SHINING A LIGHT: 50 YEARS OF THE AUSTRALIAN FILM INSTITUTE LISA FRENCH AND MARK POOLE I The Moving Image | Number 9, 2013 (Second edition) First edition published in 2009 The Moving Image is published bi-annually by Australian Teachers of Media (ATOM) in association with its publishing partners, the Australian Film Institute | Australian Academy Cinema Television Arts (AFI | AACTA), the National Film & Sound Archive (NFSA), Australian Centre for the Moving Image (ACMI), RMIT University (School of Media and Communications) and Victoria University (VU). Subscriptions (4 issues): individuals $110 GST inclusive; institutions $130 GST inclusive. Subscribers outside of Australia: Please add 20.00 AUD for postage. Address all correspondence to: The Editor, The Moving Image, ATOM, PO Box 2040, St Kilda West, Vic. 3182, Australia. Statements of fact and opinion appearing in The Moving Image are made on the responsibility of the contributors alone, and do not imply the endorsement of the editorial board or the publisher. Copyright © Australian Teachers of Media (ATOM) 2009–2013 The aim of the Australian Teachers of Media, and its publishing partners, is to promote knowledge, appreciation and enjoyment of screen culture and media with particular emphasis on Australian film. ATOM and its publishing partners acknowledge the support of Screen Australia. Managing Editor: Peter Tapp Commissioning Editorial Board: Lisa French (Chair) Associate Professor Cinema Studies, Media & Communication, School of Media and Communications, RMIT; Felicity Collins, Associate Professor, Media Arts (Screen+Sound), School of Communication and Critical Enquiry, La Trobe University; Ben Goldsmith, Senior Research Fellow in the ARC Centre of Excellence for Creative Industries and Innovation, Queensland University of Technology; Jane Landman, Senior Lecturer Film & Television Studies, School of Communication and the Arts, Victoria University; Belinda Smaill, Senior Lecturer in Film and Televison Studies, School of English, Commuications and Performance Studies, Monash University. Layout and Design: Pascale Designs. Cover Design: Pascale Designs Printing: Impact Printing Trade Enquiries: ATOM. Tel (03) 9525 5302. Fax (03) 9537 2325 The Moving Image ISBN: 1 876467 20 7 SUPPORTED BY: PUBLISHING PARTNERS: II Acknowledgments The fiftieth birthday of the AFI provided the impetus for us to write this book – an important endeavour given the significant role the AFI has played (over half a century) in shining a light on our film and television industries, and the lack of any recorded history of the organisation to date. Fifty years is a long time, and this means there were a lot of people to speak to, and therefore many to thank. There were also numerous persons that we did not speak to, and we hope our journey will inspire other scholars to take this work further because the passion for screen culture in Australia has been taken up, and promoted, by countless individuals who have championed the cause and who have each had an important role to play. We would like to especially thank Peter Tapp, whose commitment to this publication, and indeed to screen culture, has been exceptional. Felicity Collins, whose knowledge, intellect and feedback was invaluable also requires a special mention for her support not just for this book, but for her significant contribution to The Moving Image series over many years. We are indebted to the twenty-seven people whom we interviewed for this book, to the scholars whose work has informed this text and to the individual scholars and friends who greatly assisted us with their thoughtful responses to our work, particularly the Academic Women’s Writing Group: Mary Debrett, Hester Joyce, Brigid Magner, Gabrielle Murray and Terrie Waddell. In addition, we would like to thank the technical and academic Media teams at RMIT, the wonderful staff at the AFI Research Collection@RMIT, as well as RMIT’s School of Media and Communication (particularly Lauren Murray) – having generous and supportive colleagues is a great gift. The publishing partners of this series: ATOM, AFI | AACTA, Film Victoria, ACMI, the NFSA, RMIT and VU have made this book possible. We are particularly grateful to Film Victoria for providing funding to allow us to expand the size of this publication beyond that which The Moving Image series is able to produce as a not-for-profit publication. The AFI has supported this series since its inception, and while supportive of this publication, has not had any editorial control over the pages contained herein. However, we would particularly like to thank those at the AFI who supported the project, the AFI’s Chair Morry Schwartz, CEO Damian Trewhella, and also Paige McGinley and Jennifer North for assistance with picture searches. Many thanks also to the photographers whose work illuminates this text: Corrie Ancone, Buchanan and Wodetzki photography, Rennie Ellis, George Haig, Jim Lee, Belinda Rolland, Studio Commercial Priority Pty Ltd, and Serge Thomann. Finally, we greatly appreciate the time and support given to us by the following persons: Phillip Adams, Eve Ash, Jessica Barrett, Justine Beltrame, Colin Bennett, Ken Berryman, Ina Bertrand, Natalie Book, Annette Blonski, Tait Brady, Richard Brennan, Blythe Chandler, Adrian Danks, Simon Elchlepp, Alan Finney, John Flaus, Lisa Gammaldi, Maggie Gerrand, Alexander Gionfriddo, Georgia Graham, Zak Hamer, Paul Harris, James Hewison, Barry Jones, Peter Kemp, Meg Labrum, Denny Lawrence, Rosemary Mangiamele, Cynthia Mann, Sue Maslin, Dr George Miller, Natalie Miller, Vicki Molloy, David Muir, Rilke Muir, Frank Nicholls, James Sabine, Jenny Sabine, Sandra Sdraulig, Ed Schefferle, Rochelle Siemienowicz, Julie Stafford, Jane Susak, Tony Sweeney, Barbara Taylor, Helen Tully and Bob Weis. We would like to dedicate this book firstly to all the screen culture volunteers – those who have served and continue to serve on boards, juries, committees and the like whenever the need emerges. While they are not all named here, we know that much of the work would not have been done without them. And secondly, we dedicate this book to our wonderful sons Daniel and Liam. III 02 07 IV 03 Introduction: 50 Years ‘on the Smell of an Oily Rag’ IX PART 1 BACKGROUND: 01 Screen Culture: Plankton in the Food Chain 3 PART 2 THE HISTORY OF THE AFI: 02 Cinéphiles and True Believers: The AFI in the 1950s and 1960s 23 03 Flowers in the Desert, the End of the Drought: The 1970s 05 39 04 Film is It! The 1980s 59 05 An International Industry: The 1990s and 2000s 69 PART 3 ENGAGING THE PUBLIC AND INDUSTRY: 06 Serious Undertakings: The AFI and Stakeholders 01 04 91 07 A Stellar Event: The AFI Awards over 50 Years 107 Conclusion: An Oasis for a National, Cultural Agenda 135 PART 4 POSTSCRIPT: An Australian Academy: AFI/AACTA 139 Glossary 151 AFI Award Nominees and Winners 153 Alumni 258 Index 261 04 06 V About this book Shining A Light: 50 Years of the AFI traces the progress of the film and television industries as well as screen culture within Australia over the past half century, through the lens of one organisation, the Australian Film Institute (AFI | AACTA). Since its establishment in 1958, the AFI has played a central role in nurturing and supporting both screen culture and production, from small beginnings to an internationally recognised billion dollar industry. Shining A Light maps out the history of the AFI | AACTA (henceforth referred to as the AFI) and the wider industry over the past fifty years and explores the relationship of screen culture to a successful production industry. The book is a timely and significant contribution to scholarship on Australian cinema, being published at a critical time in Australian film history. The authors offer an insider’s perspective, having interviewed twenty-seven key players from the AFI’s history, and have sifted through volumes of documentary evidence in chronicling the history of the AFI, its successes and its role in Australian screen culture past, present and future. The writers’ collective experience spans filmmaking, academic research and teaching, film journalism, employment and service in key screen culture organisations as well as an abiding passion for Australian cinema – bringing to the book both the filmmaker or industry perspective, and academic scholarship. About the authors Lisa French is Associate Professor in Cinema Studies, Media and Communication at RMIT University, where she is Head of Cinema Studies. She edited the book Womenvision: Women and the Moving Image in Australia (2003) and has written extensively on Australian film. Her film projects include producing the film Birth of a Film Festival (Mark Poole, 2003), a film about the first Melbourne International Film Festival. Her professional history includes screen culture posts, including three years as the director of the St Kilda Film Festival, and nine years on the board of the Australian Film Institute. Mark Poole is an award-winning writer and director of both drama and documentary. His documentary Fearless (2010) about a 92-year-old playwright Julia Britton was screened on ABC TV. In 2008 he was awarded an Australian Writers’ Guild AWGIE award for screenwriting, and was the Chair of the AWG in Victoria for five years from 2007 to 2012. He wrote the original screenplay for the feature film A Single Life (1987) which won an AFI Award. He is an occasional lecturer at Monash and RMIT universities, and a regular contributor to the online screen industry journal Screen Hub, Metro magazine and The Australian. VI Editorial The Moving Image is Australia’s premier series of monographs on film, television and multimedia, covering current practice, history, theory, analysis and criticism. Australian film/television/multimedia is the principal, but not exclusive, focus of The Moving Image series which is a key site for publishing of academic research, particularly on Australian cinema. The choice of topics is informed by international developments in the areas of theory, criticism, history and practice of film/video/multimedia as well as issues of Australian national/cultural identity. Each monograph is refereed and consists of between 30,000 to 50,000 words dealing with a specific topic. Most issues are single-authored, although joint or edited collections will be considered. The writing is scholarly while being accessible to an interested general readership. The Moving Image is published annually by ATOM in association with its publishing partners. ATOM is a not-for-profit organisation, but the The Moving Image is part of the publications arm operating as a commercial publisher. Profits do, however, go towards commissioning new books in the series. We would welcome contributions and proposals for monographs, which will enable us to continue this project. To view other books in The Moving Image series, or to buy hard copies, visit <http://www. metromagazine.com.au/moving_image/>. The Editorial Board VII INTRODUCTION 50 YEARS ‘ON THE SMELL OF AN OILY RAG’ I N December 1958, six men sat down in a room at the CSIRO headquarters in East Melbourne to establish the first national screen culture organisation in Australia. Mindful of similar organisations in Britain and Europe, they gave it the lofty title Australian Film Institute. They based their constitution on that of the British Film Institute and although they had no funding of any kind (and were not to receive any until 1970), they began the AFI with funds from the film society movement. Thus, on the smell of an oily rag, the AFI was born because film buffs (the audience) wanted it. Fifty years later film buffs continue to form the backbone of the organisation. The AFI has a membership of many thousands across the country, a thriving annual awards to film and television productions that are broadcast nationally, screenings of the feature films, documentaries and short films that are part of the Awards that travel from state to state, a research and information library housed at RMIT University1 and a fortnightly newsletter on industry news. Over the fifty years the AFI’s journey has twisted and turned to accommodate the various shifts and starts in federal and state screen policies, different levels of funding availability and booms and plateaus in the level of the screen industries. It’s been quite a journey; more than once the AFI has been on the brink of closure, but it has managed to survive like a cactus in the desert, withstanding drought and waiting for the rains to fall to begin another upward cycle. This book maps the AFI’s journey from its beginning in 1958, within a vastly different social, cultural and industrial landscape. The AFI has occupied a controversial place in the opinions of many filmmakers over that time, with a number of notable moments in history such as the deeply eccentric behaviour of staff holding a fully-fledged strike in 1983; the stoush between Richard Brennan, Michael Thornhill, Erwin Rado and Colin Bennett over the way the AFI Awards were judged in 1976; the cessation of the Melbourne Filmmakers’ Co-op and the subsequent take-up of those films by the AFI in 1977; the establishment and management of the Experimental Film and Television Fund; the merging of the AFI with the National Film Theatre in the early seventies; the IX support by Steven Spielberg who put up the money for one of the Awards; and the drastic funding cutbacks by the Australian Film Commission (AFC) which caused the organisation to radically alter its shape as it entered the new millennium. This history outlines these shifts and turns of the AFI, to make sense of them by describing the parallel shifts and turns of the Australian screen industries at the same periods and analyses the successes and shortcomings of the organisation over its fifty years. The AFI’s fortunes have ebbed and flowed along with the circumstances of the times and according to the prevailing winds of film policy, particularly at the federal level. As is chronicled in the following pages, the history of the AFI is very much a reflection of, and reflected by, the fortunes of the wider screen industry within which it is situated. Thus the history of the AFI represents the industry’s triumphs and failures, its occasional bitter moments mixed in with the pride of national and international recognition and achievements. The AFI began its existence prior to the renaissance of the industry in the 1970s. This was an era when Australia was making few feature films, mainly producing documentaries and commercial films, and as we will see, the AFI was instrumental in assisting this resurgence or ‘revival’. That is one reason why the original founders of the organisation were focused on films from overseas rather than local output that was minimal in the feature sector until the revival of the Australian film industry in the 1970s. The industry is well known for failing to learn from its history, or even to document it, and so the authors have investigated as many sources of information as has been possible within the available time and resources. As well, we have interviewed as many of the key players in the AFI’s history as we have been able. The book commences with an in-depth essay on screen culture. We have begun here because ‘screen culture’ (or the earlier ‘film culture’) is arguably the AFI’s raison d’être. We have devoted a chapter to considering what is meant by this amorphous term and why screen culture (and the AFI) is so vital in supporting the production sector, as we firmly believe it is. The second part of the book contains an overview of the history of the AFI, divided into three parts. The first (chapter 2) describes the Institute’s birth, where a small group of dedicated filmgoers created a national organisation to facilitate the importation and screening of significant films from overseas, up until the rebirth of the film industry. Chapter 3 covers the 1970s, which was an important time of growth for the AFI in reflection of the wider industry. Chapter 4 covers the AFI’s progression during the eighties and then chapter 6, the 1990s and 2000s, a time of maturation of the production industry, and arguably a decline of the screen culture sector. This is a revised second edition of this book and as such, includes a new final chapter about the Australian Academy of Cinema and Television Arts (AACTA). The AFI launched AACTA in August 2011 and the inaugural Samsung AACTA Awards was held in January 2012. The AFI now delivers the AACTA Awards, which are a continuum of the AFI Awards. Half a century is a considerable time span over which to operate and as we discovered, a ‘who’s who’ of the AFI turned out to be a ‘who’s who’ of the industry. That length of time, combined with the ways in which the organisation has functioned differently over that time have created a variety of ways the AFI is viewed, so we felt it important that the book conclude with an overview of stakeholders, and with a consideration of the AFI Awards as the central preoccupation of the organisation today – its triumphs, disasters and underlying issues of contention. In what follows in this book we offer an overview of the AFI over the last fifty years. It is by no means the definitive or conclusive history of the AFI, as many differing recollections have been unearthed and it is at times a subjective view – as would be expected in the telling of a mostly undocumented story that has taken place over so much time. As is the nature of film scholarship, X we hope others will build on this work in the future – inspired to continue unravelling and exploring the story of screen culture in Australia. It is perhaps an apposite time for this history to surface, at a time when Australia’s screen industries are engaged in considerable self-reflection and undergoing a federal restructure. It is apparent that there is a pressing need for the screen culture sector, of which the AFI has played a leading part, to assist in growing audiences for local screen product. As these pages pay testimony, the AFI has played a major role in Australia’s screen culture in the past, and there remains a continuing role for it to support and nurture local audiences, to promote and recognise the work of its practitioners and filmmakers, and to pass on the accumulated knowledge and experience acquired over the past fifty years to future generations of audiences and filmmakers. Lisa French Mark Poole Endnote 1 In 2003 the AFI Research Collection moved to RMIT, which has acted in a caretaker role, continuing to develop the collection. For details of the AFI Research Collection @ RMIT go to: http://www.afiresearch.rmit.edu.au/more.html XI 1 1 0 SCREEN CULTURE: PLANKTON IN THE FOOD CHAIN Interesting film work does not emerge from a cultural vacuum … There is a creative interaction between the films and the vitality of the culture from which they emerge.1 C arole Sklan’s observation (above) is made from the vantage point of someone who has had decades of experience as a filmmaker, as well as working for government film agencies and broadcasters. Her observation connects with one of the aims in this book: to explore the relationship between the parts of the industry ecosystem – the production industry and activities more commonly described as ‘screen culture’. Since the AFI’s pursuits over six decades have centred around screen culture activities (which before the last decade were labelled film culture), with only a brief incursion into direct production funding through the Experimental Film and Television Fund, it seems appropriate that we explore here what is meant by the term ‘screen culture’, how the screen culture sector functions, what it does, how it is funded and how it assists the production sector. A discussion of screen culture is an essential part of any consideration of the AFI, because this is arguably the AFI’s raison d’être. The AFI is one of the country’s oldest screen culture organisations and the founder of ‘the longest running’2 film and television awards in Australia. As Richard Brennan told us: ‘There’s nobody promoting screen culture the same way [as the AFI]’.3 (Click here for video.) As described later, when in 1976 Jan Dawson wrote a report about AFI activities, some writers 3 have suggested that the Dawson report provided the AFI with a raison d’être for its own existence, namely to promote screen culture. Academic Felicity Collins, for example, wrote: ‘The AFI could at last articulate a reason for its existence in terms of objectives couched in vague rhetoric gratefully borrowed from Jan Dawson’.4 Collins identifies two key notions that have become critical to how the AFI has defined itself: ‘film culture’ and ‘context’. Certainly Dawson provided a definition of screen culture that was to inform the AFI’s mission and identity. Dawson described it as: A nation’s proud sense of its film history and achievements, coupled with an informed critical awareness of developments in cinema throughout the world, and an ability to locate and evaluate the national achievements in the wider international context.5 While Collins may have a point in her criticism of the AFI for grabbing the ‘film culture’ mantle without defining it or forming policy to drive screen culture activities, it is clear that the AFI has always been about film culture. After all, a group of people who loved films founded the AFI – a collection of cinéphiles, fans and buffs. From the love of film they developed a film culture environment. These people were the audience and they wanted to increase their opportunities to encounter significant films. Thus the AFI was established to connect with audiences, and this has strongly underpinned all its activities over the last fifty years. What Is Screen Culture? Screen culture has been described as ‘the sum of all the activities undertaken within a screen community’.6 As Elizabeth Jacka has observed, a screen culture embraces the production industry, but is wider and more diffuse. Therefore, screen culture includes production, distribution and exhibition, but also includes critical commentary, educational, promotional, lobbying and other discourses and contexts for the reception of screen products.7 While we define screen culture as including production as one of the activities of a screen community, in this chapter we will examine the term in the way it is most broadly used and understood,8 making a distinction between the ‘production’ and ‘screen culture’ sectors – for the purpose of exploring whether there is a symbiotic relationship between the two. Screen sector activities of production, exhibition, distribution and training have been described as ‘glued’9 together by screen culture, but they represent far more than this. As Robyn Hughes has observed, screen culture is ‘the plankton in the food-chain that feeds the imagination of our creative cultural producers’.10 Like plankton, its presence can be taken for granted and although it fertilises the industry, it is not merely fertiliser, but integral to the survival and growth of the whole. In any ecosystem, every element depends on every other element; if you take one piece out or reduce it, this damages the system as a whole. Screen culture is located within government bodies, institutions, film service organisations, industry guilds and associations, as well as those processes, audience engagements and discourses that encompass a film community. Discussions and debate around screen culture are circulated through a diverse range of activities such as awards, news, magazines, fanzines, web sites and membership bases. As Carole Sklan has observed, screen culture takes place ‘everywhere from rural halls and suburban cinemas to coffee shops and bus stops’11 – and these 4 days, it also takes place via our mobiles or on our computers through viral video shared by email and other web sharing locations such as YouTube or blogs. The spaces within which today’s young people engage with the moving image is a different world to that which lured baby boomers to the cinemas and film societies in the 1950s and 1960s; today’s generation adds films into their Facebook page to somehow reveal their inner personality to the world (gleefully and with a touch of irony adding dark, esoteric films to make themselves appear more interesting), or they stand at the bus stop downloading film trailers or television segments to their mobiles or iPods and text their friends about the great film they just saw. However, this engagement with new technologies is motivated by the same passionate engagement with the moving image that motivated previous generations to visit the cinema or join film societies, and represents the daily business of today’s screen culture: ‘people of all generations [who] spend hours consuming, discussing and analysing screen programmes’.12 While there may be an increasing range of players seeking different and even competing outcomes, the screen culture sector constitutes a discursive space that enriches the intellectual, creative, aesthetic, historical and cultural life of our society. It raises the quality, diversity and innovation of the work of practitioners, connects communities and develops audiences. Metaphors of nature proliferate in writing that has attempted to explain the character, meaning, processes and value of screen culture. Industry stalwart, John Flaus, an actor, some time academic, filmmaker, critic and passionate screen culture advocate, offered the analogy of a rainforest as a metaphor for the industry. If the undergrowth of a rainforest were to be cleared, the canopy would die, and for Flaus, screen culture is the industry’s undergrowth.13 (Click here for video.) Of course some sites of screen culture are highly visible, such as the AFI Awards, but nevertheless, the many smaller scale activities and work that take place in the margins of the screen culture environment should not be underestimated in their support of the mainstream industry. For example, according to Dermody and Jacka, one of the main catalysts for the revival of the industry in the 1970s was the intense lobbying of government from the film buff or art film movement.14 In Australia, screen culture emerged during the 1950s through the activities of the film society movement. Avant-garde filmmaking also developed, as those involved in film societies and their activities began to make films themselves – much like the French New Wave filmmakers. For example, members of the Photograph of the set of Breakfluid (Brian Davies, 1970); still originally appeared on the cover of the Melbourne Film Bulletin, No.14, October 1970. 5 Above: The Sentimental Bloke; Lottie Lyell as Doreen and Arthur Tauchert as Bill (the bloke). Left: Still from Jedda; Robert Tudawali as Marbuck and Ngara Kunoth as Jedda. Melbourne University Film Society like Alan Finney, Brian Davies and Antony I. Ginnane eventually also became involved in publishing and filmmaking. In Sydney, members of film societies also got involved in making films. Clearly this film going and filmmaking activity, in which the AFI was also playing a significant role with the Melbourne Film Festival, created the conditions out of which the Australian film industry revival could later emerge. This is an illustration of how production and screen culture productively interconnect, indicating that they are two parts of the whole – a whole that is itself a complex network of circulation and consumption. In its own planning documents the AFI has described the ‘rich and diverse scene/s’ which are part of a screen culture ‘environment’ where film and other screen programs are developed, made, exhibited and discussed. This environment includes screenings and festivals, conferences, seminars, publication, industry awards, production, training, contextualised 6 exhibition and distribution, research and information, commentary and critical analysis of film and the industry.15 These locations have a central role to play in connecting and developing audiences and thereby fulfil a vital role for the production sector. It is short sighted to fund the production of films without attention to whom and where these films (and other moving image artefacts) are going to be consumed, or where a society of cultural consumption is formed. Ignoring or reducing this sector is effectively ignoring audiences – something that the production sector of the industry has been accused of doing. As film critic Jim Schembri has said: ‘Australian cinema has long neglected the interests and needs of its audience’,16 a criticism that is substantiated by some statistics, for instance that Australian films have only achieved an average of around 4.3 % of box-office over the last decade.17 It could well be that both audiences and filmmakers need what Tina Kaufman has argued for: not only practical skills, but also theoretical, creative and historical foundations of the craft, as well as exposure to the work of the key creative people in their field, visionaries and innovators of their own and other cinemas.18 While someone equipped with this literacy could still make bad films, this knowledge is a resource bank for enrichment. For example, a filmmaker might discover that his or her practice links in some way to another filmmaker and this might help them in many ways, such as in their approach, aesthetics, exploration of content, to think about their own aspirations, to develop and extend the field. As Ken Berryman has argued, ‘Those who are dismissive of the film culture sector are doomed to churn out works that might be technically impressive but hollow in terms of being from a more informed base from which to operate from’.19 If screen culture is challenging, critical and takes up debates on all aspects of filmmaking policy and practice, then this will inform and enrich the production landscape. AFI patron, Dr George Miller, described this literacy in relation to Australian cinema as able to provide an anthropological oversight of the way stories ‘move through the culture’ – an understanding of cultural evolution.20 This is an important point that is not well understood. For instance, the film Kenny (Clayton Jacobson, 2006) can be seen as connecting back to films such as The Sentimental Bloke (Raymond Longford, 1919) and the ocker films, including Crocodile Dundee (Peter Faiman, 1986), through many aspects, but particularly character, vernacular and a profound sense of place. An understanding of the deep lines and resonances in our culture can provide vital information about connecting with audiences and can enrich future productions with these understandings. Knowledge and experience of our cinematic history does not just improve a filmmaker’s repertoire of influences, but insights connect to the mythical pathways in our culture. These lines are important; for instance Lantana centres round the loss of a child, a significant trope or theme stretching throughout our filmic history (for example, Jedda; The Back Of Beyond; Walkabout; Evil Angels; The Adventures of Priscilla, Queen Of The Desert; One Night The Moon and Rabbit-Proof Fence).21 From the Beaumont children to Azaria Chamberlain, the implied danger of the land haunts our psyche and has informed our most culturally rich and commercially successful films. It psychically links back to our roots as colonials and the fear of an inability to protect one’s progeny against the strange, alien or inhospitable landscape. It is also a matter of having literacy about the cinema – not just Australian cinema – but films of all kinds; this will help Australians find a place from which to speak. This is the value of contexts set up through screen culture; it can assist practitioners to connect with the resonances in their own culture. 7 The AFI Fellowship is one example of a way in which screen culture has endeavoured to embrace these interactions, by supporting a filmmaker to make a contribution to the wider film industry. Activities such as these, and screen culture events in general take some time to return benefits, but in the end they do return outcomes to the production sector. Other examples include the activities of film festivals in supporting and nurturing filmmakers: for instance, the Melbourne International Film Festival Above: Still from Mad Max (George Miller, 1979). Page 9: Anita & Paul Keating at the uses screen culture funds in order to enable 1993 AFI Awards; photograph by Serge the makers of shorts to network with each Thomann courtesy of the AFI. other as well as festival guests, producers and distributors through its ‘Accelerator’ program. As well, MIFF has created its ‘37 South’ program which utilises screen culture funding to provide industry forums on such issues as film financing, networking opportunities for practitioners and production funding through its Premiere Fund. Screen Culture, Policy And Government Culture … is not an optional extra, like air conditioning or mag wheels. Culture is oxygen. It’s all around us. We have it, whether we like it or not. Culture is about meaning and identity. It’s the pool of ideas from which we draw our hopes and our values, our sense of who we are and where we’re going.22 Peter Thompson Since the rebirth of the Australian film industry in the 1970s, it has been generally accepted by governments and their agencies in Australia that in order for an industry to exist here, government subsidy is required. However, it has not been so well accepted that funding for screen culture, as an integral part of the industry food chain, is also essential. Academic and former AFI CEO, Deb Verhoeven, has observed that the ‘generous funding subsidies extended to filmmaking in Australia are seldom stretched to include activities that centre on exhibition, distribution and contextualisation (such as publishing and criticism)’.23 In part, this reluctance to adequately fund screen culture may be due to a lack of clarity about what it is, and that is one reason why we have attempted to define screen culture in the earlier part of this chapter. At different periods in time government film-funding bodies have focused on the importance of screen culture activities; for instance, the AFC held a ‘Screen Culture Sector Summit’ in 1995, and had ‘sector promotion’ as a key agenda – recommending co-ordination, a marketing fund for the sector, lobbying, and a ‘viable national profile’.24 In 2004, Film Victoria held a review of their funding to the sector, replacing the misunderstood term ‘screen culture’ with terms such as ‘Event and Activity Support,’ ‘Screen Industry Development’ or ‘Public Screen Engagement’. In part, this review was prompted by the fact that funding to the sector had remained static.25 At the federal level, the AFC re-embraced screen culture in its rhetoric in 2007, and their 8 brochure offered a definition – ‘Screen culture noun: The environment in which film and other screen programs are made, seen and discussed’.26 This statement indicates that the agency believes the term needs some definition and that perhaps there is some perceived confusion about what screen culture might be or might achieve. However, Screen Australia continues to use this brochure and has included screen culture in its outline of what the organisation proposes to do in the future. As Kaufman has commented, for both the funding bodies and the mainstream industry, screen culture has commonly been seen as ‘disposable, ancillary, even frivolous, compared with the main game of feature film development’.27 This is one reason why film culture funding remains under-funded.28 This under-funding has meant that audience development has not been adequately resourced. This resourcing potentially would have promoted a passion for screen products with a direct benefit to producers of Australian films – given that these activities take place in the screen culture sector. All parts of the industry will need to be won over to the importance of screen culture in order for this circumstance to change. Vibrant screen culture will increase interest and enthusiasm for all moving image products, including Australian film. While it is true that even if there were no screen culture funding available, people would never stop thinking, discussing, writing and gathering together around film, it is equally true that audiences can be developed if they are provided with opportunities to do these things. Another significant issue for the screen culture sector, as well as the wider industry, has been the constant reviews and restructures that have been implemented over the years. Since the revival, governments have been supportive of the industry, as Jock Given outlined in Filmnews: Every living Australian Prime Minister has run a government that did something for Australian film. Gorton’s started federal assistance to the industry, Whitlam’s increased it and reorgnised it, Fraser’s introduced 10BA, Hawke’s established the Film Finance Corporation. Keating’s government has delivered Creative Nation, an expansive, expensive statement of cultural policy announced in October 1994.29 However, screen culture has arguably been the poor relation, particularly in relation to federal funding. In 1997, the Howard government instituted a review of the industry by David Gonski.30 Gonski recommended that the AFC reallocate funds away from screen culture towards production. The Australian Screen Culture Industry Association (ASCIA31), headed by the then AFI CEO, Ruth Jones, lobbied against this. Jones summarised the report as recommending cuts to screen culture funding from what was then $2.9 million to $1 million; providing assistance only to national activities; and that funding be subject to an annual open application process.32 At the time there were indications that Gonski’s recommendations 9 would not be implemented, but in fact it appears that they did become policy. According to one observer, in 1999 the AFC ‘reorganised its priorities (while claiming not to have done so). It … pulled a tight rein on funding to the AFI, while simultaneously rechannelling scarce funds into script and production development’.33 The effect of the shifts in AFC policy over the past decade (away from screen culture to invest a greater share of funds into production) has never been analysed or evaluated. For instance, has the output and audience enthusiasm for Australian film been improved? On face value, it would appear not. Unfortunately, the industry is often guilty of having a poor understanding of its own history, even when its programs are very successful, such as the Commercial Television Production Fund, which continued years after it was officially de-funded because monies kept being returned to it. There is rarely any analysis of why certain programs worked and others didn’t, and therefore the learnings of experience are lost, rather than being fed into future practice. In an industry which relies as heavily as Australia does on government subsidy, there is a direct link between the directions established by government agencies and what the industry does – and this applies equally to the screen culture sector. Unfortunately, as stated earlier, the policy climate has frequently held screen culture as a poor relation: ‘just another item to be financed amongst a myriad of competing claims’34 – something that is more evident today than it was a decade ago. A Cultural ‘Seedbed’: Screen Culture, The Industry And The AFI Film and television shape and reflect our contemporary culture and project Australia, its life, people and culture to the world. The foundation for a secure industry future is a talented and 10 skilled workforce. The seedbed for such a future is a lively and popular screen culture, which promotes a deeper understanding of film, its aims and relevance to our culture and the appreciation of the people that make them.35 Several authors have characterised the recent history of the Australian film and television industries as a pattern of ‘boom and bust’;36 and the AFI’s history also demonstrates clear peaks and troughs of activity and funding. As will be discussed in the chapter on the 1950s and 1960s, the AFI was created during a period of intense screen culture activity, and following that blooming of the cultural ‘undergrowth’ the organisation attracted influential people who were able to lobby for the development of an Australian film industry. From this perspective, the AFI was at the centre of the boom that followed the period known as ‘the interval’37 – a period where there was little feature production. David Stratton has observed that in Melbourne, the lobby for the revival ‘centred around Phillip Adams, Barry Jones and Erwin Rado and the Melbourne Film Festival-Australian Film Institute people’.38 AFI Chair, Phillip Adams (1971–1973) recalls that he wrote a note to Gorton declaring, ‘It’s time to see our own landscapes, hear our own voices and dream our own dreams’.39 This appealed to Gorton who himself was a cultural nationalist, and he started something which Whitlam ‘put real money behind’.40 When Labor came to power with the slogan ‘It’s time’, it seems that Adams’ note was in fact a prophecy! It is arguable that the production and screen culture sectors tend to boom or bust at the same time. For instance, another boom period – or ‘glitter cycle’41 – came during the early 1990s, which was a phase of great energy and confidence both from a production and a screen culture perspective, producing such films as Strictly Ballroom (1992) and Muriel’s Wedding (1994). The large number of successful activities in the early 1990s evidences the boom at the AFI in this period. For instance, during 1991 the AFI achieved 85,000 attendances at AFI cinemas and through its touring programs. This was followed in 1992 by a range of successful activities: the AFI worked with other organisations to establish a screen culture lobby group, Film Arts Network (FAN); the AFI also presented the National Cinematheque of more than 100 films across six cities over forty weeks; AFI membership grew to 7000; there were record attendances at the AFI Film Festival and Awards voting; the number of visitors to the AFI’s Research & Information Centre was at an all time high; and the AFI launched the book series The Moving Image (a series founded by the AFI and still running 15 years later with the publication of this book).42 In 1993, the AFI distributed more than 800 independent Australian films and returned $310,000 to filmmakers. From an AFI perspective, this boom of activity started to decline in 1993 when the AFI’s then CEO, Vicki Molloy, wrote in the annual report that dramatic funding cuts by the AFC at the end of 1992 and P.10: Ruth Jones, Peter Tapp and Mark Poole at a launch in the AFI library in 1997 (photograph by Lisa French); Above: Strictly Ballroom (1992) 11 1993 (amounting to $250,000 per annum) were ‘difficult to accommodate’. The cuts to funding made it less able to support the production industry as it approached the new millennium. While not conclusive in any way, the above examples of the successful periods of the 1970s and early 1990s indicate that booming periods in screen culture have often paralleled booming periods of production. For instance, Alan Finney has observed that the film society activity in the 1960s was ‘vital’ to the revival in the 1970s.44 The inverse is equally observable; other scholars have noted that ‘in periods of low productivity there is little or no local film culture’.43 How Does Screen Culture Benefit The Production Sector? In the natural world, the health of any ecology is measured through considering its biodiversity – that is, the measure of biological health is the variety of its life forms. This analogy is useful when considering the ‘health’ of screen culture. In early 1993, the AFC regarded a ‘healthy’ screen culture sector as one where there was a breadth of activity, lively debate, analysis, and an organic quality in the promotion of an ability to ‘initiate, recognise and adopt changes in screen production, exhibition, distribution and critical practice’.45 The breadth and liveliness of debate and analysis, and the development of adaptable practitioners and audiences – which are essential to the production sector – are fostered through a vibrant screen culture sector. Therefore, regarding screen culture as a discretionary extra, rather than a central ingredient is a short-sighted view that potentially threatens the whole industry. This is why in 1998, the then AFI CEO, Ruth Jones, argued that the production industry and screen culture are ‘inextricably’ linked; that there is a connection between the success of the production industry and the services delivered by the screen culture organisations.46 In the case of the AFI Awards for instance, direct, tangible benefits to individual titles participating in the Awards can range from increased box-office returns, wider audience reach or development, and increases in promotion spent by distributors. Less tangible are the critical reviews increasing reputations, building fan bases and many other activities that take place in our screen culture – and the value to culture generally of a greater interest in film leading to enrichment from international cinema. Tina Kaufman has noted that it is difficult to ‘prove’ whether screen culture is necessary to a healthy production industry. While we can show various case studies that illustrate what the production sector has gained, it is not so much that proof is required, but a rethink of what must be valued and understood. Film and television make a contribution to society that cannot be simply measured as economic output; they make a cultural contribution to our social wellbeing, and build and connect communities. The business of screen culture develops this because once audiences have seen any screen product, what needs to be enabled is that they go away and talk about it, write about it, text a friend – and have further opportunities to engage with it in multiple ways. As well, audiences are today further empowered in a landscape where they have become ‘prosumers’ (both producers and consumers themselves) and are therefore seeking the contribution of screen culture to augment their own consumption and production. The question of whether screen culture is necessary to a healthy production industry has been addressed in the affirmative by funding bodies: for example, the AFC has claimed that a ‘vigorous, diverse and innovative screen culture lies at the heart of a distinctive content 12 creation industry…’47 While this view may not be widely supported by the production sector, there are those who are able to see the importance of the relationship; for example, producer Sue Maslin [Road To Nhill (1997), Japanese Story (2003)] has observed that: screen culture is the generic description of the context in which we create, manufacture, distribute and exhibit screen content. None of these things happen without reference to screen culture – the development of the ideas, the development of the audience, the development of critical engagement for screen content. The more vibrant the screen culture and the more it engages with the wider social, historical, political and contemporary culture, the more alive and vibrant the production sector. It is no coincidence that the moribund state of the Australian film production sector in recent years coincides with the demise of the Australian Film Institute, the demise of avenues for serious film criticism, the demise of film history scholarship in our film schools … all those things that make up a healthy screen culture. One only has to spend a few days in countries that respect their film culture (France, Israel, even the US) to understand how the two things relate.48 Some would argue that no such link exists, but most observers would acknowledge that at least some activities normally labelled screen culture support the production sector, such as the AFI Awards. Former Film Victoria CEO, Sandra Sdraulig, has observed that screen culture plays an important role in helping filmmakers as a forum to ‘articulate the key issues that are vital to the creative process and the content they are creating’.49 As far as the authors of this study are concerned, it is clear that there is a strong link between screen culture activities and a successful production sector; however, as numerous writers have observed,50 articulating this link is no simple matter. Gotaro Tsunashima and Toni Collette in Japanese Story Screen culture activities do however have tangible outcomes in benefiting those in the production sector. For example, there is anecdotal evidence that the AFI Awards directly affect the careers of individuals and the box office successes of their films. For instance, Sue Brooks described her AFI win for best film with Japanese Story, as ‘a boost’ which ‘brought a lot of opportunities’; Phillip Noyce has described his best film win for Newsfront (1978) as a ‘huge break’.51 The AFI Awards also boosted the box office success of Newsfront, which won eight awards: ‘The effect on the box-office was staggering. Within 48 hours the takings, on a day-to-day basis (compared with the previous week), had increased 80 per cent, and within a week by as much as up to 150 per cent’.52 Others have also testified to the box office impact of the Awards; for instance, Dr George Miller has stated that the numerous awards won by The Year 13 My Voice Broke (John Duigan, 1987) and Flirting (John Duigan, 1991) caused an immediate jump in box office takings.53 The importance of the Awards for filmmakers themselves includes situating the filmmaker so that they can get another film up locally, as attested by filmmaker Sarah Watt,54 as well as ‘the usual Hollywood offers’ mentioned by director, Ray Lawrence.55 Denny Lawrence has recalled that he won an AFI award when just out of film school and given that the film was not widely seen, he believes it was the award itself that got him a job with Kennedy Miller.56 (Click here for video.) The AFI CEO, Damian Trewhella, also reported that Kenny (2006), Ten Canoes (2006) and Romulus, My Father (2007) all gained a boost in DVD sales, and Romulus achieved a release in the US, something he says the producers were struggling to achieve prior to their win at the AFI Awards.57 Screen culture initiatives can work to instil an interest in local production (both historical and contemporary), and a sense of ownership and pride in it. As Jane Mills has observed, the Awards make ‘an important contribution to Australian screen culture’,58 and this contribution extends out beyond an Awards ceremony. Activities around the AFI Awards can expand the contribution the Awards make, and promote a better understanding of our cinematic history. For example, during 2007, pay TV operator Movie Extra (part of Movie Network) ran a series of screenings of past AFI winners. The value of this was that it reminded audiences what great films we have made in our cinematic past. When we think of these films it reminds audiences that we have, and therefore can, make great films. The series included: Newsfront (Phillip Noyce, 1978), Mad Max and Mad Max 2 (Dr George Miller, 1979 & 1981), Evil Angels (Fred Schepisi, 1988), The Big Steal (Nadia Tass, 1990), Black Robe (Bruce Beresford, 1991), Muriel’s Wedding (P.J. Hogan, 1994), Romper Stomper (Geoffrey Wright, 1992) and Proof (Jocelyn Moorhouse, 1991). Conclusion As an organisation, the AFI has worked over more than half a century to promote the growth of a diverse film culture, and managed to stay afloat – a remarkable achievement given its non-government status and its membership base. Compared to other periods in its history, the current range and scope of the AFI’s activities are greatly reduced and the central activity is the AFI Awards. However, it has not abandoned its aspirations to do more in the screen culture arena and it has the potential to take up a leadership role. When the AFI responded to Film Victoria’s Screen Culture review, their submission stated, ‘It is the AFI’s hope that this review is the beginning of a reinvigoration of screen culture – and consequently the industry in general’.59 A key issue for the AFI has always been that a lot has been expected of it, despite its nongovernment, membership status. Critics have accused the AFI of failing, often without being equally critical of the government organisations whose job it should have been to create and nurture a vision and a strategy – particularly given that they had the resources to do so.60 As Sklan has noted, there has been an ongoing assumption that a pluralist screen 14 P.14: John Duigan, Ben Mendelsohn, Loene Carmen, Noah Taylor and Dr George Miller at the 1990 AFI Awards (photograph courtesy of the AFI). Right: Newsfront. culture will ‘somehow be naturally maintained’.61 Unfortunately, this is not the case: appropriate strategy, commitment and an understanding of the screen culture environment is necessary. The most highly visible places of the industry are feature films and commercial television, but if these are taken to be the industry, then they are likely to be what is supported, at the expense of less visible areas such as screen culture activities. Yet the starving of funds to the screen culture sector may cause some damage to the industry as a whole. If the undergrowth is cleared to increase the production yield, this weakens the ecosystem. In agriculture it is now recognised that if farmers clear every corner of their properties of remnant vegetation to grow more crops, then birds and insects which live in such habitat will die off; but if farmers leave the corners of their property uncleared, then the resulting remnant vegetation allows small birds and insects to survive and leap from one clump of vegetation on one farm to the next, and so on around the nation, keeping the species alive and maintaining a healthy biodiversity. In some ways, screen culture may be compared to feminism, where its battles are perceived as having been won in past contests and not in need of current nurturing. Yet like feminism, the battles are not necessarily over for all time. In both cases there are new concerns, contexts and outcomes, but the ghosts of the old concerns are still there. This is one reason why the AFI is vitally important in our cultural landscape, because it stands for and reminds us of those ghosts. Peter Thomson has argued: ‘the betrayal of our screen culture is a political failure’ – not party political, but a result of a loss of bipartisan support for the industry – the type of support that revived the industry in the 1970s. Describing screen culture as having been treated as politically expedient, he says the ‘failure belongs to each and every one of us. We’ve dropped the ball, hoping someone else will dive on it and score a try’.62 The ball has been dropped and all the teams in the film industry need to pick it up and get back in the game. As former AFI chair, Bob Weis, has observed, if you don’t have conversations about where things fit, where they came from and what effect they have had, then these important issues become obscure. (Click here for video.) In addition, he has observed ‘without a viable centre for film culture, 15 then having a film industry is merely at the whim of filmmakers and bureaucrats and I know we have a history that is broader, deeper and more meaningful than that’.63 (Click here for video.) Filmmaking is a global industry and many Australians have taken up offers from Hollywood and elsewhere. Ideas of ‘the national’ are becoming increasingly more redundant as the Australian industry becomes ever more globally integrated and it becomes clearer that the industry will have to find a place in the world markets in order to maintain any place at all – particularly given our relatively small population and the frequently poor performances of our films at home. The issue of ‘national’ and ‘global’ is a perennial one – for the AFI as much as for the industry. The AFI could potentially play a much larger role if it took up an internationally oriented ‘niche’, particularly in relation to Australian film. As the Australian Film Institute, it is well placed to do this and as the AFI’s former CEO, Ruth Jones once argued, Australian screen culture internationalises our film, television and multimedia industries and projects our country to the world while simultaneously inspiring and shaping Australian culture – it thus ‘drives the future film industry’.64 However, the AFI would need secure lines of funding and co-operation to achieve this – something that is only likely to fall into place if they are able to win over genuine industry commitment for the value of screen culture and pull stakeholders together to develop a vision and a strategy for achieving it. This is something that the AFI has tried to achieve with some success and some shortfall across decades of sincere commitment to screen culture. As we discuss in this book, the AFI has achieved a great deal over its fifty years. Could it have achieved more? Yes, most likely, particularly if its staff did not have to spend so much energy raising money. However, the AFI has sought to be a proactive organisation in the development 16 P.16: Cate Blanchett signing autographs at the AFI Awards in 2007 (photograph by Belinda Rolland courtesy of the AFI). Below: Dr George Miller and Jan Chapman at the 1990 AFI Awards (photograph by George Haig, courtesy of the AFI). of screen culture – to stimulate debate and achieve a wider reach for activities and exposure for Australian film. It has done this efficiently given its limited resources, increasing access to film for Australians, lobbying for screen culture support with government and the production sector and facilitating increased access to Australian screen culture for international audiences through the high profile of the AFI Awards. Alan Finney, who has held AFI board and chairperson roles, has observed that the organisation has been important because although ‘we live in an International world of film, the AFI has demonstrated that we do have an Australian film culture, a local industry and that Australians value and are willing to support local films’.65 As filmmaker, Ray Lawrence, has wryly observed, ‘the AFI Awards are important culturally, and they help project the illusion that we do indeed have a film industry’66 – a key point, that an independent, member-based organisation should play such as significant role, perhaps a major reason why the AFI still exists after fifty years. We could argue on the basis of the foregoing that the key to developing Australia’s success in screen production is to develop the screen culture environment – this is, after all, not just where films are made but where they are promoted, viewed, discussed, written about and where the stories and meanings of our culture are constructed. It is a place of energy, not just for production but other activities that develop communities around the moving image – such as fandom – for memories, pleasure and where a love of film develops. It follows that it is a part of the environment that is essential to a healthy industry, because it promotes the development of screen literacy through the consumption, discussion and analysis of screen 17 programs. It directly engages audiences, potentially leading to a population enthusiastic about and committed to its own screen industry – and the Australian film and television industry desperately needs this audience development. The engagement of audiences with Australian stories establishes value, passion and pride for our screen industry. It is also arguably the greatest site of an Australian imaginary – creating demand and making it more likely that Australian stories will be told. Dr George Miller has said that a ‘culture is only as strong as its best and most enduring stories – without them we are invisible to ourselves and the rest of the planet’.67 Some industry commentators have asserted boredom with statements that we must tell Australian stories to Australian audiences in Australian voices, because ‘we know that’.68 This dismissal of the power and importance of our own vernacular and stories is dangerous. Arguments for national cinemas are not merely issues of continuity of employment, production and indigenous creative expression (although they are that as well). The national is not incompatible with being international; it is a potential vehicle for conversations with the rest of the world – in tandem with conversations with ourselves. As George Miller has claimed, we gain a deep catharsis through telling our own stories, or stories of our culture: If it’s your privilege to be a storyteller, be aware that it’s a force of nature. Don’t treat it casually. Don’t be afraid to address the darkness, or to unsettle or disturb. Like the nightmares when we dream, these stories often have the greatest capacity to heal. They alert us to our pathologies and allow us catharsis.69 While the development of audiences is no small feat, cultural commentators have pointed the way; film writer, Tina Kaufman, for example, has indicated that we must change the mindset of audiences who strongly prefer Hollywood. Kaufman has advocated what is essentially a role for screen culture in audience development, saying that in her view: we really need to promote our own star system, make the range of expertise of our film-makers and technicians better known, inspire readers to look forward eagerly to news and even gossip on the local industry … higher profile … Encourage Australian audiences … And that is going to take some doing.70 Given that Australia’s star system is largely mobilised by television, it may be that screen culture organisations will need to direct more of their attention to that sector. The Logies has contributed to this also, in a specific way, through development of popular fandom. The Australian industry and film industries globally need to attend to the development of audiences and this has, as this book has illustrated, been the chief role of the AFI over the last fifty years. As Screen International’s former editor, Michael Gubbins observed, the ‘customercentric future’ of screen culture activity means that ‘it seems only logical that more attention is put into nurturing demand than simply feeding supply’.71 That is, to offer the choice to experience more challenging fare. This is the flow-on effect of screen culture – audiences who have screen literacy. As veteran producer, Antony I. Ginnane, has written in relation to how the new federal agency ‘Screen Australia’ (an amalgamation in 2008 of the AFC, FFC and Film Australia) should proceed: 18 Screen culture needs to be a significant part of Screen Australia’s initiatives in addition to production and marketing. There has been a continuing and notable reduction in the cultural funding provided by the AFC over the last decade, whether it be to the AFI, to festivals, to publications or to individual initiatives. This needs to be reversed. Part of the reason why producers and film funding bureaucrats make so many bad choices is that many are not only unaware of the basic dynamics of the business of film but they are also film illiterate. They only occasionally go to the cinema; they have minimal or no knowledge of film history, criticism or aesthetics. Partly that’s choice – they don’t care. Partly the opportunities are not there to acquire this knowledge.72 Australian screen culture and the AFI may not be the same thing but they are clearly inseparable. Today the AFI is financially underpinned by a working alliance of members, sponsors and government. The AFI is potentially well placed to be the vehicle for the transfer of support to Australia’s film culture, but the AFI cannot do this alone. It will need all sectors of the industry to pull together and champion screen culture in order to broaden the development of audiences – a central occupation of the AFI over the last fifty years. Given the fractious, diverse and contingent nature of this industry, this is easier said than done. Endnotes 1 Carole Sklan, ‘Peripheral Vision: Regionalism, Nationalism, Internationalism’, in Albert Moran (ed.), Film Policy: International, National And Regional Perspectives, Routledge, London, 1996, p.236. 2 AFI, ‘AFI Awards’, <http://www.afi.org.au/awards/generalinfo.asp>, accessed 5 June 2008. 3 Interview with Richard Brennan conducted by Mark Poole and Lisa French, South Melbourne, 5 August 2008. 4 Felicity Collins, ‘Following the AFI’, Filmnews, April/May 1983, p.5. 5 Her emphasis. Jan Dawson, A Report on Information Resources, Publications and Distribution & Exhibition Services, AFI, Carlton, 1976, pp.ii (2) – iii (2). Collins was critical of Dawson’s definition of film culture on the grounds that it relates to a 1970s notion of the relationship between an indigenous film industry and national identity. Felicity Collins, ‘Following the AFI’, Filmnews, April/May 1983, p.5. 6 Cathy Robinson quoted in Tina Kaufman, ‘Negotiating Film Culture: the AFC & Future Funding’, Filmnews, December 1992/ January 1993, p.3. 7 Elizabeth Jacka, ‘Film’, in S. Cunningham & G. Turner (eds), The Media In Australia, Allen & Unwin, Sydney, 1993, pp.181–182. 8 For instance, within state and federal film funding agencies, screen culture activities have been in a separate division, handled by different staff. 9 Rod Bishop quoted in Jane Mills, ‘On the Road with Screen Culture [or hit the road, mate]’, Metro, no.134, 2002, p.186. 10 Robin Hughes quoted in Jane Mills, ‘On the Road with Screen Culture [or hit the road, mate]’, Metro, no.134, 2002, p.186. 11 Carole Sklan, ‘Peripheral Vision: Regionalism, Nationalism, Internationalism’ in Albert Moran (ed.), Film Policy: International, National And Regional Perspectives, Routledge, London, 1996, p.236. 12 Jane Mills, ‘On the Road with Screen Culture [or hit the road, mate]’, Metro, no.134, 2002, p.185. 13 John Flaus, interview conducted by Mark Poole and Lisa French, Melbourne, 1 May 2008. 14 Susan Dermody & Elizabeth Jacka, The Screening of Australia: Anatomy of a film industry, Volume 1, Currency Press, Sydney, 1987, p.49. 15 Ruth Jones, AFI Board Strategy Meeting Papers, 22 April 1998, p.3. 16 Jim Schembri, ‘Tough Lessons For the Film Industry’, The Age, 16 April 2008, p.15. 17 AFC analysis of MPDAA data; figures are to 31 December 2007 as reported on 11 January 2008. For results back to 1977 see Get the Picture, <http://www.afc.gov.au/gtp/wcboshare.html>. In 2007, Australian films earned $36m at the box office but figures are arguably lower given that films such as Happy Feet are included in the figures, a film which over 2006/07 19 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 20 took $31.8m on its own. Tina Kaufman, ‘Missing – Screen Culture’, Metro, no.121/122, 2002, p.14. Interview with Ken Berryman conducted by Mark Poole and Lisa French, Melbourne, 27 August 2008. Interview with George Miller conducted by Mark Poole and Lisa French, Sydney, 17 September 2008. Lantana (Ray Lawrence, 2001); Jedda (Charles Chauvel, 1955); The Back of Beyond (John Heyer, 1954); Walkabout (Nicholas Roeg, 1971); Evil Angels (Fred Schepisi, 1988); One Night the Moon (Rachel Perkins, 2001); The Adventures of Priscilla, Queen of the Desert (Stephan Elliot, 1994); and Rabbit-Proof Fence (Phillip Noyce, 2002). Peter Thomson, ‘Introduction’, AFI Awards Yearbook, 2004, AFI, Melbourne, 2004, p.11. Deb Verhoeven, ‘Film and Video’ in Stuart Cunningham and Graeme Turner (eds), The Media and Commmunication in Australia, p.159. See AFC, Screen Culture Sector Summit, 12/10/95, p.19. Personal communication to Lisa French from Film Victoria’s then Industry & Audience Development Officer, Joseph Alessi. This definition comes from the AFC, ICD Guidelines of January 2007, <http://svc012.wic030p.server-web.com/downloads/ pubs/icdbroch0307.pdf>, accessed 5 August 2008. Tina Kaufman quoted in Jane Mills, The Money Shot: Cinema, Sin and Censorship, Pluto Press, Annadale, 2001, p.51. See the analysis of the funding decline to film (screen culture) in: Barrett Hodsdon, ‘After The Fox: Whither Film Culture?’, Metro, no.121/122, 2000, p.11. Jock Given, ‘Creating the Nation – Is This A Film Policy?’, Filmnews, vol. 25, no.1,1995, p.6. See David Gonski, Review of Commonwealth Assistance to the Film Industry, Australian Government, 1997. ASCIA (Australian Screen Culture Industry Association) was an organisation formed as a screen culture lobbying and advocacy group in 1998 in response to the Gonski report. It was organised by the AFI and run out of their South Melbourne offices. For a summary of ASCIA see: Ruth Jones, ‘Australian Screen Culture Industry Association’, Cinema Papers, March 1998, pp.43–44. Ruth Jones, ‘Australian Screen Culture Industry Association’, Cinema Papers, March 1998, p.43. Hodsdon offers the AFC Annual Reports 1985–96 as evidence of this. Barrett Hodsdon, Straight Roads and Crossed Lines: the quest for film culture in Australia from the 1960s, Bernt Porridge Group, Shenton Park, WA, 2001, p.179. Barrett Hodsdon, ‘After The Fox: Whither Film Culture?’, Metro, no.121/122, 2000, p.11. AFC, 1997/98 Annual Report, p.35. Our emphasis. For example, David Stratton, The Avocado Plantation: Boom and Bust in the Australian Film Industry, Pan Macmillan, Sydney, 1990; or Andrew Pike ‘The Past: Boom and Bust’, in Scott Murray (ed.), The New Australian Cinema, Nelson, Melbourne, 1980, pp.11–26. From the 1930s, feature production in Australia began to slow due to a combination of circumstances, particularly the introduction of sound – and then, from the 1940s, the impact of World War Two and Hollywood domination from the early sound period. In some years during the 1960s, no features at all were made, thus the term ‘the interval’. (‘The interval’ is usually a reference to the 1960s, but the 1940s were just as barren for features, and from 1930 to 1960 production was less than the periods before or after that). ‘The interval’ ended with the ‘revival’ – caused by government funding from the 1970s. Note that there were people in Australia working in documentary and advertising in the 1950s and 1960s – the revival could not have happened if there weren’t people making films of some sort in Australia previously. David Stratton, The Last New Wave; The Australian Film Revival, Angus & Robertson, London & Sydney, 1980, p.10. Stratton notes that in Sydney the lobby centred around an industry group called the Australian Film Council (AFC), which aimed to bring all the crafts and unions together with one voice – very like the proposed Screen Council (which the industry has been trying to establish at the time of writing this book and which problematically aims at the one voice). Interview with Phillip Adams, conducted by Lisa French, Sydney, 14 July 2008. John Hughes, The Archive Project (2006). Our emphasis. Ruskin uses the term ‘glitter cycle’ to describe the films of the early 1990s, those mentioned as well as The Adventures of Priscilla, Queen of the Desert. These are all films she describes as featuring protagonists who can act decisively to change their lives and aren’t afraid to deviate from the norm. Emily Rustin, ‘Romance and Sensation in the “Glitter” Cycle’ in Ian 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 61 62 63 64 65 66 67 68 69 70 71 72 Craven (ed.), Australian Studies, vol.14, Nos.1&2, Summer/Winter, Frank Cass Publishers, London, 1999, pp.133–148. Now published by ATOM but still with some financial support from the AFI. Deb Verhoeven, ‘Film and Video’ in Stuart Cunningham & Graeme Turner (eds), The Media and Communications in Australia, p.159. Interview with Alan Finney conducted by Mark Poole and Lisa French, South Yarra, 7 October 2008. Tina Kaufman, quoting the AFC in ‘Negotiating Film Culture: the AFC & Future Funding’, Filmnews, December 1992/ January 1993, p.3. Ruth Jones, ‘Australian Screen Culture Industry Association’, Cinema Papers, March 1998, p.44. AFC, Fostering Screen Culture, Celebrating Screen Creativity, 2008 ICD brochure, p.2. (Sourced from the Industry and Cultural Development Funding Guidelines, Jan. 2007). Email correspondence from Sue Maslin to Lisa French and Mark Poole, 8 September 2008. Interview with Sandra Sdraulig conducted by Mark Poole and Lisa French, Melbourne, 16 September 2008. See for example: Jane Mills, The Money Shot: Cinema, Sin and Censorship, Pluto Press, Annadale, 2001, p.51; or see Tina Kaufman, ‘Missing – Screen Culture’, Metro, no.121/122, 2002, p.14. Sandy George, ‘Their Brilliant Careers’, The Weekend Australian Magazine, Dec. 1–2, 2007, p.18. Michael Harvey, ‘Selling Newsfront’, Cinema Papers, no.22, July/August 1979, p.477. Interview with George Miller conducted by Mark Poole and Lisa French, Sydney, 17 September 2008. Sandy George, ‘Their Brilliant Careers’, The Weekend Australian Magazine, Dec. 1–2, 2007, p.22. ibid. Interview with Denny Lawrence conducted by Mark Poole and Lisa French, Albert Park, 20 July 2008. Interview with Damian Trewhella conducted by Mark Poole and Lisa French, St Kilda, 17 August 2008. Jane Mills, The Money Shot: Cinema, Sin and Censorship, Pluto Press, Annadale, 2001, p.45. Lisa French, Film Victoria: Screen Culture Review/Response paper from The Australian Film Institute, April 2004, p.15. Where funding bodies have tried to do this, it has not been any more successful than the AFI. For example, in 1995 the AFC held an ‘ICD Summit’ with ‘sector promotion’ as one of the agenda items. While significant planning was undertaken, this did not translate into any concrete outcomes, such as a better understanding of the sector. See the minutes: AFC, Screen Culture Sector Summit, 12 October 1995. Carole Sklan, ‘Peripheral Vision: Regionalism, Nationalism, Internationalism’, in Albert Moran (ed.), Film Policy: International, National And Regional Perspectives, Routledge, London, 1996, p.239. Peter Thomson, ‘Introduction’, AFI Awards Yearbook, 2004, AFI, Melbourne, 2004, p.11. Interview with Bob Weis conducted by Mark Poole and Lisa French, St Kilda, 25 August 2008. Ruth Jones, ‘Australian Screen Culture Industry Association’, Cinema Papers, March 1998, p.43. Email from Alan Finney to Mark Poole and Lisa French, 13 September 2008. Ray Lawrence quoted in Sandy George, ‘Their Brilliant Careers’, The Weekend Australian Magazine, Dec. 1–2, 2007, p.18. Dr George Miller, 2005 AFI Awards Yearbook, AFI, Melbourne, 2005, p.8. Jim Schembri, ‘Tough Lessons For the Film Industry’, The Age, 16 April 2008, p.15. Dr George Miller, ‘A Pig Called Max’, The Age, Metro, 13 September 1996, p.1. Tina Kaufman, ‘Missing – Screen Culture’, Metro, no.121/122, 2000, p.16. Michael Gubbins, ‘Bringing Down the Arthouse’, Screen International, June 27, 2008, p.3. Anthony I. Ginnane, ‘Screen Australia: A Blue Print for its First Year – “it’s time to be Darwinian”’, Screenhub, 11 July 2008, <http://www.screenhub.com.au/news/shownewsarticle.asp?newsID=22065>, accessed 20 August 2008, (bold emphasis is Ginnane’s). 21 2 0 CINÉPHILES AND TRUE BELIEVERS: THE AFI IN THE 1950s AND 1960s Right from the 1950s, a few film-minded people led by two pioneers, Frank Nicholls and Erwin Rado [respectively the first AFI Chair and the first AFI CEO], had in mind the goal of one national cultural body devoted to film … The first step was the 1958 founding of the Institute and film awards by a tiny group of governors. No government or industry was prepared to support them, and so for finance, the AFI’s director … relied on the benevolence of Victoria’s film society movement and festival. Colin Bennett1 A udiences – people who loved films and were trying to find avenues for increasing their film experiences – founded the AFI. The period in which the AFI was inaugurated (1958) was a time of intense engagement with film in Australia. Various people who valued screen culture came together to lobby for growth in the sector. They were drawn from the film society movement, from film criticism and from the production sector. Many of them were, like the AFI’s first chairperson, Frank Nicholls,2 ‘lovers of the arts who had been active in other Australian cultural revivals – in literature, theatre, or the visual arts’.3 In this chapter we offer an overview of the establishment of the AFI and the role it played within screen culture in Australia in the 1950s and 1960s. Beginnings The Second World War ended in 1945 and the post-war climate was deeply focused on culture. Film organisations and institutions started to spring up, for instance, the Realist Film Society (formed in 1945) and the State Film Centre in Victoria (established 1948). Film 23 society movements, particularly in Melbourne and Sydney, started to flourish. Melbourne University Film Society (MUFS) was formed in 1948 and held festivals from 1949. The Federation of Film Societies became increasingly active, as they still are to this day.4 The growth of these societies was a response to the absence of choice in relation to what audiences could see at these times. During 1954, the group of film enthusiasts who had been the organising committee for the Melbourne Film Festival (MFF) first recommended the establishment of the AFI. Hungry to expand their film diets, they wanted to see films from overseas. According to Frank Nicholls, an early president of the Federation of Film Societies, the first Chair of the Melbourne Film Festival (then called Photograph of Erwin Chairman of the Organising Committee) and Rado courtesy of MIFF the first Chair of the AFI (his title then being the Chairman of the Governors), they were interested in a BFI monthly publication which reviewed all the films that had been released in the UK. This led to the group forming a view that they should have an ‘Australian Film Institute’, primarily to access films from the British Film Institute. Nicholls says that they had realised that the festival couldn’t be run as a purely amateur operation and they needed a formal or legal incorporated entity through which they could continue to employ the Melbourne Film Festival’s (MFF’s)5 director, Erwin Rado (who was given a salary of £700 from early 19586). In addition, according to Colin Bennett, there was a view that Rado should have something to do in addition to the Film Festival, which occurred only once a year.7 (Click here for video.) By all accounts, Rado was a passionate and charismatic individual. He had joined the festival organising committee in 1953. Nicholls recalled that Rado had told him of sitting on Marlene Dietrich’s knee as a boy in Hungary. Whether it was this luminous experience that founded his interest in the cinema (and his earlier career as a photographer), we do not know; but he put so much time into the festival as a volunteer that, according to Nicholls, he had totally ‘stuffed’ his business through devoting himself full-time to procuring films and making trips overseas to lure producers into attending the festival. (Click here for video.) Thus, because Rado was able, willing and enthusiastic about doing the work, he became the first director of MFF and subsequently, of the AFI. Film culture activist and Labor party politician Barry Jones has recalled that: The reason I did things with the AFI was because of the charismatic Erwin Rado. If Erwin said, ‘I want you to do something’, on the whole you tended to do it … He was a remarkable character … If Erwin rang up and said, ‘Look, I’ve got a job for you, it’s very important that you do it’, I didn’t give it a second thought. … [He] was part of the Melbourne push who had a particular view of film … with a very high aesthetic content … aiming to compete with the best you found internationally.8 (Click here for video.) 