Limited in w hich M r Chris Noonan was a Director. The funding approval was

made under delegation b y th e Chief Executive. $ 3 0 ,0 0 0 w as paid to th e Australian Screen Directors

Association Lim ited in 1993-94 ($29,000 in 1992-93).

(b) In th e ordinary course of business, the C om m ission approved an operating grant fo r MTV Publishing

Limited in w hich M r C hristopher Stewart w as a D irector. M r Stewart declared his interest and absented

himself from the relevant part o f the Com m ission meeting. $108,038 w as paid to MTV Publishing Limited in

1993-94 ($97,245 in 1992-93).

(c) In th e ordinary course o f business, the C om m ission approved a developm ent investment for a project

in which M s Laura Jones w as the screenwriter. T he approval was m ade under delegation by the Director

Film Developm ent. $55 ,20 0 was paid to the production com pany in 1993-94 (no paym ents in 1992-93).

18. Commitments and Contingent Liabilities

(a) O p e ra tin g L e a s e R e n ta l C o m m itm e n ts 1994 1993

Due not later than one year 436,326 327,558

Due later than one year and not later than tw o years 432,974 51,340

Due la ta than tw o y e a s and not later than five years 1,414,191 126,000

Due la ta than five y e a s 2,656,494 38,500

A m o u n ts c o n tr a c te d b u t n o t p ro v id e d fo r in th e a c c o u n ts $4,939,985 $543,398

(b) In d u s try A s s is ta n c e C o m m itm e n ts

The following Industry Assistance com m itm ents for Investments, Loans,

and Grants, payable after 30 June 1994, w ere entered into by the

C om m ission prior to 3 0 June 1994:

1994 1993

Due not later than one year 4,061,125 3,889,687

Due later than one year and not later than tw o years 80,000 80,000

Due later than tw o years and not later than five years 58,200 130,200

A m o u n ts c o m m itte d b u t n o t p ro v id e d fo r in th e a c c o u n ts $4,199,325 $4,099,887

(c) B a n k G u a ra n te e s

A C ontingent Liability exists at 30 June 1994 in the form of guarantees of $666,000 ($656,000 at 30

June 1993) m ade by th e Commission to th e bankers o f assisted film producers and film organisations.

19. Economic Dependency

The ongoing activities o f the Commission are dependent on the annual Appropriation o f moneys from

Federal Parliament. A ny significant change in am ounts Appropriated w ould have an im pact on the operations

of the Com m ission.

ΦAustralian Rim Commission 1993-1994

COMMISSION

APPENDIX A - SPECIAL EVENTS

Note: retrospectives or side bars at festivals which focussed on Australian Fims 1/7/93 to 30/6/94. Directors) noted where known.

Madrid Experimental Festival Program

P ro g ra m 1: T h e 1 9 6 0 s & ‘70s

H o m e M ovie: A D a y In The Bush -

Arthur & Corinne Cantril

A d a m A n d E v e - Dusan Marek

B olero - Albie Thoms

A lb u m - David Perry

W hitew ash - Lynsey Martin

B lack Fu ngus - Michael Lee

D a n c e D elu xe - John Dunkjey-Smith

W e A im To P le a s e - Margot Nash & Robin Laurie

B ark R in d - Paul Winkler

P ro g ra m 2 : P e rs o n a l C in em a

R o i Film - Neil Taylor

U nderstan d in g Science - Dirk de Bruyn

W e s tg a te B rid g e - Nick Ostrovskis

In Loving M e m o ry - Leone Knight

E a t - Kathy Drayton

K nife In The H e a d , S pooky - Catherine Lowing

A rn o ld West - Gary O'Keefe & Deborah Warr

Lu nettes - Pete Spence & Norma Pearce

O n e V iew - Maggie Fooke & Chris Knowles

A d a p to r - Michael Nil

P ro g ra m 3 : E x p e rim e n ta l N a rra tiv e

A m elia R o se Tow ers - Jackie Farkas

P alisade - Laurie Mclrmes

Yeah M o s to fa - Ali Higson

Elevation - Stephen Cummins

Th e L e a d D ress - Virginia Murray

O ccu p an t. The - Eft ore Siracusa & Peter Lyssiotis

O bsession - John Cummings

N ig h t Cries: A R ural Tragedy - Tracey Moffatt

P ro g ra m 4 : F o rm a n d G esture

S .S .S . - Andrew Frost

Vivarium - Mahalya Middlemist

O

Thread O f V oice - A rt A rt

E G . - Virginia H iy a rd

A Passion P lay - Tony Tw igg

Souare B ashing - S te p h e n H arrop

A S o n g O f Ceylon - Lateen Jayam anne

P ro g ra m 5: E ssays, D o c u m e n ts , M a p s

Long S h a d o w s - Paul Winkler

H o b w eg e: W o o d R oads ■ G. Walace-Crabbe

Waterfall - Arthur & Corinne Cantrill

City Walk - Moira Joseph

Periscope 1 8 0 '- Stephen Ban

E m brace - Bill Mousouts

Excerpt - Chris Knowles

Serious U n d e rtak n g s - Helen Grace

P ro g ra m 6: T h e S tra n g e a n d th e C o m ic

C aram ba - Nick Meyers

Passionless M o m e n ts - Jane Campion

M ystery Lo ve - Chris Windmill

Treasure - Melanie El Mir

Rational Life Films 1-5, The - Debbie Lee

Germ O f A n Idea, The - John E. Hughes

Concertinas - Accomplice Rims

History Takes Place - Sonia Leber

This W o m an Is N o t A C a r - Margaret Dodd

Australian Retrospective Pordenone Silent

Film Festival

October 1993

B rth O f W hite Australia. The - Phi K. Walsh

C oorab In The Island O f G hosts - Francis Birtles

H o m e O f The Blizzard - Frank Hurley

Jungle W o m a n - Frank Hurley

On Our Sefecfon - Raymond Longford

S entim ental Bloke, The - Raymond Longford

Story O f The K ety G ang, The - Charles Tart

Sunshine Sally

Those W h o Love

W om an Suffers, The - Raymond Longford

N ew sreel segm ents. Australia C. 1915

Australian G azette N o . 2 7 8

Austraian Flm Comms scn 1993-1994

Baldwin Spencer Aboriginal Footage

Ballarat Kennel Club

Beautiful Lines O f Woman Triumphant - S tanley

Hawkins

The Charmed C up (Bushells Cinema)

Wreckage (Keens Mustard Cinema) - Ben

Verschleiser

Kiwi Shoe Polish Cinema Advertisement

Melbourne Cup - 1896 - W alter Barnett

The War Zoo - Cartoons Of The Moment

Foster’s Export Australian Film Festival

United Kingdom

March - June 1994

Bedevil - Tracey Moffatt

Black River - Kevin Lucas

Deadly - Esben Storm

Captain Johnno - Mario A ndreacchio

Strictly Ballroom - Baz Luhrmann

Father - John P ow er

Piano, The - Jane Campion

Love In Limbo - David Elfick

Year My Voice Broke, The - John Duigan

Map Of The Human Heart - Vincent W ard

Say A Little Prayer - Richard Lowenstein

Hammers Over The Anvil - Ann Turner

Broken Highway - Laurie M clnnes

Just Desserts - M onica Pellizzari

Sunday - Peter Moyes

Desire - E m m a-K ate Koghan

Etcetera In Paper Jam - Michael Bates

Excursion To The Bridge O f Friendship - C hristina

Andreef

®Australian Film Commission 1993-1994

APPENDIX B - AUSTRALIAN FILMS AT MAJOR FILM FESTIVALS

Note: a selection o f overseas film festivals that

screened Australian films 1/7/93 to 3 0 /6 /9 4

Berlin International Film Festival,

February, 1994

C o m p e titio n :

Exile - Paul C ox

C h ild re n ’s C o m p e titio n

No Worries - David Elfick

Cannes International Film Festival,

May 1994

M id n ig h t S c re e n in g

Adventures O f Priscilla, Queen Of The Desert -

Stephan Elliott

S h o rt C o m p e titio n

Book o f Dreams: Welcome To Crateland -

Alex Proyas

D ire c to rs F o rtn ig h t

Muriel’s Wedding - P.J. Hogan

Montreal World Film Festival,

September 1993

Heartbreak K id , The - Michael Jenkins

Nostradamus Kid, The - Bob Ellis

Bedevil - Tracey M offatt

Say A Little Prayer - Richard Lowenstein

Tokyo International Film Festival

September 1993

Map O f The Human Heart - Vincent Ward

Venice International Film Festival

September 1993

C o m p e titio n :

