The Australian Film Industry - Essay Example

Student’s name Instructor Date The Australian Film Industry: A Government supported industry with small population and limited infrastructure. The Australian film industry refers to the preparations, the production, and marketing and distribution methods of films that are made in Australia by Australians. These films may also be done outside the territories of Australia but by Australian actors and directors. At other sense, the Australian touches on the production of documentaries as well as Television productions (Vanderbent, 2006). The history, development and current debates about the industry point out to the fact that this is a government supported industry ,as opposed of being independently self reliant ,with limited infrastructure and small population (Sklar, 2002). This is elucidated as the essay advances. The History and Development of the Australian Film Industry The history of Australian film industry dates back in 1800 when the film industry globally was beginning to take charge. Although before 1800, people still used to portray their expertise in acting, they did so mostly in plays and drama staged for a group of people live. The filming introduced a new dimension in the world of art and creativity. This period saw some directors of the time taking advantage of this platform in Australia. Some of these directors include the following: Long Ford who produced Sentimental Bloke in 1919 and Ken G Hall. This era took place until the First World War was over. This period welcomed the next film phase era (Dermody & Jacka, 1988). Between 1930 and 1960, the sound technology called Early Sound period did set in. most of the film productions done during this period reserved a lot of their space to the thematic concerns of colonialism. The Dad and Dave series of Ken G Hall featured prominently during this developmental stage of the Australian film. Other films that to featured include the following: the 1938 Chauvels Heritage and the 1949 Sons of Mother. During this period, a film coordinating unit helped so much in the production of films. This Common Wealth Film Unit was very instrumental as far as producing documentaries was concerned. It is during this sound technology era that the onset of television technology was taking shape. Television technology posed both as a threat and a blessing to the film industry in Australia. This was in the year 1956 when this new platform was experienced for the first time. The Australian government nevertheless gave a directive to protect the artistry of the Australian talented film makers, actors and producers. The government said that all television commercial adverts had to be made locally in Australian and by Australians. This helped to nurture and to promote the art of the creative citizens of Australia. This phase was followed by the interval era (Jacka, 1988). In 1960’s, something unfortunate happened in the history of the Australian film industry. This is the era referred to as the interval. The interval took place during the reign of Prime Minister Menzies. Between 1959 and 1966, there is no film that was produced in Australia. There are two main reasons that are given to explain why Australian film industry had to suffer this type of a blow. One reason is connected with the unstable government of Prime Minister Menizes. The other reason is the American cultural imperialism. During the late 60’s, the only directors available in Australia wee from America. One such director is Michael Powell. After this unfortunate phase, there came the next phase which was to some extent came on a very reminiscent tone. The renaissance period followed immediately after the interval period in 1970s. This period that Prime Minister Menzes was ousted by John Gorton who became the Prime Minister of Australia between 1968 and 1971. Gorton demonstrated his spirited efforts to revive the film industry which was crumbling. His government helped to form the Experimental Film Fund (EFF) to nature and promote Australian art and creativity. Through this program the best film directors and film makers would be recruited into the school, which Gorton and his government recommended. Gough Whitlam replaced John Gorton as the PM for Australia before the recommended school of film was set. Gough Whitlam was even more supportive to the film industry in the country. He helped to set up the institution which Gorton had recommended. This saw the setting up of Australian Film, Television and Radio School (AFDC). This was realized through federal funding. The Australian film industry too was propelled to greater heights by Festivals e.g. the Cannes Film Festival. The idea of the R-Certificates played a major role in the promotion of this industry too. Before this there were the American and British Cultural products only in the Australian market. This was a very unfortunate state affair then since most artistic talents in Australia were just going into waste. The 1970s saw the emergence of great Australian directors who produced film content that was acceptable both locally and abroad. Some of these directors include the following: George Miller, Gillian Armstrong, and Peter Weir to mention but a few. There were two types of film genres that emerged from the directors and the film makers of this period (Barber, 1988.). The AFC genre was one of them. Dermody and Jack are the scholars of film ad filming that were behind this genre. This genre was more of art cinemas and most of them were based on texts that were literally in nature. They were characterized by a slow development of the plot as well as providing a through study of the characters that were involved in these films. Picnic at Hanging by Miller (1979) is a good example among other films in this genre. The second genre during this period was the exploitation genre. This focused solely on the profit perspective. These films were mostly produced for commercial purposes. 1979 Miller’s Mad Max is a good example in this genre. In some instances this genre was referred to as sexploitation by some players in the industry. After the exploitation, came the explosion period. Just as the word suggests, business people and investors exploded a lot during this period. This period came in the 1980s. During this period, the Australian government introduced 10BA tax concession plan for private investors which became very popular. The plan allowed private investors to invest n the Australian film industry in which they would get a 150% return of their investment. This plan must have made people who hunger for quick profits to go weird. From no where people who had no background knowledge in film writing, film directing and film production joined this industry in large numbers. Lawyers became film directors. In fact people from other professions joined this film industry. You would have seen how accountants, doctors, teachers, business people wanted a share of profit in this master plan by the government. I guess you can imagine the harm such an influx of people interested only with money did to this noble industry. You are correct. Quality of Films was compromised. Poorly done film master pieces were produced in Australia during this period. The film industry in Australia started to suffer again. This ushered a new era in the history of the Australian film industry. 