24 According to Nicholls there was a Sydney/Melbourne rivalry amongst the film societies. (Click here for video.) He recalls that it was friendly and that the Melbourne societies met their Sydney counterparts from time to time,9 but as will be discussed shortly, at the heart of this rivalry was the competition for sourcing films.10 The Melbourne group was more organised than Sydney and the first to establish a film festival – followed in 1954 when the Sydney Film Festival was established. John Flaus, who was active in the film society movement from the 1950s observed that the Sydney group felt a sense of inferiority towards the Melbourne film scene because the film society movement ‘was so much bigger and more vibrant in Melbourne … When these Sydney bods spoke about the film scene [it was] with such respect, almost cowering’.11 (Click here for video.) Scholars have noted that with the eventual establishment of festivals in the two cities, ‘Melbourne had taken a number of steps towards professionalisation and expansion, while Sydney … remained a largely amateur event driven by the enthusiasm of local filmmakers’.12 Nicholls’ account is that they wanted to establish Melbourne as the first place in Australia to get the films: we had a lot of problems … In the first place because there was no proper accreditation, the overseas people did not want to give us films to show to an audience for free and we didn’t have money to pay for them. In any case, as a festival we expected to get them for free, so there was a good deal of discussion about what was the best way. We’d already run several festivals without the AFI but we could see that having a proper institution would help quite a lot in convincing people about our bona fides and already by that stage we had overcome some of the problems with customs. There was a big ‘hooha’ about whether we could show these films without attracting duty, … and then of course there was the question of censorship … With a film festival we were able to argue that this was the sort of thing that ought to lessen the obligations of censorship since it was a closed membership … the AFI was an additional imprint to make it clear that this was an official operation.13 (Click here for video.) In 1958, the proposal to establish the AFI became a reality and the Registrar General issued the AFI’s certificate of incorporation on 12 November 1958. Initially, meetings had been held above Erwin Rado’s photography business, the AFI’s first registered office, at 566 Bourke Road, Camberwell. The inaugural and subsequent meetings (of subscribers to the Memorandum and Articles of Association) were held on 21 November at an historic mansion that was the CSIRO headquarters in East Melbourne. Frank Nicholls was elected as the Chair of the Board of Governors and four other governors were appointed: Reverend Hamilton Aikin, John Colin Monash Bennett, George Alfred Lugg and Harold Podem. At the March 1959 meeting, four additional governors were appointed: David R.N. Donaldson, Francis A. Bellingham, John W. Heyer and Edwin J. Schefferle. On 15 December, the first general meeting was held and the first meeting of the Governors of the Institute followed this immediately. Its aims were to foster an interest in film, to run festivals, to keep an archive and to distribute films around the country. The AFI consulted with the Australian Council of Film Societies and established, ‘crucially, the name and constitution of a BFI type organisation’.14 This was not just a namesake; Colin Bennett recalled that all of the founding governors wanted an ‘equivalent to the BFI’, driven by a ‘desire for a film culture here … and to get the film industry going’.15 As Adrian Martin has noted, any ‘local cinéphilia 25 embarks on its cycle after taking its cue from elsewhere, from a culture that is already part-way or wholly through its own version of the cycle’.16 As Bennett – who was not only one of the original AFI governors and judge of the Awards for eighteen years, but also a film critic – recalled twenty years later: Above: Giorgio Mangiamele on the roof of 344 Rathdowne Street. (Photograph courtesy of Rosemary Mangiamele.) P.27: Attendees at the first Melbourne Film Festival, Olinda, 1952. (Photograph courtesy of Edwin Schefferle.) It was the first body of any note in Australia created to do anything for the cause of Australian cinema. For most of those 20 years it struggled on the thinnest of shoestrings, unsubsidised, building up film awards to encourage producers, trying to screen Australian films, assist societies and produce literature on our film history.17 The AFI’s first office was at 53 Cardigan Street in Carlton, a house owned by Rado. Nicholls recalled that the boards of management of the AFI, MFF and the federation were all the same people, ‘no more than a couple of dozen’, with an active group in the federation of 30– 40 people. As Hodsdon has noted, the AFI was formed ‘as part of the closely knit Melbourne film culture axis, that existed as the liveliest enclave of this ilk in Australia at that time’.18 Congregating around Carlton in what has been variously described as an establishment club or closed shop,19 they were largely men and while primarily representing the audience, there were also a few filmmakers around at the time including John Heyer, Gil Brealey, Alan Finney and a bit later filmmakers such as Tim Burstall attended the festivals. At the second meeting of Governors on 10 March 1959 they resolved that £1600 should be borrowed from the Federation of Victorian Film Societies (interest free). This provided funds for the AFI to establish itself and represents the audience putting their money forward to establish the AFI. This loan was converted to a gift in 1960. The first MFF, held in 1952, had included film awards – the Commonwealth Jubilee Film Awards presented by The Honourable Mr Kent Hughes, the Minister for the Interior. Hinting at this early stage that the government was starting to become interested in a film industry, he said at the time that the ‘Government has no desire to monopolise film production in Australia but wished to give every assistance to private film producers’ and that ‘we hope that more films would be made in the future by non-government units’.20 However, this was a period still characterised by Cold War paranoia, dossiers were kept on individuals,21 and ASIO agents were at the festival ‘to ensure that some of the communists and radicals among the organisers weren’t plotting to overthrow the nation’.22 According to Nicholls, a committee was set up before each festival to sort out what should be shown and in what categories. Most films screened in the early days were 16mm, because as Nicholls notes ‘the commercial people weren’t very free with 35mm copies’. They were also largely documentary, as this was the dominant genre in production at the time, given few 26 features were made in Australia between the 1930s and 1970s – and as Danks has observed, only ‘seventeen features of any kind were made in Australia in the 1960s – none whatsoever in 1963 and 1964’.23 The festival organising committee developed productive arrangements with the various consulates, which were a mechanism for sourcing films. They also set up a library of books and accumulated documentation on films and were assisted by the State Film Centre and National Library of Australia whose staff (Edwin Schefferle and Harold White), were on the festival organising committee. An agreement was drafted for the AFI to establish a film festival, the Australian Film Festival in 1959, an autonomous division from which the AFI was to earn income.24 The AFI Awards grew out of an awards program that was part of the Melbourne Film Festival and after the AFI’s incorporation, the Awards appear to have continued as part of the festival but with a name change from an MFF Award to an Australian Film Award – which was one awarded by the AFI. At numerous AFI Awards the Grand Prix Award was not given and therefore merit was foregrounded over industry marketing aspirations. From 1959 to 1979, prizes were awarded as Gold, Silver or Bronze. However, the first Gold Awards were not made until 1963 because, as Nicholls recalls, the judges didn’t feel a Gold Award was warranted until then. One of the first Gold Awards went to Gil Brealey for The Land That Waited (1963). Brealey’s career had already been boosted by AFI wins and when he received a Bronze Award for Sunday In Melbourne (1958) the Melbourne Age of 26 May 1959 described him as one of the ‘most promising documentary filmmakers in Australia’. Brealey, who’d made films while a student at Melbourne University and became a producer at the Commonwealth Film Unit, went on to produce Three To Go (Brian Hannant, Oliver Howes and Peter Weir, 1971) and Sunday Too Far Away (Ken Hannam, 1975). There is some uncertainty as to whether the first AFI Awards were held in 1958 or 1959. It is evident from AFI documents that there were Awards in both years and that they were held with MFF, but what is not clear is whether the AFI became the auspice of the Awards in 1958 or 1959. From 1958 to 1972, MIFF and the AFI were 27 Still from The Brothers. (Photograph courtesy of Rosemary Mangiamele.) the same organisation. In either 1958 or 1959 the film awards that MFF had been running were transferred to the auspice of the AFI (with the new name of ‘The Australian Film Awards’). Although interviews for this book occurred with persons who went to the 1958 and 1959 Awards, memories are contradictory and uncertain fifty years later. However, it is clear from the AFI minutes that the same people formed the management committee for the Awards in 1958 and 1959. For instance, the minutes of the second meeting of Governors mention criticism of earlier Awards and plans for the 1959 Awards to address this ‘criticism’. In addition, the second meeting of the Executive Committee of the AFI in February 1959 considered the film awards, and the minutes attest that following ‘considerable discussion the committee came to the conclusion that it was desirable that the final judging should be conducted in a more leisurely atmosphere than in 1958 …’.25 In what follows we have outlined the clues we have found in relation to whether the first awards were held in 1958 or 1959. The evidence that the first awards were in 1958 is that there are records of the winning films from 1958 being a film about the Snowy River hydroelectric scheme: Conquest Of The Rivers (Harry Malcolm, 1957) and another documentary about the Sydney to Hobart Yacht Race: Hard to Windward (Max Graham, 1956). In addition, other scholars have noted that a change was made for the 1958 Melbourne Film Festival, with the ‘institution of the Australian Film Awards as a way of carrying on Olinda’s [the first Melbourne Film Festival held in country Victoria] attempt to improve the impoverished state of Australian cinema’.26 As ‘The Australian Film Awards’ was the original name of the AFI Awards, this would indicate that 1958 was therefore the first AFI Awards. Further evidence is that filmmaker Giorgio Mangiamele stated in an interview that he’d ‘entered The Brothers [1958] in the first award competition in 1958. Rado said he liked the film but should have done this and this’.27 28 However, The Age of 26 May 1958 reported in a story ‘Australian “Oscars” at Film Festival Opening’, that eight Silver and Bronze Awards were awarded to films from 1957/58, at the Union Theatre the night before – as part of the seventh Melbourne Film Festival – not the AFI, which is not mentioned. That article lists the winning films, including Conquest of the Rivers and Hard to Windward and outlines that they were presented by the Producer-in-chief of the Department of Interior, Film Division, Stanley Hawes. Given that the inaugural meeting of the AFI was held in November and the first meeting in December, it seems that the 1958 Awards may well have been associated with the Melbourne Film Festival, not the AFI. Early festivals were, according to Nicholls, held in summer – the first one was held on the Australia Day weekend in January 1952. Nicholls believes that the Awards would not have been called AFI Awards until after the incorporation, but Bennett offered the possibility that they had run the first Awards early in 1959, but called them the 1958 Awards. However, in a report written by Rado on the 1962 Australian Film Awards, he refers to the ‘fourth’ Australian Film Award competitions, which would mean that the first one would have been 1959. As stated, Awards were held with MFF in 1958 and 1959 but which year the MFF Awards became auspiced by the AFI is unclear. If the first AFI Awards were held in 1958, then they were awarded during MFF at Melbourne University’s Union Theatre. However, if the first AFI Awards were in 1959, they were held at one of the commercial venues, given that by 1959 the ‘demand for tickets was such that the Festival could no longer be contained within Melbourne University grounds’.28 MFF moved to several venues: the Carlton (which became the Carlton Movie House); the Australia Theatre, which was on Johnston Street in Collingwood; and the Rivoli, which is still running in Camberwell. The minutes of meetings reveal that the allocated budget for the 1959 AFI Awards was £205. Entry appears to be free initially given there is no income stream listed, but in 1960 entry cost ten shillings for a short and one pound and ten shillings for a film over thirty minutes. Thirty films were entered in six general categories and specific criteria were set up for each category. The AFI meeting minutes describe the criteria in each category: the ‘Documentary’ prize was for ‘films which treat actuality in a creative manner’; in the ‘Public Relations’ category films had to be ‘promoting the sponsoring institution’; the ‘Advertising’ prize was simply for ‘a film selling a production or service’; in the ‘Teaching’ category, they were ‘films designed primarily as visual aids’; and the ‘Experimental’ prize was for ‘films which primarily, through their form show an attempt to renew cinematographic language, or through their content approach territories not generally frequented by filmmakers’. There was also an ‘Open’ category. At this time the films were preselected and then judged by a panel of film critics and filmmakers. In the first year there were five judges – that proved unwieldy – and then three or four judges for the next twenty years.29 The Awards were held with the Melbourne Film Festival into the 1960s and winning films were exhibited at MFF until the separation of the two organisations. The first mention of separating the Awards and the Festival appears in minutes in 1961, but this did not finally happen until 1972. In 1963, a constitution for MFF was drawn up with the management, consisting of six members from the AFI, six from the Federation of Victorian Film Societies and three from the Melbourne University Film Society; this constitution was to be in effect until June 1970. 29 Above: Tim Burstall, Philippa Finney and Fred Schepisi at the AFI Awards in 1976; (photograph courtesy of the AFI.) P.31, L-R: Graeme Blundell at the AFI Awards in 1990; (photograph taken by Rennie Ellis courtesy of the AFI.) Giorgio Mangiamele filming Ninetynine Per Cent. (Photograph courtesy of Rosemary Mangiamele.) The 1960s: Rising From The Undergrowth There was unmistakeable evidence of the existence of a potential Australian film industry, the executive director of the Adelaide Film Festival (Mr E. Williams) said yesterday.30 As Andrew Pike and Ross Cooper have noted, since the 1930s the public had become accustomed to thinking of the cinema as American or British, and Australian distributors and exhibitors had no interest in Australian product, even when it emerged.31 However, the work of filmmakers such as Charles Chauvel (Jedda, 1955) and John Heyer (The Back Of Beyond, 1954) may well have contributed to an interest in local production because during the 1960s there were moves for change. 30 The decade had started with controversy. As has been the case throughout the history of the AFI Awards, those who managed it had to constantly revise categories and processes in response to industry objections, and the AFI has always attempted to find a middle ground in response to industry comments. This has been difficult because ‘the industry’ has never been a singular entity but a messy, sometimes incoherent assemblage. A case in point was demonstrated by the AFI Annual Report of 1960 (item 3), which indicates that there was ‘widespread criticism and partial boycott of the 1960 Awards’ – although who boycotted them and why remains a mystery. By 1962, corporate support began to enter the AFI Awards and The Advertiser (Adelaide) introduced a £100 prize that was awarded in association with the Adelaide Film Festival. The prize was for the best Australian film submitted to the Awards, and was designed to ‘provide a stimulus to Australian film producers and to call public attention to the latest achievements of the nation’s film industry’.32 In 1962, it was won by Tim Burstall (Eltham Film Productions Pty Ltd) for The Prize (1960) that also won a Bronze Medal at the 1960 Venice Film Festival. This acknowledgement was significant in launching a filmmaker who was to become a major figure in the revival of the Australian film industry in the 1970s, directing many films including Two Thousand Weeks (1969), Stork (1971), Alvin Purple (1973), Petersen (1974) and Eliza Fraser (1976). Graeme Blundell has described Burstall as the father of the industry, saying that he ‘was battling against brick walls to get anywhere. The film industry at that point was completely imperialised and Tim thrust through that’.33 According to Alan Finney, Stork came about because Burstall had a grant from the AFI to make an Experimental Film and Television Fund film which was to be a documentary on the La Mama Theatre, but watching a play in which Finney acted and was co-director, he decided instead on the project which became Stork.34 As the decade progressed, many other filmmakers who were later going to shine in the 1970s revival of the Australian film industry were making their debut at the AFI Awards. On 31 26 May 1965, Sir Rohan Delacombe presented the AFI Awards, including one to a young Fred Schepisi (in the public relations category) and several (the Silver Award, Silver Medallion and Kodak Silver Trophy) to Giorgio Mangiamele for Clay (1965) – a film which was the first Australian film to be entered into the Cannes Film Festival and was subsequently invited into the competition.35 Journalist, Paul Kalina, noted that Rado had written in 1963 that ‘the very existence of the film festival-type audience has encouraged the film trade to be more adventurous in the kind of films that distributors are prepared to import, and specialist exhibitors are prepared to show’.36 Certainly there were active pockets of screen culture at the time, for example Ubu films emerged in Sydney (an avant-garde film co-operative) and there was a very active set of Carlton filmmakers in Melbourne such as Nigel Buesst, Brian Davies, Gil Brealey, Giorgio Mangiamele and others working in the avant-garde, such as Dusan Marek and Paul Winkler. However, the mainstream industry was still fledgling, and in 1966, no AFI awards were presented at all.37 The strength of the industry at the time was in documentary and in 1967, the Commonwealth Film Unit won ten AFI awards. In fact, this documentary sector was training those who would later come to the fore in the revival of the 1970s. The Australian film industry had a particularly vibrant period in relation to screen culture in 1968 – most notably in the areas of film history and writing. As Antony I. Ginnane outlined in his editorial for the journal Film Chronicle38, there were seasons of films from Sidney Lumet, Francesco Rosi and Jean-Luc Godard at the Palais, the National Film Theatre of Australia was running films of the Japanese director, Kon Ichikawa, and the Melbourne University Film Society was mounting large and comprehensive retrospectives. 1968 was also significant for the AFI, which established the Raymond Longford Award in that year, and the 1968 AFI Awards was the site of a significant lobby for the industry. Lord (Ted) Willis, president of the British Screen Writers’ Guild, spoke at the Awards presentation at Sydney University Union Theatre. Willis had come to Australia to a UNESCO conference ‘about film culture’39 and he took the opportunity at the Awards to call on the Australian Government to assist the local film industry. Also in 1968, the Prime Minister, John Gorton, created the Australian Council for the Arts as a division of the Department of Prime Minister and Cabinet (it became the Australia Council in 1968) and Barry Jones and Phillip Adams worked closely on the Council’s Film Committee as well as the Interim Council for a Film and Television School.40 As Bennett recalled a decade later: It was people associated with it [the AFI] – Phillip Adams, Barry Jones – who persuaded John Gorton to start the Experimental fund, along with a corporation for feature investment and a film school. And the Institute, whose members did the spade work in launching the fund, has administered it …41 The AFI was able to play a role in focusing Gorton’s attention on the film and television industries by inviting him to present at the 1969 AFI Awards. Gorton said, ‘the 1970s would be exciting in the development of the Australian film industry and [he] would be delighted if a charter of development could be implemented’.42 In this speech he also restated a commitment that $1 million would be allocated for an Australian Film and Television Development Corporation, $100,000 for an Experimental Film and Television Fund and funds 32 Above: Cover of Film Chronicle, 1968. assigned to establish a film school. The Australian newspaper reported that it was ‘a major step towards an integrated Commonwealth administration of artistic subsidies, and perhaps one day a minister for the arts’.43 Gorton’s support at this point was momentous in its importance for the Australian film industry. As former AFI Chair, Barry Jones recalls44, he and Phillip Adams had suggested the area of film to Gorton because he wanted something that he could claim as his own. (Click here for video.) He had come into office as prime minister unexpectedly, not as the result of an election but after the sensational disappearance of Harold Holt while swimming off Portsea. Previous prime ministers had claimed an interest in such activities as cricket (Sir Robert Menzies) and snorkelling (Harold Holt), but no other prime minister had pushed a film agenda. In addition, Jones recalls that Gorton was conscious that as a young man he’d been more influenced by film than he had been by theatre or opera. He had been to a lot of movies and subscribed to the view that: if you got an impression of what Canada is like or what Brazil is like, or what Afghanistan is like, where have you picked it up? And he would have said film. So the result was that it wasn’t very hard to persuade him to say well, if you want the rest of the world to get some idea about Australia – what we’re like, what our values are like, what our cities are like, the way we live. What’s the easiest way to convey that message? – And he’d say film.45 (Click here for video.) Adams has commented that it is difficult for people who were not around at the time to ‘understand that we lived in a country where in the 1960s, there were only four Australian plays that were professionally produced in a decade and where we had to teach Australian 33 actors their own accent, because they never had call to use it’.46 Governments were becoming increasingly concerned with cultural imperialism and Gorton himself was making speeches ‘attacking American ownership of Australian infrastructure’.47 Thus Gorton was identifying his government with a growing sense of national autonomy and when he presented the Australian Film Institute Awards in 1969, ‘he praised the Institute for conveying the more refined aspects of Australian life and for projecting an image of the nation as something other than ‘avantgarde kangaroos or Ned Kellys’.48 Gorton’s view of film has proved prophetic over the years; as Harold Mitchell noted recently, the ‘film industry has been vital to who we are as a nation and how we describe ourselves to the rest of the world’.49 According to Adams, the AFI’s role in all this was that he and Jones had wanted to ‘use the AFI as an arm’s length delivery system for almost all film activity in the country’50 – something that was, however, never achieved. Adams believes this is due to what he attributes to timidity within the organisation, a lack of a bold and brave vision, which meant that they failed to seize opportunities that were presented. Adams claims that if the AFI had moved forward bravely and grabbed opportunities, direct funding would have come to it – something he admits was not made explicit to the AFI itself and which, as discussed later, persons working at the AFI do not recall. It should be noted that Gorton’s vision was of a viable and self-sufficient industry. Adams recalled that the government had ‘played ball’ nicely right up until the point when ‘Gorton slipped into the second reading of the AFDC bill a phrase implying that projects funded must be commercially viable’.51 Gorton’s second reading speech to Parliament memorably stated: We believe that after a period of time properly made investments will be returning profits to the Corporation and there will be no need to replenish the fund each year. That is our objective and the measure of the scheme’s success will be judged partly on this.52 This comment ran contrary to the ‘art’ agenda that was being advocated, particularly in Melbourne by people like Adams, and which was to be subsequently taken up by the Whitlam government. (Click here for video.) The two poles, which have been described as ‘art/culture’, or ‘industry/commerce’53 have existed continuously until perhaps merging in recent times. One ‘pole’ has taken precedence over the other in different periods, affecting policy values and therefore the type of films that have been funded. For example, the rhetoric of culture and nationalism spawned the period films of the 1970s and that of business and internationalism were behind the tax-incentive 10BA legislation in the 1980s, or policy for film studios from the 1990s. These changes have impacted on the AFI and the screen culture sector as much as production, because whenever the commercial ‘pole’ has been dominant, the culture/art sector receives reduced support (and conversely, can therefore provide less support to commerce). Thus the struggle between the demands of culture and industry has been a continuous tension for the AFI. Conversely, whenever art or culture is in the forefront the focus is on the domestic rather than the international, and on cultural policy, developing content, cultural identity (showing our stories and national film milieu to the world) and individual creative production (generally supported by government). In contrast, approaches that favour commerce are an ideological 34 shift to market values, foregrounding or valuing an economic rationalist approach focused on infrastructure, jobs, cross-sectorial partnerships, information and communication technology and securing domestic and international production capacity. While the ‘economic’ or commercial approach has largely been the focus of the last decade, a shift has recently occurred as governments have discovered that a thriving creative arts/culture sector of an economy is a key element in attracting world-class people into an economy. Thus the former distinctions between commerce and culture are becoming blurred as it has been recognised that a local industry is also an international one. Clearly, by the end of the sixties the art/culture imperative had become ascendant to the extent that the need for transforming the Australian screen landscape from a cultural desert into one which offered the hope of a new beginning for Australian film was high on the government agenda; and as we will see, over the next decade the AFI was to play a significant role in ushering in a new era for Australian film. Endnotes 1 Colin Bennett, ‘Cultural benefits to flow from merger’, The Age, 5 May 1979, p.25. 2 Nicholls was involved with the beginning of the Melbourne Theatre Company and founding Chair of the National Council of the Australian Public Relations Institute and the Australian Council of Physics. 3 Elizabeth Jacka, ‘Film’, in S. Cunningham & G. Turner (eds), The Media In Australia, Allen & Unwin, Sydney, 1993, p.183. 4 For information on The Australian Council of Film Societies and societies in Australian states go to <http://www.acmi.net. au/acofs.htm>, accessed 6 May 2008. 5 MFF later became MIFF – Melbourne International Film Festival. 6 Cathy Hope & Adam Dickerson, ‘“Films for the intelligent layman”: The origins of the Sydney and Melbourne Film Festivals (1952–1958)’, Screening the Past, <http://www.latrobe.edu.au/screeningthepast/19/sydney-melbourne-film-festivals. html>, accessed 1 October 2008. 7 Interview with Colin Bennett conducted by Mark Poole and Lisa French, East Brighton, 5 June 2008. 8 Interview with Barry Jones conducted by Mark Poole and Lisa French, Melbourne, 1 May 2008. 9 A meeting was held in January 1950 at Newport Beach, Sydney. Hosted by the NSW Federation of Film Societies, it resulted in the establishment of the Australian Council of Film Societies (ACOFS). In the meeting of the council the following year the Victorian Federation of Film Societies offered to stage a festival at Olinda. This was to be the first Melbourne Film Festival, held in 1952, the same year the Waterside Workers’ Federation Film Unit was formed. See the Australian Screen Chronology, <http://australianscreen.com.au/chronology/1950s/>, accessed 9 May 2008. 10 All attributions to comments by Frank Nicholls in this book come from a recorded interview with him conducted by Mark Poole and Lisa French, McKinnon, 30 April 2008. 11 John Flaus, interview conducted by Mark Poole and Lisa French, Melbourne, 1 May 2008. 12 Cathy Hope & Adam Dickerson, ‘“Films for the intelligent layman”: The origins of the Sydney and Melbourne Film Festivals (1952–1958)’, Screening the Past, <http://www.latrobe.edu.au/screeningthepast/19/sydney-melbourne-film-festivals. html>, accessed 1 October 2008. 13 Frank Nicholls interview conducted by Mark Poole and Lisa French, McKinnon, 30 April 2008. 14 Felicity Collins, ‘Following the AFI’, Filmnews, April/May 1983, p.4. 15 Interview with Colin Bennett conducted by Mark Poole and Lisa French, East Brighton, 5 June 2008. 16 Adrian Martin, ‘No Flowers for the Cinéphile: The Fates of Cultural Populism 1960–1988’, Island in the Stream: Myths of Place in Australian Culture, Paul Foss (ed.), Pluto Press, Leichhardt, NSW, 1988, p.119. 17 Colin Bennett, ‘Yet another film domino totters’, The Age, 10 September 1977, p.10. 18 Barrett Hodsdon, Straight Roads and Crossed Lines: The quest for film culture in Australia from the 1960s, Bernt Porridge Group, Shenton Park, WA, 2001, p.51. 35 19 While scholars (such as Collins or Danks) have described the first governors this way, the energy and significance of their efforts should not be underestimated. However, it was certainly an elite male-dominated group, especially in the first two decades of the AFI. 20 Author not attributed, ‘Minister Hints Gov. Aid to Private Producers’, The Film Weekly, 31 January 1952. 21 Carmela Baranowska, ‘AIDC 2006: Active recall, archive power/John Hughes and the Realist Film Organisation, Realtime, no.72, April–May, 2006, <http://www.realtimearts.net/article/issue72/8068>, accessed 7 May 2008. 22 Carolyn Webb, ‘Birth of a film festival’, The Age, 27 May 2003, <http://www.theage.com.au/articles/2003/05/26/ 1053801326194.html>, accessed 7 May 2008. 23 Adrian Danks, ‘Arrested Developments or from … Melbourne University Film Society in the 1960s Film Culture’, Seamus O’Hanlon & Tanja Lukins, (eds), Go! Melbourne in the Sixties, Circa, Melbourne, 2005, p.102. 24 Paul Kalina, A Place to Call Home: celebrating 50 years of the Melbourne International Film Festival, Melbourne International Film Festival, Melbourne, 2002, p.9. 25 10 March 1959, p.1. 26 Cathy Hope & Adam Dickerson, ‘“Films for the intelligent layman”: The origins of the Sydney and Melbourne Film Festivals (1952–1958)’, Screening the Past, <http://www.latrobe.edu.au/screeningthepast/19/sydney-melbourne-film-festivals. html>, accessed 1 October 2008. 27 Quentin Turnour, ‘Giorgio’, Senses of Cinema at <http://www.sensesofcinema.com/contents/01/14/mangiamele_quentin. htm>, accessed 21 April 2008. 28 Paul Kalina, A Place to Call Home: celebrating 50 years of the Melbourne International Film Festival, MIFF, 2001, p.8. 29 Interview with Colin Bennett conducted by Mark Poole and Lisa French, East Brighton, 5 June 2008. 30 The Advertiser, 13 April 1964. 31 Andrew Pike & Ross Cooper, Australian Film 1900–1977, Oxford University Press, Melbourne, 1998 (2nd ed.), p.201. 32 The Advertiser, 11 April 1962. 33 Blundell quoted in Peter Thompson, ‘A Tribute to Tim Burstall: Pioneer Australian film’, 25 April 2004, <http://sunday. ninemsn.com.au/sunday/feature_stories/article_1537.asp?s=1>, accessed 20 May 2008. 34 Interview with Alan Finney, <http://www.aftrsmedia.com/CSB/wp-content/uploads/finney/finney.mp3>, accessed 10 August 2008. 35 The National Film and Sound Archive note that Clay was invited to competition at Cannes. It was the third Australian film to do so, after Jedda (Charles Chauvel, 1955) and Walk into Paradise (Lee Robinson & Marcel Pagliero, 1956). See <http:// colsearch.nfsa.afc.gov.au/nfsa/search/display/display.w3p;adv=no;group=;groupequals=;holdingType=;page=0;parentid=; query=Clay,%20Mangiamele;querytype=;rec=9;resCount=10>, accessed 6 May 2008. 36 Paul Kalina, A Place to Call Home: celebrating 50 years of the Melbourne International Film Festival, Melbourne International Film Festival, Melbourne, 2002, p.12. 37 Judith Hughey, ‘Film institute in bid for members’, Courier Mail, 25 February 1981. 38 No.2, July 1968. 39 Andrew Urban, Edge of the Known World: The Australian Film and Television School, AFTRS, Sydney, 1998, p.22. 40 Barry Jones, A Thinking Reed, Allen & Unwin, Crows Nest, NSW, 2006, p.214. 41 Colin Bennett, ‘Yet another film domino totters’, The Age, 10 September 1977, p.10. 42 Author not attributed, ‘Cinesound scores double Australian Film Awards’, The Film Weekly, 11 December 1969. 43 Author not attributed, ‘The philistine, it seems, was a little avant-garde’, The Australian, 6 December 1969. 44 The paraphrasing here is drawn from an interview with Barry Jones conducted by Mark Poole and Lisa French, Melbourne, 1 May 2008. 45 Interview with Barry Jones conducted by Mark Poole and Lisa French, Melbourne, 1 May 2008. 46 Interview with Phillip Adams, conducted by Lisa French, Sydney, 14 July 2008. 47 ibid. 48 James Curran, The Power of Speech: Australian Prime Ministers Defining the National Image, Melbourne University Press, Carlton, 2006, p.65. The quotation is Gorton’s ‘Presentation of Australian Film Awards for 1969’, Canberra, 2 December 36 49 50 51 52 1969, transcript, DPMCL. Harold Mitchell, ‘Garrett’s chance to be cast as the hero’, The Australian: Media, 12 June 2008, p.31. Interview with Phillip Adams, conducted by Lisa French, Sydney, 14 July 2008. Phillip Adams quoted in ‘Film & TV Board’s Open Meeting’, ShowBusiness, 30 August 1973. Hansard quoted in Susan Dermody & Elizabeth Jacka, The Screening of Australia: Anatomy of a film industry, Volume 1, Currency Press, Sydney, 1987. The ‘Corporation’ referred to was the Australian Film Development Corporation (AFDC), set up in 1970 to encourage the production and distribution of Australian Film and Television. 37 3 0 THE 1970s: FLOWERS IN THE DESERT – THE END OF THE DROUGHT A lthough the 1970s were an intensely productive time for film culture in Australia, as the decade opened a commercial feature industry was virtually non-existent. As Barry Humphries wryly observed, the number of features produced ‘could be counted on the finger of a leper’s hand’.1 However, this was the decade the industry was revived. As Barry Jones recalled, it was more of an ‘exhumation’ really2 – given that Australia had a vibrant industry in the first quarter of the century. The Gorton government’s injection of funding for film institutions and production (described in the last chapter) had injected optimism for an Australian film industry, which now had a vision of a future. While there was some activity in documentaries and the independent sector that was quietly training an industry, television had a similar lack of production and in 1970, a ‘Make It Australian’ campaign was launched. This was to encourage more local programs on television because the offerings (and high-rating shows) were dominantly American, with the exception of the dramas Homicide and Division 4.3 The revival in the 1970s was grandiosely referred to as our industry’s ‘renaissance’, an ironic description given the first wave of films produced were the ‘ocker’ films such as Stork (Tim Burstall, 1971), Making The Adventures of Barry McKenzie: Bruce Beresford (standing) Barry Crocker (under) Paul Bertram. 39 Picnic at Hanging Rock, foreground Anne-Louise Lambert. The Adventures of Barry McKenzie (Bruce Beresford, 1972) and Alvin Purple (Tim Burstall, 1973). These were all films that shared characteristics of a particular group of sexist ocker romps that appeared on Australian-produced television of the early 1970s – programs such as Number 96 and The Box.4 However, the ocker style changed radically from the mid-1970s and productions were more commonly the refined ‘period’ cycle of feature films. They were often based on novels and overtly signified the cultural in their nostalgic constructions of an imagined past – films such as Picnic At Hanging Rock (Peter Weir, 1975) or The Getting Of Wisdom (Bruce Beresford, 1978). It was an attempt to construct Australia as having a past and being cultural. (This emphasis on period productions was also a feature of some television of the late 1970s, for example, the Crawford Productions serial The Sullivans, which was made between 1976 and 1983). There was a blooming of government film organisations and according to the then AFI Chairman Phillip Adams (1971–1973), every Australian government ‘had to have one’ .5 The Australian Film Development Corporation was established in 1970 and became the Australian Film Commission (AFC) in 1975. Many of the states followed suit: the Perth Institute of Film and Television (1971), the South Australian Film Corporation (1972), the Victorian Film Corporation (1976), the Tasmanian Film Corporation (1977) and the NSW Film Corporation (1977). In addition, in 1973 the Australian Film and Television School was established, as was Film Australia (formerly the Commonwealth Film Unit). 40 For its part, the AFI was active in parallel with the rest of screen culture and was creating momentum for the Australian film industry. The AFI bloomed like the government organisations, establishing the Experimental Film and Television Fund (to provide funding to filmmakers), Vincent Library (a distribution arm), The George Lugg Library (a research and information collection), opening cinemas in three states, lobbying for Australian content, expanding its film culture focus and activities and bringing films from the Melbourne Film Cooperative under its wing, as well as amalgamating with the National Film Theatre. Phillip Adams had not only been at the forefront of the lobby to get federal funding for the industry (as described in the last chapter), but also played a role in various states; for instance, he assisted Don Dunstan in setting up the South Australian Film Corporation.6 At the time, the AFI was the only national agency with a head office in Melbourne, a situation that has continued to this day. Perhaps this is because, as Phillip Adams has observed, ‘Melbourne always did the thinking for the arts and a lot of the creating, but Sydney did the marketing’.7 Melbourne And Sydney Melbourne really was the centre of film culture. Phillip Adams8 In our interview for this book with Dr George Miller, he stated that ‘You could argue that every single major cultural wave came out of Melbourne’.9 He cited examples such as the Heidelberg School, the theatre scene – including La Mama and The Pram Factory and the comedy scene. Importantly, he pointed out that there was an interaction between arts disciplines who all fed off each other in Melbourne and that this was then mirrored to some extent in Sydney; Miller recalled that the AFI was part of the cultural mix, and this mix was the ‘mother’s milk of film production’10 in the 1970s. The Melbourne versus Sydney issue existed as a tension for the AFI from its inception and continued to be an ongoing difficulty for the organisation to manage. This was especially so because it could not always afford an office in Sydney and therefore was often estranged from those who held its future in their hands, such as the powerbrokers at the AFC and federal politicians. Jenny and James Sabine have recalled that the AFI was regarded in Sydney as a Melbourne institution.11 (Click here for video.) According to film historian Ken Berryman, the rivalry had a profound effect on the way in which people felt about the AFI in Sydney; it centred around two issues – ‘who got what, and who had custody of what’.12 Berryman has further observed that as the decade went on, the AFI was to witness the ‘gradual erosion of its Melbourne power base, as the major film institutions, corporate activities and revenue sources became more entrenched in Sydney’.13 The AFI became more dependent on government subsidy and endured hostility from other groups who, as discussed further in the next chapter, felt that the AFI was getting all the resources. The Production Context And The Experimental Film And Television Fund In the early 1970s, both Melbourne and Sydney were active in screen culture and the decade was notable for the emergence of many of our most well known films and filmmakers. This is evident amongst the list of the AFI ‘Best Film’ winners in the 1970s: Peter Weir’s early films, including 41 Homesdale (Peter Weir, 1971), Tim Burstall’s Stork, Ken Hannam’s Sunday Too Far Away (1975), Fred Schepisi’s The Devil’s Playground (1976), Phillip Noyce’s Newsfront (1978) and Gillian Armstrong’s My Brilliant Career (1979). In April 1970, the AFI began to administer the Experimental Film and Television Fund (EFTF), which it continued until 1977 when that function was moved to the AFC. According to film historian, Ken Berryman, who has written a history of the fund that covers the period when the AFI administered it, the management of the EFTF gave the Institute new significance in the 1970s, given that it had previously run the festival and the awards only. The AFI developed ‘from a small, predominantly Melbourne-based group of self-appointed members to something more like a national film organisation – despite sustained animosity from other organisations and individuals in the film community’.14 (Click here for video.) The Experimental Film and Television Fund was the first step in the Gorton government’s plan to revive the industry through directly funding production. Over the seven years the AFI managed the fund, they handed out almost two million dollars to filmmakers for 828 projects.15 It aimed to foster originality in form, content and technique and also to discover new creative talent. The press advertisements for the fund said that ‘experimental’ should be understood in broad terms to include films which are: (i) original in approach, technique or subject matter; (ii) technical research projects; (iii) experiments by inexperienced but promising filmmakers. Funding to the EFTF was the first form of federal support the AFI had ever received and through this, the AFI funded Australian filmmakers nationally. The finance was provided by the Australian Council for the Arts, whose Film Board, chaired by Phillip Adams, initiated the program. Colin Bennett drafted guidelines for the fund,16 which he later observed became a ‘germinating’ force, injecting new life and preventing stagnation.17 The AFI established momentum for the EFTF (and thus the industry) through selecting a range of industry persons – several of whom are now very successful directors – to undertake various roles for the fund. The first production adviser to the EFTF was Bruce Beresford, who was romantically described in the press as ‘tousle-haired’ and wearing ‘mod suits reminiscent of pre-war Chicago’.18 This romanticising was part of a general press tendency to idealise what was going on in the industry at the time. Bennett recalls that Beresford managed the fund for something like a couple of years and that he had run a similar fund previously at the BFI.19 One of his tasks was to seek distribution outlets. There were six assessors at any one time providing reports and those chosen for this job included people such as Fred Schepisi, Colin Bennett and Mal Bryning.20 Later managers of the EFTF were Tom Jeffrey (1972), Malcolm Smith (1972–73), John Morgan (1973–74), Vincent O’Donnell (1975–76), Albie Thoms (1977) and Chris Tillam (1978). Above: Bruce Spence in Stork. P.43: Still from Maidens courtesy of Jeni Thornley. 42 However, the products of the fund were not intended as commercial ventures but aimed squarely at art. The AFI Chairman, Professor A.K. Stout, reinforced this when he said that while some of the films chosen might embarrass the government, ‘through their apparent seditiousness or pornography … there can be no political tests applied to art’.21 And in fact, the first film of the EFTF was politically controversial, a documentary film about the Vietnam Moratorium, Or Forever Hold Your Peace (Richard Brennan et al,22 1970). Berryman has written of this film that it was an often-cited example of filmmakers ‘biting the feeding hand’.23 (Click here for video.) Berryman, who read all the correspondence between the filmmakers and the fund administrators, claims those administrators turned themselves inside out to try and help the filmmakers, but the AFI did not necessarily get credit for this. He recalled that the whole issue of peer assessment was problematic because it was difficult to find people to do assessments for the fund as so many were intending to apply for money for their own projects, or they knew the applicants personally and may not have been able to be objective. Berryman notes that the AFI were doing their absolute best to implement transparent, fair and equitable decisionmaking and he credits the fund with having given incentive to Australians to do work of all kinds, not necessarily as a stepping stone to feature production. He observed the range of people as a cross section, from Peter Weir who eventually launched a career in Hollywood, thorough to Chris Fitchett who made numerous features in Australia, to Jeni Thornley who made a short feminist film in Maidens (1978) – a work intended for herself rather than any broad audience – through to Gary Patterson who made a feature released through the film cooperatives, but eventually came to work primarily in super 8 filmmaking.24 AFI director, Erwin Rado, stated that the first round of films made via the Experimental Film and Television Fund were of two types: people experimenting without any experience, and those who were ‘established filmmakers who are already in the industry making documentaries, commercials and so on but who want to try their hand at making a fiction film’.25 This building of above the line, non-technical skills was all part of the plan to develop 43 Left: Graeme Blundell in Alvin Purple. P.45: Gary Bond in Wake in Fright. the industry and, importantly, indicates that people were working in some kind of industry at the time – albeit a non-feature one. During that period filmmakers were blaming the lack of development of an industry on the government, as well as on distribution problems and the lack of studio facilities. Sue Ford recalled that when a filmmaker received a grant, the money was not forthcoming to the filmmaker, but instead they had to go to the AFI offices in Carlton and get a ‘pink slip’, which was a kind of purchase order that they used to buy stock or have it developed.26 John Flaus felt that this was most likely to have been the system developed because Rado was a careful man who did not want to fall foul of the establishment.27 (Click here for video.) All artists receive the greatest subsidy from themselves, but what this reflects is that while a poet or visual artist of the 1970s might have been able to use a grant to eat or pay rent, it was much more difficult for a filmmaker to do so because their grants were strictly allocated to production costs. The Experimental Film and Television Fund did not always contribute the full cost of films they funded. For instance, when Richard Brennan made Or Forever Hold Your Peace, he received two thousand dollars from the fund. Because the film cost $3200 to make, he made up the extra $1200 by getting one hundred and twenty people to give him ten dollars each. The names of those people appear in alphabetical order at the end of the film, mixed in with the names of people who worked on it – there are no specific production credits.28 (Click here for video.) Beneficiaries of the EFTF included Peter Weir, Bruce Beresford, Paul Cox, Scott Hicks, Yoram Gross, Erika Addis and Glenys Rowe. There were also many other less well-known filmmakers, who were making interesting films around the margins, such as Nigel Buesst, Andrew Pike, Aggy Read, Albie Thoms, Peter Tammer, Dusan Marek and Sue Ford. At the time, Philip Noyce observed that the EFTF grants were successful for a range of well-known filmmakers, the ranks of which he would later join himself: Tim Burstall made Stork on an EFTF grant, then went on to make Alvin Purple, Peter Weir made Homesdale on a grant, and went on to make The Cars That Ate Paris and he’s just started The [sic] Picnic At Hanging Rock, Tom Cowan made Office Picnic on a grant and went on to make Promised Woman, Mike Thornhill made Machine Gun on a grant and went on to make Between Wars.29 44 This is a distinguished list, but as Berryman has pointed out, these people had made films prior to this and may have progressed to features without EFTF grants and therefore this does not necessarily quantify the impact of the EFTF. Despite this, it does show that the AFI was a significant player and had promoted people who were to be leading figures of the revival. The administration of the Experimental Film and Television Fund caused the AFI to become what Berryman described as a miniscule, vertically integrated organisation. Not only were the AFI funding production, they had the rights to distribution for films made under the auspice of the fund, and they eventually took up exhibition in order to promote those films as well. So this activity is extremely important in terms of how the AFI developed, because it led to an expansion of AFI activities. In 1970, the Vincent Film Library (which later evolved into AFI Distribution) was established. Its function was to market and rent out what were largely Australian short films – including films made through the EFTF. It was established with a federal government grant of $31,000 and was named after Senator Seddon Vincent, who loved the arts and produced the Vincent Report, recommending assistance for the industry (he supported and recommended the establishment of government film bodies, a film school and tax rebate) and according to Barry Jones, he was one of John Gorton’s closest friends.30 By 1971, the first crop of films from the Experimental Film and Television Fund received exhibition; they included Michael Thornhill’s Machine Gun, Bruce Petty’s Australian History, Sandra and Yoram Gross’ To Nefertiti and Peter Weir’s Homesdale.31 However, the emphasis on film as art, and on experimentation, was not popular with all. Seven Network’s Bruce Gyngell chastised the industry at the AFI Awards ceremony for not making material for a mass audience; he bemoaned the experimental abstractions and what he saw as an industry in a ‘semi moribund state’.32 Despite this, he was able to point to Wake In Fright (Ted Kotcheff, 1971) as a success; produced in that year, Gyngell remarked that it was the best film ever made in Australia. Gothic Beginnings Wake In Fright is an example, of which there are many in Australian cinema history, of sympathetic outsiders coming in and showing the way; other outsiders making such influential films here include Harry Watt who made the 1946 production The Overlanders, Michael Powell with They’re A Weird Mob (1966), and Nicholas Roeg with Walkabout (1977). Wake In Fright showed we could have powerful features here and despite it and the fore-mentioned films being made by outsiders, they were very important because they provided work, incentive and know-how to the local industry. In addition, they were widely recognised as accurate portrayals of Australia, although as Brian McFarlane has observed, Wake in Fright submitted some of our national myths ‘to rare cinematic scrutiny’33 – outback hospitality 45 Barry Crocker (foreground) and Barry Humphries (rear) in The Adventures of Barry McKenzie reversed to become oppressive; the heroic outdoorsman shown as mindlessly brutal, mateship questioned rather than celebrated and our iconic Chips Rafferty now in a lowkey, non-heroic role that would set the tone for our leading men to come. The thread of ‘Australian gothic’ films that began with Wake In Fright continued in films made by Australians and particularly represented in those of Peter Weir.34 The Vincent Library The Vincent Library was originally located at the AFI’s Sydney office which had been established in the early 1970s when director, Erwin Rado, went to Sydney and headhunted Barbara Taylor, who had previously worked for the National Film Board of Canada. Taylor recalls that Rado ‘was very high handed’ and did not confer with his board of directors about this appointment, creating some tension between the Sydney office and the board. Taylor ran the library until that office was closed around 1975 and recalls that it contained hundreds of titles, many of which were continuously accessed by film societies and the Sydney Filmmakers Co-operative, who sometimes worked jointly with the AFI, as did the Sydney Film Festival and Sydney University Film Society.35 The Sydney office was in an old stable off Pitt Street that the AFI shared with Cinema Papers, which had just started publication. The AFI charter, as Taylor remembers it, was to promote the films of Australian filmmakers in all forms. From its Sydney office the AFI fulfilled a promotional role during the early seventies, as well as providing support in the form of a meeting place for filmmakers and assistance such as typing scripts. Taylor recalls that the AFI promoted the Barry McKenzie films, those of Peter Weir and Bruce Beresford. Many young filmmakers asked for distribution, or other assistance. Taylor would take individual films, or packages of them, to the ABC or distributors. They also maintained a catalogue of films produced. Taylor recalls that life was difficult for filmmakers during this period, but this changed when Whitlam came into power; the money his government put into film and television encouraged people into the industry. Barry Jones has distinguished between the Whitlam and Gorton eras, claiming Whitlam had a bigger idea of the arts generally, because he was thinking in terms of how to generate a cultivated, serious audience who can be relied upon to be cultural consumers. (Click here for video.) In Jones’ view, the difference was that Whitlam had more emphasis on educating a community, while Gorton was equally serious in his intent, but his emphasis was in wanting people overseas to expand what they knew and thought about Australia. (Click here for video.) 46 Democratising The AFI In March 1972, Erwin Rado resigned from the AFI and later that year the Melbourne International Film Festival and the AFI became two separate organisations.36 Isaac Gerson filled the position of acting director of the AFI until a grant of $16300 was received from the Interim Council for the National Film and Television Training School for the appointment of a new full-time executive director. Richard Brennan, who had long associations with film culture going as far back as the 1950s and Ubu in the 1960s, took up the position in 1972 with a 12-month appointment. Under Brennan’s tenure, an effort was made to broaden AFI activities and to take a more democratic and national view of the organisation given that around this period the AFI introduced peer judging as the process for the AFI Awards, replacing the earlier jury system. An Interim Council grant of $16,300 had been given to the AFI to employ Brennan and for the AFI to establish itself on a national basis (from the Interim Council for the National Film and Television Training School). Brennan recalls that the AFI wasn’t a democratic organisation … [the board were] making decisions which were passed on to a membership who had no voting rights at all and I was very keen to open membership to the public … and give membership of the organisation voting rights and that did happen by the end of my 14 months there.37 (Click here for video.) The grant had various conditions set by the Interim Council and these would also have had an impact on the more democratic direction the AFI took. There were a number of major criticisms of the AFI at the time and the grant required that the AFI do something about its relative isolation from other film bodies, particularly its elitist and self-propagating character and its failure to adequately circulate the Vincent Library films.38 These are all activities that Brennan turned his attention to, in particular, selling films to television and producing a catalogue. In an effort to increase interest in the films the Vincent Library held, Brennan arranged for reviews to be written by engaging writers such as John Flaus and Ian Stocks.39 In addition, through the Vincent Library the AFI sent films to an array of festivals – including twenty-eight films to six international festivals: Cannes, Oberhausen, Moscow, Nyon, Milan and Florence. The expansion to become a truly national body could also be attributed to Phillip Adams, who was chair of the AFI in 1972, as well as other board members (then called governors), such as the influential Dr ‘Nugget’ Coombs, who was a deputy at the Australia Council for the Arts and a member of the Australian Film Development Corporation Interim Council.40 These important contributors meant that the AFI was well placed to take up a significant role in and for the industry. There is no doubt that film was prominent in the culture at the time. Phillip Adams has recalled that when the Liberal premier, Rupert Hamer, came into a dominantly ALP crowd at the Melbourne Film Festival, he received a standing ovation because there was a view that ‘the arts were going to save Australia … Keating referred to us going from the cultural cringe to the “cultural strut”’.41 A Focus On Australian Content Although more than 150 films took part in the 1972 AFI Awards, the industry had still not 47 achieved visibility; Jerzy Toeplitz, who was to become the first director of the Australian Film and Television School (AFTS) later in 1973 asked, ‘how many of these films were seen by the public and how many were even shown?’42 These questions were prevalent in 1972 because between September 25 and November 29 the Tariff Board inquiry into distribution and exhibition was held and many filmmakers made submissions ‘protesting against the dominance of American productions [which] largely echoed those of the 1927 Royal Commission and the 1963 Vincent report’.43 The Tariff Board inquiry, set up by the McMahon Liberal/Country Party Coalition, found that there was an unhealthy level of monopoly in relation to contracts, marketing and venue availability. As Dermody and Jacka note, it was feared that history would be repeated and the exhibition and distribution monopolies, which caused a demise of the industry in the 1930s and 1940s, would again take hold. The view at the time was that government assistance to production ‘was of little use unless measures were taken to improve the chances of the products on the market’44 – although unfortunately, this was not conceived at the time to include film culture activities (the term ‘screen culture’ came into usage more recently). These inquiries were however another indicator of the beginnings of momentum for the Australian industry, given that historically impetus has tended to emerge when there is some political will in favour of the industry and the electorate has developed some interest in it. Engaging in these debates in 1973, the AFI Research and Information Centre ran an extensive series of articles in the journal ShowBusiness that were based on a survey on the problems of distributing and marketing Australian films. The AFI was also involved in distribution and marketing of films itself since a condition of EFTF funding was that filmmakers give the AFI their film for distribution through the Vincent Library – something which caused some consternation with some filmmakers who had wanted to have their own distribution rights. According to Richard Brennan, when Albie Thoms made Sunshine City (1973) with EFTF money, he refused to deliver it to the AFI as contracted. Apparently, Thoms objected to certain attitudes held by the AFI and gave this as his reason for not supplying the film to them. However, Brennan decided not to pursue this through legal channels. Thoms was, however, pursued through the press, where articles were headed with titles such as ‘Why my eyes throbbed in painful protest’.45 Thoms, who had been part of Ubu with Brennan, was no stranger to controversy given that many of Ubu’s films were censored.46 In 1973, AFI chairperson, Phillip Adams, resigned citing his appointment as chair of the newly created Australian Council for the Arts Film and Television Board (FRTVB) as the reason. However, Adams stayed on the AFI Board of Governors, while film critic Colin Bennett was elected as acting chair. Bennett has said that Adams had pressed him to be the chair and he’d agreed, but actually all the meetings were chaired by Barry Jones because Bennett didn’t want this part of the job47 (and Jones took over as chair the following year). Adams’ appointment to the FRTVB was significant for the AFI at this point because that body had funds but did not have an infrastructure to administer schemes. Therefore, the FRTVB was able to devolve funds to the AFI, which was regarded as ‘respectable’ – unlike the filmmakers’ co-ops around at the time.48 48 Passionate Amateurs The 1973 Awards were held on December 2 at the Kew Civic Centre. AFI patron, Dr George Miller, has recalled that this was the first AFI Awards he can remember attending. What struck him was that it was a ‘fantastic contrast to events like the Academy Awards’. He remembers the venue as a basement, there was no television broadcast and everyone was casually dressed, even the people who received the awards were just dressed in shirtsleeves and t-shirts, … I remember thinking – I don’t think I am romanticising – that this was pretty much the scale of the Australian film industries. We were all a bunch of really passionate amateurs driven by our love of the cinema. That was the thing that for me really characterised the Australian film industry at the time.49 In relation to the ‘passionate amateurs’, Miller says that although there were technically proficient people, there wasn’t a strong sense of careers. Those in the industry were ‘like teenagers let out for the first time’, suddenly calling out in their ‘own voices’. In addition, Miller recalls the very intense discourse at the time as being central to the energy of the times, (it was the Whitlam era and there were major cultural shifts taking place), and something the AFI was able to play a part in. It is also why he holds the AFI as ‘precious’ – as a vehicle for such discourse. 50 In 1973, David Roe was appointed as director of the AFI – a person in his early twenties who had worked in Western Australia as a journalist following the completion of an arts degree, after which he had established the Perth Film Festival. Roe started after the Awards, which were held with the Television Society – who ran the ‘Penguin Awards’. This partnering with the television sector seemed to generate a lot more press than the Awards had achieved in the past, perhaps because of the much larger public appeal of television. Although television categories did not become part of the AFI Awards until 1986, the Awards were telecast from 1976 and the broadcast component of the event was a key feature, largely because this was how the general public accessed the Awards. A Vision For An Expanding Film Culture In 1974, the first AFI Board of Directors was appointed (replacing the earlier title of Board of Governors), with Barry Jones as AFI chair (1974–1980). In that year the AFI awarded forty grants to filmmakers through the Experimental Film and Television Fund (worth $49,011 in total but each grant was for a very small amount of money, for example, $2500 to Scott Hicks for Keep Moving and $886 to Paul Winkler for Dark). There appears to have been an Awards lull in 1974 because there were no separate Awards that year51 – instead, there was a combined 1974–75 Australian Film Awards. However, the AFI was active in other areas, beginning an exhibition program at the Playbox in Melbourne52 – opening with Raymond Longford’s The Sentimental Bloke (Raymond Longford, 1919), a film that ran at that venue for two years. In 1974, the AFI also worked to engage young audiences with film, running a film competition for filmmakers under fifteen years of age. The AFI awarded grants of up to $500 to enable school-aged children to participate in a Children’s Film Competition held in Canberra in March 1975 as part of the ‘Australia 75 49 Festival’.53 Then, in 1975, the then director of the AFI (Roe), heard that archivist David Francis (who was appointed later as curator of Britain’s National Film Archive), was willing to sell to the AFI his private museum of antique cinema equipment and would also come to Australia to set it up.54 The AFI approached the Victorian Ministry for the Arts who, with some federal money from the Australia Council’s Film Board (then chaired by Phillip Adams), provided a grant of $80,000 for the purchase. There was a significant vision behind the purchase of this substantial collection of early cinema artefacts, cinematographic equipment, memorabilia and books ranging from 19th century magic lanterns to the paraphernalia from the end of the silent period, and that was to establish a museum of ‘The Moving Image’. However, although the AFI was given the money to purchase the collection, funding for the exhibition of it was never forthcoming, despite the best efforts of the AFI in both the 1970s and 1980s (for example, in 1985, the AFI proposed that it become part of a ‘Moving Image Collection‘ on permanent exhibition at the Museum of Victoria). The books from the Francis collection eventually formed the nucleus of the AFI Information Centre and the rest of the collection was stored at the Melbourne Museum – where it continues to reside. Despite the troubled history of this acquisition, it has now paid off because as a sister state agency to the Melbourne Museum, The Australian Centre for the Moving Image (ACMI) has Below: Tim Burstall, Barry access to the collection and in 2009 will include items from it Jones and Ken G Hall at the for their new (permanent) ground-floor gallery. 1976 AFI Awards (photo The AFI was very busy in 1976. It published the first AFI newsletter, increased its distribution business with an 82% rise in film hire and had the first live telecast of the AFI Awards broadcast from the Hilton Hotel in Melbourne on 50 courtesy of the AFI); P.51, L-R: Fred Schepisi at the 1976 AFI Awards (photo courtesy of the AFI); AFI ‘State Cinema’ in Hobart, 1990. Channel 9. The AFI changed structurally again in February 1976, becoming a company limited by guarantee, with new articles of association. Provision was made for the election of a board of directors – replacing the Executive Committee that existed under the previous Articles – and members became directors in two ways: firstly, four board members were elected from the ordinary membership and secondly, ‘Associate’ members elected three positions. The 1976 amendment established membership (by invitation, maximum of 100, entitled to elect 4 board members) and associate membership (by application to the board, maximum 5000, entitled to elect 3 board members). It is interesting to note that the original articles of association (29/10/58) do not specify how one might become a member; therefore, this must have been determined from the beginning by the group in charge. There were also structural changes to the Awards in 1976. The AFI introduced a popular membership award known from then on as ‘Best Film’. It was voted for by the general membership and represented a move towards more democratic systems for the AFI Awards. The inaugural ‘Best Film’ award was won by Fred Schepisi for The Devil’s Playground (1976). At this time the AFI also replaced the jury system (for features but not shorts), with a peer group vote of professionally accredited members of industry guilds and unions. This was loosely based on the American Academy judging system, in which peers vote in areas of their own specialisation, with everyone plus AFI members voting for Best Film. Frontiers Of Exhibition According to Phillip Adams, another significant event was the purchase of the State Cinema in Hobart. Adam’s memory is that he bought it for the AFI – ‘without permission’. He recalls that: I remember Gough as Prime Minister ringing me up and saying comrade, you really shouldn’t have done that. I explained what I was on about, that in my view we had to have a cinema chain in this country that would show Australian films given the refusal of the commercial [cinemas] … to do so. Reluctantly he said ‘go ahead’ and I alerted the AFI to this grand vision: that they would have a chain of cinemas and they went into panic mode rather than rapture.55 However, the AFI did rise to the challenge and Sir Stanley Burbury, KBE, Governor of Tasmania, opened the State Cinema in February of 1976. In the first five months the cinema achieved 12,000 attendances, showing ‘it had firmly established itself as a focal point in the cultural life of Hobart’.56 Australian films shown as main attractions during this period included Rod Bishop’s documentary Rainbow Farm (1973), the surf documentary Crystal 51 Voyager (Albert Falzon, 1976) and Peter Weir’s Australian gothic feature The Cars That Ate Paris (1974). The cinema was managed by Andy Trenouth until 1980, when it was managed by Adrian Jacobsen (with assistance from his wife Marta) for the rest of the AFI’s ownership of the cinema (until 2004/05 when a financial crisis meant the AFI had to sell the cinema). Also in 1976, the AFI opened the Longford Cinema in South Yarra with John Duigan’s The Trespassers (1976). This was the second time the AFI had honoured Longford – the first was in 1968 when it established the Raymond Longford Award. Natalie Miller had helped the AFI to establish this cinema because her friends had developed the property and she played matchmaker in putting them together with the AFI as a good tenant.57 Later (in 1984), Miller was to take over the Longford with Michael Walsh and Andrew Pike because, as discussed in the next chapter, a financial crisis, one of many in the AFI’s history, meant that the AFI could no longer run it.58 Film Culture: The AFI’s Raison D’être The momentum of 1976, evident in the above endeavours, was also demonstrated by the AFI commissioning a report in relation to their own information resources, publications and the distribution and exhibition services. Jan Dawson, who was associated with the BFI and the Berlin Film Festival59, took four months to collate her report. As Collins has observed,60 Dawson identified the key problems for ‘film-as-culture’ organisations as centring around fragmentation and duplicated effort. Dawson called for the AFI to take on a catalyst role, to broker, initiate and bring together diverse approaches to film and to be strategic, or concerted, in its mission to stimulate film scholarship and consciousness. She also found that the AFI would need to differentiate itself from commercial exhibition or other commercial activities by providing the educative contexts, and form an overall policy to foster the art and study of film. Many of Dawson’s recommendations are as valid or useful to the AFI today as they were in 1976; for example, the suggestion that the AFI take up a more international role and market itself better. Whether it was the influence of Dawson’s report or not, the AFI has acted in the broker or service role, but has not always shown the initiative or leadership that would have not only set solid strategic directions, but also strengthened the place of the organisation. However, in 1977 some of Dawson’s recommendations became reality when some publication initiatives occurred61 and the AFI established a Research and Information Centre. Changes In Distribution: The Melbourne Filmmakers CoOperative And The Loss Of The EFTF The AFI established a relationship with Melbourne Filmmakers Co-operative and distributed a large number of their films. However, after the Co-op began to dissolve in 1977, a large number of Melbourne independent filmmakers transferred their distribution rights to the AFI. The demise of the Melbourne Film Co-operative can be partly linked to policy decisions, given that the FRTB withdrew funding support for it in 1976.62 This was also the case with the subsequent merger of the AFI and the National Film Theatre of Australia (NFTA) in 1979, where the AFC had, according to Bruce Hodsdon, threatened to withdraw support from either the NFTA or the AFI.63 52 In 1978, the administration of the Experimental Film and Television Fund was transferred from the AFI to the Australian Film Commission, which had been established in 1975, replacing the Australian Film Development Corporation (and taking over most, but not all of that organisation’s functions64). Dermody and Jacka have noted the success of the AFI in running the EFTF. They wrote that the fund had supported films, some of which were features. They were films that did not have an eye to commercial success, but rather were filmmakers trying out ideas, and from this perspective they were culturally and aesthetically important in developing the expertise of filmmakers and creating interesting and challenging work.65 It is also evident that the fund made a contribution to increasing access for women; while only 20% of the films funded were by women, fewer than 20% of the applicants were women, so proportionally, women were more successful in gaining funds once they applied.66 According to Berryman, the AFI fought hard to hang on to the EFTF but it was a battle that took place within the boardrooms of the AFC and the AFI rather than one that was visible to the membership at large.67 (Click here for video.) The only public comment about the fund being taken from the AFI and given to the AFC appears to be from Bennett, who questioned whether there would be increased administration costs, given the AFI had at that time been administering $200,000 worth of film grants for around $20,000 in costs. Bennett observed that the AFC was ‘stretching its tentacles to take all activity into its commercially orientated embrace, even as it strangles some of it’.68 Bennett also noted that the AFI was two steps from government and the Film Commission was only one. This meant that the AFI could (and did) support films through the Experimental Film and Television Fund that were in conflict with the government of the day, while the AFC might not be able to. The AFI was also in a good position to get the Experimental Film and Television Fund films to market: it was reported in the Bulletin that the AFI’s director, Richard Brennan, was negotiating to sell eleven short films to Channel 7 for significantly more money than could be achieved in a sale to the ABC.69 However, the fund moved to the AFC and there were mutterings among filmmakers as to whether they would be able and willing to take the kind of risks that the AFI had been prepared to take (with total novices). Although it may be to do with the life of such a fund, these concerns appear to have some basis. As Annette Blonski has observed, ‘if you look at the history, it didn’t take those risks’; she says that the EFTF wasn’t given enough funding and ‘became moribund’70 until the industry lobbied for funding to be increased. (Click here for video.) The George Lugg Library Vivienne Gordon, who is described by former AFI board member, Ina Bertrand (1976–1979) as an amazing librarian, had been the administrator of the George Lugg Library while it was part of the Federation of Film Societies. Lugg was a founding governor of the AFI, an early member of the federation and a program advisor to the Melbourne Film Festival. Lugg’s collection of books, journals and other information resources (such as film catalogues) apparently formed the initial core of the library. The amalgamation was undertaken in the interests of rationalisation of resources and increased efficiency, given that the potential utilisation of their combined efforts was seen to exceed 53 Left: Sam Neill in My Brilliant Career; Right: Gillian Armstrong during the filming of My Brilliant Career. that of working separately. According to Bertrand, the AFI did not have any funding to run the George Lugg Library and there was always a lot of pressure on where to spend scarce resources; however, Helen Zilko had generously volunteered to run it. Apparently the board agreed that she could work unpaid for six months, which she did. By that time she had ‘made herself indispensable and everyone was convinced the library was a good thing’.71 Moving In Together: The AFI And The National Film Theatre Of Australia In July 1979 another merger occurred – this time with the National Film Theatre (NFTA), a national exhibition organisation of retrospective screenings and imported seasons (1966– 1979).72 This merger was discussed as early as 1973 and had been pitched as increasing administrative and promotional resources for the NFTA and assisting the AFI’s national agenda and membership, bringing with it a subscriber base of some six thousand. Many of those interviewed for this book first became aware of the AFI when it took over the NFTA, although some had become aware of the AFI previously through the Melbourne Film Festival; this may mean that the NFTA received improved publicity under the AFI’s auspice. It was intended that the NFTA would become a division of the AFI, with an emphasis on retaining the special nature of the NFTA enterprise – Richard Brennan referred to it as ‘living together, unmarried’.73 Although the NFTA was a very active organisation and had a lot more members than the AFI, it appears that it was not as powerful or well placed as the AFI. With the merger, as Hodsdon observed, this would have been a good time to review the whole of the AFI’s activities in the light of this new activity, but this did not occur and eventually the fear that NFTA would be swallowed up became a reality. According to former AFI CEO, Annette Blonski, many of the negative perceptions that some had with the AFI stemmed from this 54 amalgamation and they were to linger for a long time, colouring attitudes towards the AFI well into the 1980s.74 (Click here for video.) The End Of The 1970s In 1979, the AFI’s general manager, John Foster, became the executive director. Foster had worked with David Roe, the previous executive director, and had been holding the fort for almost two years. Producer, Margaret Fink, won AFI Best Film in 1979 for director, Gillian Armstrong’s, My Brilliant Career, which also won Best Direction, Best Actress (Judy Davis) and Best Adapted Screenplay (Eleanor Witcombe), Achievement in Production Design (Luciana Arrighi), Costume Design (Anna Senior) and Cinematography (Donald McAlpine). Not only was Armstrong the first woman in forty-nine years to direct a feature film in Australia, but the film had an unusual predominance of women in key creative roles, foreshadowing that women might finally be better represented in the Australian industry – and as will be discussed in the next chapter, the AFI had a role in promoting the work of Australian women filmmakers. At the end of the 1970s, the AFI had played a major role in developing the film culture environment through lobbying, funding filmmaking, playing a role in distribution, opening cinemas and libraries, running the Awards and making a significant contribution to culture in Australia. Despite the success of such period films as My Brilliant Career, the industry was poised at the end of the decade to swing over from cultural imperatives to more commercial ones and a new system of tax incentives was intended to build on the promise of the seventies and help Australian film to scale new heights. Endnotes 1 Barry Humphries quoted in Andrew Urban, Edge of the Known World: The Australian Film and Television School, AFTRS, Sydney, 1998, p.17. 2 Barry Jones, A Thinking Reed, Allen & Unwin, Crows Nest, NSW, 2006, p.211. 3 Homicide was a Crawford Production with the Seven Network (1964–1976), and Division 4 (1969–1975) was created by Ian Jones. 4 Number 96 was a Cash-Harmon Production (1972–1977) and The Box was Crawford Productions and 0–10 Network (1974–1977). 5 Interview with Phillip Adams, conducted by Lisa French, Sydney, 14 July 2008. 6 ibid. Adams recalled that he had advised Dunstan that given every government department in South Australia had a film crew he should put them in one department and then hatch a plan to move to some feature production by bringing someone in from the eastern states. The person who was eventually brought in was Gil Brealey and Sunday Too Far Away (Ken Hannam, 1975) was the first film. 7 Interview with Phillip Adams, conducted by Lisa French, Sydney, 14 July 2008. 8 Andrew Urban, Edge of the Known World: The Australian Film and Television School, AFTRS, Sydney, 1998, p.18. 9 Interview with George Miller conducted by Mark Poole and Lisa French, Sydney, 17 September 2008. 10 ibid. 11 Interview with Jenny & James Sabine conducted by Mark Poole and Lisa French, Melbourne, 27 August 2008. 12 Interview with Ken Berryman conducted by Mark Poole and Lisa French, Melbourne, 27 August 2008. 13 Ken Berryman, ‘Putting 1975 in Context’, Metro, no.149, p.149. 