Bad Boy Bubby - Rolf de Heer

Window On Images

Darra Dogs - Dennis Tupicoff

Hercules Returns - David Parker

Just Desserts - M onica Pellizzari

Memories & Dreams - Lynn-Maree Milbum

Asia Pacific Film Festival

September 1993

Excursion To The Bridge O f Friendship -Christina A ndreef

Heart Of Pearl - A ndrew Taylor

My Forgotten Man - Frank Howson

No Worries - David Elfick

Redheads - Danny Vendramini

Banff Television Festival

June 1994

Impunidad - Helen Gaynor

Bilan du Film Ethnographique

March 1994

Exile And The Kingdom - Frank Rijavec

Joys Of Women, The - Franco Di Chiera

To Live With Herds - David McDougall

When Mrs. Hegarty Comes To Japan -

Noriko Sekiguchi

Bombay Documentary & Short Film Festival

February 1994

Drive - Catherine Birmingham

Exile 8 The Kingdom - Frank Rijavec

Homelands - Tom Zubrycki

Life Forms - Georgia W allace-Crabbe

Pale Black - Marie Craven

Rosa L - Tanja George

Saucer for the Water Birds, A - Ann Shenfield

Sleep Of Reason, The - Peter Jordan

When Mrs Hegarty Comes To Japan -Noriko Sekiguchi

Wild - Ross Gibson

Calcutta International Film Festival

November 1993

Blackfellas - Jam es Ricketson

Rosa L - Tanja George

Secrets - Michael Pattinson

Strictly Ballroom - Baz Luhrmann

When Ships Draw Near - Paul Middleditch

©Australian Film Commission 1993-1994

Chicago International Film &

Video Festival

October 1994

Darra Dogs - Dennis Tupicoff

Door, The - Josie Keys

Excursion To The Bridge O f Friendship -Christina Andreef

Fire Babies - M atthew Duchene

Journey, The - C hristopher Tuckfield

Just Desserts - M onica Pellizzari

Nostradamus Kid, The - B ob Ellis

Opportunity Knocks - Michael Connolly

Palace Cafe - A ndrew Lancaster

Placenta - Jam es Ferguson

Rocky Star - Stephen Harrop

Sleep O f Reason, The - Peter Jordan

Spring Ball - Nicole Mitchell

Swing Your Partner - Sophie Jackson

Tenth Dancer, The - Sally Ingleton

Terra Nullius - A nne Pratten

Cinema Du Reel

March 1994

Homelands - T om Zubrycki

Clermont Ferrand Int Short Film Festival

February 1994

Palace Cafe - A ndrew Lancaster

Terra Nullius - Anne Pratten

Just Desserts - M onica Pellizzari

Wormholes - G regory G odhard

Creteil Film Festival De Femmes

March 1994

Seven Days Under Mavis - A nna Johnson

Excursion To The Bridge O f Friendship -

Christina A ndreef

Memories & Dreams - Lynn-M aree Milbum

Spring Ball - Nicole Mitchell

Edinburgh International Film Festival

August 1993

Black Dogs - A n d re w Sully

Desire - Em m a K ate Croghan

Excursion To The Bridge Of Friendship - Christina

Andreef

No Worries - David Elfick

Nostradamus Kid, The - B ob Ellis

Opportunity Knocks - Michael Connolly

Palace Cafe - A ndrew Lancaster

Spring Ball - Nicole Mitchell

Terra Nullius - A nn Pratten

The Resting Place - Rebel Penfold-Russell

Golden Gate Awards - San Francisco

April 1994

Adventures o f Priscilla, Queen O f The Desert -

Stephan Elliott

Back To The Happy Ever After - Shane Cam

Concertinas - Jennifer Robertson

Door, The - Josie Keys

Excursion To The Bridge O f Friendship -Christina A ndreef

Journey, The - Paul C ox

Just Desserts - M onica Pellizzari

Tenth Dancer, The - Sally Ingleton

Wild - Ross Gibson

Hawaii International Film Festival

November 1993

Bedevil - Tracey M offatt

Black River - Kevin Lucas

Excursion To The Bridge Of Friendship -

Christina Andreef

Heartbreak Kid, The - Michael Jenkins

My Tiger's Eyes - Teck Tan

No Worries - David Elfick

Silk Dreams - Teck Tan

Tenth Dancer, The - Sally Ingleton

Wild - Ross Gibson

®Australian Rim Commission 1993-1994

Hong Kong Int Film Festival

March 1994

Excursion To The Bridge Of Friendship -

Christina A ndreef

Sunday - Peter M oyes

Wormholes - G regory Godhard

Hof Film Festival

October 1993

Broken Highway - Laurie Mclnnes

Darra Dogs - Dennis Tupicoff

Desire - Em m a Kate Croghan

Just Desserts - M onica Pellizzari

Palace Cafe - A ndrew Lancaster

Sunday - P eter Moyes

London Film Festival

November 1993

Amelia Bose Towers - Jackie Farkas

Bad Boy Bubby - Rolf de Heer

Bedevil - Tracey M offatt

Black River - Kevin Lucas

Body Melt - Philip Brophy

Excursion To The Bridge Of Friendship -

C hristina Andreef

His Master’s Voice - Yvonne Pecujac

Illustrated Auschwitz, The - Jackie Farkas

Journey, The - C hristopher Tuckfield

Just Desserts - M onica Pellizzari

Memories A nd Dreams - Lynn-M aree Milbum

Pale Black - M arie Craven

Say A Little Prayer - Richard Lowenstein

Secrets O f The City - Catherine Linsley

Sunday - Peter M oyes

Margaret Mead Film Festival

October 1993

Black Man's Houses - Steve Thom as

Tenth Dancer, The - Sally Ingleton

When Mrs Hegarty Comes To Japan -

Noriko Sekiguchi

New York Film Festival

October 1994

Darra Dogs - Dennis Tupicoff

Excursion To The Bridge O f Friendship -

Christina Andreef

Just Desserts - M onica Pellizzari

Piano, The - Jane Cam pion

Rotterdam Film Festival

January 1994

Bad Boy Bubby - Rolf de Fleer

Excursion To The Bridge O f Friendship -

Christina Andreef

Memories

Seattle International Film Festival

June 1994

Adventures o f Priscilla, Queen o f the Desert -

Stephan Elliott

Bad Boy Bubby - Rolf de Fleer

Bad News Bachelors - Franco Di Chiera

Bigger Than Texas - M ark Pugh

Goori Goori Dreaming - Randall Wood

Homelands - Tom Zubrycki

Saucer o f W ater for the Birds, A - Ann Shenfield

Talk - Susan Lam bert

Wormholes - G regory G odhard

Yeah, Mostafa - Alexandria Fligson

Singapore Film Festival

April 1993

Bedevil - Tracey M offatt

Tenth Dancer, The - Sally Ingleton

Stockholm International Film Festival

November 1993

Bad Boy Bubby - Rolf de Fleer

Broken Highway - Laurie Mclnnes

Hammers Over The Anvil - Ann Turner

OAustralian Rim Commission 1993-1994

Taipei Golden Horse Film Festival

November 1993

Dingo - Rolf de Heer

Last Days O f Chez Nous, The - Gillian A rm strong

Love In Umbo - David Elfick

Year M y Voice Broke, The - John Duigan

Toronto Festival of Festivals

September 1993

Bedevil - Tracey Moffatt

Frauds - Stephan Elliott

Memories & Dreams - Lynn-M aree M ilbum

Piano, The - Jane Campion

Shotgun Wedding - Paul Harm on

Vancouver International Film Festival

October 1993

Bedevil - Tracey Moffatt

Darra Dogs - Dennis Tupicoff

Exile & The Kingdom - Frank Rijavec

No Worries - David Elfick

Piano, The - Jane Campion

Say A Little Prayer - Richard Lowenstein

Sexy Girls - Sexy Appliances -Emma Kate Croghan

Square's Safari, A - Janet M erewether

ΦAustralian Rim Commission 1993-1994

APPENDIX C - AWARDS

Note: includes overseas awards only awarded to Australian films/programs 1/7/93 to 30/6/94. The directors) is noted after the title.

Documentary

Artists in Cyberculture - Jonathan Cohen

National Education film Video Festival

- Bronze Apple. Profiles of Artists section

At The End Of The Tunnel - Andrew Vial

Ekotopfilm Festival

- Special Participation Award

Festival Int de Cinema

Espeldogic de Barcelona

- Special Jury Award

Black Harvest - Bob Connolly S Robin Anderson

Yamagata Int Documentary film Fest

- Grand FYize

Everest - Sea To Summit - Michael Dillon

Banff Fest Of Mountains Films

- Special Jury Prize

Graz Mountain Film Festival

- Golden Alpine Camera, Best Expedition

film Section Int Mountain Film Festival

- Grand Prize

- People’s Choice Award

- European Federation Tourist Press Award

Mountain films. Int Fest

• Grand Prize - Edelweiss of Gold

- Boreal Prize, Best Script Section

Mountain Environment & Alpine film Fest

- Diable D’or, Best Alpine film Section

Telluride Film Festival

- Best Mountaineering Film, Mountain film

'93 section

Journey, The - Chris TuckHetd

Chicago Int film & Video Festival

- Golden Hugo - Documentary section

Cork Int film Festival

- Certificate of Merit, Documentary section

Kangaroos - Faces In The M o b - Glen C arruthers

Cairo Int Film Festival for Children

- Golden Cairo Prize

Columbus Int Film & Video Festival

- Chris Award, Natural Sciences Section

- Honourable Mention, Script writing Section

Int Emmy Awards

- Most Outstanding Program, News and

Documentary

Festival Intemazonale del Film Naturalistico.

Progetta Natura

- Premio Gran Paradiso judged Best of Festival

by Public Audience

- Best Scientific film awarded by Italian

Association of Scientific filmmakers

Sleep O f Reason, The - P e te r Jordan

Chicago Int Film & Video Festival

- Silver Plaque, Documentary - Arts/

Humanities section

Tenth D an cer, The - Sally Ingleton

Chicago Int film And Video Festival

- Silver Plaque

Golden Gate Awards - San Francisco

Finn Society

- Best of category winner. The Art Work

section

Asian Television Festival

- Honourable Mention

Web O f Intrigue - Jim Frazier

Int Emmy Awards

- Special Classification for Outstanding News

and Documentary

Cinematography, Jim Frazier,

Individual Achievement

Wild - R oss Gibson

Golden Gate Awards - San Francisco

film Society

- Best of category winner,

Environment section

ΦAustrafcan F lm Commission 1993-1994

Wolves Of The Sea - David Parer

Jackson Hole Wildlife Film Festival

- M ost O utstanding Nature Docum entary

Youth Express

Prix Jeunesse Int Television C om petition

- 2nd Prize (for “Holding O nto W hat Is Real")

Feature

Adventures O f Priscilla, Queen O f the Desert, The

■ Stephan Elliot

Cannes Film Festival

- Prix Du Publique, Most popular film voted

by th e public

Golden Gate Aw ards - San Franciso

Film Society

- Starbucks Aw ard, M ost popular film voted

by th e audience

Seattle Int film Festival

- Golden S pace Needle, M ost popular film

voted by th e audience and m ost popular

a cto r (Terence Stamp)

Bad Boy Bubby - Rolf de Heer

Seattle Int Film Festival

- Best D irector - Rolf de Heer

Venice Int Film Festival

- Jury Prize

- Fipresci Prize (Federation International

de la Presse Cinem atographique) (shared) -

Rolf de Heer, “for a daring im agination that

reveals a n ew talent”

- Prize of “Cinem a A w en ire ” - Best film in the

show , Young Audience V ote section

- Prize OCIC (International Catholic

Organisation for Cinema) - Bronze Plaque

- Special Ciak D ’Oro, C iak Magazine

Jury section

Frauds - Stephan Elliot

Brussels international Festival of fantasy,

Thriller and science fiction Films

- Corbeau Aw ard

Heartbreak Kid, The - Michael Jenkins &

Richard Barrett

M ontreal W orld Film Festival

- Best Screenplay - Michael J e n k in s and

Richard Barrett

Map Of The Human Heart - Vincent W ard

T okyo Int Film Festival

• M ost Significant A rtistic A ch ie v e m e n t

- Special Mention for th e talent o f th e future,

com petition section

No Worries - David Elfick

Berlin International Film Festival

- Best Film, C hildren's Section

Piano, The - Jane Campion

A cadem y of M otion Pictures

- Best Actress: Holly H unter

• B est S upporting A ctress: A n n a Paquin

- B est Original Screenplay

London Film C ritics Circle

- Film of the Year

- B est Actress - Holly H unter

Los Angeles Film C ritics A w ard s

- B est Director - Jane C am pion

- B est Screenplay - Jane C am pion

- B est Actress - Holly H unter

- B est Supporting A ctress (shared) -

A nna Paquin

- B est C inem atography (shared) -

Stuart Dryburgh

- Best M usic - M ichael Nym an

N ew York Film C ritics A w ards

- B est D irector - Jane C am pion

- B est Actress - Holly H unter

- B est Screenplay - Jane Cam pion

Sw edish Film Institute G uldbagge Awards

- Independent S pirit Aw ard, Best Foreign Film

US National Board of Review

- B est Actress - Holly H unter

G olden Reel C erem ony

- B est Sound Editing

V ancouver Int Film Festival

- M o st Popular Film

oAustralian Film Commission 1993-1994

Redheads - Danny Vendramini

Asia Pacific Festival

- Best S upporting Actress -

Catherine McClements

Say A Little Prayer - Richard Lowenstein

Giffoni Children's Film Festival

- Best A ctress - Fiona Ruttelle

- Best D irector - Richard Lowenstein

Strictly Ballroom - Bazz Luhrmann

Fort Lauderdale Int Film Market

- Alam o P eople’s Choice Aw ard

Series

Rocky Star - Stephen Harrop

C hicago Int Film & Video Festival

- Silver Plaque, TV Drama section

- Golden H ugo for sound, TV Dram a section

Short

Apocryphal History o f Meat Part IV - The

Brotherhood o f Meat - Shane McNeill

Kiev Int Rim Festival

- First Prize

A rt O f Drowning, The - James Grant

Int Rim Festival for Children & Young People

- Best S hort Film

As Happy As Larry - Riju Ramrakha

Figueria Da Foz

- Best First Feature, International Young

Jury Section

Salerno Int Short Film Festival

- City o f T ohno Award

Black Dogs - Andrew Sully

Int Student Film Festival

- Third Prize

Darra Dogs - Dennis Tupicoff

C hicago Int Festival of Childrens Rim s

- Silver Plaque Award - Anim ation Section

Door, The - Josie Keys

C hicago Int Film & Video Festival

- Gold Hugo, S tudent Drama section

Excursion To The Bridge Of Friendship -

Christina Andreef

G olden Gate A w ards - San Francisco

Film Society

- Best of category winner, short narrative

15 mins & less

Fire Babies - M atthew Duchesne

C hicago Int Film & Video Festival

- Best Dram atic film by a student

Forget Me N ot - Chloe Kimberley

Charleston Int Film Festival

- Bronze A w ard

Int De Cinem a Du Algarve

- Best Film, Junior Jury Section

- Best Film, D irector o f Belgium Festival in

M oe section

- Com m em orative Award

Frailejon - Josh Yeldman

American A cadem y o f Motion Picture Arts

and Sciences

- Best Dram atic Film by a Student

Just Desserts - Monica Pellizzari

- C hicago Int Film 7 Video Festival

- Silver Plaque, Experimental Film Section

M ontreal Int Short Film Festival

- Best Short Film

- Best C inem atography

Olym pia Film Festival

- O ly D ’o r Aw ard, Best Director

Festival Silence Elies Toum ent

- Best Short Film & Best cinem atography

Venice Int Film Festival

- Silver Baby Lion, Short film section

ΦAustralian Rim Commission 1993-1994

Middriffini - Sabrina Schmidt

- Charleston Int Film Festival

- Silver A w ard

Palace Cafe - Andrew Lancaster

C hicago Int Film & Video Festival

- G old Plaque - Student C om edy section

Placenta - James Ferguson

C hicago Int Film & Video Festival

- Silver Plaque

Int De C inbem a Du Algarve

- VIP Jury Prize

- Ju ry Prize

Road To Alice, The - Stavros Efthymhu

Fluy Int W orld Festival o f S hort Films

- Palme d'A rgent

Spider - Kyle Neaves

International Student film Festival

- Best Application for N ew Technology

Swing Your Partner - Sophie Jackson

C hicago Int Film Festival

- G old Plaque

Wormholes - Gregory Godard

Juvenale-Klagenfurt Film Festival

- Silver Medal

Telemovie

Black River - Kevin Lucas

O pera Screen 93

- G rande Prix Opera Screen

ΦAustralian Rim Commission 1993-1994

APPENDIX D - PUBLICATIONS

The docum ents listed below m ay be inspected or

obtained from th e following addresses:

Australian Film Commission

150 William Street

W O OLLO O M O O LO O NSW 2010

Postal address:

GPO Box 3984

SYDNEY NSW 2001

ph: (02) 321 6444

toll free: (008) 2 26 615

Australian Film Commission

120 Clarendon Street

SOUTH M ELBOURNE VIC 3205

Postal address:

PO Box 404

SOUTH M ELBOURNE VIC 3205

ph: (03) 279 3400

toll free: (008) 3 38 430

Film Development Branch

Film Developm ent and Production Guidelines

AFC Requirem ents for Script Investment

Application for Development Funding

Application fo r Production Funding

Guidelines fo r script readers fo r AFC S cript Unit

Film Production, Financing and M arketing

Agreem ents (8 standards)

Script/P roject Development Investment

Agreem ents (12 standards)

Assessor’s A greem ent (4 Standards)

AFC Power o f A ttorney

Declaration o f Trust

FFC Assignm ent

C onsent to A ssignm ent

Pro Forma S cript Editors Agreement

Pro Form a D irectors Agreem ent

Pro Form a Producers Agreem ent

Pro Form a A ctors W orkshop Agreements

Pro Forma Researchers Agreement

Guidelines fo r N ew W riters

Developm ent Investm ent in Projects being

Developed as Official C o-Productions

Notes on Basic R equirem ents for every AFC

Production B udget (including music and insurance

information)

New Image Research

Letter o f Agreem ent

Production A ssistance Program Guidelines

Production A ssistance Program Application Form

Co-Productions

Application fo r International C o-Production Status

International C o-P roduction Guidelines

Rims C o-P roduction Agreem ent Between the

G overnment of Australia and the G overnment

of C anada

film s C o-P roduction A greem ent Between th e

G overnm ent o f Australia and the Government

of the United Kingdom of Great Britain and

Northern Ireland

Adm inistrative Arrangem ent Governing Franco-

Australian Film Relations Between the Australian

Film C om m ission and C entre National d e la

Cinem atographie o f M inistry of Culture o f the

French Republic

M em orandum of Understanding Regarding the

C o-P roduction of Films Betw een the Australian

Film C om m ission and th e N ew Zealand Film

Commission

Films C o-P roduction A greem ent Between the

Government o f Australia and the Government

of Italy

©Australian Rim Commission 1993-1994

Marketing Branch

Marketing Guidelines

Marketing Loan Agreement

Industry and Cultural Development Branch

Industry and Cultural Development Unit:

Funding Guidelines

Information Sheet: Individual (Application Form)

Information Sheet: Organisations

(Application Form)

Conditions o f Industry and Cultural

Development G rant

Exhibition Underwriting Agreem ent

Deed o f Loan and Charge

General Purpose Grant Agreement

Special Purpose Grant Agreement

Special Purpose Loan Agreement

W o m e n ’s P ro g ra m

W om en’s Program Guidelines

Archival Project Guidelines

W om en’s P rogram Special Grant Agreem ent

W om en's Program Project Development

Investment Agreem ent

Technicians S upport Scheme Guidelines

General

Access and Equity Form

Publications Available from AFC

• AFC D evelopm ent and Production Program

G uidelines/Application Forms

• AFC Distinctly Australian Initiative Producer

Assistance Schem e Guidelines/Application

Forms

• AFC Distinctly Australian Initiative Producer's

Overhead & Expense Support Scheme

G uidelines/Application Forms

• AFC Distinctly Australian Initiative Script and

Story Editing Equipment A ttachm ent Schem e

G uidelines/Application Forms

• AFC Distinctly Australian Initiative Stipend

Schem e Guidelines/Application Forms

• AFC Industry and Cultural Development Branch

Funding Guidelines/Application Forms

• AFC M arketing Branch Guidelines

• AFC News

• Analysis of the Perform ance of Australian Films

Since 1980 - A P aper fo r the Flouse of

Representatives “Moving Pictures Inquiry”

• Australian Distributors

• Australian Film Com m ission Annual Reports

• Australian Rim Data - Selected Film, Video A nd

Television Statistics From The Australian Rim

Database (Continued as Get The Picture)

• Australian Film Industry: An Overview

• Australian Film/TV A w ards and Festivals

• Australian Independent Film

• B ack O f Beyond: Discovering Australian Film

A nd Television

• C hildren’s Television Programming

• Delivery Items - A G uide For Film A nd Video

Producers

• D on’t S hoot Darling: W om en's Independent

Filmmaking In Australia

• Econom ics of Rim & Television in Australia, The

• European Cable/Satellite Broadcasters

• Feature Film /Docum entary Budget Forms

(hard copy or disc)

• Film m aker and Multim edia, The (selected

conference papers: O ctober 1993)

• G et The Picture - Essential Data On Australian

Film, Television A nd Video, 1st edition

• G et The Picture - Essential Data On Australian

Rim , Television A nd Video, 2nd edition

• High Definition Television Discussion Papers -

I: W hat Is It? and W hat Does It Mean For

Australian Film A nd Program Makers

• High Definition Television Discussion Papers -

II: Australian film m ake rs Have Their Say

• H om e Video Industry In 1991, The

ΦAustralian Film Commission 1993-1994

• Independent Film and Television Producers

• Information For Overseas Filmmakers

• International Agents For Australian Feature Films

• International Agents For Australian T V Program s

• International C o-Production Guidelines

• International Festivals Guide

• International Film And Television M arkets:

A Guide T o AFC Marketing

• Long S hots to Favourites

• M arketing Independent Docum entaries

Internationally

• M arketing Short Films Internationally

• National Survey of Film, Television and Video

Production

• Signs O f Independents - Ten Years O f The

Creative Development Fund

• Sm oke Report: The Handbook O f Special FX

Sm oke Products For The Film Industry, The

• S tudy o f the Corporate Video Com m unication

M arket in Australia

• Submission T o House Of Representatives

Standing C om m ittee On Transport,

C om m unications And Infrastructure Inquiry Into

Broadcasting-Related Services

• The Moving Pictures Inquiry - The AFC

Submission to the House of Representatives

"M oving Pictures Inquiry"

• UK Distributors For Australian Feature Films

• US Cable Services - A Guide

• US/Canadian Distributors For Australian

Feature Films

• Use O f M usic In Film, The

• “Well I Heard it on the Radio and I S aw it on the

Television...” an essay for the AFC on th e politics

and aesthetics o f filmmaking by and a bout

Aboriginal people and things

• “W hat Do I W ear For a Hurricane?” - W om en in

Australian, Rim, Television, Video and Radio

Industries

• W om en In Australian Film Video And Television

Production

ΦAustralian Film Commission 1993-1994

PPENDIX E - APPLICATION STATISTICS 1 9 9 3 -9 4

Film Development

Development"

Male Female Joint Total

A pplicants 312 101 84 497

Approvals 77 29 30 136

Production "/Marketing"

Applicants 98 61 52 211

Approvals 15 17 11 43

Distinctly Australian

Producer Assistance Scheme

Applicants 15 3 0 18

A pprovals 3 2 0 5

Producer Overhead & Expenses Support Scheme

Applicants 25 14 5 44

Approvals 9 4 1 14

Stipend Scheme

Applicants 4 3 0 7

Approvals 2 1 0 3

Script 8 Story Editing Employment

Producers/Production Companies

Applicants 4 2 14 20

Approvals 1 0 8 9

Attachments

Applicants 23 31 0 54

A pprovals 3 6 0 9

Micro Docs

Applicants 93 66 68 227

Approvals 6 4 3 13

New Image Research

Applicants 29 10 0 39

Approvals 7 5 0 12

Male Female Joint Organisation

Industry & Cultural Development

Cultural Activities

A pplicants 13 4 1 61

Approvals 2 0 1 52

Women’s Program

A pplicants 0 60 0 9

Approvals 0 40 0 7

' NB: E xcludes 37 applications received late in 1993-94.

** Excludes 12 applications received late in 1993-94.

Joint refers to applications from both m ale and fem ale applicants.

G ender application statistics fo r Film Developm ent reflect the sex of the principal creative team

(writer/director/producer) at th e tim e of application.

©Australian Film Commission 1993-1994

APPENDIX F - INDUSTRY ASSISTANCE

Title Applicant

POLICY Miscellaneous - Other

Balance o f Paym ents - Form Entertainm ent Business Review

B est Practice Guidelines Baker & M ckenzie

BSEG Subm ission Australian Film C om m ission

C orporations Law Advice Baker & Mckenzie

International Institute of C om m unications Australian Film Com m ission

Sales Tax Advice Bryden Doherty Partners

Miscellaneous - Other ** Totals "

Organisations Assistance

2 SEP FM M edia Magazine Sydney Educational Broadcasting

A rts Law Centre The Arts Law Centre O f Australia

A u st Screen Directors Association Australian Screen Directors

Australian C opyright Council Australian C opyright Council

C om m unications Law Centre - General Purposes C om m unications Law Centre

Travel A ssistance - Policy Branch Australian Film C om m ission

Organisations Assistance ** Totals **

Publications & Conferences

EBR M ulti-M edia Issue Australian Film Com m ission

Legal M aster Classes Screen Production A ssociation Of Australia

NZ Seminar Australian Film C om m ission

Publications - Feature Films S cott M urray

Publications - Telemovies/Mini Survey S cott M urray

Publications & Conferences ** Totals “

Research

A B C Drama Research Australian Film TV & Radio School

A B S Film Research Australian Bureau o f Statistics

A dvertising Production Research Mervyn Smythe

C apital Use S tudy Entertainment Business Review

C opyright Convergence Group Australian Film Com m ission

D istribution & Exhibition Research Australian Film Com m ission

D ocum entary Conference Research 1993 Docum entary Conference

Film Industry Econom ic Research Australian Film Com m ission

Indigenous Film Research M arcia Langton

Industry Renewal Research Annabelle Sheehan

National Production Survey Australian Film Com m ission

Research - Recent Oz Films Mary Anne Reid

Screen C om posers Research Australian Guild O f Screen Composers

Australian Film Commission 1993-1994

Approval Current Year Paid C urrent Year Payable Future Years Revoked/W ithdrawn

500.00 1,500.00

3,906.00 3,906.00

8,500.00 7,891.55 608.45

36,651.95 36,651.95 _ _

1,065.30 1,065.30 _

900.00 9 00 .00 - -

51,023.25 50,914.80 2,108.45

10,000.00 10,080.00 2,500.00 -

17,000.00 12,750.00 4,250.00 -

40,000.00 30,000.00 10,000.00 -

20,060.00 19,947.00 5,015.00 -

42,230.00 31,672.50 10,557.50 -

4,000.00 4,000.00 - -

133,290.00 108,449.50 32,322.50 -

810.00 810.00 - ~

4,000.00 - 4,000.00 -

7,000.00 5,613.52 2,386.48 2,000.00

- 500.00 - -

- - 6,000.00 -

11,810.00 6,923.52 12,386.48 2,000.00

- (115.60) - 115.60

1,340.00 1,340.00 - -

33,914.00 3 3,914.00 - -

- - - 10,000.00

12,513.06 12,513.06 - -

17,970.00 15,984.10 1,985.90 -

469.15 6,386.05 1,583.10 -

4,485.00 5,260.10 - 1,269.35

4,920.00 5,000.27 - 8.38

38,900.00 23,489.10 15,410.90 -

265.00 7,265.00 - -

12,764.85 13,761.15 3.70 -

- - 4,000.00

Australian Film Commission 1993-1994

Title Applicant

R e s e a rc h (c o n tin u e d )