1990 and beyond was the post new wave era. The film funding body that was formed in 1988 became very crucial as far as this was concerned. This is also the time when the directors which were the products of the Australian Film, Television and Radio School restarted one gain to help recapture the glory of filming in Australian. They combined efforts with directors who were the products of Victoria’s Swine Burne Film School. Some of these directors are he following: Jane Campion, Bz Luhrmann, PJ Hogan and others. Some of the films that they were produced during this period include the following: Strictly Ballroom (1992), Muriel’s Wedding (1994), Priscilla: Queen of the Desert (1994) among others. It is very clear that the history of Australian film industry has been characterized by good ride as well as challenges. The portraying the developments during the narration of the history provokes a lot of questions in form of concerns. To be able to critically asses the extent to which the government of Australia can be said to be have been responsible for the success experienced at times let us look at the funding. The Role of the Australian Government in Funding the Film Industry In the narrative and description above of how the industry of film has evolved in Australia, we can recall very well that the government has featured a lot. A part from only one or two instances when the government failed miserably, the rest narratives describes a government interested with art and artistry. There are a time when the government is forced to ship in and offer not only logistical assistance but monetary assistance too. The government has always demonstrated is willingness to help. The 1988 Film Funding Body creation and the establishment of Film schools is a good example as captured above. In the post new wave era, serious debates and legislations have been undertaken for the good of the industry. One of these is the Australian Screen Production Incentive. This is a financial kitty administered by the ministry of Arts. It is meant for the film and television productions. It is categorized in three major categories which are refer to as offsets but common people of Australia refer to the funds as rebates. There is the production offset. This offset is the basic one and it can be accessed by any film maker o director through following the right channels. The second type of funding is referred to as the location offset. The third type of funding is referred to as PDV offset. The location offset allows a 16.5% rebate to those who qualifies the funding. This is given to those films done in Australia but which must meet the minimum threshold as dictated by the ministry of Arts. The Digital and Visual Effects Production (PDV) allows a 30% rebate. T qualify this offset, just like the location offset, one must meet the minimum threshold requirements. This offset is set aside for those qualifying films done by Australians but outside Australia. These location and PDV offsets both have some procedures that one has to fulfill. One has to fill an application form and wait for a certificate of eligibility. The legislation amendments keep on being reviewed by the ministry of Arts. The Australian Taxation Office, which may be forced by circumstances to issue a provisional certificate before giving the eligibility certificate, awards the certificate (Commission, Foreign film and television drama production in Australia : a research report., 2002). The 2010/11 Australian budget and the 2011/12 Australian budget had reflected in them this offset loans. The Division 376 of the income Tax Assessment Act 1997 provided for this (ITAA). The Export Finance and Insurance Corporation (EFIC) producer offset loan has too played a great role in the production of Australian films that have met the international agreement. Apart from films, television and documentaries too have benefited from this too much (Verevis & Williams, 2010). The great question remains: has Australia benefited from this enormous government spending in the name of promoting film industry? It is good to reflect on the impact these government initiatives have had on the Australian film artists. Another question that one can ask too is: have these offsets been a reserve of the privileged few? This is noble to ask in order to ask why the government support to this industry has always involved and benefited only a small population. This will lead to the final question: can we blame the infrastructural agenda of Australia? The effects of the Australian Funding of the Film industry Australia is not ranked among the countries of the world that is their film industries is thriving well. Despite all these financing efforts, so many talents continue to be wasted in Australia. The minimum threshold set for filmmakers is mostly for the well-established filmmakers and directors (Australian Screen Production Incentive). The location offset and the PDV offsets demand that those who qualify must have spent a considerable large amount of money to produce their films. Despite lowering, the minimum spending from $5million to $500,000 majority of Australians cannot make it. The PDV offset is not a blessing either. Many Australians especially the young upcoming artists cannot meet the cost of filming in Australia even before one can think of going to film outside the country (Hollingsworth) These offset loans can only be accessed by the industry veterans who are few compare to the many whose talents remain harnessed to lack of proper inclusive plans. Could it perhaps be lack of willingness by those opinion makers and leaders to make procedure that will not be prohibitive? This is a typical example of a government supporting a small population in the name of whole people (A very short history of Australian Film). Is it a question of infrastructure? Then why is the government not doing something to check it lest her people continue to suffer? This takes one to a very pertinent concern: what is the state of the Australian Film Industry? Does the industry have a future? What is the current and future state of Australian Film Industry? Most observers and critics are