14 Ken Berryman, Allowing Young Filmmakers to Spread Their Wings: The Educational Role of the Experimental Film and Television Fund, MA, La Trobe University, August, 1985, p.19. This thesis is available through the National Film and Sound Archive. 55 15 ibid, p.1. Berryman documents the time the AFI ran the fund and notes that only 521 projects were completed to release print, p.67; 45.9% were drama, 24% documentary; 23.8% experimental and 6.3% animation, p.69; they were shot on various gauges: 8mm, 16mm, 35mm and video, p.71; and the majority of recipients were from NSW and Victoria (80%), p.75. 16 Interview with Colin Bennett conducted by Mark Poole and Lisa French, East Brighton, 5 June 2008. 17 Colin Bennett, ‘Yet another film domino totter’, The Age, 10 September 1977. 18 Alan Gill, ‘A film land trigger-man’, Advertiser, 19 June 1971. 19 Interview with Colin Bennett conducted by Mark Poole and Lisa French, Melbourne, 6 June 2008. 20 Ken Berryman, Allowing young filmmakers to Spread Their Wings: The Educational Role of the Experimental Film and Television Fund, MA, La Trobe University, August, 1985, p.20. 21 Author not attributed, ‘Gorton, not Goering, Bulletin, 3 December 1969. 22 Various people are listed in the National Film and Sound Archive database as directors of this film: Richard Brennan, Douglas White, Malcolm Smith, Arch Nicholson, Chris McCulloch, Brian Hannant, Kit Guyatt, Ian Dunlop, Frances Beaton. 23 David Roe, AFI Director’s Report, 20 June 2008, cited in Ken Berryman, Allowing young filmmakers to Spread Their Wings: The Educational Role of the Experimental Film and Television Fund, MA, La Trobe University, August, 1985, p.19. 24 Interview with Ken Berryman conducted by Mark Poole and Lisa French, Melbourne, 27 August 2008. 25 Author not attributed, ‘Has Australia the cultural depth to support a film industry’, The Age, 25 September 1970. 26 Discussion with Sue Ford and Lisa French, South Melbourne, recorded 29 April 2008. 27 Interview with John Flaus, conducted by Mark Poole and Lisa French, Melbourne, 1 May 2008. 28 Interview with Richard Brennan conducted by Mark Poole and Lisa French, South Melbourne, 5 August 2008. 29 Phillip Noyce quoted in Ken Berryman, Allowing Young Filmmakers to Spread Their Wings: The Educational Role of the Experimental Film and Television Fund, MA, La Trobe University, August, 1985, p.97. The quoted original source is the AFI Board minutes from 20 November 1976. 30 Barry Jones, A Thinking Reed, Allen & Unwin, Crows Nest, NSW, 2006, p.191. 31 Sandra Hall, ‘The Underground Filmmakers Crop Up’, The Bulletin, 1971, p.35. 32 Author not attributed, ‘Film Trade Losing Purpose’, Sydney ‘Morning Herald, 4 December 1971. 33 Brian McFarlane, ‘Wake in Fright’ in Brian McFarlane, Geoff Mayer & Ina Bertrand (eds), The Oxford Companion to Australian Film, Oxford University Press, South Melbourne, 1999, p.521. 34 Australian gothic films appear from the 1970s until the current period. For example: Razorback (Russell Mulcahy, 1984), Bliss (Ray Lawrence, 1985), The Well (Samantha Lang, 1997), The Proposition (John Hillcoat, 2005). 35 Unless otherwise indicated, all information attributed to Barbara Taylor comes from an interview conducted by Mark Poole and Lisa French, Brighton, 14 April 2008. 36 Ken Berryman, Allowing Young Filmmakers to Spread Their Wings: The Educational Role of the Experimental Film and Television Fund, MA, La Trobe University, August, 1985, p.20. 37 Interview with Richard Brennan conducted by Mark Poole and Lisa French, South Melbourne, 5 August 2008. 38 Ken Berryman, Allowing Young Filmmakers to Spread Their Wings: The Educational Role of the Experimental Film and Television Fund, MA, La Trobe University, August, 1985, p.20. 39 Interview with Richard Brennan conducted by Mark Poole and Lisa French, South Melbourne, 5 August 2008. 40 Author not attributed, ‘The Jones Boy is Set For Action’, Sunday Observer, Melbourne, 11 June 1972. 41 Interview with Phillip Adams, conducted by Lisa French, Sydney, 14 July 2008. 42 Jerzy Toeplitz, ‘Our films are still great unknown’, The Age, Arts, 20 January 1973. 43 Online chronology of Australian film, <http://australianscreen.com.au/chronology/1890s/>, accessed 20 May 2008. 44 Susan Dermody & Elizabeth Jacka, The Screening of Australia: Anatomy of a Film Industry, Volume 1, Currency Press, Sydney, 1987, p.55. 45 Matt White, ‘Why My Eyes Throbbed in Painful Protest’, TV Mirror, TV Lift out, 30 March 1973, p.1. 46 Interview with Richard Brennan conducted by Mark Poole and Lisa French, South Melbourne, 5 August 2008. 47 Colin Bennett, Interview conducted by Mark Poole and Lisa French, East Brighton, 5 June 2008. 56 48 49 50 51 52 53 54 55 56 57 58 59 60 61 62 63 64 65 66 67 68 69 70 71 72 73 74 See Felicity Collins, ‘Following the AFI’, Filmnews, April/May 1983, p.4. Interview with George Miller conducted by Mark Poole and Lisa French, Sydney, 17 September 2008. ibid. Eric Reade, History and Heartburn: The Saga of Australian Film 1896–1978, Harper and Row, Publishers, Sydney, 1979, p.213. The AFI got itself into hot water at the Playbox when it sublet to the GLF Film Society who turned out to be the Gay Liberation Front. When the AFI cancelled sublease to the GLF to hold late night screenings, claiming it was costing the AFI money, the AFI was accused of discrimination. Barbara Taylor, ‘Introducing the Vincent Library’, The Australian Teacher, December, 1974, p.12. Colin Bennett, ‘History out of sight, out of mind’, The Age, 14 October 1978, p.25. Interview with Phillip Adams, conducted by Lisa French, Sydney, 14 July 2008. AFI, 1976 AFI Annual Report, Melbourne, June 1976, p.2. Telephone discussion between Natalie Miller and Lisa French 3 June 2008. Julie Rigg, ‘Arts Today: Natalie Miller’, 27 June 2001, <http://www.abc.net.au/rn/arts/atoday/stories/s319060.htm>, accessed 3 June 2008. Jan Dawson published in Sight and Sound and Monthly Film Bulletin. Her report was criticised as coloured by her Britishness, and has taken up a traditional art cinema/film appreciation position of the time – see Barrett Hodsdon, Straight Roads and Crossed Lines: The quest for film culture in Australia from the 1960s, Bernt Porridge Group, Shenton Park, WA, 2001, pp.23–24. Felicity Collins, ‘Following the AFI’, Filmnews, April/May 1983, p.4. Judith Adamson’s book, Australian Film Posters 1906–1960, AFI & Currency Press, 1978; Andrew Pike & Ross Cooper, Australian Film 1900–1977, Oxford University Press, Melbourne, 1980. Barrett Hodsdon, Straight Roads and Crossed Lines: The quest for film culture in Australia from the 1960s, Bernt Porridge Group, Shenton Park, WA, 2001, p.91. Bruce Hodsdon, ‘Will the NFTA be swallowed without a trace or will the members arrive in time?’, Filmnews, March, 1980, p.3. For information on what the AFC did not take over see Susan Dermody & Elizabeth Jacka, The Screening of Australia: Anatomy of a Film Industry, Volume 1, Currency Press, Sydney, 1987, p.80. ibid, p.171. They were specifically discussing the period 1970–1973. Freda Freiberg, ‘Open Doors: Empty Purses – Women, Film and the AFI’ in Annette Blonski, Barbara Creed & Freda Freiberg, Don’t Shoot Darling, Women’s Independent Filmmaking in Australia, Greenhouse Publications Pty Ltd, Richmond, Australia, 1987, p.113. Interview with Ken Berryman conducted by Mark Poole and Lisa French, Melbourne, 27 August 2008. Colin Bennett, ‘Yet another film domino totters’, The Age, 10 September 1977, p.10. Sandra Hall, ‘Rising from the Underground’, The Bulletin, 21 July 1973. Interview with Annette Blonski conducted by Mark Poole and Lisa French, Malvern, 26 August 2008. Interview with Ina Bertrand, conducted by Lisa French, Spring Hill, Victoria, 8 July 2008. Source for 1979 as the merger date is Barrett Hodsdon, Straight Roads and Crossed Lines: the quest for film culture in Australia from the 1960s, Bernt Porridge Group, Shenton Park, WA, 2001, p.40. Author not attributed, ‘Everyone can go home now, quietly and by the most direct route’, ShowBusiness, 6 December 1973, p.4. Interview with Annette Blonski conducted by Mark Poole and Lisa French, Malvern, 26 August 2008. 57 4 0 FILM IS IT! THE 1980s T he early 1980s were a period of great activity in Australian film and television, largely as a result of the boost to production spurred by the tax incentives commonly referred to as 10BA.1 Australia’s output of feature films and documentaries doubled and there was also an unprecedented boom in television miniseries. Although this era is sometimes remembered for generating a lot of forgettable screen product, many memorable productions were also made: films like The Man From Snowy River (1982), Mad Max 2 (1982), Gallipoli (1981), Crocodile Dundee (1986); television such as The Dismissal (1983), Bodyline (1984), The Cowra Breakout (1985); and documentaries such as Frontline (David Bradbury) and First Contact (Robin Anderson and Bob Connolly). The AFI itself got off to a bumpy start in the 1980s. With Senator David Hamer as the chair, in 1981 the AFI entered a difficult period from a managerial and financial perspective, with four different people occupying the position of executive director in a single year. This is testament to what a difficult job heading up the AFI has always been. John Foster resigned and was replaced by Peter Crayford, who also resigned after six months due to ill health. He was replaced by Keith Lumley, who left after a short interval; according to Paul Harris, Lumley had reluctantly accepted a caretaker role, which may explain the very few references to him and the fact he was soon replaced by Kathleen Norris.2 Norris was an American who had come to Australia that year when her husband, Patrick Veitch, was appointed as general manager of the Australian Opera. This meant Mel Gibson that she was based in Sydney and and Mark therefore the AFI was more strongly Lee in Gallipoli. centred in Sydney at this period 59 Jack Thompson in The Man from Snowy River (1982). than at any other time in the AFI’s history (although departments such as Research and Information and Distribution continued to be located in Melbourne). Norris expanded the presence of the AFI by opening a Sydney office, which included an exhibition department.3 She presided over the largest staff the AFI ever had, before or since, and apparently had great ambition for the organisation. Norris’s tenure was to be as turbulent as the year in which she entered the AFI, but despite this she remained until 1984. There are more pictures of Norris in the AFI Research and Information archives than of any other executive director, indicating she was skilled at gaining the attention of the press. As former AFI staff member, Paul Harris, has observed, Norris was ‘like a character out of a screwball comedy, like Rosalind Russell; she had a can do personality’.4 (Click here for video.) Harris recalls of this period that: CEOs were coming and going … it was a bit disorienting and a bit disheartening for the staff. However, in terms of what the AFI was representing … [and] the AFI Awards in those years … it was a boom time in production. There was a lot of confidence in the industry and a lot of great feature films being made – commercially successful ones [such as George Miller’s 1982 film The Man From Snowy River, which set a box office record]. There was also an interesting stream of experimental features … and of course, the Vincent Library. There were lots of really great shorts being made and being exhibited, the Longford was kicking goals and the State [the AFI cinemas in Melbourne and Hobart].5 (Click here for video.) The early 1980s were a busy period for the AFI, despite the upheavals. In 1981, the AFI began an ambitious publications program and worked with Oxford University Press to publish Andrew Pike and Ross Cooper’s influential book, Australian Film 1900–1977. In 1981, the AFI published John Tulloch’s Legends of the Screen: The Australian Narrative Cinema, 1919–1929, which was to be the first in a planned Australian Screen Series as a joint venture with Currency Press; that was followed in 1981 by Government and Film in Australia written by Ina Bertrand and Diane Collins; and then in 1983, Making a TV Series: The Bellamy Project by Albert Moran. However, by 1983 the AFI was plunged into controversy; a group of AFI members placed a motion of no confidence in Norris and the board on the AGM agenda. John Flaus, a board member, wrote a letter of dissent in relation to the closure of the NFTA, which chair David 60 Hamer chose not to read at the AGM.6 Equally controversially, Norris failed to convey motions from a Sydney members’ meeting to the Melbourne one, outrageously claiming this had occurred because of her own ‘absentmindedness’.7 (Click here for video.) This was the beginning of the end for Norris (and almost for the AFI). As Annette Blonski noted, before she took over as head of the AFI in early 1985 ‘the AFI suffered a severe financial crisis in 1983–84 resulting in the closure of its cinema in Melbourne, the Longford, and in the AFC’s intervention. The result was almost the liquidation of the AFI, but it survived, albeit financially precariously’.8 (Click here for video.) Natalie Miller has observed that it was not just the financial situation that caused the demise of the Longford; in Miller’s opinion it was too expensive a venue for the AFI, which was caught in a dilemma where, due to the fact that they received government subsidy, there was always a protest if they competed with the art house cinemas, yet if they didn’t they were unable to turn a profit and make the cinema viable.9 As Freda Freiberg has observed, walking this exhibition tightrope made the AFI’s position untenable: if they fulfilled their responsibility of exhibiting Australian films which were not likely to get a commercial release, they necessarily incurred losses; if they exhibited overseas art movies and achieved good houses, they were criticised by commercial distributors and exhibitors for exceeding the AFI’s brief and invading their territory, and by the Australian independent filmmakers for failing to fulfil the AFI’s responsibility.10 Tait Brady, who worked in AFI Exhibition under Glenys Rowe in the early 1980s, recalled that there was significant tension in running commercial programs with government subsidy, as there was a perception that this was not fulfilling the AFI cultural charter – which indicates that the AFI itself was conflicted over this exhibition issue.11 According to the then CEO, Vicki Molloy, it was not understood that there is a significant difference between running a commercial operation and providing curated, hosted, contextualised screening programs that cost money. Molloy says that the AFI lost the Longford because there were pressures on Film Victoria from distributors and exhibitors and there was a failure to recognise the special work the AFI was doing in launching new Australian product, new international programs and individual films, as well as putting on seasons of films. In Molloy’s view these criticisms were quite mischievous: in the end it was seen as a failure of operations, when in fact no organisation in the world operates that sort of exhibition program – financially art galleries aren’t expected to make a profit and that was the sort of work it was doing … Commercial interests in Melbourne assisted in the demise of the Longford [as run by the AFI] … when Film Victoria were led to believe that it wasn’t a successful operation, then the AFC didn’t want to stay in there either and the AFI couldn’t sustain it. The holistic approach that the AFI had taken at the Longford in curating contextualised access to material that was not commercial, but culturally important, was either not understood or not recognised. Filmmakers had the expectation that any Australian film that was made should gain a screening at the Longford – regardless of the quality of the film itself, or the potential for it to find an audience. Producers would lobby the AFC with complaints if their film wasn’t shown, 61 and the AFC were proactive in pressing the AFI to exhibit films which they (the AFI) knew would make a loss. At the same time the AFI was criticised for not running a commercially viable exhibition program. In addition, Filmnews, which was coming out of the Sydney Filmmakers Co-op would air any filmmaker complaints and was generally negative in relation to the AFI. The AFI itself did not have such a voice, so from this perspective one could argue that the public record that appears in Filmnews is a Co-op voice and this has distorted the ‘official’ history to date. Early in 1984, AFI staff staged a 3-day strike, leaving only Norris and the office manager, Richard Watts, at their desks. Former AFI staff member, Paul Harris, has recalled this event as ‘highly symbolic and really quite eccentric’, but he states that they ‘got a lot of support’ because of this action.12 (Click here for video.) The strike began when two staff positions were chopped from the Distribution department without consultation with staff (one loss of position and one retrenchment). Norris wouldn’t take a meeting with the representative of the staff association, formed earlier that year, and neither would she meet with the Australian Theatrical and Amusements Employees Association. While the strike was settled, it was not just Norris’ management style that was questioned at the time, but also management’s failure to address the growing organisational deficit.13 By the end of 1984, the AFI chair, Senator David Hamer, claimed ‘the egg hit the fan without warning’14 when he announced a deficit of $130,000 – although presumably the strike in July and concerns over the deficit could have been interpreted as such a warning. By 1984, the staff was the largest ever, reportedly growing from 24 to 50.15 Norris left and Frank Moloney was appointed executive director, but lasted only six weeks. It seems he may have fallen foul of his chairman and wasn’t keen, as a Sydney person, to move to the new Melbourne office in La Trobe Street – which would have been necessary given that the funding crisis meant that yet again the AFI needed to close its Sydney office. Shortly after this David Hamer left and was replaced as AFI chair by actor Lorna Lesley (who held the position until 1987 when she retired and Errol Sullivan became chair). Not only was the Longford now closed in Melbourne, the Chauvel in Sydney (which had replaced the Sydney Opera House venue in 1983), was also temporarily closed. These closures created a problematic reduction in cash flow for the AFI.16 According to Tait Brady, who was the AFI exhibition manager programming the Chauvel (and who had suggested the name ‘Chauvel’ as complementary to the Longford), it was not just cash that ceased to flow, but also the Chauvel had been very important to the AFI’s status and perceived worth in Sydney – particularly with the AFC on whom the AFI was heavily dependent, because they were running a successful art house cinema seven nights a week. As Brady recalls, the AFC was the AFI’s master and incredibly important in the life of the AFI. (Click here for video.) The programming was, according to Brady, a cinéphile’s dream. At that time there wasn’t an art house circuit and the AFI was able to curate high quality, wonderful and sometimes obscure seasons. There was a very successful season of the work of Rainer Werner Fassbinder and an African program which was rare, previously unseen in Australia and which would not have been available to audiences otherwise. The AFI also ran filmmaker question-and-answer sessions and brought out important guests to Australia.17 David Hamer wrote to the AFI members about the temporary closure, saying that they planned to reopen the cinema and that did happen eventually. 62 Karen Colston and Geneviève Lemon in Sweetie. The early 1980s appear to have been a difficult time for screen culture in general; for example, the Melbourne Film Festival was forced into receivership in 1984. This may have been because the climate of tax concessions and the emphasis on more commercial product meant that the industry didn’t require the energy it usually gets from screen culture activities. However, the AFI soldiered on and importantly, introduced the Byron Kennedy Award. This award was organised by Dr George Miller after the sudden death of his friend and collaborator, Byron Kennedy (b.1952). Kennedy died in a helicopter crash in New South Wales in July 1983. Miller’s vision was that this award would remember Kennedy and be an early barometer of excellence – ‘anticipating careers’,18 as well as a celebration of unorthodox or visionary filmmaking. It has not always been won by a filmmaker and has sometimes had several winners in the one year, for example, Andrew Pike and Adrian Martin have won it for contributions to screen culture and Martin shared it with Matt Butler, Evanne Chesson and Gary Warner. What is little known and has gone unreported or unremembered is that a host of organisations and individuals started a fund for the cash prize of $10,000, and among these people making a financial donation was Steven Spielberg. Jane Campion won the Byron Kennedy Award in 1989. It is often recalled that Campion won the Palme D’Or at Cannes (first for Peel in 1986 and then later in 1993 for The Piano), but Campion’s first awards were from the AFI; initially in 1984, with Passionless Moments (for Best Experimental Film, with Gerard Lee) and also in that year, A Girl’s Own Story (for Best Screenplay in a short film). These awards were followed by the Byron Kennedy Award in the year in which her first feature film, Sweetie (1989) was nominated for several AFI Awards (winning Best Original Screenplay with Gerard Lee). Miller has recalled that he believes that she was steeling herself for some negative reviews and that she told him that winning the Byron Kennedy Award ‘was surprisingly encouraging for her’.19 Campion accepted the award by telecast because she out of the country making a film. Sitting amongst many pairs of shoes, she described her filmmaking journey and used each pair to represent the many collaborators who had helped her. In 1985, Annette Blonski was appointed executive director and has recalled that there was a crisis around what the role of the AFI should be: why an AFI should exist and what it should be doing. (Click here for video.) There were pressures on the AFC by new players and questions were being asked about whether money should go into an organisation like the AFI, or if some 63 of its functions could be devolved to smaller organisations that might be able to do them better. Blonski recalls that there were lively debates in Filmnews and Cinema Papers about the role of the AFI and that if it couldn’t prove its worth, then perhaps the industry should look to another model. ‘So it was crunch time’.20 As the NFTA example showed, shuffling activities around can mean those activities are eventually lost, so the AFI was very vulnerable. However, Blonski turned the deficit around. She reduced the staff from 47 to 23, helped by the earlier move to vacate the Longford and the temporary closure of the Sydney office. The AFC also provided a special AFC grant of $100,000, which required management consultant, Peter Rodgers, to overview and restructure the organisation.21 Things seemed to be looking up. The then AFC chairman, Phillip Adams, wrote a letter in the AFI membership brochure that announced ‘Film is it!’ (a la Coca Cola) and ‘It’s available from your nearest AFI office or cinema’ – indicating that a certain commercialism had taken over (which Bennett had warned against in 1970, pointing to the destructive forces of PR and ‘ballyhoo’ – discussed in chapter 7). However, as it had in other eras, the relationship between the AFI and the AFC at the time continued to be characterised by ‘dysfunction … which often became quite acrimonious’.22 Blonski only remained in the job for one year before leaving due to illness. In 1986, Vicki Molloy was appointed executive director. As discussed in detail in chapter 7, in that year television categories were included for the first time in the AFI Awards, which included a dinner for six hundred that was broadcast on ABC TV. Clearly the motivation for adding television categories, especially as they were initially only for mini-series and telefeatures, would have been the excellent work being done in that sector in the 1980s – for instance, Kennedy Miller’s Bodyline (1982) & The Dismissal (1983) and Crawford Productions’ Fortress (1986). Winners at the AFI Awards included Patricia Lovell, producer of the ‘Best Telefeature’ The Perfectionist (Network 10), but the television standout was The Dunera Boys (also Network 10), which won the ‘Best Mini Series’ (to the producer Bob Weis), ‘Best Achievement in Direction’ and ‘Best Miniseries Screenplay (both Ben Lewin) and ‘Best Performance by an Actor & Actress in A Mini Series’ (Simon Chilvers and Deidre Rubenstein). As Phillip Adams has said, ‘If you look at the 80s, TV was running ahead of the feature industry because of the 10BA tax concessions and suddenly there were magnificent mini-series being made’.23 In addition, several popular long-running television series were created in the 1980s, including Neighbours and Home and Away. Mel Gibson & Pat Lovell at the 1982 AFI Awards; photo courtesy of the AFI. 64 By 1986, more women occupied positions at the AFI, on staff and on the board. Freiberg’s analysis is that this was because the AFI paid such low salaries and the men had moved off to the more lucrative and high-status positions in government and industry – leaving women ‘by default’ at the helm. Freiberg makes the interesting observation that: In the late 60s and 70s, the AFI’s growth and development was fostered by the political clout of some male Board members who were powerbrokers in the national capital. In recent years, the Board has lacked such members. The AFI membership and operations have become more open and democratic, but simultaneously the organisation has lost strength. Women may have gained access to decision making in its ranks, but … ultimately, decisions are made higher up – at the AFC and Ministry for the Arts – and women on the staff and board of the AFI have not wielded influence at these levels, at least until now.24 In the previous decade mainstream film and television had operated in masculinist, and often, sexist directions.25 But women filmmakers were entering the industry and demanding increased access and involvement. The AFI played a role in promoting this lobby: in the early 1980s the AFI operated one of ‘the few cinemas in Melbourne and Sydney for the regular exhibition of women’s independent films’.26 Thus, with the support of women filmmakers through the Experimental Film and Television Fund, the AFI aided a feminist political agenda that had been building from the previous decade (the AFC established the Women’s Film Fund in 1976). Peter Kemp was employed by the AFI in 1982 to run a Women’s Film Festival as part of his role as exhibition officer and he has commented that the focus on women was part of ‘the spirit of the times; most cultural organisations wanted to pay more than lip service to women and there were a lot of women employed by the AFI … [it was a] “femocracy”’.27 In addition, the AFI handled the distribution of the ‘Reel Women’28 Collective’s films and by 1983, 24% of Australian titles distributed by the AFI were women’s films.29 Promoting this community of interest and their voices from the margins was important in creating pressure for change and the AFI keenly took up this supporting role, as they did by taking on a greater role in the promotion of Australian film in both exhibition and distribution, following the closure of the Co-op theatres in Melbourne in 1976 and Sydney in 1981. In 1986, the paths of the AFI and the Sydney Filmmakers Co-op merged. The relationship between the two organisations had, according to Peter Kemp who was on the Co-op’s board, been historically poor because the Co-op had seen itself as being in competition with the AFI.30 As film historian, Ken Berryman, has observed (quoting filmmaker Albie Thoms), the Co-op and other film groups felt that ‘the more respectable white collar workers at the AFI appeared to be grabbing all the loot’.31 Richard Brennan recalled that when he became the AFI executive director in the early 1970s, ‘there’d been enormous antagonism between the Sydney Filmmakers Co-op and the AFI’.32 (Click here for video.) The relationship between Co-op members and the AFI was still weak in 1986 when the Co-op was unable to reconfigure their business and voted themselves into liquidation.33 They had two businesses, Filmnews and Distribution. According to former AFI CEO, Vicki Molloy, the AFC took responsibility for bringing in an administrator, who could have recommended a range of actions, but decided it was not a going concern.34 Vicki Molloy has recalled that the staff at the AFI were very clear that they did not seek to undermine or damage in any way the prospects for survival of the Sydney Filmmakers Co-op while it was still in business. Jenny Sabine, who was on the board at this time, has confirmed that Molloy’s recollection is accurate. Sabine said she believed that ‘if you say to someone in government, if you don’t give us the money we’ll close, they are not going to give you the money’.35 There had been many years of tension between the two organisations, especially 65 because they had some similar operations and funding was tight. Molloy remembers that, essentially, the AFC ‘decided to consolidate those two collections into one distribution business and the AFI staff were made responsible for finding deposits for the work which they couldn’t appropriately distribute and selecting the works they felt they could continue to distribute’.36 Molloy claims that the AFI wasn’t keen to take over the Co-op’s collection, but ‘I think the AFC saw it as the only and best solution for not dispersing it completely’.37 However, the AFI did tender for it once the receivers had put it up for sale and Filmnews was sold to the publishers who produced Encore. According to Greg Bright who owned Encore at the time, the company running Encore won the tender to publish, but it didn’t go well. I published three issues and then I tried to move the one-and-a-half staff to Melbourne where the Indie scene was much bigger, but they refused to go. I then retrenched … [staff] and the AFC said that I had to reinstate them and I said ‘no’, if I can’t move it to Melbourne I won’t publish it. So, the AFC took control of it and then it seemed to peter out some time after that.38 The AFCs decision in relation to the Sydney Filmmakers Co-op distribution business was regarded by some as an AFI takeover even though it appears to have been directed by the AFC, not the AFI, who were bound by their funding agreements with the AFC. Combined with a historically poor relationship, this event caused some Melbourne/Sydney tensions into the future. As Molloy explains, the situation for those receiving funding from the AFC was that if those organisations got into difficulty, the AFC had a duty to ensure that services continued to be delivered and on that basis ‘the AFC could make, as a condition of its funding that the organisation would take over, or drop certain activities’.39 As was reported in Filmnews, the AFC decided to provide a distribution subsidy to the AFI, rather than the Sydney Filmmakers Co-op, but insisted that the AFI form a separate company to handle distribution.40 Thus the Co-op, which had founded Filmnews, ceased to exist, and AFI Distribution (AFID) was born. Endnotes 1 10BA initially offered $150 tax deduction for every $100 spent, as well as tax exemptions on the profits earned from investments. 2 Interview with Paul Harris conducted by Mark Poole and Lisa French, St Kilda, 4 June 2008. 3 Jill Sykes, ‘New head, and base, for Film Institute’, The Age, 28 September 1981. 4 Interview with Paul Harris conducted by Mark Poole and Lisa French, St Kilda, 4 June 2008. 5 ibid. 6 Felicity Collins, ‘Following the AFI’, Filmnews, April/May 1983, p.4. 7 Kathleen Norris, ‘Serious Mistakings’, Filmnews, June 1983, p.18. 8 Annette Blonski, Barbara Creed, & Freda Freiberg, Don’t Shoot Darling, Women’s Independent Filmmaking in Australia, Greenhouse Publications Pty Ltd, Richmond, Australia, 1987, pp.54–55. 9 Telephone discussion between Natalie Miller and Lisa French 3 June 2008. For further discussion on this issue see: Meaghan Morris, ‘Carnival a breath of life in the drear festival scene’, Australian Financial Review, 10 September 1982. 10 Freda Freiberg, ‘Open Doors: Empty Purses – Women, Film and the AFI’, Annette Blonski, Barbara Creed, & Freda Freiberg, Don’t Shoot Darling, Women’s Independent Filmmaking in Australia, Greenhouse Publications Pty Ltd, Richmond, Australia, 1987, p.115. 11 Interview with Tait Brady conducted by Mark Poole and Lisa French, Melbourne, 12 August 2008. 12 Interview with Paul Harris conducted by Mark Poole and Lisa French, St Kilda, 4 June 2008. 66 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 No author attributed, ‘AFI: strike settled, strife rife?’, Filmnews, July 1984, p.1. Richard Glover, ‘Another story with no ending?’, Sydney Morning Herald, 18 January 1985, p.8. ibid. ibid. Interview with Tait Brady conducted by Mark Poole and Lisa French, Melbourne, 12 August 2008. Interview with George Miller conducted by Mark Poole and Lisa French, Sydney, 17 September 2008. ibid. Interview with Annette Blonski conducted by Mark Poole and Lisa French, Malvern, 26 August 2008. Author not attributed, ‘Aussie Film Institute Back In The Black After Retrenchment’, Variety, 20 December 1985, p.31. Phillip Adams; Interview with Phillip Adams, conducted by Lisa French, Sydney, 14 July 2008. ibid. Freda Freiberg, ‘Open Doors: Empty Purses – Women, Film and the AFI’, in Annette Blonski, Barbara Creed, & Freda Freiberg, Don’t Shoot Darling, Women’s Independent Filmmaking in Australia, Greenhouse Publications Pty Ltd, Richmond, Australia, 1987, p.114. Particularly in exploitation or ‘Ozploitation’ films, which first appeared in the 1970s, but were also numerous in the 1980s. For an overview of these, and some also made in the 1980s see the film: Not Quite Hollywood (Mark Hartley, 2008). These are films with gratuitous sex, violence, car crashes and sexism e.g. Brian Trenchard-Smith’s Turkey Shoot (1982) or George A. Romero’s Knight Riders (1981). Annette Blonski, Barbara Creed, & Freda Freiberg, Don’t Shoot Darling, Women’s Independent Filmmaking in Australia, Greenhouse Publications Pty Ltd, Richmond, Australia, 1987, p.22. Interview with Peter Kemp conducted by Mark Poole and Lisa French, St Kilda, 16 August 2008. ‘Reel Women’ 1971–1983 was a collective of Melbourne women filmmakers who had been members of the Melbourne Filmmakers Co-op. They included filmmakers such as Claire Jager, Monique Schwarz, Susan Weis, Alison Tilson, Sue Ford, Erika Addis, and Carole Sklan. While this was essentially a 1970s initiative, the AFI’s relationship with it was in the 1980s. Freda Freiberg, ‘Open Doors: Empty Purses – Women, Film and the AFI’, in Annette Blonski, Barbara Creed, & Freda Freiberg, Don’t Shoot Darling, Women’s Independent Filmmaking in Australia, Greenhouse Publications Pty Ltd, Richmond, Australia, 1987, p.112. Interview with Peter Kemp conducted by Mark Poole and Lisa French, St Kilda, 16 August 2008. Albie Thoms, Letter to the Editor, Film Appreciation Newsletter, quoted in Ken Berryman, Allowing Young Filmmakers to Spread Their Wings: The Educational Role of the Experimental Film and Television Fund, MA, La Trobe University, August, 1985, p.21. Interview with Richard Brennan conducted by Mark Poole and Lisa French, South Melbourne, 5 August 2008. Interview with Vicki Molloy conducted by Lisa French, Melbourne, 15 July 2008. ibid. Interview with Jenny Sabine conducted by Mark Poole and Lisa French, Melbourne, 27 August 2008. Interview with Vicki Molloy conducted by Lisa French, Melbourne, 15 July 2008. ibid. Email from Greg Bright to Lisa French, 7 August 2008. op. cit., interview with Vicki Molloy. James Kesteven, ‘Distribution: Advice to Filmmakers’, Filmnews, December 1986, p.6. The Co-op had more documentaries and films on socio-politcial themes, whereas the AFI had a lot more narrative and experimental films. 67 5 0 AN INTERNATIONAL INDUSTRY: THE 1990s AND 2000s A FI Distribution had historically played a major role in distributing short films and this continued into the 1990s when, as Sandra Sdraulig has recalled of her time as Distribution manager, the AFI seized the new market created by the advent of sell-thru video. Using thematic brochures and packaging, they put together and promoted collections of short films and other product for television, as an alternative programming experience. The AFI secured some high-profile features for distribution and represented them to the marketplace. They were also very successful theatrically with packaged short films; for instance, one that did very well was Lover Boy (Geoffrey Wright, 1988) together with Bonza (David Swann, 1989). The AFI undertook successful national touring programs to the Chauvel in Sydney, the State Cinema in Hobart, the Film and Television Institute (FTI) in Western Australia, the Media Resource Centre (MRC) in South Australia and the State Film Centre in Melbourne. Sdraulig stated that she is proud that a not-for-profit organisation was able to take very difficult material – ‘challenging and non-conventional films – and provide a return to the filmmaking community, a mechanism for filmmakers to become knowledgeable about the business of this industry and return sizeable amounts back to the producers’.1 Sdraulig also made the important point that AFID was able to make the material they distributed more accessible than it might have been, particularly through the variety of educational material put together to support it. Since 1982, when the then AFI Distribution manager, Jenny Sabine approached them, the AFI had been distributing short films made by the Australian Film Television and Radio School (AFTRS) and Swinburne (which became the VCA School of Film and Television). (Click here for video.) 69 From that time the AFI were very proactive in promoting films from the film schools and this continued into the 1990s. They entered them in festivals, curated them in screening programs nationally, sold some to television or airlines such as Qantas and packaged them in catalogues which profiled the film schools individually. According to Sabine, Swinburne earned a significant amount from these sales and this provided funds for events such as their annual screenings – which also helped to boost their profile.2 (Click here for video.) In Australia, shorts have always been a fertile production ground and the subject of extensive audience participation. There are hundreds of short film festivals in Australia and this number is constantly expanding.3 Shorts are not mainstream, despite the large number of Australian short film festivals, and they are unfortunately regarded as a poor relation to feature films and not always given due regard. This is a shame, as shorts have their own form and can be more innovative and interesting than features. It is also a production area (particularly in animation) where Australia has performed outstandingly over the years, winning Academy Awards and nominations L-R: Still from Swinburne short Sexy Girls, Sexy Appliances (Emma-Kate Croghan, and gaining success at the prestigious 1992). Nicole Kidman at the 1990 AFI Cannes Film Festival.4 Awards (photo courtesy of the AFI). P.71, L-R: Sam Neill and Sigrid Thornton. Fred Schepisi at the 1990 AFI Awards (Photo by Rennie Ellis courtesy of the AFI). Lisa Hensley and Frankie J. Holden at the 1992 AFI Awards (photo by George Haig courtesy of the AFI). Shorts have their own creative parameters and those who make them do not necessarily do so as vehicles to the feature industry, which is likely to be why filmmakers like Jane Campion come back to the short film form. She made several shorts (The Water Diary, [2005] and The Lady Bug, [2006]) after making six features and this is not because she wasn’t busy, given that at the time of writing this book she had just completed her seventh feature, Bright Star. Campion has said, ‘Short films are often maligned. They are a distinct art form in themselves. After all, Un Chien Andalou [Luis Bunuel and Salvador Dali, 1928] was a short film and it was one of the most influential films ever made’.5 However, many of those working in short and experimental film around this time did go on to make features, including Campion, John Ruane, Shirley Barrett, Geoffrey Wright and Monica Pellizzari – all of who were nominated for AFI Best Short Fiction between 1985 and 1990. However, in the early 1990s the AFI was under pressure to reduce the total number 70 of AFI awards in order to shorten the Awards ceremony, and the number of awards available to shorts and documentaries was effectively reduced. This move generated outrage, letters and a public meeting. AFI CEO, Vicki Molloy, explained that the awards had been altered as a response to recommendations from the Awards Advisory Committee. Previously, there had been awards in some craft categories such as sound, cinematography, editing and writing, but not in others like music composition or design. Four craft categories for short films were reduced to three – for outstanding achievement in any technical or creative capacity.6 Despite the decreased profile in the Awards, the AFI looked to other ways to support short filmmakers and in 1992, Cynthia Mann was appointed as Education Officer. Mann liaised with education and curriculum associations, education bodies, schools and universities and selected films suitable for the sector. She also commissioned and wrote film study guides for teachers to use within various state and national curricula. In addition, a lot of time was devoted to educating filmmakers in the area of distribution and marketing, as part of a way to share the collective knowledge of the AFI with their constituency – particularly new and emerging filmmakers, including those in film schools. This involved running information sessions, seminars and participating on various industry panels. Sandra Sdraulig, who managed AFID at the time, has recalled that it ‘was one way that filmmakers got to understand the rudimentaries of theatrical distribution’.7 As well as spending time publicising their work, filmmakers thus learnt how press kits were formulated and presented to the media. Throughout the early 1990s subsequent education managers and officers, including Kendall Bird and Jane Susak, carried out this work. During this period, staff were able to move across to different sections of the AFI and through this the AFI was able to develop and consolidate the expertise of staff.8 However, Jane Susak has recalled that the lack of resources made it difficult for the AFI to expand services to education, despite the desire to do so.9 The film industry was booming in the early 1990s, but in 1992 and 1993 the AFC funding to the AFI was cut by $250,000 per annum. This caused the AFI to generate strategies to increase its funding base in order to become more independent from government. In 1992, this led the AFI to developing an ‘AFI Business Council’ and ‘Friends of the AFI’ – both of which were good ideas but had limited success and did not continue beyond the early 1990s. Bob Weis was appointed AFI chair in 1993, and in 1995, Ruth Jones was appointed as chief executive; together with their team they were able to gain major funding from the Victorian 71 Government’s Community Support Fund. According to Bob Weis, one of Jones’ strengths was that she had worked in the media unit of the Victorian government and was both well liked and well placed to knock on doors.10 (Click here for video.) This funding was of enormous assistance, as it was for a three-year period, which gave the organisation an opportunity to focus on screen culture rather than merely raising funds for it. This meant that other parts of the AFI business were able to receive more attention. For instance, there was an increased focus on exhibition; the AFI refurbished the cinema in Sydney, From top: Cover image of the book A Century of Australian Cinema. Tim Burstall, Phillip Adams, James Sabine (rear Lisa French) at the launch of A Century of Australian Cinema, at the Performing Arts Museum, Melbourne, March 1995. David Stratton (R) at the 1999 AFI Awards (photos by Corrie Ancone courtesy of the AFI). adding a second screen and re-opening as the Chauvel Cinema in the Sydney Film Centre complex at Paddington Town Hall. AFI Distribution provided national theatrical screenings of 103 short Australia films and documentaries,11 and took $520,637 in gross film sales – returning $255,408 to filmmakers.12 In addition, AFI Research & Information worked with Reed Books Australia to publish A Century of Australian Cinema, edited and with some content provided by the then AFI Research & Information Manager, James Sabine. Research and Information also hosted the Information Gathering Conference (INFOG) at the State Film Centre, an event that was an attempt to develop co-operative opportunities for the better information service provision to the film and television industry and education sector. Regular ‘Conversations On Film’ events, held in several states, were run by the AFI – events which brought the filmmakers and audiences in direct contact with each other.13 In 1997, the NSW Department of State and Regional Development signed to support the AFI Awards in Sydney for three years. Prior to these three-year deals, the AFI Awards had 72 L-R: Alex Dimitriades and Sophie Lee. Dr George Miller (photo by Belinda Rolland). alternated in Melbourne and Sydney, which helped the AFI’s profile in Sydney. The NSW government was keen to have the Awards because of the impending opening of Fox Studios in 1998. At this time, the AFI Articles of Association were altered to increase the AFI Board to nine members, and the preselection of features was dispensed with. In 1998, Denny Lawrence was appointed as chairman, a role he performed until 2005. Under his leadership the AFI’s mission took on a strong audience development focus, aiming to promote and develop a unique Australian screen culture ‘by developing audiences and supporting Australian film practitioners and the Australian film industry’.14 In addition, the AFI’s vision was to ‘act as a catalyst for the development of Australian “screen culture” and the expansion of its audiences’.15 This was particularly well achieved at AFI Awards screenings, which the Annual Report noted achieved 21,100 attendances. In addition, a significant sponsorship of the Awards by Emirates improved the delivery of the Awards overall. The 2000s As the AFI went into the new millennium it shed its kangaroo trademark and undertook some re-branding, but continued to define its mission in the 2000/01 Annual Report as to ‘foster engagement between the screen industries and the Australian community’. In August 2000, AFI CEO, Ruth Jones, resigned and AFI board member, Deb Verhoeven, was appointed as an interim measure, which was later extended a further year.16 Chairman, Denny Lawrence, installed Cate Blanchett as the AFI ambassador and Dr George Miller as patron. Miller has recalled that he felt strongly that he should support the AFI, because it is where you can ‘identify the Australian film industry – it is the locus of it – as well as the site of vital discourse’.17 However, this was a very difficult period for the organisation, which attempted to keep running activities that had been de-funded by the AFC. The AFI Research & Information 73 Library (R& I) and AFI Distribution lost AFC funding from 2000. As detailed, the AFC’s rationale was that this was an educational service and that was not the business they were in. The AFI put forward evidence of the library’s direct input into the film industry and many of these were reported in the press. For instance, Carolyn Webb outlined in The Age that the library had ‘played a key role in countless local and international screen projects’.18 Examples of how the library had delivered both content and industry development outcomes to the Australian industry included Baz Luhrmann commissioning the library to research ‘cancan’ films when he and his team were developing Moulin Rouge and America’s NBC TV had sought research to profile the background of Russell Crowe. Above: Cate Blanchett photographed by Jim Lee. Courtesy of the AFI. Below: Eve Ash, Dr George Miller, Denny Lawrence, Alan Finney at the launch of the new AFI logo (photo by Lisa French). P.75: Chris Brophy and Tony Pearson (Head of Theatre, Film & Television, University of Glasgow) at the AFI INFOG (research and information) Conference in 1999. 74 Without funding the library was in a dire position – libraries don’t generally pay their own costs and usually they are not expected to. The AFI Library did earn income from research activities and from 1984 charged a user fee. Credit should be given for the ability of this service to raise so much of its own operating funds; in 1999, under Chris Brophy as manager, the library turned over $288,365 with four staff and was only costing the AFI $172,000. Research and Information clients included entertainment law films, Fox Studios, distributors, government, filmmakers, television and radio networks (including the ABC and Channel 10), festivals and film societies, exhibitors, industry publications (such as Encore), journalists, arts industry (such as the National Gallery in Canberra and the Australian Opera), schools and universities (including internationally), film buffs, authors and scholars and the general public. In 1999, library clients were 38% education, 29% from the film industry and 10% from the media.19 Caroline Webb outlined the clients who had sent testimonials in support of the library, including international interests such as the British Film Institute and the BBC.20 However, all this was not enough to convince the AFC, and without their funding there was not enough money to keep it open, despite reductions in staff. In October 2002, donations of $17,000 were received for a fund to save the library and this bought a little more time to find a home, which it eventually did under a caretaker arrangement with RMIT’s School of Applied Communication (which became the School of Media and Communication in 2009).21 From information providers, through to filmmakers and academics, the library was (and is) regarded as a standout treasure. Australia’s National Library rated the AFI Library as a national heritage collection. Describing the library as extremely important to Australia’s screen culture, given one could find anything on Australian cinema there and it contains material not held elsewhere. Dr George Miller warned that the closure would contribute to ‘the gradual erosion of the Australian film industry’.22 Film critic and academic, Barbara Creed, had made a similar observation, noting the link between theory and practice and arguing that filmmaking is ‘one of the most intellectual of all art forms. Many of the important contemporary Hollywood directors, such as Martin Scorsese and Francis Ford Coppola, attended film schools where they studied the historical and theoretical bases of cinema’.23 Creed further suggested that Australian filmmakers have been ignorant of the theoretical base of their craft and that is why we have made many inferior films in international terms. As one of Australia’s most successful global filmmakers, Miller outlined the role of screen culture in feeding the production industry: Stories and films don’t arise out of the ether … Scholarship on craft, and understanding what context your film is being made in, is all part of the process. Without the resources to have scholarship, or to be able to see our films historically, you end up making the sort of pretty bland stuff that has been coming out of Australia in recent years … most of our films are pretty well carbon copies of carbon copies of American films … The world is less interested in our films than it was a decade ago. It’s interested in our filmmakers, it’s interested in our actors, but it’s not interested in our films, because our film culture has been eroded over the last decade. And there’s a direct correlation (with events like the AFI library closing), even though people like the AFC and the arts administrators just don’t understand that.24 Miller’s comments reflect the ongoing problem that many people working in film-funding 75 agencies do not understand – the inextricable link that exists between screen culture and production. AFI Distribution also had a role to play in scholarship on craft, a role whose merits were apparently lost on the AFC. In addition, it was the largest distributor of short films and documentaries and the major source of short films to cinemas, free-toair and pay television. With the closure of AFI Distribution, only a small percentage of AFID’s collection, largely work of a commercial nature, found distribution elsewhere. While some material became available through the National Film and Sound Archive or ACMI, the most significant loss was financial returns to filmmakers. The filmmakers themselves were strangely silent on this, failing to lobby for the continuation of the service, despite the fact that AFID turned over $687,700 and ‘on average, almost 70% of the AFC subsidy … [was] returned to filmmakers by way of royalty payment’.25 However, it is true that the whole distribution sector was beginning to change and if AFID still existed today, it would have had to develop a whole new way of doing business – but this may well have catapulted Australian material into all sorts of interesting locations. In our interview with him, Denny Lawrence has said that he believes that the industry never really understood what it was they were losing. The role the AFI played in marketing these films, in actively entering them in festivals or producing themed catalogues to enhance their chances in educational markets was also lost to the production sector, further impoverishing the Australian screen culture environment. There is now no organisation whose job it is to focus on the promotion of Australian screen products, to circulate information about these works and to either curate contextual programs or ensure they are seen in festivals and other forums. Thus the gathering done by the Awards is the best way we now have to see a representative view of what work is being undertaken within Australia in any year. AFI CEO, Ruth Jones, wrote to Kim Dalton on 14 December 1999, following a meeting where she and Denny Lawrence (then the AFI chair) had been informed of the AFC’s intention to cut funding to several AFI programs. She wrote that she had the responsibility to register her deep L-R: Denny Lawrence launching an disappointment that ‘the AFC did not consult with AFI event in the AFI Library in 2001 the AFI, the provider, before deciding to cease (photo by Lisa French). Still from funding research, information and distribution Storm Boy. P.77: Tracey Moffatt directing Nice Coloured Girls (1987). services’, given that the AFC’s oft-stated objective 76 was to consult with its client base and the industry it serves – a practice that was omitted with this decision. She further wrote that it is ‘difficult to avoid the conclusion that [the] … services have suffered because these services and their clients have not yet had an opportunity to make their case to the commission or lobby publicly for support’ and that the AFC board should be made aware of this lack of process. For its part, the AFI board felt that this action was a betrayal – a selling out of film culture. In the face of the AFC’s CEO Kim Dalton’s claims that there were more effective ways of distributing films, Andrew Pike argued that the distribution of such a wide range of films, and particularly short films, just isn’t commercially viable, and can really only be carried out if it is part of the cultural strategy of the funding bodies. The AFI’s work in packaging shorts to show in cinemas is labour-intensive and commercially risky, and it should be subsidized.26 Strong opposition also came from the academic sector against the closure. The AFI was the main distributor of Australian work, a window locally and internationally. What was lost was significant given it distributed over 800 titles, including the early short films of a number of now famous film-makers (such as Phil Noyce, Jane Campion and Gillian Armstrong), a range of important documentaries, films by Indigenous film-makers and on Indigenous issues (including work by Tracey Moffatt and Richard Frankland), work from the students of Australia’s film schools … and the Victorian College of Art [sic], and an important collection of films by and about women.27 77 Despite all these arguments that AFID provided an important service that had a long history dating back to the Co-ops and the Vincent Library, the AFC de-funded it and it was lost to the Australian screen culture environment. As time has passed, this short-sightedness becomes more evident – although it is also evident that the business would have had to move with changes in technology. It appears that the business itself had less support than it had a decade earlier, where perhaps its demise would have been more strongly felt. However, one indication that its closure was short sighted is illuminated by the fact that the Australian film industry is currently receiving more money from education sales than it is from box office returns. According to ATOM’s Peter Tapp, Screenrights has made this more visible: every year Screenrights collects AUD$20 million from the education sector and returns it to filmmakers. It promotes free-to-air or cable broadcasts and supplies free downloadable study guides. Tapp claims that ‘on average a program that goes to air with a study guide will earn 10 times more’.28 In addition, there is a ‘long tail’ effect with titles that can be decades old, such as Storm Boy (Henri Safran, 1976), scoring as many as 200 downloads a year – putting such films back into circulation. Another activity to cease under the auspice of the AFI was the National Cinematheque program. The AFI had been running a circuit that covered most states in Australia and wanted to broaden this program to make it truly national, to run and develop it properly with weekly screenings of extended, curated seasons across the country. A national program run by one organisation provides the benefits of a cost sharing on importing prints and other costs. The AFI had decided that rather than run various different kinds of exhibition activities, they would consolidate all of them under the Cinematheque banner. The idea was to create a national program, where a strong Cinematheque program is supported by a substantial and loyal audience – this is needed as a regular feature in the national landscape and it is a great pity that the AFC did not appreciate this void and support the AFI to do it, as many other countries have. The Cinematheque circuit was achieving across-the-board increases in attendances, which were up 83% in Perth, 90% in Hobart, 37% in Adelaide, 68% in Sydney and 5% in Melbourne (where it has always had a significant, regular audience). The AFI applied to the AFC to provide funding of $180,000. The AFC offered $50,000 to deliver the program as proposed – something that was not achievable but which allowed the AFC to say, as it subsequently did, that the AFI had requested ‘about a 700 per cent’ increase – without pointing out that this was for a 700 per cent better program. In addition, the AFI was now not requesting funds for other exhibition activities which would be consolidated and for which the AFI would no longer seek funding. The AFC was then able to argue that the AFI had refused funding for the program even though they had doubled funding – a spin on the actual sequence of events. The AFC approached ACMI to run a comparable National Cinematheque program to the one the AFI had been running, and allocated them the funding which had previously gone to the AFI. ACMI did this for around three years until the AFC decided to take on a national circuit itself. However, the AFC then curtailed this national circuit after less than two years, on the grounds that it was not cost effective – something that illustrates both the difficulty and the success the AFI and then ACMI had in running this program nationally. Audiences take time to build, and these decisions have meant that today there is no National Cinematheque, although there continues to be a vibrant program run by a group of well-organised cinéphiles 78 in Melbourne (with support from ACMI) and a recently instituted Cinematheque program at the Queensland Art Gallery. Thus, over a couple of years the AFC de-funded AFID, AFI Research & Information and AFI Exhibition – leaving funding in place only for the AFI Awards. Questions were asked at a political level about the AFC’s slashing of funds to the AFI and the then CEO, Kim Dalton, explained to the Senate Estimate Committee that funding to the AFI was ‘reduced from around $800,000 a couple of years ago to $200,000 this [2002] current year’.29 This was in a year when the AFC’s own total funding had increased from $16.853 million to $20.511 million, with an allocated $5 million funding increase for the subsequent year. Senator Lundy seemed to appreciate that screen culture was part of the industry, noting that then AFC CEO Maureen Barron had argued that government support was ‘crucial to the ongoing success and growth of the local film and TV industry’,30 and asking why cuts were therefore being made. As it turns out, the only cuts made were to the AFI. The AFC cut funding to AFI Research & Information (announced in 1999 and commenced in 2000) – a cut reportedly made because ‘the AFC’s core function … [was] development … it is not the role of the AFC to fund the provision of services to the education sector’.31 Lundy further observed of this that the AFC ‘could have played an important role in developing a national constituency for that particular service [the library] but you chose to go on a different path. I do not know whether to keep asking you questions about your motivation for doing that’.32 Whatever the AFC’s motivation, the AFC itself moved into the early 2000s gathering more and more activities under its own belt – as the attempt to take on the National Cinematheque (described above) demonstrates. Additionally, it exemplifies the AFI’s position as it has been throughout its history, at the whim of government, or more particularly, the federal government agency. Former AFI CEO, Annette Blonski, has observed of this period that the AFC were ‘hell bent on whatever mission it had for the AFI and it felt that it could find other ways of doing this, but I don’t know that it was ever articulated what those other ways might be’.33 She explained that in the eyes of the community the AFI was getting a lot of money that could be given to other organisations, but ‘there was no thought to what those organisations would be and how they would be able to work’,34 something she sees as related not so much to the AFI itself, but to the lack of priority given to screen culture in Australia, which she says has ‘been very much undefined and under siege for a long time – and the AFI has been a victim’.35 (Click here for video.) Thus, the current circumstances of the AFI being largely an awards organisation are the product of the AFI’s recent history, where a funding crisis at the end of 2001 forced the AFI to agree to the AFC’s requirement that it shed all activities other than the AFI awards after the AFI got into financial difficulty, principally because it had attempted to continue activities for which the AFC had discontinued funding. The AFI disputed the AFC’s conclusion that AFI Distribution and the library had users who ‘came mainly from the educational sector, which should therefore take responsibility for the service’.36 However, despite being culturally important and of enormous value to the provision of screen culture, these services were not financially viable, and could only survive with subsidy; as Paul Harris observed, they were not glamorous, not sexy – just essential.37 The ‘essential’ role of screen culture activities with a 79 link to education has apparently now been rethought by the AFC who outlined in their 2006/07 Annual Report that the Industry and Cultural Development Division (ICD) has approached increasing Australians’ engagement with screen culture through an ‘emphasis on regional activity, the education sector and utilising the advantages of digital technology’.38 They have developed two new programs in the education sector (Australianscreen and School Screen) but unfortunately this rethink was too late for the above-mentioned AFI activities. A significantly reduced AFI entered the 2000s but the Awards were still going strong. In 2000 the Awards screenings had their largest field in eight years, including twenty-five feature films and the addition of five new television awards. This was the final year of the NSW Department of State and Regional Development sponsorship. Then in 2001, a three-year deal was struck with the Victorian government’s Victorian Major Events Company to hold the awards in Melbourne. Without this support, which continued throughout the 2000s, the Awards would not have achieved the growth, profile and success that they have. As the AFI’s CEO, Damian Trewhella, has observed, if the Victorian Government ‘hadn’t tried to make a major event out of it and invested heavily in it, then I don’t know where else the AFI would have turned. There wasn’t an alternative and the AFI didn’t have a broadcaster’.39 As Sandra Sdraulig noted in our interview with her for this book, the Victorian Government has responded to the need to develop audiences through screen culture, not just in their support of the AFI Awards, but in building and financing the Australian Centre for the Moving Image and generously funding the Melbourne International Film Festival. That Victoria should lead the way here is consistent with the perception that Melbourne has always been the home of screen culture and that the State Government values ‘the role the arts has to play in making the state culturally rich’.40 80 P.80, L-R: Victorian Premier John Brumby (photo by Jim Lee courtesy of the AFI). Nicole Kidman and Ewan McGregor in Moulin Rouge!. Baz Luhrmann and Catherine Martin at the 1999 AFI Awards (photo Belinda Rolland. Courtesy of the AFI). Below: Sam Neill, Nicole Kidman & Cate Blanchett (photo Jim Lee). In 2002, Felicity Cochram took over as the general manager (effectively the CEO, although the board had changed the title for this appointment). The Victorian government’s support was part of their increased focus on the industry, with the landmark Australian Centre for the Moving Image (ACMI) opening in 2001 and the announcement in June of a $40 million government spend on a high-tech film and television studio at Docklands. This support has been vital for the Awards since this time and it enabled the organisation to rebound financially, recovering from its near collapse – albeit in a much reduced form. There was an air of excitement around the industry in 2001, with Australians winning Academy Awards – Catherine Martin for Best Art Direction and Angus Strathie for Best Costume Design (Moulin Rouge! [Baz Lurhmann, 2001]) and Andrew Lesnie for Best Cinematography for The Lord of the Rings: The Fellowship of the Ring (Peter Jackson, 2001). As Lynden Barber observed, in ‘a globalised world, the definition of what exactly constitutes a local film has become ever more complex’.41 Moulin Rouge! exemplified the more global directions not just for the team that made it, but for Australian cinema in general, given that it featured Nicole Kidman as the star, an Australian creative team (director, writers and others), a heavily Australian supporting cast and although shot in Sydney, it was financed by Hollywood studio Twentieth Century Fox. Moulin Rouge! is an example of what Academic Pam Cook has described as a ‘popular art-film’ which is ‘hybrid and mobile, not located anywhere in particular (a characteristic aided by digital technology), includes international stars and creative or technical personnel and is funded through multiple channels, which include international sources’.42 The film revitalised the musical and was regarded as significant in relation to the special effects industry – although it caused consternation in some quarters along the lines that it was ‘a downgrading of national cinema into an offshore service industry for global Hollywood’.43 However, the local and the global are not incompatible, despite some stresses it causes on the availability of technical personnel and the problem that arguably, films that are not really Australian might be counted in relation to what our share of the box office is – hiding a shrinking market share. Arguably, the drain on technical personnel just shifts their creative contribution and therefore their careers and businesses to a more international arena. As 81 has been argued elsewhere, Australian filmmakers need to understand their place within international circuits and consider new models for building their own brand and that of Australian film.44 Academic Ben Goldsmith has offered a view that international relationships can be ‘positive and equal and that we might need to rethink our relationships with international players to stop thinking about them in terms of relations of the powerful and less powerful’.45 This argument seems logical if we observe how many of our most successful filmmakers and actors have benefited from taking up a place as transnational filmmakers on the world stage. For example, those filmmakers that come to mind include Jane Campion, Nadia Tass, Gillian Armstrong, Alex Proyas, Baz Luhrmann and Catherine Martin. Key creatives such as cinematographers John Seale, Dean Semler, Ian Baker, Dion Beebe and Mandy Walker; editors such as Jill Bilcock; and writers such as Jan Sardi, Laura Jones and Andrew Bovell continue to work on international productions as well as local ones. Actors are the most well known internationally – Russell Crowe, Nicole Kidman, Cate Blanchett, Hugh Jackman and Eric Bana. While Australian actors have in the past made it on the international stage, such as Errol Flynn for example, they have not embraced their Australian origins as actors such as Cate Blanchett has in the contemporary period. The work of all these key creative people might inflect something Australian as part of their output, but they are also able to work internationally, using finance and creative input that is globally sourced. In addition, as Goldsmith and Tom O’Regan have argued, international productions ‘once finished and made available for distribution across multiple platforms and channels, these productions invariably become part of the imagination, memory and history of the location and sometimes become part of its reputation as well’.46 The AFI Awards have been a site for some of the anxiety around internationalisation. For instance, Denny Lawrence noted in our interview with him for this book that the two key films battling for the main awards in 2001 were Lantana (Ray Lawrence, 2001) and Moulin Rouge! (Baz Luhrmann, 2001). Lantana won the main awards (Best Film, Director, Writer and Actors) and Moulin Rouge! received the more technical ones (cinematography, costume, editing, sound), thus delivering for the local audience a ‘sense of justice’; by that Lawrence was suggesting that the industry wanted the smaller-budget local film to triumph over the studio-funded one. The reality for our industry is that we are simply too small to make productions purely for local audiences and doing so would limit both our output and our opportunities. As Goldsmith has further argued, ‘we need to advocate for the positive cultural potential of cinematic 82 P.82: Guy Pearce, Gia Carides and Anthony LaPaglia at the 2000 AFI Awards (photo by Jim Lee courtesy of the AFI). Above: Kodi Smit-McPhee and Eric Bana at the 2007 AFI Awards (photo by Jim Lee). internationalism and champion the role that film production can play not only in telling our own stories, but in connecting with and relating to and thinking about our place in the world’.47 Collins and Davis have argued (influenced by Bill Routt and Tom O’Regan) for an Australian cinema as ‘a genre or type of international cinema’.48 The AFI has taken on an international focus and showcase for this ‘genre’ and made awards to international ambassadors with Global Achievement Awards (the first going to Russell Crowe in 2001) and in recognising the international achievement of films that were not entered in the Awards, such as Happy Feet (Dr George Miller, 2006). As Film Victoria’s CEO, Sandra Sdraulig, has observed of the AFI Awards, they enable an international dialogue to take place, and the preparedness to develop and recognise talent nationally facilitates international recognition.49 In 2005, the AFI CEO was Geoffrey Williams, who successfully negotiated a naming rights sponsor with L’Oreal. In November 2005, Morry Schwartz took over as chair and Williams left in early 2006. Board member Jennie Hughes acted as CEO until James Hewison was appointed in August 2006. The focus was to build up the Awards. According to AFI CEO, Damian Trewhella, this has now been achieved due to the ‘increased reach of the commercial broadcast’ on a commercial network for four years in a row and the ‘event has evolved materially over the past four years through the engagement of corporate partners who provide the bulk of the event funding’.50 As Trewhella has pointed out, it is very difficult to achieve a commercial broadcast and this is a major success of the AFI Awards, which are ‘the only national, commercially broadcast showcase of each year’s productions, cast and crew’; and the AFI are ‘the only organisation profiling Australian film on Australian Television’.51 In addition, the AFI was able to secure relationships with the Murdoch papers, who were able to build interest in the run up to the Awards, providing films such as Romulus, My Father with front page exposure (something the film’s marketing budget couldn’t sustain) and which, according to the AFI, provided an immediate boost for DVD sales of the film.52 AFI Chair, Morry Schwartz, has stated that the AFI’s achievement in increasing corporate support for the Awards as well as running a successful event has meant that where previously the government was more hands on and made demands about how their interests would be protected, the AFI has maintained the same level of funds while achieving a degree of 83 independence and a release from the ‘shackles of being controlled by its funder’.53 In addition, Schwartz was the architect behind the AFI Fellowship, which awards $25,000 to an Australian film practitioner for the purpose of enriching the Australian filmmaking community. According to former CEO, James Hewison, the Fellowship was intended to establish the AFI as an organisation with some ‘authority’ in the industry.54 The AFI Fellowship signalled a beginning of increased private support for the AFI, and in 2008 the AFI have been able to provide $100,000 in cash prizes for awards and fellowships. L’Oreal support a $20,000 cash prize for the Young Actor Award, won last year by Kodi Smit-McPhee for his role in Romulus, My Father. Other awards with cash prizes include two $10,000 Screenwriting Awards supported by the Macquarie Bank. Hewison says that what he was proud of when he was AFI CEO was that it diversified to be more relevant through initiatives such as the fellowships, it promoted an on-going dialogue as a vehicle for an ‘independent level of discourse … an oasis for independent thought, inquiry and ultimately debate’55, and he worked with others in the organisation to try to increase the funding base to include a greater level of private support. As with many cultural organisations, the continued work of a dedicated board, whose members work for the organisation without payment, is (and has been) an important core of the AFI. In 2006 and 2007, the AFI constitution was changed to give the AFI board more control over who could be appointed to the board, with fewer positions elected by the AFI membership. While this decreases the democratic nature of the organisation, according to Schwartz it means that the board could ‘shape itself’, gain the skills of a lawyer, accountant and fantastic PR person, ‘giving a whole new dynamic to address the long-term structural problems of the AFI’.56 The AFI has focused on building the Awards to provide the best possible support for the industry and the AFI is to be commended for achieving a continuous, rigorous and sustained awards system. A factor in the contemporary success of the AFI Awards broadcast was securing Paul Dainty to produce the AFI Awards from 2005. The relationship with Dainty was helpful because it created a greater ability to secure major sponsors and this has continued with the budget for the event increasing continuously over the last four years.57 Michael Bodey observed of the first Dainty presentation ‘the 2005 AFI Awards were a pleasant surprise. After years of underwhelming ceremonies, infighting and navel gazing, the film industry had a ceremony it could be proud of’.58 Russell Crowe compered the first AFI Awards produced by the Dainty organisation. His presence was important for a television audience and lifted the status of the AFI Awards. Crowe’s commitment to the industry with this gesture was significant and very important to the profile of the event. As was funding from the Victorian government, which as Alan Finney has noted, is essential if you are going to achieve an event as large and ambitious as the AFI Awards (which costs a lot of money), making government support essential, particularly given that many of those who attend the AFI Awards don’t pay to do so, but are invited guests.59 (Click here for video.) The AFI Awards were divided into two nights, a craft night (later renamed 84 P.84: Guy Pearce and Danny Huston in The Proposition. Right: Shane Jacobson in Kenny. the Industry night) and the televised night. This caused, and to some degree continued to cause consternation with the industry. As Schwartz has observed: There was real nervousness in the entire industry – in all the guilds – about the two nights. They didn’t like it. They felt that two classes were being created, the star class (the actors and directors on the main, televised night), and then the people in the crafts being secondary and pushed to another night. And this was a huge concern for them.60 However, despite the fact that this concern still continues in some quarters, the AFI believed then and now that this was the only way to deliver such a large number of awards, because a five-hour show would be neither palatable for the television, nor for live audiences. But as AFI board member, Maggie Gerrand, has observed, ‘when making a film, it is like one big family and it’s dividing up the team’,61 and this remained an ongoing issue for the event. Looking forward, the AFI itself acknowledges that it is desirable to have a broader screen culture role, but they have focused firstly on making sure the AFI Awards are undertaken well, and then they hope to achieve some funding to attain a greater scope and reach in both activities related to the AFI Awards, and other screen culture pursuits.62 Schwartz has stated that he would like to see a development in ‘further educational initiatives, such as seminars, courses, publications and scholarships’.63 As former manager of AFI R&I, James Sabine has observed, a sole focus on the AFI Awards is contentious in terms of how the AFI is regarded in the industry; it raises the question of whether the AFI is ‘a cultural institute, or are we talking about an Academy?’64 Former AFI CEO, James Hewison, has said it is important that the AFI take up a greater screen culture role because otherwise the organisation can be perceived as ‘second-rate public utility … [because just running awards is not] exercising any great authority intellectually or otherwise, nor any sense of leadership’.65 For Hewison, a key challenge for the AFI into the future is to demonstrate authority and identity, and to overcome some industry indifference – essentially to be relevant, perhaps to reinvent itself in a rapidly changing environment. A similar point has been made by former AFI board member, Alan Finney, who said that: if the AFI is only known as the Awards … that is limited. I don’t think that will be enough for it to have an impact, and to make a substantial contribution to Australian film culture. It has got to do more … What the AFI is looking to do now … [is to follow up] opportunities to form relationships, to be involved in dialogue, to have the opportunity to be involved in the staging 85 Top: Morry Schwartz, Peter Tapp, Tony Sweeney, Lisa Pieroni at the launch of the monograph The Picture That Will Live Forever: The Story of the Kelly Gang (Ina Bertrand and William D. Routt, 2007). A Moving Image series publication (Photo by Lisa French). Left: Mark Poole, Jenny Sabine, James Sabine. of public events, to make its web site an attractive destination for people … there are ways in which the AFI can make itself a relevant and contemporary organisation, but just the Awards is not going to be enough. It is just a once-a-year event.66 (Click here for video.) The 50th birthday year presents some challenges for the AFI Awards because Australian films ‘don’t have a presence with the audience. Film people don’t have any visibility on TV’.67 Interest in the AFI Awards and how successful they are perceived to be is always related to the products themselves. For instance, in 2007, critic Jim Schembri noted that the explosion of quality cinema that had blessed the Awards was too much to expect to continue: After more than a decade in the doldrums, 2005 and ’06 saw a glorious flourishing of local films that dared to be good, diverse and – heaven help us – popular … Kenny, Wolf Creek, The Proposition, Jindabyne, Look Both Ways, Ten Canoes and Kokoda pointed to a rebirth … [but] this year’s line-up is a tad off the boil.68 86 While there is an apparent obsession with revivals and rebirths in the press, the issue of whether any given year has a good crop of films that might connect with a television audience has always been an issue for the AFI Awards broadcast. This year, television is experiencing a boom with numerous successful television shows such as Rush and Underbelly and interest in this work may well flow on to help develop audiences for Australian film.69 According to Alan Finney, this happened in the 1970s when Crawford Productions had laid a good blueprint for the production of features, or set a context for them.70 (Click here for video.) In 2008 – the AFI’s 50th birthday – the AFI continues to undertake the promotion of the screen industry as a whole, playing an important role in bringing the different sectors together and celebrating the achievements of all of the industry. Alongside the Awards, the AFI continues to run film screenings and to participate with other organisations on the delivery of conferences and seminars. It still owns a research and information library (now housed at RMIT), plays a role in industry development and undertakes special initiatives which meet an obvious demand in the screen culture arena – such as supporting the publication of monographs as part of ‘The Moving Image’ series. So after five decades, the AFI has managed to survive and even thrive. Endnotes 1 Interview with Sandra Sdraulig conducted by Mark Poole and Lisa French, Melbourne, 16 September 2008. 