SPAA D ocum entary Research Screen Production Association Of Australia

Technology Research D om inic Case & Frank Harden

Research ** Totals **

Policy * * * * * Branch Totals *****

FILM DEVELOPMENT DEVEIOPMENT

C in e m a F e a tu re s

A.R.T. Aleksi Vellis

All You Need To Know

Amber Man

Angel Baby

Angels O f Death And Desire

Back To The Top O f The World

Bad W ings

Bagful O f Roosters, A

Janne Dennehy & Rachel Ward

W am eroo Pty Ltd

Stam en Films Pty Ltd

Idameneo (No 221) Pty Ltd T/A Lucas Produkzions

C olosim o Films Pty Ltd

LM Films Pty Ltd

David Swann

Bess

Big Smoke

Big Smoke, The

Blood On The Snow

Blue Murder

Blue Skies

Bran Nue Dae

Broken Hill

Brolga Man, The

Butterfly Effect, The

Carnival

Trinculo Productions Pty Ltd

Frontier Rims Pty Ltd

Edgecliff Rim s Pty Ltd

Linda Blagg

Video Projects Pty Ltd

C ascade Rims Pty Ltd

Bran Nue Dae Productions Pty Ltd

Roger Scholes

Trout R im s Pty Ltd

Stavros Efthymiou

Meridian Films (Victona) Pty Ltd

Carnival Atlantis John W inter

Catch M e If You Can

Dating The Enemy

Dead Cold Heart

M oving Targets Pty Ltd

Total Film & Television Pty Ltd

Gene Geoffrey & Sim on MacDonald

Desert Stars

Diana And Me

Neil Murray

Roadshow, C oote & Carroll Pty Ltd

Different

Distinguishing Marks

Dreamers, The

Drifting

Alissa Tanskaya

Raymond X Devitt

Rogue Productions Pty Ltd

Pauline Chan

Eros And Psyche

Femme Anglaise, La

Fistful O f Flies, A

Sinus R im s Pty Ltd

firs t C lass Rims Pty Ltd

Monica Pellizzan T /A NRG Films

Australian Rim Commission 1993-1994

Approval Current Year Paid C urrent Year Payable Future Years Revoked/W ithdrawn

1.000.00 - 1,000.00 ~

- 3 ,6 6 6.70 12,879.20 -

128,541.06 128,463.93 32,862.80 75,393.33

$ 3 2 4 ,6 6 4 .3 1 $ 2 9 4 ,7 5 1 .7 5 $ 7 7 ,5 7 1 .7 8 $ 1 9 ,5 0 1 .7 8

4,000.00 -

19,100.00 19,100.00 - -

- 25,000.00 - -

34,500.00 34,500.00 - -

22,000.00 19,000.00 3,000.00 -

- 5,000.00 - -

11,500.00 10,000.00 - 1,500.00

13,500.00 13,500.00 - -

- 3 ,500.00 - -

- 22,000.00 - -

- 7,000.00 - -

13,000.00 13,000.00 - -

17,000.00 13,300.00 3,700.00 -

- 1,250.00 - -

18,825.00 - 18,825.00 -

- 2,550.00 - -

- 22,000.00 7,400.00 -

21,600.00 10,800.00 10,800.00 -

10,250.00 13,750.00 500.00 -

- 3,100.00 - -

20,0 00 .0 0 20,000.00 - -

- 2,500.00 - -

10,500.00 10,500.00 - -

- 2,500.00 - -

17,000.00 - 17,000.00 -

9,500.00 7,000.00 2,500.00 -

11,800.00 11,800.00 - -

- (8,300.00) - 10,800.00

3 ,000.00 2,5 0 0.00 1,500.00 -

12,000.00 9,5 0 0.00 2,500.00 -

- 1,000.00 - -

15,950.00 12,700.00 3,250.00 -

Australian Film C ommission 1993-1994

Applicant

Cinema Features (continued)

Flesh Tuxedo, The

Rick O f The Wrist

Fragmented Lives

Games People Play

Garden, The

Genji - The Shining One

Gig

Glory Days

Going Under

Hart O f The Territory

Hero Class

Homefire

Honeymoon

Hot Shoe Shuffle

Hotwire

House Tibet, The

Ida

In Dreams

Is The Sky Coming Down?

Jackpot

Jandamarra

Jelly, The

Like Water, Like Fire

Long Way Home, The

Lost In The Supermarket

Love

Marat Sade Takes A Bath

Mushrooms

M y Running Shoes

Napoleon

Night Garden

On Fire

On Our Selection

Ones Out O f Town, The

Open Swimmer, An

Option B

Oscar And Lucinda

Other Strangers

Out O f Place

Outling, The

Palm Tree Line, The

Title

Entertainm ent M edia Pty Ltd

Australian A rtists Films Pty Ltd

Jam es Clayden

H ow ard G rigsby & Marian Macgowan

Lynn Hegarty

Genji Entertainm ent International Pty Ltd

Liberty film s Pty Ltd

Bert Deling

Felster Pty Ltd

M ark Pennell

Smiley Films Pty Ltd

Law rence Johnston

Kitaron Productions Pty Ltd

David Atkins Enterprises Pty Ltd

Heartland Films Pty Ltd

Video Images Pty Ltd & O ctin Pty Ltd

Liberty Films Pty Ltd

Keith Thom pson, Kaye Bendle & Stephen Wallace

Rhino Pty Ltd

Overcliffe Films Pty Ltd

Bunuba Productions Aboriginal Corporation

Australian International Pictures Pty Ltd

Voyager Films Pty Ltd

C ast Films Pty Ltd (Australia)

Kathryn Riding

C hristopher Tuckfield

W endy Thom pson

Rosen Harper Entertainm ent Ltd

Pisces Productions Pty Ltd

W indow Media FTy Ltd

RML Productions Pty Ltd

Retozan Pty Ltd

A nthony Buckley Films Pty Ltd

Cradle M ountain Film Productions Pty Ltd

Maniana Holdings Pty Ltd

Michael Harvey

Dalton Films Pty Ltd

Edgecliff Films Pty Ltd

Merilyn Fairskye

Stephen Scott

Rolando C aputo

Australian film Commission 1993-1994

Approval Current Year Paid C urrent Year Payable Future Years R evoked/W ithdrawn

- - - 23,000.00

14,500.00 14,500.00 - -

- 2,750.00 - -

13,850.00 13,850.00 - -

17,600.00 13,500.00 4,100.00 -

2 0,000.00 - - 20,000.00

- 1,100.00 - -

- - 4,000.00 -

- (15,340.64) - 17,340.64

17,580.00 17,580.00 - -

30,000.00 26,000.00 4,000.00 -

16,000.00 11,500.00 4,500.00 -

24,100.00 24,100.00 - -

5,000.00 - 5,000.00 -

- 500.00 - -

- 13,500.00 - -

9 ,820.00 10,920.00 500.00 -

16,000.00 16,000.00 - -

18,500.00 18,500.00 - -

18,500.00 20,000.00 3,500.00 -

21,2 50 .0 0 22,448.80 - 1,801.20

- 500.00 - -

10,000.00 10,000.00 - -

29,450.00 15,500.00 13,950.00 -

11,500.00 11,500.00 - -

9,600.00 10,300.00 2,300.00 -

9,5 0 0.00 8,000.00 1,500.00 -

13,476.00 13,476.00 - -

14,000.00 11,750.00 2,250.00 -

650.00 - - 3,321.00

- 15,000.00 - -

12,000.00 14,000.00 - -

24,5 60 .0 0 24,560.00 - -

- 17,400.00 - -

24,7 50 .0 0 24,750.00 - -

- 2,500.00 - -

- 55,200.00 10,000.00 -

19,840.00 19,590.00 250.00 -

- 12,250.00 - -

16,500.00 14,000.00 2,500.00 -

- 2,000.00 - -

©Australian Film Commission 1993-1994

Title Applicant

C in e m a F e a tu re s (c o n tin u ed )

Personals E dgecliff Films Pty Ltd

Rain Dancers, The Lynda House & Miriam Stein

Reckless Terry Jennings

Redman Silver Lining Productions Pty Ltd

Refinery

Road To Nhill

C onviction Films Pty Ltd

G ecko Rims Pty Ltd

Room O f Secrets Jennifer Thornley

Sea, The Sea, The E dward Street Rim s Pty Ltd

Second Chance S econd Chance Films Pty Ltd

Shapechanger

Shine

R ona C ochrane

S c o tt Hicks T /A C olour and Movement Films

Silent Partner Australian Artists R im s Pty Ltd

Storybook Love

String O f Pearls

Sugar Cane

Sweetwater - Stolen Land

C andido Minniti

Tony Maniaty

Black Ray Films Pty Ltd

Philip McLaren

Talkback Barron Rim s (Features) Pty Ltd

Time O f Giants, A M artha Coleman

Tower, The Eclectic Rim s Pty Ltd

Troppo Man

Vietnam Vietnam

G erard Lee

Voyager Films Pty Ltd

Voice Cries Out, A Planet Pictures Australia Pty Ltd

What 1 Have Written John Hughes

Words O f Love Kinescope Pty Ltd

Cinema Features ** Totals "

D o c u m e n ta rie s

1993 Australian Docum entary Conference Film Australia Pty Ltd

Addiction For Sale A spire Films Pty Ltd

All Days Are Nights

Antarctica: The Last Great Adventure

Paula Dawson

Bernard Eddy

Barred Wives Mijen Pty Ltd T /A Piper Rims

Belly Dancing In Suburbia Franziska W agenfeld & A m abelle M urphy

Betty Cuthbert: Walking On The Wings O f The Wind P rospect Park Film & TV Pty Ltd

Between Two Worlds Jotz Productions Pty Ltd

Boys' Town Emerald Films Pty Ltd

Butler, The A nna Kannava

Campsie Project, The

Case O f Donna Ehemberg, The

Visualeyes Productions Pty Ltd

Paul Davies

Come As You Are Em m a Kate Croghan & Brad McGann

Coolbaroo Club, The Stephen Kinnane & Lauren Marsh

T ip Australian Film Commission 1993-1994

Title Applicant

Documentaries (continued)

Cow

Darcy The Maitland Wonder

Das Boot

Dead Letters

Dominant Woman, A - My Jewish Mother

Family Album

Flights O f The Imagination

Frontline Earth - Chronicles o f the Blue Planet

Girmit

Good Looker, The

Good Lookin'

Image Ethics

Kelvin Condren Story, The

Licensed

Lola Montez

Mary

North Shore Phoenix

On The Road With Snow White

And The Seven Dwarfs

Orang-Utan - Secrets O f Orange Ape

Parklands

PNG

Quiet Revolution, The

Sorcerer’s Apprentice, A

Speak Quiet Speak Strong

Status

Tadashi Suzuki

Ten Inch Tongue

Tiger Country

Tomorrow's Land

Victims O f The Past

Whittaker Package

Wild Girls And Hard boiled Heroines

Wild Monkey, The

William's Way

Worlds O f Love

Documentaries

C atriona McKenzie

Duebell Pty Ltd

Sm art Street Rim s Pty Ltd

Z o ic Rim s Pty Ltd

Rivka Hartman

Stephen Ramsey Productions Pty Ltd

Antipodes Productions (Aust) Pty Ltd

M istpalm Pty Ltd

Barry Lowe

O m ar Khayam Pty Ltd

Faith Martin Productions Pty Ltd

Tam an Sari Productions Pty Ltd

Townsville Aboriginal and Islander M edia Association

Central Park R im s Pty Ltd

A ntoinette Starkiewicz

RB Films Pty Ltd

M andrake Film & Video Pty Ltd

S tew art C arter & Catherine South

Paul S cott

Helen Linthom e & M ichael Power

Arundel Productions Pty Ltd

Janet Bell

Stephen Barbour

Cathryn Eatock

Stephen C um m ins

Richard Moore

Big And Little R im s Pty Ltd

Periscope Productions Pty Ltd

David Bradbury

Janet Bell

Roger J W hittaker

Annabelle Ouince

Mitzi Goldman

Christine Flynn & M ark Gould

Land Beyond Productions Pty Ltd

" Totals **

Australian Film Commission 1993-1994

Approval Current Year Paid C urrent Year Payable Future Years R evoked/W ithdrawn

