Distribution of Australian Cinema


At the Screen Producer’s Australia ‘SCREEN FOREVER’ conference in Melbourne, November 2013. The Australian Screen Industry was invited to give their perspective on the future of Australian feature film distribution.

http://www.abc.net.au/radionational/programs/breakfast/australias-film-distribution-problem/5078404 – additional reading; http://iii.library.uow.edu.au/record=b2113676

Article discussing the problem with the distribution of Australian cinema, referencing Carroll Harriss’ ideas about innovation, digital distribution and how it can help “tap into the next generation of cinema goers”.


A 2011 Aus. film released with the non-negotiable aim of a free release through BitTorrent. As production was in progress a percentage of the funding for this film came from the sale of screen grabs. Distribution giant Paramount Home Entertainment also picked up the film (presumably through the success of its exposure) for DVD distribution. *Example*


“The idea and the attitude behind is that we’re trying to create an audience for this film that may not otherwise have seen it, or may not have otherwise had the opportunity to see it. We’re also trying to look at an audience at a global level.”


Further evidence of the support from industry voices for a new all-round approach for Aus. cinema. Heaps of quotes from those involved in various aspects of the filmmaking industry


Various articles about the Australian film industry about why certain things will/won’t save it. General articles about the film industry in Australia.


This paper argues that cinema’s place in the media and entertainment economy is again being challenged.


Argues that the government should not chase overseas film production dollars.


This explores the recent history of Australian screen policy with particular reference to: 1) the “10BA” tax incentive of the 1980s; 2) the Film Finance Corporation of Australia (FFC), a government screen agency established in 1988 to bring investment bank-style portfolio management to Australia’s screen industry, and 3) local production incentive policies funded by Australian state governments in a chase for Hollywood’s runaway production.


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