2 Interview with Jenny Sabine conducted by Mark Poole and Lisa French, Melbourne, 27 August 2008. 3 See Australian Short Films.com, <http://www.australianshortfilms.com/australian-short-film-festivals.htm>, accessed 5 August 2008. 4 For instance, Adam Elliot’s 2003 animation Harvey Krumpet won an Oscar, followed by nominations in 2006 for The Mysterious Geographic Explorations of Jasper Morello by animator Anthony Lucas, and in 2007 for Peter Templeman’s short narrative, The Saviour. Jane Campion and Glendyn Ivin have taken out the Palme D’Or for Best Short Film at Cannes and in 2008, Julius Avery won it for his film Jerrycan (2008). 5 Jane Campion quoted in Margaret Smith, ‘Australian Short Film’, Media Information Australia, no. 300, Aug. 1984, p.60. 6 Author not attributed, ‘AFI Awards – The discussion goes on’, Filmnews, August 1992, p.7. 7 Interview with Sandra Sdraulig conducted by Mark Poole and Lisa French, Melbourne, 16 September 2008. 8 The sources of this information are emails to Mark Poole and Lisa French from Cynthia Mann and Jane Susak, both on 12 September 2008. 9 Email from Jane Susak to Lisa French and Mark Poole, 12 September 2008. 10 Interview with Bob Weis conducted by Mark Poole and Lisa French, St Kilda, 25 August 2008. 11 AFI, AFI 1995 Annual Report, p.5. 12 AFI, Briefing Paper for AFI/AFC Working Party, 1999, p.7. 13 Between 1998 and 2000 many of these were presented as articles in Metro. Edited by Lisa French and Chris Brophy, they provided unique insights into the filmmaking process from a range of craft positions, see: Lisa French (ed.), ‘Passion: The Story of Percy Grainger’, Metro, no.124, 2000, p.135–138; Chris Brophy & Lisa French (eds), ‘The Sound of One Hand Clapping: Richard Flanagan’, Metro, no. 119, 1999, pp.76–83; Chris Brophy & Lisa French (eds), ‘Women’s Stories on Screen; Helen Gaynor, Alison Tilson, Sigrid Thornton and Ros Walker’, Metro, no.120, 1999, pp.83–87; Chris Brophy & Lisa French (eds), ‘On the Making of Baz Luhrmann’s Romeo + Juliet’, Metro, no.113/114, January 1998, pp. 20–24; Lisa French (ed.), ‘Writing For the Stage Screen and Tube’, Metro, no.115, 1998, pp.7–12; Lisa French (ed.), ‘My First Feature in the Cannes, Samantha Lang, Pamela Rabe and Mandy Walker’, Metro, no.117, 1998, pp.53–58. 14 Ruth Jones, AFI Board Strategy Meeting Papers, 22 April 1998, pp.2–3. 15 ibid. 16 Nicole Lindsay, ‘Film reels as institute head departs’, The Australian Financial Review, 15 February 2002. 87 17 Interview with George Miller conducted by Mark Poole and Lisa French, Sydney, 17 September 2008. 18 Carolyn Webb, ‘Australia’s film heritage under threat’, The Age, 10 December 2002, <http://www.theage.com.au/articles/ 2002/10/09/1034061255246.html>, accessed 20 August 2008. 19 Figures quoted here for 1999 come from AFI, Briefing Paper for AFI/AFC Working Party, 1999, p.7. 20 ibid. 21 In 2003, the AFI Research Collection moved to RMIT who have acted in a caretaker role, continuing to develop the collection. For details of the AFI Research Collection @ RMIT, visit <http://www.afiresearch.rmit.edu.au/more.html>. 22 ibid. 23 Barbara Creed, ‘Gonski report must not sink AFI’, The Age, 13 February 1997, p.C4. 24 Carolyn Webb, ‘Australia’s film heritage under threat’, The Age, 10 December 2002, <http://www.theage.com.au/articles/ 2002/10/09/1034061255246.html>, accessed 20 August 2008. 25 AFI, AFI/AFC Working Party: Distribution, Melbourne, 1999, pp.6–7. 26 Tina Kaufman, ‘Short Cuts’, Metro no.133, June 2002, p.8. 27 ibid. 28 Interview with Peter Tapp conducted by Mark Poole and Lisa French, St Kilda, 25 August 2008. 29 Australian Senate, Communications, Information Technology and the Arts Portfolio: Australian Film Commission, Environment, Communication, Information Technology and the Arts Legislation Estimates Committee Hearing, 29 May 2002, p.1. 30 ibid. 31 Paul Harris, ‘In defence of research and development: Not glamorous, not sexy, just essential’, Cinema Papers, June/ July 2000, p.23. The library now continues under the guardianship of RMIT but many of the films previously held by AFI Distribution are now not available for rent or purchase. 32 Australian Senate, Communications, Information Technology and the Arts Portfolio: Australian Film Commission, Environment, Communication, Information Technology and the Arts Legislation Estimates Committee Hearing, 29 May 2002, p.3. 33 Interview with Annette Blonski conducted by Mark Poole and Lisa French, Malvern, 26 August 2008. 34 ibid. 35 ibid. 36 Reporting on the reasons given in 2000: Tina Kaufman, ‘AFI Distribution closes – where do the films go?’, Reeltime, June/ July 2002, p.16. 37 Paul Harris, ‘In defence of research and development: Not glamorous, not sexy, just essential’, Cinema Papers, June/July 2000, p.23. 38 AFC, AFC 2006/07 Annual Report, Sydney 2007, p.47. 39 Interview with Damian Trewhella conducted by Mark Poole and Lisa French, Melbourne, 24 September 2008. 40 Sandra Sdraulig, interview conducted by Mark Poole and Lisa French, Melbourne, 16 September 2008. Sdraulig stated that this was a deeply held value of the Victorian government. 41 Author not attributed, ‘Making our Mark: The Evolution of the Australian Film Industry Continues’, The Weekend Australian, 24 March 2001, reproduced in the AFI Awards Yearbook, 2001, p.12. 42 Lisa French, ‘Film and History Conference: a vision of a future for Australian cinema’, Screenhub, 22 November 2006, <http://www2.screenhub.com.au/screenhub/news/shownewsarticle.asp?newsID=13387>, accessed 7 July 2008. 43 Felicity Collins & Therese Davis, Australian Cinema: After Mabo, Cambridge University Press, Cambridge, 2004, pp.29–30. 44 Goldsmith quoted in Lisa French, ‘Film and History Conference: a vision of a future for Australian cinema’, Screenhub, 22 November 2006, <http://www2.screenhub.com.au/screenhub/news/shownewsarticle.asp?newsID=13387>, accessed 20 August 2008. The material from this paragraph is drawn from this article; it has not been italicised, as is the style throughout the rest of the book, as it was written by one of the authors of this book. 45 ibid. 46 Ben Goldsmith & Tom O’Regan, The Film Studio: Film Production in the Global Economy, Rowman & Littlefield Publishers, 88 Inc., Lanham, MD, 2005, p.9. 47 Ben Goldsmith, ‘Australian International Cinema’, Creative Economy Online, February 2007, <http://www.creative.org.au/ linkboard/results.chtml?filename_num=135390>, accessed 20 August 2008. 48 Felicity Collins and Therese Davis, Australian Cinema After Mabo, Cambridge University Press, Cambridge, 2005, p.24. 49 Interview with Sandra Sdraulig conducted by Mark Poole and Lisa French, Melbourne, 16 September 2008. 50 Damian Trewhella, ‘Ministerial Statement of Expectations: Screen Australia Statement of Intent’, 30 September 2008, <http://www.screenaustralia.gov.au/about_us/corp_info/dsoi_documents/AFI_response_SOI.pdf>, accessed 23 December 2008. 51 ibid. 52 Interview with Damian Trewhella conducted by Mark Poole and Lisa French, Melbourne, 24 September 2008. 53 Interview with Morry Schwartz conducted by Mark Poole and Lisa French, Melbourne, 24 September 2008. 54 Interview with James Sabine conducted by Mark Poole and Lisa French, Melbourne, 27 August 2008. 55 Interview with James Hewison conducted by Lisa French, Melbourne, 22 September 2008. 56 ibid. 57 Interview with Damian Trewhella conducted by Mark Poole and Lisa French, Melbourne, 24 September 2008. 58 Michael Bodey, ‘Out of the picture’, Weekend Australian, 1 December 2008, p.19. 59 Interview with Alan Finney conducted by Mark Poole and Lisa French, South Yarra, 7 October 2008. 60 Interview with Morry Schwartz, Damian Trewhella, and Maggie Gerrand conducted by Mark Poole and Lisa French, Melbourne, 24 September 2008. 61 Interview with Maggie Gerrand conducted by Mark Poole and Lisa French, Melbourne, 24 September 2008. 62 Interview with Morry Schwartz, Damian Trewhella, and Maggie Gerrand conducted by Mark Poole and Lisa French, Melbourne, 24 September 2008. 63 Email to Mark Poole and Lisa French 24 August 2008. 64 Interview with James Sabine conducted by Mark Poole and Lisa French, Melbourne, 27 August 2008. 65 Interview with James Hewison conducted by Lisa French, Melbourne, 22 September 2008. 66 Interview with Alan Finney conducted by Mark Poole and Lisa French, South Yarra, 7 October 2008. 67 Interview with Damian Trewhella conducted by Mark Poole and Lisa French, Melbourne, 24 September 2008. 68 Jim Schembri, ‘Silver on the local screen’, The Age, 30 November 2007, p.9. 69 Rush (Southern Star, 2008); Underbelly (Screentime, 2007). 70 Interview with Alan Finney conducted by Mark Poole and Lisa French, South Yarra, 7 October 2008. 89 6 0 SERIOUS UNDERTAKINGS: THE AFI AND STAKEHOLDERS Introduction A s we have seen, the AFI’s ongoing struggles to survive and grow reflects in part the industry’s own struggles to do the same. Like the desert, the Australian screen industry has at times been dismissed as vacant, either non-existent or non-performing. But the right conditions are all that is required to transform this wilderness into a lush environment. For example, it is easy to assume that prior to the revival of the seventies there was no Australian film production, but in fact many industry people were quietly honing their skills on documentaries and television commercials and so when the funds began to become available for feature films, the underlying skills base, like dormant seeds, was ready to blossom. In the same way, the AFI functioned as a tiny organisation in its early years, expanding and transforming its structure during the seventies, altering its awards system to accommodate the new feature film industry and later television. These shifts in focus have been necessary to enable the organisation to adapt to changes in its surrounding climate, but they are one reason why there is a variety of different perceptions today about what the AFI actually is, who it represents, who funds it and what are its aims. In what follows, we have focused on the question of what the AFI is in relation to what people think it is. We explore the role of the AFI as a cultural organisation that has engaged with the domestic and international circulation of Australian film and television over the last fifty years. It has done this as part of an industry and in relation to communities of people, who produce, consume, discuss and love – or perhaps loathe – the aesthetic, critical or bureaucratic aspects of this antipodean cinema, and who are engaged by cinema in general. 91 Former AFI CEO, Richard Brennan, has described the AFI as ‘a misunderstood force for good’.1 (Click here for video.) The AFI has fought the good fight, seeking to assert Australian identity and the existence of an ‘Australian’ cultural endeavour with a view to supporting and promoting it within an international landscape of other national cinemas. The AFI has embraced this nationalism in relation to its mission to be national, and the production sector in justifying its need for government funding. However, the AFI has also maintained a deep commitment to supporting the Australian industry and to the transformative power of our stories. The reason the AFI became a de facto flagship for the Australian film industry has been that the industry is fragile and has needed such an organisation – particularly the role the AFI has played in gathering the industry together and reminding it of its sources of pride. Over fifty years the AFI has engaged in a broad range of activities and a passionate advocacy for the moving image. It has sought to promote the connection of various communities with screen industries and their industrial, critical, cultural, social and political contexts, and in so doing, create not just a visibility for the Australian industry, but an engagement with it. This has been a difficult but always serious undertaking and one that the AFI has carried out with varying success, but always with the utmost sincerity. As former chair of the AFI, Bob Weis has observed, to gain an understanding of the AFI’s influence ‘you would have to go broad and deep’.2 (Click here for video.) He said that if you considered it as a whole, from the student doing a media course who might spend a day, or six weeks sitting in the library asking people questions (and getting a much better understanding of what they were doing because the AFI was there), through to a filmmaker being on national television and getting a swag of awards, and to an otherwise little-known short film gaining a wide audience – one can see the scope of the AFI, which often had a lot of ‘irons in the fire’, many of which were complementary and worked together to create a much bigger picture than any single activity. Since its inception, the AFI has been an under-funded organisation. It has struggled with the many and varied undertakings it has embraced over the years and to balance the achievement of its cultural objectives within the financial contexts that have always restricted it. This funding situation has always had a direct relationship to the organisation’s ability to function effectively. Because of this, the AFI has always been influenced and restricted by other film bodies with their own agendas, policy directions and priorities (as has been the case for all subsidised institutions). This is not to suggest that the AFI could not and did not make a significant contribution to screen culture in Australia – because it certainly has – but to provide some context for that contribution. An ‘Australian’ Film ‘Institute’ The expectations of the industry and the public in relation to the AFI have been high. One has to ask why so much has been expected of an organisation set up by volunteers, enthusiasts and buffs, that has never enjoyed a direct or secure line of funding from government. A recurring issue for the AFI is the set of assumptions made about what the organisation is, and is capable of achieving. When the original governors established the AFI, the American Film Institute and the British Film Institute were in mind; however, these international 92 counterparts have always received significant funding from government and private sources (for instance the BFI currently runs with a budget of over £25 million). The AFI, in contrast, is an independent organisation; although many assume the AFI is part of, or at least wholly funded by the government, it has never received all its funding from the government and at times its funding from government sources has only been a small percentage. As we have seen, the AFI did not have government funding for its establishment, nor any security of funding throughout its history. In fact, it did not receive any government funds at all for the first twelve years. The many former AFI staff with whom we spoke for this book conveyed the overwhelming impression that money was always tight at the AFI – although there was often a perception from outside that it occupied a position of privilege. Richard Brennan recalled that organisations such as the Sydney Filmmakers Co-op had members who regarded the AFI as a ‘pampered pet’ because it had government subsidy, whereas they had none and had to work very hard to keep their organisation afloat. However, this was purely perception given that the funding situation when he was the director (CEO) was ‘dire’, and as this history indicates, this has always been the case.3 This is significant because the AFI staff and boards have had to use up a substantial amount of their energies in just staying afloat. A direct line of funding from government would have created space for the AFI to get on with the business of developing screen culture – rather than grant-writing. But the expectation that the AFI serve Australia and be an ‘Institute’ has endured. Because the AFI resembles the British and American film institutes in name, a pattern of anticipation was set up: that it would provide the same services – and to its credit, the AFI has always aimed in this direction. The AFI’s name signals the national through the use of ‘Australian’ in its title and also signals a non-existent government status (given it is an independent organisation) through its use of ‘Institute’. Thus the words ‘Australian’ and ‘Institute’ have created some problems for the organisation, causing everyone to expect that it operate as a BFI-type establishment when it has never had the funds to do so. Even today, the AFI runs with a handful of small but dedicated staff that must continuously raise the funds to keep the organisation afloat. In addition, the development of screen culture in Australia has seen a range of BFI-type activities taking place across a broad range of organisations rather than in one place, something that is not necessarily a bad thing given that centralisation encourages homogenisation and a lack of responsiveness to the grass roots. To its credit, the AFI has a track record of working cooperatively with other organisations in the screen landscape and collaborating will continue to be important for the organisation into the future. Although the word ‘institute’ in the name of the AFI has brought problems, it is probable that the organisation would have fallen by the wayside without the kudos of its name – which therefore helped to ensure the organisation’s survival to the present day. Indeed, at several points in the AFI’s history it has come close to folding. The fact that the AFI remains is both an achievement and a testament to the power of the AFI name. However, another reason that the AFI has survived is that the production industry has wanted it, particularly because the AFI Awards are so significant and important to that sector and partly because we should have an Australian film ‘Institute’. John Flaus has said we need such an organisation, one that is funded and has efficient staff on the payroll, in order to: make a diverse range of knowledge available to those who want to know it, and can establish 93 if not a bridge, then at least a green room in which those who are not practitioners can have some exchange, some discourse with those who are. That’s what Erwin dreamed, but he wanted it to be part of the establishment and I don’t think that is necessary.4 (Click here for video.) In the many interviews conducted for this book it has been clear that the AFI is an imaginary location; it stands for an ideal that many deeply believe in and as such, it always carries this potential. The AFI And The Production Sector The AFI needs industry support and operates best when it has it. This is a critical factor. The AFI has not always communicated its message as well as it could, often not taking credit for, or ‘branding’ its own activities, and thus its value has not always been appreciated. In addition, the AFI has not always clearly defined its identity and mission, nor has it been able to take a leadership role – which is why the question of identity (or lack of it), and relevance (or lack of it), is a recurring theme throughout the AFI’s history. However, the AFI has acted as a mediator, a broker between audiences and industry – building activities to support the industry and connect with audiences to build Australian screen culture – thus facilitating access to screen products. Today the AFI has defined its central role as exactly this; it is ‘devoted to developing an active screen culture in Australia by fostering engagement between the general public and the screen industry, and by promoting Australian film and television’ (AFI 2008–2010 Strategic Plan). Above: Nathan Phillips in Wolf Creek. P.95: Sam Worthington and Abbie Cornish in Somersault. The AFI has often been the subject of criticism: like a lightning rod it has attracted all manner of negative opinion – although it should be noted that lightning rods protect buildings and homes from destruction. The site of the most criticism (but also often positive attention) tends to be the AFI’s most visible activity, the AFI Awards. Among the more absurd criticisms of the AFI has been the charge that the films in some years were not good enough,5 which is astounding since the organisation plays no role in the development or production of those films and only seeks to support and promote them. The only period in which the AFI did have direct involvement in production was when it administered the Experimental Film and Television Fund (1970–1977) and, as discussed, the AFI was able to assist many upcoming filmmakers to make films at a time when there was no industry to speak of. Sometimes the AFI is criticised for the films that win, especially if one film scoops the pool of awards (such as Somersault, Cate Shortland, 2004). In fact, the judges are sourced from lists supplied by the industry guilds and unions and therefore it is the industry itself and not the AFI who selects the winners. 94 Clearly the AFI has no control over the strength or weakness of the field of films in any particular year, or over who wins. Despite this, the AFI draws fire when people don’t win. For instance, John Jarratt was widely quoted in the press as furious with the AFI (not his peers), when he did not get a Best Actor nomination for his stellar performance in Wolf Creek (Greg Mclean, 2005); of course, the press likes to make much of the issue of who was ‘snubbed’, but this all (importantly) adds to the debate around excellence. In the past, the AFI has been criticised for failing to take a leadership role, in particular with regard to becoming ‘a crucial repository and stimulus centre for Australian film culture’ or for an ‘inability to grasp its film culture mission in qualitative terms’,6 or even for appropriating the term ‘screen culture’ without really engaging with it or defining it. And while there is some truth in these criticisms in some periods, if one looks at the Australian moving image environment, of all those organisations that have tried to promote screen culture in Australia, there isn’t one that has had any more success than the AFI with this difficult undertaking. As Dr George Miller has claimed, the AFI has not been given credit for being one of the ‘few bodies paying any attention’.7 The failure to appreciate the importance of screen culture, and to successfully enact the many visions for it, has largely been due to an inability to convince all sections of the industry that screen culture and the production sector tend to bloom concurrently. AFI ambassador, Cate Blanchett, has frequently offered a view that while Australians are important players in the global industry and are awarded internationally for their work: ‘it is just as important that we gather and celebrate the diversity of our talent pool here at home’.8 This is nowhere more evident than in the way in which the Awards can unify the industry and communicate their concerns, playing a role in relation to significant issues not just for the industry but also for the nation. At times, the AFI Awards have been a locus for the industry, a public platform to take up issues affecting both Australian screen culture and society. For example, during the free trade talks, the Awards became a site for the lobbying for exemptions to culture in free trade agreements; and when Mabo: Life Of An Island Man (Trevor Graham, 1997) won at the 1997 Awards, the industry used this as a focus to highlight concerns over Indigenous issues. On these occasions the Awards not only focused the public eye towards Australian cinema and the issues of its industry, they united the industry, and those particular Awards were characterised by a great sense of euphoria amongst the audience. When Trevor Graham brought Bonita Mabo onto the stage with him to accept his award in 1997, this was a culturally important moment of deep and profound significance for Australian society. Collins and Davies have argued that cinema enables collective and intimate forms of recognition and so Australians have been able to experience the impact of the Mabo decision through 95 the public space of cinema.9 In addition, through the public space of the AFI Awards, Australians were offered an insight into the role Australian cinema has played in helping us to understand our colonial past – for instance, debunking the myth of terra nullius. The debate around free trade and multilateral trade agreements centred round the negotiation of ‘trade-in-services’, which included film and television. Those arguing for de-regulation saw Australia’s limits on foreign ownership of broadcasting, Australian content, government financial support for production and marketing, and limitations on foreign content in television commercials as barriers to free trade. On the other hand, the AFI Awards provided a platform for the industry to express its concern that the preservation or development of a national screen industry represents crucial enabling mechanisms, protecting fragile systems of cultural difference. At the 2003 Awards, the Australian industry, in the absence of government debate on the cultural impact of the treaty, lobbied extensively for cultural sovereignty because it was thought that the lack of exemptions for culture were the most significant threat (industrially and culturally) to the Australian film and television industry to that date. As Sue Brooks said while accepting her Best Direction Award for Japanese Story (2003), ‘It’s an honour to be able to tell Australian stories. But it is also important that our cultural entity is intact, and we just can’t trade that off for a few lamb chops’.10 Other screen culture activities run by the AFI have also had this ‘unifying’ effect. Writer/ director, Denny Lawrence, recalled that the AFI screenings held at Film Australia in Sydney during the 1980s were not just great networking, but represented an important function that has been lost with the downsizing of the AFI: opportunities to get together as an industry … to have all cinematographers, all the writers, actors, and directors together in one place … it was all very marginalised, you could go to ASDA or Writers Guild events, but you wouldn’t get together as an industry, so it was a great networking opportunity and it was also full of debate about the films.11 For Lawrence, this is important because the Australian industry is young and tends to reinvent the wheel – especially as people disappear overseas; and this mixing of ‘peers’ allows some essential passing on of different filmmaking generations to each other. For instance, Dr George Miller (Mad Max, Happy Feet) stated he struck up a friendship with Clayton Jacobson (Kenny) after meeting him at the AFI Awards. 12 The AFI has been able to facilitate sharing industry information through events such as the AFI’s ‘Conversations On Film’ series run throughout the 1990s. This ongoing event brought practitioners and audiences together to discuss everything from the intellectual dimensions of the soundscape, gender issues, writing craft and the experiences of a creative team on the international stage. These events were subsequently documented as journal articles in Metro.13 These and other AFI activities provide an important context and facilitate a stronger link between the theoretical and the practical. 96 Stakeholders: The AFI Alumni A who’s who of the industry would also be a who’s who of the AFI. 14 P.96: Toni Collette and Gotaro Tsunashima in Japanese Story. Below: Clayton and Shane Jacobson (photo by Belinda Rolland. Courtesy of the AFI). In writing this book it became clear that a huge number of industry members had at some time worked for the AFI or were on the board. These include people in key roles such as Film Victoria’s former CEO Sandra Sdraulig; Screen Australia’s former Executive Director of Marketing Support & Promotion Tait Brady; former Sydney Film Festival Director Clare Stewart; St Kilda Film Festival Director Paul Harris; Burberry Productions’ Ewan Burnett; Metro magazine’s Peter Tapp; National Film and Sound Archive’s Ken Berryman; The Age’s Paul Kalina; former VCA head Jenny Sabine; and many other industry people, including Richard Brennan, Annette Blonski, Cynthia Mann, Anna Grieve, Glenys Rowe, Peter Kaufmann, Penny Chapman and Julie Regan. Previous board members have been similarly representative, with people such as Bob Weis, Denny Lawrence, Ray Edmondson, Scott Murray, John Flaus, Tim White, Sigrid Thornton, Errol Sullivan, Maureen Barron, Joel Perlman, Max Gillies, Susan Dermody, Elizabeth Jacka, Andrew Pike, Pamela Rabe, Mikael Borglund, Sue Maslin, Alan Finney, Barbara Chobocky, Tina Kaufman, and Damien Parer. 97 Former employees have noted that a significant and important role of the AFI over the last fifty years has been to provide training and opportunities for people in the industry. For instance, Tait Brady has recalled the profound significance his experience at the AFI had in shaping his own career – particularly in equipping him to take on the job as director of the Melbourne International Film Festival. (Click here for video.) Brady recalled that: the AFI helped create an incredibly vibrant film culture, in the same way as we talk about the impact of the Melbourne Film Festival in this city, it educated and trained so many people … and I wonder now where the equivalent people would actually get any introduction to this side of the industry if they were left to only break through from the commercial sector … The most significant legacy [of the AFI] is training you couldn’t get anywhere else.15 (Click here for video.) Similarly, former Film Victoria CEO Sandra Sdraulig stated that she would not have the career she did if it had not been for the opportunities she had at the AFI.16 With such a glorious alumini, consisting of former employees and board members in every corner of the industry – and having contributed something to the development of the careers of those persons – the AFI should, arguably, be more influential than it appears to be. In scores of interviews conducted for this book it became clear that the ideal of the AFI was still alive and well with most of those who had been involved with it, but many left the organisation in a burnt-out state. We have outlined some of this below because we believe it provides a context for the way in which the AFI always had to conduct its activities – as an often under-funded organisation, where expectations were high, not just from outside it, but from within. The pressure at the coalface was always not just challenging, but taxing. AFI staff over the last fifty years accepted what were relatively low-paid positions because of ideals and passion for the industry; Richard Brennan recalled that his annual salary for being the AFI director was seven thousand dollars – a very low figure even in 1973. As academic, writer and former AFI staff member, Peter Kemp observed in an interview with us, many staff may have had promises made to them, or fostered aspirations that budgets and circumstances would never allow, and this was a source of profound frustration. Thus, rather than moving on with a sense of achievement, they often moved on with one of disappointment. This is not to say that there were not significant achievements, but rather to reflect a sense of potential unfulfilled – often due to budget constraints. Freda Freiberg has also made this point, offering that: 98 The reason for staff dissatisfaction is the frustration which results from having to work with impossibly small and fixed budgets, and consequently, being unable to expand the existing activities or initiate new projects, yet wanting to do so … Staff at the AFI have had to listen to constant criticism and feel impotent to redress the inadequacies of the services, while under pressure from the AFC to end the financial year without a deficit.17 P.98: Pamela Rabe at the 1999 AFI Awards (photograph by Jim Lee courtesy of the AFI). Above: Morry Schwartz, Sandra Sdraulig, John Brumby, James Hewison. (photograph by Belinda Rolland courtesy of the AFI). Former manager of AFI Distribution Jenny Sabine has recalled that the structure of the AFI could also put further stress on staff. The AFI has always been overseen by a voluntary board that, while making an enormous contribution to the AFI, would sometimes not understand the implications of their decisions. For instance, Sabine recalls that there were often tensions when policy changed after board meetings – at which staff usually were not present. In addition, Sabine recalls that she, and staff managing other areas, were told to make activities commercially viable or they would have to close.18 (Click here for video.) Former AFI CEO Vicki Molloy (1986–1995) has said that she doubts ‘if many people felt as if their time with the AFI would have been a good time’.19 She explained this is related to the many stakeholders the AFI attempted to serve – and how they competed. The stakeholders were: the founding gentleman’s club (discussed in the chapter on the 1950s and 1960s); the highly commercial interests who saw the AFI as presiding over their marketing success and prestige; academics wanting access to a superb research collection; those attracted by distribution, who represented the independent ‘oppositional’ culture of filmmaking; its seven thousand members; as well as others, including institutional stakeholders and state 99 and federal governments. Only a small number of staff worked in each AFI department and this meant that they were often conflicted, or at odds with each other because they had very different objectives and different stakeholders – not the least of whom was the industry itself. It was also an issue for Melbourne staff that the AFI Awards tended to swamp the whole organisation and pull staff and resources away from other activities. The guilds and unions which represent the industry often have sharply differentiated views about the Awards as well as wider issues, and then there is the potential conflict between those who are interested only in feature films, those whose interest lies principally in television, and those who are ardent in their support of short films and documentaries. Meanwhile, the AFI was ‘operating on the smell of an oily rag and therefore it was hard to do anything well that became part of its charter’.20 According to Molloy: the AFI bore the burden of implementing change and yet carrying with it old baggage, and like most organisations that are moving ahead of a culture, it always bore the grief of much of that change. It has been an organisation that existed on the fault lines whether it be government, or culture, or art and commerce sort of fault lines. And many of those disputes were fought out in quite a bloody and acrimonious way. But it acted as a site for the debates and contests around who owns film culture and where does film culture reside – and what is more important, industry or context, education or practice? Frequently it was a difficult place to work productively. People came in with passion, belief and usually found themselves compromised.21 Although many former staff recalled their time at the AFI positively in the sense that they loved the work itself, many recalled that they experienced difficulty in working for an organisation that was the industry ‘whipping boy’. Former AFI CEO, Richard Brennan, remembered his time at the AFI helm as an enjoyable experience, but he also recalled that the AFI has been an industry ‘punching bag … I think it has done a hell of a lot of good things and no harm that I’m aware of, and done a terrific job of championing Australian film’.22 Former AFI Exhibition staff member, Peter Kemp, recalled that he was proud to work at the AFI, but it was about compromise: I could see briefs that were only half met, the under-funding and the whole Melbourne/Sydney juggling act that went on, but I felt privileged to be in the job. It was a wonderful vision, or potential vision, and it was great to be part of it … You were underpaid, you had endless meetings about what policies would be for a particular area, and you’d see these whittled away for a range of reasons, but mostly under-funding … and so you respond to the overall ideal brief with what was a realistically practicable one for your particular division.23 What was lost to the AFI with all this staff burn-out was the expertise of the many excellent people who went through the organisation. According to former board member, Ken Berryman, the changeover of staff meant that there wasn’t an effective mentoring system and this meant that anyone coming through was destined to ‘start from scratch. And so in lots of ways they were sort of doomed to reinvent the wheel each time’.24 (Click here for video.) This also meant that corporate memory was continuously lost and had to be rebuilt. 100 The tensions described above have played out from the establishment of the AFI through to today. The Awards, for example, are the program through which the production sector has had most contact with the AFI, but that sector has largely not seen the importance of other activities and what they bring to the production sector – in fact there has been a widespread failure to recognise the importance of screen culture activities, and even an anti-intellectualism that has created a kind of ‘them and us’ mentality in relation to the cultural and production sectors of the industry. Former AFI CEO, Annette Blonski, has observed that she believes these sectors are divided in Australia in a way they are not in other countries where they are understood to be related to each other.25 The Government Arguably the most significant stakeholders in the fortunes of the AFI have always been the state and federal government film-funding agencies. Unpacking the complexity of this relationship is not the aim of this book, but it would be remiss not to outline to some degree how this relationship functions. On the one hand, as already discussed, there is the issue of the priorities of the funding bodies directly impacting on what the AFI could, or could not do. The state and federal funding agencies’ policies do not always shift at the same time, and this has also created tensions. In addition, as a national body, but one located and entrenched in Melbourne – and indeed largely regarded as a Melbourne institution – it has never been an easy fit with federal or state agencies. As Vicki Molloy has outlined in her interview with us for this book, in the fullness of time it struck her that the AFI was in a perilous position for some time before she became the CEO in 1986. In her view there were underlying tensions between what the state and federal funding agencies wanted, as well as between the local communities in Melbourne and Sydney. Federal and state agendas were not the same and therefore, at times, the AFI operated in competition to either the state or federal government. For instance, Molloy’s recollection is that the State Film Centre of Victoria had an ambition to create a Centre for the Moving Image from the mid 1980s.26 In her view, part of the state agenda was that federal funds should go to them to build up the State Film Centre and the Centre for the Moving Image, rather than to the AFI. This meant that there were tensions between what Film Victoria wanted from the AFI and what the AFC wanted – although ultimately the Victorian government has been a major supporter of the AFI and screen culture in the state. An example of federal tension was that, in Molloy’s view, the AFC was influenced throughout the 1980s and into the 1990s by the culture of the former Sydney Filmmakers Co-op (and the loss of this Co-op), and while they wanted something like the BFI, they didn’t want to fund it. Apparently, many former Sydney Co-Op staff got jobs in the AFC at that time and as is explained already in this book, ‘the old rivalries were deep seated’.27 Consequently, ‘there had not been, nor had ever been, a lot of internal support for the AFI in Sydney, or through the Australian Film Commission’.28 At the time, the AFC was changing its own role, and in the mid to late 1980s it started to call itself a national cultural organisation. Molloy says that the AFC had to find a new identity and focus, ‘from then on the writing was on the wall because there was by definition a conflict of interest in relation to the AFC and its own ambitions to assert itself in comparison to the FFC’.29 101 Molloy believes that if the AFI had succeeded in getting direct funding from government then it ‘might have had a role a bit more like the AFC’s – but without investment funding – a bit more like the BFI’.30 AFC money was allocated to specific activities, so the AFI did not have complete autonomy over its own projects. As Jenny and James Sabine have observed, the AFI ‘didn’t really have control over its own destiny because it relied so much on funding, particularly the AFC funding’ and the changes in policy or personnel would impact on what activities were approved and this also impacted on whether staff could implement or achieve plans that had been put in place. They also recall that this would happen fairly suddenly, as funds were approved or not, depending more on what the AFC thought was a good idea – decided on because ‘it solved some other problem that they [the AFC] had’.31 (Click here for video.) According to Phillip Adams, the AFC had offered the AFI a line of funding to have some autonomy in the 1980s, but Molloy has a different recollection, that the AFC had offered the AFI $1 million if they agreed never to seek funding again (at a time when they were receiving more than that amount per annum in subsidy). In Molloy’s view this was an attempt to close down the AFI, ‘the AFC was clearly not keen to continue the operations of the AFI … Yet they were too frightened to make that explicit because of the poor PR’.32 At the time, the AFI had good relationships with Canberra and as Molloy has recalled, ‘I think we had some good friends there that looked after us for a while, so the AFC would have got its fingers burnt if it had closed down the AFI and lost that piece of cultural space and history’.33 What happened after Molloy’s tenure as CEO was that the AFC did gradually take the money away from the AFI, although as stated, Film Victoria and the Victorian government played an important role in the survival of the AFI from the 1990s, but this was support for the Awards and not other activities. Many of those we spoke to in writing this book referred to the environment being one in which there was a strong competition for resources, and given the AFI received a large chunk of AFC funding in the 1980s, it seems they had decided to disperse this funding more widely. As the former AFI chairperson, Denny Lawrence, recalls, the ‘AFC was always interested in being “the” film organisation and gobbled up a lot of the areas of screen culture’.34 For Lawrence, one of the toughest things to deal with was that from the late 1990s: there wasn’t widespread support from the government agencies, and to an extent from the industry, for the importance of the culture of film and what the AFI stood for. There was much more interest in the Awards themselves and nothing else, and while the AFC certainly stated very clearly that whilst they wouldn’t tell the AFI what to do, they would only fund the Awards and nothing else – we all felt it was a way of saying we should only do the Awards – and that was really tough.35 (Click here for video.) Lawrence observed that what also left the AFI staggering was the AFC’s decision to take away $600,000 in funding. This made it impossible for the AFI to maintain all of its operations from the end of the 1990s. Lawrence recalls that trying to decide what was important and what had to stay was like Sophie’s Choice; although the Awards were considered the raison d’être of the organisation, it was tough to lose those other activities.36 As former CEO Annette Blonski has observed, there were various factors at work from 102 the changing priorities and a degree of hostility in relation to the federal funding, which in combination with passivity in the cultural community and a lack of great affection for the AFI meant that the AFI lost many of its activities.37 These things may have been a failure of the AFI, or a failure to communicate the role of the AFI so that those outside it could understand it. Blonski has observed that it might not have been spelt out until Kim Dalton became CEO of the AFC, but that in her view: comparisons were made with the British Film Institute which had several arms like the AFI, but it included an archive and was responsible for film production and development. So the AFC looked at the AFI and thought they could slowly but surely take on a lot of these activities, take on some of them themselves, divulge some to other organisations and leave the AFI as a shell – effectively as an Academy, because frankly it [the Awards] cannot be run by a government, or funding instrumentality, because there is a conflict of interest. That was behind all of this thinking at the time.38 These changing circumstances and fortunes have meant that the AFI in the new millennium has been a much-reduced organisation, but while it still runs successful programs and has a strong membership base, it still is the seed of an ideal that could grow, given the right conditions. The Members It’s not owned by a government, its ownership is the industry and the community that is engaged with film and I think that is why it plays an important role and why it is so valued.39 The other significant stakeholder is the AFI membership. The membership owns the organisation and gives it some authority in the cultural landscape – it is an oasis and an ideal that it created and supports. Membership of the AFI has ebbed and flowed in the last decade, fluctuating with up to 10,000 members at its highest levels in the early 2000s. They have joined for the love of film and otherwise for a range of reasons, from wanting to see the films of that year (and vote for the AFI Awards), to gain cinema discounts, or to support the promotion of Australian screen culture. Whatever the reason, this is a significant number of people who are willing to put their money down to be a part of the organisation. Through them the AFI supports and develops a community of interest in Australian film – particularly an older demographic, who are, according to the former CEO James Hewison the majority of the members in 2008.40 There are 545 people who have been AFI members for over twenty years. The longest person to still be an AFI member is one of Australia’s most esteemed film historians, Ina Bertrand, who first joined over thirty years ago. She says she has retained her membership ‘because it is the best way to keep abreast of local film production – which was important to me professionally (teaching a course in Australian film), but also personally’.41 Our survey of the early 1980s found that around a hundred people who became members in each year between 1984 and 1988 are still members twenty years later. Some years were extraordinary; for instance 171 members who joined in 1984 are still members today. What happened in 1983/84 to precipitate this is unknown, but we do know there was a focus on the screen culture landscape given that Bob Connolly and Robin Anderson received not only an AFI Best 103 Documentary Award, but an Academy Award in the best documentary feature category in 1983 for their film First Contact (1983); as well, the National Film and Sound Archive was founded in 1984 – no doubt to much nationalist fanfare. Still from First Contact Among the list of those who have held membership for 20–30 years are people who are, today, television network executives and producers, entertainment promoters, filmmakers from all genres and across all crafts, actors, journalists, distributors, exhibitors, casting agents, academics, publishers and the most esteemed persons from the Australian industry. Of course the largest and most important group is the general members, the film buffs who have continued to put their money down to support their passionate engagement with the moving image. Also interesting is that of these long-time members, there are many who have contributed significantly to screen culture broadly, as well as many who have been staff, AFI chairpersons or CEOs and board members. Conclusion This chapter chronicles the way in which the AFI’s various stakeholders have engaged with the organisation – sometimes harmoniously, at other times discordantly, but always passionately. A continuing thread of this chapter has been the way in which the stakeholders of the AFI have continuously participated in the AFI Awards, an event of such significance in the screen culture environment that it forms one of the main reasons the AFI exists after fifty years. For this reason we have devoted the next chapter to a focus on this stellar event. Endnotes 1 Author not attributed, ‘Everyone can go home now, quietly and by the most direct route’, ShowBusiness, 6 December 1973, p.4. 2 Interview with Bob Weis conducted by Mark Poole and Lisa French, St Kilda, 25 August 2008. 3 Interview with Richard Brennan conducted by Mark Poole and Lisa French, South Melbourne, 5 August 2008. 4 Interview with John Flaus, conducted by Mark Poole and Lisa French, Melbourne, 1 May 2008. 5 Phillip Cenere observed that ‘the majority of the criticism directed at the AFI Awards this year had more to do with the films than the ceremony’. Phillip Cenere, ‘Aussie Film Awards; The Post-Mortem’, Metro, no.143, 2005, p.92. 6 Barrett Hodsdon, Straight Roads and Crossed Lines: The quest for film culture in Australia from the 1960s, Bernt Porridge Group, Shenton Park, WA, 2001, p.51. 7 Dr George Miller, 2006 AFI Awards Yearbook, AFI, Melbourne, 2006, p.9. 8 Cate Blanchett, AFI Awards Yearbook, AFI, Melbourne, 2001, p.5. 9 Felicity Collins & Therese Davies, Australian Cinema After Mabo, Cambridge University Press, Cambridge, 2005, p.8. 10 Gerard Henderson, ‘The Trouble with our Stories’, The Age, 25 November 2003, <http://www.theage.com.au/articles/ 104 2003/11/24/1069522534829.html>, accessed 15 July 2008. 11 Interview with Denny Lawrence conducted by Mark Poole and Lisa French, Albert Park, 20 July 2008. 12 Interview with George Miller conducted by Mark Poole and Lisa French, Sydney, 17 September 2008. 13 For example: Chris Brophy & Lisa French, (eds), ‘On the Making of Baz Luhrmann’s Romeo + Juliet’, Metro, no.113/114, January 1998, pp. 20–24. Chris Brophy & Lisa French, (eds), ‘Women’s Stories on Screen; Helen Gaynor, Alison Tilson, Sigrid Thornton and Ros Walker’, Metro, no.120, 1999, pp. 83–87. Lisa French, (ed.), ‘Writing For the Stage Screen and Tube’, Metro, no.115, 1998, pp. 7–12. Lisa French (ed.), ‘My First Feature in the Cannes, Samantha Lang, Pamela Rabe and Mandy Walker’, Metro, no.117, 1998, pp.53–58. 14 Interview with Ken Berryman conducted by Mark Poole and Lisa French, Melbourne, 27 August 2008. 15 Interview with Tait Brady conducted by Mark Poole and Lisa French, Melbourne, 12 August 2008. 16 Interview with Sandra Sdraulig conducted by Mark Poole and Lisa French, Melbourne, 16 September 2008. 17 Freda Freiberg, ‘Open Doors: Empty Purses – Women, Film and the AFI’ in Annette Blonski, Barbara Creed, & Freda Freiberg, Don’t Shoot Darling, Women’s Independent Filmmaking in Australia, Greenhouse Publications Pty Ltd, Richmond, Australia, 1987, p.116. 18 Interview with Jenny Sabine conducted by Mark Poole and Lisa French, Melbourne, 27 August 2008. 19 Interview with Vicki Molloy conducted by Lisa French, Melbourne, 15 July 2008. 20 ibid. 21 ibid. 22 Interview with Richard Brennan conducted by Mark Poole and Lisa French, South Melbourne, 5 August 2008. 23 Interview with Peter Kemp conducted by Mark Poole and Lisa French, St Kilda, 16 August 2008. 24 Interview with Ken Berryman conducted by Mark Poole and Lisa French, Melbourne, 27 August 2008. 25 Interview with Annette Blonski conducted by Mark Poole and Lisa French, Malvern, 26 August 2008. 26 Molloy is not making a reference to ACMI, but is talking about a period many years before ACMI became a reality. Her point is that an independent body like the AFI could never have established or achieved on-going funding for such an institution. 27 Interview with Vicki Molloy conducted by Lisa French, Melbourne, 15 July 2008. 28 ibid. 29 ibid. 30 ibid. 31 Interview with Jenny and James Sabine conducted by Mark Poole and Lisa French, Melbourne, 27 August 2008. 32 Interview with Vicki Molloy conducted by Lisa French, Melbourne, 15 July 2008. 33 ibid. 34 Interview with Denny Lawrence conducted by Mark Poole and Lisa French, Albert Park, 20 July 2008. 35 ibid. 36 ibid. 37 Interview with Annette Blonski conducted by Mark Poole and Lisa French, Malvern, 26 August 2008. 38 ibid. 39 Interview with Sandra Sdraulig conducted by Mark Poole and Lisa French, Melbourne, 16 September 2008. 40 Interview with James Hewison conducted by Lisa French, Melbourne, 22 September 2008. 41 Correspondence between Bertrand and Lisa French, 6 July 2008. 105 7 0 A STELLAR EVENT: THE AFI AWARDS OVER 50 YEARS The AFI Awards stimulate discussion, controversy and above all, intense interest in local product.1 F rom small beginnings in 1958 as part of the Melbourne Film Festival, the AFI Awards have achieved national and international recognition and acceptance by the industry, government and the general public as the premier film awards in Australia. The Awards manage to attract major sponsorships, generate significant publicity, receive a national broadcast and recognise and reward excellence both in front of, and behind, film and television cameras. The AFI Awards (now AFI/AACTA Awards) are the single largest promotion of the Australian industry, and through extensive publicity, they showcase the industry locally and overseas. The AFI runs the Awards to support the industry through generating awareness of Australian film and television; providing a definitive measure of excellence that helps to set and raise benchmarks in Australian film and television production and performance; and developing audiences through engaging a wide-viewing audience with a view to involving and interesting them in screen culture, the AFI, and particularly Australian film and television. It is arguable that as the AFI Awards are the one activity the AFI has sustained over its entire fifty years, the Awards have been the most successful program run by the AFI over the past five decades, although the Awards have also generated criticisms of the Institute over the years, especially from the production industry. This chapter aims to consider what the AFI Awards are about in 2009, their role and function, and how well they meet their objectives. At the risk of revisiting some of the territory 107 mentioned in earlier chapters, we will begin here by briefly reviewing some of the key historical moments of the history of the AFI Awards since their inception. A Short History Of The Awards As discussed in chapter two, the AFI Awards commenced in 1958 or 1959 in conjunction with the Melbourne Film Festival, which was then essentially the same organisation as the AFI. The first Awards were low key and not regarded as the only or even the principal objective of the AFI at that time. The films entered were largely documentaries, as Australia did not make many feature films during that period. However, the Awards’ judges took their task extremely seriously, as can be attested by the comments they made in awarding the films. Throughout the first decade, judges produced a commentary on their decisions, with overview statements commonly criticising submitted films for characteristics such as being illustrated essays rather than exploiting the power of film, or for having soundtracks that were wall-to-wall narration or employed inappropriate ‘canned’ music (instead of something more evocative and suited to the subject of the film). These comments reflected a strong interest in promoting film as ‘art’, and in the notion of film culture. In addition, judges made recommendations that extended well beyond the Awards, and looked forward to a livelier screen industry; for instance, in 1962 ‘the judges of the Above: The first Melbourne Film Festival, Australian Film Awards suggested last night Olinda, 1952 (Photo courtesy of Ed Schefferle). P.109, from top: Still from Clay that the Commonwealth Government should courtesy of Rosemary Mangiamele. Andre consider establishing a film-making school’.2 Pataczek in Sweetie. This was well in advance of the actual establishment of the AFTS, which, as already explained, the AFI was instrumental in lobbying for. This is another example of the way in which the AFI has always used the Awards as a platform to promote the industry’s issues, and lobby for its development. Director Erwin Rado stated that their intention was to make awards in line with international standards, and so they often did not make awards if the judges felt that no film came up to the standards of a Venice Film Festival or a Cannes. Thus, the first Gold Award and Grand Prix were not awarded until 1963 – several years after the first Australian Film Awards.3 And in some years, such as 1961, no awards were made, apparently because the entries didn’t live up to the judges’ expectations – something that cannot happen with today’s voting system. 108 As stated, during these first few years the films that won were documentaries, commercial films, and some experimental work. This was because Australia made few features between the 1930s and 1970s. Still, early recipients of awards included Gil Brealey, Peter Weir, Tom Cowan, Tom Haydon and Tim Burstall, who continued to be active filmmakers over the next decade, and beyond. Burstall won an AFI Award in 1960 for The Blackman And His Bride in the Experimental Film category, and Albie Thoms won in the same category in 1967 for Man And His World. Although largely held in Melbourne in the early years, the Awards were sometimes held in Sydney. In 1962 they were staged at the Union Theatre at the University of Sydney, but still organised by Erwin Rado, the AFI’s executive director. In 1964, they were also held in Sydney, at the Shell Theatrette on 18 May, and hosted by Sir John Northcott, a former governor of NSW. Film critic and AFI board member Colin Bennett said at these Awards that: the Australian Film Awards, humble in value though they may be, have done far more than some people will acknowledge to stimulate and encourage our filmmakers, both established and incipient. They are having an influence and acting as an incentive. Three times as many films are being entered as when the competition was started in 1958.4 Standing out in the 1960s were those who were artists with great skill in the craft, for instance Giorgio Mangiamele, whose brilliance as a cinematographer earned him several AFI awards for cinematography, including for Clay in 1965. His widow, Rosemary, has this award that is inscribed and signed by Erwin Rado, ‘for creative use of the camera in a Feature Film’ – dated May 1965. Dean Semler also won for cinematography in 1972, Russell Boyd in 1979, and Sally Bongers made history as the first woman to be nominated, and to win the Best Cinematography Award. In what is a boys’ own category (given the difficulty women have had breaking into it), Bongers was the first woman to win in both the non-feature (Jane Campion’s A Girl’s Own Story in 1983), and feature Cinematography categories (with Jane Campion’s Sweetie in 1989). The Commonwealth Film Unit, later to become Film Australia, was active making sponsored films in the 1960s, mainly for the government, and the Shell Film Unit was 109 Below: Jack Thompson in Sunday Too Far Away. P.111, from top: Still from The Devil’s Playground. Glenda Jackson and Jack Thompson at the 1975 AFI Awards (Photo by Buchanan And Wodetzki. Courtesy of the AFI). also making documentaries, as well as promotional films and commercials. This enabled up-and-coming filmmakers like Peter Weir, Richard Brennan, Geoff Burton, David Muir and many others to hone their craft. Thus in 1967 the Commonwealth Film Unit took ten of the AFI’s awards that year, including the ‘Jedda Award’ for the best tourist film. And in 1970, the Unit’s Three To Go: Michael, directed by Peter Weir and produced by Gil Brealey won a Grand Prix. Cash prizes for the Awards were expanded in 1970 (the first cash prizes at the AFI Awards occurred from 1962 when The Advertiser gave a £100 prize). This expansion was greatly valued by filmmakers for whom making a living in the 1970s was difficult. As the local industry was resurrected in the 1970s, the AFI Awards honoured several emerging feature films that began to be produced. In the first half of the decade films like Jack and Jill: A Postscript (Brian Robinson and Phillip Adams, 1970), Stork (Tim Burstall, 1971), and Sunday Too Far Away (Ken Hannam, 1975) were among the prizewinners. In 1971, the public were invited to the Union Theatre at Sydney University, where for the first time, they were able to watch some of the finalist films. Previously only the winners had been screened. The publicity for the Awards billed it as aiming to ‘provide a stimulus to Australian film producers, and to call public attention to the latest achievements of the nation’s film industry’.5 But at the 1971 Awards, Channel 7’s Bruce Gyngell lambasted the fledgling industry with the criticism that he ‘doubted that if the industry were showered with money by a J. Paul Getty or a Billy Sneddon there would be anyone prepared to make a film aimed at a mass audience’.6 Gyngell added that the Australian film industry ‘often seemed to want the profit and success of Hollywood without being keen on satisfying the vast audience which supported Hollywood’. As far as he was concerned, Australian filmmakers were concentrating on films of interest only to a minority – ‘We’re all bottom and no top’.7 The 1973 Awards were held in conjunction with the Penguin Television Awards at the Kew Civic Centre in Melbourne in December, and this generated a lot of publicity in the press. Esben Storm won $5000 for 27A and Judy Morris won $500 for Best Actress in her role of Sybil in Libido – a film that was subsequently controversially chosen to represent Australia: billed by The West Australian on 28 March 1973 as ‘Australian Sex Film For Cannes Film Festival’. As production of features increased locally, the demands for changes to the judging of the AFI Awards increased. As explained earlier, during the early part of the AFI’s history, the 110 Awards were judged by a panel made up of film critics, filmmakers and academics. For example, the Awards in 1973 were judged by critic Colin Bennett; producer Geoff Gardiner; Richard Brennan (director of the AFI at the time); and Brian Robinson (a filmmaker and later head of the Swinburne Film School). The founders of the AFI were adamant that this jury system was a way of aligning the awards with international standards, rather than caving in to the pressures and demands of distributors and exhibitors who would want awards to go to films in release. However, filmmaker Mike Thornhill, as well as producer Richard Brennan, were equally adamant that this amounted to a form of elitism and the industry should be allowed to vote for the films entered, at least in the feature film categories. These latter opinions won the day and in 1976 the rules were changed so that members of the AFI could vote in their particular category. In addition, a number of new categories were created for feature films including Best Film. In the first year of the new system, Fred Schepisi’s The Devil’s Playground won Best Film, as well as a sheaf of other awards, and Picnic At Hanging Rock, which had been released almost a year earlier, was nominated but overlooked in the awards line-up. The new system was established for a trial period of one year, but clearly the tide had turned and the advocates of the old system like Erwin Rado and Colin Bennett had resigned from the AFI, so the new system became the status quo. Under the new regime, industry practitioners were able to vote for the awards in their own specialist areas, such as Costume Design, Screenplay, Sound Editing, and Art Direction. A jury still decided the awards for non-fiction and short film, and all AFI members voted for Best Film. National broadcasting of the AFI Awards began in 1976 when Channel Nine televised them. The year after, they were on the ABC. In 1978 they were staged in Perth, broadcast by local television station TVW7 and relayed nationally by the Ten Network. The presentation was reportedly attended by a difficult-to-believe five thousand people, and cost $200,000.8 American star, Fred MacMurray, was a special guest along with his wife June Haver, and actresses Britt Ekland and Brenda Vaccaro also attended. Newsfront (Phillip Noyce, 1978) was a major winner, and the low-budget Mouth To Mouth (John Duigan, 1978) won the Jury Prize. According to The Age journalist Geraldine Pascall: the provinciality of it all had a degree of charm in the end, and would have been sufficient if Australian filmmaking were still that of a provincial backwater. But it’s not and future awards 111 must start to reflect the talent, importance and achievement of the films and film-makers it honours.9 The 1979 Awards in Sydney were scheduled to be broadcast by the Nine Network, but the broadcast was cancelled due to an industrial dispute. The AFTS taped the presentation as a student project, and it was held as a luncheon at the Sebel Town House on October 12. My Brilliant Career, directed by Gillian Armstrong, won six AFI awards including Best Film and Best Director. Mad Max was recognised with a Jury Prize, and was nominated for Best Film. In 1982, Mad Max 2, considered by many to be the best of the Mad Max trilogy, failed to make it into the Best Film nominations, although Dr George Miller won Best Direction and the film was a success at the box office. Other films that have been commercially successful but failed to win awards include The Man From Snowy River (which won a single award for music), one of our biggest grossing films, Green Card (1990) (not recognised as an Australian film despite being funded by the FFC and directed by Peter Weir) and Crocodile Dundee in Los Angeles (Simon Wincer, 2001). This is noteworthy in an industry that is currently attempting to create viable businesses but tends to ignore commercial successes. In 1986, Malcolm (director Nadia Tass, with co-producer, writer and cinematographer David Parker) won Best Film, and Crocodile Dundee, which wasn’t entered, was awarded a prize anyway to recognise its success. While not as successful globally as Crocodile Dundee, Malcolm also did extremely well at the box office, and set up the careers of the Tass/Parker filmmaking team – at 30 July 2008 Crocodile Dundee was ranked fourth highest in the all-time Australian box office takings ever, after Titanic (James Cameron, 1997), Shrek 2 (Andrew Adamson, 2004) and The Lord of the Rings: The Return of the King (Peter Jackson, 2003).10 The 1980s were a period of expansion and consolidation within the production industry as the 10BA tax incentive system ramped up production. While this model did not necessarily produce good films given those investing in them were often only interested in the tax concession (which began at 150%), it made an impact at the AFI Awards and screenings because of the huge increase in entries. In the first few years of the 1980s there were often 30 features entered in the AFI Awards per year. Following reviews of the judging process in Melbourne and Sydney, the rules were changed so that all voters had to be members of the AFI. The large number of entries caused the AFI to institute a pre-selection process for feature films in 1982, which drew criticism 112 for failing to allow voters to decide which films would be nominated. Pre-selection was dropped in 1983. In 1984, Dr George Miller established the Byron Kennedy Award. He contacted people and organisations in the industry to contribute to a fund to create an award to remember Byron Kennedy, who died tragically the year before. Among those who contributed were Greater Union, Village Roadshow, and Steven Spielberg. The citation for the award is, ‘This award is given to an individual, usually early in their career, whose work embodies the qualities of Byron Kennedy: innovation, vision and the relentless pursuit of excellence’.11 Miller portrays the judging of this award as a highlight in his year because he is gratified to know that there are people out there whose work is excellent and inspires the judges to argue passionately about what these people have contributed or achieved. He is involved each year as the facilitator of the judging. There are six judges, that Miller says is deliberate so that the outcome can be as close to unanimous as possible. Miller selects three judges, and three are put forward by the AFI. The aim is to have an eminent jury with as wideranging experience as possible, and representing different crafts or sectors of the industry.12 The Awards first included television categories in 1986 initially restricted to mini-series and telefeatures. Vicki Molloy started at the AFI as CEO that year, having come from the AFC where she had been the Director of Creative Development. She recalls that the Awards had been with Channel 10 for two years as part of a three-year deal, but that they did not want to broadcast it again and so paid out the AFI, giving them some funds to proceed. Molloy then negotiated a broadcast with the ABC, something she says was difficult given that the AFI had ‘snubbed them’ to go from ABC to Channel 10. However, something was arranged at ‘the last minute’ and the first broadcast to include television awards did occur.13 The presentation was a sit-down dinner for the first time, rather than a theatre-style presentation, compèred by Pamela Stephenson and broadcast on ABC TV from Sydney’s Regent Hotel. During 1987, the AFI Awards voting regulation changed with the reintroduction of preselection by peer group panels, with producers P.112, L-R: AFI Awards, 1979: foreground Bill Hunter & Michael Pate (Photo Studio Commercial Priority. Courtesy of the AFI). Pamela Stephenson and Nadia Tass at AFI Awards 1986; (Photo courtesy of the AFI). L-R: Barry Jones AFI Awards 1979. Colin Friels and Pamela Stephenson at AFI Awards 1986 (Photo courtesy of the AFI). 113 and directors voting across all categories. This caused the Australian Writers’ Guild to protest, boycotting the 1988 Awards because directors could vote in the writing category, but writers couldn’t vote for Best Director. This eventuated in the screenwriting awards being withdrawn, as there was no pre-selection panel.14 The Awards were held at Darling Harbour, Sydney, but there was no telecast. After these Awards, the AFI conducted round table consultations with industry with a view to setting award policy for three years, and securing industry support or agreement.15 In 1989, Actors Equity celebrated its fiftieth anniversary year16 and Julia Blake congratulated them while accepting her award for Best Performance by an actress in a leading role for a mini series – her first AFI award, which was telecast on the ABC. Actor, John Jarratt, presenting an award for the TV series Police State (Chris Noonan, 1989), muttered under his breath, ‘good on ya mate’ – just quietly and naturally – but a reassuring sign of the Australian vernacular alive and well, reminding us that the AFI Awards ‘are intrinsically Australian – stylish and glamorous but laid-back and individual with just a touch of humour’.17 This was echoed by the sight of the Australian prime minister Bob Hawke, and then contradicted when he presented the Best Film Award to the film with arguably the worst Australian accent in film history – Evil Angels (Fred Schepisi, 1988). Special guest, Max von Sydow, gave the Awards an additional international flavour. The texture of the Awards has been observed by Ina Bertrand as bringing: a different kind of ambience than to any of the other awards that are around and that’s important … they are not completely commercial … they walk a tightrope of being commercial in the sense of running an awards ceremony that can be televised, and can get ratings, and thinking about the film industry in a broader sense than just what makes money.18 Filmmaker and former AFI chair, Denny Lawrence, has observed that it is important that the AFI Awards have remained staunchly Australian. He pointed out that BAFTA had to invent a category of ‘Best British Film’ because the BAFTA ‘Best Film’ was ‘invariably an American film’.19 (Click here for video.) In his view, this would happen here if the films did not have to be Australian, because it is very difficult to compete on the level of Hollywood. ‘It is not just about 114 P.114, L-R: Max Von Sydow and Julia Blake at the 1989 AFI Awards (Photo courtesy of the AFI). Sam Neill in The Piano. Below: Peter Weir, Rebecca Gibney and Steve Vizard at the 1990 AFI Awards (Photo by George Haig courtesy of the AFI). budget, but about the kind of richness that comes with having more time and more thought going into the scripts, and the production, and the level of experience in the creative team – which is often missing from what are very often first and second features’ in Australia.20 In 1990, the AFI introduced a levy of $20 to attend the Awards screenings. This did not completely cover the significant costs to the AFI of the event, but went some way to help. In years where the field is large, the extra cost to the AFI can be around $100,000 above the budget. For instance, in 1991, thirty nominated films were exhibited in seven capital cities, and with changes to the rules in 2008 there was also an increase in the numbers. In 1990, there was considerable indignation among members about the Awards screenings levy because they had previously enjoyed this as part of the membership fee; but given that members were able to see all the Australian films nominated, this was the best twenty dollars they ever spent. The AFI Awards were unable to secure a broadcaster from 1988 until 1993, when The Piano won a record eleven awards. This meant that the ‘glitter cycle’ films The Adventures of Priscilla, Queen of the Desert, Muriel’s Wedding and Strictly Ballroom or those with a focus on suburbia or social realism, such as Proof (Jocelyn Moorhouse, 1991), Romper Stomper (Geoffrey Wright, 1992), and Death In Brunswick (John Ruane, 1991), didn’t get as much television coverage as they could have had with a broadcast. But 1993 saw a return to televised Awards, possibly as a result of the impact of the ‘glitter cycle’ films, or perhaps due to the expansion of the AFI itself in the early 1990s, and the Awards have been televised in 115 Clockwise top left: Sigrid Thornton and Russell Crowe at the 1993 AFI Awards (Photo by Serge Thomann courtesy of the AFI). Peter Phelps and Denise Roberts at the 1993 AFI Awards (Photo by Serge Thomann courtesy of the AFI). Vince Colosimo and Daniella Farinacci in Lantana. Joan Chen & Joel Lok in The Home Song Stories. 