3,900.00 3 ,900.00 - -

- 9 ,950.00 - -

10.625.00 10,625.00 - -

- 1,000.00 - -

10,730.00 10,730.00 - -

- 2,7 2 5.00 - -

- 3,448.00 - 552.00

- 17,800.00 - -

- 5 00 .00 - -

10,000.00 10,000.00 - -

- 1,000.00 - -

- - 1,700.00 -

8,5 0 0.00 6,650.00 1,850.00 -

9,700.00 9,700.00 - -

- 1,500.00 - -

29,490.00 27,100.00 2,390.00 -

9,000.00 7,500.00 1,500.00 -

- 1,550.00 -

- - 1,600.00 -

4,750.00 4,7 5 0.00 - -

25,000.00 2 0,324.00 - 4,676.00

10,500.00 10,500.00 - -

- 1,000.00 - -

14,800.00 11,600.00 3,200.00 -

19,820.00 2 0,620.00 - -

4,200.00 3,700.00 500.00 -

13,900.00 12,400.00 1,500.00 -

- 4,5 0 0.00 - -

- - 2,500.00 -

11,150.00 1,000.00 10,150.00 -

2 50 .00 - -

16,500.00 14,400.00 2,100.00 -

- 4 ,200.00 - -

10,000.00 10,000.00 - -

10,000.00 9 ,000.00 1,000.00 -

357,225.00 372,905.00 39,240.00 25,528.00

©Australian Rim Commission 1993-1994

Title Applicant

M in i S e rie s

Cockatoo Derek M ortim er

Godlings, The

Marriage Acts

Millennium Pictures Pty Ltd

Anne Brooksbank

Moveable Feast, A Riverset Pty Ltd

Silent Agenda

Wives O f Kwong

Roadshow, C oote & Carroll Pty Ltd

W eis Rim s Pty Ltd T/A Generation Rim s

Word O f Mouth Sylvia Johnson

Mini Series *· Totals **

S h o rt D ra m a s

Cedar Tree, The Assad Fouladkar

Golf Cherie Nowlan

Haircut Carla Drago

Holdup Jonathan Ogilvie

I’m In Love With My Electric Fan Edwin Lynch

Lucinda 31 Cherie Nowlan

Otherzone David Cox

Out O f The Blue John Brum pton

Parklands Australian International Pictures Pty Ltd

Question Of Faith, A Helen Linthom e

Railway Accident, The Sim on Cooper

Spectatrix Harriet McKern

Sympathetic Jolim ont Peak Pty Ltd

Tracker, The Petar Leovic

True Colours Jane Moran

Twelve Keys O f Basil Valentine, The Julie Cunningham & Sally Regan

Woman Who Lost Her Heart, The

Yume No Shima

Liz Hughes

Sean O ’Brien

Short Dramas ** Totals **

A n im atio n

Adventures O f Thumbelina, The B urbank Anim ation Studios Pty Ltd

Femgully 2 - Pip's Adventure FAI R im s Pty Ltd

Songs O f The Immigrant Bride Jill Carter-Hansen

Z'Etoite, The Filmlead Pty Ltd

Animation ** Totals **

Australian Film Commission 1993-1994

Approval Current Year Paid Current Year Payable Future Years Revoked/W ithdrawn

1,200.00 1,200.00

66,000.00 66,0 00 .0 0 - -

9,750.00 9,750.00 - -

- 16,450.00 3,550.00 -

- 8,000.00 - -

46,500.00 46,500.00 - -

- 23,900.00 250.00 -

123,450.00 171,800.00 3,800.00 -

4,400.00 4,400.00

3,150.00 3 ,150.00 - -

- 650.00 - -

3,500.00 3 ,500.00 - -

2,550.00 2 ,550.00 - -

3,8 0 0.00 3,800.00 - -

6,500.00 6,500.00 - -

- 4 ,000.00 - -

6,0 0 0.00 4,500.00 1,500.00 -

3,4 5 0.00 3,450.00 - -

8,800.00 8,800.00 - -

3,1 8 0.00 3 ,180.00 - -

- 950.00 - -

2,4 0 0.00 2 ,400.00 - -

- - 875.00 -

12,500.00 11,650.00 850.00 -

- 5 ,410.00 1,300.00 -

- 1,380.00 - -

60,2 30 .0 0 70,270.00 4,525.00 -

10,000.00 10,000.00

12,500.00 12,500.00 - -

14,120.00 8 ,600.00 5,520.00 -

- - 600.00 -

3 6 ,6 20 .0 0 31,100.00 6,120.00 -

Australian Rim Commission 1993-1994

Title Applicant

Experimental

Collected Conversatbns Debbie Lee

Disguised Bronw yn C oupe & Gabriel le Finnane

Maidenhead M arie Craven

Needy A nd The Greedy, The Elizabeth Burke

She M ust Be Off Her Chops Tanya Denny

Experimental “ Totals **

Miscellaneous

Business Plan - P&A Fund For Australian film s Eclectic Films Pty Ltd

Film Vault, The Tony Tegg Lighting Pty Ltd

ASD A Conference - Travel Grant Ralph Rigby

ASD A Conference - Travel Grant Richard Frankland

Miscellaneous ** Totals “

New Technologies

1993 Film m aker & M ultimedia C onference Various

1994 Film m aker & M ultimedia C onference Various

Drive Ross Harley

FISEA 9 3 -T ra v e l Grant David O ’Halloran

FISEA 94 - Travel Grant Virginia Barratt

FISEA 94 - Travel Grant Francesca De Rimini

FISEA 94 - Travel Grant Julian ne T Pierce

FISEA 94 - Travel Grant Josephine Starrs

FISEA 94 - Travel Grant M ichael Strum

G eom etry A nd Music O f The Spheres Tetravision P roductions Pty Ltd

Growth Kuranya Pictures Pty Ltd

M acLaser Digital Education Research & Development

M ultim edia M arket Research Digital Education Research & Development

Rain Shadow Chris Caines

SIGGRAPH 93 - Travel Grant Jeff Doting

SIGGRAPH 93 - Travel Grant Peter Callas

SIGGRAPH 94 - Travel Grant M oira C orby

SIGGRAPH 94 - Travel Grant Gary W arner

SIGGRAPH 94 - Travel Grant John Colette

SIGGRAPH 94 - Travel Grant Jon M cC orm ack

SIGGRAPH 94 - Travel Grant M onitor Information System s Ltd

SIGGRAPH 94 - Travel Grant M cKenzie W ark

Sky's The Limit, The Catalyst Productions Pty Ltd

New Technologies ** Totals **

Film Developm ent * Total *

Australian Him Commission 1993-1994

Approval Current Year Paid C urrent Year Payable Future Years Revoked/W ithdrawn

- (800.41) - 2,400.41

- 11,150.00 2,250.00 -

7,565.00 7,565.00 - -

5,500.00 5,500.00 - -

- 5,650.00 - -

13,065.00 29,064.59 2 ,2 5 0.00 2,400.41

6,475.00 6,475.00

- 2,264.50 - 7,735.50

1,000.00 1,000.00 - -

600.00 600.00 - -

8,075.00 10,339.50 - 7,735.50

80,000.00 44,651.94 35,348.06

60,000.00 - 60,000.00 -

4,500.00 4,500.00 - -

4,373.00 4,373.00 - -

3,065.00 - 3,065.00 -

3,065.00 - 3,065.00 -

3,065.00 - 3,065.00 -

3,065.00 - 3,065.00 -

5,000.00 5,000.00 - -

- 8,000.00 - -

- - 5,348.00 -

- 24,000.00 - -

20,000.00 17,000.00 3,000.00 -

8,930.00 7,930.00 1,000.00 -

3,500.00 3,500.00 - -

- 4,000.00 - -

4,896.00 4,896.00 - -

5,000.00 5,000.00 - -

4,500.00 4,500.00 - -

3,940.00 3,940.00 - -

3,700.00 3,700.00 - -

3,907.00 3,907.00 - -

50,000.00 45,000.00 5,000.00 -

274,506.00 193,897.94 86,608.00 35,348.06

$ 1 ,8 6 4 ,6 8 2 .0 0 $ 2 ,0 4 8 ,1 2 1 .1 9 $ 3 0 6 ,0 1 8 .0 0 $ 1 5 9 ,2 2 4 .8 1

Australian Film Commission 1993-1994

Title Applicant

PRODUCTION

C in e m a F e a tu re s

Jindalee Lady Donobri International Com m unications Pty Ltd

Life O f Harry Dare, The

Talk

Vacant Possession

What 1 Have Written

Infinity Pictures Pty Ltd

Suitcase R im s Pty Ltd

W intertim e R im s Pty Ltd

Early W orks Pty Ltd

Cinema Features ** Totals **

D o c u m e n ta rie s

Artists In Cyberculture Jonathan Cohen

Beyond The Dreamtime John Lind

Can It Hurt Less? David Blackall

Cuba Libre

Eternity

Hope In Hell, A

Makin Tracks

Mary

MiHi MHH

Motherland

Calypso Rim s Pty Ltd

Vivid Pictures Pty Ltd

The W rite-O n G roup Pty Ltd

Indigenous Inform ation Service Association Inc

RB R im s Pty Ltd

Milli Milli Rim G roup Pty Ltd

Kriv Stenders

M y Life A s / Live It Jequerity Pty Ltd

Reflections In Our Own Image Michael Karris

Stelarc In Virtual Performance

Thread O f Voice

Tribal Voice

When Is The Festival?

womyn from the other side

Michael G ruchy

M Bergner, M Buckley, F Lovece & M Stirpe

M ushroom Pictures Pty Ltd

Gaia Films Pty Ltd

A ntonio Traverse

M ic ro d o c s - S e rie s 1

M icrodocs - Dubbing N /A

Brief Secrets Diana Leach

Going Walkabout In Cyberspace

Goori Goori Dreaming

AJister Ferguson

Randall W ood

Imperial Crownings Heather Croall

Lipstick Harriet McKern

Vegetable Mob, The Carla Drago

M ic ro d o c s - S e rie s 2

Bad By Design Damien Ledwich

Buffs, The Sarah Johnson & Chris W ndm ill

Frame By Frame Luke Swann

Rosie’s Secret Lisa M atthew s

Song For Fanny Stephen Thom as

Australian Film Commission 1993-1994

Approval Current Year Paid Current Year Payable Future Years R evoked/W ithdrawn

2,100.00 10,108.00

- 30,000.00 - -

26,600.00 26,600.00 - -

- 35,000.00 - -

1,462,900.00 1,462,900.00 - -

1,489,500.00 1,556,600.00 10,108.00 -

- 20,685.00 - -

- 20,600.00 - -

- (2,500.00) - 2,500.00

63,060.00 55,620.00 7,440.00 -

- 20,000.00 - -

110,424.00 110,424.00 - -

24,850.00 22,850.00 2,000.00 -

100,000.00 100,000.00 - -

- 5,000.00 - -

- 7,936.00 - -

- 10,300.00 - -

- - 14,496.00 -

69,300.00 63,900.00 5,400.00 -

- 4,860.00 - -

145,000.00 100,000.00 10,000.00 35,000.00

- 7,500.00 -

54,000.00 50,000.00 4,000.00 -

- 160.00 - 479,840.00

15,000.00 15,000.00 - -

26,000.00 2 6,000.00 - -

15,000.00 15,000.00 - -

20,200.00 20,200.00 - -

26,000.00 2 6,000.00 - -

26,000.00 2 6,000.00 - -

2 5,000.00 25,000.00 -

2 5,000.00 25,000.00 - -

3 1,673.00 24,673.00 7,000.00 -

4 0,000.00 40,000.00 - -

4 0,000.00 40,000.00 - -

©Australian Film Commission 1993-1994

Title Applicant

M ic ro d o c s - S e rie s 2 (co n tin u ed )