drawing a very bleak picture as far as the film industry in Australia is concerned. Majority are still talking about the gone good olden days. They talk of the days when most Australian films competed with other great films globally (Commission, 2004). Most directs are fleeing Australia for greener pastures elsewhere. Most of the best talents in the film industry from Australia are getting a haven in the United States. This trend is worrying a lot. If the trend is, not arrested then so many talents will get killed (Jones, 2009.) Some debates are revolving around what the Australians themselves prefer to watch in this era. It is discovered that most people in Australia are n longer interested in original works. They prefer the films from other places such as the US. The great cause for alarm should not be what the Australians have preferred to pay for but rather on what will remain untold about Australia if this trend is allowed to thrive (Dow, 2012 ). Some observer and critics as making the film industries to decline have condemned the uncompetitive strong Australian dollar (Commission, Audiovisual production in Australia : key statistics on Australia's audiovisual production industry and Australian films and programs in the marketplace., 2007). This is making the industry unable to face the international market head on. If the government does not do something on this worrying currency, the film industry will continue to suffer (Turner, 2013). Australia seems to be still struggling as far as understanding the status of Australian film industry. Australian government is doing very little as far as developing the film industry is concerned. The young generation of Australia is lacking some elements of innovativeness. The most films that are becoming more popular are not the original work of art produced by Australians. Current debates portray a very tough industry. Dawson Courtney a revolutionary make of films in 2012 hoped to engage people I debate about filming to be a talking point to see whether the industry in Australia can be revived. She came up with a documentary film project. She hoped that by doing a film documentary she would also use the social media to have the people engaged in this debate. She decided to use twitter and face book to have the all the stakeholders in Australia to discuss this issue. At a time when the rate of unemployment is very high, Australia is doing this very thing of perpetuating joblessness to her citizens. Why should the government stand and watch while this multi dollar industry is crumbling right in front of its face. Dawson is a good role model as far as making people to come at common discussion agenda. She also made people of good will and other well-wishers to help fund the project. More people of good will should be encouraged to take these debates in those platforms that are found or even in their place of work. This will help to set the agenda on top and the future of filming industry in Australia will be taken good care of. Conclusion The Australian film industry is one, which actually has received so much support from the government but the rationale, and intention of the support seems to be far from being realized. The number of people who have benefited from the initiative is very small. A country that does not take care and nurture her own talents in form of film artistry is digging its own grave. It is so dangerous when a country with so many consumers than the number of producers. When the number of Australians becomes just consumes more than they are able and willing to produce, then the initial stage of poverty sets in. for any economy to grow in a healthy manner, the strong able-bodied population n that place should be actively engaged. The youths are energetic people. Most youths are very creative but inadequate funds and support from their parents and their leaders to them to lose momentum. This may lead to generation gap. While this is happening, there will b no one to write the history of the p0eope of Australia. There will be no one to document the developing culture of Australians. This history, culture and perspectives need to be captured in form of books, films, TV productions ad documentaries. If he government does not see the crucial nature that this industry is playing and hasten its awakening, then something terrible is on the way. To make the matters worse, this small number of people too is no longer interested with their country. The infrastructure is poor. The film industry in Australia is at stake. References A very short HISTORY of AUSTRALIAN FILM. (n.d.). Retrieved October 13, 2013, from http://www.film.org.au/feature_historyaussie.htm Australian Screen Production Incentive. (n.d.). Retrieved October 13, 2013, from Australian Government: http://arts.gov.au/film-tv/australian-screen-production-incentive Barber, S. T. (1988.). The Australian Film Renaissance, 1970-86 : an ideological, economic and political analysis. Commission, A. F. (2007). Audiovisual production in Australia : key statistics on Australia's audiovisual production industry and Australian films and programs in the marketplace. Sydney. Commission, A. F. (2004). Film agency funding in Australia : government assistance to the Australian film industry through federal and state agencies to June 2002. Sydney, N.S.W. : Australian Film Commission. Commission, A. F. ( 2002). Foreign film and television drama production in Australia : a research report. Sydney. Dermody, S., & Jacka, E. (1988). The Imaginary industry : Australian film in the late '80s. North Ryde: NSW, Australia : AFTRS Publications. Dow, S. ( 2012 , December 3). Australian film industry heads for Pitts. Retrieved October 13, 2013, from The Sydeny Morning Herald: http://www.smh.com.au/entertainment/movies/australian-film-industry-heads-for-pitts-20121203-2aqmo.html Hollingsworth, E. (n.d.). Oscar has a lesson for Australian film. Retrieved October 13, 2013, from The Drum: http://www.abc.net.au/unleashed/4537642.html Jacka, E. (1988). Financing Australian Films. Media Information Australia (50), 5, 7-21. Jones, M. ( 2009.). Career commitment in film production : a grounded theory study of the Australian film industry. Saarbrücken : LAP LAMBERT Academic Pub.,. Sklar, R. (2002). A world history of film by Robert Sklar . New York: Harry N. Abrams . Turner, A. (2013). Indie documentary sheds light on the current state of the Australian film indust. Retrieved October 13, 2013, from If: http://if.com.au/2012/01/27/article/TFRPGXUIYM.html Vanderbent, S. ( 2006). Australian film. Harpenden : Pocket Essentials. Verevis, C., & Williams, D. (2010, August). Contemporary Australian Film Theory and Criticism. Media International Australia, Incorporating Culture & Policy , 177-190. Read More