116 the majority of the years since. The Awards ceremonies have varied from basic to lavish, according to the budgetary constraints of the year; the Awards were basic due to tight funds in the early 2000s, but expanded with sponsorship from Emirates and then L’Oreal Paris, as well as particularly important support from the Victorian government. As well, the recruitment of the Paul Dainty team to manage the Awards encouraged broadcast by the Nine Network. Some years have generated a stellar array of significant films, while in other years the output was less amazing – such as in 2004, when Somersault took out the record in 2004 with thirteen wins, or in 1993, when The Piano took eleven. It is significant that one film often sweeps the board at the AFI Awards. Other films to scoop the pool with six or more AFI Awards include The Devil’s Playground (1976) – 6 AFI Awards, Newsfront (1978) – 8 AFIs, My Brilliant Career (1979) – 6 AFIs, Breaker Morant (1980) – 10 AFIs, Gallipoli (1981) – 9 AFIs, Careful, He Might Hear You (1983) – 8 AFIs, Malcolm (1986) – 8 AFIs, Strictly Ballroom (1992) – 8 AFIs, Angel Baby (1995) – 7 AFIs, Shine (1996) – 9 AFIs, Lantana (2001) – 7 AFIs, Japanese Story (2003) – 8 AFIs, and The Home Song Stories (2007) – 8 AFIs. L-R: Rob Sitch, Jane Kennedy and Meredith King at the AFI Awards in 1993 (Photo by Serge Thomann). Vince Colosimo, Anthony La Paglia and Nick Giannopoulos at the 2001 AFI Awards (Photo by Jim Lee courtesy of the AFI). Many of these multiple AFI Award winners (above) are among the highest grossing at the Australian box office: Strictly Ballroom took more than $21.2 million, Lantana just over $12.2 million, Gallipoli over $11.7 million, The Piano more than $11.2 million, and Shine more than $10 million here in Australia (as well as another $90 million in other territories).21 All of these films also won the AFI Best Film Award, and Best Director. As mentioned earlier, there is also a group of films that either were not nominated, or did not enter the Awards, that are listed in the top 300 films at the Australian box office. These are the more populist films, the Dundee films (which did not enter but as outlined, the first one did receive an Award for the best film not entered – an award from the AFI board), the Working Dog films (Rob Sitch’s 1997 The Castle and The Dish [2000]), and The Wog Boy (Aleksi Vellis, 2000). Today, the AFI AACTA Awards have the glamour and television presence that a national film awards demand, but maintaining this is always a difficult juggle for the AFI. In 2007, it was reported in the Herald Sun that the Awards producers had a private jet on standby in case Nicole Kidman and Hugh Jackman’s schedules would allow them to be whisked from the set of Australia (Baz Luhrmann, 2008) to attend the Awards. The television presence itself creates a major tension because the network that broadcasts the Awards has a major influence over the shape and style of the event. All networks have their own personality, stars and mode of address to the audience – and this has to be catered for with the ceremony. Sometimes this is out of sync with the sensibilities of the film industry, which ultimately rebounds on the AFI; for instance, Sophie Monk’s hosting of the red carpet arrivals at the 2007 Awards was roundly criticised (reportedly causing her to pull out of the Channel Nine broadcast of Carols by Candlelight).22 117 But controversy goes with the territory of film industry awards and even bad publicity fulfils the aim of getting people to notice and talk about the Awards. There is always a range of concerns on a variety of issues; for example, in past years there have been concerns expressed about the high cost of admission (around $400 for a seat) which pushes the filmmaking community to the fringes of the industry awards’ night, which is only televised as highlights, while only the well-heeled are able to enjoy the full broadcast version of the Awards, along with the party. So what have the AFI Awards achieved, what have they failed to achieve, and what issues with the Awards remain? Issues With The AFI Awards While it is a considerable achievement in this quasi-industry to run a national awards program for more than fifty years, some issues remain with the AFI AACTA Awards. What publicity do the Awards generate? Should they always be televised as a major priority? How important is it that the Awards get noticed overseas? Is there sufficient media coverage 118 of the Awards? What is the impact of competition from other awards? Does AFI publicity help the box office returns of a film, or can it harm them? Secondly, is the judging process working? Who should judge? Who should be eligible to vote? How should the voting process by conducted? Should there be screenings of films for members? Does quality work get rewarded, or not? And thirdly, what is the relationship of the AFI Awards to the production sector? How can the Awards make money yet attract filmmakers as well as sponsors and the well heeled? Do the Awards have to be split over two nights, and what are the ingredients of a successful party? In what follows, we explore these issues. Publicity Clearly one of the key objectives of the AFI Awards has been to generate publicity, to promote the production industry as a whole and also to celebrate the excellent work by filmmakers during the previous year. Central to publicity is the broadcast of the Awards. The AFI Awards first received a full broadcast in 1976, when the Nine Network televised them. Since then they have been broadcast by Channels Ten and Seven, Nine, ABC, SBS, and cable TV, although there have been several years when the Awards were not broadcast at all. A national telecast conveys a sense of importance to the event and therefore a place for the film and television industries within the wider arts landscape that is difficult to mark out without a broadcast; and preferably the broadcast is on a major free-to-air network which more adequately addresses the AFI’s aim to engage with the widest possible audience to promote the consumption of Australian film and television. However, the Awards can make for average television and don’t necessarily rate well. Over the years, critics, journalists and members of the industry have roundly criticised the televised Awards. It is difficult to keep the Awards short enough to be a positive viewing experience, yet provide the time for winners to thank everyone they feel they need to in their victory speeches. Who can forget the time when Kerry Armstrong was gonged off the stage after winning Best Actress in both film and television in 2001 (for SeaChange and then Ray Lawrence’s Lantana); or the embarrassment when David Gulpilil was also gonged mid sentence. Gulpilil had won the audience with his claim that he ‘deserved it’ – Best Actor in a Leading Role for The Tracker (Rolf de Heer, 2002) – and an over-zealous director had misjudged the moment to move on to a commercial. What television audiences did not see were the boos from those at the Awards, and Gulpilil finished what he had to say off camera. This is one of the downsides of having P.118, From top: Magda televised Awards; for those who attend in person the pace Szubanski, Heath Ledger and is dictated for the demands of the broadcast. Danni Minogue, shenanigans Should the AFI acknowledge that the Awards are unlikely to make for mainstream television fare, and do an appropriate deal with a cable TV network that requires fewer viewers? Or should they continue trying to make them work on free-to-air TV? Currently the latter approach at the 2006 AFI Red Carpet arrivals. (Photographer unknown. Courtesy of the AFI). Lisa McCune, Kerry Armstrong and Georgie Parker (Photo by Jim Lee courtesy of the AFI). 119 is being adopted, with an attempt being made to seek new audiences, which requires an eye to consumers and translating their needs in the telecast. This endeavour has been apparent in recent years, most notably when Paul Dainty took over the television production of the Awards in 2005 (until 2011). He and his team made them more mainstream, attracting globally recognised, Academy Award-winning hosts such as Russell Crowe and Geoffrey Rush,23 star guests such as Daniel Radcliffe, and were important in the mix to convince the Nine Network to telecast the Awards. Rush burst onto the stage as the face of L’Oreal ‘gone horribly, horribly wrong’. For the moment this is working well. And despite the occasional criticism, it seems that the Awards are functioning effectively at present to publicise the industry and honour excellence. The Judging Process Below: Daniel Radcliffe and Heath Ledger (photo by Annabel Moeller). Right: Russell Crowe (photo by Annabel Moeller). P.121, from top: Geoffrey Rush (photo by Jim Lee). Russell Crowe and Marsha Hines (photo by Annabel Moeller). (Above photos courtesy of the AFI.) Abbie Cornish in Somersault. A key element of the AFI Awards is the judging process. As stated earlier, the AFI Awards were initially judged by a handful of governors, critics and filmmakers whose standards were deliberately high. Their intentions were honourable in that they aimed to measure local filmmaking by international standards, so as to point the way for the fledgling industry and lift those standards. As well, they were determined to award the films and not the filmmakers, and from the beginning had an eye to the development of the whole industry. In a letter to the editor in The Age, Erwin Rado wrote in 1976 that: The Australian Film Institute was established in 1958 to foster and encourage the highest standards in Australian film-making, and was giving awards to films (not filmmakers) because it wanted to highlight the achievements of an art that must always be the result of team-work and in which the overlaps and responsibilities of the individuals are necessarily hard to pinpoint.24 This system worked well for fifteen years or so when the industry was small and mainly 120 focused on documentary production or experimenting in the margins. But with the expansion of the industry from the early 1970s, pressure grew from within the production sector for the Awards to represent assessment by peers, not an anonymous and ‘elite’ panel. In 1973, the then AFI CEO, Richard Brennan, commented that the Awards generate a fantastic amount of spite, mostly towards the judging system, but also between filmmakers as to the comparative worth of their films. He said at the time that he believed ‘that the virtues of the present system outweigh its defects and outweigh the residue of ill-feeling which some decisions have left in the past, and I imagine will leave in the future’.25 In our interview with him in 2008 he noted that this spite was still present, such as when Somersault (Cate Shortland, 2004) scooped the pool of AFI awards. Outrage at such a win was expressed by the industry itself (who voted these awards), and was directed towards the AFI. Former chair, Bob Weis, observed that filmmakers who do not win awards feel the need to blame someone, so they blame those who hand out the awards, rather than admit that their peers, who rigorously assessed their work, failed to recognise its worth.26 (Click here for video.) This is part of the ongoing ups and downs between the AFI and the industry, which has often unfairly criticised the AFI. Former AFI chairperson, Phillip Adams, has also alluded to the problems for the AFI in dealing with the industry itself, saying that ‘if you got through the year without a fiasco, as long as you got the AFI Awards up without the most appalling factionalism within the industry you probably thought you’d done a pretty good job’.27 Brennan mentions his own experience that a film might not win an award but could still benefit from the controversy generated. He gave the example of Homesdale, a film Richard Brennan produced and which was directed by Peter Weir. Homesdale failed to win the Benson and Hedges competition that was part of the Sydney Film Festival, but ‘the ensuing publicity proved incredibly helpful to Homesdale. However, Homesdale won later awards and proved financially rather successful in terms of its very limited budget.’28 Controversy and constant refinement have been ongoing throughout the history of 121 Below: Bruce Beresford & Kirk Douglas at the 1980 AFI Awards. P.123: Noni Hazelhurst at the 1982 AFI Awards (Photos courtesy of the AFI). the AFI Awards. In 1976, as the local industry expanded, the judging shifted to a peer assessment system that was refined according to industry comment after each ceremony. Critic and board member Colin Bennett fiercely opposed the change to peer assessment, writing in 1973, ‘The Australian Film Institute has surrendered to the merchants of PR and the purveyors of ballyhoo. It has sold out to the industry and to the commission, exhibitors and distributors who provide the cash prizes’.29 In our interview with him, Bennett claimed they wanted ‘Ozcars’, and Erwin Rado, who was also opposed to this move, ceased to be involved with the AFI from this point. Cinema Papers reported that Bennett maintained that the jury system, whereby films were ‘judged by a small, disinterested panel of critics, academics and filmmakers’ was one which though it had its faults, ensured a truly independent assessment of Australian cinema year by year’.30 Michael Thornhill and Richard Brennan retorted: ‘Presumably the AFI should be purer than the driven snow and exist in splendid isolation apart from the real world … There is nothing wrong with PR and ballyhoo, provided it is good PR and ballyhoo’.31 Scott Murray explained that in his view the jury system can be manipulated, and is ‘open to horse-trading and one person’s personal stance against a film can cripple its chances – as with Picnic At Hanging 122 Rock in 1976, when one member of the five-person jury changed preferences to stop Picnic winning the ballot’.32 As Murray (who was himself a board member of the AFI in the 1980s) added, the real issue was whether the present set-up is best for the industry and for fulfilling the AFI’s stated aims of ‘fostering and developing a film culture in Australia’. In 1986, television awards were added to the film awards and ever since it has been a challenge to fit all the awards into a single evening. The past few years have seen a two-night system, with the industry or craft awards on the first night. The television awards are judged differently to the film awards, with cross-industry panels deciding upon the awards. The panels are made up of writers, directors, sound engineers, actors, cinematographers, editors, producers, costume designers and others. There are different craft panels for the television drama, documentary, and short fiction categories. While we do not know the reason, the television categories don’t seem to have historically generated the controversy that the film equivalents have over the years. It could be that those who most interact with the Awards are the film sector rather than television, but that is only speculation. There have been some television controversies; in 2007 there was a fuss when some television categories were moved to the Industry Night of the Awards (the pre-recorded night before the major ceremony), and the ABC’s Kim Dalton withdrew support from the Awards. He would not allow ABC nominees to attend because in his view the change reflected ‘a lack of respect for the television nominees, and seriously diminishes the role television plays in the ceremony’.33 Channel 7’s Head of Programming, Tim Wormer observed that the AFIs give the impression that television is like ‘the cousin at the wedding who had to be invited’.34 Certainly the AFI, and many other film and television awards have tended to privilege film over television. Every year AFI staff review the awards internally. There is industry consultation to ensure that the judging system is endorsed by the industry and has integrity and transparency, with a strong entry field in all categories, and maximum participation in the Awards judging process. To do this, the AFI relies on panels of experienced and impartial industry jurors and jury chairs; as well, the AFI needs to communicate the judging process to entrants and members, and ensure that a representative selection of films and TV programs compete. The nature of the AFI Awards currently is to nominate four films or individuals in each category, which inevitably results in work of a lesser standard gaining a nomination in years where competition is weaker, especially in some categories where the number of entries is often low. For example, the Best Adaptation Screenplay is one where there are usually only a handful of entries, since Australia tends to make films from original screenplays, not adaptations – the opposite of Hollywood. In some years there is pressure to merge the Adapted Screenplay category with the Original, as in fact happened in 2007. The Australian Writers’ Guild argues that both categories should be kept, as the skills required to adapt a screenplay from a novel 123 or a play are fundamentally different from those of writing an original script; however, this may mean that a screenplay gains a nomination just because there were only three or four adaptation screenplays entered that year. This begs the question of whether it is the best method, or whether the relative discrepancies in standards from year to year are irrelevant. The alternative would be to decide by some process not to nominate anyone in these categories in a year when few entries are received; but on balance it is arguably better to nominate as many entries as possible to improve the chances of success at the box office of our local films. Above: Still from The Jammed. P.125: Happy Feet. Another issue is the large number of categories, particularly television categories, making it difficult to fit into a single evening. Virtually every year there is a call from within the industry to add a category or two. To keep the number of categories overall within reasonable bounds the AFI has, over recent years, merged or dispensed with some of the smaller ‘craft ‘categories such as screenwriting for short fiction films, creating a ‘catch-all’ category Craft Award which covers writing, editing, production design and cinematography for short films. This presents a dilemma in the judging, especially since this craft award is open to both fiction and factual shorts, making judging a complex matter which we have frequently heard described by judges as comparing apples and oranges. 124 A third issue with the Awards is the dilemma when the producers don’t enter a major film. Some years ago a prominent filmmaker said he did not want to enter his film in the AFI Awards, citing disagreements with the judging process, but he relented when it was pointed out that his decision meant that the cast and crew who worked on his film would be ineligible to win a prize – that filmmaker had his name taken off the film in the judging handbook, but in later Awards went on to win the major prize for a subsequent film he had entered.35 In other cases, films have simply not been entered. Film historian, Ina Bertrand, has observed this as a negative feature of the Awards over the years; the absence of some key films has meant it has not always been comprehensive ‘particularly some of the more commercial films, who felt they wouldn’t get properly considered in the AFI awards, or that could not be bothered because they knew they were going be so successful they didn’t need to think about it’.36 Sometimes a film is given an award by the AFI even when it isn’t entered, such as when Happy Feet (2007) received the ‘Global Achievement Award’. A fourth issue is whether all voters should be required to see all films. On face value this seems appropriate, but in practice it can be difficult for working film industry practitioners to see all 20 or so feature films entered in a particular year. The Academy Awards have long allowed people to vote without having seen everything, but this may enhance the ability for certain films to be ‘pushed’ by a small but determined band of industry insiders, and score more than their fair share of prizes. In 1982, when Australia produced in excess of 30 features a year, a pre-selection panel was formed to pre-select four films nominated in each category, and then the voters only needed to see the four films in a category to vote in it. This had the advantage of making it easier to see the nominated films and therefore cast a vote, but also has the disadvantage of a panel filtering out some films that voters may have wished to vote for. The system created something of an uproar at the time, and was dropped in 1983 because the number of feature films being produced had decreased to fewer than 20 per year. It did, however, re-surface briefly in the 1990s and was dropped again. There is another issue about the requirement for a feature film to have been released before being eligible to enter the Awards. In 2007, The Jammed was able to enter the IF Awards but not the AFIs, since it hadn’t secured an eligible release; however, the AFI changed this rule in 2008 to allow such features to enter (and The Jammed was one of them). In an era when more low-budget films will be made, and are even advocated by international experts and local government agencies, this change in rules would appear to be a positive move, and the AFI has rationalised this as worth trying on the grounds that: there are a whole lot more enterprising and independent filmmakers that will show alongside the more established work … [previously] you had to have a good release in three capital cities around Australia and you had to have that confirmed early June or late May of each year … We think there are some great films being made by innovative young filmmakers … but then they don’t necessarily have that half a million to roll out a marketing campaign … [They now have a] chance for critical appraisal.37 125 The result has been twenty-five feature films entered in the Awards in 2008 – which certainly gives members a chance for discovery the AFI aimed for with this move – with budgets ranging from a reported $20,000 for The Tragedy of Hamlet Prince of Denmark (Oscar Redding, 2007), through to films costing millions of dollars. In the past, distributors have sometimes opted for releasing an Australian film around October every year so they can qualify to enter the AFI Awards, yet can still be in release if they get nominated, causing a bunching up of Australian releases at the same time. However, the recent changes to the entry requirements described above could mean that this October release pattern will no longer occur. Does The Industry Own The AFI Awards? A significant issue of the AFI Awards is the extent to which the film and television industry ‘owns’ them or feels that they represent the industry. As both Colin Bennett and Paul Harris noted when we interviewed them for this book, the media frequently call the AFI Awards the ‘Australian Film Industry Awards’ – replacing ‘institute’ with ‘industry’. For example, Richard Stubbs did this on ABC Radio 774 in 2007, and this indicates that while the Awards may have achieved a certain level of brand awareness within the industry and public, the term ‘institute’ is less well branded, perhaps due to a lack of marketing by the AFI itself. The AFI attempts to engage the industry after each Awards, but it is notoriously difficult to get all representatives to the same table and the industry is sometimes long on criticism and short on constructive suggestions for change. It is not surprising that the AFI has often had difficulty in gaining a consensus on changes or successes from an industry which has to date been unsuccessful in operating an Australian Screen Council as a mechanism to speak with a united voice. (The Screen Council was formed in response to the view that the federal government needed to hear from the industry from a single voice, and such a council would streamline relationships with government, but in 2009 the Council is in limbo after one of its key instigators, the Australian Writers’ Guild, withdrew from it). In general, each particular sector of the industry tends to feel that their work is not sufficiently honoured by the AFI Awards, and that there should be more awards given to their particular craft category; on the other hand many feel that the Awards night goes on too long. Nobody volunteers to give up any of their Awards to make space for new ones, or to shorten the event. Currently, the industry seems as happy as they will ever be with the staging of the AFI Awards, although the industry rarely acknowledges the necessity for having a well-staged, well-run, well-judged and televised national awards. As Denny Lawrence has observed: The industry senses the importance of the Awards because of their brand, because it’s been around so long, because saying AFI winner has meaning – the way saying Oscar winner or Oscar nominee has meaning – and is frequently used to represent excellence or some achievement on the part of industry personnel … there have been many awards … but the AFI has the history, longevity, the sense of weight that no other Awards has for film and television … the AFI is acknowledged as a peer voted, excellence based Awards event’.38 (Click here for video.) 126 Left: John Hargreaves, Ray Barrett, Graham Kennedy & Harold Hopkins in Don’s Party. Below: John Lynch and Jacqueline McKenzie in Angel Baby AFI Awards – Box Office Gold Or Poison? When the judging system was changed in 1976 it was criticised for selling out to the interests of distributors and exhibitors in running an awards system that would favour box office returns at the expense of giving artistic merit priority. This raises the question of whether a nomination or a win at the AFI Awards actually boosts the box office performance of a film, or not. Upon receiving recognition at the AFIs, Don’s Party (Bruce Beresford, 1976) was brought back into cinemas for an additional run, as was The Interview (Craig Monahan, 1998) following several AFI wins – including Best Film. In addition, as Richard Brennan observed, an AFI Award benefits a film financially, often assisting in gaining a TV sale, for example.39 The producer of Japanese Story (2003) and former AFI board member, Sue Maslin, has also testified to the benefits of winning an AFI Award. Maslin has won AFI Awards in the documentary and feature categories and she says that her first AFI Award, for her documentary Thanks Girls And Goodbye (Sue Maslin and Sue Hardisty, 1985): meant a great deal. It … symbolised that after five years of hard work, we had written, produced and directed a film that was worthy of recognition by the Australian film community. It provided me with wonderful encouragement to go on making films and the recognition from one’s colleagues is something that has continued to mean a great deal ever since. However, the marketing value that the AFI Awards confers was something that I fully understood years later when Japanese Story (Sue Brooks, 2003) went on to win 8 awards, including Best Film. During the week of the AFI Awards, the film experienced a 57% jump in box office and went on to gross over $4 million in Australia, an extraordinary result on less than 50 prints. The AFI Awards were part of the subsequent branding of the film and together with the crew and cast, we were very honoured that the film was acclaimed by the AFI, the most prestigious of the Australian awards.40 On the other hand, not all films appear to reap the benefits of the Awards: Angel Baby (Michael Rymer, 1995) won seven AFI awards, but did poorly at the box office, taking less than $1 million, Somersault with its thirteen AFIs took only a reported $1.3 million and The Home Song Stories fared even worse, winning eight AFIs and reportedly taking less than $400,000. 127 Could it be that at the moment an AFI award may actually be detrimental to a film, as it tags it with the ‘Australian’ label that is currently perceived as anathema to the film-going public? Not according to a quantitative and qualitative study commissioned by the Film Finance Corporation Australia (FFC) in 2008, which included twenty focus groups in four capital cities and 997 survey respondents nationally. It found that quality was the most important attribute of a film; and as Dr George Miller has noted, ‘there’s nothing wrong with the film industry that a good movie won’t fix’.41 In fact, Australian films didn’t suffer any intrinsic disadvantage in relation to international films: ‘moviegoers often preferred to see Australian films and didn’t define movies by country of origin but by genre’.42 The FFC survey also found that Australian films needed to be marketed as mainstream rather than art house, as films perceived as art house were generally of less interest to audiences. However, Tait Brady has noted that our films are seen by Australian audiences, not necessarily in the cinema, but on television or DVD.43 The problem, according to filmmaker Miller, is that we keep churning out black and white cows, and Australian filmmakers need to focus on what they can offer that is unique, bring ideas to the table that offer something that cannot come from anywhere else and in so doing, create a ‘purple cow’. For Miller the purple cow might be the quirky camp of Muriel’s Wedding or Strictly Ballroom, or a distinctive Indigenous production such as Ten Canoes (2006).44 The careers of actors certainly appear to benefit from AFI Awards; Richard Brennan stated that he had observed that the AFI Awards are a keen barometer of our up-and-coming stars who he says generally get noticed very early with AFI nominations and wins. Looking at the careers of some of our biggest stars, there seems to be some truth to this. Mel Gibson first appeared in a feature film in 1977, attaining an AFI win at age twenty-three for Best Actor in a Leading Role in 1979 for Tim (Michael Pate, 1979) – an award he won again in 1981 for Gallipoli (Peter Weir) and The Year Of Living Dangerously (Peter Weir) in 1982. Russell Crowe was noticed by the AFI Awards in 1990, the year he first acted in features. At age twenty-six he was nominated for Best Actor in a Leading Role for The Crossing (George Ogilvie, 1990),45 in 1991 he picked up Best Actor in a Supporting Role for Proof (Jocelyn Moorhouse), and followed this immediately by Best Actor in a Leading Role for Romper Stomper (Geoffrey Wright, 1992). L-R: Jamie Gulpilil in Ten Canoes. Mel Gibson and Peter Weir, AFI Awards Toni Collette’s first feature role was in Spotswood 1981. P.129: AFI Awards at Fox studios, (Mark Joffe, 1991) where she was nominated for Sydney in 1999 - foreground Bob Carr Best Actress in a Supporting Role at the age of (Photo by Corrie Ancone, courtesy of only twenty. Although the AFI was won by Fiona the AFI). 128 Press for Jackie McKimmie’s Waiting (1990), Collette then went on to win two AFI’s for Best Actress in a Leading Role (the first was in P.J Hogan’s Muriel’s Wedding,1994), and two AFI’s for Best Actress in a Supporting Role between 1994 and 2003, as well as two subsequent nominations for International Awards.46 In 2008, the AFI also moved to support the careers of documentary filmmakers and to expand the AFI’s role in promoting Australian moving image artefacts internationally with a new ‘AFI Documentary Trailblazer Award’. The AFI supported a documentary filmmaker to go to Cannes’ MIPDOC / MIPTV – an initiative that the AFI’s Damian Trewhella has described as designed to promote both the filmmaker and the AFI – so that the recognition and gravitas of the Awards and Australian filmmakers grows internationally.47 Do We Need The AFI Awards? In our interview with Peter Kemp, for this book, we asked him why the Awards were important and his response was ‘Why is the Melbourne Cup important?’48 This analogy is a good one – it is the major and most famous Australian event in its field, it is about bringing the nation together, about annually celebrating something of our own, focusing the eyes of the world back at Australia, and asserting ourselves proudly into the international arena. The possibility of doing away with the AFI Awards has been canvassed over the years, especially since other awards, such as the IF Awards began to function. However, the IF Awards were a popular awards determined by a national poll of people who read Inside Film magazine, and after 2011 were rested following the AACTA Awards move to Sydney. They were not judged by industry professionals as the AFI/AACTA Awards have been, and didn’t have the spread of categories. All film awards make a contribution to screen culture and the fortunes of industry professionals, but the AFI Awards have, as stated, the ‘industry’ tag or reputation and certainly have the highest status in the awards landscape – particularly internationally. While the notion that the AFI Awards are our version of the Oscars is frequently observed, and in some quarters such ‘ballyhoo’ bemoaned, there is a particular Australian flavour to the events. In 1999, Bryan Brown accepted an AFI Award and ‘admitted to being worried by two events the previous weekend – the endorsement of an English monarch in the referendum and the celebration of American film culture at the opening of Fox Studios. “A bloke, I suppose, could be forgiven for starting to wonder exactly who owns this country”, he said.’49 These moments reinforce that there is a culture that comes from here, one with its own perspective, vernacular and concerns. Some might argue they function as a marker of national cinema, of something specific and local – and also international, or transnational, as Russell Crowe, in reply to Brown’s comments, helped to point to Australia as having something of ourselves to offer from the margins to the centre. Denny Lawrence has observed of the debate from the stage between Crowe and Brown that ‘there was good and bad, and right and wrong on both sides but it was very exciting, very stirring 129 Above: David Wenham, Sacha Horler, Bryan Brown and Naomi Watts at the 1999 AFI Awards (Photo taken by Jim Lee courtesy of the AFI). P.131: Still from Romulus, My Father. to have our industry discussed in these terms – in the best sense patriotic terms’.50 (Click here for video.) The controversy that comes with the debate around a current issue is one of the exciting things about awards. It might make sponsors worry, but these moments give the Awards significance as cultural moments. For example, the 1968 Academy Awards were such a moment for Americans when Martin Luther King was assassinated. This caused a postponement in the Awards ceremony, and when they did occur, the key films nominated provided a platform for the issues in the country more broadly because they were debating questions of racism in American society – Guess Who’s Coming to Dinner (Stanley Kramer, 1967) and In the Heat of the Night (Norman Jewison, 1967), both starring Sidney Poitier.51 In 2009, when the Federal Government and others aim to support viable businesses and substantially increase overall production in the sector, we surely need a vehicle to showcase the best local film and television output, as well as a way of recognising and rewarding excellence in film and television. Recently, however, some commentators such as Jim Schembri, critic for The Age have argued that excellence is in short supply in this industry, and the poor box office performance of our films reflects the fact that we make self-indulgent works that ignore the audience.52 In this context an Awards event that is judged as fairly as it can be, and which highlights excellence, should surely be valued. Yet the AFI has been allowed to struggle on with little acknowledgement from the industry of its central role in staging the annual Awards – a viable, effective and highly visible event. Indeed, the AFI has had to dust itself off every year, and cap in hand, organise funding for the event. When it has had more secure funding, such as the 130 Victorian Government major events funding, it has been able to grow the event, rather than just tread water. In the last two decades, federal funding to the AFI has shrunk from over a million dollars to $300,000, and while the only funds now given are for the Awards, the effect on the organisation and what it can deliver (including to the Awards) has obviously been diminished. Should The Awards Be Run By The AFI? From time to time the suggestion has been floated that the Awards could be taken over by another organisation. Former AFI chairperson Denny Lawrence has said that, for over a decade in that position, he observed: So many people wanted to get their hands on it – so many saw the importance, and power of the AFI because in the press and media, in the eyes of the public, being an AFI winner was quite significant. The fact that you’d been funded by the AFC or Film Victoria, or whom ever, was kind of irrelevant and those organisations mean nothing to the broader public … the AFI brand, and the AFI name has maintained some weight, and some gravitas, and some meaning. And as a consequence of that, it has power, it has real attractiveness to so many people … who might have wanted to get hold of it.53 (Click here for video.) In Australia there have been a number of film awards ceremonies besides the AFI Awards, including the IF Awards (held until 2011) and the Film Critics Circle of Australia Awards. Although there can be commonalities between these different awards systems, by and large they produce different results and emphasise different concerns. Each awards system is significantly different; the AFI Awards are peer assessed in relation to craft quality (45 awards in 2008); whereas magazine readers voted the IF Awards on popularity (21 awards in 2007); and the Film Critics’ Circle of Australia Awards are the response of a specific group of film critics using a mixture of criteria (15 awards in 2007). An exhaustive comparison of these awards has not been done but if one considers one particular year, 2007 as an example, Romulus, My Father won at the 2007 AFI Awards with Best Film for Robert Connolly and John Maynard, Best Lead Actor for Eric Bana, Best Supporting Actor for Marton Csokas, and the Young Actor’s Award for Kodi Smit-McPhee. In contrast, at the 2007 IF Awards, Romulus, My Father did not win at all, with The Home Song Stories scooping the pool. Different again were the 2007 Critics’ Circle Awards, where Best Actor in a Supporting Role went to Marton Csokas for Romulus, My Father and otherwise the prize pool was dominated by Matthew Saville’s Noise (2007). In 2007, the ‘Best Film’ category in each award system was different: Romulus, My Father (AFI); Dee McLachlan’s The Jammed (IF); and Noise (Film Critics Circle). All awards are subjective, and while all contribute something to the industry, as Sandra Sdraulig, has noted, the AFI Awards ‘provides the most prestigious vehicle for recognizing talent’.54 Arguably, however, the key point may not necessarily be who wins or which is most prestigious but how awards 131 function to promote the industry and therefore, from an industry point of view, the more awards there are, the better. And as Sdraulig has observed, there may be less visible benefits, such as that they ‘bring key decision makers to Victoria’.55 It is difficult to nominate another organisation that would mount the Awards any better than the AFI, or that would want to take on the challenges and complexities of running them. The AFI is arms’ length from government and is not involved in funding films directly – which is an important consideration to avoid the charge of bias. Many persons interviewed for this book have identified an important reason for the AFI running the Awards as being because funding agencies would have a conflict of interest if they took them over, and this is one reason why the AFI is still running the Awards after fifty years. The AFI has a long institutional history of developing methodology and relationships with industry to facilitate a successful event. This reputation, tacit knowledge – build up through history, institutional and historical memory, and accumulated experience – and networks could not be duplicated say by an events company. A question of what constitutes excellence and how it might be judged was one of the early critiques of the Awards, but over the last fifty years the AFI has worked with the industry to develop a criteria for excellence. The status of the organisation itself is directly responsible for the status of the event – it is the Australian Film Institute, and for branding and publicity purposes, this makes the national and international communities take notice. Denny Lawrence has pinpointed the importance of the Awards (as run by the AFI) as linked to the focus on excellence and the peer voting to achieve it. In his view, if the Awards were taken over and run on purely commercial grounds, they would ‘cease to have meaning’.56 (Click here for video.) This is partly because commercial interests would want to maximise commercial returns, especially given the great expense of running the Awards, and boost the glamour and red carpet. The AFI is a custodian of the cultural intent of the Awards and works to keep this and the art of filmmakers in focus. Where other awards like the IF Awards and the Logies are about popularity, they do not have the same currency as the AFI Awards, which are about artistic worth, craft, and achievements in the field – and mean a lot to those who receive them – because those qualities have been assessed by peers. Former AFI chair, Bob Weis, further described the value by using a metaphor of a bottle of wine. It might have a gold medal on the outside, and this might work for many customers, but the discerning wine connoisseur will look at where the award is from, and this will have some meaning.57 (Click here for video.) Conclusion From small beginnings fifty years ago, the AFI Awards have achieved national and international recognition and an acceptance by the industry, government and the general public as the premier film awards in Australia. The AFI AACTA Awards promote the local industry, and showcase the industry through extensive publicity both locally and overseas. They attract major sponsorships, receive a national broadcast and reward excellence both in front of, and behind, film and television cameras. The AFI Awards are the only awards that are peer assessed and operate at arms’ length from both government and private business interests. They also benefit the production industry by generating publicity that increases returns to producers and investors, and grow the audience for local television programs. In running the Awards, the AFI could arguably do better. There is always room to improve all 132 sectors of the screen culture environment. The AFI and the production sector could engage more with general audiences, especially younger audiences who will be the backbone of Australian national cinema in the future. This is especially so given the general competition for audience time with other media forms. The AFI Awards have played a key role in showcasing the achievements of Australian film and television programs to government, and also in hosting an event where industry practitioners can come together with government representatives, investors, audiences and the wider community. The Awards are monitored by international journals, stakeholders and gatekeepers from the world’s greatest film festivals, broadcasters and studios, and thereby play a role in maintaining a visibility for the Australian industry internationally, promoting it as a significant global player. Over six decades, the AFI has clearly played an essential role in supporting the film and television industries through generating awareness of Australian film and television; providing a definitive measure of excellence that sets and raises benchmarks in production and performance; developing local audiences through engaging the public and stimulating their interest in Australian productions, and as such, the AFI Awards have been crucial to the development of Australian screen culture. Endnotes 1 Author not attributed, ‘Australian Film Awards at Kew’, Toorak Times, 28 November 1973. 2 Author not attributed, ‘Film-making School Urged’, Telegraph, Sydney, 15 May 1962. 3 The first Grand Prix was won by Dunsan Marek for Adam & Eve. There were two Gold Awards in 1963, won by Gil Brealey for The Land That Waited and F. Jenes for Dancing Orpheus. 4 Colin Bennett, ‘Incentive of Australian “Oscars”’, TV Times, Melbourne, 20 May 1964. 5 Author not attributed, ‘The Production Screen’, The Film Weekly, 29 November 1971, p.6. 6 Bruce Gyngell quoted in ‘Film Trade Losing Purpose’, Sydney Morning Herald, 4 December 1971. 7 ibid. 8 Terry Bourke, The Australian, 8 August 1978. 9 Geraldine Pascall, ‘tawdry glitter and amateur-hour behaviour’, The Age, 17 August 1978. 10 Movie Marshall, box office, <http://www.moviemarshal.com.au/boxaus.html>, accessed 25 August 2008. 11 The Byron Kennedy Award, AFI web site, <http://www.afi.org.au/Content/NavigationMenu/AFIAwards2/ OutstandingAchievementAwards/ByronKennedyAward/Byron_Kennedy_Winners_1984-2007.pdf>, accessed 23 September 2008. 12 Interview with George Miller conducted by Mark Poole and Lisa French, Sydney, 17 September 2008. 13 Interview with Vicki Molloy conducted by Lisa French, Melbourne, 15 July 2008. 14 Author not attributed, ‘AFI Awards strong field – shame about the writers’, Filmnews, July 1988, p.3. 15 See Mary Colbert, ‘And the Losers are …’, Filmnews, November 1988, p.7. 16 The Actors’ Federation of Australasia (established in 1920) was renamed Actors’ Equity of Australia (AE) in 1936. In 1939, trade union officials took control of the organisation and in 1945 renamed it Actors and Announcers’ Equity of Australia (AAE). In 1982, the union assumed the original title, Actors’ Equity of Australia until 1993, when it became part of the Media, Entertainment and Arts Alliance (MEAA). Source: <http://australianscreen.com.au/chronology/1930s/>, accessed 8 August 2008. 17 AFI, AFI Awards Yearbook 2007, Melbourne, 2007, p.9. 18 Correspondence between Ina Bertrand and Lisa French, 6 July 2008. 19 Interview with Denny Lawrence, conducted by Mark Poole and Lisa French, Albert Park, 20 July 2008. 20 ibid. 133 21 Movie Marshal; Last Updated 30 July 2007, <http://www.moviemarshal.com.au/boxaus.html>, accessed 20 Occtober 2008. 22 David Knox, ‘Have yourself a merry little Christmas’, TV Tonight blog, <http://www.tvtonight.com.au/2007_12_14_archive. html>, accessed 28 July 2008. Internet reports of the coverage were widely damning. 23 See Russel Crowe, his band: ‘The Ordinary Fear of God’, and Marsha Hines singing at the 2005 AFI Awards, attracting around 88,900 views when accessed 16 June 2008: <http://www.youtube.com/watch?v=tIzxoITH2Hg>. Also see Geoffrey Rush talking about plans for the 2006 Awards: <http://www.youtube.com/watch?v=E6kEQzcTaTM>, accessed 16 June 2008. 24 Erwin Rado, ‘Letters to the Editor’, The Age, 28 July 1976. 25 Author not attributed, ShowBusiness, September 1973. 26 Interview with Bob Weis, conducted by Mark Poole and Lisa French, St Kilda, 25 August 2008. 27 Interview with Phillip Adams, conducted by Lisa French, Sydney, 14 July 2008. 28 Author not attributed, ShowBusiness, September 1973. 29 Colin Bennett, ‘The Ozcars: our film awards have become a mockery’, The Age, 12 August 1973. 30 Scott Murray, Cinema Papers, October/November 1978. 31 ibid, quoting The Age, 19 August 1978, p.93. 32 ibid, p.93. 33 ABC website, ‘ABC TV Withdraws its Support from AFI Award Ceremonies’, <http://www.abc.net.au/corp/pubs/media/ s2087832.htm>, accessed 25 August 2008. The major television nominations moved included Best Comedy Series, Best Light Entertainment, Best Supporting Actor/Actress, Best Children’s Drama, Best Direction, Best Screenplay, and Outstanding Performance in a Television Comedy. 34 Michael Bodey, ‘Out of the picture’, Weekend Australian, 1 December 2008, p.19. 35 We have intentionally not named the filmmaker or his films here as the issue being discussed is in relation to the lack of control the AFI has over who enters. 36 Interview with Ina Bertrand, conducted by Lisa French, Spring Hill, Victoria, 8 July 2008. 37 Genevieve Mater, ‘A Screen Test’, Daily Telegraph, 17 July 2008, p.40. 38 Interview with Denny Lawrence, conducted by Mark Poole and Lisa French, Albert Park, 20 July 2008. 39 Interview with Richard Brennan, conducted by Mark Poole and Lisa French, South Melbourne, 5 August 2008. 40 Email correspondence from Sue Maslin to Lisa French and Mark Poole, 8 September 2008. 41 Dr George Miller quoting an old school movie mogul in the 2004 AFI Yearbook, p.7. 42 Michael Bodey, ‘Local flicks more popular than credited’, The Australian: Media, 12 June 2008, p.31. 43 Interview with Tait Brady, conducted by Mark Poole and Lisa French, Melbourne, 12 August 2008. 44 Interview with George Miller, conducted by Mark Poole and Lisa French, Sydney, 17 September 2008. 45 The award went to Max von Sydow for John Power’s Father (1990). 46 Supporting roles for Lillian’s Story (Jerzy Domaradzki, 1996), and The Boys (Rowan Woods, 1998). The other Leading Role Award was for Japanese Story (Sue Brooks, 2003). The nominations for International Awards were for In Her Shoes (Curtis Hanson, 2005) and Little Miss Sunshine (Jonathan Dayton, 2006). She also won Best Supporting Actor for The Black Balloon (Elissa Down, 2008) in 2008. 47 Interview with Damian Trewhella, conducted by Mark Poole and Lisa French, St Kilda 17 August 2008. 48 Interview with Peter Kemp, conducted by Mark Poole and Lisa French, St Kilda, 16 August 2008. 49 Garry Maddox, ‘Brown fears Aussie identity crisis’, The Sydney Morning Herald, 15 November 1999, p.7. 50 Interview with Denny Lawrence, conducted by Mark Poole and Lisa French, Albert Park, 20 July 2008. 51 See Mark Harris, Scenes From a Revolution: The Birth of the New Hollywood, Canongate, Edinburgh, 2008. 52 Jim Schembri, ‘Tough Lessons For the Film Industry’, The Age, 16 April 2008, p.15. 53 Interview with Denny Lawrence, conducted by Mark Poole and Lisa French, Albert Park, 20 July 2008. 54 Interview with Sandra Sdraulig, conducted by Mark Poole and Lisa French, Melbourne, 16 September 2008. 55 ibid. 56 Interview with Denny Lawrence, conducted by Mark Poole and Lisa French, Albert Park, 20 July 2008. 57 Interview with Bob Weis, conducted by Mark Poole and Lisa French, St Kilda, 25 August 2008. 134 CONCLUSION: AN OASIS FOR A NATIONAL, CULTURAL AGENDA As this history has demonstrated, the AFI has accomplished a lot over the past fifty years. Despite its status as a quasi-private organisation, the AFI has worked throughout its history towards a national, cultural agenda. The organisation has risen to the challenges of half a century of screen culture in Australia through acting as a catalyst to initiate, bring together, celebrate and promote diverse approaches to film. It has fostered the art and study of film, particularly Australian film and filmmaking. The AFI has managed to run annual awards for those fifty years, promoting the Australian screen industries, rewarding filmmakers and those involved in making films, raising the profile of the industry with the general public, government and politicians, and provided at least one great party every year to focus national and international attention on our industry and its culture. As Cate Blanchett has observed, it has played an important role for the industry because it is important that all sectors of the industry gather together, to celebrate and gain a perspective on our diverse industry. As well, the AFI has maintained a research and information library, which is significant as it holds material not available elsewhere – it is a vast repository of cultural treasures. The collection spans decades and has the most comprehensive focus on Australian film that can be found anywhere. It has supported and inspired filmmakers and scholars alike since it opened in the 1970s. In the past decade the AFI has shed its exhibition and distribution functions, but it should be remembered that for nearly twenty years the AFI marketed independent films, distributing significant financial returns to filmmakers and providing considerable visibility for a diverse range of Australian and other production. Now independent Australian films, particularly those which used to be held by the AFI dating from the 1970s, are much more difficult to view and collect, and local audiences today have limited access to this culturally important material. However, the future is a different environment to the past, and we have described here what the AFI has done over fifty years not to wallow in nostalgia and hope for a return to past glories, but in order to describe the successes of the past years, and the failures, so that the AFI can move forward in the evolving screen culture environment of tomorrow. Clearly new roles will have to be carved out, and the AFI will need to identify what is not currently being done in screen culture, and where it can best contribute in the future. When the AFI began in 1958 the cultural landscape was far more barren than it is today, and we hope that at some point in the future the organisation will again be in a position to take on a broader screen culture role beyond the Awards. The AFI continues to seek new funding from 135 government and other sources, as it has never succeeded in securing a permanent ongoing allocation of funds, despite its national, cultural agenda. As we have seen, the business of fundraising has diverted much of the limited resources of the AFI over its history. Despite the shifts and lurches in its fortunes over the years, the AFI maintains an enthusiastic membership, a thriving national Awards, hosts an informative website which is a valuable source of industry knowledge, and the AFI Research and Information library continues to support the development of research and screen culture. Clearly Australia needs the AFI, and the authors trust that this volume will illuminate its history, its purpose, its achievements and its future goals. In particular, we believe that the idea of the AFI, the kind of imaginary space or oasis and potential it represents, is the central reason it is still in existence after fifty years. When the first edition of this book was written in 2009, it was apparent that the local screen industry could lift its game in building a loyal audience especially for its films, and it has to be considered whether the reduction in funding to screen culture organisations over the past fifteen or twenty years, including the under-funding of the AFI, has contributed to the problems in this area. Today, as the Australian industry embarks on a new wave with a new agency (Screen Australia) overseeing federal production funds, a new producer offset scheme to encourage private investment in local productions, and a new government at the wheel, the AFI’s board and management has reconsidered the role it can play in the new order. It has reinvented the Awards with the establishment of an Academy (described in the next chapter). Former AFI chair Morry Schwartz indicated that the key challenge for the AFI is to survive, and this ‘depends on continued funding by its current financial supporters, and importantly, finding new sources of funding. Having survived, it needs to succeed in its charter’.1 For the AFI to best achieve the vision of the organisation to devote itself to ‘developing an active screen culture in Australia by fostering engagement between the general public and the screen industry, and by promoting Australian film and television’ (AFI 2008–2010 Strategic Plan), it will need not only vision, the support of all its stakeholders, and sufficient funds, but also to develop connectivity with all areas of the industry. The AFI will need to convince the production sector that their aims are mutual and their relationship is symbiotic. Hopefully this book will illuminate why people sometimes make certain assumptions about the AFI, why the AFI is occasionally blamed for things that are clearly beyond its control or remit, and also cast light on some of the industry’s deficits as well as its successes. For it is important to remember our past, both successes and failures, so that we can learn from it. This history of the AFI, which began before the revival of Australian film and when the television sector was just beginning, demonstrates how much the screen sector has grown and developed into a substantial network of practitioners, agencies, organisations and businesses. The challenge recognised by the current government is to grow the sector further so that it operates successfully in an ongoing manner, rather than lurching along on the smell of an oily rag. As this challenge is grasped, it is important that our recent history is not 136 forgotten, as it has become clear in the writing of this book that our past endeavours provide many examples and models from which we can learn in the future. The history of the AFI reveals an organisation that must be recognised for its considerable and important achievements. As Phillip Adams said, it has ‘played a not insignificant part historically’2 in the history of the Australian moving image. As former AFI CEO, Annette Blonski, has observed, too much emphasis has been put on its failures, perceived or otherwise, and we have forgotten what it actually achieved, why it was set up in the first place and that while it has faced enormous problems, it has also represented an important part of Australian history that should not be forgotten. (Click here for video.) As the AFI looks to the future, and the role it may play in the future cultural landscape, as well as ensuring the AFI Awards continue to thrive, we wish it well. Lisa French and Mark Poole Endnotes 1 Email from Morry Schwartz to Lisa French and Mark Poole, 24 August 2008. 2 Interview with Phillip Adams, conducted by Lisa French, Sydney, 14 July 2008. 137 POSTSCRIPT AN AUSTRALIAN ACADEMY: AFI/AACTA More than ever it’s critical that a national and international Australian screen community is nurtured. – George Miller1 Introduction O ver its history, the Australian Film Institute (AFI) has looked to promote the Australian screen industry overseas, and the founding of the Australian Academy of Cinema and Television Arts (AACTA) in 2011 had at its heart an outward focus in line with the Australian film and television industry itself, which today is more integrated into international production than ever before. All national cinemas are also international and the Australian film industry has been part of an international industry since its inception, as has the television industry. Indeed, as Moran and O’Regan have noted, ‘never was [there] a time when an Australian film industry could develop in happy and splendid isolation. It was always integrated into a global system.’2 As we have argued in this book, activities such as the Awards contribute significantly to the food chain that supports the production sector, and in this new chapter for this second edition of the book, we examine the reinvention of the Awards as the ‘AACTA Awards’. AACTA was launched by the AFI in August 2011, and the inaugural AACTA Awards were held in January 2012.3 The AFI Awards had always celebrated the national, whilst simultaneously having an eye to the international promotion of Australian film, television and its creative talent, but this move was a shift in focus and outlook. The AACTA initiative has created more emphasis on the international, as well as audience development, and also the formation of 139 Above: Cate Blanchett, Geoffrey Rush and Russell Crowe at the 2nd AACTA Awards (2013); photo: Belinda Rolland courtesy of the AFI. what is essentially a ‘community of practice’ through the establishment of the Academy, and its Honorary Council, which the inaugural AACTA President Geoffrey Rush alluded to when he described it as ‘a unique opportunity to galvanise the craft and talent this country endlessly produces’. 4 The AFI itself described AACTA as ‘the AFI’s industry engagement arm’, comprised of ‘practitioners from a cross-section of the screen industry including production across all screen crafts, distribution, exhibition and television networks’.5 Awards Changes: from AFI to AACTA While the AACTA Awards are a continuation of the AFI Awards, which in its history frequently changed its rules and operation in seeking to formulate the best possible system, there were a number of changes made with the inception of AACTA.6 These included the previously mentioned Honorary Council that oversees policy and the fifteen chapters of key industry sectors and practitioners who undertake the judging. Changes to voting included a twostep voting model for features (a short list of nominees is undertaken before a wider AACTA vote); the introduction of weighted votes (across round one and two of feature voting, based on accreditation); and continuing the 2010 initiative of allowing six rather than four best film nominees (although only four were nominated for the 2nd AACTA Awards). The presentation was changed with a shift from December to late January for the presentation (slotted between the Golden Globe and the Oscar Award ceremonies), and a change in the presentation away from the traditional host in favour of a large number of presenters. Some awards were retired, 140 Above: Geoffrey Rush at the 1st AACTA Awards (2012); photo: Belinda Rolland courtesy of the AFI. and some have been added, such as a new award for ‘Best Reality Television’ from 2013.7 The visual symbols of the first AACTAs were twofold: firstly, a new trophy cast in 22-karat gold (designed by Ron Gomboc and based on the shape of the Southern Cross constellation), and for the first time in a decade the ceremony moved to Sydney.8 Moreover the first AACTA Awards were held at Sydney Opera House, itself one of the key icons of ‘Australia’, and this signified the AACTA Awards as a landmark event. At the time of writing this article, only two AACTA Awards had been held, so reflecting on the achievements of the AFI with this initiative is premature. What we can say is that it has created enormous publicity and hype for the industry, and those at the AFI have pursued the initiative with great energy and commitment through hosting a number of run-up events and announcements. Among these is an event in Los Angeles where the nominees of the AACTA International Awards are announced. At the inaugural event, Meryl Streep, Russell Crowe, Nicole Kidman and Harvey Weinstein added star power to the event and created an enormous ‘buzz’ around Australian film and television. The press only seemed to have noticed this event with the 2nd AACTAs, stating that ‘the AFI and AACTA have an obligation to shine the spotlight where it belongs’ (a local industry).9 While we agree with this sentiment, the international awards (of largely American nominees) did not detract from the main awards program (indeed, they were hardly visible at the presentations or broadcast), however, they are arguably important because they potentially encourage American audiences to hear about Australian films, and inspire confidence in the abilities of Australian creative talent. The AACTA International Awards appear to replace the earlier ‘Global Achievement Award’ 141 (which went to Australians, mostly actors 2001-2004 & 2007); the ‘International Award for Excellence in Filmmaking’ (2001, 20052009), which also went to Australians in various crafts and excluding actors; and the ‘International Award for Best Actor/Actress’ (2005-2010). The current International Award recognises the international counterparts, aims to insert an ‘Australian voice’ to the circuit of international Academy discussion, and also to award or nominate Australians working internationally (such as Naomi Watts and Jacki Weaver). The AACTA initiative has attracted some criticisms in the press, including whether the range of events might be too much, given there were only twenty-two eligible feature films (although of course the AFI celebrates animation, documentary, short film and television as well). One commentator bemoaned the apparent disappearance of humour: ‘AFIs and AACTAs used to have funny presenters and lots of jokes and a particularly Australian brand of cutting humour’10 – something worth considering for the broadcast given the popularity of Australian comedy with Australian audiences; the 2013 broadcast did not include Shane Jacobsen (better known as ‘Kenny’) saying he was just there to drink the beer! Other critics felt that the date was a mistake: ‘Hollywood doesn’t need another awards ceremony in January or February’,11 or that the Awards ‘managed to disconnect itself from the broader TV industry’12 (something that has been a long-held criticism). Tina Kaufman noted that she could not understand why ‘the AACTA Awards don’t at least consider what the BAFTAs do, and have a separate film and TV awards nights, about six months apart’.13 The television industry in Australia has arguably been going in a different direction to the AFI given that it has been described as being ‘in the box seat for “the Asian Century”’, and according to former ABC Head of Television, Kim Dalton, Asian governments ‘see Australia as being an ideal partner with whom to work and to expand globally’.14 Arguably, AACTA currently offers a Hollywood-centric vision of the industry, and the Awards are linked to Hollywood and America rather than Asia. This Hollywood-centric focus may need to be rethought in the coming years as the Asian region enjoys enormous economic growth and develops its own film and television sectors. In 2012 the ABC has been working with HBO Asia in Singapore on the ten-part, $10 million drama series Serangoon Road and has two other significant projects underway.15 Nominees for the second AACTA Awards show that links to Asia are also well underway in feature and documentary production; for example, Pauline Chan’s feature 33 Postcards (2011), which is an official Australia/China co-production received two nominations; and Singapore 1942 – End of an Empire (Andrew Ogilvie, Trevor Graham, Ned Lander), which was made with support from Discovery Asia, received a nomination for ‘Best Documentary Series’. 142 P142: Adam Elliot at the 2nd AACTA Awards (2013); photo Belinda Rolland courtesy of the AFI. Above: Shari Sebbens, Deborah Mailman and Jessica Mauboy at the 2nd AACTA Awards (2013); photo Belinda Rolland courtesy of the AFI. One of the most significant changes is the name change of the Awards to the AACTA Awards. The AFI consulted on this, and received industry support (although badged it as the ‘AFI AACTA Awards’, which is now billed only as the ‘AACTA Awards’, including with a change of website to aacta.org, and a slogan: ‘The AACTA Awards – proudly produced and hosted in Sydney, Australia’). A past AFI winner said to us that given the name change, he would now have to explain what his AFI Awards mean, and this raises the question of whether industry practitioners would prefer to have an ‘AFI Award’ or an ‘AACTA Award’, as well as questioning what the impact of this particular change might be. We have argued in this book on the history of the AFI that the organisation has survived for more than five decades in part because of the power of the AFI name, so this change in the Award name holds a potential risk as well as an opportunity for the AFI and their AACTA Awards. Only time will tell whether the baby has been thrown out with the bath water.16 Another significant addition is the initiative of ‘AACTA TV’ that began initially with the short films, and in 2012 added a little over half the feature films. It adds significant convenience for voters, and the AFI has stated that it has led to the increase in voting, but it is a shift in the experience for members who once rubbed shoulders with the whole of the industry, who in Melbourne and Sydney at least would turn up to have a card stamped to vote, and who came out in force in what was once a vibrant screening program and a chance for the industry to see and discuss all the films in a festival-like atmosphere (although this change occurred pre-AACTA). So while the pragmatic reasons for this shift are evident (increase voting, reduce 143 screening costs), this leaves a gap for the general membership in the sense of developing screen culture where people are brought together physically – an important part of the passionate engagement with film that is the seedbed of the industry. For some years the AFI ran an Industry night and a main Awards night (the broadcast event) on two different days. This caused some angst amongst those not in the main program but the AFI solved this with the AACTA schedule by slotting an AACTA Awards Luncheon, with a highlight being the presentation of one of the major awards, the Raymond Longford Award (presented for lifetime achievement in any industry field). This allowed for the increased number of Awards, and gave the broadcaster a head-start on the production (moving from Channel 9 in 2012 to Channel 10 in 2013). Gaining a broadcast is always difficult, and it is to the AFI’s credit that they have been able to achieve it, despite the compromises that the demands of a network bring. In the end, it is to the industry’s overall advantage that it be broadcast, even if heavily truncated. As industry commentators observed, ‘the AACTA’s did okay to keep a 9.30 pm audience of 320,000’, and this was up from 314,00 in 2012.17 The AACTA initiative to date hasn’t generated any academic (or indeed other) substantive commentary. The lack of visible debate in the press may be linked to general industry satisfaction with the current state of play (given that the AFI has at many periods of its existence been under siege from the press, and sometimes sectors of the industry).18 Alternately, it may indicate the AFI plays a less significant or critical role. The lack of academic commentary may be linked to the fact that the AFI could be doing more in screen culture endeavours than only the AACTA Awards. While the landscape is now quite full of screen culture activities, and to some degree there is less need than in the past for the AFI to undertake them, nevertheless as a major screen culture institution the AFI should deliver more than just the Awards – which is not to say that it does not engage with other activities, but rather to emphasise the important potential role of the AFI (which perhaps the AFI is moving away from, given the emphasis on AACTA we have already described). Arguably, the AFI could play a greater role in supporting serious discussion of Australian film, and in developing a general membership (which has had less attention and resources while the AFI has been busy growing industry connectedness). However, the AFI cannot do everything on its limited resources, and the current AFI staff work extremely hard (as all those who came before them) 144 for the ideal that the AFI has always stood for. It is not widely understood that the AFI does not have guaranteed funding, and each year, as an independent and non-government entity, it has to raise the money for all of its undertakings.19 If the AFI had direct and on-going funding from government, then the huge amount of time spent raising finances could be spent on other worthy screen culture activities. All in all, the critical press reception of the inaugural event was that the Awards were successfully rebadged and refreshed – much like the winner of AACTA’s inaugural ‘Best Film’ Red Dog (Kriv Stenders, 2011), which captured the popular imagination taking $21.3 million at the box office and buoying the industry, as the first AACTA’s appear to have done. Red Dog’s win could be seen as signifying a commercial shift P.144: Jacki Weaver and Mia Wasikowska at in the Awards focus given it joined the 1st AACTA Awards (2012); photo Belinda ‘Strictly Ballroom as the only other film Rolland courtesy of the AFI. Above: Nicole Kidman and Russell Crowe at the 2nd AACTA in the top-ten highest-grossing local Awards (2013); photo Belinda Rolland courtesy 20 pictures to be named best film’. The of the AFI. first AACTAs profiled some quality television, and championed a feeling that we were entering a golden era for Australian television drama. At the inaugural AACTAs, stand out Award winners included the high rating drama The Slap, which was nominated for eight AACTAs and took out five, giving it a boost which could well have contributed to it subsequently being sold overseas, for example, to BBC4 and to the US; it also achieved a 2012 International Emmy Awards nomination. The 2nd AACTA Awards moved to ‘The Star’, with rooftop views of Sydney Harbour and city skyline – allowing the city to again be branded with the event. The nominations for the second AACTA Awards highlighted thirteen features in one or multiple categories (from twenty-three entered); and those getting a ‘Best Film’ nomination were The Sapphires (Wayne Blair, 2012), Burning Man (Jonathan Teplitzky, 2011), Wish You Were Here (Kieran Darcy-Smith, 2012), and Lore (Cate Shortland, 2012) – Lore also being Australia’s official foreign language entry in the Academy Awards. Also nominated were sixteen documentaries, four short animations, four short fiction films and thirty-two television productions, the latter being a production area that is currently particularly rich and vibrant: nominations for ‘Best Television Drama Series’ went to Puberty Blues (the winner), Redfern Now, Rake (season 2) and Tangle (season 3).21 The winner of Best Film at the 2nd AACTAs was, like Red Dog, a popular and commercially successful film; Wayne Blair’s The Sapphires took out the prize along with eleven other Awards). The 145 Sapphires was the crown jewel in what was ultimately a ‘deadly’ night out, not just for the ‘Cummeragunja Songbirds’, but for the other Indigenous stories and actors who scooped up awards (including ABC1’s Redfern Now winning screenplay and lead address awards). As Gary Maddox observed, ‘The Sapphires is the fourth Aboriginal story to win the best film award in the past eleven years at the AACTA and preceding Australian Film Institute awards, following Samson & Delilah, Ten Canoes and Rabbit Proof Fence’22 – making it a ‘deadly’ decade. An International Focus In his paper ‘Outward-looking Australian Cinema’, Ben Goldsmith observed that the boundaries of national film (and we would add television) stretch Above: Russell Crowe and Meryl Streep arrive a great deal further than the national at the 1st AACTA Awards (2012); photo Belinda territory, and our industry has grown Rolland courtesy of the AFI. ‘substantially since the early 1990s, and the connections between local and international filmmakers, locations, infrastructure and resources have burgeoned and become more complex in that time’.23 As stated earlier, the AACTA Awards have mirrored this internationalism, something Goldsmith calls an ‘international turn’ – where dynamic and shifting relations between local, national and international have transformed our thinking in relation to how we regard our national cinema and industry, whilst transforming the production landscape through increasingly international mobility of creative talent. Goldsmith points to outward-looking projects that foster connection to people and locations beyond the nation, but where lines of connection flow out from a place. The Producer Offset (introduced 2007) is an example of this, given it eliminated the requirement that a film be wholly or substantially made in Australia, and consequently made it more possible for our filmmakers on the world stage (despite still having some requirements that continue to place restrictions on filmmakers). This marks a shift in the government policy that has supported the film and television sector since the 1970s, a move towards internationalisation and away from conceptions of the binary national/international. As Goldmith has observed, ‘Australianinternational production is now a normal part of government’s calculations, pronouncements and forward planning in tax reform, employment, investment, infrastructure development and tourism policy’.24 Embracing the international does not of course exclude the national, and many of our filmmakers undertake the ‘outwardness’ Goldsmith has described, where universal themes 146 Above: Cate Blanchett at the 1st AACTA Awards (2012); photo Belinda Rolland courtesy of the AFI. and human values are the means of fostering a connection to people and locations beyond the nation. For example, 2013 AACTA Luncheon host Adam Elliot’s film Mary and Max (2009) tells a story of the friendship developed between an Australian child and an American with Asperger’s (based on Elliot’s own friendship with an American pen-pal), featuring Glen Waverley and the Hills Hoist, the city of New York, and a dialogue between two humans who suffer in the world and who, through cross-cultural sharing, help each other come to understand it. Transnational stars such as Eric Bana, Barry Humphries and Toni Collette are among the voices on the film (which also has Philip Seymour Hoffman). Mary and Max achieved numerous wins at important festivals, including a win at the Annecy International Animated Film Festival, putting it on the initial shortlist for the 82nd Academy Awards.25 It also received a ‘Best Film’ nomination at the 2009 AFI Awards. Elliot and numerous other filmmakers based in Australia in the 2000s have developed a hybrid post-national practice that simultaneously engages in the local and the international. Others include Baz Luhrmann whose film Australia (2008) is a postmodern pastiche engaging in a conversation ‘with, and about, Australian cinema’,26 and which through the bodies of its stars (Nicole Kidman and Hugh Jackman), signifies Australians on the world stage, something the AACTA Awards also do. In 2013 Cate Blanchette, Russell Crowe and Geoffrey Rush came together in a final segment, signifying Australia’s global presence, and the internationalism of the AACTA Awards. 147 Conclusion The Australian film and television industry, while always international as well as national, is increasingly reaching across local borders, and this is reflected in AACTA’s positioning of itself as the Australian Academy, with links and resonances with global players as well as local ones. The AFI Patron, George Miller, the AFI Ambassador Cate Blanchett, and the inaugural AACTA President Geoffrey Rush all have significant global profiles as well as also working with, and supporting, the local industry. It is clear that film productions as well as television will go on traversing national borders, with co-productions funding them, international casts and crew creating them, and multiple distributors and broadcasters screening them across divergent territories and markets, and so it seems appropriate that AACTA reflects this international spread, as well as supporting work that is located and centralised within the Australian national border. As the screen sector addresses challenges from the digital realm, the financial sector and the breakdown of traditional models of film and television distribution and production, no doubt AACTA will find itself juggling its responsibilities to members, the wider Australian screen industry, and the expectations of governments, broadcasters and funding agencies in transforming itself to the new realities of the future. But as host Russell Crowe concluded at the end of the 2nd AACTA awards ceremony in Sydney (he also hosted the LA event), it is not so much whether you win, or are nominated, but about joining with the community of peers that is important. We applaud his sentiments, in particular that the next time you are at the cinema, ‘think about watching an Australian film’. Endnotes 1 George Miller, Statement of Support for Establishing an Australian Academy, AFI, Melbourne, 2011. 2 Albert Moran and Tom O’Regan, The Australian Screen, Penguin Books, Ringwood Victoria, 1989, p. 3. 3 4 5 6 7 8 9 10 11 12 13 14 See a full list of the winners and nominees of the first AACTA Awards and other press: <http://aacta.org/news/media-room. aspx>. Accessed 11 December 2012. Brendan Swift, ‘The AFI launches the Australian Academy of Cinema and Television Arts’, IF Magazine, 19 August 2011, <http://if.com.au/2011/08/19/article/The-AFI-launches-the-Australian-Academy-of-Cinema-and-Television-Arts/ RJFJOGXPGU.html>. Accessed 2 October 2012. AFI correspondence to the AACTA Academy, 29 September 2011. The AFI Awards were first held until 2011, having begun in 1958 or 1959; as we outline in this book (p. 27), there is some uncertainty as to which year the first AFI Awards were held. It is evident from AFI documents that there were Awards in both years and that they were held with Melbourne Film Festival, but what is not clear is whether the AFI became the auspice of the awards in 1958 or 1959. The Festival started the AFI and they were the same organisation until 1972. Awards retired were ‘Best Television Documentary’, ‘Best Sponsored Documentary’, ‘Best Experimental Film’, ‘Global Achievement Award’, ‘Best Foreign Film’, ‘International Award Excellence in Filmmaking’, ‘Jury Prize’, and ‘International Best Actor/Actress’. The AFI Awards were held in Melbourne for a long period due to Melbourne Major Events sponsorship, but prior to that the AFI Awards alternated each year between Melbourne and Sydney. Tom Ryan, ‘Australian films deserve top billing’, The Age, 14 January 2013, <http://www.theage.com.au/opinion/society -and-culture/australian-films-deserve-top-billing-20130113-2cneh.html>. Accessed 30 January 2013. David Tiley, ‘AACTA 2013: as seen on television’, Screenhub, 1 February 2013. Michael Bodey, ‘Variety reigns on film’s big night’, The Australian, 31 January 2012, p. 17. ibid. Tina Kaufman, ‘AACTA 2013: our scribe on the spot awash with glam and ironies’, Screenhub, 1 February 2013. Nick Leys, ‘Local TV must connect with Asia on production projects, says ABC Head’, The Australian, Media, 29 October 2012, p. 30. 148 15 16 17 18 19 20 21 22 23 24 25 26 ibid. Lisa French & Mark Poole, Shining a Light: 50 Years of the AFI, ATOM, 2009, chapters 6 & 7. Tiley, op. cit. Evidence of industry satisfaction is that a number of high profile people stood for the AFI Board in 2013 (e.g. Rowan Woods and Robyn Kershaw). In good times, these places are highly contested. The AFI did not have any government funding for the first twelve years, and since its inception it has been in the position of raising funds, which have frequently come from government, but this has been on application and not on-going. Michael Bodey, ‘This sentimental old dog wins best in show’, The Australian, 1 February 2012, p. 17. Puberty Blues was created by John Edwards and Imogen Banks, directed by Emma Freeman and Glendyn Ivin. Redfern Now was a production by Blackfella films, directed by Rachel Perkins and Catriona McKenzie. Rake season 2 was created by Peter Duncan, Richard Roxburgh ad Charles Waterstreet, with various directors. Tangle series 3 was created by John Edwards, Fiona Seres and Imogen Banks; directed by Emma Freeman and Michael James Rowland. Garry Maddox, ‘Sapphire-studded cast gives Songbirds Something to Sing about’, The Age, 31 January 2013, p. 6. Ben Goldsmith, ‘Outward Looking Cinema’, Studies in Australasian Cinema, vol. 4, no. 3, 2010, p. 202. ibid, p. 207. It was ultimately not nominated, but the presence on the shortlist is testament to the standing of Elliot’s film on the world stage. (He previously had won an Academy Award in 2004 for his short animation Harvey Krumpet.) Lisa French, ‘Storylines in Baz Luhrmann’s Australia (2008)’, Senses of Cinema, July 2010, <http://sensesofcinema. com/2010/55/storylines-in-baz-luhrmann’s-australia-2008/>. Accessed 5 October 2012. 149 150 Glossary AACTA .............. Australian Academy of Cinema and Television Arts ABC .................. Australian Broadcasting Corporation (formerly the Commission) ADG .................. Australian Directors Guild (See ASDA/ADG.) AFC................... Australian Film Commission AFDC ................ Australian Film Development Corporation AFI ................... Australian Film Institute AFID .................. AFI Distribution AFTS/AFTRS ..... Australian Film and Television School, now known as Australian Film Television and Radio School ASCIA ............... Australian Screen Culture Industry Association ASDA/ADG ........ Australian Screen Directors Association, now the Australian Directors Guild ASIO ................. Australian Security Intelligence Organisation ATOM................ Australian Teachers of Media AWG ................. Australian Writers’ Guild BFI .................... British Film Institute CSIRO .............. Commonwealth Scientific and Industrial Research Organisation EFTF ................. Experimental Film and Television Fund FAN ................... Film Arts Network FFC ................... Australian Film Finance Corporation FTI .................... Film and Television Institute (Western Australia) FRTVB .............. Film, Radio and Television Board (Australia Council) ICD ................... Industry and Cultural Development (of the AFC) MFF/MIFF ......... Melbourne Film Festival, now known as the Melbourne International Film Festival MFC .................. Melbourne Filmmakers Co-operative MRC ................. Media Resource Centre (South Australia) MUFS .............. Melbourne University Film Society NBC .................. National Broadcasting Company (USA) NFSA ............... National Film and Sound Archive of Australia NFTA ................ National Film Theatre of Australia SAFC ................ South Australian Film Corporation SBS .................. Special Broadcasting Service SFC................... Sydney Filmmakers Co-operative SFF ................... Sydney Film Festival UNESCO .......... United Nations Education, Scientific and Cultural Organization VCA .................. Victorian College of the Arts, formerly Swinburne Film and Television School 151 Alumni and AFI staff list AFI PATRON - Dr George Miller 2001+ AFI AMBASSADOR - Cate Blanchett 2001+ AACTA PRESIDENT - Geoffrey Rush 2011+ AFI CEOS - 1958–1971 Erwin Rado (Director) - 1971–1972 Isaac Gerson (Acting Director) - 1972–1973 Richard Brennan (Executive Director) - 1973–1978 David Roe (Executive Director) - 1979–1981 John Foster (General Manager then appointed Executive Director) - 1981 Peter Crayford (Executive Director) - 1981 Keith Lumley (Executive Director) - 1981–1984 Kathleen Norris (Executive Director) - 1984 Frank Moloney (Executive Director) - 1984 Kay Lancley (Acting Executive Director) - 1985 Annette Blonski (Executive Director) - 1986–1995 Vicki Molloy (Executive Director) - 1995–2000 Ruth Jones (Chief Executive Officer) - 2000–2002 Deb Verhoeven (Acting CEO, then appointed) - 2002 Howard Lacy (Acting General Manager) - 2002–2005 Felicity Cockram (General Manager) - 2005–2006 Geoffrey Williams (General Manager) - 2006 Jennifer M. Hughes (Acting CEO) - 2006–2008 James Hewison (Chief Executive Officer) - 2008+ Damian Trewhella (General Manager then Chief Executive Officer) AFI CHAIRS - 1959 Frank Nicholls - 1969 Professor A.K. Stout - 1971–1973 Phillip Adams - 1973–1974 Professor A.K. Stout - 1974 Colin Bennett - 1974–1980 Barry Jones - 1980–1984 Senator David Hamer - 1984–1988 Lorna Lesley - 1988–1990 Errol Sullivan - 1990–1994 Daryl Jackson, AO - 1994–1998 Bob Weis - 1998–2005 Denny Lawrence - 2005–2010 Morry Schwartz - 2010+ Alan Finney Note: These lists may be incomplete. An AFI staff list has not previously existed, and the authors of this book compiled this one from a range of sources. We apologise to anyone who has been inadvertently left out. 152 BOARD - Aikin, Hamilton - Apps, Greg - Ash, Eve - Baard, Mike - Barron, Maureen - Bellingham, Francis - Bennett, Colin - Berryman, Ken - Bertrand, Ina - Bird, Philip - Borglund, Mikael - Britton, Simon - Brooks, Sue - Chambers, David - Chapman, Penny - Chobocky, Barbara - Damien Parer - Dermody, Susan - Donaldson, David - Edmondson, Ray - Emery, Edwin - Finney, Alan - Fisher, Raymond - Flaus, John - Foley, Karen - Fommeu, Adam - French, Lisa - Gerrand, Maggie - Gillies, Max - Gordon, Pat - Harms, Emily - Harris, Paul - Hay, David - Heyer, John - Higgs, Amanda - Huby, Jennifer - Hughes, Jennie - Jacka, Elizabeth - James-Baliey, Julie - Kaufman, Tina - Khong, James - Little, Roy - Lovell, Pat - Lugg, George - Macrae, Ian - Maslin, Sue - McClelland, Don - McGill, Chris - McPherson, Ian - Monohan, Craig - Morris, John - Muir, David - Murray, Scott - Parer, Damien - Pate, Michael Pearlman, Joel Pike, Andrew Podem, Harold Rabe, Pamela, Read, Timothy Schefferle, Edwin Sessions, Robert Simpson, Alan Stevenson, Nina Sullivan, Errol Tatarka, Ros Thompson, Peter Thoms, Albie Thornhill, Michael Thornton, Sigrid Tuppenhauer, Graeme Verhoeven, Deb Wagstaff, Neil Waislitz, Alex White, Timothy AFI STAFFERS - Abbot, Carol - Alati, Angela - Alessi, Joseph - Anderson, Kate - Angelatos, James - Armstrong, Mish - Ashdown, Caddy - Atherton, Maria - Bailey, Sue - Baini, Antoninette - Beltrame, Justine - Benson, Damien - Beresford, Bruce - Bernard, Jessica - Bernard, Lynda - Bird, Kendall - Bird, Walter - Blight, Rosemary - Boulton, Chloe - Brady, Tait - Brophy, Chris - Brown, Georgie - Bucknall, Robyn - Burnett, Ewan - Butterfield, Alan - Cahill, Craig - Cally, Andrea - Capan, Marlena - Caraher, Meg - Carracher, Jane - Carter, Helene - Cavallaro, Allessio - Chapman, Penny - Christofakis, Lyn Cicotelli, Carla Cirrito, Rosie Cleeve, Alex Colledani, Daniela Collopy, Marianne Conner, Elizabeth Conomos, John Cook, Jason Coulter, Paul Couper, Ross D’Arcy, Elaine Dale, Jan Daly, Brooke Dawes, Janet Day, Wendy Deegan, Marina Dixon, Bradley Dore, Graeme Duncan, Emma Elchlepp, Simon Elmes, Leigh Ervin-Ward, Anika Evans, Sarah Farmer, Maria Finn, Judy Finney, Sarah Fisher, Robin Fitzgerald, Michael Fletcher, Samantha Flood, Donna Freestone, Del Furniss, Susan Gadd, Natasha Gamaldi, Lisa Gentry, Kynan Gerson, Isaac Gibbons, Barbara Gibbs, Paula Giglin, Thomas Glaessner, Verina Glover, Matthew Gobbé, Helen Goodsell, Luke Graham, Georgia Greasby, Helen Grieve, Anna Grigg, Natalie Grillo, Cecila Grummeksm, Barbara Gunn, Fiona Hadwen, Sue Ham, Sofie Hanns, Monica Harms, Emily - Harris, Paul Hawthorn, Ross Hayes, Kate Henry, Charlotte Herman, Kerrie Hillard, Belinda Holden, Joy Holt, Annabel Hooper, Justine Hooper, Moria Hunter, Tim Hutton, Anne Innocente, Aida Jackson, Caroline Jackson, Sally Jacobsen, Adrian Jacobson, Marta James, Sharon Jarvelainen, Catherine Jeffries, Anna Jimenez, Leonardo Johnston, Gordon Johnston-Gurr, Emily Judd, Heather Kalina, Paul Kaufmann, Peter Keay, Alex Kelly, Laura Kelly, Rhys Kemp, Peter Kerrigan, Marnie Kruger, Kim Kyprianou, Penny Lake, Gail Lakusa, Kris Lanceley, Kay Langmead, Peter Lanigan, Daryl Lanigan, Fran Lansley, Kay Laspas, Zoe Lawley, Candy Lee, Rina Lettoff, Nadia Lewoshko, Belinda Lim, Stephanie Lindsey, Kiera Loebenstein, Ghita Luby, Peter Lumley, Keith Macnon, Jack Malherbe, Rebecca Manallack, Stephen Mann, Cynthia Mann, Donna - Mann, Jacki Mariani, Frances Maughan, Veronica Mawby, Gina McCormack, Helen McCrae-Moore, Lia McDonald, Penny McDonale, Tania McGinley, Paige McKeddie, Vanessa McKibbins, Adriene McMahon, Venetia Miller, Greg Mirabella, Chris Morgan, John Morrison, Kevin Muller, Kylie Murray, Alan Murray, Susan Mustafa, Aysen Nedel, Tanja Nicholas, Fabienne Nichols, John Nolan, Catherine Nolan, James North, Jennifer O’Brien, Mary O’Connell, Fiona O’Kelly, Alex O’Shea, Kerry O’Sullivan, Kate Orr, Jeanine Otten, Nicole Page, Peter Parker, Lesley Parnis, Leanne Pasqualini, Rebecca Paull, Serena Peniston-Bird, Rebecca Pepperell, Suellen Percival, Matthew Pickburn, Kim Pickering, Alicia Pieroni, Lisa Pollock, Geoff Pond, Ray Rabinowicz, Les Ralph, Liz Rasman, Tony Ravenscroft, Kate Regan, Julie Rispoli, Renato Roberston, Robin Ronalds, Pepi Rowe, Glenys - Royds, Sarah Russell, Justine Rutherford, Helen Sabine, James Sabine, Jenny Sabo, Helena Sadler, Louise Salt, Lucy Saultry, John Sdraulig, Sandra Semmens, Sally Sharpe, Dallas Shipp, Robyn Siemienowicz, Rocelle Slattery, Katherine Stewart, Clare Stewart, Kat Stoecki, Trish Stone, Claire Stone, Markus Stott, Jennifer Strong, Susan Stroud, Sharon Susak, Jane Susman, Janice Szwede, Rebecca Tapp, Peter Taylor, Barbara Tepper, Greg Thomas, David Thompson, Laura Trenouth, Andy Tribuzio, Tanya Valentine, Kath van Niekerk, Lindsay Vaughan, Daniel Walsh, Annie Wardale, Christine Watkins, Wendell Watts, Richard Weiley, Jennifer Weller, Nerida Wharton, Heidi Whiting, Bree Wilkinson, Katherine Wilson, Melanie Witmitz, Kristy Woodruff, Christine Woollard, Sue Worsley, Kerry Young, Robyn Zabielska, Zofia Zilko, Helen Zilveris, Irisa Zimmermann, Richard 153 AFI/AACTA Award nominees and winners (the winners are in bold) FILM: Acting: .................................................................................................................................................... 154 Cinematography: .................................................................................................................................... 166 Costume Design: .................................................................................................................................... 169 Direction: ................................................................................................................................................ 173 Editing: ................................................................................................................................................... 176 Film: ........................................................................................................................................................ 179 Production Design: ................................................................................................................................. 183 Screenplay:............................................................................................................................................. 186 Sound and Music: .................................................................................................................................. 191 TELEVISION: Acting: .................................................................................................................................................... 198 Audience Choice: ................................................................................................................................... 209 Children’s Television Program: ............................................................................................................... 209 Comedy Series: ...................................................................................................................................... 211 Direction: ................................................................................................................................................ 212 Drama: .................................................................................................................................................... 214 Light Entertainment: ............................................................................................................................... 217 Reality Television: ................................................................................................................................... 218 Screenplay:............................................................................................................................................. 218 Telefeature, Mini Series or Short Run Series: ......................................................................................... 220 Television Craft: ...................................................................................................................................... 222 DOCUMENTARY / SHORT FILM / NON-FEATURE: Cinematography: .................................................................................................................................... 223 Direction: ................................................................................................................................................ 227 Documentary: ......................................................................................................................................... 228 Editing: ................................................................................................................................................... 233 Experimental Film: .................................................................................................................................. 236 Screenplay:............................................................................................................................................. 236 Short Film: .............................................................................................................................................. 239 Sound: .................................................................................................................................................... 245 OTHER: AFI Screenwriting Prize: ......................................................................................................................... 248 Australia Post Australia’s Favourite Film Award: .................................................................................... 248 Byron Kennedy Award: ........................................................................................................................... 248 Global Achievement Award: ................................................................................................................... 249 Highest Grossing Film Award: ................................................................................................................ 249 International Award for Best Actor: ........................................................................................................ 249 International Award for Best Actress: ..................................................................................................... 250 International Award for Excellence in Filmmaking:................................................................................. 250 Jury Prize: ............................................................................................................................................... 250 Members’ Choice Award: ....................................................................................................................... 251 Open Craft: ............................................................................................................................................. 251 Raymond Longford Award: .................................................................................................................... 253 Readers’ Choice Award:......................................................................................................................... 253 Screen Content Innovation: .................................................................................................................... 254 Visual Effects Award: .............................................................................................................................. 254 Young Actor Award:................................................................................................................................ 255 155 Winners are in bold. BEST LEAD ACTOR 1972 1973 1974/5 1974/5 1974/5 1976 1977 1977 1977 1977 1978 1978 1978 1978 1979 1979 1979 1979 1980 1980 1980 1980 1981 1981 1981 1981 1982 1982 1982 1982 1983 1983 1983 1983 1984 1984 1984 1984 1985 1985 1985 1985 1986 1986 1986 1986 1987 156 Best Actor In A Lead Role Best Actor In A Lead Role Best Actor In A Lead Role Best Actor In A Lead Role Best Actor In A Lead Role Best Actor (Lead Role) Feature Best Actor (Lead Role) Feature Best Actor (Lead Role) Feature Best Actor (Lead Role) Feature Best Actor (Lead Role) Feature Best Actor (Lead Role) Feature Best Actor (Lead Role) Feature Best Actor (Lead Role) Feature Best Actor (Lead Role) Feature Best Actor (Lead Role) Feature Best Actor (Lead Role) Feature Best Actor (Lead Role) Feature Best Actor (Lead Role) Feature Best Actor (Lead Role) Feature Best Actor (Lead Role) Feature Best Actor (Lead Role) Feature Best Actor (Lead Role) Feature Best Actor (Lead Role) Feature Best Actor (Lead Role) Feature Best Actor (Lead Role) Feature Best Actor (Lead Role) Feature Best Actor (Lead Role) Feature Best Actor (Lead Role) Feature Best Actor (Lead Role) Feature Best Actor (Lead Role) Feature Best Actor (Lead Role) Feature Best Actor (Lead Role) Feature Best Actor (Lead Role) Feature Best Actor (Lead Role) Feature Best Actor (Lead Role) Feature Best Actor (Lead Role) Feature Best Actor (Lead Role) Feature Best Actor (Lead Role) Feature Best Actor (Lead Role) Feature Best Actor (Lead Role) Feature Best Actor (Lead Role) Feature Best Actor (Lead Role) Feature Best Actor (Lead Role) Feature Best Actor (Lead Role) Feature Best Actor (Lead Role) Feature Best Actor (Lead Role) Feature Best Actor (Lead Role) Feature Stork 27A Petersen Sunday Too Far Away Billy And Percy The Devil’s Playground Eliza Fraser Storm Boy The Fourth Wish The Picture Show Man Newsfront The Last Wave The Mango Tree Weekend Of Shadows Cathy’s Child In Search Of Anna The Last Of The Knucklemen Tim Breaker Morant Breaker Morant Stir Stir Gallipoli Gallipoli Hoodwink The Club Dusty Goodbye Paradise Lonely Hearts Moving Out Careful, He Might Hear You Man Of Flowers Phar Lap The Year Of Living Dangerously Annie’s Coming Out My First Wife Silver City Strikebound A Street To Die An Indecent Obsession Bliss Unfinished Business Cactus Death Of A Soldier Malcolm The More Things Change Ground Zero Bruce Spence Robert McDarra Jack Thompson Jack Thompson Martin Vaughan Simon Burke; Nick Tate Noel Ferrier David Gulpilil John Meillon John Meillon Bill Hunter Richard Chamberlain Robert Helpmann John Waters Alan Cassell Richard Moir Michael Preston Mel Gibson Jack Thompson Edward Woodward Bryan Brown Max Phipps Mel Gibson Mark Lee John Hargreaves Graham Kennedy Bill Kerr Ray Barrett Norman Kaye Vincent Colosimo Nicholas Gledhill Norman Kaye Martin Vaughan Mel Gibson Drew Forsythe John Hargreaves Ivar Kants Chris Haywood Chris Haywood Richard Moir Barry Otto John Clayton Robert Menzies Reb Brown Colin Friels Barry Otto Colin Friels Bryan Brown Noah Taylor Leo McKern John Waters Best Actor (Lead Role) Feature Best Actor (Lead Role) Feature Best Actor (Lead Role) Feature Best Actor (Lead Role) Feature Best Actor (Lead Role) Feature Best Actor (Lead Role) Feature Best Actor (Lead Role) Feature Best Actor (Lead Role) Feature Best Actor (Lead Role) Feature The Umbrella Woman The Year My Voice Broke Travelling North Boulevard Of Broken Dreams Phobia The Everlasting Secret Family The Navigator Emerald City Evil Angels Ghosts … Of The Civil Dead Island Father Return Home The Big Steal The Crossing Death In Brunswick Dingo Proof Spotswood Black Robe Romper Stomper Strictly Ballroom The Last Days Of Chez Nous Blackfellas On My Own The Custodian The Piano Bad Boy Bubby Country Life The Adventures Of Priscilla, Queen Of The Desert The Adventures Of Priscilla, Queen Of The Desert All Men Are Liars Angel Baby Metal Skin The Life Of Harry Dare Life River Street Shine Shine Doing Time For Patsy Cline Best Actor (Lead Role) Feature Best Actor (Lead Role) Feature Best Actor (Lead Role) Feature Best Actor (Lead Role) Feature Best Actor (Lead Role) Feature Best Actor (Lead Role) Feature Best Actor (Lead Role) Feature Idiot Box Kiss Or Kill The Castle Head On In The Winter Dark The Boys The Interview Jeremy Sims Matt Day Michael Caton Alex Dimitriades Ray Barrett David Wenham Hugo Weaving 1987 1987 1987 1988 1988 1988 1988 1989 1989 1989 1989 1990 1990 1990 1990 1991 1991 1991 1991 1992 1992 1992 1992 1993 1993 1993 1993 1994 1994 1994 Best Actor (Lead Role) Feature Best Actor (Lead Role) Feature Best Actor (Lead Role) Feature Best Actor (Lead Role) Feature Best Actor (Lead Role) Feature Best Actor (Lead Role) Feature Best Actor (Lead Role) Feature Best Actor (Lead Role) Feature Best Actor (Lead Role) Feature Best Actor (Lead Role) Feature Best Actor (Lead Role) Feature Best Actor (Lead Role) Feature Best Actor (Lead Role) Feature Best Actor (Lead Role) Feature Best Actor (Lead Role) Feature Best Actor (Lead Role) Feature Best Actor (Lead Role) Feature Best Actor (Lead Role) Feature Best Actor (Lead Role) Feature Best Actor (Lead Role) Feature Best Actor (Lead Role) Feature Best Actor (Lead Role) Feature Best Actor (Lead Role) Feature Best Actor (Lead Role) Feature Best Actor (Lead Role) Feature Best Actor (Lead Role) Feature Best Actor (Lead Role) Feature Best Actor (Lead Role) Feature Best Actor (Lead Role) Feature Best Actor (Lead Role) Feature 1994 Best Actor (Lead Role) Feature 1995 1995 1995 1995 1996 1996 1996 1996 1997 1997 1997 1997 1998 1998 1998 1998 Sean Scully Mark Lee Hamish McFarlane John Hargreaves Sam Neill Mike Bishop Chris Haywood Max von Sydow Frankie J. Holden Ben Mendelsohn Russell Crowe Sam Neill Colin Friels Hugo Weaving Ben Mendelsohn Lothaire Bluteau Russell Crowe Paul Mercurio Bruno Ganz John Moore Matthew Ferguson Anthony LaPaglia Harvey Keitel Nicholas Hope John Hargreaves Terence Stamp Hugo Weaving John Jarratt John Lynch Aden Young John Moore John Brumpton Aden Young Noah Taylor Geoffrey Rush Richard Roxburgh 157 Winners are in bold. 158 1999 1999 1999 1999 2000 2000 2000 2000 2001 2001 2001 2001 2002 2002 2002 2002 2003 2003 2003 2003 2004 2004 2004 2004 2005 2005 2005 Best Actor (Lead Role) Feature Best Actor (Lead Role) Feature Best Actor (Lead Role) Feature Best Actor (Lead Role) Feature Best Actor (Lead Role) Feature Best Actor (Lead Role) Feature Best Actor (Lead Role) Feature Best Actor (Lead Role) Feature Best Actor In A Leading Role Best Actor In A Leading Role Best Actor In A Leading Role Best Actor In A Leading Role Best Actor In A Leading Role Best Actor In A Leading Role Best Actor In A Leading Role Best Actor In A Leading Role Best Actor In A Leading Role Best Actor In A Leading Role Best Actor In A Leading Role Best Actor In A Leading Role Best Actor In A Leading Role Best Actor In A Leading Role Best Actor In A Leading Role Best Actor In A Leading Role Best Actor In A Leading Role Best Actor In A Leading Role Best Actor In A Leading Role Erskineville Kings Passion Soft Fruit Two Hands 15 Amore Better Than Sex Bootmen Chopper Lantana Moulin Rouge! Mullet The Bank Molokai: The Story Of Father Damien Swimming Upstream The Tracker Walking On Water Gettin’ Square Gettin’ Square Japanese Story Ned Kelly One Perfect Day Somersault The Honourable Wally Norman Tom White Little Fish Look Both Ways The Proposition Hugh Jackman Richard Roxburgh Russell Dykstra 2005 2006 2006 2006 2006 2007 2007 2007 2007 2008 2008 2008 2008 2009 2009 2009 2009 2010 2010 2010 2010 2011 Best Actor In A Leading Role Best Lead Actor Best Lead Actor Best Lead Actor Best Lead Actor Best Lead Actor Best Lead Actor Best Lead Actor Best Lead Actor Best Lead Actor Best Lead Actor Best Lead Actor Best Lead Actor Best Lead Actor Best Lead Actor Best Lead Actor Best Lead Actor Best Lead Actor Best Lead Actor Best Lead Actor Best Lead Actor Best Lead Actor The Proposition Candy Jindabyne Kenny Last Train To Freo Noise Romulus, My Father Romulus, My Father The Home Song Stories The Black Balloon Death Defying Acts The Square Unfinished Sky Balibo Beautiful Kate Last Ride Samson & Delilah Animal Kingdom Animal Kingdom Beneath Hill 60 The Boys Are Back The Eye Of The Storm Ray Winstone Heath Ledger Gabriel Byrne Shane Jacobson Heath Ledger Steve Bastoni David Wenham Sam Worthington Eric Bana Anthony LaPaglia Ewan McGregor Ben Mendelsohn David Wenham David Wenham Geoffrey Rush David Gulpilil Vince Colosimo Timothy Spall David Wenham Gotaro Tsunashima Heath Ledger Dan Spielman Sam Worthington Kevin Harrington Colin Friels Hugo Weaving William McInnes Guy Pearce Steve Le Marquand Brendan Cowell Eric Bana Kodi Smit-McPhee Qi Yuwu Rhys Wakefield Guy Pearce David Roberts William McInnes Anthony LaPaglia Ben Mendelsohn Hugo Weaving Rowan McNamara Ben Mendelsohn James Frecheville Brendan Cowell Clive Owen Geoffrey Rush 2011 2011 2011 2012 2012 2012 2012 Best Lead Actor Best Lead Actor Best Lead Actor Best Lead Actor Best Lead Actor Best Lead Actor Best Lead Actor The Hunter Oranges And Sunshine Snowtown 33 POSTCARDS Burning Man The Sapphires Wish You Were Here Willem Dafoe David Wenham Daniel Henshall A City’s Child Stork Libido: The Child Who Killed Jenny Langby? Caddie Break Of Day Don’s Party Don’s Party The Fourth Wish Mouth To Mouth Newsfront The Chant Of Jimmie Blacksmith The Mango Tree Cathy’s Child My Brilliant Career Snapshot The Night, The Prowler Hard Knocks Harlequin Manganinnie Maybe This Time Fatty Finn Fatty Finn The Survivor Winter Of Our Dreams Lonely Hearts Monkey Grip Norman Loves Rose We Of The Never Never Buddies Careful, He Might Hear You The Settlement Undercover Annie’s Coming Out My First Wife Silver City Strikebound Bliss Fran Rebel Monica Maughan Jacki Weaver Judy Morris Julie Dawson Helen Morse Guy Pearce Matthew Goode Chris O’Dowd Joel Edgerton BEST LEAD ACTRESS 1971 1972 1973 1974/5 1976 1977 1977 1977 1977 1978 1978 1978 1978 1979 1979 1979 1979 1980 1980 1980 1980 1981 1981 1981 1981 1982 1982 1982 1982 1983 1983 1983 1983 1984 1984 1984 1984 1985 1985 1985 Best Actress In A Lead Role Best Actress In A Lead Role Best Actress In A Lead Role Best Actress In A Lead Role Best Actress (Lead Role) Feature Best Actress (Lead Role) Feature Best Actress (Lead Role) Feature Best Actress (Lead Role) Feature Best Actress (Lead Role) Feature Best Actress (Lead Role) Feature Best Actress (Lead Role) Feature Best Actress (Lead Role) Feature Best Actress (Lead Role) Feature Best Actress (Lead Role) Feature Best Actress (Lead Role) Feature Best Actress (Lead Role) Feature Best Actress (Lead Role) Feature Best Actress (Lead Role) Feature Best Actress (Lead Role) Feature Best Actress (Lead Role) Feature Best Actress (Lead Role) Feature Best Actress (Lead Role) Feature Best Actress (Lead Role) Feature Best Actress (Lead Role) Feature Best Actress (Lead Role) Feature Best Actress (Lead Role) Feature Best Actress (Lead Role) Feature Best Actress (Lead Role) Feature Best Actress (Lead Role) Feature Best Actress (Lead Role) Feature Best Actress (Lead Role) Feature Best Actress (Lead Role) Feature Best Actress (Lead Role) Feature Best Actress (Lead Role) Feature Best Actress (Lead Role) Feature Best Actress (Lead Role) Feature Best Actress (Lead Role) Feature Best Actress (Lead Role) Feature Best Actress (Lead Role) Feature Best Actress (Lead Role) Feature Sara Kestelman Pat Bishop Jeanie Drynan Robyn Nevin Kim Krejus Wendy Hughes Angela Punch McGregor Geraldine Fitzgerald Michelle Fawdon Judy Davis Sigrid Thornton Ruth Cracknell Tracy Mann Carmen Duncan Mawuyul Yanthalawuy Judy Morris Lorraine Bayly Noni Hazelhurst Jenny Agutter Judy Davis Wendy Hughes Noni Hazelhurst Carol Kane Angela Punch McGregor Kris McQuade Wendy Hughes Lorna Lesley Genevieve Picot Angela Punch McGregor Wendy Hughes Gosia Dobrowolska Carol Burns Lynette Curran Noni Hazelhurst Debbie Byrne 159 Winners are in bold. 1985 1986 1986 1986 1986 1987 1987 1987 1987 1988 1988 1988 1988 1989 1989 1989 1989 1990 1990 1990 1990 1991 1991 1991 1991 1992 1992 1992 1992 1993 1993 1993 1993 1994 1994 1994 1994 1995 1995 1995 1995 1996 1996 1996 1996 1997 1997 1997 1997 160 Best Actress (Lead Role) Feature Best Actress (Lead Role) Feature Best Actress (Lead Role) Feature Best Actress (Lead Role) Feature Best Actress (Lead Role) Feature Best Actress (Lead Role) Feature Best Actress (Lead Role) Feature Best Actress (Lead Role) Feature Best Actress (Lead Role) Feature Best Actress (Lead Role) Feature Best Actress (Lead Role) Feature Best Actress (Lead Role) Feature Best Actress (Lead Role) Feature Best Actress (Lead Role) Feature Best Actress (Lead Role) Feature Best Actress (Lead Role) Feature Best Actress (Lead Role) Feature Best Actress (Lead Role) Feature Best Actress (Lead Role) Feature Best Actress (Lead Role) Feature Best Actress (Lead Role) Feature Best Actress (Lead Role) Feature Best Actress (Lead Role) Feature Best Actress (Lead Role) Feature Best Actress (Lead Role) Feature Best Actress (Lead Role) Feature Best Actress (Lead Role) Feature Best Actress (Lead Role) Feature Best Actress (Lead Role) Feature Best Actress (Lead Role) Feature Best Actress (Lead Role) Feature Best Actress (Lead Role) Feature Best Actress (Lead Role) Feature Best Actress (Lead Role) Feature Best Actress (Lead Role) Feature Best Actress (Lead Role) Feature Best Actress (Lead Role) Feature Best Actress (Lead Role) Feature Best Actress (Lead Role) Feature Best Actress (Lead Role) Feature Best Actress (Lead Role) Feature Best Actress (Lead Role) Feature Best Actress (Lead Role) Feature Best Actress (Lead Role) Feature Best Actress (Lead Role) Feature Best Actress (Lead Role) Feature Best Actress (Lead Role) Feature Best Actress (Lead Role) Feature Best Actress (Lead Role) Feature Unfinished Business For Love Alone Kangaroo The Fringe Dwellers The More Things Change High Tide Shadows Of The Peacock The Year My Voice Broke Travelling North Afraid To Dance Boundaries Of The Heart Mullaway Tender Hooks Evil Angels Georgia Island Sweetie Hunting The Big Steal Weekend With Kate Wendy Cracked A Walnut A Woman’s Tale Act Of Necessity Aya Proof Daydream Believer Redheads Strictly Ballroom The Last Days Of Chez Nous Broken Highway Say A Little Prayer The Piano This Won’t Hurt A Bit Country Life Muriel’s Wedding Sirens Talk Angel Baby Hotel Sorrento Hotel Sorrento That Eye, The Sky Brilliant Lies Children Of The Revolution Dating The Enemy Love And Other Catastrophes Kiss Or Kill Thank God He Met Lizzie The Well The Well Michelle Fawdon Helen Buday Judy Davis Justine Saunders Judy Morris Judy Davis Wendy Hughes Loene Carmen Julia Blake Rosey Jones Wendy Hughes Nadine Garner Jo Kennedy Meryl Streep Judy Davis Irene Papas Genevieve Lemon Kerry Armstrong Claudia Karvan Catherine McClements Rosanna Arquette Sheila Florance Angie Milliken Eri Ishida Genevieve Picot Miranda Otto Claudia Karvan Tara Morice Lisa Harrow Claudia Karvan Fiona Ruttelle Holly Hunter Jacqueline McKenzie Kerry Fox Toni Collette Tara Fitzgerald Victoria Longley Jacqueline McKenzie Caroline Gillmer Caroline Goodall Lisa Harrow Gia Carides Judy Davis Claudia Karvan Frances O’Connor Frances O’Connor Frances O’Connor Pamela Rabe Miranda Otto 1998 1998 1998 1998 1999 1999 1999 1999 2000 2000 2000 2000 2001 2001 2001 2001 2002 2002 2002 2002 2003 2003 2003 2003 2004 2004 2004 2004 2005 2005 2005 2005 2006 2006 2006 2006 2007 2007 2007 2007 2008 2008 2008 2008 2009 2009 2009 2009 2010 Best Actress (Lead Role) Feature Best Actress (Lead Role) Feature Best Actress (Lead Role) Feature Best Actress (Lead Role) Feature Best Actress (Lead Role) Feature Best Actress (Lead Role) Feature Best Actress (Lead Role) Feature Best Actress (Lead Role) Feature Best Actress (Lead Role) Feature Best Actress (Lead Role) Feature Best Actress (Lead Role) Feature Best Actress (Lead Role) Feature Best Actress In A Leading Role Best Actress In A Leading Role Best Actress In A Leading Role Best Actress In A Leading Role Best Actress In A Leading Role Best Actress In A Leading Role Best Actress In A Leading Role Best Actress In A Leading Role Best Actress In A Leading Role Best Actress In A Leading Role Best Actress In A Leading Role Best Actress In A Leading Role Best Actress In A Leading Role Best Actress In A Leading Role Best Actress In A Leading Role Best Actress In A Leading Role Best Actress In A Leading Role Best Actress In A Leading Role Best Actress In A Leading Role Best Actress In A Leading Role Best Lead Actress Best Lead Actress Best Lead Actress Best Lead Actress Best Lead Actress Best Lead Actress Best Lead Actress Best Lead Actress Best Lead Actress Best Lead Actress Best Lead Actress Best Lead Actress Best Lead Actress Best Lead Actress Best Lead Actress Best Lead Actress Best Lead Actress Amy Oscar And Lucinda Radiance The Boys In A Savage Land Praise Soft Fruit Strange Fits Of Passion Better Than Sex Innocence Looking For Alibrandi Me Myself I La Spagnola La Spagnola Lantana Moulin Rouge! Beneath Clouds Swimming Upstream The Hard Word Walking On Water Alexandra’s Project Japanese Story Teesh And Trude The Rage In Placid Lake A Cold Summer One Perfect Day Somersault Under The Radar Hating Alison Ashley Little Fish Look Both Ways Three Dollars 2:37 Candy Jindabyne Suburban Mayhem Clubland Razzle Dazzle Romulus, My Father The Home Song Stories Bitter & Twisted The Jammed The Jammed Unfinished Sky Beautiful Kate Blessed My Year Without Sex Samson & Delilah Animal Kingdom Rachel Griffiths Cate Blanchett Deborah Mailman Lynette Curran Maya Stange Sacha Horler Jeanie Drynan Michela Noonan Susie Porter Julia Blake Pia Miranda Rachel Griffiths Alice Ansara Lola Marceli Kerry Armstrong Nicole Kidman Dannielle Hall Judy Davis Rachel Griffiths Maria Theodorakis Helen Buday Toni Collette Susie Porter Rose Byrne Olivia Pigeot Leeanna Walsman Abbie Cornish Chloe Maxwell Saskia Burmeister Cate Blanchett Justine Clarke Frances O’Connor Teresa Palmer Abbie Cornish Laura Linney Emily Barclay Brenda Blethyn Kerry Armstrong Franka Potente Joan Chen Noni Hazlehurst Emma Lung Veronica Sywak Monic Hendrickx Sophie Lowe Frances O’Connor Sacha Horler Marissa Gibson Jacki Weaver 161 Winners are in bold. 2010 2010 2010 2011 2011 2011 2011 2012 2012 2012 2012 Best Lead Actress Best Lead Actress Best Lead Actress Best Lead Actress Best Lead Actress Best Lead Actress Best Lead Actress Best Lead Actress Best Lead Actress Best Lead Actress Best Lead Actress Bright Star The Tree The Tree The Eye Of The Storm The Eye Of The Storm The Hunter Oranges And Sunshine Mental Not Suitable For Children The Sapphires Wish You Were Here Abbie Cornish Charlotte Gainsbourg Morgana Davies Judy Davis The Great McCarthy Sunday Too Far Away Caddie Let The Balloon Go Mad Dog Morgan Raw Deal The Picture Show Man The Chant Of Jimmie Blacksmith Mad Max My Brilliant Career The Last Of The Knucklemen Tim Breaker Morant Breaker Morant Breaker Morant Stir Gallipoli Gallipoli Hoodwink The Club Far East Going Down Norman Loves Rose The Pirate Movie Buddies Careful, He Might Hear You The Wild Duck The Winds Of Jarrah BMX Bandits Fast Talking Fast Talking Silver City An Indecent Obsession Bliss Rebel The Boy Who Had Everything Barry Humphries Reg Lye Drew Forsythe Charlotte Rampling Frances O’Connor Emily Watson Toni Collette Sarah Snook Deborah Mailman Felicity Price BEST SUPPORTING ACTOR 1974/5 1974/5 1976 1977 1977 1977 1977 1978 1979 1979 1979 1979 1980 1980 1980 1980 1981 1981 1981 1981 1982 1982 1982 1982 1983 1983 1983 1983 1984 1984 1984 1984 1985 1985 1985 1985 162 Best Actor In A Suporting Role Best Actor In A Suporting Role Best Actor (Supporting) Feature Best Actor (Supporting) Feature Best Actor (Supporting) Feature Best Actor (Supporting) Feature Best Actor (Supporting) Feature Best Actor (Supporting) Feature Best Actor (Supporting) Feature Best Actor (Supporting) Feature Best Actor (Supporting) Feature Best Actor (Supporting) Feature Best Actor (Supporting) Feature Best Actor (Supporting) Feature Best Actor (Supporting) Feature Best Actor (Supporting) Feature Best Actor (Supporting) Feature Best Actor (Supporting) Feature Best Actor (Supporting) Feature Best Actor (Supporting) Feature Best Actor (Supporting) Feature Best Actor (Supporting) Feature Best Actor (Supporting) Feature Best Actor (Supporting) Feature Best Actor (Supporting) Feature Best Actor (Supporting) Feature Best Actor (Supporting) Feature Best Actor (Supporting) Feature Best Actor (Supporting) Feature Best Actor (Supporting) Feature Best Actor (Supporting) Feature Best Actor (Supporting) Feature Best Actor (Supporting) Feature Best Actor (Supporting) Feature Best Actor (Supporting) Feature Best Actor (Supporting) Feature John Ewart Bill Hunter Christopher Pate John Ewart Ray Barrett Hugh Keays-Burne Robert Grubb Michael Duffield Alwyn Kurts Bryan Brown Lewis Fitz-Gerald Charles Tingwell Dennis Miller Bill Hunter Bill Kerr Max Cullen Harold Hopkins John Bell David Argue Warren Mitchell Garry McDonald Simon Chilvers John Hargreaves John Meillon Martin Vaughan David Argue Steve Bisley Peter Hehir Steve Bisley Mark Little Jon Ewing Bryan Brown Nique Needles 1986 1986 1986 1986 1987 1987 1987 1987 1988 1988 1988 1988 1989 1989 1989 1989 1990 1990 1990 1990 1991 1991 1991 1991 1992 1992 1992 1992 1993 1993 1993 1993 1994 1994 1994 1994 1995 1995 1995 1995 1996 1996 1996 1996 1997 1997 1997 1997 1998 Best Actor (Supporting) Feature Best Actor (Supporting) Feature Best Actor (Supporting) Feature Best Actor (Supporting) Feature Best Actor (Supporting) Feature Best Actor (Supporting) Feature Best Actor (Supporting) Feature Best Actor (Supporting) Feature Best Actor (Supporting) Feature Best Actor (Supporting) Feature Best Actor (Supporting) Feature Best Actor (Supporting) Feature Best Actor (Supporting) Feature Best Actor (Supporting) Feature Best Actor (Supporting) Feature Best Actor (Supporting) Feature Best Actor (Supporting) Feature Best Actor (Supporting) Feature Best Actor (Supporting) Feature Best Actor (Supporting) Feature Best Actor (Supporting) Feature Best Actor (Supporting) Feature Best Actor (Supporting) Feature Best Actor (Supporting) Feature Best Actor (Supporting) Feature Best Actor (Supporting) Feature Best Actor (Supporting) Feature Best Actor (Supporting) Feature Best Actor (Supporting) Feature Best Actor (Supporting) Feature Best Actor (Supporting) Feature Best Actor (Supporting) Feature Best Actor (Supporting) Feature Best Actor (Supporting) Feature Best Actor (Supporting) Feature Best Actor (Supporting) Feature Best Actor (Supporting) Feature Best Actor (Supporting) Feature Best Actor (Supporting) Feature Best Actor (Supporting) Feature Best Actor (Supporting) Feature Best Actor (Supporting) Feature Best Actor (Supporting) Feature Best Actor (Supporting) Feature Best Actor (Supporting) Feature Best Actor (Supporting) Feature Best Actor (Supporting) Feature Best Actor (Supporting) Feature Best Actor (Supporting) Feature Death Of A Soldier Kangaroo Malcolm Short Changed Ground Zero Initiation The Umbrella Woman The Year My Voice Broke Boulevard Of Broken Dreams Grievous Bodily Harm The Everlasting Secret Family The Navigator Emerald City Ghosts … Of The Civil Dead Heaven Tonight Sweetie Blood Oath Blood Oath Flirting The Big Steal Aya Deadly Proof Spotswood Black Robe Romper Stomper Strictly Ballroom The Last Days Of Chez Nous Blackfellas The Custodian The Heartbreak Kid The Piano Muriel’s Wedding Spider & Rose The Sum Of Us Traps Dad And Dave On Our Selection Hotel Sorrento Hotel Sorrento Metal Skin Brilliant Lies Cosi Life Shine Blackrock Kiss Or Kill Kiss Or Kill The Castle A Little Bit Of Soul Maurie Fields John Walton John Hargreaves Mark Little Donald Pleasence Bobby Smith Steven Vidler Ben Mendelsohn Kim Gyngell Bruno Lawrence John Meillon Paul Livingston Chris Haywood Bogdan Koca Kim Gyngell John Darling John Polson Toshi Shioya Bartholomew Rose Steve Bisley Chris Haywood John Moore Russell Crowe Alwyn Kurts August Schellenberg Daniel Pollock Barry Otto Bill Hunter David Ngoombujarra Barry Otto Nico Lathouris Sam Neill Bill Hunter Max Cullen John Polson Kiet Lam Noah Taylor Ray Barrett Ben Thomas Ben Mendelsohn Ray Barrett Barry Otto Robert Morgan Armin Mueller-Stahl Simon Lyndon Chris Haywood Andrew S. Gilbert Charles Tingwell Geoffrey Rush 163 Winners are in bold. 1998 1998 1998 1999 1999 1999 1999 2000 2000 2000 2000 2001 2001 2001 2001 2002 2002 2002 2002 2003 2003 2003 2003 2004 2004 2004 2004 2005 2005 2005 2005 2006 2006 2006 2006 2007 2007 2007 2007 2008 2008 2008 2008 2009 2009 2009 2009 2010 2010 164 Best Actor (Supporting) Feature Best Actor (Supporting) Feature Best Actor (Supporting) Feature Best Actor (Supporting) Feature Best Actor (Supporting) Feature Best Actor (Supporting) Feature Best Actor (Supporting) Feature Best Actor (Supporting) Feature Best Actor (Supporting) Feature Best Actor (Supporting) Feature Best Actor (Supporting) Feature Best Actor In A Supporting Role Best Actor In A Supporting Role Best Actor In A Supporting Role Best Actor In A Supporting Role Best Actor In A Supporting Role Best Actor In A Supporting Role Best Actor In A Supporting Role Best Actor In A Supporting Role Best Actor In A Supporting Role Best Actor In A Supporting Role Best Actor In A Supporting Role Best Actor In A Supporting Role Best Actor In A Supporting Role Best Actor In A Supporting Role Best Actor In A Supporting Role Best Actor In A Supporting Role Best Actor In A Supporting Role Best Actor In A Supporting Role Best Actor In A Supporting Role Best Actor In A Supporting Role Best Supporting Actor Best Supporting Actor Best Supporting Actor Best Supporting Actor Best Supporting Actor Best Supporting Actor Best Supporting Actor Best Supporting Actor Best Supporting Actor Best Supporting Actor Best Supporting Actor Best Supporting Actor Best Supporting Actor Best Supporting Actor Best Supporting Actor Best Supporting Actor Best Supporting Actor Best Supporting Actor Head On The Boys The Boys Paperback Hero Siam Sunset Strange Fits Of Passion Two Hands Chopper Innocence Kick My Mother Frank La Spagnola Lantana Moulin Rouge! Mullet Australian Rules Rabbit-Proof Fence The Hard Word Walking On Water Black And White Gettin’ Square Gettin’ Square Ned Kelly The Old Man Who Read Love Stories Somersault Somersault Tom White Little Fish Look Both Ways The Proposition Three Dollars Candy Kenny Last Train To Freo Suburban Mayhem Clubland Clubland Romulus, My Father Romulus, My Father The Black Balloon The Black Balloon The Square The Square Australia Balibo Balibo Beautiful Kate Animal Kingdom Animal Kingdom Paul Capsis John Polson Anthony Hayes Andrew S. Gilbert Roy Billing Mitchell Butel Bryan Brown Simon Lyndon Terry Norris Martin Henderson Sam Neill Alex Dimitriades Vince Colosimo Richard Roxburgh Andrew S. Gilbert Luke Carroll David Gulpilil Joel Edgerton Nathaniel Dean David Ngoombujarra David Field Mitchell Butel Orlando Bloom Hugo Weaving Nathaniel Dean Erik Thomson Dan Spielman Martin Henderson Anthony Hayes John Hurt Robert Menzies Geoffrey Rush Ronald Jacobson Tom Budge Anthony Hayes Frankie J. Holden Richard Wilson Marton Csokas Russell Dykstra Luke Ford Erik Thomson Joel Edgerton Anthony Hayes Brandon Walters Damon Gameau Oscar Isaac Bryan Brown Joel Edgerton Guy Pearce 2010 2010 2011 2011 2011 2011 2012 2012 2012 2012 Best Supporting Actor Best Supporting Actor Best Supporting Actor Best Supporting Actor Best Supporting Actor Best Supporting Actor Best Supporting Actor Best Supporting Actor Best Supporting Actor Best Supporting Actor Animal Kingdom Matching Jack The Eye Of The Storm Face To Face The Hunter Oranges And Sunshine The King Is Dead! Mental Not Suitable For Children Wish You Were Here Sullivan Stapleton Kodi Smit-McPhee John Gaden Robert Rabiah Sam Neill Hugo Weaving Caddie Break Of Day Don’s Party The Fourth Wish The Picture Show Man Newsfront My Brilliant Career My Brilliant Career My Brilliant Career Tim Maybe This Time Maybe This Time Maybe This Time The Chain Reaction Fatty Finn Hoodwink Roadgames Winter Of Our Dreams Fighting Back Monkey Grip Norman Loves Rose Norman Loves Rose Careful, He Might Hear You The Clinic The Year Of Living Dangerously Undercover Annie’s Coming Out Silver City Street Hero Street Hero Bliss Emoh Ruo Fran Fran Malcolm The Fringe Dwellers The More Things Change Melissa Jaffer; Jacki Weaver Ingrid Mason Veronica Lang Gary Waddell Liev Schreiber Ryan Corr Antony Starr BEST SUPPORTING ACTRESS 1976 1977 1977 1977 1977 1978 1979 1979 1979 1979 1980 1980 1980 1980 1981 1981 1981 1981 1982 1982 1982 1982 1983 1983 1983 1983 1984 1984 1984 1984 1985 1985 1985 1985 1986 1986 1986 Best Actress (Supporting) Feature Best Actress (Supporting) Feature Best Actress (Supporting) Feature Best Actress (Supporting) Feature Best Actress (Supporting) Feature Best Actress (Supporting) Feature Best Actress (Supporting) Feature Best Actress (Supporting) Feature Best Actress (Supporting) Feature Best Actress (Supporting) Feature Best Actress (Supporting) Feature Best Actress (Supporting) Feature Best Actress (Supporting) Feature Best Actress (Supporting) Feature Best Actress (Supporting) Feature Best Actress (Supporting) Feature Best Actress (Supporting) Feature Best Actress (Supporting) Feature Best Actress (Supporting) Feature Best Actress (Supporting) Feature Best Actress (Supporting) Feature Best Actress (Supporting) Feature Best Actress (Supporting) Feature Best Actress (Supporting) Feature Best Actress (Supporting) Feature Best Actress (Supporting) Feature Best Actress (Supporting) Feature Best Actress (Supporting) Feature Best Actress (Supporting) Feature Best Actress (Supporting) Feature Best Actress (Supporting) Feature Best Actress (Supporting) Feature Best Actress (Supporting) Feature Best Actress (Supporting) Feature Best Actress (Supporting) Feature Best Actress (Supporting) Feature Best Actress (Supporting) Feature Ann Hardy Judy Morris Angela Punch McGregor Aileen Britton Wendy Hughes Patricia Kennedy Patricia Evison Michelle Fawdon Jude Kuring Jill Perryman Lorna Lesley Rebecca Rigg Judy Davis Marion Edward Cathy Downes Kris McQuade Alice Garner Sandy Gore Myra de Groot Robyn Nevin Pat Evison Linda Hunt Sandy Gore Monica Maughan Anna Jemison (aka Anna-Maria Monticelli) Sandy Gore Peta Toppano Kerry Walker Genevieve Mooy Annie Byron Narelle Simpson Lindy Davies Kylie Belling Victoria Longley 165 Winners are in bold. 1986 1987 1987 1987 1987 1988 1988 1988 1988 1989 1989 1989 1989 1990 1990 1990 1990 1991 1991 1991 1991 1992 1992 1992 1992 1993 1993 1993 1993 1994 1994 1994 1994 1995 1995 1995 1995 1996 1996 1996 1996 1997 1997 1997 1997 1998 1998 1998 1998 166 Best Actress (Supporting) Feature Best Actress (Supporting) Feature Best Actress (Supporting) Feature Best Actress (Supporting) Feature Best Actress (Supporting) Feature Best Actress (Supporting) Feature Best Actress (Supporting) Feature Best Actress (Supporting) Feature Best Actress (Supporting) Feature Best Actress (Supporting) Feature Best Actress (Supporting) Feature Best Actress (Supporting) Feature Best Actress (Supporting) Feature Best Actress (Supporting) Feature Best Actress (Supporting) Feature Best Actress (Supporting) Feature Best Actress (Supporting) Feature Best Actress (Supporting) Feature Best Actress (Supporting) Feature Best Actress (Supporting) Feature Best Actress (Supporting) Feature Best Actress (Supporting) Feature Best Actress (Supporting) Feature Best Actress (Supporting) Feature Best Actress (Supporting) Feature Best Actress (Supporting) Feature Best Actress (Supporting) Feature Best Actress (Supporting) Feature Best Actress (Supporting) Feature Best Actress (Supporting) Feature Best Actress (Supporting) Feature Best Actress (Supporting) Feature Best Actress (Supporting) Feature Best Actress (Supporting) Feature Best Actress (Supporting) Feature Best Actress (Supporting) Feature Best Actress (Supporting) Feature Best Actress (Supporting) Feature Best Actress (Supporting) Feature Best Actress (Supporting) Feature Best Actress (Supporting) Feature Best Actress (Supporting) Feature Best Actress (Supporting) Feature Best Actress (Supporting) Feature Best Actress (Supporting) Feature Best Actress (Supporting) Feature Best Actress (Supporting) Feature Best Actress (Supporting) Feature Best Actress (Supporting) Feature Twelfth Night Belinda High Tide High Tide The Place At The Coast Boundaries Of The Heart Jilted Mullaway Mullaway Celia Celia Emerald City Sweetie Father Kokoda Crescent Kokoda Crescent The Big Steal A Woman’s Tale Spotswood Waiting Waiting Secrets Strictly Ballroom Strictly Ballroom The Last Days Of Chez Nous Broken Highway On My Own Say A Little Prayer The Piano Muriel’s Wedding Muriel’s Wedding The Sum Of Us Traps Dad And Dave On Our Selection Lucky Break Metal Skin That Eye, The Sky Brilliant Lies Floating Life Lillian’s Story Love And Other Catastrophes Blackrock Doing Time For Patsy Cline Thank God He Met Lizzie The Castle Dance Me To My Song In The Winter Dark Terra Nova The Boys Kerry Walker Kaarin Fairfax Claudia Karvan Jan Adele Julie Hamilton Julie Nihill Tina Bursill Mary Coustas Sue Jones Victoria Longley Maryanne Fahey Nicole Kidman Dorothy Barry Julia Blake Ruth Cracknell Penne Hackforth-Jones Maggie King Gosia Dobrowolska Toni Collette Fiona Press Helen Jones Willa O’Neill Gia Carides Pat Thomson Miranda Otto Kris McQuade Judy Davis Jill Forster Kerry Walker Rachel Griffiths Jeanie Drynan Deborah Kennedy Jacqueline McKenzie Essie Davis Rebecca Gibney Nadine Garner Amanda Douge Zoe Carides Annette Shun Wah Toni Collette Alice Garner Rebecca Smart Annie Byron Cate Blanchett Sophie Lee Rena Owen Miranda Otto Angela Punch McGregor Toni Collette 1999 1999 1999 1999 2000 2000 2000 2000 2001 2001 2001 2001 2002 2002 2002 2002 2003 2003 2003 2003 2004 2004 2004 2004 2005 2005 2005 2005 2006 2006 2006 2006 2007 2007 2007 2007 2008 2008 2008 2008 2009 2009 2009 2009 2010 2010 2010 2010 2011 Best Actress (Supporting) Feature Best Actress (Supporting) Feature Best Actress (Supporting) Feature Best Actress (Supporting) Feature Best Actress (Supporting) Feature Best Actress (Supporting) Feature Best Actress (Supporting) Feature Best Actress (Supporting) Feature Best Actress In A Supporting Role Best Actress In A Supporting Role Best Actress In A Supporting Role Best Actress In A Supporting Role Best Actress In A Supporting Role Best Actress In A Supporting Role Best Actress In A Supporting Role Best Actress In A Supporting Role Best Actress In A Supporting Role Best Actress In A Supporting Role Best Actress In A Supporting Role Best Actress In A Supporting Role Best Actress In A Supporting Role Best Actress In A Supporting Role Best Actress In A Supporting Role Best Actress In A Supporting Role Best Actress In A Supporting Role Best Actress In A Supporting Role Best Actress In A Supporting Role Best Actress In A Supporting Role Best Supporting Actress Best Supporting Actress Best Supporting Actress Best Supporting Actress Best Supporting Actress Best Supporting Actress Best Supporting Actress Best Supporting Actress Best Supporting Actress Best Supporting Actress Best Supporting Actress Best Supporting Actress Best Supporting Actress Best Supporting Actress Best Supporting Actress Best Supporting Actress Best Supporting Actress Best Supporting Actress Best Supporting Actress Best Supporting Actress Best Supporting Actress Passion Passion Soft Fruit Two Hands Better Than Sex Looking For Alibrandi Looking For Alibrandi Russian Doll La Spagnola Lantana Lantana Mullet Australian Rules Envy Garage Days Walking On Water Gettin’ Square The Night We Called It A Day The Rage In Placid Lake Travelling Light Somersault Somersault Tom White Tom White Hating Alison Ashley Little Fish Look Both Ways Wolf Creek Candy Jindabyne Suburban Mayhem The Caterpillar Wish Clubland Russell Dykstra The Bet The Home Song Stories Bitter & Twisted The Black Balloon Black Water The Jammed Balibo Beautiful Kate Beautiful Kate Samson & Delilah Animal Kingdom The Boys Are Back Bran Nue Dae Bright Star The Eye Of The Storm Claudia Karvan Emily Woof Sacha Horler Susie Porter Kris McQuade Greta Scacchi Elena Cotta Sacha Horler Lourdes Bartolome Rachael Blake Daniela Farinacci Belinda McClory Celia Ireland Anna Lise Phillips Maya Stange Judi Farr Helen Thomson Melanie Griffith Miranda Richardson Sacha Horler Hollie Andrew Lynette Curran Rachael Blake Loene Carmen Tracy Mann Noni Hazlehurst Daniela Farinacci Kestie Morassi Noni Hazlehurst Deborra-lee Furness Genevieve Lemon Susie Porter Emma Booth Esme Melville Sibylla Budd Irene Chen Leeanna Walsman Toni Collette Maeve Dermody Saskia Burmeister Bea Viegas Maeve Dermody Rachel Griffiths Mitjili Gibson Laura Wheelwright Julia Blake Deborah Mailman Kerry Fox Helen Morse 167 Winners are in bold. 2011 2011 2011 2012 2012 2012 2012 Best Supporting Actress Best Supporting Actress Best Supporting Actress Best Supporting Actress Best Supporting Actress Best Supporting Actress Best Supporting Actress The Eye Of The Storm The Hunter Snowtown Burning Man Mental Mental The Sapphires Alexandra Schepisi Morgana Davies Louise Harris Clay The Devil’s Playground Break Of Day Newsfront The Chant Of Jimmie Blacksmith The Last Wave The Mango Tree My Brilliant Career Breaker Morant Manganinnie Stir The Chain Reaction Gallipoli Roadgames The Survivor Wu Ting Mad Max 2 Monkey Grip The Man From Snowy River We Of The Never Never Careful, He Might Hear You Man Of Flowers The Year Of Living Dangerously Undercover My First Wife Razorback Silver City Strikebound Bliss Rebel The Coca-Cola Kid Wrong World Burke & Wills The Fringe Dwellers The Right Hand Man Young Einstein Belinda Ground Zero The Umbrella Woman Warm Nights On A Slow Moving Train Giorgio Mangiamele Ian Baker Russell Boyd Essie Davis Rebecca Gibney Deborah Mailman Jessica Mauboy BEST CINEMATOGRAPHY 1965 1976 1977 1978 1978 1978 1978 1979 1980 1980 1980 1980 1981 1981 1981 1981 1982 1982 1982 1982 1983 1983 1983 1983 1984 1984 1984 1984 1985 1985 1985 1985 1986 1986 1986 1986 1987 1987 1987 1987 168 Cinematography Feature Best Cinematography Best Cinematography Best Cinematography Best Cinematography Best Cinematography Best Cinematography Best Cinematography Best Cinematography Best Cinematography Best Cinematography Best Cinematography Best Cinematography Best Cinematography Best Cinematography Best Cinematography Best Cinematography Best Cinematography Best Cinematography Best Cinematography Best Cinematography Best Cinematography Best Cinematography Best Cinematography Best Cinematography Best Cinematography Best Cinematography Best Cinematography Best Cinematography Best Cinematography Best Cinematography Best Cinematography Best Cinematography Best Cinematography Best Cinematography Best Cinematography Best Cinematography Best Cinematography Best Cinematography Best Cinematography Vincent Monton Ian Baker Russell Boyd Brian Probyn Donald McAlpine Donald McAlpine Gary Hansen Geoff Burton Russell Boyd Russell Boyd Vincent Monton John Seale Donald McAlpine Dean Semler David Gribble Keith Wagstaff Gary Hansen John Seale Yuri Sokol Russell Boyd Dean Semler Yuri Sokol Dean Semler John Seale Andrew de Groot Paul Murphy Peter James Dean Semler Ray Argall Russell Boyd Donald McAlpine Peter James Jeff Darling Malcolm McCulloch Steve Dobson James Bartle Yuri Sokol 1988 1988 1988 1988 1989 1989 1989 1989 1990 1990 1990 1990 1991 1991 1991 1991 1992 1992 1992 1992 1993 1993 1993 1993 1993 1994 1994 1994 1994 Best Cinematography Best Cinematography Best Cinematography Best Cinematography Best Cinematography Best Cinematography Best Cinematography Best Cinematography Best Cinematography Best Cinematography Best Cinematography Best Cinematography Best Cinematography Best Cinematography Best Cinematography Best Cinematography Best Cinematography Best Cinematography Best Cinematography Best Cinematography Best Cinematography Best Cinematography Best Cinematography Best Cinematography Best Cinematography Best Cinematography Best Cinematography Best Cinematography Best Cinematography 1995 1995 1995 1995 1996 1996 1996 1996 1997 1997 1997 1997 1998 1998 1998 1998 1999 1999 1999 Best Cinematography Best Cinematography Best Cinematography Best Cinematography Best Cinematography Best Cinematography Best Cinematography Best Cinematography Best Cinematography Best Cinematography Best Cinematography Best Cinematography Best Cinematography Best Cinematography Best Cinematography Best Cinematography Best Cinematography Best Cinematography Best Cinematography Boulevard Of Broken Dreams Grievous Bodily Harm The Lighthorsemen The Navigator Dead Calm Emerald City Georgia Sweetie Blood Oath Flirting Golden Braid The Crossing Aya Death In Brunswick Dingo Spotswood Black Robe Hammers Over The Anvil Strictly Ballroom The Last Days Of Chez Nous Broken Highway Map Of The Human Heart No Worries On My Own The Piano Bad Boy Bubby Country Life Exile The Adventures Of Priscilla, Queen Of The Desert Angel Baby Epsilon Mushrooms That Eye, The Sky Children Of The Revolution Mr. Reliable Shine What I Have Written Blackrock Doing Time For Patsy Cline Kiss Or Kill The Well In The Winter Dark Oscar And Lucinda The Boys The Interview In A Savage Land Passion Praise David Connell Ellery Ryan Dean Semler Geoffrey Simpson Dean Semler Paul Murphy Yuri Sokol Sally Bongers Russell Boyd Geoff Burton Nino Gaetano Martinetti Jeff Darling Geoff Burton Geoffrey Ryan Denis Lenoir Ellery Ryan Peter James James Bartle Steve Mason Geoffrey Simpson Steve Mason Eduardo Serra Stephen F. Windon Vic Sarin Stuart Dryburgh Ian Jones Stephen F. Windon Nino Gaetano Martinetti Brian J. Breheny Ellery Ryan Tony Clark Louis Irving Ellery Ryan Martin McGrath David Parker Geoffrey Simpson Dion Beebe Martin McGrath Andrew Lesnie Malcolm McCulloch Mandy Walker Martin McGrath Geoffrey Simpson Tristan Milani Simon Duggan Danny Ruhlmann Martin McGrath Dion Beebe 169 Winners are in bold. 1999 2000 2000 2000 2000 2001 2001 2001 2001 2002 2002 2002 2002 2003 2003 2003 2003 2004 2004 2004 2004 2005 2005 2005 2005 2006 2006 2006 2006 2007 2007 2007 2007 2008 2008 2008 2008 2009 2009 2009 2009 2010 2010 2010 2010 2011 2011 2011 2011 170 Best Cinematography Best Cinematography Best Cinematography Best Cinematography Best Cinematography Best Cinematography Best Cinematography Best Cinematography Best Cinematography Best Cinematography Best Cinematography Best Cinematography Best Cinematography Best Cinematography Best Cinematography Best Cinematography Best Cinematography Best Cinematography Best Cinematography Best Cinematography Best Cinematography Best Cinematography Best Cinematography Best Cinematography Best Cinematography Best Cinematography Best Cinematography Best Cinematography Best Cinematography Best Cinematography Best Cinematography Best Cinematography Best Cinematography Best Cinematography Best Cinematography Best Cinematography Best Cinematography Best Cinematography Best Cinematography Best Cinematography Best Cinematography Best Cinematography Best Cinematography Best Cinematography Best Cinematography Best Cinematography Best Cinematography Best Cinematography Best Cinematography Two Hands 15 Amore Bootmen Chopper Looking For Alibrandi La Spagnola Moulin Rouge! The Bank Yolngu Boy Beneath Clouds Dirty Deeds Rabbit-Proof Fence The Tracker Gettin’ Square Japanese Story Ned Kelly Travelling Light Love’s Brother One Perfect Day Somersault Tom White Little Fish Oyster Farmer The Proposition Wolf Creek Jindabyne Macbeth Suburban Mayhem Ten Canoes Clubland Noise Romulus, My Father The Home Song Stories The Black Balloon Death Defying Acts The Tender Hook Unfinished Sky Balibo Beautiful Kate Last Ride Samson & Delilah Animal Kingdom Beneath Hill 60 Bright Star The Waiting City The Hunter Red Dog Sleeping Beauty Snowtown Malcolm McCulloch John Brock Steve Mason Geoffrey Hall; Kevin Hayward Toby Oliver Steve Arnold Donald M. McAlpine Tristan Milani Brad Shield Allan Collins Geoffrey Hall Christopher Doyle Ian Jones Garry Phillips Ian Baker Oliver Stapleton Tristan Milani Andrew Lesnie Gary Ravenscroft Robert Humphreys Toby Oliver Danny Ruhlmann Alun Bollinger Benoît Delhomme Will Gibson David Williamson Will Gibson Robert Humphreys Ian Jones Mark Wareham Laszlo Baranyai Geoffrey Simpson Nigel Bluck Denson Baker Haris Zambarloukos Geoffrey Simpson Robert Humphreys Tristan Milani Andrew Commis Greig Fraser Warwick Thornton Adam Arkapaw Toby Oliver ACS Greig Fraser Denson Baker ACS Robert Humphreys Geoffrey Hall Geoffrey Simpson Adam Arkapaw 2012 2012 2012 2012 Best Cinematography Best Cinematography Best Cinematography Best Cinematography Burning Man Lore The Sapphires Wish You Were Here Garry Phillips Adam Arkapaw Warwick Thornton Let The Balloon Go Ron Williams Oz Robbie Perkins Storm Boy Helen Evans The Picture Show Man Judith Dorsman Newsfront Norma Moriceau The Chant Of Jimmie Blacksmith Bruce Finlayson The Getting Of Wisdom Anna Senior The Mango Tree Patricia Forster My Brilliant Career Anna Senior Breaker Morant Anna Senior Harlequin Terry Ryan Manganinnie Graham Purcell The Chain Reaction Norma Moriceau Fatty Finn Norma Moriceau Gallipoli Terry Ryan; Wendy Stites Hoodwink Ross Major Wu Ting Ruth De la Lande Mad Max 2 Norma Moriceau Starstruck Luciana Arrighi; Terry Ryan The Pirate Movie Aphrodite Kondos We Of The Never Never Camilla Rountree Careful, He Might Hear You Bruce Finlayson Phar Lap Anna Senior The Year Of Living Dangerously Terry Ryan Jules O’Loughlin BEST COSTUME DESIGN 1977 1977 1977 1977 1978 1978 1978 1978 1979 1980 1980 1980 1980 1981 1981 1981 1981 1982 1982 1982 1982 1983 1983 1983 Best Achievement In Costume Design Best Achievement In Costume Design Best Achievement In Costume Design Best Achievement In Costume Design Best Achievement In Costume Design Best Achievement In Costume Design Best Achievement In Costume Design Best Achievement In Costume Design Best Achievement In Costume Design Best Achievement In Costume Design Best Achievement In Costume Design Best Achievement In Costume Design Best Achievement In Costume Design Best Achievement In Costume Design Best Achievement In Costume Design Best Achievement In Costume Design Best Achievement In Costume Design Best Achievement In Costume Design Best Achievement In Costume Design Best Achievement In Costume Design Best Achievement In Costume Design Best Achievement In Costume Design Best Achievement In Costume Design Best Achievement In Costume Design 171 Winners are in bold. 1984 1984 1984 1984 1985 1985 1985 1985 1986 1986 1986 1986 1987 1987 1987 1987 1988 1988 1988 1988 1989 1989 1989 1989 1990 1990 1990 172 Best Achievement In Costume Design Best Achievement In Costume Design Best Achievement In Costume Design Best Achievement In Costume Design Best Achievement In Costume Design Best Achievement In Costume Design Best Achievement In Costume Design Best Achievement In Costume Design Best Achievement In Costume Design Best Achievement In Costume Design Best Achievement In Costume Design Best Achievement In Costume Design Best Achievement In Costume Design Best Achievement In Costume Design Best Achievement In Costume Design Best Achievement In Costume Design Best Achievement In Costume Design Best Achievement In Costume Design Best Achievement In Costume Design Best Achievement In Costume Design Best Achievement In Costume Design Best Achievement In Costume Design Best Achievement In Costume Design Best Achievement In Costume Design Best Achievement In Costume Design Best Achievement In Costume Design Best Achievement In Costume Design One Night Stand Ross Major Silver City Jan Hurley Street Hero Norma Moriceau Strikebound Jennie Tate Bliss Helen Hooper Rebel Roger Kirk The Boy Who Had Everything Ross Major The Coca-Cola Kid Terry Ryan Burke & Wills George Liddle For Love Alone Jennie Tate Kangaroo Terry Ryan Playing Beatie Bow George Liddle Bullseye George Liddle The Place At The Coast Anna French The Umbrella Woman Jennie Tate Those Dear Departed Roger Ford Boulevard Of Broken Dreams Cheryl McCloud Mullaway Jeanie Cameron Spirits Of The Air, Gremlins Of The Clouds The Navigator Angela Tonks; Mathu Anderson Georgia Aphrodite Kondos Ghosts … Of The Civil Dead Karen Everett Sons Of Steel What The Moon Saw Gary L. Keady; Nicholas Huxley; Nicola Braithwaite Rose Chong Blood Oath Roger Kirk Hunting Aphrodite Kondos Two Brothers Running Michelle Leonard Glenys Jackson 1990 1991 1991 1991 1991 1992 1992 1992 1992 1993 1993 1993 1993 1993 1994 1994 1994 1994 1995 1995 1995 1995 1996 1996 1996 1996 1997 Best Achievement In Costume Design Best Achievement In Costume Design Best Achievement In Costume Design Best Achievement In Costume Design Best Achievement In Costume Design Best Achievement In Costume Design Best Achievement In Costume Design Best Achievement In Costume Design Best Achievement In Costume Design Best Achievement In Costume Design Best Achievement In Costume Design Best Achievement In Costume Design Best Achievement In Costume Design Best Achievement In Costume Design Best Achievement In Costume Design Best Achievement In Costume Design Best Achievement In Costume Design Best Achievement In Costume Design Best Achievement In Costume Design Best Achievement In Costume Design Best Achievement In Costume Design Best Achievement In Costume Design Best Achievement In Costume Design Best Achievement In Costume Design Best Achievement In Costume Design Best Achievement In Costume Design Best Achievement In Costume Design Weekend With Kate Michelle Leonard Aya Jennie Tate Isabelle Eberhardt Mic Cheminal Spotswood Tess Schofield Waiting Murray Picknett Black Robe Renée April; John Hay Love In Limbo Clarissa Patterson Romper Stomper Anna Borghesi Strictly Ballroom Angus Strathie Frauds Fiona Spence Gross Misconduct Aphrodite Kondos Say A Little Prayer Lynn-Maree Milburn; Jacqui Everitt The Nostradamus Kid Roger Ford The Piano Janet Patterson Body Melt Anna Borghesi Country Life Wendy Chuck Muriel’s Wedding Terry Ryan The Adventures Of Priscilla, Queen Of The Desert Billy’s Holiday Lizzy Gardiner; Tim Chappel Metal Skin Anna Borghesi Mushrooms George Liddle That Eye, The Sky Vicki Friedman Children Of The Revolution Terry Ryan Love Serenade Anna Borghesi Mr. Reliable Tess Schofield Shine Louise Wakefield Doing Time For Patsy Cline Louise Wakefield Terry Ryan 173 Winners are in bold. 1997 1997 1997 1998 1998 1998 1998 1999 1999 1999 1999 2000 2000 2000 2000 2001 2001 2001 2001 2002 2002 2002 2002 2003 2003 2003 2003 2004 2004 2004 2004 2005 2005 2005 2005 2006 2006 174 Best Achievement In Costume Design Best Achievement In Costume Design Best Achievement In Costume Design Best Achievement In Costume Design Best Achievement In Costume Design Best Achievement In Costume Design Best Achievement In Costume Design Best Achievement In Costume Design Best Achievement In Costume Design Best Achievement In Costume Design Best Achievement In Costume Design Best Achievement In Costume Design Best Achievement In Costume Design Best Achievement In Costume Design Best Achievement In Costume Design Best Costume Design Best Costume Design Best Costume Design Best Costume Design Best Costume Design Best Costume Design Best Costume Design Best Costume Design Best Costume Design Best Costume Design Best Costume Design Best Costume Design Best Costume Design Best Costume Design Best Costume Design Best Costume Design Best Costume Design Best Costume Design Best Costume Design Best Costume Design Best Costume Design Best Costume Design Kiss Or Kill Ruth De la Lande Thank God He Met Lizzie Edie Kurzer The Well Anna Borghesi Head On Anna Borghesi Oscar And Lucinda Janet Patterson The Boys Annie Marshall The Sound Of One Hand Clapping Aphrodite Kondos In A Savage Land Edie Kurzer Passion Terry Ryan Praise Emily Seresin Two Hands Emily Seresin 15 Amore Emma Hamilton Lawes Bootmen Tess Schofield The Wog Boy Paul Warren Walk The Talk Louise Wakefield La Spagnola Lantana Moulin Rouge! The Bank Dirty Deeds Rabbit-Proof Fence Swimming Upstream Willfull Black And White Gettin’ Square Ned Kelly The Night We Called It A Day Love’s Brother One Perfect Day Somersault Tom White Hating Alison Ashley Little Fish Look Both Ways The Proposition Kokoda Macbeth Margot Wilson Margot Wilson Catherine Martin; Angus Strathie Annie Marshall Tess Schofield Roger Ford Angus Strathie George Liddle Annie Marshall Jackline Sassine Anna Borghesi Emily Seresin Anna Borghesi Katie Graham Emily Seresin Jill Johanson Paul Warren Melinda Doring Edie Kurzer Margot Wilson Phill Eagles Jane Johnston 2006 2006 2007 2007 2007 2007 2008 2008 2008 2008 2009 2009 2009 2009 2010 2010 2010 2010 2011 2011 2011 2011 2012 2012 2012 2012 Best Costume Design Best Costume Design Best Costume Design Best Costume Design Best Costume Design Best Costume Design Best Costume Design Best Costume Design Best Costume Design Best Costume Design Best Costume Design Best Costume Design Best Costume Design Best Costume Design Best Costume Design Best Costume Design Best Costume Design Best Costume Design Best Costume Design Best Costume Design Best Costume Design Best Costume Design Best Costume Design Best Costume Design Best Costume Design Best Costume Design Suburban Mayhem The Book Of Revelation Clubland Razzle Dazzle Romulus, My Father The Home Song Stories Children of the Silk Road Death Defying Acts Hey Hey It's Esther Blueburger The Tender Hook Australia Balibo Lucky Country Mao’s Last Dancer Animal Kingdom Beneath Hilil 60 Bran Nue Dae Bright Star The Eye Of The Storm The Hunter Oranges And Sunshine Sleeping Beauty Burning Man Lore Mental The Sapphires Melinda Doring Anna Borghesi Emily Seresin Ariane Weiss Jodie Fried Cappi Ireland Homesdale Stork Marco Polo Junior Versus The Red Dragon Billy And Percy The Devil’s Playground Don’s Party Mad Dog Morgan Oz Storm Boy Mouth To Mouth Newsfront The Chant Of Jimmie Blacksmith The Last Wave Cathy’s Child In Search Of Anna Mad Max My Brilliant Career Breaker Morant Harlequin Manganinnie Stir Peter Weir Tim Burstall Eric Porter Wenyan Gao; Kym Barrett Susannah Buxton Shareen Beringer Cappi Ireland Catherine Martin; Eliza Godman Cappi Ireland Mariot Kerr Anna Borghesi Cappi Ireland Ian Sparke; Wendy Cork Margot Wilson Janet Patterson Terry Ryan Emily Seresin Cappi Ireland Shareen Beringer Lizzy Gardiner Stefanie Bieker Tim Chappel Tess Schofield BEST DIRECTION 1971 1972 1973 Best Direction Best Direction Best Direction 1974/5 1976 1977 1977 1977 1977 1978 1978 1978 1978 1979 1979 1979 1979 1980 1980 1980 1980 Best Direction Best Direction Feature Film Best Direction Feature Film Best Direction Feature Film Best Direction Feature Film Best Direction Feature Film Best Direction Feature Film Best Direction Feature Film Best Direction Feature Film Best Direction Feature Film Best Direction Feature Film Best Direction Feature Film Best Direction Feature Film Best Direction Feature Film Best Direction Feature Film Best Direction Feature Film Best Direction Feature Film Best Direction Feature Film John Power Fred Schepisi Bruce Beresford Philippe Mora Chris Löfvén Henri Safran John Duigan Phillip Noyce Fred Schepisi Peter Weir Donald Crombie Esben Storm George Miller Gillian Armstrong Bruce Beresford Simon Wincer John Honey Stephen Wallace 175 Winners are in bold. 1981 1981 1981 1981 1982 1982 1982 1982 1983 1983 1983 1983 1984 1984 1984 1984 1985 1985 1985 1985 1986 1986 1986 1986 1987 1987 1987 1987 1988 1988 1988 1988 1989 1989 1989 1989 1990 1990 1990 1990 1991 1991 1991 1991 1992 1992 1992 1992 1993 176 Best Direction Feature Film Best Direction Feature Film Best Direction Feature Film Best Direction Feature Film Best Direction Feature Film Best Direction Feature Film Best Direction Feature Film Best Direction Feature Film Best Direction Feature Film Best Direction Feature Film Best Direction Feature Film Best Direction Feature Film Best Direction Feature Film Best Direction Feature Film Best Direction Feature Film Best Direction Feature Film Best Direction Feature Film Best Direction Feature Film Best Direction Feature Film Best Direction Feature Film Best Direction Feature Film Best Direction Feature Film Best Direction Feature Film Best Direction Feature Film Best Direction Feature Film Best Direction Feature Film Best Direction Feature Film Best Direction Feature Film Best Direction Feature Film Best Direction Feature Film Best Direction Feature Film Best Direction Feature Film Best Direction Feature Film Best Direction Feature Film Best Direction Feature Film Best Direction Feature Film Best Direction Feature Film Best Direction Feature Film Best Direction Feature Film Best Direction Feature Film Best Direction Feature Film Best Direction Feature Film Best Direction Feature Film Best Direction Feature Film Best Direction Feature Film Best Direction Feature Film Best Direction Feature Film Best Direction Feature Film Best Direction Feature Film The Club Gallipoli Hoodwink Winter Of Our Dreams Goodbye Paradise Lonely Hearts Mad Max 2 Moving Out Careful, He Might Hear You Man Of Flowers Phar Lap The Year Of Living Dangerously Annie’s Coming Out Fast Talking My First Wife Silver City A Street To Die Bliss Fran Unfinished Business Cactus Malcolm Short Changed The Fringe Dwellers Ground Zero High Tide The Tale Of Ruby Rose The Year My Voice Broke Boulevard Of Broken Dreams Fever Mullaway The Navigator Dead Calm Evil Angels Georgia Island Blood Oath Golden Braid Return Home Struck By Lightning Death In Brunswick Dingo Proof Waiting Black Robe Romper Stomper Strictly Ballroom The Last Days Of Chez Nous Blackfellas Bruce Beresford Peter Weir Claude Whatham John Duigan Carl Shultz Paul Cox George Miller Michael Pattinson Carl Schultz Paul Cox Simon Wincer Peter Weir Gil Brealey Ken Cameron Paul Cox Sophia Turkiewicz Bill Bennett Ray Lawrence Glenda Hambly Bob Ellis Paul Cox Nadia Tass George Ogilvie Bruce Beresford Michael Pattinson; Bruce Myles Gillian Armstrong Roger Scholes John Duigan Pino Amenta Craig Lahiff Don McLennan Vincent Ward Phillip Noyce Fred Schepisi Ben Lewin Paul Cox Stephen Wallace Paul Cox Ray Argall Jerzy Domaradzki John Ruane Rolf de Heer Jocelyn Moorhouse Jackie McKimmie Bruce Beresford Geoffrey Wright Baz Luhrmann Gillian Armstrong James Ricketson 1993 1993 1993 1994 1994 1994 1994 Best Direction Feature Film Best Direction Feature Film Best Direction Feature Film Best Direction Feature Film Best Direction Feature Film Best Direction Feature Film Best Direction Feature Film 1995 1995 1995 1995 1996 1996 1996 1996 1997 1997 1997 1997 1998 1998 1998 1998 1999 1999 1999 1999 2000 2000 2000 2000 2001 2001 2001 2001 2002 2002 2002 2002 2003 2003 2003 2003 2004 2004 2004 2004 2005 Best Direction Feature Film Best Direction Feature Film Best Direction Feature Film Best Direction Feature Film Best Direction Feature Film Best Direction Feature Film Best Direction Feature Film Best Direction Feature Film Best Direction Feature Film Best Direction Feature Film Best Direction Feature Film Best Direction Feature Film Best Direction Feature Film Best Direction Feature Film Best Direction Feature Film Best Direction Feature Film Best Direction Feature Film Best Direction Feature Film Best Direction Feature Film Best Direction Feature Film Best Direction Feature Film Best Direction Feature Film Best Direction Feature Film Best Direction Feature Film Best Direction Best Direction Best Direction Best Direction Best Direction Best Direction Best Direction Best Direction Best Direction Best Direction Best Direction Best Direction Best Direction Best Direction Best Direction Best Direction Best Direction Map Of The Human Heart The Heartbreak Kid The Piano Bad Boy Bubby Everynight … Everynight Muriel’s Wedding The Adventures Of Priscilla, Queen Of The Desert Angel Baby Hotel Sorrento That Eye, The Sky Vacant Possession Children Of The Revolution Floating Life Lust And Revenge Shine Doing Time For Patsy Cline Idiot Box Kiss Or Kill The Well Head On Radiance The Boys The Interview In A Savage Land Soft Fruit Two Hands Praise Chopper Better Than Sex Looking For Alibrandi Me Myself I Lantana Moulin Rouge! Mullet The Bank Beneath Clouds Rabbit-Proof Fence The Tracker Walking On Water Crackerjack Gettin’ Square Japanese Story Ned Kelly Love’s Brother Somersault The Finished People Tom White Little Fish Vincent Ward Michael Jenkins Jane Campion Rolf de Heer Alkinos Tsilimidos P.J. Hogan Stephan Elliott Michael Rymer Richard Franklin John Ruane Margot Nash Peter Duncan Clara Law Paul Cox Scott Hicks Chris Kennedy David Caesar Bill Bennett Samantha Lang Ana Kokkinos Rachel Perkins Rowan Woods Craig Monahan Bill Bennett Christina Andreef Gregor Jordan John Curran Andrew Dominik Jonathan Teplitzky Kate Woods Pip Karmel Ray Lawrence Baz Luhrmann David Caesar Robert Connolly Ivan Sen Phillip Noyce Rolf de Heer Tony Ayres Paul Moloney Jonathan Teplitzky Sue Brooks Gregor Jordan Jan Sardi Cate Shortland Khoa Do Alkinos Tsilimidos Rowan Woods 177 Winners are in bold. 2005 2005 2005 2006 2006 2006 2006 2007 2007 2007 2007 2008 2008 2008 2008 2009 2009 2009 2009 2010 2010 2010 2010 2011 2011 2011 2011 2012 2012 2012 2012 Best Direction Best Direction Best Direction Best Direction Best Direction Best Direction Best Direction Best Direction Best Direction Best Direction Best Direction Best Direction Best Direction Best Direction Best Direction Best Direction Best Direction Best Direction Best Direction Best Direction Best Direction Best Direction Best Direction Best Direction Best Direction Best Direction Best Direction Best Direction Best Direction Best Direction Best Direction Look Both Ways The Proposition Wolf Creek Jindabyne Kenny Suburban Mayhem Ten Canoes Clubland Noise Romulus, My Father The Home Song Stories The Black Balloon The Jammed The Square Unfinished Sky Balibo Beautiful Kate Mao’s Last Dancer Samson & Delilah Animal Kingdom Beneath Hill 60 Bright Star The Tree The Eye Of The Storm The Hunter Red Dog Snowtown Burning Man Lore The Sapphires Wish You Were Here Sarah Watt End Play Don’s Party Newsfront Patrick The Chant Of Jimmie Blacksmith The Last Wave Mad Max Breaker Morant Harlequin Stir The Chain Reaction Fatty Finn Gallipoli Hoodwink Roadgames Heatwave Edward McQueen-Mason William Anderson John Scott John Hillcoat Greg Mclean Ray Lawrence Clayton Jacobson Paul Goldman Rolf de Heer; Peter Djigirr Cherie Nowlan Matthew Saville Richard Roxburgh Tony Ayres Elissa Down Dee McLachlan Nash Edgerton Peter Duncan Robert Connolly Rachel Ward Bruce Beresford Warwick Thornton David Michôd Jeremy Hartley Sims Jane Campion Julie Bertuccelli Fred Schepisi Daniel Nettheim Krive Stenders Justin Kurzel Jonathan Teplitzky Cate Shortland Wayne Blair Kieran Darcy-Smith BEST EDITING 1976 1977 1978 1978 1978 1978 1979 1980 1980 1980 1980 1981 1981 1981 1981 1982 178 Best Achievement in Editing Best Achievement in Editing Best Achievement in Editing Best Achievement in Editing Best Achievement in Editing Best Achievement in Editing Best Achievement in Editing Best Achievement in Editing Best Achievement in Editing Best Achievement in Editing Best Achievement in Editing Best Achievement in Editing Best Achievement in Editing Best Achievement in Editing Best Achievement in Editing Best Achievement in Editing Edward McQueen-Mason Brian Kavanagh Max Lemon Tony Paterson; Clifford Hayes William Anderson Adrian Carr Henry Dangar Tim Wellburn Robert Gibson William Anderson Nicholas Beauman Edward McQueen-Mason John Scott 1982 Best Achievement in Editing Mad Max 2 1982 1982 1983 1983 1983 1983 1984 1984 1984 1984 1985 1985 1985 1985 1986 1986 1986 1986 1987 1987 1987 1987 1988 1988 1988 1988 1989 1989 1989 1989 1990 1990 1990 1990 1991 1991 1991 1991 1992 1992 1992 1992 1993 1993 1993 1993 1994 Best Achievement in Editing Best Achievement in Editing Best Achievement in Editing Best Achievement in Editing Best Achievement in Editing Best Achievement in Editing Best Achievement in Editing Best Achievement in Editing Best Achievement in Editing Best Achievement in Editing Best Achievement in Editing Best Achievement in Editing Best Achievement in Editing Best Achievement in Editing Best Achievement in Editing Best Achievement in Editing Best Achievement in Editing Best Achievement in Editing Best Achievement in Editing Best Achievement in Editing Best Achievement in Editing Best Achievement in Editing Best Achievement in Editing Best Achievement in Editing Best Achievement in Editing Best Achievement in Editing Best Achievement in Editing Best Achievement in Editing Best Achievement in Editing Best Achievement in Editing Best Achievement in Editing Best Achievement in Editing Best Achievement in Editing Best Achievement in Editing Best Achievement in Editing Best Achievement in Editing Best Achievement in Editing Best Achievement in Editing Best Achievement in Editing Best Achievement in Editing Best Achievement in Editing Best Achievement in Editing Best Achievement in Editing Best Achievement in Editing Best Achievement in Editing Best Achievement in Editing Best Achievement in Editing Monkey Grip Next Of Kin Careful, He Might Hear You Phar Lap The Year Of Living Dangerously Undercover BMX Bandits My First Wife Razorback Strikebound Bliss Frog Dreaming Rebel The Coca-Cola Kid Malcolm Playing Beatie Bow Short Changed The Fringe Dwellers Bullseye Ground Zero The Umbrella Woman The Year My Voice Broke Boulevard Of Broken Dreams Grievous Bodily Harm The Dreaming The Navigator Dead Calm Evil Angels Ghosts … Of The Civil Dead Island Flirting Golden Braid The Crossing Two Brothers Running Dingo Proof Spotswood Waiting Black Robe Romper Stomper Strictly Ballroom The Last Days Of Chez Nous Map Of The Human Heart Resistance The Custodian The Piano Bad Boy Bubby David Stiven; Tim Wellburn; Michael Balson; Christopher Plowright; George Miller David Huggett Max Lemon Richard Francis-Bruce Tony Paterson William Anderson Tim Wellburn Alan Lake Tim Lewis William Anderson Jill Bilcock Wayne LeClos Brian Kavanagh Michael Honey John Scott Ken Sallows Andrew Prowse Richard Francis-Bruce Tim Wellburn Richard Francis-Bruce David Pulbrook John Scott Neil Thumpston Philip Reid Marc van Buuren Suresh Ayyar John Scott Richard Francis-Bruce Jill Bilcock Stewart Young John Scott Robert Gibson Russell Hurley Henry Dangar Robert Gibson Suresh Ayyar Ken Sallows Nicholas Beauman Michael Honey Tim Wellburn Bill Murphy Jill Bilcock Nicholas Beauman John Scott; George Akers Stewart Young Michael Honey Veronika Jenet Suresh Ayyar 179 Winners are in bold. 1994 1994 1994 1995 1995 1995 1995 1996 1996 1996 1996 1997 1997 1997 1997 1998 1998 1998 1998 1999 1999 1999 1999 2000 2000 2000 2000 2001 2001 2001 2001 2002 2002 2002 2002 2003 2003 2003 2003 2004 2004 2004 2004 2005 2005 2005 2005 2006 2006 180 Best Achievement in Editing Best Achievement in Editing Best Achievement in Editing Best Achievement in Editing Best Achievement in Editing Best Achievement in Editing Best Achievement in Editing Best Achievement in Editing Best Achievement in Editing Best Achievement in Editing Best Achievement in Editing Best Achievement in Editing Best Achievement in Editing Best Achievement in Editing Best Achievement in Editing Best Achievement in Editing Best