W itness O.C.P. Ltd

Docum entaries ** Totals "

S h o rt D ra m a s

Antonio’s Angel In Posse Pty Ltd

Back To The Happy Ever After Michael Cam , Shane Cam & Philip Hopkins

Blow A Kiss, A Rey Carlson Productions Pty Ltd

Cam era O perator's Encouragem ent A w ard Scheme Various

Comedy Initiative/Chuckle Hunters SBS Television

Five Easy Pizzas J Bell, R Boseley, M Hanlin, C Jacobson & G Richards

Frailejon

Gap, The

Bunyip Productions Pty Ltd

Christina A ndreef & Helen Bowden

Kid In A Bin R obert C arter & Jenny W oods

Lasciatemi Morire Suitcase Rim s Pty Ltd

Lessons In The Language O f Love

Lucinda, 31

Slam cam Rim s Pty Ltd

Cherie Nowlan

M icrodram as Various

Miss Taurus LM R im s Pty Ltd

Night Release

On The Border O f Hopetown

Only The Brave

Red Dress, The

Barry Mitchell

W ayne Coles-Janess

P ickpocket Productions Pty Ltd

Jam es Middleton

Seven - Aum Namo Shivya

Sewing Room, The

Small Confessions

Catherine Lowing & Sean O'Brien

J u d y Schreiber

Belinda Chayko

Square One

Sympathetic

VGA Rim Projects 1993

What Comes After V?

Pixide Pty Ltd

Jolim ont Peak Pty Ltd

Victorian College O f The Arts

M beya Productions Pty Ltd

Yeah Mostafa C lop Pty Ltd

You Can't Push The River S culpting Pictures Pty Ltd

Short Dramas “ Totals **

A n im atio n

Astroturf Ian Haig

Dreaming, The

Etcetera In Paper Jam

Extremes O f Sorrow

Aboriginal Nations Pty Ltd

M uch A do Pty Ltd

Stew art Burchm ore

Great Moments In Science - Falling Cats A ndrew Horne & Deborah Szapiro

Home Delivery Scenem akers Pty Ltd T /A Taylormade Rims

Lizzie's Library Phillip Bowm an & Kate Henderson

Australian Film Commission 1993-1994

Approval Current Year Paid C urrent Year Payable Future Years R evoked/W ithdrawn

25,000.00 2 5,000.00 - -

881,507.00 897,708.00 57,836.00 5 17,340.00

1,800.00

- 7,000.00 - -

187,487.00 187,487.00 - -

190,000.00 - 190,000.00 -

350,000.00 - 350,000.00 -

252,600.00 177,600.00 - 75,000.00

- 6 0,000.00 - -

174,000.00 174,000.00 - -

160,000.00 160,000.00 - -

185,398.00 185,398.00 - -

42,000.00 3 9,000.00 3,000.00 -

178,500.00 174,700.00 3,800.00 -

300,000.00 - 300,000.00 -

120,000.00 120,000.00 - -

70,000.00 70,000.00 - -

- - - 4,480.00

20,000.00 32,308.00 - -

25,000.00 25,000.00 - -

- 150,4 5 5 .ω 9,545.00

163,541.00 163,541.00 - -

21,365.00 155,750.00 1,365.00 -

552,800.00 552,800.00 - -

151,800.00 143,800.00 8,000.00 -

15,850.00 15,850.00 - -

192,000.00 186,750.00 5,250.00 -

- (362.20) - 362.20

- (2,862.00) - 7,362.00

3,352,341.00 2,778,214.80 861,415.00 98,549.20

93,892.00 90,892.00 3,000.00 -

367,000.00 362,900.00 4,100.00 -

- - 1,726.70

55,000.00 52,000.00 3,000.00 -

80,000.00 74,400.00 5,600.00 -

- 6,387.00 - -

75,000.00 - 75,000.00 -

Φ Australian Film Commission 1993-1994

Title A pplicant

A n im a tio n (c o n tin u e d )

Middriffini Sabrina Schm id

On A Full Moon M aracaibo Films Pty Ltd

Redback O ddball Anim ation Pty Ltd

Shelf Life A ndrew H om e & Deborah Szapiro

Silver Brumby, The M edia W orld Features Pty Ltd

Sir Katherine S ir Katherine Pty Ltd

Small Treasures Sarah W att

Total Recession Durand Greig & H ugh Freytag

Vengeance W endy C handler & Judi McCrossin

Web - Series 2, The Eco Productions Pty Ltd

Yoram Gross TV Series Package Yoram G ross Rim Studios Pty Ltd

Animation ** Totals **

E x p e rim e n ta l

Autumn Song John C onom os

Crossing, The Christine Olsen

Cuckoo, The Gerald Thom pson

Day O f Ascension, The A ndrew Frost

Elevated Shores Paul W inkler

Evidence Kathleen O ’Brien

Facing Times

Green Canopy

A ndrew Nelson

Paul Winkler

Ideological Landscapes Fiona M acDonald

Letter To Eros Jo sko Petkovic

Microdance Various

Moral Fiction C lop Pty Ltd

Parade, A Euan Upston & Tony Twigg

Slice O f Life Or The Crumbs O f E Janet Merewether

Square O f Infinity

Strap On Olympia

Tess de Quincey

Cate Shortland

Vivarium Mahalya M iddlem ist

Experimental ** Totals ’ *

N ew Im a g e R e s e a rc h

17 Teresa Blake & Daniel W itton

Bodybuilding

Bridge O f Hesitation, The

Faye Maxwell

Alan Schacher

Digital Sea R obert M ontgom ery

Empty Vessels C harm aine Brown

In The Balance Ellen Jose

Invert Lloyd Sharp

Australian Rim Commission 1993-1994 Australian Film Commission 1993-1994

Approval Current Year Paid Current Year Payable Future Years R evoked/W ithdrawn

- 6,693.00

- 8,000.00 - -

- - 6,000.00 -

- (1,213.34) - 1,213.34

30,000.00 30,000.00 - -

57,200.00 51,500.00 5,700.00 -

111,566.00 103,453.00 8,113.00 -

- 6,000.00 - -

130,930.00 123,530.00 7,400.00 -

45,000.00 39,456.00 5,544.00 -

50,000.00 50,000.00 - -

1,095,588.00 1,003,997.66 123,457.00 2,940.04

~ ~ 4,000.00 -

37,826.00 42,946.00 - -

175,000.00 175,000.00 - -

- (12,769.00) - 12,769.00

- 5,0 0 0.00 - -

- 6,8 3 6.00 - -

- 22,568.65 4,5 0 0.00 -

30,000.00 25,000.00 5,000.00 -

- - 9,000.00 -

- - 10,000.00 -

298,000.00 - 298,000.00 -

98,000.00 79,478.00 18,522.00 -

8 5,000.00 85,000.00 - -

8,000.00 8,0 0 0.00 - -

- 5,2 0 0.00 - -

8,600.00 8,6 0 0.00 - -

15,000.00 15,000.00 - -

755,426.00 465,859.65 349,022.00 12,769.00

4,972.00 4,972.00 - -

10,000.00 10,000.00 - -

20,000.00 14,000.00 6,000.00 -

10,000.00 5,000.00 - 5,000.00

19,907.00 13,993.00 5,914.00 -

9,985.00 9,985.00 - -

16,344.00 12,874.00 3,470.00 -

Australian Film Commission 1993-1994

Title Applicant

New Image Research (continued)

Pearl M oira Joseph

Reflections, Abstractions A n d .. Peter De Lorenzo

Surf O r Die S co tt Bedford

Synthetic Gestures Lisa Roberts

Tek>Know

Virtual Shopper Paul Fletcher

New Image Research ** Totals **

Miscellaneous

Production 8 Budgeting Manual Various

Safety Manual Various

Miscellaneous " Totals **

New Technologies

Crocodile Island

Frontiers O f Utopia

Interactive Video Com pany Pty Ltd

M onitor Information Systems Ltd

Pathway Project, The

Seringue

The Pathway Project Pty Ltd

Peter Callas

Thirty Words John Colette

Turbulence Jon M cC orm ack

New Technologies " Totals **

Film Production * Total *

DISTINCTLY AUSTRALIAN

Miscellaneous

Advertising Various

Script Assessm ent Forum Various

Miscellaneous

Stipend Scheme

Geoffrey W right

Jam es Ricketson

Laurie M clnnes

” Totals **

Stipend Scheme ** Totals **

Script & Story Editing Attachment Scheme

ABC TV (Vic) Judith Vincent

Australian C hildren's Television Foundation Gina Roncoli

C rawford Productions Pty Ltd Julie Goodall

Australian Rim Commission 1993-1994

proval Current Year Paid C urrent Year Payable Future Years Revoked/W ithdrawn

2,600.00 2 ,600.00 - -

10,000.00 10,000.00 - -

10,000.00 10,000.00 - -

16,911.00 10,691.00 6,220.00 -

20,000.00 14,000.00 6,000.00 -

16,750.00 14,000.00 2,750.00 -

167,469.00 132,115.00 30,354.00 5,000.00

20,000.00 30,603.08 7,831.92 -

- 19,724.20 6,075.80 -

20,000.00 50,327.28 13,907.72 -

40,0 00 .0 0 40,0 00 .0 0 - -

154,000.00 154,000.00 - -

260,450.00 250,450.00 10,000.00 -

137,000.00 129,000.00 8,000.00 -

- - 1,500.00 -

- - 4,500.00 -

591,450.00 573,450.00 24,000.00 -

S8,3 5 3 ,2 8 1 .0 0 S7,4 5 8 ,2 7 2 .3 9 $ 1 ,4 7 0 ,0 9 9 .7 2 $ 6 3 6 ,5 9 8 .2 4

2 ,304.50 2,304.50 - -

5 0 ,0 00 .0 0 - 50,000.00 -

5 2 ,3 04 .5 0 2,304.50 50,000.00 -

40,0 00 .0 0 40,000.00 - -

40,0 00 .0 0 40,000.00 - -

20,000.00 20,0 00 .0 0 - -

700,000.00 700,000.00 - -

18,000.00 18,000.00 - -

18,698.00 18,698.00 - -

18,000.00 18,000.00 - -

ΦAustralian Rim Commission 1993-1994

Title A pplicant

G eneration Films Pty Ltd Jerem y Ducker

Millennium Pictures Pty Ltd

Roadshow , C oote & Carroll Pty Ltd

Daniel Krige

G rant M cAloon

Sim pson Le Mesurier R im s Pty Ltd Julie Turner

Southern S tar Group Pty Ltd A nnie Fox

Voyager Films Pty Limited Nisha W eeramanthri

Script & Story Editing Attachment Scheme " Totals "