Achievement in Editing Best Achievement in Editing Best Achievement in Editing Best Achievement in Editing Best Achievement in Editing Best Achievement in Editing Best Achievement in Editing Best Achievement in Editing Best Achievement in Editing Best Achievement in Editing Best Achievement in Editing Best Editing Best Editing Best Editing Best Editing Best Editing Best Editing Best Editing Best Editing Best Editing Best Editing Best Editing Best Editing Best Editing Best Editing Best Editing Best Editing Best Editing Best Editing Best Editing Best Editing Best Editing Best Editing Body Melt Muriel’s Wedding The Sum Of Us Angel Baby Hotel Sorrento Mushrooms Vacant Possession Cosi Life Love And Other Catastrophes Shine Idiot Box Kiss Or Kill Thank God He Met Lizzie The Well Head On Radiance The Boys The Interview Fresh Air Praise Siam Sunset Two Hands Bootmen Chopper Looking For Alibrandi Me Myself I La Spagnola Lantana Moulin Rouge! Yolngu Boy Dirty Deeds Rabbit-Proof Fence The Tracker Walking On Water Alexandra’s Project Gettin’ Square Japanese Story Ned Kelly One Perfect Day Somersault The Old Man Who Read Love Stories Tom White Little Fish Look Both Ways The Proposition Wolf Creek Candy Kenny Bill Murphy Jill Bilcock Frans Vandenburg Dany Cooper David Pulbrook Henry Dangar Veronika Jenet Nicholas Beauman Bill Murphy Ken Sallows Pip Karmel Mark Perry Henry Dangar Suresh Ayyar Dany Cooper Jill Bilcock James Bradley Nick Meyers Suresh Ayyar Suresh Ayyar Alexandre de Franceschi Nicholas Beauman Lee Smith Jane Moran Ken Sallows Martin Connor Denise Haratzis Alexandre de Franceschi Karl Sodersten Jill Bilcock Ken Sallows Mark Perry Veronika Jenet; John Scott Tania Nehme Reva Childs Tania Nehme Ken Sallows Jill Bilcock Jon Gregory Gary Woodyard Scott Gray Tania Nehme Ken Sallows Alexandre de Franceschi; John Scott Denise Haratzis Jon Gregory Jason Ballantine Dany Cooper Clayton Jacobson; Sean Lander 2006 2006 2007 2007 2007 2007 2008 2008 2008 2008 2009 2009 2009 2009 2010 2010 2010 2010 2011 2011 2011 2011 2012 2012 2012 2012 Best Editing Best Editing Best Editing Best Editing Best Editing Best Editing Best Editing Best Editing Best Editing Best Editing Best Editing Best Editing Best Editing Best Editing Best Editing Best Editing Best Editing Best Editing Best Editing Best Editing Best Editing Best Editing Best Editing Best Editing Best Editing Best Editing Suburban Mayhem Ten Canoes Clubland Noise Romulus, My Father The Home Song Stories The Black Balloon Black Water The Jammed Unfinished Sky Balibo Blessed Mao’s Last Dancer Samson & Delilah Animal Kingdom Beneath Hill 60 Bright Star Tomorrow, When The War Began Oranges And Sunshine Red Dog Snowtown Wasted On The Young Burning Man The Sapphires Wish You Were Here X Stephen Evans Tania Nehme Jack And Jill: A Postscript Three To Go: Michael Homesdale Stork Libido: The Child 27A Sunday Too Far Away The Devil’s Playground Break Of Day Don’s Party Storm Boy The Picture Show Man Mouth To Mouth Newsfront Patrick The Chant Of Jimmie Blacksmith Cathy’s Child In Search Of Anna Mad Max My Brilliant Career Breaker Morant Phillip Adams; Brian Robinson Gil Brealey Scott Gray Geoff Hitchins Suresh Ayyar Denise Haratzis Veronika Jenet Rodrigo Balart Dee McLachlan; Anne Carter Suresh Ayyar Nick Meyers Jill Bilcock Mark Warner Roland Gallois Luke Doolan Dany Cooper Alexandre de Franceschi Marcus D’Arcy Dany Cooper Jill Bilcock Veronika Jenet Leanne Cole Martin Connor Dany Cooper Jason Ballantine Cindy Clarkson BEST FILM 1969 1970 1971 1972 1973 1973 1974/5 1976 1977 1977 1977 1977 1978 1978 1978 1978 1979 1979 1979 1979 1980 Best Film Best Film Best Film Best Film Best Film Best Film Best Film Best Film Best Film Best Film Best Film Best Film Best Film Best Film Best Film Best Film Best Film Best Film Best Film Best Film Best Film Richard Brennan; Grahame Bond Tim Burstall Tim Burstall Haydn Keenan Gil Brealey; Matthew Carroll Fred Schepisi Patricia Lovell Phillip Adams Matt Carroll Joan Long John Duigan; Jon Sainken David Elfick Antony I. Ginnane; Richard Franklin Fred Schepisi Tom Oliver; Errol Sullivan Esben Storm Byron Kennedy Margaret Fink Matt Carroll 181 Winners are in bold. 182 1980 1980 1980 1981 1981 1981 1981 1982 1982 1982 1982 1983 1983 1983 1983 1984 1984 1984 1984 1985 1985 1985 1985 1986 1986 1986 1986 1987 1987 1987 1987 1988 1988 1988 1988 1989 1989 1989 1989 1990 Best Film Best Film Best Film Best Film Best Film Best Film Best Film Best Film Best Film Best Film Best Film Best Film Best Film Best Film Best Film Best Film Best Film Best Film Best Film Best Film Best Film Best Film Best Film Best Film Best Film Best Film Best Film Best Film Best Film Best Film Best Film Best Film Best Film Best Film Best Film Best Film Best Film Best Film Best Film Best Film Manganinnie Maybe This Time Stir Gallipoli The Club Winter Of Our Dreams Wrong Side Of The Road Goodbye Paradise Lonely Hearts Monkey Grip We Of The Never Never Careful, He Might Hear You Man Of Flowers Phar Lap The Year Of Living Dangerously Annie’s Coming Out My First Wife Silver City Strikebound A Street To Die Bliss Fran Unfinished Business Malcolm Short Changed The Fringe Dwellers The More Things Change Ground Zero High Tide The Tale Of Ruby Rose The Year My Voice Broke Boulevard Of Broken Dreams Grievous Bodily Harm Mullaway The Navigator Dead Calm Evil Angels Ghosts … Of The Civil Dead Island Blood Oath 1990 1990 1990 1991 1991 Best Film Best Film Best Film Best Film Best Film Flirting Struck By Lightning The Big Steal Death In Brunswick Dingo 1991 Best Film Proof Gilda Baracchi Brian Kavanagh Richard Brennan Robert Stigwood; Patricia Lovell Matthew Carroll Richard Mason Ned Lander; Graeme Isaac Jane Scott John B. Murray Patricia Lovell Greg Tepper Jill Robb Jane Ballantyne John Sexton Jim McElroy Don Murray Jane Ballantyne; Paul Cox Joan Long Miranda Bain; Timothy White Bill Bennett Anthony Buckley David Rapsey Rebel Penfold-Russell Nadia Tass; David Parker Ross Matthews Sue Milliken Jill Robb Michael Pattinson Sandra Levy; Antony I. Ginnane Bryce Menzies; Andrew Wiseman Terry Hayes; Doug Mitchell; George Miller Frank Howson Richard Brennan; Antony I. Ginnane; Errol Sullivan D. Howard Grigsby; Antony I. Ginnane John Maynard Terry Hayes; Doug Mitchell; George Miller Verity Lambert Evan English Paul Cox; Santhana Naidu Charles Waterstreet; Denis Whitburn; Brian A. Williams; Annie Bleakley; Richard Brennan George Miller; Doug Mitchell; Terry Hayes Terry J. Charatsis; Trevor Farrant Nadia Tass; David Parker Timothy White Giorgio Draskovic; Rolf de Heer; Marc Rosenberg; Marie-Pascale Osterrieth Lynda House 1991 1992 1992 1992 1992 1993 1993 Best Film Best Film Best Film Best Film Best Film Best Film Best Film Spotswood Black Robe Romper Stomper Strictly Ballroom The Last Days Of Chez Nous Map Of The Human Heart On My Own 1993 1993 1994 Best Film Best Film Best Film The Heartbreak Kid The Piano Bad Boy Bubby 1994 1994 Best Film Best Film 1994 1995 1995 1995 1995 1996 1996 1996 1996 1997 1997 1997 1997 1998 1998 1998 1998 1999 1999 1999 1999 2000 2000 2000 2000 2001 2001 2001 2001 Best Film Best Film Best Film Best Film Best Film Best Film Best Film Best Film Best Film Best Film Best Film Best Film Best Film Best Film Best Film Best Film Best Film Best Film Best Film Best Film Best Film Best Film Best Film Best Film Best Film Best Film Best Film Best Film Best Film Muriel’s Wedding The Adventures Of Priscilla, Queen Of The Desert The Sum Of Us All Men Are Liars Angel Baby Hotel Sorrento That Eye, The Sky Children Of The Revolution Love And Other Catastrophes Mr. Reliable Shine Blackrock Doing Time For Patsy Cline Kiss Or Kill The Well Head On Radiance The Boys The Interview Praise Siam Sunset Soft Fruit Two Hands Better Than Sex Bootmen Chopper Looking For Alibrandi Lantana Moulin Rouge! The Bank The Dish 2002 2002 2002 2002 2003 Best Film Best Film Best Film Best Film Best Film Australian Rules Beneath Clouds Rabbit-Proof Fence The Tracker Alexandra’s Project Timothy White; Richard Brennan Robert Lantos; Sue Milliken; Stephane Reichel Ian Pringle; Daniel Scharf Tristram Miall Jan Chapman Tim Bevan; Vincent Ward; Timothy White Leo Pescarolo; Will Spencer; Rosa Colosimo; Elisa Resegotti; Lael McCall; Stavros Stavrides Ben Gannon Jan Chapman Giorgio Draskovic; Domenico Procacci; Rolf de Heer Lynda House; Jocelyn Moorhouse Al Clark; Michael Hamlyn; Rebel Penfold-Russell Hal McElroy John Maynard Timothy White; Jonathon Shteinman Richard Franklin Peter Beilby; Grainne Marmion Tristram Miall Stavros Efthymiou Jim McElroy; Terry Hayes; Michael Hamlyn Jane Scott David Elfick Chris Kennedy; John Winter Bill Bennett; Jennifer Bennett Sandra Levy Jane Scott Ned Lander; Andrew Myer Robert Connolly; John Maynard Bill Hughes; Craig Monahan Martha Coleman Al Clark Helen Bowden Marian Macgowan Bruna Papandrea; Frank Cox Hilary Linstead Michele Bennett Robyn Kershaw Jan Chapman Baz Luhrmann John Maynard; Robert Connolly Rob Sitch; Jane Kennedy; Santo Cilauro; Tom Gleisner; Michael Hirsh Mark Lazarus Teresa-Jayne Hanlon Phillip Noyce; Christine Olsen; John Winter Rolf de Heer; Julie Ryan Julie Ryan; Domenico Procacci 183 Winners are in bold. 184 2003 2003 2003 2004 2004 2004 2004 2005 2005 2005 2005 Best Film Best Film Best Film Best Film Best Film Best Film Best Film Best Film Best Film Best Film Best Film Gettin’ Square Japanese Story The Rage In Placid Lake Love’s Brother Somersault The Old Man Who Read Love Stories Tom White Little Fish Look Both Ways Oyster Farmer The Proposition 2006 2006 2006 2006 2007 2007 2007 2007 2008 2008 2008 2008 2009 2009 2009 2009 2009 2009 2010 2010 2010 2010 2010 2010 2011 2011 2011 Best Film Best Film Best Film Best Film Best Film Best Film Best Film Best Film Best Film Best Film Best Film Best Film Best Film Best Film Best Film Best Film Best Film Best Film Best Film Best Film Best Film Best Film Best Film Best Film Best Film Best Film Best Film Candy Jindabyne Kenny Ten Canoes Lucky Miles Noise Romulus, My Father The Home Song Stories The Black Balloon The Jammed The Square Unfinished Sky Balibo Beautiful Kate Blessed Mao’s Last Dancer Mary And Max Samson & Delilah Animal Kingdom Beneath Hill 60 Bran Nue Dae Bright Star Tomorrow, When The War Began The Tree The Eye Of The Storm The Hunter Mad Bastards 2011 2011 2011 2012 2012 Best Film Best Film Best Film Best Film Best Film Oranges And Sunshine Red Dog Snowtown Burning Man Lore 2012 2012 Best Film Best Film The Sapphires Wish You Were Here Martin Fabinyi; Timothy White; Trish Lake Sue Maslin; Sue Brooks; Alison Tilson Marian Macgowan Jane Scott; Sarah Radclyffe Anthony Anderson Julie Ryan; Michelle de Broca Alkinos Tsilimidos; Daniel Scharf Vincent Sheehan; Liz Watts; Richard Keddie Bridget Ikin Anthony Buckley; Piers Tempest Chris Brown; Jackie O’Sullivan; Chiara Menage; Cat Villiers Margaret Fink; Emile Sherman Catherine Jarman Clayton Jacobson; Rohan Timlock Julie Ryan; Rolf de Heer Jo Dyer; Lesly Dyer Trevor Blainey Robert Connolly; John Maynard Liz Watts; Michael McMahon Tristram Miall Dee McLachlan; Andrea Buck; Sally Ayre-Smith Louise Smith Cathy Overett; Anton Smit John Maynard; Rebecca Williamson Leah Churchill-Brown; Bryan Brown Al Clark Jane Scott Melanie Coombs Kath Shelper Liz Watts Bill Leimbach Robyn Kershaw; Graeme Isaac Jan Chapman; Caroline Hewitt Andrew Mason; Michael Boughen Sue Taylor; Yaël Fogiel Antony Waddington; Gregory Read; Fred Schepisi Vincent Sheehan David Jowsey; Alan Pigram; Stephen Pigram; Brendan Fletcher Camilla Bray; Emile Sherman; Iain Canning Nelson Woss; Julie Ryan Anna McLeish; Sarah Shaw Andy Paterson; Jonathan Teplitzky Karsten Stöter; Liz Watts; Paul Welsh; Benny Drechsel Rosemary Blight; Kylie du Fresne Angie Fielder BEST FOREIGN FILM 2002 2002 2002 2002 Best Foreign Film Best Foreign Film Best Foreign Film Best Foreign Film 2003 Best Foreign Film 2003 Best Foreign Film 2003 2003 2004 Best Foreign Film Best Foreign Film Best Foreign Film 2004 Best Foreign Film 2004 2004 Best Foreign Film Best Foreign Film A Beautiful Mind Amélie Gosford Park The Lord Of The Rings: The Fellowship Of The Ring Bowling For Columbine The Lord Of The Rings: The Two Towers The Hours Whale Rider Eternal Sunshine Of The Spotless Mind The Lord Of The Rings: The Return Of The King Lost In Translation Mystic River Brian Grazer; Ron Howard Claudie Ossard Robert Altman; Bob Balaban; David Levy Barrie M. Osborne; Peter Jackson; Fran Walsh; Tim Sanders Charles Bishop; Jim Czarnecki; Michael Donovan; Kathleen Glynn; Michael Moore Peter Jackson; Barrie M. Osborne; Frances Walsh Robert Fox; Scott Rudin John Barnett; Frank Hübner; Tim Sanders Anthony Bregman; Steve Golin Peter Jackson; Barrie M. Osborne; Frances Walsh Sofia Coppola; Ross Katz Robert Lorenz; Judie G. Hoyt; Clint Eastwood BEST PRODUCTION DESIGN 1977 1978 1979 1980 1980 1980 1980 1981 1981 1981 1981 1981 1982 1982 1982 1982 1983 1983 1983 1983 1984 1984 1984 1984 Production Design Feature Production Design Feature Production Design Feature Production Design Feature Production Design Feature Production Design Feature Production Design Feature Production Design Feature Production Design Feature Production Design Feature Production Design Feature Production Design Feature Production Design Feature Production Design Feature Production Design Feature Production Design Feature Production Design Feature Production Design Feature Production Design Feature Production Design Feature Production Design Feature Production Design Feature Production Design Feature Production Design Feature The Picture Show Man Newsfront My Brilliant Career Breaker Morant Harlequin Stir The Chain Reaction Grendel, Grendel, Grendel The Survivor Gallipoli Winter Of Our Dreams Fatty Finn The Return Of Captain Invincible Starstruck Mad Max 2 Squizzy Taylor The Wild Duck Undercover Careful, He Might Hear You The Year Of Living Dangerously Street Hero Razorback Silver City Strikebound 1985 1985 1985 1985 1986 Production Design Feature Production Design Feature Production Design Feature Production Design Feature Production Design Feature Rebel The Coca-Cola Kid Frog Dreaming Bliss Playing Beatie Bow David Copping Lissa Coote Luciana Arrighi David Copping Bernard Hides Lee Whitmore Graham Walker Alex Stitt Bernard Hides Wendy Weir; Herbert Pinter Lee Whitmore Lissa Coote David Copping Brian Thomson Graham Walker Logan Brewer Darrell Lass Herbert Pinter John Stoddart Wendy Weir; Herbert Pinter Brian Thomson Bryce Walmsley Igor Nay Tracy Watt; Harry Zettel; MacGregor Knox; Neil Angwin Brian Thomson Graham Walker Jon Dowding Owen Paterson; Wendy Dickson George Liddle 185 Winners are in bold. 186 1986 1986 1986 1987 1987 1987 1987 1988 1988 1988 1988 Production Design Feature Production Design Feature Production Design Feature Production Design Feature Production Design Feature Production Design Feature Production Design Feature Production Design Feature Production Design Feature Production Design Feature Production Design Feature 1989 1989 1989 1989 1990 1990 1990 1990 1991 1991 1991 1991 1992 1992 1992 1992 1993 1993 1993 1993 1994 1994 1994 Production Design Feature Production Design Feature Production Design Feature Production Design Feature Production Design Feature Production Design Feature Production Design Feature Production Design Feature Production Design Feature Production Design Feature Production Design Feature Production Design Feature Production Design Feature Production Design Feature Production Design Feature Production Design Feature Production Design Feature Production Design Feature Production Design Feature Production Design Feature Production Design Feature Production Design Feature Production Design Feature 1994 1995 1995 1995 1995 1996 1996 1996 1996 1997 1997 1997 1997 Production Design Feature Production Design Feature Production Design Feature Production Design Feature Production Design Feature Production Design Feature Production Design Feature Production Design Feature Production Design Feature Production Design Feature Production Design Feature Production Design Feature Production Design Feature For Love Alone Dead End Drive-In The Right Hand Man Ground Zero Bullseye The Place At The Coast To Market, To Market Dangerous Game Incident At Raven’s Gate The Navigator Spirits Of The Air, Gremlins Of The Clouds Ghosts … Of The Civil Dead Dead Calm Georgia Island Blood Oath Weekend With Kate The Big Steal Flirting Isabelle Eberhardt Spotswood Aya Deadly Strictly Ballroom Love In Limbo The Last Days Of Chez Nous Romper Stomper The Piano Say A Little Prayer Broken Highway Resistance Gino Traps The Adventures Of Priscilla, Queen Of The Desert Muriel’s Wedding That Eye, The Sky Mushrooms All Men Are Liars Metal Skin To Have And To Hold Children Of The Revolution Love Serenade Shine Thank God He Met Lizzie Idiot Box The Well Doing Time For Patsy Cline John Stoddart Larry Eastwood Neil Angwin Brian Thomson George Liddle Owen Paterson Virginia Rouse Igor Nay Judith Russell Sally Campbell Sean Peter Miller Chris Kennedy Graham ‘Grace’ Walker Jon Dowding Neil Angwin Bernard Hides Lawrence Eastwood Patrick Reardon Roger Ford Bryce Perrin; Geoffroy Larcher Chris Kennedy Jennie Tate Peta Lawson Catherine Maring David McKay Janet Patterson Steven Jones-Evans Andrew McAlpine Chris Kennedy Lesley Crawford MacGregor Knox Chris Kennedy Michael Phillips Owen Patterson Patrick Reardon Chris Kennedy George Liddle Murray Pope Steven Jones-Evans Chris Kennedy Roger Ford Steven Jones-Evans Vicki Niehus Clarissa Patterson Kerith Holmes Michael Phillips Roger Ford 1998 1998 1998 1998 1999 1999 1999 1999 2000 2000 2000 2000 2001 2001 2001 2001 2002 2002 2002 2002 2003 2003 2003 2003 2004 2004 2004 2004 2005 2005 2005 2005 2006 2006 2006 2006 2007 2007 2007 2007 2008 2008 2008 2008 2009 Production Design Feature Production Design Feature Production Design Feature Production Design Feature Production Design Feature Production Design Feature Production Design Feature Production Design Feature Production Design Feature Production Design Feature Production Design Feature Production Design Feature Production Design Feature Production Design Feature Production Design Feature Production Design Feature Production Design Feature Production Design Feature Production Design Feature Production Design Feature Production Design Feature Production Design Feature Production Design Feature Production Design Feature Production Design Feature Production Design Feature Production Design Feature Production Design Feature Production Design Feature Production Design Feature Production Design Feature Production Design Feature Production Design Feature Production Design Feature Production Design Feature Production Design Feature Production Design Feature Production Design Feature Production Design Feature Production Design Feature Best Production Design Best Production Design Best Production Design Best Production Design Best Production Design Dead Letter Office Oscar And Lucinda The Interview Radiance Praise Passion In A Savage Land Siam Sunset Bootmen Chopper Looking For Alibrandi Better Than Sex La Spagnola Lantana Moulin Rouge! The Bank Dirty Deeds Garage Days Rabbit-Proof Fence Swimming Upstream Gettin’ Square Japanese Story Ned Kelly The Night We Called It A Day Love’s Brother One Perfect Day Somersault Tom White Little Fish Look Both Ways The Proposition Three Dollars Candy Macbeth Suburban Mayhem Ten Canoes Clubland Noise Romulus, My Father The Home Song Stories Children of the Silk Road Death Defying Acts The Tender Hook Unfinished Sky Australia 2009 2009 2009 Best Production Design Best Production Design Best Production Design Balibo Mao’s Last Dancer Mary And Max Chris Kennedy Luciana Arrighi Richard Bell Sarah Stollman Michael Phillips Murray Picknett Nicholas McCallum Steven Jones-Evans Murray Picknett Paddy Reardon Stephen Curtis Tara Kamath Dee Molineaux Kim Buddee Catherine Martin Luigi Pittorino Chris Kennedy Michael Philips Roger Ford Roger Ford Nicholas McCallum Paddy Reardon Steven Jones-Evans Michael Philips Paul Heath MacGregor Knox; Patrick Bennet; Joseph Keily Melinda Doring Dan Potra Luigi Pittorino Rita Zanchetta Chris Kennedy Luigi Pittorino Robert Cousins David McKay Nell Hanson Beverley Freeman Nell Hanson Paddy Reardon Robert Cousins Melinda Doring Steven Jones-Evans Gemma Jackson Peter Baxter Laurie Faen Catherine Martin; Ian Gracie; Karen Murphy; Beverley Dunn Robert Cousins Herbert Pinter Adam Elliot 187 Winners are in bold. 2010 2010 2010 2010 Best Production Design Best Production Design Best Production Design Best Production Design Animal Kingdom Beneath Hill 60 Bright Star Tomorrow, When The War Began 2011 2011 2011 2011 2012 2012 2012 2012 Best Production Design Best Production Design Best Production Design Best Production Design Best Production Design Best Production Design Best Production Design Best Production Design The Eye Of The Storm The Hunter Red Dog Sleeping Beauty Burning Man Killer Elite Lore The Sapphires Jo Ford Clayton Jauncey Janet Patterson Robert Webb; Michelle McGahey; Damien Brew; Beverley Dunn Melinda Doring Steven Jones-Evans Ian Gracie Annie Beauchamp Steven Jones-Evans Michelle McGahey Silke Fischer Melinda Doring BEST SCREENPLAY 1976 1977 1978 1978 1979 1979 1979 1979 1979 1980 1980 1980 1980 1981 1981 1981 1981 1982 1982 1982 1982 1983 1983 188 Best Screenplay (Original Or Adapted) Best Screenplay (Original Or Adapted) Best Adapted Screenplay Best Original Screenplay Best Adapted Screenplay Best Original Screenplay Best Original Screenplay Best Original Screenplay Best Original Screenplay Best Screenplay (Original Or Adapted) Best Screenplay (Original Or Adapted) Best Screenplay (Original Or Adapted) Best Screenplay (Original Or Adapted) Best Screenplay (Original Or Adapted) Best Screenplay (Original Or Adapted) Best Screenplay (Original Or Adapted) Best Screenplay (Original Or Adapted) Best Screenplay (Original Or Adapted) Best Screenplay (Original Or Adapted) Best Screenplay (Original Or Adapted) Best Screenplay (Original Or Adapted) Best Adapted Screenplay Best Adapted Screenplay The Devil’s Playground Fred Schepisi Don’s Party David Williamson The Getting Of Wisdom Newsfront My Brilliant Career In Search Of Anna Kostas Mad Max Palm Beach Breaker Morant Eleanor Witcombe Anne Brooksbank; Bob Ellis; Phillip Noyce Eleanor Witcombe Esben Storm Hard Knocks Linda Aronson James McClausand; Dr George Miller Albie Thoms Jonathon Hardy; David Stevens; Bruce Beresford Hilton Bonner; Don McLennan Maybe This Time Anne Brooksbank; Bob Ellis Stir Bob Jewson Gallipoli David Williamson Hoodwink Ken Quinnell The Club David Williamson Winter Of Our Dreams John Duigan Goodbye Paradise Bob Ellis; Denny Lawrence Lonely Hearts Paul Cox; John Clarke Moving Out Jan Sardi We Of The Never Never Peter Schreck Careful, He Might Hear You Now And Forever Michael Jenkins Richard Cassidy 1983 Best Adapted Screenplay The Wild Duck 1983 1983 1983 1983 1983 1984 1984 1984 1984 1984 1984 1984 1984 1985 1985 1985 1985 1985 1985 1985 1985 1986 1986 1986 1986 1986 1986 1986 1986 1987 1987 1987 1987 1987 1987 1987 1987 1988 1989 1989 1989 1989 1989 1989 1989 1989 Best Adapted Screenplay Best Original Screenplay Best Original Screenplay Best Original Screenplay Best Original Screenplay Best Adapted Screenplay Best Adapted Screenplay Best Adapted Screenplay Best Adapted Screenplay Best Original Screenplay Best Original Screenplay Best Original Screenplay Best Original Screenplay Best Adapted Screenplay Best Adapted Screenplay Best Adapted Screenplay Best Adapted Screenplay Best Original Screenplay Best Original Screenplay Best Original Screenplay Best Original Screenplay Best Adapted Screenplay Best Adapted Screenplay Best Adapted Screenplay Best Adapted Screenplay Best Original Screenplay Best Original Screenplay Best Original Screenplay Best Original Screenplay Best Adapted Screenplay Best Adapted Screenplay Best Adapted Screenplay Best Adapted Screenplay Best Original Screenplay Best Original Screenplay Best Original Screenplay Best Original Screenplay Best Screenplay Best Adapted Screenplay Best Adapted Screenplay Best Adapted Screenplay Best Adapted Screenplay Best Original Screenplay Best Original Screenplay Best Original Screenplay Best Original Screenplay The Year Of Living Dangerously Buddies Man Of Flowers Phar Lap The Clinic Annie’s Coming Out BMX Bandits Razorback Strikebound Fast Talking My First Wife Silver City Street Hero An Indecent Obsession Bliss Rebel The Coca-Cola Kid A Street To Die Fran The Boy Who Had Everything Unfinished Business For Love Alone Kangaroo Playing Beatie Bow The Fringe Dwellers Malcolm Short Changed The More Things Change Young Einstein Slate, Wyn And Me The Place At The Coast Travelling North Vincent Belinda Ground Zero High Tide The Year My Voice Broke Not awarded Compo Dead Calm Emerald City Evil Angels Georgia Ghosts … Of The Civil Dead Island Sweetie Tutte Lemkow; Dido Merwin; Henri Safran; Peter Smalley C.J. Koch; Peter Weir; David Williamson John Dingwall Paul Cox; Bob Ellis David Williamson Greg Millin John Patterson; Chris Borthwick Patrick Edgeworth Everett De Roche Richard Lowenstein Ken Cameron Paul Cox; Bob Ellis Sophia Turkiewicz; Thomas Keneally Jan Sardi Denise Morgan Peter Carey; Ray Lawrence Michael Jenkins; Bob Herbert Frank Moorhouse Bill Bennett Glenda Hambly Stephen Wallace Bob Ellis Stephen Wallace Evan Jones Peter Gawler Bruce Beresford; Rhoisin Beresford David Parker Robert Merritt Moya Wood Yahoo Serious; David Roach Don McLennan Hilary Furlong David Williamson Paul Cox Pamela Gibbons Mac Gudgeon; Jan Sardi Laura Jones John Duigan N/A Abe Pogos Terry Hayes David Willamson Robert Caswell; Fred Schepisi Ben Lewin; Joanna Murray-Smith; Bob Weis Gene Conkie; Evan English; John Hillcoat Paul Cox Gerard Lee; Jane Campion 189 Winners are in bold. 1993 1993 1993 1993 1993 1993 1993 1993 1994 1994 1994 1994 1994 1994 1994 1994 Best Screenplay (Original Or Adapted) Best Screenplay (Original Or Adapted) Best Screenplay (Original Or Adapted) Best Screenplay (Original Or Adapted) Best Screenplay (Original Or Adapted) Best Screenplay (Original Or Adapted) Best Screenplay (Original Or Adapted) Best Screenplay (Original Or Adapted) Best Screenplay (Original Or Adapted) Best Screenplay (Original Or Adapted) Best Screenplay (Original Or Adapted) Best Screenplay (Original Or Adapted) Best Adapted Screenplay Best Adapted Screenplay Best Adapted Screenplay Best Adapted Screenplay Best Original Screenplay Best Original Screenplay Best Original Screenplay Best Original Screenplay Best Adapted Screenplay Best Adapted Screenplay Best Adapted Screenplay Best Adapted Screenplay Best Original Screenplay Best Original Screenplay Best Original Screenplay Best Original Screenplay 1995 1995 1995 1995 1995 1995 1995 1995 1996 1996 Best Adapted Screenplay Best Adapted Screenplay Best Adapted Screenplay Best Adapted Screenplay Best Original Screenplay Best Original Screenplay Best Original Screenplay Best Original Screenplay Best Adapted Screenplay Best Adapted Screenplay 1990 1990 1990 1990 1991 1991 1991 1991 1992 1992 1992 1992 190 Blood Oath Denis Whitburn; Brian A. Williams Golden Braid Paul Cox; Barry Dickins Struck By Lightning Trevor Farrant The Big Steal David Parker; Max Dann (Additional Scripting) A Woman’s Tale Paul Cox; Barry Dickins Death In Brunswick John Ruane; Boyd Oxlade Proof Jocelyn Moorhouse Spotswood Max Dann; Andrew Knight Black Robe Brian Moore Greenkeeping David Caesar Strictly Ballroom Baz Luhrmann; Craig Pearce The Last Days Of Chez Nous Helen Garner Black River Blackfellas No Worries The Silver Brumby The Nostradamus Kid On My Own The Piano This Won’t Hurt A Bit Country Life Everynight … Everynight The Sum Of Us Traps Bad Boy Bubby Muriel’s Wedding Roly Poly Man The Adventures Of Priscilla, Queen Of The Desert Dad And Dave On Our Selection Hotel Sorrento Sanctuary That Eye, The Sky All Men Are Liars Angel Baby Mushrooms Vacant Possession Cosi Dead Heart Kevin Lucas James Ricketson David Holman John Tatoulis; Jon Stephens Bob Ellis Gill Dennis Jane Campion Chris Kennedy Michael Blakemore Ray Mooney; Alkinos Tsilimidos David Stevens Robert Carter; Pauline Chan Rolf de Heer P.J. Hogan Kym Goldsworthy Stephan Elliott George Whaley Richard Franklin; Peter Fitzpatrick David Williamson Tim Barton; John Ruane Gerard Lee Michael Rymer Alan Madden Margot Nash Louis Nowra Nick Parsons 1996 1996 1996 1996 1996 Best Adapted Screenplay Best Adapted Screenplay Best Original Screenplay Best Original Screenplay Best Original Screenplay Life What I Have Written Children Of The Revolution Floating Life Love And Other Catastrophes 1996 1997 1997 1997 1997 1997 1997 1997 Best Original Screenplay Best Adapted Screenplay Best Adapted Screenplay Best Adapted Screenplay Best Original Screenplay Best Original Screenplay Best Original Screenplay Best Original Screenplay Shine Blackrock Love In Ambush The Well Doing Time For Patsy Cline Kiss Or Kill Road To Nhill The Castle 1998 1998 1998 1998 1998 1998 1998 1998 1999 1999 1999 1999 1999 2000 2000 2000 2000 2000 2000 2000 2001 2001 2001 2001 2001 2001 2001 2001 2002 2002 2002 2002 2002 2002 Best Adapted Screenplay Best Adapted Screenplay Best Adapted Screenplay Best Adapted Screenplay Best Original Screenplay Best Original Screenplay Best Original Screenplay Best Original Screenplay Best Adapted Screenplay Best Original Screenplay Best Original Screenplay Best Original Screenplay Best Original Screenplay Best Adapted Screenplay Best Adapted Screenplay Best Adapted Screenplay Best Original Screenplay Best Original Screenplay Best Original Screenplay Best Original Screenplay Best Adapted Screenplay Best Adapted Screenplay Best Adapted Screenplay Best Adapted Screenplay Best Original Screenplay Best Original Screenplay Best Original Screenplay Best Original Screenplay Best Adapted Screenplay Best Adapted Screenplay Best Adapted Screenplay Best Adapted Screenplay Best Original Screenplay Best Original Screenplay Head On Oscar And Lucinda Radiance The Boys Amy Dance Me To My Song Dead Letter Office The Interview Praise Siam Sunset Soft Fruit Strange Fits Of Passion Two Hands Chopper Looking For Alibrandi The Magic Pudding Better Than Sex Me Myself I My Mother Frank Russian Doll He Died With A Felafel In His Hand Lantana Silent Partner The Monkey’s Mask La Spagnola Mullet The Bank Yolngu Boy Australian Rules Molokai: The Story Of Father Damien Rabbit-Proof Fence Swimming Upstream Beneath Clouds The Man Who Sued God Lawrence Johnston; John Brumpton John Scott Peter Duncan Eddie L.C. Fong; Clara Law Yael Bergman; Emma-Kate Croghan; Helen Bandis Jan Sardi Nick Enright Carl Schultz Laura Jones Chris Kennedy Bill Bennett Alison Tilson Santo Cilauro; Tom Gleisner; Jane Kennedy; Rob Sitch Andrew Bovell; Ana Kokkinos; Mira Robertson Laura Jones Louis Nowra Stephen Sewell David Parker Heather Rose; Frederick Stahl; Rolf de Heer Deborah Cox Craig Monahan; Gordon Davie Andrew McGahan Max Dann; Andrew Knight Christina Andreef Elise McCredie Gregor Jordan Andrew Dominik Melina Marchetta Harry Cripps; Greg Haddrick; Simon Hopkinson Jonathan Teplitzky Pip Karmel Mark Lamprell Stavros Kazantzidis; Allanah Zitserman Richard Lowenstein Andrew Bovell Daniel Keene Anne Kennedy Anna-Maria Monticelli David Caesar Robert Connolly Chris Anastassiades Phillip Gwynne; Paul Goldman John Briley Christine Olsen Anthony Fingleton Ivan Sen Don Watson 191 Winners are in bold. 2002 2002 2003 2003 2003 2003 2003 2003 2003 2003 2004 2004 2004 2004 Best Original Screenplay Best Original Screenplay Best Adapted Screenplay Best Adapted Screenplay Best Adapted Screenplay Best Adapted Screenplay Best Original Screenplay Best Original Screenplay Best Original Screenplay Best Original Screenplay Best Adapted Screenplay Best Original Screenplay Best Original Screenplay Best Original Screenplay The Tracker Walking On Water Blurred Ned Kelly Teesh And Trude The Rage In Placid Lake Crackerjack Gettin’ Square Japanese Story Travelling Light Not Awarded Love’s Brother Somersault The Finished People 2004 2005 2005 2005 2005 2005 2005 2005 2005 2006 2006 2006 2006 2006 2006 2006 2006 2007 Best Original Screenplay Best Adapted Screenplay Best Adapted Screenplay Best Adapted Screenplay Best Adapted Screenplay Best Original Screenplay Best Original Screenplay Best Original Screenplay Best Original Screenplay Best Adapted Screenplay Best Adapted Screenplay Best Adapted Screenplay Best Adapted Screenplay Best Original Screenplay Best Original Screenplay Best Original Screenplay Best Original Screenplay Best Screenplay (Original Or Adapted) Best Screenplay (Original Or Adapted) Best Screenplay (Original Or Adapted) Best Screenplay (Original Or Adapted) Best Screenplay (Original Or Adapted) Best Adapted Screenplay Best Adapted Screenplay Best Original Screenplay Best Original Screenplay Best Original Screenplay Best Original Screenplay Best Adapted Screenplay Best Adapted Screenplay Tom White Hating Alison Ashley The Illustrated Family Doctor The Widower Three Dollars Little Fish Look Both Ways The Proposition Wolf Creek Candy Jindabyne Last Train To Freo The Book Of Revelation 2:37 Kenny Suburban Mayhem Ten Canoes Clubland 2007 2007 2007 2007 2008 2008 2008 2008 2008 2008 2009 2009 192 Rolf de Heer Roger Monk Stephen Davis; Kier Shorey John Michael McDonaugh Vanessa Lomma Tony McNamara Mick Molloy; Richard Molloy Chris Nyst Alison Tilson Kathryn Millard N/A Jan Sardi Cate Shortland Khoa Do; Rodney Anderson; Joe Le; Jason McGoldrick Daniel Keene Christine Madafferi Kriv Stenders; David Snell Lyndon Terracini Robert Connolly; Elliot Perlman Jacquelin Perske Sarah Watt Nick Cave Greg Mclean Luke Davies; Neil Armfield Beatrix Christian Reg Cribb Ana Kokkinos; Andrew Bovell Murali K. Thalluri Shane Jacobson; Clayton Jacobson Alice Bell Rolf de Heer Keith Thompson Lucky Miles Helen Barnes; Michael James Rowland Noise Matthew Saville Romulus, My Father Nick Drake The Home Song Stories Tony Ayres All My Friends Are Leaving Brisbane Unfinished Sky The Black Balloon Hey Hey It’s Esther Blueburger The Jammed The Square Balibo Beautiful Kate Steven Vagg Peter Duncan Elissa Down; Jimmy The Exploder Cathy Randall Dee McLachlan Joel Edgerton; Matthew Dabner David Williamson; Robert Connolly Rachel Ward 2009 Best Adapted Screenplay Blessed 2009 2009 2009 2009 2009 2010 2010 2010 2010 2010 2010 2010 2010 2011 2011 2011 2011 2011 2011 2011 Best Adapted Screenplay Best Original Screenplay Best Original Screenplay Best Original Screenplay Best Original Screenplay Best Adapted Screenplay Best Adapted Screenplay Best Adapted Screenplay Best Adapted Screenplay Best Original Screenplay Best Original Screenplay Best Original Screenplay Best Original Screenplay Best Adapted Screenplay Best Adapted Screenplay Best Adapted Screenplay Best Adapted Screenplay Best Original Screenplay Best Original Screenplay Best Original Screenplay Mao’s Last Dancer Cedar Boys Mary And Max My Year Without Sex Samson & Delilah The Boys Are Back Bran Nue Dae Tomorrow, When The War Began The Tree Animal Kingdom Beneath Hill 60 Bright Star Daybreakers The Eye Of The Storm The Hunter Red Dog Snowtown Griff The Invisible The Loved Ones Mad Bastards 2011 2012 2012 2012 2012 2012 2012 Best Original Screenplay Best Adapted Screenplay Best Adapted Screenplay Best Original Screenplay Best Original Screenplay Best Original Screenplay Best Original Screenplay Red Hill Lore The Sapphires Burning Man Mental Not Suitable For Children Wish You Were Here Andrew Bovell; Melissa Reeves; Patricia Cornelius; Christos Tsiolkas Jan Sardi Serhat Caradee Adam Elliot Sarah Watt Warwick Thornton Allan Cubitt Reg Cribb; Rachel Perkins; Jimmy Chi Stuart Beattie Julie Bertuccelli David Michôd David Roach Jane Campion Peter Spierig; Michael Spierig Judy Morris Alice Addison Daniel Taplitz Shaun Grant Leon Ford Sean Byrne Brendan Fletcher; Dean Daley-Jones; Greg Tait; John Watson Patrick Hughes Cate Shortland; Robin Mukherjee Keith Thompson; Tony Briggs Jonathan Teplitzky P.J. Hogan Michael Lucas Kieran Darcy-Smith; Felicity Price BEST ORIGINAL MUSIC SCORE 1974/5 1974/5 1976 1977 1978 1979 1980 1980 1980 1980 1981 1981 1981 1981 1982 1982 1982 1982 Best Original Music Score Best Original Music Score Best Original Music Score Best Original Music Score Best Original Music Score Best Original Music Score Best Original Music Score Best Original Music Score Best Original Music Score Best Original Music Score Best Original Music Score Best Original Music Score Best Original Music Score Best Original Music Score Best Original Music Score Best Original Music Score Best Original Music Score Best Original Music Score The Cars That Ate Paris The Great McCarthy Not awarded The Picture Show Man The Chant Of Jimmie Blacksmith Mad Max Manganinnie Maybe This Time Stir The Chain Reaction Fatty Finn Grendel, Grendel, Grendel Roadgames Wrong Side Of The Road Mad Max 2 Starstruck The Man From Snowy River We Of The Never Never Bruce Smeaton Bruce Smeaton N/A Peter Best Bruce Smeaton Brian May Peter Sculthorpe Bruce Smeaton Cameron Allen Andrew Thomas Wilson Rory O’Donoghue; Grahame Bond Bruce Smeaton Brian May No Fixed Address; Us Mob Brian May Phil Judd; Bill Miller; Dennis James; Mark Moffatt Bruce Rowland Peter Best 193 Winners are in bold. 194 1983 1983 1983 1983 1984 1984 1984 1984 1985 1985 1985 Best Original Music Score Best Original Music Score Best Original Music Score Best Original Music Score Best Original Music Score Best Original Music Score Best Original Music Score Best Original Music Score Best Original Music Score Best Original Music Score Best Original Music Score Buddies Careful, He Might Hear You Phar Lap The Year Of Living Dangerously Annie’s Coming Out Razorback Silver City Street Hero Bliss Frog Dreaming Rebel 1985 1986 1986 1986 1986 1987 1987 1987 1987 1988 1988 1988 1988 1989 1989 1989 1989 1990 1990 1990 1990 1991 1991 1991 1991 1992 1992 1992 1992 1993 1993 1993 1993 1994 1994 1994 Best Original Music Score Best Original Music Score Best Original Music Score Best Original Music Score Best Original Music Score Best Original Music Score Best Original Music Score Best Original Music Score Best Original Music Score Best Original Music Score Best Original Music Score Best Original Music Score Best Original Music Score Best Original Music Score Best Original Music Score Best Original Music Score Best Original Music Score Best Original Music Score Best Original Music Score Best Original Music Score Best Original Music Score Best Original Music Score Best Original Music Score Best Original Music Score Best Original Music Score Best Original Music Score Best Original Music Score Best Original Music Score Best Original Music Score Best Original Music Score Best Original Music Score Best Original Music Score Best Original Music Score Best Original Music Score Best Original Music Score Best Original Music Score The Coca-Cola Kid Burke & Wills For Love Alone The More Things Change Young Einstein Shadows Of The Peacock The Tale Of Ruby Rose The Umbrella Woman Those Dear Departed Fever Incident At Raven’s Gate The Lighthorsemen Where The Outback Ends Dead Calm Evil Angels Georgia Ghosts … Of The Civil Dead Sher Mountain Killing Mystery Struck By Lightning The Big Steal Wendy Cracked A Walnut A Woman’s Tale Aya Dingo Stan And George’s New Life Black Robe Redheads Romper Stomper The Last Days Of Chez Nous Map Of The Human Heart My Forgotten Man On My Own The Piano Exile Sirens The Adventures Of Priscilla, Queen Of The Desert Chris Neal Ray Cook Bruce Rowland Maurice Jarre Simon Walker Iva Davies William Motzing Garth Porter; Bruce Smeaton Peter Best Brian May Ray Cook; Chris Neal; Peter Best; Billy Byers; Bruce Rowland William Motzing; Tim Finn Peter Sculthorpe Nathan Waks Peter Best William Motzing; Martin Armiger William Motzing Paul Schutze Cameron Allen Phillip Scott Frank Strangio Graham Tardif; Roman Kronen Mario Millo Andrew Hagen; Morton Wilson Graeme Revell Bruce Smeaton Paul Grabowsky Nick Cave; Mick Harvey; Blixa Bargeld Art Phillips Paul Smyth Phil Judd Bruce Smeaton Paul Grabowsky Roger Mason Michel Legrand; Miles Davis Michael Atkinson Georges Delerue Felicity Foxx John Clifford White Paul Grabowsky Gabriel Yared Anthony Marinelli; Billy Childs Franco Piersanti Michael Nyman Paul Grabowsky Rachel Portman Guy Gross 1994 1995 1995 1995 1995 1996 1996 1996 1996 1997 1997 1997 1997 1998 1998 1998 Best Original Music Score Best Original Music Score Best Original Music Score Best Original Music Score Best Original Music Score Best Original Music Score Best Original Music Score Best Original Music Score Best Original Music Score Best Original Music Score Best Original Music Score Best Original Music Score Best Original Music Score Best Original Music Score Best Original Music Score Best Original Music Score Traps Dad And Dave On Our Selection Hotel Sorrento Mushrooms Sanctuary Children Of The Revolution Dead Heart Lillian’s Story Shine Doing Time For Patsy Cline Idiot Box Road To Nhill The Well Head On Oscar And Lucinda The Boys 1998 1999 1999 1999 1999 2000 2000 2000 2000 2001 2001 2001 2001 2002 2002 2002 2002 2003 2003 2003 2003 2004 2004 2004 2004 2005 2005 2005 2005 2006 2006 2006 Best Original Music Score Best Original Music Score Best Original Music Score Best Original Music Score Best Original Music Score Best Original Music Score Best Original Music Score Best Original Music Score Best Original Music Score Best Original Music Score Best Original Music Score Best Original Music Score Best Original Music Score Best Original Music Score Best Original Music Score Best Original Music Score Best Original Music Score Best Original Music Score Best Original Music Score Best Original Music Score Best Original Music Score Best Original Music Score Best Original Music Score Best Original Music Score Best Original Music Score Best Original Music Score Best Original Music Score Best Original Music Score Best Original Music Score Best Original Music Score Best Original Music Score Best Original Music Score The Interview In A Savage Land Praise Soft Fruit Two Hands 15 Amore Better Than Sex Bootmen Chopper La Spagnola Lantana The Bank The Dish Australian Rules Beneath Clouds Rabbit-Proof Fence Walking On Water Alexandra’s Project Gettin’ Square Japanese Story Travelling Light One Perfect Day Somersault The Old Man Who Read Love Stories Thunderstruck Little Fish The Proposition Three Dollars Wolf Creek Jindabyne Macbeth Suburban Mayhem Douglas Stephen Rae Peter Best Nerida Tyson-Chew Paul Grabowsky Christopher Gordon Nigel Westlake Stephen Rae Cezary Skubiszewski David Hirschfelder Peter Best Tim Rogers; Nick Launay Elizabeth Drake Stephen Rae Ollie Olsen Thomas Newman The Necks (Chris Abrahams; Tony Buck; Lloyd Swanton) David Hirschfelder David Bridie Dirty Three (Warren Ellis; Mick Turner; Jim White) Antony Partos Cezary Skubiszewski Carlo Giacco David Hirschfelder Cezary Skubiszewski Mick Harvey Cezary Skubiszewski Paul Kelly Alan John Edmund Choi Mick Harvey Alister Spence; Ivan Sen Peter Gabriel Antony Partos Graham Tardif Chit Chat Von Loopin Stab; 3KShort Elizabeth Drake Richard Vella David Hobson Decoder Ring Graham Tardif David Thrussell; François Tétaz Nathan Larson Nick Cave; Warren Ellis Alan John François Tétaz Paul Kelly; Dan Luscombe John Clifford White Mick Harvey 195 Winners are in bold. 2006 2007 2007 2007 2007 2008 2008 2008 2008 2009 Best Original Music Score Best Original Music Score Best Original Music Score Best Original Music Score Best Original Music Score Best Original Music Score Best Original Music Score Best Original Music Score Best Original Music Score Best Original Music Score The Book Of Revelation Noise Razzle Dazzle Romulus, My Father The Home Song Stories The Black Balloon The Square The Tender Hook Unfinished Sky Australia 2009 2009 2009 2010 2010 2010 Best Original Music Score Best Original Music Score Best Original Music Score Best Original Music Score Best Original Music Score Best Original Music Score Balibo Mao’s Last Dancer Samson & Delilah Animal Kingdom Beneath Hill 60 Bran Nue Dae 2010 2011 Best Original Music Score Best Original Music Score Bright Star The Hunter 2011 Best Original Music Score 2011 2011 2012 2012 2012 2012 Best Original Music Score Best Original Music Score Best Original Music Score Best Original Music Score Best Original Music Score Best Original Music Score Legend Of The Guardians: The Owls Of Ga’Hoole Red Dog Snowtown 33 POSTCARDS A Few Best Men Mental Not Suitable For Children Cezary Skubiszewski Bryony Marks Roger Mason; Green Dragon Basil Hogios Antony Partos Michael Yezerski François Tétaz; Ben Lee Chris Abrahams Antony Partos David Hirschfelder; Felix Meagher; Baz Luhrmann; Angela Little Lisa Gerrard Christopher Gordon Warwick Thornton Antony Partos; Sam Petty Cezary Skubiszewski Cezary Skubiszewski; Jimmy Chi; Patrick Duttoo Bin Amat; Garry Gower; Michael Manolis Mavromatis; Stephen Pigram Mark Bradshaw Matteo Zingales; Michael Lira; Andrew Lancaster David Hirschfelder Cezary Skubiszewski Jed Kurzel Antony Partos Guy Gross Michael Yezerski Matteo Zingales; Jono Ma BEST SOUND 196 1977 1978 1979 Best Sound In A Feature Film Best Sound In A Feature Film Best Sound In A Feature Film Don’s Party The Last Wave Mad Max 1980 Best Sound In A Feature Film Breaker Morant 1980 1980 1980 1981 1981 1981 Best Sound In A Feature Film Best Sound In A Feature Film Best Sound In A Feature Film Best Sound In A Feature Film Best Sound In A Feature Film Best Sound In A Feature Film Harlequin Stir The Chain Reaction Gallipoli Hoodwink The Survivor 1981 Best Sound In A Feature Film Winter Of Our Dreams 1982 Best Sound In A Feature Film Heatwave William Anderson Don Connelly; Greg Bell; Phil Judd Gary Wilkins; Byron Kennedy; Roger Savage; Ned Dawson Gary Wilkins; William Anderson; Jeanine Chialvo; Phil Judd Gary Wilkins; Adrian Carr; Peter Fenton Gary Wilkins; Andrew Steuart; Phil Judd Lloyd Carrick; Tim Wellburn; Phil Judd Don Connelly; Greg Bell; Peter Fenton Gary Wilkins; Andrew Steuart; Peter Fenton Peter Fenton; Jack Friedman; Bruce Lamshed; Tim Lloyd Lloyd Carrick; Andrew Steuart; Phil Judd; Phil Hayward Julian Ellingworth; Grant Stuart; Lloyd Carrick; Greg Bell; Peter Fenton 1982 Best Sound In A Feature Film Mad Max 2 1982 Best Sound In A Feature Film Moving Out 1982 1983 1983 Best Sound In A Feature Film Best Sound In A Feature Film Best Sound In A Feature Film The Man From Snowy River Buddies Careful, He Might Hear You 1983 Best Sound In A Feature Film Phar Lap 1983 Best Sound In A Feature Film The Year Of Living Dangerously 1984 Best Sound In A Feature Film BMX Bandits 1984 Best Sound In A Feature Film Razorback 1984 Best Sound In A Feature Film Street Hero 1984 Best Sound In A Feature Film Strikebound 1985 Best Sound In A Feature Film Bliss 1985 Best Sound In A Feature Film Frog Dreaming 1985 Best Sound In A Feature Film Rebel 1985 Best Sound In A Feature Film The Coca-Cola Kid 1986 Best Sound In A Feature Film Burke & Wills 1986 Best Sound In A Feature Film Malcolm 1986 Best Sound In A Feature Film Playing Beatie Bow 1986 Best Sound In A Feature Film Young Einstein 1987 Best Sound In A Feature Film Belinda 1987 Best Sound In A Feature Film Ground Zero 1987 Best Sound In A Feature Film High Tide 1987 Best Sound In A Feature Film Shadows Of The Peacock 1988 1988 Best Sound In A Feature Film Best Sound In A Feature Film Dangerous Game Rikky & Pete 1988 Best Sound In A Feature Film The Lighthorsemen Roger Savage; Bruce Lamshed; Byron Kennedy; Lloyd Carrick; Marc van Buuren; Penn Robinson; Andrew Steuart G. White; Martin Jeffs; Julian Ellingsworth; Grant Stuart Terry Rodman; Gary Wilkins; Robert J. Litt Peter Barker; Julian Ellingworth; Marc van Buuren Syd Butterfield; Julian Ellingworth; Roger Savage; Andrew Steuart Peter Burgess; Peter Fenton; Phil Heywood; Ron Purvis; Terry Rodman; Gary Wilkins Jeanine Chialvo; Peter Fenton; Lee Smith; Andrew Steuart Andrew Steuart; John Patterson; Robyn Judge; Phil Judd; Gethin Creagh Tim Lloyd; Ron Purvis; Peter Fenton; Phil Heywood; Greg Bell; Helen Brown; Ashley Grenville Gary Wilkins; Mark Wasiutak; Roger Savage; Bruce Lamshed; Terry Rodman; David Harrison Dean Gawen; Gethin Creagh; Frank Lipson; Martin Oswin; Rex Watts Dean Gawen; Peter Fenton; Phil Heywood; Gary Wilkins; Helen Brown; Ron Purvis Mark Lewis; Craig Carter; Ken Sallows; Tim Chau; Rex Watts; Roger Savage Mark Lewis; Penn Robinson; Julian Ellingworth; Jim Taig Mark Lewis; Gethin Creagh; Martin Oswin; Dean Gawen; Helen Brown Syd Butterworth; Phil Heywood; Ron Purvis; Lee Smith; Peter Fenton; Jeanine Chialvo Roger Savage; Craig Carter; Dean Gawen; Paul Clark Rob Cutcher; Frank Lipson; Glenn Newnham; James Currie; Peter Smith; David Harrison Roger Savage; Bruce Lamshed; Steve Burgess; Geoff Grist; Annie Breslin; Peter Fenton Tim Lloyd; Martin Oswin; John Herron; David Huggett; Glen Auchinachie; Dimity Gregson Gary Wilkins; Mark Wasiutak; Livia Ruzic; Craig Carter; Roger Savage Peter Fenton; Phil Heywood; Ben Osmo; Geoff Krix; John Jordan; Anne Breslin; John Patterson Tim Lloyd; Greg Bell; Peter Fenton; Phil Heywood; Martin Oswin Peter Fenton; Phil Heywood; Martin Oswin Roger Savage; Lloyd Carrick; Frank Lipson; Craig Carter; Chris Goldsmith; Ross Chambers Lloyd Carrick; Craig Carter; Peter Burgess; James Currie; Phil Heywood; Peter D. Wood 197 Winners are in bold. 198 1988 Best Sound In A Feature Film The Man From Snowy River II 1989 1989 1989 Best Sound In A Feature Film Best Sound In A Feature Film Best Sound In A Feature Film Dead Calm Evil Angels Georgia 1989 1990 1990 1990 1990 1991 1991 1991 1991 1992 1992 1992 1992 1993 1993 1993 Best Sound In A Feature Film Best Sound In A Feature Film Best Sound In A Feature Film Best Sound In A Feature Film Best Sound In A Feature Film Best Sound In A Feature Film Best Sound In A Feature Film Best Sound In A Feature Film Best Sound In A Feature Film Best Sound In A Feature Film Best Sound In A Feature Film Best Sound In A Feature Film Best Sound In A Feature Film Best Sound In A Feature Film Best Sound In A Feature Film Best Sound In A Feature Film Ghosts … Of The Civil Dead Blood Oath Flirting Golden Braid The Big Steal Dingo Isabelle Eberhardt Proof Till There Was You Black Robe Love In Limbo Romper Stomper Strictly Ballroom Broken Highway Map Of The Human Heart Shotgun Wedding 1993 Best Sound In A Feature Film The Piano 1994 1994 Best Sound In A Feature Film Best Sound In A Feature Film Body Melt Muriel’s Wedding 1994 1994 Best Sound In A Feature Film Best Sound In A Feature Film Sirens The Sum Of Us 1995 Best Sound In A Feature Film Hotel Sorrento 1995 Best Sound In A Feature Film Metal Skin 1995 Best Sound In A Feature Film Mushrooms 1995 Best Sound In A Feature Film Vacant Possession 1996 1996 Best Sound In A Feature Film Best Sound In A Feature Film Children Of The Revolution Dead Heart 1996 Best Sound In A Feature Film Shine 1996 Best Sound In A Feature Film To Have And To Hold 1997 Best Sound In A Feature Film Doing Time For Patsy Cline 1997 Best Sound In A Feature Film Idiot Box 1997 1997 Best Sound In A Feature Film Best Sound In A Feature Film Kiss Or Kill The Well Terry Rodman; David Harrison; Ron Purvis; Tim Chau; Peter Burgess; Gary Wilkins Ben Osmo; Lee Smith; Roger Savage Craig Carter; Terry Rodman; Peter Fenton John Phillips; Roger Savage; Frank Lipson; Ross Porter Bronwyn Murphy; Rex Watts; Peter Clancy Ben Osmo; Gethin Creagh; Roger Savage Antony Gray; Ross Linton; Phil Judd James Currie; Ross Linton; Phil Judd John Wilkinson; Dean Gawen; Roger Savage Henri Morelle; Ashley Grenville; James Currie Bernard Aubouy; Dean Gawen; Roger Savage Lloyd Carrick; Glenn Newnham; Roger Savage Gary Wilkins; Tim Jordan; Phil Judd Phil Judd; Penn Robinson; Gary Wilkins Phil Judd; Guntis Sics; Karin Whittington Steve Burgess; David Lee; Frank Lipson Bruce Brown; Ben Osmo; Roger Savage Penn Robinson; Jeanine Chialvo; Paul Brincat Andrew Plain; Gethin Creagh John Dennison; Tony Vaccher; John Patterson; Ross Linton; Nick Holmes Lee Smith; Tony Johnson; Gethin Creagh; Peter Townend; Annabelle Sheehan Philip Brophy; Craig Carter David Lee; Glenn Newnham; Livia Ruzic; Roger Savage Dean Humphries; David Lee; Susan Midgley John Dennison; John Patterson; Leo Sullivan; Tony Vaccher Roger Savage; Gareth Vanderhope; Glenn Newnham; James Harvey Frank Lipson; David Lee; Steve Burgess; Peter Burgess; Glenn Newnham John Dennison; Tony Vaccher; John Patterson; David Lee Tony Vaccher; John Dennison; Bronwyn Murphy; John Patterson Guntis Sics; Andrew Plain; Gethin Creagh Ian McLoughlin; Tim Jordan; John Penders; Phil Tipene Toivo Lember; Roger Savage; Livia Ruzic; Gareth Vanderhope Dean Gawen; Rex Watts; Paul Huntingford; Stephen Jackson-Vaughan John Dennison; Tony Vaccher; John Patterson; Craig Butters; Chris Alderton Liam Egan; Phil Judd; Alicia Slusarski; David White Gethin Creagh; Toivo Lember; Wayne Pashley Annie Breslin; Gethin Creagh; Bronwyn Murphy 1998 Best Sound In A Feature Film Head On 1998 1998 1998 Best Sound In A Feature Film Best Sound In A Feature Film Best Sound In A Feature Film Oscar And Lucinda The Boys The Interview 1999 Best Sound In A Feature Film In A Savage Land 1999 Best Sound In A Feature Film Passion 1999 Best Sound In A Feature Film Praise 1999 Best Sound In A Feature Film Two Hands 2000 Best Sound In A Feature Film A Wreck, A Tangle 2000 Best Sound In A Feature Film Bootmen 2000 Best Sound In A Feature Film Chopper 2000 Best Sound In A Feature Film The Magic Pudding 2001 2001 2001 2001 2002 2002 Best Sound Best Sound Best Sound Best Sound Best Sound Best Sound La Spagnola Lantana Moulin Rouge! The Bank Australian Rules Garage Days 2002 Best Sound Rabbit-Proof Fence 2002 Best Sound Walking On Water 2003 Best Sound Alexandra’s Project 2003 2003 2003 Best Sound Best Sound Best Sound Gettin’ Square Japanese Story Ned Kelly 2004 2004 2004 2004 Best Sound Best Sound Best Sound Best Sound One Perfect Day Somersault Thunderstruck Tom White 2005 2005 2005 2005 Best Sound Best Sound Best Sound Best Sound Little Fish Look Both Ways The Proposition Wolf Creek 2006 Best Sound Jindabyne 2006 Best Sound Macbeth Lloyd Carrick; Roger Savage; Craig Carter; Livia Ruzic Andrew Plain; Ben Osmo; Gethin Creagh Sam Petty; Peter Grace; Phil Judd Peter Palanki; Stephen Witherow; John Wilkinson; Peter Smith Toivo Lember; Gethin Creagh; Peter Smith; Wayne Pashley Andrew Plain; Phil Judd; Guntis Sics; Annie Breslin; Jane Paterson Brent Berge; Andrew Plain; Antony Gray; Gethin Creagh; Phil Tipene Lee Smith; Ross Linton; Philip Heywood; Peter Townsend; Tim Jordan; Nick Breslin Phil Judd; Bronwyn Murphy; Liam Egan; Julius Chan David Lee; Laurence Maddy; Andrew Plain; Ian McLaughlin Frank Lipson; Glenn Newnham; Steve Burgess; John Schiefelbein Phil Judd; Dave Eggins; Julius Chan; Liam Egan; Les Fiddess Peter Grace; Phil Judd; Andrew Plain Syd Butterworth; Andrew Plain; Robert Sullivan Andy Nelson; Roger Savage; Guntis Sics Phil Heywood; Sam Petty; Andrew Ramage Phil Judd; Julius Chan; Liam Egan; Jenny T. Ward Peter Grace; Tony Vaccher; Phil Winters; Simon Leadley Bronwyn Murphy; Craig Carter; Ricky Edwards; John Penders Liam Egan; Robert Sullivan; Delia McCarthy; Jenny T. Ward James Currie; Andrew Plain; Nada Mikas; Rory McGregor John Schiefelbein; Antony Gray; Ian McLoughlin Livia Ruzic; Peter Grace; Peter Smith Gary Wilkins; Colin Miller; Adrian Rhodes; Chris Burden Glenn Newnham; Jack McKerrow; Paul Pirola Mark Blackwell; Peter Smith; Sam Petty Peter Smith; Peter Townsend; Wayne Pashley James Currie; Michael Bakaloff; Peter Walker; Tristan Meredith Sam Petty; Peter Grace Andrew Plain; Peter Smith; Toivo Lember Tim Alban; Paul Davies; Craig Walmsley Des Kenneally; Peter Smith; Pete Best; Tom Heuzenroeder Andrew Plain; Peter Grace; Nada Mikas; Peter Miller; Linda Murdoch; Robert Sullivan Frank Lipson; John Wilkinson 199 Winners are in bold. 2006 2006 Best Sound Best Sound Suburban Mayhem Ten Canoes 2007 Best Sound Clubland 2007 Best Sound Noise 2007 2007 Best Sound Best Sound Romulus, My Father The Home Song Stories 2008 2008 Best Sound Best Sound The Black Balloon Hey Hey It’s Esther Blueburger 2008 2008 2009 Best Sound Best Sound Best Sound The Tender Hook Unfinished Sky Australia 2009 Best Sound Balibo 2009 Best Sound Mao’s Last Dancer 2009 Best Sound Samson & Delilah 2010 Best Sound Animal Kingdom 2010 Best Sound Beneath Hill 60 2010 Best Sound Bran Nue Dae 2010 Best Sound Tomorrow, When The War Began 2011 Best Sound The Hunter 2011 Best Sound 2011 Best Sound Legend Of The Guardians: The Owls Of Ga’Hoole Mad Bastards 2011 Best Sound Snowtown 2012 2012 Best Sound Best Sound Burning Man Lore 2012 Best Sound The Sapphires 2012 Best Sound Swerve Liam Egan; Phil Judd; Stephen Jackson-Vaughan James Currie; Tom Heuzenroeder; Michael Bakaloff; Rory McGregor Andrew Neil; Ian McLoughlin; Liam Egan; Stephen Jackson-Vaughan Emma Bortignon; Doron Kipen; Philippe Decrausaz Sam Petty; Gary Wilkins; Phil Heywood Craig Carter; James Harvey; Andrew Neil; John Wilkinson Ben Osmo; Paul Pirola Liam Egan; Tony Murtagh; Phil Judd; Des Kenneally Liam Egan; Tony Murtagh; Phil Judd; Gary Wilkins Andrew Plain; Annie Breslin; Will Ward Andy Nelson; Anna Behlmer; Wayne Pashley; Guntis Sics; Simon Leadley Sam Petty; Emma Bortignon; Phil Heywood; Ann Aucote David Lee; Andrew Neil; Yulia Akerholt; Mark Franken; Roger Savage Liam Egan; David Tranter; Robert Sullivan; Tony Murtagh; Yulia Akerholt; Les Fiddess Sam Petty; Rob Mackenzie; Philippe Decrausaz; Leah Katz; Brooke Trezise; Richard Pain Liam Egan; Alicia Slusarski; Mark Cornish; Tony Murtagh; Robert Sullivan; Mario Vaccaro Andrew Neil; Steve Burgess; Peter Mills; Mario Vaccaro; Blaire Slater; David Bridie; Scott Montgomery Andrew Plain; David Lee; Gethin Creagh; Robert Sullivan Sam Petty; David Lee; Robert Mackenzie; Les Fiddess; Tony Murtagh; Tom Heuzenroeder Wayne Pashley; Derryn Pasquill; Polly McKinnon; Fabian Sanjurjo; Phil Heywood; Peter Smith Phil Judd; Nick Emond; Johanna Emond; Les Fiddess; Jennifer Sochackyj; Beth Tredray Frank Lipson; Andrew McGrath; Des Kenneally; Michael Carden; John Simpson; Erin McKimm David Lee; Andrew Plain; Gethin Creagh Sam Petty; Michael Busch; Robert Mackenzie; Antony Gray; Yulia Akerholt; Brooke Trezise Andrew Plain; Bry Jones; Pete Smith; Ben Osmo; John Simpson Pete Smith; John Simpson; Martyn Zub; Des Kenneally BEST LEAD ACTOR IN A TELEVISION DRAMA 1986 1986 200 Best Performance by an Actor in a Mini Series Best Lead Actor In A Telefeature The Dunera Boys Simon Chilvers The Long Way Home Peter Kowitz 1987 1987 1988 1988 1989 1989 1990 1991 1992 1993 1994 1995 1995 1996 1997 1997 1997 1997 1998 1998 1998 1998 1999 1999 1999 1999 2000 2000 2000 2000 Best Performance by an Actor in a Mini Series Best Lead Actor In A Telefeature Best Performance by an Actor in a Mini Series Best Lead Actor In A Telefeature Best Performance by an Actor in a Mini Series Best Lead Actor In A Telefeature Best Lead Actor In A Telefeature Or Mni Series Best Actor In A Leading Role In A Television Drama Best Actor In A Leading Role In A Television Drama Best Actor In A Leading Role In A Television Drama Best Actor In A Leading Role In A Television Drama Best Actor In A Leading Role In A Television Drama Best Actor In A Leading Role In A Television Drama Best Actor In A Leading Role In A Television Drama Best Actor In A Leading Role In A Television Drama Best Actor In A Leading Role In A Television Drama Best Actor In A Leading Role In A Television Drama Best Actor In A Leading Role In A Television Drama Best Actor (Lead Role) TV Drama Best Actor (Lead Role) TV Drama Best Actor (Lead Role) TV Drama Best Actor (Lead Role) TV Drama Best Actor In A Leading Role In A Television Drama Best Actor In A Leading Role In A Television Drama Best Actor In A Leading Role In A Television Drama Best Actor In A Leading Role In A Television Drama Best Performance By An Actor In A Leading Role, TV Drama Series Best Performance By An Actor In A Leading Role, TV Drama Series Best Performance By An Actor In A Leading Role, TV Drama Series Best Performance By An Actor In A Leading Role, TV Drama Series Vietnam Nicholas Eadie A Single Life The True Believers Steve Jacobs Ed Devereaux A Waltz Through The Hills Bodysurfer Ernie Dingo Peter Kowitz Police State Police Crop Bill Hunter Frankie J. Holden Police Rescue – ‘Mates’ Gary Sweet Police Rescue – ‘Off The Track’ Gary Sweet G.P. – ‘Exposed’ Peter Phelps The Damnation Of Harvey McHugh – Aaron Blabey ‘Spay Misty for Me’ Colin Friels Halifax f.p: Hard Corps Halifax f.p: Hard Corps Steven Vidler Blue Murder Tony Martin Fallen Angels Geoff Morrell Good Guys Bad Guys Marcus Graham Kangaroo Palace Jeremy Sims Simone De Beauvoir’s Babies David Wenham Halifax f.p: Afraid Of The Dark Kings In Grass Castles SeaChange – ‘Balls And Friggin’ Good Luck’ Wildside Aftershocks Shane Feeney-Connor Stephen Dillane Halifax f.p: Swimming With Sharks David Tredinnick SeaChange – Episode 26 John Howard Wildside – Episode 59 Samuel Johnson David Wenham Tony Martin Jeremy Sims Grass Roots – ‘Late July, Friday 4pm Geoff Morrell To 10.30pm’ Grass Roots – ‘Late July, Friday 4pm Rhys Muldoon To 10.30pm’ Geoff Morrell Grass Roots – ‘The Whole Year’ SeaChange – ‘How Much Greener Was My Neighbour’s Valley’ Tom Long 201 Winners are in bold. 2000 2000 2000 2000 2001 2001 2001 2001 2001 2001 2001 2001 2002 2002 2002 2002 2003 2003 2003 2003 2004 2004 2004 2004 2005 2005 2005 202 Best Performance By An Actor In A Telefeature Or Miniseries Best Performance By An Actor In A Telefeature Or Miniseries Best Performance By An Actor In A Telefeature Or Miniseries Best Performance By An Actor In A Telefeature Or Miniseries Best Actor In A Leading Role In A TV Drama Series Best Actor In A Leading Role In A TV Drama Series Best Actor In A Leading Role In A TV Drama Series Best Actor In A Leading Role In A TV Drama Series Best Actor In A Telefeature Or Miniseries Best Actor In A Telefeature Or Miniseries Best Actor In A Telefeature Or Miniseries Best Actor In A Telefeature Or Miniseries Best Actor In A Leading Role In A Television Drama Best Actor In A Leading Role In A Television Drama Best Actor In A Leading Role In A Television Drama Best Actor In A Leading Role In A Television Drama Best Actor In A Leading Role In A Television Drama Or Comedy Best Actor In A Leading Role In A Television Drama Or Comedy Best Actor In A Leading Role In A Television Drama Or Comedy Best Actor In A Leading Role In A Television Drama Or Comedy Best Actor In A Leading Role In A Television Drama Or Comedy Best Actor In A Leading Role In A Television Drama Or Comedy Best Actor In A Leading Role In A Television Drama Or Comedy Best Actor In A Leading Role In A Television Drama Or Comedy Best Actor In A Leading Role In A Television Drama Or Comedy Best Actor In A Leading Role In A Television Drama Or Comedy Best Actor In A Leading Role In A Television Drama Or Comedy Halifax f.p: A Hate Worse Than Death Nicholas Eadie Halifax f.p: A Person Of Interest Andy Anderson Secret Men’s Business Simon Baker The Secret Life Of Us Joel Edgerton SeaChange John Howard SeaChange William McInnes The Games Nicholas Bell The Secret Life Of Us Samuel Johnson Changi Geoff Morrell My Brother Jack Simon Lyndon My Brother Jack William McInnes My Husband My Killer David Field MDA (Medical Defence Australia) Shane Bourne The Secret Life Of Us Joel Edgerton White Collar Blue Peter O’Brien Young Lions Tom Long After The Deluge Ray Barrett Grass Roots Geoff Morrell Kath & Kim Glenn Robbins MDA Shane Bourne Jessica Sam Neill Marking Time Geoff Morrell Marking Time Abe Forsythe The Brush Off David Wenham Love My Way Dan Wyllie MDA Shane Bourne The Incredible Journey Of Mary Bryant Alex O’Loughlin 2005 2006 2006 2006 2006 2007 2007 2007 2007 2008 2008 2008 2008 2009 2009 2009 2009 2010 2010 2010 2010 2011 2011 2011 2011 2012 2012 2012 2012 Best Actor In A Leading Role In A Television Drama Or Comedy Best Lead Actor In Television Drama Best Lead Actor In Television Drama Best Lead Actor In Television Drama Best Lead Actor In Television Drama Best Lead Actor In Television Drama Best Lead Actor In Television Drama Best Lead Actor In Television Drama Best Lead Actor In Television Drama Best Lead Actor In Television Drama Best Lead Actor In Television Drama Best Lead Actor In Television Drama Best Lead Actor In Television Drama Best Lead Actor in a Television Drama Best Lead Actor in a Television Drama Best Lead Actor in a Television Drama Best Lead Actor in a Television Drama Best Lead Actor in a Television Drama Best Lead Actor in a Television Drama Best Lead Actor in a Television Drama Best Lead Actor in a Television Drama Best Lead Actor in a Television Drama Best Lead Actor in a Television Drama Best Lead Actor in a Television Drama Best Lead Actor in a Television Drama Best Lead Actor in a Television Drama Best Lead Actor in a Television Drama Best Lead Actor in a Television Drama Best Lead Actor in a Television Drama We Can Be Heroes Chris Lilley Answered By Fire Love My Way RAN The Silence Bastard Boys Dangerous Love My Way The King East West 101 East West 101 Rush Underbelly 3 Acts Of Murder David Wenham East West 101 – Season 2 Don Hany False Witness Dougray Scott Underbelly: A Tale Of Two Cities Roy Billing The Circuit – Series 2 Aaron Pederson Hawke Richard Roxburgh The Legend Of Enyo Corey McKernan A Model Daughter: The Killing Of Caroline Byrne East West 101 – Season 3 The Heroes’ Journey Paper Giants: The Birth Of Cleo Garry McDonald The Slap Alex Dimitriades The Slap Jonathan LaPaglia Devil’s Dust Anthony Hayes Howzat! Kerry Packer’s War Lachy Hulme Mabo Jimi Bani Rake – Season 2 Richard Roxburgh Dan Wyllie Charles Passi Richard Roxburgh Daniel Frederiksen Khan Chittenden Ben Mendelsohn Stephen Curry Don Hany William McInnes Callan Mulvey Gyton Grantley Robert Menzies Don Hany Rob Carlton BEST LEAD ACTRESS IN A TELEVISION DRAMA 1986 1986 1987 Best Performance By An Actress In A Mini Series Best Lead Actress In A Telefeature Best Performance By An Actress In A Mini Series The Dunera Boys Deidre Rubenstein Breaking Up Vietnam Candy Raymond Nicole Kidman 203 Winners are in bold. 1987 1988 1988 1989 1990 1991 1992 1993 1994 1995 1996 1997 1997 1997 1997 1998 1998 1998 1998 1999 1999 1999 1999 2000 2000 2000 2000 2000 2000 2000 2000 204 Best Lead Actress In A Telefeature Best Performance By An Actress In A Mini Series Best Lead Actress In A Telefeature Best Performance By An Actress In A Mini Series Best Lead Actress In A Telefeature Or Mini Series Best Performance By An Actress In A Mini Series Best Performance By An Actress In A Mini Series Best Performance By An Actress In A Mini Series Best Performance By An Actress In A Mini Series Best Performance By An Actress In A Mini Series Best Performance By An Actress In A Mini Series Best Actress (Lead Role) TV Drama Best Actress (Lead Role) TV Drama Best Actress (Lead Role) TV Drama Best Actress (Lead Role) TV Drama Best Actress (Lead Role) TV Drama Best Actress (Lead Role) TV Drama Best Actress (Lead Role) TV Drama Best Actress (Lead Role) TV Drama Best Actress In A Leading Role In A Television Drama Best Actress In A Leading Role In A Television Drama Best Actress In A Leading Role In A Television Drama Best Actress In A Leading Role In A Television Drama Best Performance By An Actress In A Leading Role, TV Drama Series Best Performance By An Actress In A Leading Role, TV Drama Series Best Performance By An Actress In A Leading Role, TV Drama Series Best Performance By An Actress In A Leading Role, TV Drama Series Best Performance By An Actress In A Telefeature Or Miniseries Best Performance By An Actress In A Telefeature Or Miniseries Best Performance By An Actress In A Telefeature Or Miniseries Best Performance By An Actress In A Telefeature Or Miniseries The Fish Are Safe Poor Man’s Orange Michelle Fawdon Anne Phelan Olive Edens Lost Kerry McGuire Julia Blake Come In Spinner Rebecca Gibney Police Rescue – ‘By The Book’ Sonia Todd Brides Of Christ Lisa Hensley G.P. – ‘Alone’ Denise Roberts The Damnation Of Harvey McHugh – Monica Maughan ‘My Brilliant Chorea’ Jacqueline McKenzie Halifax f.p: Lies Of The Mind G.P. – ‘Sing Me A Lullaby’ Claudia Karvan Fallen Angels Raw FM Simone De Beauvoir’s Babies Simone De Beauvoir’s Babies Raw FM – ‘Raw ‘N’ Sore’ Halifax f.p: Afraid Of The Dark Never Tell Me Never Wildside – Episode #20 SeaChange – ‘Manna From Heaven’ Leah Purcell Nadine Garner Anne Looby Water Rats – ‘Hi Honey I’m Home’ Catherine McClements The Potato Factory Lisa McCune The Potato Factory Sonia Todd Sally Cooper Sophie Heathcote Rebecca Gibney Claudia Karvan Rachael Blake Jill Forster Grass Roots – ‘Late July, Friday 4pm Rhondda Findleton To 10.30pm’ Grass Roots – ‘The Whole Year’ Sophie Heathcote Something In The Air – ‘We Will Remember Them’ Stingers – ‘Men In The Dark’ Anne Phelan Halifax f.p: A Person Of Interest Rebecca Gibney Halifax f.p: The Spider And The Fly Essie Davis Waiting At The Royal Jo Kennedy Waiting At The Royal Noni Hazelhurst Anita Hegh 2001 2001 2001 2001 2001 2001 2001 2001 2002 2002 2002 2002 2003 2003 2003 2003 2004 2004 2004 2004 2005 2005 2005 2005 2006 2006 2006 2006 Best Actress In A Leading Role In A TV Drama Series Best Actress In A Leading Role In A TV Drama Series Best Actress In A Leading Role In A TV Drama Series Best Actress In A Leading Role In A TV Drama Series Best Actress In A Leading Role In A TV Drama Series Best Actress In A Telefeature Or Miniseries Best Actress In A Telefeature Or Miniseries Best Actress In A Telefeature Or Miniseries Best Actress In A Leading Role In A Television Drama Best Actress In A Leading Role In A Television Drama Best Actress In A Leading Role In A Television Drama Best Actress In A Leading Role In A Television Drama Best Actress In A Leading Role In A Television Drama Or Comedy Best Actress In A Leading Role In A Television Drama Or Comedy Best Actress In A Leading Role In A Television Drama Or Comedy Best Actress In A Leading Role In A Television Drama Or Comedy Best Actress In A Leading Role In A Television Drama Or Comedy Best Actress In A Leading Role In A Television Drama Or Comedy Best Actress In A Leading Role In A Television Drama Or Comedy Best Actress In A Leading Role In A Television Drama Or Comedy Best Lead Actress In Television Best Lead Actress In Television Best Lead Actress In Television Best Lead Actress In Television Best Lead Actress In Television Drama Best Lead Actress In Television Drama Best Lead Actress In Television Drama Best Lead Actress In Television Drama Love Is A Four Letter Word Kate Beahan SeaChange Kerry Armstrong SeaChange Sigrid Thornton The Games Gina Riley The Secret Life Of Us Claudia Karvan My Brother Jack Angie Milliken My Brother Jack Ellouise Rothwell The Farm Greta Scacchi Halifax f.p: Takes Two Mary Docker MDA (Medical Defence Australia) Kerry Armstrong The Road From Coorain Juliet Stevenson The Secret Life Of Us Claudia Karvan Kath & Kim Jane Turner MDA Angie Milliken The Secret Life Of Us Claudia Karvan The Secret Life Of Us Deborah Mailman Kath & Kim Gina Riley Kath & Kim Jane Turner Marking Time Bojana Novakovic Small Claims Claudia Karvan Little Oberon Love My Way The Incredible Journey Of Mary Bryant Through My Eyes Love My Way Sigrid Thornton Claudia Karvan Love My Way Asher Keddie RAN Susie Porter The Surgeon Justine Clarke Romola Garai Miranda Otto Claudia Karvan 205 Winners are in bold. 2007 2007 2007 2007 2008 2008 2008 2008 2009 2009 2009 2009 2010 2010 2010 2010 2011 2011 2011 2011 2012 2012 2012 2012 Best Lead Actress In Television Drama Best Lead Actress In Television Drama Best Lead Actress In Television Drama Best Lead Actress In Television Drama Best Lead Actress In Television Drama Best Lead Actress In Television Drama Best Lead Actress In Television Drama Best Lead Actress In Television Drama Best Lead Actress in a Television Drama Best Lead Actress in a Television Drama Best Lead Actress in a Television Drama Best Lead Actress in a Television Drama Best Lead Actress in a Television Drama Best Lead Actress in a Television Drama Best Lead Actress in a Television Drama Best Lead Actress in a Television Drama Best Lead Actress in a Television Drama Best Lead Actress in a Television Drama Best Lead Actress in a Television Drama Best Lead Actress in a Television Drama Best Lead Actress in a Television Drama Best Lead Actress in a Television Drama Best Lead Actress in a Television Drama Best Lead Actress in a Television Drama Call Me Mum Catherine McClements Love My Way Claudia Karvan Stepfather Of The Bride Noni Hazlehurst The Circuit Tammy Clarkson H2O: Just Add Water – Series 2 Phoebe Tonkin Satisfaction Diana Glenn Satisfaction Alison Whyte Underbelly Kat Stewart East West 101 – Season 2 Susie Porter False Witness Rachael Blake Packed To The Rafters – Season 1 Rebecca Gibney Underbelly: A Tale Of Two Cities Asher Keddie Dead Gorgeous Poppy Lee Friar Tangle – Season 2 Justine Clarke Tangle – Season 2 Catherine McClements Underbelly: The Golden Mile – Episode 7 ‘Full Force Gale’ Paper Giants: The Birth Of Cleo Cheree Cassidy Sisters Of War Sarah Snook Tim Winton’s cloudstreet Essie Davis Tim Winton’s cloudstreet Kerry Fox Dangerous Remedy Susie Porter Miss Fisher’s Murder Mysteries Essie Davis Puberty Blues Ashleigh Cummings Redfern Now – Episode 1 Leah Purcell Asher Keddie BEST GUEST OR SUPPORTING ACTOR IN TELEVISION DRAMA 2000 2000 206 Best Performance By An Actor In A Guest Role, TV Drama Series Best Performance By An Actor In A Guest Role, TV Drama Series Grass Roots – ‘Late September’ David Field Stingers – ‘Forced Perspective’ Daniel Daperis 2000 2000 2001 2001 2001 2001 2002 2002 2002 2002 2003 2003 2003 2003 2004 2004 2004 2004 2005 2005 2005 2005 2006 2006 2006 2006 2007 2007 2007 Best Performance By An Actor In A Guest Role, TV Drama Series Best Performance By An Actor In A Guest Role, TV Drama Series Best Actor In A Guest Role, TV Drama Series Best Actor In A Guest Role, TV Drama Series Best Actor In A Guest Role TV Drama Series Best Actor In A Guest Role TV Drama Series Best Actor In A Supporting Or Guest Role In A Television Drama Best Actor In A Supporting Or Guest Role In A Television Drama Best Actor In A Supporting Or Guest Role In A Television Drama Best Actor In A Supporting Or Guest Role In A Television Drama Best Guest/Supporting Actor TV Drama/Comedy Best Guest/Supporting Actor TV Drama/Comedy Best Guest/Supporting Actor TV Drama/Comedy Best Guest/Supporting Actor TV Drama/Comedy Best Guest/Supporting Actor TV Drama/Comedy Best Guest/Supporting Actor TV Drama/Comedy Best Guest/Supporting Actor TV Drama/Comedy Best Guest/Supporting Actor TV Drama/Comedy Best Guest/Supporting Actor TV Best Guest/Supporting Actor TV Best Guest/Supporting Actor TV Best Guest/Supporting Actor TV Best Guest/Supporting Actor TV Drama Best Guest/Supporting Actor TV Drama Best Guest/Supporting Actor TV Drama Best Guest/Supporting Actor TV Drama Best Guest/Supporting Actor TV Drama Best Guest/Supporting Actor TV Drama Best Guest/Supporting Actor TV Drama Stingers – ‘Men In The Dark’ Chris Haywood Stingers – ‘Second Chance’ Aaron Blabey The Secret Life Of Us – ‘State Of Limbo’ Blue Heelers – ‘The Poisoned Fruit. Part 2’ Something In The Air – ‘That One Defining Moment’ Stingers – ‘Rich Man’s World’ Damian Walshe-Howling Gary Day Steve Adams Travis McMahon Always Greener Clayton Watson Bad Cop Bad Cop – ‘Yesterday’s Zero’ Heroes’ Mountain Gary Waddell Tom Long MDA (Medical Defence Australia) – ‘When It Rains, It Pours’ After The Deluge Angus Grant Grass Roots – ‘By-Election’ John Clayton The Secret Life Of Us – ‘The Day No Trumpets Sounded’ Welcher & Welcher Damien Richardson Francis Greenslade All Saints – Episode 280 Ray Barrett Kath & Kim Glenn Robbins Marking Time Lech Mackiewicz Marking Time Matt Le Nevez Hell Has Harbour Views Hell Has Harbour Views Love My Way – Episode 8 MDA – Episode 12 All Saints Tony Barry Steve Bisley Max Cullen Frank Gallacher John Waters Blue Heelers Marcus Graham RAN Luke Carroll RAN Aaron Fa’aoso All Saints Mark Priestley Bastard Boys Justin Smith Bastard Boys Jack Thompson Samuel Johnson 207 Winners are in bold. 2007 2008 2008 2008 2008 2009 2009 2009 2009 2010 2010 2010 2010 2011 2011 2011 2011 2012 2012 2012 2012 Best Guest/Supporting Actor TV Drama Best Guest/Supporting Actor TV Drama Best Guest/Supporting Actor TV Drama Best Guest/Supporting Actor TV Drama Best Guest/Supporting Actor TV Drama Best Guest or Supporting Actor in a Television Drama Best Guest or Supporting Actor in a Television Drama Best Guest or Supporting Actor in a Television Drama Best Guest or Supporting Actor in a Television Drama Best Guest or Supporting Actor in a Television Drama Best Guest or Supporting Actor in a Television Drama Best Guest or Supporting Actor in a Television Drama Best Guest or Supporting Actor in a Television Drama Best Guest or Supporting Actor in a Television Drama Best Guest or Supporting Actor in a Television Drama Best Guest or Supporting Actor in a Television Drama Best Guest or Supporting Actor in a Television Drama Best Guest or Supporting Actor in a Television Drama Best Guest or Supporting Actor in a Television Drama Best Guest or Supporting Actor in a Television Drama Best Guest or Supporting Actor in a Television Drama The Circuit David Ngoombujarra Dogstar – Episode 26 Gary Files East West 101 – Episode 1 ‘The Enemy Within’ Underbelly – Episode 2 ‘The Sorcerer’s Apprentice’ Underbelly – Episode 7 ‘Wise Monkeys’ 3 Acts Of Murder Taffy Hany False Witness – Episode 2 Jeremy Lindsay Taylor False Witness – Episode 2 Richard Roxburgh Underbellly: A Tale Of Two Cities – Episode 11 ‘The Brotherhood’ Lockie Leonard – Series 2, Episode 11 ‘Snake Hide Oil’ My Place – Series 1, Episode 5 ‘1968 Sofia’ Offspring – Series 1 Damian de Montamas Vince Colosimo Damian Walshe-Howling Bille Brown Rhys Muldoon Ben Winspear John Waters Underbelly: The Golden Mile – Episode 10 ‘Hurt On Duty’ East West 101 – Season 3 The Heroes’ Journey, Episode 18 ‘The Price Of Salvation’ Killing Time – Episode 2 Damien Garvey Spirited – Season 2, Episode 2 ‘Time After Time’ Tim Winton’s cloudstreet – Part 3 Jacek Koman Todd Lasance Howzat! Kerry Packer’s War – Part 1 Abe Forsythe Puberty Blues – Episode 4 Dan Wyllie Aaron Fa’aoso Richard Cawthorne Redfern Now – Episode 6 ‘Pretty Luke Carroll Boy Blue’ Underbelly Badness – Episode 3 ‘The Aaron Jeffery Loaded Dog’ BEST GUEST OR SUPPORTING ACTRESS IN TELEVISION DRAMA 2000 2000 2000 2001 2001 208 Best Performance By An Actress In A Guest Role, TV Drama Series Best Performance By An Actress In A Guest Role, TV Drama Series Best Performance By An Actress In A Guest Role, TV Drama Series Best Actress In A Guest Role, TV Drama Series Best Actress In A Guest Role, TV Drama Series Grass Roots – ‘Late September’ Lois Ramsey SeaChange – ‘How Much Greener Was My Neighbour’s Valley’ SeaChange – ‘Hungi Jury’ Natalia Novikova Blue Heelers – ‘Deadly Fascination’ Carol Burns Love Is A Four Letter Word – ‘Split’ Joanne Priest Deborra-lee Furness 2001 2001 2002 2002 2002 2002 2003 2003 2003 2003 2004 2004 2004 2004 2005 2005 2005 2005 2006 2006 2006 2006 2007 2007 2007 2007 2008 2008 Best Actress In A Guest Role, TV Drama Series Best Actress In A Guest Role, TV Drama Series Best Actress In A Supporting Or Guest Role In A Television Drama Best Actress In A Supporting Or Guest Role In A Television Drama Best Actress In A Supporting Or Guest Role In A Television Drama Best Actress In A Supporting Or Guest Role In A Television Drama Best Supporting/Guest Actress TV Drama/Comedy Best Supporting/Guest Actress TV Drama/Comedy Best Supporting/Guest Actress TV Drama/Comedy Best Supporting/Guest Actress TV Drama/Comedy Best Supporting/Guest Actress TV Drama/Comedy Best Supporting/Guest Actress TV Drama/Comedy Best Supporting/Guest Actress TV Drama/Comedy Best Supporting/Guest Actress TV Drama/Comedy Best Guest/Supporting Actress TV Best Guest/Supporting Actress TV Best Guest/Supporting Actress TV Best Guest/Supporting Actress TV Best Guest/Supporting Actress TV Drama Best Guest/Supporting Actress TV Drama Best Guest/Supporting Actress TV Drama Best Guest/Supporting Actress TV Drama Best Guest/Supporting Actress TV Drama Best Guest/Supporting Actress TV Drama Best Guest/Supporting Actress TV Drama Best Guest/Supporting Actress TV Drama Best Guest/Supporting Actress TV Drama Best Guest/Supporting Actress TV Drama Stingers – ‘Fool To Want You’ Rhondda Findleton The Secret Life Of Us – ‘Love Sucks’ Catherine McClements All Saints – ‘Opening Night’ Belinda McClory Kath & Kim – ‘Wedding’ Magda Szubanski Secret Bridesmaids’ Business Rebecca Frith Secret Bridesmaids’ Business Sacha Horler After The Deluge Essie Davis Always Greener – ‘Understanding The Cry’ Grass Roots – ‘Art’ Maggie Dence Sacha Horler Kath & Kim Magda Szubanski Kath & Kim Magda Szubanski Marking Time Abbie Cornish Marking Time Katie Wall Stingers – Episode 172 Jacinta Stapleton MDA – Episode 6 Small Claims: White Wedding The Incredible Journey Of Mary Bryant Through My Eyes Blue Heelers Anita Hegh Alyssa McClelland Alice McConnell Angie Milliken Saskia Burmeister RAN Margaret Harvey RAN Merwez Whaleboat The Silence Emily Barclay Call Me Mum Lynette Curran Call Me Mum Vicki Saylor Love My Way Justine Clarke The King Monica Maughan Bed of Roses – Episode 1 ‘Not Worth Hanna Mangan-Lawrence a Cent’ City Homicide – Series 1, Episode 3 Amanda Muggleton ‘Lie Down With Dogs’ 209 Winners are in bold. 2008 2008 2009 2009 2009 2009 2010 2010 2010 2010 2011 2011 2011 2011 2012 2012 2012 2012 Best Guest/Supporting Actress TV Drama Best Guest/Supporting Actress TV Drama Best Guest or Supporting Actress in a Television Drama