Producer Overheads & Expenses Scheme

Annam ax M edia Pty Ltd

Aspire Films Pty Ltd

Penny Robins

Chris Hilton

Emerald Films Pty Ltd Sally Browning & Leisl Hillhouse

Idameneo (No 221) Pty Ltd T /A Lucas Produkzions Kevin Lucas & Aanya Whitehead

John W inter

Knapm an Films Pty Ltd

Lynda House

Steve Knapman

M urchison Productions Pty Ltd David Male

O racle Pictures Pty Ltd

Des Raym ond & Paul Roberts

Phillip B ow m an T/A River C ity Rim s

R obert Reynolds & V c to r Gentile

Stam en Films Pty Ltd Jonathan Shteinman

Victorian International Pictures Pty Ltd Jon Stephens

Vivid Pictures Pty Ltd Susan Mackinnon

Producer Overheads & Expenses Scheme ** Totals **

Producer Assistance Scheme

Anthony Buckley Rims Pty Ltd

Jan Chapm an Productions Pty Ltd

A nthony Buckley

Jan Chapman

Barron Films (Features) Pty Ltd Paul Barron

Millennium Pictures Pty Ltd Posie G raem e-Evans

Smiley Films Pty Ltd Richard Brennan

Producer Assistance Scheme ** Totals **

D is t in c t ly A u s tr a lia n * T o t a l *

MARKETING

Cinema Features

Custodian, The

Hotel Sorrento

The C ustodian Film Com pany Pty Ltd

Bayside Pictures Pty Ltd

Cinema Features * ' Totals **

Australian Film Commission 1993-1994

Approval Current Year Paid C urrent Year Payable Future Years RevokedTWithdrawn

9,000.00 9,0 0 0.00 - -

18,000.00 18,000.00 - -

18,000.00 18,000.00 - -

18,000.00 18,000.00 - -

18,000.00 18,000.00 - -

18,000.00 18,000.00 - -

753,698.00 153,698.00 - -

4,150.00 4 ,150.00

10,000.00 10,000.00 - -

10,000.00 10,000.00 - -

10,000.00 10,000.00 - -

10,000.00 10,000.00 - -

10,000.00 10,000.00 - -

10,000.00 - - 10,000.00

10,000.00 10,000.00 - -

7,350.00 7,350.00 - -

8,560.00 8 ,560.00 - -

10,000.00 10,000.00 - -

10,000.00 10,000.00 - -

8,250.00 8 ,250.00 - -

10,000.00 10,000.00 - -

128,310.00 118,310.00 10,000.00

25,0 00 .0 0 25,000.00 - -

25,0 00 .0 0 25,000.00 - -

25,0 00 .0 0 25,000.00 - -

25,0 00 .0 0 25,000.00 - -

25,0 00 .0 0 25,000.00 - -

725,000.00 125,000.00 - -

S 559 ,3 1 2 .5 0 $ 4 9 9 ,3 1 2 .5 0 $ 5 0 ,0 0 0 .0 0 $ 1 0 ,0 0 0 .0 0

- - - 38,000.00

100,000.00 - 100,000.00 -

700,000.00 - 100,000.00 38,000.00

©Australian Film Commission 1993-1994

Title Applicant

M ic ro d o cs - S eries 1

Brief Secrets Diana Leach

Going Walkabout In Cyberspace

Goon Goori Dreaming

Imperial Crownings

Alister Ferguson

Randall W ood

Heather Croall

Lipstick

Vegetable Mob, The

M icrodocs - Series 2

Harriet McKern

Carta Drago

Rosie's Secret Lisa Matthews

Documentaries " Totals ”

N ew T e ch n o lo g ie s

Bilderbuch Fur Enrst Wills Peter Callas

New Technologies *· Totals -

• Total *

MISCELLANEOUS

M iscellan e o u s

C om puters - Film Development AFC

Eternity - AFC Representative Dominic Case 8 Jenny Woods

Exile And The Kingdom - Legal Advice David Cattems

FD Legal Fees Nina Stevenson 8 Lyndon Sayer-Jones

FD Screenings Dendy Cinema

Melbourne Office Assessors Various

NIR Coordinator Wages Mark Titmarsh

Pnncipal Advisor Fees John Maynard 8 Bndget Ikin

SIGGRAPH '93 & Canada Travel Gary Warner

Sydney Office Assessors Various

Miscellaneous *· Totals “

C o -P rod uction s

Legal Expenses Various

Travel Expenses 1992-93 Eidolon Pty Ltd

Travel Expenses 1993-94 Eidolon Pty Ltd

Consultant Fees Eidolon Pty Ltd

Italy - Treaty Translation Various

Mixed Commission Meeting 92 Various

Co-Productions ·· Totals "

Miscellaneous * Total ’

Film Development ........ Branch Totals ........

Australian F*m Commsseon 9 8 3 1994

Approval Current Year Paid Current Year Payable Future Years Revoked/W ithdrawn

9,500.00 8,600.00 900.00 -

2,400.00 1,500.00 900.00 -

8,540.00 7,640.00 900.00 -

2,400.00 1,500.00 900.00 -

8,339.00 7,051.00 1,288.00 -

9,560.00 6,260.00 900.00 2,400.00

10,090.00 9,190.00 900.00 -

50,829.00 41,741.00 6,688.00 2,400.00

8,500.00 8,500.00 - -

8,500.00 8,500.00 - -

$ 159,3 2 9 .0 0 $ 50,2 4 1 .0 0 $ 106,6 8 8 .0 0 $40,4 0 0 .0 0

8,000.00 7,040.00 - 960.00

10,000.00 4,317.00 - 5,683.00

10,000.00 - 10,000.00 -

145,000.00 155,043.00 - 1,241.29

150.00 150.00 - -

50,000.00 41,882.00 - 8,381.50

40,000.00 33,554.24 14,683.36 1,762.40

55,600.00 55,600.00 - -

17,264.18 11,958.12 - 5,306.06

125,000.00 114,597.91 - 12,721.09

4 6 1 ,0 1 4 .1 8 4 2 4 ,1 4 2 .2 7 2 4 ,6 8 3 .3 6 3 6 ,0 5 5 .3 4

1,586.98 1,586.98

- - - 1,803.06

32,334.00 27,344.22 - 4,989.78

57,955.00 51,519.21 - 7,844.10

1,928.50 1,928.50 - -

- - - 6,509.33

9 3 ,8 0 4 .4 8 8 2 ,3 7 8 .9 1 - 2 1 ,1 4 6 .2 7

5 5 4 ,8 1 8 .6 6 5 0 6 ,5 2 1 .1 8 2 4 ,6 8 3 .3 6 5 7 ,2 0 1 .6 1

$ 1 1 ,4 9 1 ,4 2 3 .1 6 $ 1 0 ,5 6 2 ,4 6 8 .2 6 $ 1 ,9 5 7 ,4 8 9 .0 8 $9 03 ,4 2 4 .6 6

ΦAustralian Film Commission 1993-1994

Title Applicant

MARKETING M a rk e tin g L o an s

Bad Boy Bubby

Black River

B ubby Pty Ltd

Kevin Lucas

Black Man's Houses OCR Ltd

Broken Highway

Encounters

Excursion To The Bridge o f Friendship

Black Ray Rim s Pty Ltd

Murray Fahey

Puss Puss Productions

Greenkeeping

Homelands

Memories and Dreams

P oof

Central Park Rim s Pty Ltd

Tom Zubrycki

M ilbum -Stone Productions

Robert Luketic

This W on't Hurt A Bit

Traps

Oilrag Productions

Ayer Productions

Marketing Loans ** Totals **

T ra v e l G ra n ts

Adventures o f Priscilla, Queen o f the Desert, The

Cannes

Bad Boy Bubby/Veniee

Stephan Elliot

Rolf De Heer

Black River/London Kevin Lucas

B ody M e/M .ondon

Dallas Doll/Ham burg

Philip Brophy

Ann Turner

Ex/Ve/Berlin

Exife/Berlin

Aden Young

Claudia Karvan

Heartbreak Kid/Montreal Michael Jenkins

Hercules ReturnsNeh\ce David Parker

Homelands/Cinem a du Reel

Just Desserts/Venice

Tom Zubrycki

M onica Pellizzari

Living On The Com ef/Hiroshim a

Loop/O berhausen

Milli M/////Amiens

M uriel’s Wedding/Cannes

No W om es/Berlin

Kathy Smith

Maciej Wszelaki

W ayne Barker

P.J. Hogan

David Elfick

Nostradamus Kid, 77ie/Edinburgh B ob Ellis

Palace Cafe/Clerm ont Ferrand Andrew Lancaster

Projected b g h f/lm p a kt A. & C. Cantrill

Shotgun Wedding/Toronto Paul Harmon

Sunday/Zagreb

Silver Brumby, Tbe/Giffoni

Peter Moyes

John Tatoulis

You C an’t Push the Rrver/Mannheim Leslie Oliver

Travel Grants Totals

M a rk e tin g * Total *

Australian Rim Commission 1993-1994

Approval Current Year Paid C urrent Year Payable Future Years Revoked/W ithdrawn

46,500.00 46,500.00

26,300.00 19,800.00 6,500.00 -

3,980.00 3,980.00 - -

14,738.00 14,738.00 - -

15,740.00 15,740.00 - -

2,760.50 2,760.50 - -

- (8,500.00) - -

6,862.00 6,862.00 - -

10,500.00 10,500.00 - -

1,500.00 1,500.00 - -

18,668.00 18,668.00 - -

23,200.00 23,200.00 - -

170,748.50 155,748.50 6,500.00 -

7,000.00 7,000.00 - -

5,000.00 5,000.00 - -

4,000.00 4,000.00 - -

4,000.00 4,000.00 - -

5,000.00 5,000.00 - -

3,000.00 3,000.00 - -

3,000.00 3,000.00 - -

4,000.00 4,000.00 - -

5,000.00 5,000.00 - -

4,000.00 4,000.00 - -

5,000.00 5,000.00 - -

2,500.00 2,500.00 - -

2,500.00 2,500.00 - -

3,000.00 3,000.00 - -

7,000.00 7,000.00 - -

5,000.00 5,000.00 - -

5,000.00 5,000.00 - -

2,000.00 2,000.00 - -

4,198.00 4,198.00 - -

5,000.00 5,000.00 - -

2,500.00 2,500.00 - -

2,500.00 2,500.00 - -

500.00 500.00 - -

90,698.00 90,698.00 - -

$ 2 6 1 ,4 4 6 .5 0 $ 2 4 6 ,4 4 6 .5 0 $6,500.00 -

φ Australian Rim Commission 1993-1994

Title Applicant

INDUSTRY & CULTURAL DEVELOPMENT A u d ie n c e D e v e lo p m e n t

AW GIE Aw ards (1994) Australian W riters’ Guild Ltd

B est Achievem ent in Screenplay A w ard VGA School o f Rim and Television

Best Film - UTS Golden Eye A w ards

C entenary o f Cinema Secretariat

CIFEJ fees fo r 1993 and 1994

University O f Technology Sydney

Centenary O f Cinem a

Australian Council For Children’s R im s and TV

Establishm ent of Secretariat Screen Culture N etwork

Griffith A rtw orks Filmmaker Residency Griffith A rtw orks

International Children's Rim and V ideo Festival S outh Australian Film and Video Centre

Movie Show SBS Television

National M edia Education C onference Australian Teachers O f Media

Open Channel Consultancy

O rganisational Grant

O rganisational Grant

KPM G M anagem ent Consulting

Film and Television Institute (WA) Inc

M etro Television Limited

Organisational Grant

Organisational Grant

O pen Channel C o-operative Ltd

Sydney Intermedia Network

Organisational Grant

Organisational Grant (1993)

Organisational Grant (1993)

Organisational Grant (1994)

Organisational Grant (1994)

Perform ance Indicators C onsultancy

Queensland Consultancy (1993)

W om en in Rim and Television (Vic)

Brisbane Independent Filmmakers

Queensland Cinem atheque Inc.

Brisbane Independent Filmmakers

Queensland Cinem atheque Inc.

Clever Types

A ndrew Zielinski

S criptw riters' Craft W eekend Australian W riters' Guild Ltd

Sixth Australian History and Film Conference

South Australian Organisations Facilitation

Sixth Australian H istory and Rim Conference

M edia Resource Centre

SPAA C onference (1993) Screen Production Association of Australia

SPAA C onference (1994) Screen Production Association of Australia

Third Australian Docum entary C onference

Travel G rant

W IFT Fund

Docum entary C onference 1993

Darwin Rim Society

C ine-M atrix Inc

WIFT Fund Various

WIFT Fund W om en in Rim and Television (QLD)

WIFT Fund

W orld S um m it on Television and Children

W om en in Rim and Television (SA)

Australian Children’s Television Foundation

Audience Development ** Totals **

Film D o c u m e n ta tio n

Australian Film 1978-1992

Australian Film 1978-1992

CantriHs Filmnotes

O xford University Press

S co tt Murray

A rthur & Corinne Can trill

Australian Film Commission 1993-1994

Approval Current Year Paid C urrent Year Payable Future Years Revoked/W ithdrawn

5,000.00 5,0 0 0.00

1,000.00 1,000.00 - -

1,000.00 1,000.00 - -

10,000.00 10,000.00 - -

1,081.50 1,081.50 - -

6,000.00 6,000.00 - -

15,000.00 15,000.00 - -

6,100.00 6,100.00 - -

10,000.00 - 10,000.00 -

4,000.00 - 4,000.00 -

10,800.00 10,075.00 - 725.00

104,306.00 106,577.00 42,870.00 18,565.00

38,054.00 3 8,682.00 15,000.00 8,054.00

85,000.00 8 4,327.00 42,500.00 -

74,150.00 33,275.00 1,250.00 62,500.00

- 5,000.00 - -

- 12,500.00 - -

- 12,500.00 - -

12,500.00 12,500.00 - -

12,500.00 12,500.00 - -

3,000.00 - 3,000.00 -

10,000.00 10,000.00 - -

9,000.00 9,000.00 - -

- 12,500.00 - 2,500.00

2,880.00 2 ,880.00 - -

- 5 ,000.00 - 50,000.00

4 5,000.00 15,000.00 30,000.00 -

- 30,000.00 - -

834.00 305 .79 - 528.21

2,000.00 2,000.00 - -

5,0 0 0.00 - 5,000.00 -

1,000.00 1,000.00 - -

2,0 0 0.00 2,000.00 - -

2 5 ,0 00 .0 0 25,000.00 - -

502,205.50 487,803.29 153,620.00 142,872.21

- 7,000.00 - -

- 3,000.00 - -

20,000.00 20,000.00 - -

Australian Film Commission 1993-1994

Title Applicant

F ilm D o c u m e n ta tio n (co n tin u ed )

Companion to Australian Rim, Radio and TV Currency Press Pty Ltd

Metro Australian Teachers Of Media

National Feature Film and Video Catalogue (7th ed) Australian Council o f Film Societies

O rganisational Grant Australian Teachers O f Media

O rganisational Grant Rim and Television Institute (WA) Inc

Organisational Grant Filmnews

O rganisational Grant M edia Resource Centre

O rganisational Grant

Small Screen

MTV Publishing Limited (Cinema Papers)

Australian Council fo r Children's Rim and Television

Straight Lines and Crossed Roads Barrett Hodsdon

Film Documentation ** Totals **

D is trib u tio n & E x h ib . S u p p o rt

AFI A w ard s (1993) Australian Film Institute

Brisbane International Film Festival (1993) Brisbane International Film Festival

Brisbane International Film Festival (1994) Brisbane International Film Festival

Experim enta 1994

Festival O f Jewish Cinema

Modern Image Makers Association (MIMA)

Jewish Film Foundation of Australia Inc

National Cinem atheque

Organisational Grant

M useum Of C ontem porary Art

AFI Distribution Limited

Organisational Grant Australian Film Institute

O rganisational Grant Australian Teachers O f Media

Organisational Grant

Organisational Grant

Organisational Grant

Electronic Media Arts (Aust) Ltd

Rim and Television Institute (WA) Inc

M edia Resource Centre

O rganisational Grant M elbourne International Film Festival

O rganisational Grant

Organisational Grant

Organisational Grant

Organisational Grant

Organisational Grant

Organisational Grant

Organisational Grant

Paul W inkler Exhibition

Rockets to the Eye Exhibition

Short P oppies 2

M elbourne S uper 8 Rim Group

M ercury Cinema Pty Ltd

M etro Television Limited

M odem Image Makers Association (MIMA)

Sydney Film Festival

Sydney Intermedia Network

Travelling Rim Festival

M useum Of Contem porary Art

M useum O f Contem porary Art

Flickerfest

S t Kilda Film Festival (1994)

U nderwriting

Underwriting

S t Kilda Rim Festival

Australian Film Institute

M elbourne International Film Festival

U nderwriting

U nderwriting: Concrete City

Sydney Film Festival

Gil Serine

U nderwriting: O z Shorts Ronin Rims

Distribution & Exhib. Support " Totals “

Australian Rim Commission 1993-1994

Approval Current Year Paid Current Year Payable Future Years Revoked/Withdrawn

- ~ 55,200.00 ~

- 5,000.00 - -

- 22,000.00 - -

20,800.00 17,187.00 10,400.00 -

76,664.00 38,332.00 38,332.00 -

85,000.00 65,981.44 54,018.56 -

35,840.00 35,840.00 17,920.00 -

136,520.00 108,038.00 55,002.00 -

10,000.00 10,000.00 - -

550.00 550.00 -

384,824.00 332,928.44 231,422.56 -

37,500.00 37,500.00 - -

- 20,000.00 - -

30,000.00 15,000.00 15,000.00 -

34,090.ro - 34,090.00 -

15,000.00 - - 15,000.00

145,359.00 145,359.00 - -

344,000.00 369,038.00 172,000.00 -

414,000.00 526,200.00 207,000.00 -

20,100.00 23,715.00 10,050.00 -

79,870.00 54,870.00 25,000.00 -

104,307.00 55,880.00 35,203.00 33,901.00

35,245.00 107,245.50 219,822.00 -

40,000.00 35,000.00 20,000.00 -

22,000.00 16,000.00 - 6,000.00

33,333.00 41,665.00 16,668.00 -

15,000.00 7,500.00 7,500.00 -

30,774.00 62,200.00 30,774.00 -

30,000.00 30,000.00 15,000.00 -

35,000.00 17,500.00 17,500.00 -

48,000.00 45,000.00 31,500.00 -

5,000.00 5,000.00 - -

40,000.00 10,000.00 30,000.00 -

2,000.00 2,000.00 - -

6,000.00 6,000.00 - -

150,000.00 - 150,000.00 -

4,800.00 1,675.00 4,800.00 6,575.00

8,400.00 6,723.00 8,400.00 1,677.00

500.00 478.00 - 22.00

15,000.00 5,607.00 9,393.00 -

1,745,278.00 1,647,155.50 1,059,700.00 63,175.00

Australian Film Commission 1993-1994

Title A pplicant

Production Resources Support

Nganampa Anwernekenhe

Organisational Grant

Organisational Grant

Organisational Grant

Organisational Grant

CAAMA P roductions Pty Ltd

Co Media

Film and Television Institute (WA) Inc

M edia Resource Centre

M etro Television Limited

Organisational Grant

Organisational Grant

Organisational Grant

M urriim age C om m unity Film and Video Service

Open Channel Co-O perative Ltd

Sydney Interm edia Network

Production Resources Support ** Totals **

Research & Information

Critical Data Australian Rim Commission

D istribution Database Australian Film Commission

Get The Picture

National Production Survey

P roduction Database

Australian Film Commission

Australian Film Commission

Australian Film Commission

Research & Information ** Totals **

Women’s Program

A nnette Blonski Consultancy

Child Care Initiative

C onsultants Fees

Rushmead C onsulting Pty Ltd

Australian Film Commission

Australian Film Commission

Directors Assistance Anna Kanava

Negotiation Skills - W.A. Australian Film Commission

Negotiation, C om m unication and The Pitch

Perform ance W orkshops 1

Perform ance W orkshops 2

Producers Support Scheme

Australian Film Commission

M argot Nash and John Winter

Marie Craven

M artha Coleman

S cript Laboratory

SWIFT Directory

Technical Skills Support Scheme

Hannie Rayson

W om en In Film and Television (NSW)

Australian Film Commission

WIFT Fund

WIFT Fund

WIFT Fund

WIFT Victoria

W om en W orking With N ew Imaging

W om en’s Archival Project

W om en In Film and Television (NSW)

W om en In Film and Television (Qld)

W om en In Film and Television (Vic)

W om en In Film and Television (Vic)

M odern Image M akers Assoc

Iguana Films Pty Ltd

Women's Program ** Totals “

Industry & Cultural D evelop m ent * * * * * Branch Totals *****

CORPORATE OPERATIONS Equipment Assistance

C om puter & Equip Loan on Loan Various Funded Organisations

Corporate Operations * * * * * Branch Totals *****

Australian Rim Commission 1993-1994

Approval Current Year Paid Current Year Payable Future Years Revoked/Withdrawn

125,000.00 125,000.00 - ~

32,355.00 32,355.00 16,177.50 -

104,307.00 108,267.00 40,055.00 24,198.00

32,008.00 32,008.00 16,004.00 -

81,946.00 68,434.00 37,500.00 6,946.00

10,300.00 10,300.00 - -

180,000.00 189,606.00 90,000.00 -

27,500.00 13,750.00 13,750.00 -

593,416.00 579,720.00 213,486.50 37,144.00

18,524.00 14,216.00 1,424.00 2,884.00

32,753.00 34,154.96 878.04 -

47,213.20 36,673.83 7,639.37 3,063.30

1,500.00 1,500.00 - -

47,485.00 44,205.13 6,250.56 4,418.58

147,475.20 130,749.92 16,191.97 70,365.88

20,000.00 19,380.57 - 619.43

150.00 - - 150.00

16,007.00 16,873.39 3,851.91 -

150.00 150.00 - -

3,069.00 2,387.25 - 681.75

9,025.00 - 5,025.00 4,000.00

6,000.00 5,400.00 - 600.00

500.00 500.00 - -

2,500.00 2,500.00 - -

5,500.00 3,163.63 - 2,336.37

6,029.78 - -

17,146.19 16,759.00 387.19 -

7,000.00 7,000.00 - -

1,000.00 1,000.00 - -

7,000.00 7,000.00 - -

200.00 200.00 - -

2,000.00 2,000.00 - -

- 24,811.90 - 188.10

97,247.19 115,155.52 9,264.10 8,575.65

$3,470,445.89 $3,293,512.67 $1,683,685.13 $256,132.74

52,950.00 50,002.00 - 2,948.00

$52,950.00 $50,002.00 - $2,948.00

Australian Film Commission 1993-1994

GLOSSARY

ABA Australian Broadcasting Authority

A BC Australian Broadcasting Corporation

A B T Australian Broadcasting Tribunal

AFC Australian Film Com m ission

AFI Australian Film Institute

AFTRS Australian Film, Television and Radio School

AIATSIS Australian Institute o f Aboriginal and Torres Strait Islander Studies

ALRC Australian Law Reform Com m ission

A SC Australian Securities Com m ission

ASD A Australian Screen Directors Association

ATSIC Aboriginal and Torres Strait Islander Commission

ATO M Australian Teachers o f Media

BFI British Film Institute

CAAM A Central Australian Aboriginal M edia Association

C BT C om petency Based Training

DASET Departm ent of Arts, S port, the Environment & Territories

DBM S Database M anagem ent System

DEBT Departm ent of Employment, Education and Training

EEC European Econom ic C om m unity

EEO Equal O pportunity Employm ent

FFC Australian Film Finance Corporation

FTI Film and Television Institute

GATS General Agreem ent on Trade in Services

GATT General Agreem ent on Tariffs and Trade

MFN M ost Favoured Nation

M IMA M odern Image M akers Association

NCSC National Companies and Securities Commission

NIDA National Institute o f Dramatic Arts

NIR N ew Image Research

PBAA Public Broadcasting Association o f Australia

PSA Prices Surveillance Authority

SAG Statistical Advisory Group

SBS Special Broadcasting Service

SISEA S econd International Sym posium on Electronic Art

SPAA Screen Production A ssociation o f Australia

SPF Special Production Fund

TAG Tasm anian Aboriginal Corporation

TAIMA Townsville Aboriginal and Islander M edia Association

TISEA Third International Sym posium on Electronic Art

TPC Trade Practices Com m ission

UQP University o f Queensland Press

VGA Victorian College o f the A rts

VAEAI Victorian Aboriginal Education A ssociation Inc

WIFT W om en in Film and Television

Australian Film Comimission 1993-1994 Australian Rim Commission 1993-1994

Design and Production: Brian Sadgrove and Associates

Printing: Buscom be Printers