Best Guest or Supporting Actress in a Television Drama Best Guest or Supporting Actress in a Television Drama Best Guest or Supporting Actress in a Television Drama Best Guest or Supporting Actress in a Television Drama Best Guest or Supporting Actress in a Television Drama Best Guest or Supporting Actress in a Television Drama Best Guest or Supporting Actress in a Television Drama Best Guest or Supporting Actress in a Television Drama H2O: Just Add Water – Series 2, Episode 25 ‘Sea Change’ Underbelly – Episode 7 ‘Wise Monkeys’ 3 Acts Of Murder Brittany Byrnes False Witness Claire Forlani Scorched Kathryn Beck Underbelly: A Tale Of Two Cities – Episode 4 ‘Business As Usual’ Hawke Kate Ritchie Asher Keddie Hawke Deborah Mailman Offspring Sacha Horler Satisfaction – Series 3, Episode 8 ‘Not Vanilla’ East West 101 – Season 3 The Heroes’ Journey, Episode 18 ‘The Price Of Salvation’ Best Guest or Supporting Actress in Sisters Of War a Television Drama Best Guest or Supporting Actress in The Slap – Episode 3 ‘Harry’ a Television Drama Best Guest or Supporting Actress in Tim Winton’s cloudstreet – Part 1 a Television Drama Best Guest or Supporting Actress in Howzat! Kerry Packer’s War – Part 2 a Television Drama Best Guest or Supporting Actress in Puberty Blues – Episode 4 a Television Drama Best Guest or Supporting Actress in Redfern Now – Episode 1 ‘Family’ a Television Drama Best Guest or Supporting Actress in Underground a Television Drama Madeleine West Anni Finsterer Linda Cropper Rena Owen Susie Porter Diana Glenn Lara Robinson Mandy McElhinney Susan Prior Shareena Clanton Laura Wheelwright BEST PERFORMANCE TV COMEDY 2006 2006 2006 2006 2007 2007 2007 2007 2008 2008 2008 2008 2009 210 Best Performance TV Comedy Best Performance TV Comedy Best Performance TV Comedy Best Performance TV Comedy Best Performance TV Comedy Best Performance TV Comedy Best Performance TV Comedy Best Performance TV Comedy Best Performance TV Comedy Best Performance TV Comedy Best Performance TV Comedy Best Performance TV Comedy Best Performance in a Television Comedy Comedy Inc. – The Late Shift Comedy Inc. – The Late Shift Supernova The Chaser’s War On Everything David Tench Tonight Supernova Wilfred Wilfred Chandon Pictures The Hollowmen The Librarians Summer Heights High The Librarians Paul McCarthy Genevieve Morris Kris McQuade Andrew Hansen Drew Forsythe Peter Kowitz Jason Gann Adam Zwar Rob Carlton Rob Sitch Robyn Butler Chris Lilley Robyn Butler 2009 2009 2009 2010 2010 2010 2011 2011 2011 2011 2012 2012 2012 2012 Best Performance in a Television Comedy Best Performance in a Television Comedy Best Performance in a Television Comedy Best Performance in a Television Comedy Best Performance in a Television Comedy Best Performance in a Television Comedy Best Performance in a Television Comedy Best Performance in a Television Comedy Best Performance in a Television Comedy Best Performance in a Television Comedy Best Performance in a Television Comedy Best Performance in a Television Comedy Best Performance in a Television Comedy Best Performance in a Television Comedy Review With Myles Barlow Phil Lloyd Very Small Business Kim Gyngell Very Small Business Wayne Hope Lowdown – Series 1 Paul Denny Review With Myles Barlow – Season 2 Wilfred II Phil Lloyd Jason Gann Angry Boys Chris Lilley Laid Alison Bell Laid Celia Pacquola twentysomething Jess Harris Laid Damon Herriman A Moody Christmas Patrick Brammall The Strange Calls Barry Crocker Woodley Frank Woodley AUDIENCE CHOICE AWARDS 2011 2011 2011 2011 2011 2011 2011 2011 Switched On Audience Choice Award for Best Television Program Switched On Audience Choice Award for Best Television Program Switched On Audience Choice Award for Best Television Program Switched On Audience Choice Award for Best Television Program Switched On Audience Choice Award for Best Performance in a Television Drama Switched On Audience Choice Award for Best Performance in a Television Drama Switched On Audience Choice Award for Best Performance in a Television Drama Switched On Audience Choice Award for Best Performance in a Television Drama MasterChef Australia Packed To The Rafters Paper Giants: The Birth Of Cleo Underbelly Razor Packed To The Rafters Rebecca Gibney Packed To The Rafters Erik Thomson Paper Giants: The Birth Of Cleo Asher Keddie Underbelly Razor Jeremy Lindsay Taylor Round The Twist – ‘Wunderpants’ Lift Off – ‘Something Tells Me’ Halfway Across the Galaxy and Turn Left Antonia Barnard Patricia Edgar BEST CHILDREN’S TELEVISION PROGRAM 1991 1992 1993 Best Children’s Television Drama Best Children’s Television Drama Best Children’s Television Drama Jan Marnell 211 Winners are in bold. 212 1993 1994 1995 1996 1997 1997 Best Children’s Television Drama Best Children’s Television Drama Best Children’s Television Drama Best Children’s Television Drama Best Children’s TV Drama Best Children’s TV Drama 1997 1997 1998 1998 1998 1998 1999 1999 1999 1999 Best Children’s TV Drama Best Children’s TV Drama Best Childrens Television Drama Best Childrens Television Drama Best Childrens Television Drama Best Childrens Television Drama Best Children’s TV Drama Best Children’s TV Drama Best Children’s TV Drama Best Children’s TV Drama 2000 2000 2000 Best Children’s TV Drama Best Children’s TV Drama Best Children’s TV Drama 2000 2001 2001 2001 2001 2002 2002 Best Children’s TV Drama Best Children’s TV Drama Best Children’s TV Drama Best Children’s TV Drama Best Children’s TV Drama Best Children’s TV Drama Best Children’s TV Drama 2002 Best Children’s TV Drama 2002 2003 2003 2003 2003 2004 2004 2004 2004 2005 2005 2005 2006 2006 2006 2006 2007 2007 Best Children’s TV Drama Best Children’s TV Drama Best Children’s TV Drama Best Children’s TV Drama Best Children’s TV Drama Best Children’s Television Drama Best Children’s Television Drama Best Children’s Television Drama Best Children’s Television Drama Best Children’s Television Drama Best Children’s Television Drama Best Children’s Television Drama Best Children’s Television Drama Best Children’s Television Drama Best Children’s Television Drama Best Children’s Television Drama Best Children’s Television Drama Best Children’s Television Drama Round The Twist – ‘Little Squirt’ Sky Trackers – ‘Skating The Dish’ The Ferals – ‘Ratty Ratty Bang Bang’ Spellbinder – Episode 11 Return To Jupiter – ‘Shipwreck’ The Wayne Manifesto – ‘Amy Pastrami Day’ The Wayne Manifesto – ‘Junk’ The Wayne Manifesto – ‘Pizza’ Mirror, Mirror II – ‘Shipwreck’ Blabbermouth & Stickybeak Ocean Girl 4 – Episode 2 Ocean Girl 4 – Episode 3 Crash Zone – ‘The Dream Team’ Minty – Episode 11 See How They Run – Episode 1 The Adventures Of Sam – ‘Not Quite Paradise’ Eugenie Sandler P.I. – Episode 13 Eugenie Sandler P.I. – Episode 2 Round The Twist – Series 3 ‘Whirling Derfish’ Thunderstone – Series 2, Episode 13 Crash Zone – ‘Skin Deep’ Cybergirl – Episode 1 Li’l Horrors – ‘Double Trouble’ Thunderstone III – Episode 13 Burberry Productions – Short Cuts Grundy Television / The Producers Group – Escape Of The Artful Dodger Southern Star Entertainment P/L – Tracey Mcbean Taylor Media – Southern Cross Bootleg Don’t Blame The Koalas Out There Worst Best Friends Fergus Mcphail Noah & Saskia Out There Wicked Science Blue Water High Holly’s Heroes Scooter: Secret Agent Blue Water High Deadly Mortified The Upside Down Show I Got A Rocket Lockie Leonard Patricia Edgar; Antonia Barnard Patricia Edgar; Margot McDonald Wendy Gray Noel Price David Ogilvy Ewan Burnett; Alan Hardy Ewan Burnett; Alan Hardy Ewan Burnett; Alan Hardy Andrew Blaxland; Dave Gibson Ann Darrouzet Jonathan M. Shiff Jonathan M. Shiff Patricia Edgar Unknown Josephine Ward Noel Price Producer – Margot McDonald Producer – Margot McDonald Producer – Patricia Edgar Producer – Jonathan M. Shiff Producers – Patricia Edgar; Bernadette O’Mahony Producers – Jonathan M. Shiff; Daniel Scharf Producers – Stuart Menzies; Tony Wright Producers – Jonathan M. Shiff; Daniel Scharf Producer – Margot McDonald Producers – Roger Mirams; Howard Rubie; Emanuel Matsos Producers – Noel Price; Charlotte Damgaard; Mark Irvine Producers – Sue Taylor; Paul Barron Producer – Ewan Burnett Producers – Noel Price and Dennis Kiely Producer – Michael Bourchier Producer – Sue Seeary Ewan Burnett & Alan Hardy Patricia Edgar Michael Bourchier Daniel Scharf; Jonathan M. Shiff Dennis Kiely Ann Darrouzet; Dave Gibson; Jenni Tosi Daniel Scharf; Jonathan M. Shiff Noel Price; Dennis Kiely Suzanne Ryan Phillip Bowman; Bernadette O’Mahony Michael Bouchier Suzanne Ryan Kylie du Fresne 2009 2009 2009 The Adventures Of Bottle Top Bill The Sleepover Club Animalia Blue Water High – Series 3 Double Trouble H2O: Just Add Water – Series 2 The Adventures Of Charlotte And Henry Best Children’s Television Animation Classic Tales Best Children’s Television Animation Figaro Pho Best Children’s Television Animation Zeke’s Pad 2009 2009 Best Children’s Television Drama Best Children’s Television Drama 2010 2010 Best Children’s Television Animation dirtgirlworld Best Children’s Television Animation Erky Perky 2010 2010 2010 2010 2010 2011 2011 2011 2011 2012 2012 2012 2012 Best Children’s Television Animation Best Children’s Television Drama Best Children’s Television Drama Best Children’s Television Drama Best Children’s Television Drama Best Children’s Television Series Best Children’s Television Series Best Children’s Television Series Best Children’s Television Series Best Children’s Television Series Best Children’s Television Series Best Children’s Television Series Best Children’s Television Series 2007 2007 2008 2008 2008 2008 2009 Best Children’s Television Drama Best Children’s Television Drama Best Children’s Television Drama Best Children’s Television Drama Best Children’s Television Drama Best Children’s Television Drama Best Children’s Television Animation The Elephant Princess – Series 1 Time Trackers The Legend Of Enyo Dance Academy – Series 1 Dead Gorgeous Lockie Leonard – Series 2 My Place – Series 1 Gasp! a gURL’s wURLd H2O: Just Add Water – Series 3 My Place – Series 2 The Adventures of Figaro Pho Dance Academy – Series 2 Flea-bitten! Guess How Much I Love You – The Adventures of Little Nutbrown Hare Jacqueline Chan; Noel Price Susie Campbell Ewan Burnett; Murray Pope Noel Price; Dennis Kiely Rachel Clements; Terry Jennings Jonathan M. Shiff; Joanna Werner Paige Livingston Noel Price Luke Jurevicius Avrill Stark; Delna Bhesania; Liz Scully; Leonard Terhoch Jonathan M. Shiff; Joanna Werner Sue Taylor; Donna Malane; Dave Gibson; Paula Boock Cate McQuillen Kristine Klohk; Barbara Stephen; Tracy Lenon; David Webster Avrill Stark; Michael Christensen Joanna Werner Ewan Burnett; Margot McDonald Kylie du Fresne Penny Chapman Suzanne Ryan Noel Price Jonathan M. Shiff Penny Chapman Dan Fill; Frank Verheggen; David Webster Joanna Werner Gillian Carr Suzanne Ryan; Seng Choon Meng; Sebastian Debertin; Tina Sicker BEST COMEDY SERIES 2003 2003 2003 2003 2004 2004 2004 2004 2005 2005 Best Comedy Series, Sitcom Or Sketch Best Comedy Series, Sitcom Or Sketch Best Comedy Series, Sitcom Or Sketch Best Comedy Series, Sitcom Or Sketch Best Comedy Series, Sitcom Or Sketch Best Comedy Series, Sitcom Or Sketch Best Comedy Series, Sitcom Or Sketch Best Comedy Series, Sitcom Or Sketch Best Comedy Series Best Comedy Series Big Bite Michael Horrocks CNNNN Mark Fennessy; Andrew Denton John Safran’s Music Jamboree Selin Yaman; John Safran Kath & Kim Gina Riley; Jane Turner; Mark Ruse Double The Fist Megan Harding Kath & Kim Gina Riley; Mark Ruse; Jane Turner Skithouse Stories From The Golf Craig Campbell; Jodie Crawford-Fish; Rove McManus Robyn Butler; Wayne Hope Comedy Inc. – The Late Shift John Safran Vs God David McDonald John Safran; Selin Yaman 213 Winners are in bold. 2005 2005 2006 2006 Best Comedy Series Best Comedy Series Best Television Comedy Series Best Television Comedy Series The Chaser Decides We Can Be Heroes Comedy Inc. – The Late Shift Supernova 2006 2007 2007 2007 2007 2008 2008 2008 2008 2009 2009 Best Television Comedy Series Best Television Comedy Series Best Television Comedy Series Best Television Comedy Series Best Television Comedy Series Best Television Comedy Series Best Television Comedy Series Best Television Comedy Series Best Television Comedy Series Best Television Comedy Series Best Television Comedy Series 2009 2009 2010 2010 Best Television Comedy Series Best Television Comedy Series Best Television Comedy Series Best Television Comedy Series 2010 Best Television Comedy Series The Chaser’s War On Everything The Chaser’s War On Everything The New Inventors The Sideshow With Paul McDermott Wilfred Chandon Pictures The Hollowmen The Librarians Summer Heights High Chandon Pictures – Series 2 Lawrence Leung’s Choose Your Own Adventure Review With Myles Barlow Very Small Business Lowdown – Series 1 Review With Myles Barlow – Season 2 Wilfred II 2011 2011 2011 2012 2012 2012 2012 Best Television Comedy Series Best Television Comedy Series Best Television Comedy Series Best Television Comedy Series Best Television Comedy Series Best Television Comedy Series Best Television Comedy Series At Home With Julia Laid twentysomething A Moody Christmas Danger 5 Lowdown – Season 2 Shaun Micallef’s Mad As Hell Chaser Crackerjack Laura Waters David McDonald David Maher; David Taylor; Beryl Vertue; Sue Vertue Mark FitzGerald; Julian Morrow; Andy Nehl Andy Nehl; Julian Morrow; Jo Wathen Anita Jorgensen; Jo Wathen Ted Robinson; Pam Swain; Megan Harding Jenny Livingston Rob Carlton Santo Cilauro; Tom Gleisner; Rob Sitch Wayne Hope; Robyn Butler Chris Lilley; Laura Waters Rob Carlton Nathan Earl; Andy Nehl; Craig Melville Dean Bates Wayne Hope; Robyn Butler Nicole Minchin; Amanda Brotchie; Adam Zwar Dean Bates Jenny Livingston; Tony Rogers; Adam Zwar; Jason Gann Rick Kalowski; Greg Quail; Carol Hughes Liz Watts Nicole Minchin Andrew Walker Kate Croser; Dario Russo Nicole Minchin; Amanda Brotchie; Adam Zwar Peter Beck BEST DIRECTION 1986 1986 1987 1987 1988 1988 1989 1989 1990 1991 1992 1993 1994 214 Best Direction In A Mini Series Best Direction In A Telefeature Best Direction In A Mini Series Best Direction In A Telefeature Best Direction In A Mini Series Best Direction In A Telefeature Best Direction In A Mini Series Best Direction In A Telefeature Best Achievement in Direction in a TV drama Best Achievement in Direction in a TV drama Best Achievement in Direction in a TV drama Best Achievement in Direction in a TV drama Best Achievement in Direction in a TV drama The Dunera Boys Displaced Persons The Great Bookie Robbery Two Friends The True Believers Matter Of Convenience Edens Lost Rescue Come In Spinner Ben Lewin Geoffrey Nottage Embassy – ‘A Human Dimension’ Mark Callen Brides Of Christ Ken Cameron Police Rescue – ‘Whirlwind’ Michael Carson Heartland – Episode 7 Julian Pringle Marcus Cole; Mark Joffe Jane Campion Peter Fisk Ben Lewin Neil Armfield Peter Fisk Robert Marchand 1997 Best Achievement in Direction in a TV drama Best Achievement in Direction in a TV drama Best Direction TV Drama 1997 Best Direction TV Drama 1997 Best Direction TV Drama 1998 1998 1998 1998 1999 1999 1999 1999 2000 2000 2000 Best Direction TV Drama Best Direction TV Drama Best Direction TV Drama Best Direction TV Drama Best Direction TV Drama Best Direction TV Drama Best Direction TV Drama Best Direction TV Drama Best Direction TV Drama Best Direction TV Drama Best Direction TV Drama 2000 2001 2001 2001 2001 Best Direction TV Drama Best Direction TV Drama Best Direction TV Drama Best Direction TV Drama Best Direction TV Drama 2001 Best Direction TV Drama 2002 2002 2002 2002 Best Direction TV Drama Best Direction TV Drama Best Direction TV Drama Best Direction TV Drama 2003 2003 2003 2003 2004 2004 2004 2004 2005 Best Direction in Television Best Direction in Television Best Direction in Television Best Direction in Television Best Direction In Television Best Direction In Television Best Direction In Television Best Direction In Television Best Direction In Television 2005 2005 Best Direction In Television Best Direction In Television 2005 Best Direction In Television 1995 1996 Frontline – ‘The Siege’ Blue Murder Good Guys Bad Guys – ‘One Point Eight Million Reasons To Change Your Name: Part 1’ Good Guys Bad Guys – ‘One Point Eight Million Reasons To Change Your Name: Part 2’ Twisted Tales – ‘Directly From My Heart To You’ Blabbermouth & Stickybeak Halifax Fp: Afraid Of The Dark The Violent Earth Wildside – Episode 17 Crash Zone – Episode 1 See How They Run – Episode 1 The Day Of The Roses Wildside – Episode 59 Grass Roots – ‘The Whole Year’ Halifax f.p: A Person Of Interest Something In The Air – ‘We Will Remember Them’ Waiting At The Royal Do Or Die My Brother Jack My Husband My Killer SeaChange – ‘I Name Thee Bay Of Pearls’ The Secret Life Of Us – ‘The Butterfly Effect’ All Saints – ‘Opening Night’ Halifax f.p: Takes Two The Road From Coorain The Secret Life Of Us – ‘Intimations Of Mortality’ After The Deluge Bootleg – Episode 2 Grass Roots – ‘By-Election’ Out There – ‘Reilly Had A Little Goat’ All Saints – Episode 280 Marking Time Stingers – Episode 172 The Brush Off Comedy Inc. – The Late Shift – Episode 1 Love My Way – Episode 8 The Incredible Journey Of Mary Bryant We Can Be Heroes – Episode 5 Rob Sitch; Santo Cilauro; Jane Kennedy; Tom Gleisner Michael Jenkins Brendan Maher Brendan Maher Catherine Millar Julian Kemp Steve Jodrell Michael Offer Peter Andrikidis Esben Storm Graeme Harper Peter Fisk Peter Andrikidis Peter Andrikidis Ken Cameron Richard Jasek Glenda Hambly Rowan Woods Ken Cameron Peter Andrikidis Stuart McDonald Roger Hodgman Peter Fisk Ken Cameron Brendan Maher Richard Jasek Brendan Maher Ian Gilmour Peter Andrikidis Stephen Johnson Chris Martin-Jones Cherie Nowlan Grant Brown Sam Neill David McDonald Jessica Hobbs Peter Andrikidis Matthew Saville 215 Winners are in bold. 2006 2006 Best Direction In Television Best Direction In Television 2006 2006 2007 2007 Best Direction In Television Best Direction In Television Best Direction In Television Best Direction In Television 2007 2007 2007 2008 Best Direction In Television Best Direction In Television Best Direction In Television Best Direction In Television 2008 2008 2008 Best Direction In Television Best Direction In Television Best Direction In Television 2009 Best Direction in Television 2009 2009 Best Direction in Television Best Direction in Television 2009 Best Direction in Television 2010 Best Direction in Television 2010 2010 2010 Best Direction in Television Best Direction in Television Best Direction in Television 2011 Best Direction in Television 2011 2011 2011 Best Direction in Television Best Direction in Television Best Direction in Television 2012 Best Direction in Television 2012 2012 2012 Best Direction in Television Best Direction in Television Best Direction in Television Answered By Fire Comedy Inc. – The Late Shift – Episode 7 Love My Way – Episode 11 Mortified – Episode 1 Bastard Boys The Circuit – ‘Home Is Where The Past Is’ Lockie Leonard – ‘Cyril’ The King Wilfred – ‘Dogs Of War’ East West 101 – Episode 2 ‘Death at the Station’ Satisfaction – Episode 5 ‘Truth’ Summer Heights High – Episode 8 Underbelly – Episode 7 ‘Wise Monkeys’ East West 101 – Season 2, Episode 13 ‘Atonement’ False Witness – Episode 1 Review With Myles Barlow – Episode 1 Underbelly: A Tale Of Two Cities – Episode 11 ‘The Brotherhood’ Dance Academy – Episode 2 ‘Week Zero’ Hawke Rush – Season 3, Episode 8 ‘Train’ Tangle – Season 2, Episode 16 ‘Lost And Found’ Paper Giants: The Birth Of Cleo – Episode 1 The Slap – Episode 1 ‘Hector’ The Slap – Episode 3 ‘Harry’ Small Time Gangster – Episode 1 ‘Jingle Bells’ The Amazing Race Australia – Episode 1 Beaconsfield Howzat! Kerry Packer’s War – Part 1 Jack Irish: Bad Debts Jessica Hobbs David McDonald Shirley Barrett Pino Amenta Ray Quint Richard Frankland Tony Tilse Matthew Saville Tony Rogers Peter Andrikidis Daina Reid Stuart McDonald Peter Andrikidis Peter Andrikidis Peter Andrikidis Trent O’Donnell Grant Brown Jeffrey Walker Emma Freeman Grant Brown Emma Freeman Daina Reid Jessica Hobbs Matthew Saville Jeffrey Walker Michael McKay Glendyn Ivin Daina Reid Jeffrey Walker BEST TELEVISION DRAMA 1991 1992 1993 1993 1994 216 Best Episode In A Television Drama, Series Or Serial Best Episode In A Television Drama, Series Or Serial Best Episode In A Television Drama Serial Best Episode In A Television Drama Series Best Episode In A Television Drama Serial Embassy – ‘A Human Dimension’ Alan Hardy (ABC TV / Grundy Motion Pictures) Phoenix – ‘Hard Ball’ Bill Hughes (ABC TV) Home And Away – Episode 1222 Andrew Howie Phoenix – ‘Under Siege’ Bill Hughes Not awarded N/A The Damnation Of Harvey McHugh – ‘Hey, St Jude’ Home And Away – Episode 1705 1997 1997 1997 1997 Best Episode In A Television Drama Series Best Episode In A Television Drama Serial Best Episode In A Television Drama Series Best Episode In A Television Drama Serial Best Episode In A Television Drama Series Best Episode TV Drama Serial Best Episode TV Drama Serial Best Episode TV Drama Serial Best Episode TV Drama Series Home And Away – ‘Shane Parrish’s Death’ Frontline – ‘Keeping Up Appearances’ Home And Away – ‘The Earthquake’ Neighbours – Episode 2842 Neighbours – Episode 2911 Frontline – ‘Epitaph’ 1997 Best Episode TV Drama Series Frontline – ‘The Shadow We Cast’ 1997 Best Episode TV Drama Series 1997 Best Episode TV Drama Series 1998 Best Episode TV Drama Series (Long) Best Episode TV Drama Series (Long) Best Episode TV Drama Series (Long) Best Episode TV Drama Series (Long) Best Episode TV Drama Series Best Episode TV Drama Series Best Episode TV Drama Series Best Episode TV Drama Series Best Episode TV Drama Series (Long) Best Episode TV Drama Series (Long) Best Episode TV Drama Series (Long) Best Episode TV Drama Series (Long) Best Episode TV Drama Series Best Episode TV Drama Series Best Episode TV Drama Series Best Episode TV Drama Series Best Episode TV Drama Series (Long) Best Episode TV Drama Series (Long) Best Episode TV Drama Series (Long) Good Guys Bad Guys – ‘One Point Eight Million Reasons To Change Your Name: Part 1’ Good Guys Bad Guys – ‘One Point Eight Million Reasons To Change Your Name: Part 2’ All Saints – Episode 20 1994 1995 1995 1996 1996 1998 1998 1998 1998 1998 1998 1998 1999 1999 1999 1999 1999 1999 1999 1999 2000 2000 2000 Frontline – ‘The Siege’ Sue Masters John Holmes; Russell Webb Rob Sitch; Santo Cilauro; Jane Kennedy; Tom Gleisner Russell Webb Rob Sitch; Santo Cilauro; Jane Kennedy; Tom Gleisner Producer – Russell Webb Producer – Peter Dodds Producer – Peter Dodds Producers – Santo Cilauro; Tom Gleisner; Jane Kennedy; Rob Sitch Producers – Santo Cilauro; Tom Gleisner; Jane Kennedy; Rob Sitch Producers – Roger Le Mesurier; Roger Simpson; Ros Tatarka Producers – Roger Le Mesurier; Roger Simpson; Ros Tatarka Jo Porter All Saints – Episode 6 Jo Porter Home And Away – Episode 2197 Russell Webb Home And Away – Episode 2413 Russell Webb Blue Heelers – ‘Collateral Damage’ Good Guys Bad Guys – ‘Dog People’ SeaChange – ‘Stormy Weather’ Wildside – Episode 17 All Saints – Episode 58 ‘Head To Head’ Home And Away – Episode 2646 Riccardo Pellizzeri Roger Le Mesurier; Roger Simpson; John Wild Sally Ayre-Smith Steve Knapman Jo Porter Russell Webb Neighbours – Episode 3388 Producer – Peter Dodds Neighbours – Episode 3389 Producer – Peter Dodds SeaChange – ‘Law and Order’ SeaChange – ‘Manna from Heaven’ SeaChange – ‘Playing with Fire’ Wildside – Episode 59 All Saints – ‘Dead On Time’ Producer – Sally Ayre-Smith Producer – Sally Ayre-Smith Producer – Sally Ayre-Smith Steve Knapman Producer – Jo Porter Something In The Air – ‘We Will Remember Them’ Something In The Air – ‘Movers And Shakers’ Producers – Roger Le Mesurier; Roger Simpson; Ros Tatarka Producers – Roger Le Mesurier; Roger Simpson; Ros Tatarka 217 Winners are in bold. 2000 2000 2001 Best Episode TV Drama Series Best Episode TV Drama Series Best Episode TV Drama Series Best Episode In A Long Running Television Drama Series Best Episode TV Drama Series 2002 2002 2002 2002 2003 2003 2003 2003 2004 2004 2004 2004 2005 2005 2005 2005 2006 2006 2006 Best Television Drama Series Best Television Drama Series Best Television Drama Series Best Television Drama Series Best Television Drama Series Best Television Drama Series Best Television Drama Series Best Television Drama Series Best Television Drama Series Best Television Drama Series Best Television Drama Series Best Television Drama Series Best Television Drama Series Best Television Drama Series Best Television Drama Series Best Television Drama Series Best Television Drama Series Best Television Drama Series Best Television Drama Series 2006 2007 2007 2007 2008 2008 2008 2008 2009 2009 2009 2009 2010 2010 2010 2010 2011 Best Television Drama Series Best Television Drama Series Best Television Drama Series Best Television Drama Series Best Television Drama Series Best Television Drama Series Best Television Drama Series Best Television Drama Series Best Television Drama Series Best Television Drama Series Best Television Drama Series Best Television Drama Series Best Television Drama Series Best Television Drama Series Best Television Drama Series Best Television Drama Series Best Television Drama Series 2011 Best Television Drama Series 2000 2000 2000 2001 218 Best Episode TV Drama Series (Long) Best Episode TV Drama Series All Saints – ‘Valley Of The Shadow (Part 1)’ Grass Roots – ‘Late July, Friday 4pm To 10.30pm’ Grass Roots – ‘The Whole Year’ SeaChange – ‘Hungi Jury’ Grass Roots – ‘Late September’ Something In The Air – ‘That One Defining Moment’ SeaChange – ‘I Name Thee Bay Of Pearls’ All Saints Kath & Kim MDA (Medical Defence Australia) The Secret Life Of Us Grass Roots MDA Stingers The Secret Life Of Us McLeod’s Daughters MDA Stingers White Collar Blue All Saints Blue Heelers Love My Way MDA All Saints Blue Heelers Love My Way McLeod’s Daughters All Saints Dangerous Love My Way City Homicide – Series 2 Rush Satisfaction Underbelly East West 101 – Season 2 Packed To The Rafters – Series 1 Satisfaction – Series 2 Underbelly: A Tale Of Two Cities The Circuit – Season 2 Rush – Season 3 Spirited – Season 1 Tangle – Season 2 East West 101 – Season 3 The Heroes’ Journey Offspring – Season 2 Producer – Jo Porter Producer – John Eastway Producer – John Eastway Producer – Sally Ayre-Smith Producer – John Eastway Producers – Roger Le Mesurier; Roger Simpson; Alan Hardy Producer – Sally Ayre-Smith Di Drew Mark Ruse Greg Haddrick Amanda Higgs; John Edwards John Eastway Denny Lawrence John Wild; Roger Le Mesurier; Roger Simpson Amanda Higgs Susan Bower; Posie Graeme-Evans Denny Lawrence Roger Le Mesurier; Roger Simpson; John Wild Steve Knapman; Kris Wyld MaryAnne Carroll David Clarke; Gus Howard Claudia Karvan; John Edwards Denny Lawrence MaryAnne Carroll Gus Howard; David Clarke John Edwards; Claudia Karvan; Jacquelin Perske Karl Zwicky; Posie Graeme-Evans (Nine Network) Bill Hughes; MaryAnne Carroll (Seven Network) John Edwards; Imogen Banks (Fox 8) John Edwards; Claudia Karvan (Showtime) MaryAnne Carroll (Seven Network) John Edwards; Mimi Butler (Network Ten) Andrew Walker; Roger Simpson (Showcase) Greg Haddrick; Brenda Pam (Nine Network) Kris Wyld; Steve Knapman Jo Porter Andrew Walker; Roger Simpson Greg Haddrick; Brenda Pam Ross Hutchens; Colin South John Edwards; Mimi Butler Claudia Karvan; Jacquelin Perske; John Edwards John Edwards; Imogen Banks Steve Knapman; Kris Wyld John Edwards; Imogen Banks 2011 2011 2012 2012 2012 2012 Best Television Drama Series Best Television Drama Series Best Television Drama Series Best Television Drama Series Best Television Drama Series Best Television Drama Series Rake Spirited – Season 2 Puberty Blues Rake – Season 2 Redfern Now Tangle – Season 3 Ian Collie; Peter Duncan; Richard Roxburgh Claudia Karvan; Jacquelin Perske John Edwards; Imogen Banks Ian Collie; Peter Duncan; Richard Roxburgh Darren Dale; Miranda Dear John Edwards; Imogen Banks Andrew Denton; Anita Jacoby Shaun Micallef; Todd Abbott; Margaret Bashfield Damian Davis; Nick Price Ted Robinson Andrew Denton; Anita Jacoby Anna Bateman; Jennifer Collins; Kath Earle Paul Melville; Steve Rothwell Ted Robinson Andrew Denton; Anita Jacoby Brian Nankervis; Ken Connor; Peter Bain-Hogg Anthony Watt; Paul Clarke; Bruce Kane Ted Robinson BEST LIGHT ENTERTAINMENT 2003 2003 2003 2003 2004 2004 2004 2004 2005 2005 2005 2005 2006 2006 Best Light Entertainment Series Best Light Entertainment Series Best Light Entertainment Series Best Light Entertainment Series Best Light Entertainment Series Best Light Entertainment Series Best Light Entertainment Series Best Light Entertainment Series Best Light Entertainment Series Best Light Entertainment Series Best Light Entertainment Series Best Light Entertainment Series Best Light Entertainment TV Series Best Light Entertainment TV Series Enough Rope With Andrew Denton Micallef Tonight The Fat The Glass House Enough Rope With Andrew Denton Mondo Thingo Strictly Dancing The Glass House Enough Rope With Andrew Denton RocKwiz Spicks And Specks The Glass House Enough Rope With Andrew Denton RocKwiz 2006 2006 2007 2007 Best Light Entertainment TV Series Best Light Entertainment TV Series Best Light Entertainment Series Best Light Entertainment Series Spicks And Specks The Glass House David Tench Tonight RocKwiz 2007 2007 2008 Best Light Entertainment Series Best Light Entertainment Series Best Light Entertainment TV Series Spicks And Specks Supernova Enough Rope With Andrew Denton 2008 2008 Best Light Entertainment TV Series Best Light Entertainment TV Series The Gruen Transfer RocKwiz 2008 2009 Best Light Entertainment TV Series Best Light Entertainment Television Series Best Light Entertainment Television Series Best Light Entertainment Television Series Best Light Entertainment Television Series Best Light Entertainment Television Series Best Light Entertainment Television Series Best Light Entertainment Television Series Best Light Entertainment Television Series Spicks And Specks – Series 4 The Gruen Transfer – Series 2 2009 2009 2010 2010 2010 2010 2011 RocKwiz – Series 6 Spicks And Specks – Series 5 The Gruen Transfer – Series 3 Hungry Beast – Series 2 MasterChef Australia – Series 2 Talkin’ ’Bout Your Generation – Series 2 The Gruen Transfer – Series 4 Anita Jacoby; Andrew Denton Brian Nankervis; Ken Connor; Peter Bain-Hogg; Joe Connor Bruce Kane; Anthony Watt Ted Robinson Todd Abbott Brian Nankervis; Ken Connor; Peter Bain-Hogg; Joe Connor Anthony Watt; Bruce Kane David Maher; David Taylor Bernice Toni; Polly Connolly; Jon Casimir; Megan Brownlow Jo Wathen; Jon Casimir Ken Connor; Joe Connor; Peter Bain-Hogg; Brian Nankervis Anthony Watt Andrew Denton; Anita Jacoby; Jon Casimir; Debbie Cuell Brian Nankervis; Ken Connor; Peter Bain-Hogg; Joe Connor Anthony Watt Andrew Denton; Anita Jacoby; Jon Casimir; Debbie Cuell Andrew Denton; Andy Nehl Margaret Bashfield; Judy Smart; Caroline Spencer Peter Beck Andrew Denton; Anita Jacoby; Jon Casimir 219 Winners are in bold. 2011 2011 2011 2011 2012 2012 2012 2012 Best Light Entertainment Television Series Best Light Entertainment Television Series Best Light Entertainment Television Series Best Light Entertainment Television Series Best Light Entertainment Television Series Best Light Entertainment Television Series Best Light Entertainment Television Series Best Light Entertainment Television Series Hungry Beast – Series 3 Judith Lucy’s Spiritual Journey Andrew Denton; Anita Jacoby; Andy Nehl; Jon Casimir Todd Abbott Junior MasterChef – Series 1 Tara McWilliams RocKwiz Brian Nankervis; Ken Connor; Peter Bain-Hogg; Joe Connor Rachel Millar; Adam Hills; Bruce Kane Adam Hills In Gordon Street Tonight – Series 2 Agony Aunts Gruen Sweat The Hamster Wheel Adam Zwar; Nicole Minchin Anita Jacoby; Andrew Denton; Jon Casimir; Debbie Cuell Andy Nehl BEST REALITY TELEVISION 2012 Best Reality Television Series The Amazing Race Australia 2012 2012 Best Reality Television Series Best Reality Television Series MasterChef Australia – Series 4 My Kitchen Rules – Series 3 2012 Best Reality Television Series The Voice Michael McKay; Trent Chapman; David Gardner; Matt Kowald Tim Toni Rikkie Proost; Greg Swanborough; Evan Wilkes; Matt Apps Julie Ward BEST SCREENPLAY 1986 1986 1987 1987 1988 1989 1989 1989 1990 1991 1992 1993 1994 1995 1996 1997 1997 220 Best Mini Series Screenplay Best Screenplay In A Telefeature Best Mini Series Screenplay Best Screenplay In A Telefeature Best Screenplay Best Mini Series Screenplay Best Mini Series Screenplay Best Screenplay In A Telefeature Best Screenplay In A Television Drama Best Screenplay In A Television Drama Best Screenplay In A Television Drama Best Screenplay In A Television Drama Best Screenplay In A Television Drama Best Screenplay In A Television Drama Best Screenplay In A Television Drama Best Screenplay In A Television Drama Best Screenplay In A Television Drama The Dunera Boys Natural Causes In Between Two Friends Not awarded Bodysurfer Edens Lost Police State The Magistrate Ben Lewin John Misto Maureen McCarthy; Shane Brennan Helen Garner N/A Suzanne Hawley; Chris Lee; Denis Whitburn Michael Gow Ian David; Francine Finnane Chris Warner Police Rescue – ‘Angel After Hours’ Peter Schreck Brides Of Christ John Alsop; Sue Smith The Leaving Of Liverpool Sue Smith; John Alsop The Damnation Of Harvey McHugh – John Misto ‘Hey, St Jude’ Frontline – The Siege Rob Sitch; Santo Cilauro; Jane Kennedy; Tom Gleisner Ian David Blue Murder Frontline – ‘The Simple Life’ Good Guys Bad Guys – ‘One Point Eight Million Reasons To Change Your Name: Part 2’ Santo Cilauro; Tom Gleisner; Jane Kennedy; Rob Sitch Graeme Koetsveld 1997 1998 1998 1998 1998 1999 1999 1999 1999 2000 2000 2000 2000 2001 2001 2001 2001 2002 2002 2002 2002 2003 2003 2003 2003 2004 2004 2004 2004 Best Screenplay In A Television Drama Best Screenplay In A Television Drama Best Screenplay In A Television Drama Best Screenplay In A Television Drama Best Screenplay In A Television Drama Best Screenplay In A Television Drama Best Screenplay In A Television Drama Best Screenplay In A Television Drama Best Screenplay In A Television Drama Best Screenplay In A Television Drama Best Screenplay In A Television Drama Best Screenplay In A Television Drama Best Screenplay In A Television Drama Best Screenplay In A Television Drama Best Screenplay In A Television Drama Best Screenplay In A Television Drama Best Screenplay In A Television Drama Best Screenplay In A Television Drama Best Screenplay In A Television Drama Best Screenplay In A Television Drama Best Screenplay In A Television Drama Best Screenplay In A Television Drama Best Screenplay In A Television Drama Best Screenplay In A Television Drama Best Screenplay In A Television Drama Best Screenplay In Television Best Screenplay In Television Best Screenplay In Television Best Screenplay In Television Simone De Beauvoir’s Babies – Episode 3 Halifax f.p: Afraid Of The Dark Deborah Cox Roger Simpson SeaChange – ‘Stormy Weather’ Deborah Cox The Violent Earth Peter Gawler; Tony Ayres Wildside – Episode 17 Tim Pye SeaChange – ‘Law And Order’ Deborah Cox SeaChange – ‘Manna From Heaven’ Andrew Knight; Deborah Cox The Day Of The Roses John Misto Wildside – Episode 59 Kris Wyld Grass Roots – ‘Late July, Friday 4pm Geoffrey Atherden To 10.30pm’ Geoffrey Atherden Grass Roots – ‘The Whole Year’ Halifax f.p: A Person Of Interest Anne Brooksbank Something In The Air – ‘We Will Remember Them’ Changi Katherine Thomson John Doyle SeaChange – ‘I Name Thee Bay Of Pearls’ SeaChange – ‘Love In The Time Of Coleridge’ The Games – ‘Solar’ Andrew Knight; Andrea Denholm John Clarke; Ross Stevenson Halifax f.p: Takes Two Katherine Thomson Kath & Kim – ‘Gay’ Gina Riley; Jane Turner Kath & Kim – ‘Wedding’ Gina Riley; Jane Turner The Secret Life Of Us – ‘Intimations Of Mortality’ After The Deluge Christopher Lee Andrew Knight CNNNN – Episode 7 Chris Taylor; Julian Morrow; Charles Firth Grass Roots – ‘By-Election’ Geoffrey Atherden MDA – ‘Crossing The Line’ Bill Garner Kath & Kim – Episode 8 Marking Time Stingers – Episode 172 The Brush Off Gina Riley; Jane Turner John Doyle Hannie Rayson; Andrea Denholm Matt Ford John Clarke 221 Winners are in bold. 2005 2005 2005 Best Screenplay In Television Best Screenplay In Television Best Screenplay In Television 2005 2006 2006 2006 2006 Best Screenplay In Television Best Screenplay In Television Best Screenplay In Television Best Screenplay In Television Best Screenplay In Television 2007 2007 Best Screenplay In Television Best Screenplay In Television 2007 Best Screenplay In Television 2007 Best Screenplay In Television 2008 2008 Best Screenplay In Television Best Screenplay In Television 2008 Best Screenplay In Television 2008 Best Screenplay In Television 2009 Best Screenplay in Television 2009 Best Screenplay in Television 2009 Best Screenplay in Television 2009 Best Screenplay in Television 2010 2010 Best Screenplay in Television Best Screenplay in Television 2010 Best Screenplay in Television 2010 2011 2011 2011 2011 2012 Best Screenplay in Television Best Screenplay in Television Best Screenplay in Television Best Screenplay in Television Best Screenplay in Television Best Screenplay in Television 2012 Best Screenplay in Television 2012 2012 Best Screenplay in Television Best Screenplay in Television Love My Way – Episode 9 MDA – Episode 12 The Incredible Journey Of Mary Bryant We Can Be Heroes – Episode 1 Love My Way – Episode 11 Mortified – Episode 1 RAN – Episode 5 The Chaser’s War On Everything – Episode 8 Bastard Boys The Circuit – ‘Home Is Where The Past Is’ Lockie Leonard – ‘The Ladder Of Love’ Love My Way – ‘Cars Without Brakes’ Dogstar – Episode 26 East West 101 – Episode 2 ‘Death at the Station’ The Hollowmen – Episode 1 ‘Fat Chance’ Underbelly – Episode 2 ‘The Sorcerer’s Apprentice’ 30 Seconds – Episode 4 ‘Invisible Fault Lines’ East West 101 – Season 2, Episode 13 ‘Atonement’ Review With Myles Barlow – Episode 1 Underbelly: A Tale Of Two Cities – Episode 11 ‘The Brotherhood’ Hawke Review With Myles Barlow – Season 2, Episode 6 ‘Happiness, Escapism, Acceptance’ Tangle – Season 2, Episode 15 ‘Sleepwalking’ Wilfred II – Episode 7 ‘Dogstar’ Laid The Slap – Episode 1 ‘Hector’ The Slap – Episode 3 ‘Harry’ Tim Winton’s cloudstreet – Part 3 A Moody Christmas – Episode 5 ‘Water Under the Bridge’ Lowdown – Season 2, Episode 3 ‘One Fine Gay’ Puberty Blues – Episode 5 Redfern Now – Episode 6 Jacquelin Perske Greg Haddrick Peter Berry Chris Lilley Jacquelin Perske Angela Webber Sue Smith The Chaser Team Sue Smith Kelly Lefever Keith Thompson Tony McNamar Philip Dalkin Kris Wyld Santo Cilauro; Tom Gleisner; Rob Sitch Peter Gawler Tim Bullock; Justin Drape; Scott Nowell Michael Miller; Kristen Dunphy Trent O’Donnell; Phil Lloyd Kris Mrksa Glen Dolman Trent O’Donnell; Phil Lloyd Fiona Seres Jason Gann; Adam Zwar Kirsty Fisher Kris Mrksa Brendan Cowell Tim Winton; Ellen Fontana Trent O’Donnell; Phil Lloyd Amanda Brotchie; Adam Zwar; Trudy Hellier Alice Bell; Tony McNamara Steven McGregor BEST TELEFEATURE, MINI SERIES OR SHORT RUN SERIES 1997 222 Best Mini-Series Or Telefeature Good Guys Bad Guys: Only The Young Die Good Roger Le Mesurier; Roger Simpson; Ros Tatarka 1997 1997 1997 1998 Best Mini-Series Or Telefeature Best Mini-Series Or Telefeature Best Mini-Series Or Telefeature Best Mini-Series Or Telefeature Kangaroo Palace Simone De Beauvoir’s Babies The Last Of The Ryans Halifax f.p: Afraid Of The Dark 1998 1998 1998 1999 1999 Best Mini-Series Or Telefeature Best Mini-Series Or Telefeature Best Mini-Series Or Telefeature Best Mini-Series Or Telefeature Best Mini-Series Or Telefeature Never Tell Me Never The Violent Earth Wildside Aftershocks Halifax f.p: Swimming With Sharks 1999 1999 2000 Best Mini-Series Or Telefeature Best Mini-Series Or Telefeature Best Mini-Series Or Telefeature The Day Of The Roses The Potato Factory Halifax f.p: A Person Of Interest 2000 Best Mini-Series Or Telefeature On The Beach 2000 2000 2001 2001 2001 Best Mini-Series Or Telefeature Best Mini-Series Or Telefeature Best Telefeature Or Miniseries Best Telefeature Or Miniseries Best Telefeature Or Miniseries Secret Life Of Us Waiting At The Royal Changi Do Or Die My Brother Jack 2001 Best Telefeature Or Miniseries My Husband My Killer 2002 2002 2002 2002 2003 Best Telefeature Or Miniseries Best Telefeature Or Miniseries Best Telefeature Or Miniseries Best Telefeature Or Miniseries Best Telefeature Or Miniseries Halifax f.p: Takes Two Heroes’ Mountain Secret Bridesmaids’ Business The Road From Coorain After The Deluge 2003 2003 2003 2004 2004 2004 2004 2005 2005 2005 Best Telefeature Or Miniseries Best Telefeature Or Miniseries Best Telefeature Or Miniseries Best Telefeature Or Miniseries Best Telefeature Or Miniseries Best Telefeature Or Miniseries Best Telefeature Or Miniseries Best Telefeature Or Miniseries Best Telefeature Or Miniseries Best Telefeature Or Miniseries 2005 2006 2006 2006 2006 2007 2007 2007 Best Telefeature Or Miniseries Best Telefeature Or Miniseries Best Telefeature Or Miniseries Best Telefeature Or Miniseries Best Telefeature Or Miniseries Best Telefeature Or Miniseries Best Telefeature Or Miniseries Best Telefeature Or Miniseries Black Jack The Postcard Bandit The Shark Net Go Big Marking Time Small Claims The Brush Off Hell Has Harbour Views Little Oberon The Incredible Journey Of Mary Bryant Through My Eyes Answered By Fire RAN The Silence The Surgeon Bastard Boys The Circuit The King Ewan Burnett Deborah Cox; Andrew Knight; Denise Patience Crawford Productions Roger Le Mesurier; Roger Simpson; Terry Jennings David Elfick; Anne Bruning Jock Blair; David Rouse; Bruce Gordon Steve Knapman Producer – Julia Overton Producers – Roger Le Mesurier; Roger Simpson; John Hugginson Producers – Tony Cavanaugh; Simone North Producer – Anthony Buckley Producers – Roger Le Mesurier; Roger Simpson; John Hugginson Producers – John Edwards; Errol Sullivan; Jeff Hayes; Greg Coote Producers – John Edwards; Amanda Higgs Producers – Andrew Wiseman; Richard Keddie Producer – Bill Hughes Producers – John Edwards; Lavinia Warner Producers – Sue Milliken; Andrew Wiseman; Richard Keddie Producers – David Gould; Des Monaghan; Anthony Buckley Roger Le Mesurier; Roger Simpson; Steve Jodrell Anthony Buckley Lynda House Penny Chapman Richard Keddie; Andrew Knight; Andrew Wiseman Nick Murray; Sally Ayre-Smith Matt Carroll Sue Taylor Ellie Beaumont; Rosemary Blight; Michael Miller John Edwards Rosemary Blight; Kylie du Fresne; Ben Grant Huntaway Films; Ruby Entertainment Ian Collie Susan Bower Andrew Benson; Greg Haddrick Simone North; Tony Cavanaugh Roger Le Mesurier; Andrew Walker Penny Chapman Jan Chapman John Edwards; Judy McCrossin Brett Popplewell; Ray Quint Ross Hutchens; Colin South Jason Stephens 223 Winners are in bold. 2008 2008 2008 2008 2009 2009 2009 2009 2010 2010 2011 2011 2011 2011 2012 2012 2012 2012 Best Telefeature, Mini Series or Short Run Series Best Telefeature, Mini Series or Short Run Series Best Telefeature, Mini Series or Short Run Series Best Telefeature, Mini Series or Short Run Series Best Telefeature, Mini Series or Short Run Series Best Telefeature, Mini Series or Short Run Series Best Telefeature, Mini Series or Short Run Series Best Telefeature, Mini Series or Short Run Series Best Telefeature, Mini Series or Short Run Series Best Telefeature, Mini Series or Short Run Series Best Telefeature, Mini Series or Short Run Series Best Telefeature, Mini Series or Short Run Series Best Telefeature, Mini Series or Short Run Series Best Telefeature, Mini Series or Short Run Series Best Telefeature, Mini Series or Short Run Series Best Telefeature, Mini Series or Short Run Series Best Telefeature, Mini Series or Short Run Series Best Telefeature, Mini Series or Short Run Series Bed of Roses Stephen Luby; Mark Ruse East West 101 Steve Knapman; Kris Wyld Rain Shadow Gus Howard Valentines Day Gus Howard 3 Acts Of Murder Sue Taylor False Witness Greg Haddrick; Peter Andrikidis The Last Confession Of Alexander Pearce Saved Nial Fulton Hawke Richard Keddie A Model Daughter: The Killing Of Caroline Byrne Paper Giants: The Birth Of Cleo Karl Zwicky Sisters Of War Andrew Wiseman The Slap Tony Ayres; Helen Bowden; Michael McMahon Tim Winton’s cloudstreet Greg Haddrick; Brenda Pam Beaconsfield John Edwards; Jane Liscombe Devil’s Dust Antonia Barnard; Stephen Corvini Howzat! Kerry Packer’s War John Edwards; Mimi Butler Underground Helen Bowden Michael McMahon; Tony Ayres John Edwards; Karen Radzyner OUTSTANDING ACHIEVEMENT IN TELEVISION SCREEN CRAFT 224 2000 Open Craft In Television 2000 Open Craft In Television 2000 2000 2001 2001 Open Craft In Television Open Craft In Television Open Craft In A Television Drama Open Craft In A Television Drama 2001 2001 Open Craft In A Television Drama Open Craft In A Television Drama 2002 Open Craft TV Drama 2002 Open Craft TV Drama Beastmaster – ‘The Last Unicorn’ (Cinematography) Halifax f.p: A Person Of Interest (Cinematography) On The Beach (Cinematography) On The Beach (Set Design) Do Or Die (Editing) Love Is A Four Letter Word – ‘Split’ (Editing) My Brother Jack (Production Design) My Husband My Killer (Original Score) Halifax f.p: Takes Two For Cinematography The Road From Coorain For Cinematography Mark Wareham Brent Crockett Martin McGrath Sally Shepherd Shawn Seet Nicole La Macchia Jo Ford Peter Best Brent Crockett Tristan Milani 2002 Open Craft TV Drama 2002 Open Craft TV Drama 2003 2003 2003 2003 Open Craft TV Drama Open Craft TV Drama Open Craft TV Drama Open Craft TV Drama 2004 2004 2004 Outstanding Achievement TV Craft Outstanding Achievement TV Craft Outstanding Achievement TV Craft 2004 2005 2005 Outstanding Achievement TV Craft Outstanding Achievement TV Craft Outstanding Achievement TV Craft 2005 Outstanding Achievement TV Craft 2005 Outstanding Achievement TV Craft 2006 2006 2006 Television Screen Craft Television Screen Craft Television Screen Craft 2006 2007 Television Screen Craft Television Screen Craft 2008 Outstanding Achievement in Television Screen Craft Outstanding Achievement in Television Screen Craft Outstanding Achievement in Television Screen Craft Outstanding Achievement in Television Screen Craft 2009 2010 2011 The Road From Coorain For Original Score The Road From Coorain For Production Design After The Deluge For Original Music Big Bite For Creative Make-Up Bootleg For Cinematography John Safran’s Music Jamboree For Innovative & Original Programme Concept Jessica (Music Composition) Kath & Kim (Costume Design) Noah & Saskia (Animation and Digital Effects) Wicked Science (Digital Effects) Love My Way (Cinematography) John Safran Vs God (Original Concept) Scooter: Secret Agent (Production Design) The Incredible Journey Of Mary Bryant (Production Design) Comedy Inc. – The Late Shift RAN RocKwiz The Forest Stephen Rae Jo Ford Cezary Skubiszewski Peta Hastings; Karchi Maygar; Natalie Vincentich Craig Barden John Safran Paul Grabowsky Kitty Stuckey Paul Nichola Barry Lanfranchi Louis Irving John Safran Brian Alexander Tim Ferrier Rob Meyer (Cinematography) Ian Jones ACS (Cinematography) Tim Millikan; Michael Letho; Stephen Witherow (Sound) Joe Pickering (Cinematography) Paddy Reardon (Production Design) Bastard Boys; Call Me Mum; The King Underbelly (Editing) Steve Evans Figaro Pho (Creative Excellence) Luke Jurevicius Talkin’ ’Bout Your Generation – Series 2 Tim Winton’s cloudstreet Shaun Micallef (Host) Herbert Pinter BEST CINEMATOGRAPHY IN A NON-FEATURE OR DOCUMENTARY FILM 1962 1962 1963 1963 1964 1965 1966 1966 1967 1967 1968 1968 1969 Cinematography Non Feature Cinematography Non Feature Cinematography Non Feature Cinematography Non Feature Cinematography Non Feature Cinematography Non Feature Cinematography Non Feature Cinematography Non Feature Cinematography Non Feature Cinematography Non Feature Cinematography Non Feature Cinematography Non Feature Cinematography Non Feature Port Of Melbourne The Nurses’ Story Dancing Orpheus Sugar And Fiji Transfiguration From The Tropics To The Snow Concerto For Orchestra The Admiral’s Cup Piano Workout 2000 Weeks Shell Shellset And So It Goes Adrian Boddington Alan Grice Frank Frew; W.H. Clarke Ron Horner Ian Davidson David Muir unknown unknown Churchmans Vic Martin; George Alexander Robin Copping; Harold Koch; Ron Johansen Robin Copping Sandor Siro 225 Winners are in bold. 226 1969 1970 1970 1970 1971 1971 1972 1972 1973 1973 1977 1978 1979 1980 1981 1981 1981 1982 1982 1982 1983 1983 1983 1983 1984 1984 Cinematography Non Feature Cinematography Non Feature Cinematography Non Feature Cinematography Non Feature Cinematography Non Feature Cinematography Non Feature Cinematography Non Feature Cinematography Non Feature Cinematography Non Feature Cinematography Non Feature Cinematography Non Feature Cinematography Non Feature Cinematography Non Feature Cinematography Non Feature Cinematography Non Feature Cinematography Non Feature Cinematography Non Feature Cinematography Non Feature Cinematography Non Feature Cinematography Non Feature Cinematography Non Feature Cinematography Non Feature Cinematography Non Feature Cinematography Non Feature Cinematography Non Feature Cinematography Non Feature 1984 1984 1985 Cinematography Non Feature Cinematography Non Feature Cinematography Non Feature 1985 1985 1985 1986 1986 1986 1986 1987 1987 1987 1987 1988 1988 1988 1988 1989 1989 1989 Cinematography Non Feature Cinematography Non Feature Cinematography Non Feature Cinematography Non Feature Cinematography Non Feature Cinematography Non Feature Cinematography Non Feature Cinematography Non Feature Cinematography Non Feature Cinematography Non Feature Cinematography Non Feature Cinematography Non Feature Cinematography Non Feature Cinematography Non Feature Cinematography Non Feature Cinematography Non Feature Cinematography Non Feature Cinematography Non Feature The Hard Word The Gallery The Hungry Sea Three To Go: Michael Dulux: Colours Of Your Day The Hot Centre Of The World Stephany Water For A City One Hundred A Day Tidikawa And Friends Love Letters From Teralba Road Edge Of The Cold Just Out Of Reach Bird Of The Thunder Woman Ant Desire The Silent Conversation Greetings From Wollongong Strange Residues The Revenant 18 Foot People Birdmen Of Kilimanjaro Stations The Lion In The Doorway A Girl’s Own Story Antarctic Man: This Is Not A Place For Humans Every Day, Every Night Industrial Park Hunters Of The Skies: The Fishing Hunters Image Makers Lost Love Taking A Look Chile: Hasta Cuando? Flight Of The Windhorse My Life Without Steve The Rentman How The West Was Lost Palisade Spaventapasseri The Musical Mariner (Part One) Cane Toads, An Unnatural History Green Smoke ’Em If You Got ’Em South Of The Border Hunters Philippines, My Phillipines Shadow Panic Phillip Snider Kerry Brown Ben Cropp Kerry Brown unknown Robin Copping unknown Dean Semler; John Rhodes Ross King Jef Doring; Su Doring Tom Cowan David Parer Russell Boyd David Parer David Collyer; Geoff Hall Louis Irving Joseph Pickering Louis Irving Alex Proyas David Knaus Brian Probyn Michael Dillon; Paul Tait Andrew Lesnie Paul Elliott Sally Bongers David Parer Jaems Grant Paul Elliott Lindsay Cupper; Jack Cupper; Roger Whittaker Fabio Cavadini Jane Castle Martha Ansara David Knaus; Peter Schnall Paul Tait; Michael Dillon Erika Addis Joel Petersen Phillip Bull Laurie McInnes Jaems Grant Michael Dillon Jim Frazier; Wayne Taylor John Maruff Lief Peedersen Philip Bull Nicholas Adler John Whitteron Sally Bongers 1989 1990 1990 1990 Cinematography Non Feature Cinematography Non Feature Cinematography Non Feature Cinematography Non Feature 1990 1991 Cinematography Non Feature Cinematography Non Feature 1991 1991 Cinematography Non Feature Cinematography Non Feature 1991 1992 1993 1993 1993 1993 1994 1994 1994 1994 1995 1995 1995 1995 1996 1996 1996 1996 1997 1997 1997 1997 1998 1998 1998 1998 1999 1999 1999 1999 2000 2000 Cinematography Non Feature Cinematography Non Feature Cinematography Non Feature Cinematography Non Feature Cinematography Non Feature Cinematography Non Feature Cinematography Non Feature Cinematography Non Feature Cinematography Non Feature Cinematography Non Feature Cinematography Non Feature Cinematography Non Feature Cinematography Non Feature Cinematography Non Feature Cinematography Non Feature Cinematography Non Feature Cinematography Non Feature Cinematography Non Feature Cinematography Non Feature Cinematography Non Feature Cinematography Non Feature Cinematography Non Feature Cinematography Non Feature Cinematography Non Feature Cinematography Non Feature Cinematography Non Feature Cinematography Non Feature Cinematography Non Feature Cinematography Non Feature Cinematography Non Feature Cinematography Non Feature Cinematography Non Feature 2000 2000 2001 Cinematography Non Feature Cinematography Non Feature Best Cinematography In A Non Feature Film Best Cinematography In A Non Feature Film 2001 The Bear A Parting Handmaidens & Battleaxes The Space Between The Door And The Floor The Wonderful World Of Dogs And A Fire Engine To Go With The Dog As The Mirror Burns Donald Friend: The Prodigal Australian On The Border Of Hopetown Not A Category This Year Heart Of Pearl Kangaroos: Faces In The Mob Spring Ball The Journey Concrete Flesh El Angelito (The Little Angel) Eternity Motherland Raskols Speak Softly Please To Mrs Babajaga The Needy And The Greedy Twelve Moons Demons At Drivetime Not Fourteen Again Parklands Stainless Steel Franz And Kafka House Taken Over The Art Of Tracking The Human Race The Bridge The Dragons Of Galapagos Great Falls The Rough Shed 117 Island Of The Vampire Birds Original Schtick Wind Breathe La Nina Vladimir Osherov Dion Beebe Laurie McInnes Dion Beebe Tony Wilson; Stephen F. Windon Brendan Lavelle Mandy Walker Tony Wilson; Terry Carlyon Nino Gaetano Martinetti N/A Susan Thwaites Glen Carruthers Peter Coleman Dion Beebe Susan Thwaites Tristan Milani Dion Beebe Kriv Stenders Roman Baska Mark Pugh Jaems Grant Jun Li Tony Wilson Steve Arnold Mandy Walker Mark Pugh Marcus Struzina Max Davis Rory McGuinness Ulrich Krafzik; Wade Fairley; Ian Pugsley Ray Argall David Parer Daniel Featherstone Philip Bull Ross Emery David Parer The Letter The Night Light Bird In The Wire (Short Fiction) Maciej Wszelaki Allan Collins David Burr Klaus Toft; Campbell Miller; Wade Fairley; Malcolm Ludgate Kathryn Milliss Vincent Taylor John Brawely City Of Dreams (Documentary) Andre Fleuren 227 Winners are in bold. 2001 2001 2002 2002 2002 2002 2003 2003 2003 2003 2004 2004 2004 2004 Island Life – Macquarie Island (Documentary) One Night The Moon (Short Fiction) Wade Fairley East Timor – Birth Of A Nation: Rosa’s Story (Documentary) Jack (Short Fiction) Valeriu Campan Roundabout (Short Fiction) Tristan Milani Surviving Shepherd’s Pie (Documentary) Cracker Bag Silent Storm The Navigators – Baudin V Flinders The Projectionist Floodhouse Inside Australia My Sister Platypus – The World’s Strangest Animal Abortion, Corruption and Cops: The Bertram Wainer Story Opal Fever Simon Smith 2006 2006 2006 2006 2007 2007 Best Cinematography In A NonFeature Film Best Cinematography In A NonFeature Film Best Cinematography In A NonFeature Film Best Cinematography In A NonFeature Film Best Cinematography Documentary Best Cinematography Documentary Best Cinematography Documentary Best Cinematography Documentary Best Cinematography Documentary Best Cinematography Documentary 2007 2007 Best Cinematography Documentary Thunderheads Best Cinematography Documentary Words From The City 2008 2008 2008 2008 2009 Best Cinematography Documentary Best Cinematography Documentary Best Cinematography Documentary Best Cinematography Documentary Best Cinematography in a Documentary Best Cinematography in a Documentary Best Cinematography in a Documentary Best Cinematography in a Documentary Best Cinematography in a Documentary 2005 2005 2005 2005 2009 2009 2009 2010 228 Best Cinematography In A Non Feature Film Best Cinematography In A Non Feature Film Best Cinematography In A Non Feature Film Best Cinematography In A Non Feature Film Best Cinematography In A Non Feature Film Best Cinematography In A Non Feature Film Cinematography Non Feature Cinematography Non Feature Cinematography Non Feature Cinematography Non Feature Cinematography Non Feature Cinematography Non Feature Cinematography Non Feature Cinematography Non Feature Kim Batterham Denson Baker Greig Fraser Calvin Gardiner; Peter Butt Klaus Toft Anthony Jennings Kim Batterham Ian Batt Tim Hudson David Parer Jenni Meaney Corey Piper The Mysterious Geographic Explorations Of Jasper Morello The Eye Inside Greig Fraser He’s Coming South Hunt Angels Penicillin: The Magic Bullet Transit 4 Cuttlefish – The Brainy Bunch Steve Williams Jackie Farkas A Northern Town Bomb Harvest Night Rare Chicken Rescue Beyond Kokoda – ‘Buying Time’ Cracking The Colour Code – Episode 2 ‘Making Colours’ My Asian Heart Cordelia Beresford Jaems Grant Anthony Davison Pieter de Vries Malcolm Ludgate; Joel Peterson; Scott Carrithers Klaus Toft; Cameron Davies; Mark Lamble Rhys Graham; Natasha Gadd Andrew Commis; Rachel Landers Kim Mordaunt Laurie McInnes Randall Wood Stig Schnell; Shaun Gibbons; Brett Murphy; Ben Nunney Ian Batt; Vincent Fooy David Bradbury Salt Murray Fredericks Disable Bodied Sailors – Episode 3 Nick Robinson 2010 2010 2010 2011 2011 2011 2011 2012 2012 2012 2012 Best Cinematography in a Documentary Best Cinematography in a Documentary Best Cinematography in a Documentary Best Cinematography in a Documentary Best Cinematography in a Documentary Best Cinematography in a Documentary Best Cinematography in a Documentary Best Cinematography in a Documentary Best Cinematography in a Documentary Best Cinematography in a Documentary Best Cinematography in a Documentary Miracles – Episode 1 Toby Oliver ACS Strange Birds In Paradise – A West Papuan Story Surviving Mumbai Angus Kemp Jandamarra’s War Allan Collins; Jim Frater; Rusty Geller Mrs Carey’s Concert Bob Connolly Out Of The Ashes David Parer The Tall Man Germain McMicking Dr Sarmast’s Music School Peter Zakharov; Stephen Amis Fighting Fear Tim Bonython; Chris Bryan; Macario De Souza; Lee Kelly Stephen Baker; Nicola Daley Go Back To Where You Came From – Episode 3 Storm Surfers 3D Jim Frater David Maguire; Robert Morton; Dean Cropp; Richard Kickbush BEST DIRECTION 1998 1998 1998 1998 1999 1999 1999 1999 2000 2000 2000 2000 2001 2001 2001 2001 Best Direction In A Documentary Best Direction In A Documentary Best Direction In A Documentary Best Direction In A Documentary Best Direction In A Documentary Best Direction In A Documentary Best Direction In A Documentary Best Direction In A Documentary Best Direction In A Documentary Best Direction In A Documentary Best Direction In A Documentary Best Direction In A Documentary Best Direction In A Documentary Best Direction In A Documentary Best Direction In A Documentary Best Direction In A Documentary A Breath After Mabo Big House The Great Duel A Calcutta Christmas Hephzibah Original Schtick Sadness A Death In The Family Chasing Buddha The Diplomat Pozieres Cunnamulla Facing The Music Losing Layla Wonderboy 2002 2002 Best Direction In A Documentary Best Direction In A Documentary 2002 Best Direction In A Documentary A Wedding In Ramallah East Timor – Birth Of A Nation: Rosa’s Story Much Ado About Something 2002 2003 2003 2003 2003 2004 2004 Best Direction In A Documentary Direction Documentary Direction Documentary Direction Documentary Direction Documentary Direction Documentary Direction Documentary Rainbow Bird & Monster Man Love Letters From A War Painting With Light In A Dark World Silent Storm Wildness Fahimeh’s Story Helen’s War: Portrait Of A Dissident Christopher Tuckfield John Hughes David Goldie Peter Butt Maree Delofski Curtis Levy Maciej Wszelaki Tony Ayres Terry Carlyon Amiel Courtin-Wilson Tom Zubrycki Wain Fimeri Dennis O’Rourke Bob Connolly; Robin Anderson Vanessa Gorman Andrew Wiseman Sherine Salama Luigi Acquisto Michael Rubbo Dennis K. Smith Wain Fimeri Sascha Ettinger-Epstein Peter Butt Scott Milwood Faramarz K-Rahber Anna Broinowski 229 Winners are in bold. Cathy Henkel Best Direction In A Documentary Best Direction In A Documentary The Man Who Stole My Mother’s Face The President Versus David Hicks Hunt Angels Raul The Terrible Unfolding Florence – The Many Lives Of Florence Broadhurst Vietnam Nurses Crude 2007 2007 2007 Best Direction In A Documentary Best Direction In A Documentary Best Direction In A Documentary Forbidden Lie$ Global Haywire Words From The City Anna Broinowski Bruce Petty 2008 Best Direction In A Documentary Beyond Our Ken Melissa Maclean; Luke Walker 2008 2008 2008 2009 2009 Best Direction In A Documentary Best Direction In A Documentary Best Direction In A Documentary Best Direction in a Documentary Best Direction in a Documentary Ian Darling; Sascha Ettinger Epstein Fiona Cochrane Randall Wood Amiel Courtin-Wilson Rachel Perkins 2009 2009 2010 2010 2010 Best Direction in a Documentary Best Direction in a Documentary Best Direction in a Documentary Best Direction in a Documentary Best Direction in a Documentary 2010 Best Direction in a Documentary 2011 2011 2011 Best Direction in a Documentary Best Direction in a Documentary Best Direction in a Documentary 2011 2012 2012 2012 Best Direction in a Documentary Best Direction in a Documentary Best Direction in a Documentary Best Direction in a Documentary 2012 Best Direction in a Documentary The Oasis Rachel: A Perfect Life Rare Chicken Rescue Bastardy First Australians – Episode 4 ‘There Is No Other Law’ The Choir The Love Market Contact Inside The Firestorm Strange Birds In Paradise – A West Papuan Story A Thousand Encores: The Ballets Russes In Australia Life In Movement Mrs Carey’s Concert Shut Up Little Man! An Audio Misadventure The Tall Man Dr Sarmast’s Music School Fighting Fear Go Back To Where You Came From – Episode 2 Once Upon A Time In Cabramatta – Episode 2 Conquest Of The Rivers Hard To Windward Edge Of The Deep The Power Makers Three In A Million Not awarded Bypass To Life Night Freighter The Land That Waited I The Aboriginal The Dancing Class Harry Malcolm Max Graham 2004 Direction Documentary 2004 2006 2006 2006 Direction Documentary Best Direction In A Documentary Best Direction In A Documentary Best Direction In A Documentary 2006 2007 Curtis Levy; Bentley Dean Alec Morgan David Bradbury Gillian Armstrong Polly Watkins Richard Smith Rhys Graham; Natasha Gadd Michael Davie Shalom Almond Martin Butler; Bentley Dean Jacob Hickey Charlie Hill-Smith Amanda Chang Bryan Mason; Sophie Hyde Bob Connolly; Sophie Raymond Matthew Bate Tony Krawitz Polly Watkins Macario De Souza Ivan O’Mahoney; Rick McPhee Bernadine Lim DOCUMENTARY 1958 1958 1959 1959 1960 1961 1962 1962 1963 1964 1964 230 Documentary Documentary Documentary Documentary Documentary Documentary Documentary Documentary Documentary Documentary Documentary P. Bruce; D. Corke Lee Robinson Jennie Blackwood N/A P. Maund R. Petersen Gil Brealey Cecil Holmes Tom Cowan 1965 1965 1966 1967 1968 1968 1969 1969 1970 1971 1972 1973 1974/5 1976 1977 1978 1979 1980 1981 1981 1981 1981 Documentary Documentary Documentary Documentary Documentary Documentary Documentary Documentary Documentary Documentary Documentary Documentary Documentary Documentary Documentary Documentary Documentary Documentary Documentary Documentary Documentary Documentary Stronger Since The War The Legend Of Damien Parer Concerto For Orchestra Cardin In Australia The Change At Groote The Talgai Skull Bullocky The Die Hard The Gallery A Big Hand For Everyone Jackpot Town Tidikawa And Friends Mr Symbol Man Lalai Dreamtime We Are All Alone My Dears Growing Up Series Island Shunters Frontline Backs To The Blast Public Enemy Number One Stepping Out Waiting For Harry 1982 Documentary Angels Of War 1982 1982 Documentary Documentary Journey To The End Of Night Two Laws 1983 1983 1983 1983 1984 Documentary Documentary Documentary Documentary Documentary 1984 1984 Documentary Documentary Birdmen Of Kilimanjaro Double Concerto First Contact Peppimenarti Antarctic Man: This Is Not A Place For Humans Celso And Cora For Love Or Money 1984 1985 Documentary Documentary Kemira: Diary Of A Strike Collum Calling Canberra 1985 1985 Documentary Documentary 1985 Documentary 1986 1986 1986 1986 Documentary Documentary Documentary Documentary I’ll Be Home For Christmas Munda Nyuringu: He’s Taken The Land, He Believes It Is His, He Won’t Give It Back Raoul Wallenberg: Between The Lines Chile: Hasta Cuando? Flight Of The Windhorse Half Life Pitjiri: The Snake That Will Not Sink Brett Porter Gil Brealey Robert Parker Peter Thompson Stefan Sargent Tom Haydon Richard Mitchell David Crocker Philip Mark Law Michael Pearce Roger Whittaker Jef Doring; Su Doring Bruce Moir; Bob Kingsbury Michael Edols Paul Cox Phillip Noyce; Jan Sharpe Tim Woolmer David Bradbury Producer/Director – Harry Bardwell Producer/Director – David Bradbury Producer/Director – Chris Noonan Producer – Australian Institute of Aboriginal Studies; Director – Kim McKenzie Producers/Directors/Script – Andrew Pike; Hank Nelson; Gavan Daws Producer/Director – Peter Tammer Producers – Carolyn Strachan/Alessandro Cavadini; Script – Borroloola Community Producer – Anne Folland Producer – Angela Catterns Producers – Robin Anderson; Bob Connolly Producer – Ron Iddon Producer/Director – David Parer (ABC Natural History Unit) Gary Kildea Megan McMurchy; Margot Nash; Margot Oliver; Jeni Thornley Producer/Director – Tom Zubrycki Producers/Directors – David MacDougall; Judith MacDougall (Australian Institute of Aboriginal Studies) Producer/Director – Brian McKenzie Producers – Robert Bropho; Jan Roberts Producer – Bob Weis Producer – David Bradbury Producer – Richard Dennison Producer – Dennis O’Rourke Producer – Karen Hughes 231 Winners are in bold. 232 1986 1986 1987 1987 Documentary Documentary Documentary Documentary Rocking The Foundations Some Babies Die Friends And Enemies How The West Was Lost 1987 Documentary Painting The Town 1987 Documentary The Musical Mariner (Part One) 1988 Documentary Cane Toads, An Unnatural History 1988 Documentary Riding The Gale 1988 1988 1989 1989 Documentary Documentary Documentary Documentary South Of The Border Thanks Girls And Goodbye A Little Life Confessions Of A Simple Surgeon 1989 Documentary Joe Leahy’s Neighbours 1989 Documentary Philippines, My Philippines 1990 1990 1990 Documentary Documentary Documentary Handmaidens And Battleaxes Lord Of The Bush Senso Daughters 1990 1990 1991 1991 1991 1991 1991 1992 1992 Documentary Best Television Documentary Documentary Documentary Documentary Documentary Best Television Documentary Documentary Documentary 1992 1992 1992 1993 1993 1993 1993 1993 1994 1994 1994 1994 1994 Documentary Documentary Best Television Documentary Documentary Documentary Documentary Documentary Best Television Documentary Documentary Documentary Documentary Documentary Best Television Documentary Tightrope Dancer In Search Of Dr Mabuse Canto A La Vida Chainsaw 327 Cowboy & Maria In Town Eclipse Of The Man-Made Sun Guns And Roses Black Harvest God’s Girls: Stories From An Australian Convent Mr Neal Is Entitled To Be An Agitator The Serpent And The Cross Cop It Sweet Exile And The Kingdom For All The World To See Homelands The Journey Who Killed Malcolm Smith? 50 Years Of Silence Eternity The Last Magician Watch The Watch So Help Me God Producer – Pat Fiske Producer – Martyn Langdon Down Producer/Director – Tom Zubrycki Producers – Heather Williams; David Noakes; Director – David Noakes Producer – Ned Lander; Director – Trevor Graham Producers – Bill Leimbach; Claire Leimbach; Michael Dillon; David Fanshawe; Director – Bill Leimbach Production Company – Film Australia; Director – Mark Lewis Producers – Kim Batterham; Genni Batterham; Director – Hugh Piper Producer/Director – David Bradbury Producers/Directors – Sue Maslin; Sue Hardisty Producer/Director – Deborah Howlett Producer – NSW Dept of TAFE; Director – Paul Harmon Producers/Directors – Robin Anderson; Bob Connolly Producers – Maree Delofski; Chris Nash; Director – Chris Nash Producer/Director – Rosalind Gillespie Producer/Director – Tom Zubrycki Producers – Noriko Sekiguchi; Chris Owen; Tetsujiro Yamagami; Director – Noriko Sekiguchi Producer/Director – Ruth Cullen Varcha Sidwell Director – Lucia Salinas Briones Shirley Barrett Les McLaren; Annie Stiven Nicolette Freeman; Amanda Stewart John Moore; Helen Bowman Robin Anderson; Bob Connolly Cherie Nowlan Daryl Dellora Chris Hilton Jenny Brockie Frank Rijavec Pat Fiske Tom Zubrycki Christopher Tuckfield Nicholas Adler; Caroline Sherwood Ned Lander; Carol Ruff Lawrence Johnston Tracey Holloway; Liz Thompson Malcolm McDonald Jenny Brockie 1995 Documentary 1995 1995 1995 1995 1996 1996 1996 1996 1996 1997 1997 1997 1997 1997 1997 1997 1997 1998 1998 1998 1998 1999 1999 1999 1999 2000 2000 2000 2000 2001 2001 2001 2001 2002 2002 Documentary Documentary Documentary Best Television Documentary Documentary Documentary Documentary Documentary Best Television Documentary Documentary Documentary Documentary Documentary Best Television Documentary Best Television Documentary Best Television Documentary Best Television Documentary Documentary Documentary Documentary Documentary Documentary Documentary Documentary Documentary Documentary Documentary Documentary Documentary Documentary Documentary Documentary Documentary Documentary Documentary 2002 2002 2003 2003 2003 2003 2004 2004 2004 2004 2005 Documentary Documentary Documentary Documentary Documentary Documentary Documentary Documentary Documentary Documentary Documentary Pat & Eddy’s Greyhound Racing Family Raskols The Good Looker Witness Untold Desires Billal Hatred Nearly Normal Nimbin Part One Not Fourteen Again The Hillmen The Butler Colour Bars Exile In Sarajevo Mabo: Life Of An Island Man Dhuway Night Of The Bogongs The Last Of The Nomads You Always Hurt The Ones You Love The Dragons Of Galapagos Mohamed Ali’s Happy Day Feast Paying For The Piper Urban Clan A Calcutta Christmas Hephzibah Original Schtick Sadness A Death In The Family The Diplomat Stolen Generations Uncle Chatzkel Cunnamulla Facing The Music Playing The Game Wonderboy A Wedding In Ramallah East Timor – Birth Of A Nation: Rosa’s Story Rainbow Bird & Monster Man The Diaries Of Vaslav Nijinski Painting With Light In A Dark World Silent Storm The Original Mermaid Wildness Helen’s War: Portrait Of A Dissident Lonely Boy Richard The Men Who Would Conquer China The President Versus David Hicks Girl In A Mirror Brian McKenzie Sally Browning; Anou Borrey Claire Jager Michael Buckley Eva Orner; Sarah Stevens Tom Zubrycki Mitzi Goldman Jeni Kendall; Paul Tait Gillian Armstrong Tony Wright Anna Kannava Mahmoud Yekta Tahir Cambis; Alma Sahbaz Trevor Graham Producers – Lew Griffiths; Noel Pearson Producer – Klaus Toft Producers – Peter Du Cane; Samantha Kelley Producers – David Flatman; Sue Flatman David Parer; Elizabeth Parer-Cook Catherine Dyson Ed Punchard Aanya Whitehead; Paul Humfress Denise Haslem Curtis Levy Peter George; Bronwyne Smith Michael McMahon; Megan McMurchy Terry Carlyon; Robyn Miller Sally Browning; Wilson da Silva Tom Zubrycki Rod Freedman; Emile Sherman Dennis O’Rourke Bob Connolly; Robin Anderson Andrew Ogilvie; Peter Du Cane Andrew Wiseman; Richard Keddie Sherine Salama Luigi Acquisto; Stella Zammataro John Lewis Paul Cox; Aanya Whitehead Renata Schuman Peter Butt Ian Collie Michael McMahon Sonja Armstrong; Anne Pick Denise Haslem; Rose Hesp Nick Torrens Curtis Levy Helen Bowden 233 Winners are in bold. 234 2005 2005 2005 2006 2006 2006 2006 2007 2007 2007 2007 2008 2008 2008 2008 2009 2009 Documentary Documentary Documentary Documentary Documentary Documentary Documentary Documentary Documentary Documentary Documentary Documentary Documentary Documentary Documentary Documentary Series Documentary Series Jabe Babe: A Heightened Life Killers In Eden Land Mines – A Love Story Hunt Angels Raul The Terrible Vietnam Nurses Welcome 2 My Deaf World 4 Forbidden Lie$ Global Haywire Words From The City Beyond Our Ken Not Quite Hollywood The Oasis Rare Chicken Rescue Beyond Kokoda First Australians 2009 2009 2009 2009 2009 2009 2009 Documentary Series Documentary Series Documentary Under One Hour Documentary Under One Hour Documentary Under One Hour Documentary Under One Hour Feature Length Documentary Once Bitten Voices From The Cape The Love Market Salt Solo Tackling Peace Bastardy 2009 Feature Length Documentary 2009 2009 2010 2010 2010 2010 Feature Length Documentary Feature Length Documentary Documentary Series Documentary Series Documentary Series Documentary Series 2010 2010 2010 Documentary Under One Hour Documentary Under One Hour Documentary Under One Hour 2010 Documentary Under One Hour 2010 2010 2010 2010 Feature Length Documentary Feature Length Documentary Feature Length Documentary Feature Length Documentary 2011 Documentary Series 2011 2011 Documentary Series Documentary Series Glass: A Portrait Of Philip In Twelve Parts The Choir Lionel Addicted To Money Disable Bodied Sailors Kokoda Liberal Rule – The Politics That Changed Australia Rudely Interrupted Surviving Mumbai A Thousand Encores: The Ballets Russes In Australia You Only Live Twice – The Incredibly True Story Of The Hughes Family Contact Inside The Firestorm The Snowman Strange Birds In Paradise – A West Papuan Story Immigration Nation: The Secret History Of Us Outback Fight Club Outback Kids Janet Merewether Klaus Toft Dennis O’Rourke Sue Maslin Carlos Alperin Beth Frey; Lizzette Atkins Sally Ingleton Joanna Buggy; Tim Slade Sally Regan; Anna Broinowski Claude Gonzalez Philippa Campey Luke Walker Craig Griffin; Michael Lynch Ian Darling Vickie Gest Stig Schnell; Shaun Gibbons Darren Dale; Rachel Perkins; Helen Panckhurst Beth Frey; Janette Howe David Selvarajah Vadiveloo; Anna Kaplan Shalom Almond Michael Angus Jennifer Peedom Mark Radomsky Philippa Campey; Amiel Courtin-Wilson; Lynn-Maree Milburn; Andrew de Groot Scott Hicks; Susanne Preisler Chris Hilton; Michael Davie Lizzette Atkins Andrew Ogilvie; Andrea Quesnelle Karina Holden; Nick Robinson Andrew Wiseman Nick Torrens; Frank Haines Susie Jones; Benjamin Jones Andrew Ogilvie; Andrea Quesnelle Sharyn Prentice; Marianne Latham; Lavinia Riachi Ruth Cullen Martin Butler; Bentley Dean Lucy Maclaren; Alex West Rachel Landers; Dylan Blowen Jamie Nicolai; John Cherry Jacob Hickey; Alex West; Lucy Maclaren Paul Scott; Isabel Perez Mike Bluett; Mark Hamlyn; Marc Radomsky 2011 2011 2011 Documentary Series Documentary Under One Hour Documentary Under One Hour SAS – The Search For Warriors The Ball Jandamarra’s War 2011 2011 2011 2011 Documentary Under One Hour Documentary Under One Hour Feature Length Documentary Feature Length Documentary Leaky Boat Orchids: My Intersex Adventure Life In Movement Mrs Carey’s Concert 2011 Feature Length Documentary 2011 2012 2012 2012 2012 Feature Length Documentary Documentary Series Documentary Series Documentary Series Documentary Series Shut Up Little Man! An Audio Misadventure The Tall Man Go Back To Where You Came From Once Upon A Time In Cabramatta Singapore 1942 – End of Empire Sporting Nation 2012 2012 Documentary Under One Hour Documentary Under One Hour 2012 2012 2012 2012 2012 2012 Documentary Under One Hour Documentary Under One Hour Feature Length Documentary Feature Length Documentary Feature Length Documentary Feature Length Documentary All The Way I Can Change Your Mind About Climate The Man Who Jumped Then The Wind Changed A Common Purpose The Curse Of The Gothic Symphony Dr Sarmast’s Music School Storm Surfers 3D Julia Redwood; Ed Punchard Yael Bergman; Laura Waters; Jessica Leski Andrew Ogilvie; Andrea Quesnelle; Eileen Torres Penny Chapman Phoebe Hart Sophie Hyde; Bryan Mason Bob Connolly; Helen Panckhurst; Sophie Raymond Sophie Hyde; Matthew Bate Darren Dale Rick McPhee; Ivan O’Mahoney Jacob Hickey Andrew Ogilvie; Trevor Graham; Ned Lander Andrea Denholm; Lavinia Riachi; John Clarke; Laura Waters Anne Delaney Simon Nasht; Kate Hodges Julia Redwood; Ed Punchard Jeni McMahon; Celeste Geer Mitzi Goldman Veronica Fury Beth Frey Ellenor Cox; Marcus Gillezeau BEST EDITING 1967 1968 1969 1970 1971 1972 1973 1983 1983 1983 1983 1984 1984 1984 1984 1985 1985 1985 1985 1986 1986 1986 Editing Non Feature Editing Non Feature Editing Non Feature Editing Non Feature Editing Non Feature Editing Non Feature Editing Non Feature Editing Non Feature Editing Non Feature Editing Non Feature Editing Non Feature Editing Non Feature Editing Non Feature Editing Non Feature Editing Non Feature Editing Non Feature Editing Non Feature Editing Non Feature Editing Non Feature Editing Non Feature Editing Non Feature Editing Non Feature Cardin In Australia The Change At Groote And Then There Was Glass Big Island Not awarded Award withheld One Hundred A Day Double Concerto First Contact Peel The Sealer Getting Wet Heads ’N Tails No Man’s Land Teno Cold Chisel: Last Stand Nicaragua: No Pasaran Tarzan’s South Yarra Adventure Tripe Flight Of The Windhorse Rocking The Foundations The Rentman Peter Thompson Stefan Sargent Peter Tammer Rod Adamson N/A N/A David Stiven Suresh Ayyar Martyn Down; Stewart Young Jane Campion Roger Scholes Paul J. Hogan Henry Dangar Edwin Scragg Diana Priest Tony Stevens Stewart Young Ray Boseley Nicholas Beauman Michael Balson Stewart Young; Jim Stevens; Paul Hogan Ross Hutchens 235 Winners are in bold. 236 1986 1987 1987 1987 1987 1988 1988 1988 1988 1989 1989 1989 1989 1990 1990 1990 1990 1991 Editing Non Feature Editing Non Feature Editing Non Feature Editing Non Feature Editing Non Feature Editing Non Feature Editing Non Feature Editing Non Feature Editing Non Feature Editing Non Feature Editing Non Feature Editing Non Feature Editing Non Feature Editing Non Feature Editing Non Feature Editing Non Feature Editing Non Feature Editing Non Feature 1991 1991 1991 1992 1993 1993 1993 1993 1994 1994 1994 1994 1995 1995 1995 Editing Non Feature Editing Non Feature Editing Non Feature Editing Non Feature Editing Non Feature Editing Non Feature Editing Non Feature Editing Non Feature Editing Non Feature Editing Non Feature Editing Non Feature Editing Non Feature Editing Non Feature Editing Non Feature Editing Non Feature 1995 1996 1996 1996 1996 1997 1997 1997 1997 1998 1998 1998 1998 1999 Editing Non Feature Editing Non Feature Editing Non Feature Editing Non Feature Editing Non Feature Editing Non Feature Editing Non Feature Editing Non Feature Editing Non Feature Editing Non Feature Editing Non Feature Editing Non Feature Editing Non Feature Editing Non Feature The Siege Of Barton’s Bathroom Damsels Be Damned How The West Was Lost Kick Start The Musical Mariner (Part One) A Song Of Air Cane Toads, An Unnatural History Sleepwalker South Of The Border A Day And A Half Australia Daze Buried Alive: The Story Of East Timor Soul Mate Handmaidens & Battleaxes Once In Time Sparks The Wonderful World Of Dogs Donald Friend: The Prodigal Australian Eclipse Of The Man-Made Sun Puppenhead The Tennis Ball Not a category this year Everest – Sea To Summit Gumshoe Range Of Experience The Good Son Simple The Junky’s Christmas The Last Magician Watch The Watch Code Blue Lucinda, 31 Pat & Eddy’s Greyhound Racing Family Video Fool For Love Hatred Margaret Star: A Fall From Grace No Way To Forget Rats In The Ranks Final Cut Prick S.O.S. Year Of The Dogs Box Denial The Great Duel Paying For The Piper Bloodlock Doug Howard; Paul J. Hogan Murray Ferguson Frank Rijavec Nubar Ghazarian Simon Dibbs; Bill Leimbach Merilee Bennett Lindsay Frazer Scott Patterson; Neill Gibbie Denise Hunter Matthew Tucker Denise Haslem; Tim Litchfield Rod Hibberd Linc Hiatt Diana Priest Tania Nehme Linda Kruger Lindsay Frazer Tim Lewis Diana Priest Graeme Jackson Melanie Sandford N/A Michael Balson Suresh Ayyar Anne Pratten Sean Cousins; David Rowe Nick Meyers Joel Pront Stewart Young Suresh Ayyar Belinda Hall Nick Meyers Ray Argall Robert Gibson Denise Haslem Cathy Dreyton; Annabelle Murphy Michael Collins Ray Thomas Martin Connor Nash Edgerton Jane Usher Stewart Young Cath Chase Phillip Crawford Peter Butt Lawrie Silvestrin Nash Edgerton 1999 1999 1999 2000 2000 2000 2000 2001 2001 2001 2001 2002 Editing Non Feature Editing Non Feature Editing Non Feature Editing Non Feature Editing Non Feature Editing Non Feature Editing Non Feature Editing Non Feature Editing Non Feature Editing Non Feature Editing Non Feature Editing Non Feature 2002 2002 Editing Non Feature Editing Non Feature 2002 2003 2003 2003 2003 2004 2004 2004 2004 2005 2005 2005 2005 2006 2006 2006 2006 2007 2007 2007 2007 2008 2008 2008 2008 2009 2009 Editing Non Feature Editing Non Feature Editing Non Feature Editing Non Feature Editing Non Feature Editing Non Feature Editing Non Feature Editing Non Feature Editing Non Feature Best Editing In A Non-Feature Film Best Editing In A Non-Feature Film Best Editing In A Non-Feature Film Best Editing In A Non-Feature Film Best Editing In A Documentary Best Editing In A Documentary Best Editing In A Documentary Best Editing In A Documentary Best Editing In A Documentary Best Editing In A Documentary Best Editing In A Documentary Best Editing In A Documentary Best Editing in a Documentary Best Editing in a Documentary Best Editing in a Documentary Best Editing in a Documentary Best Editing in a Documentary Best Editing in a Documentary 2009 2009 2010 2010 2010 Best Editing in a Documentary Best Editing in a Documentary Best Editing in a Documentary Best Editing in a Documentary Best Editing in a Documentary Hephzibah Liu Awaiting Spring Original Schtick The Director The Extra Hurt Thomson Of Arnhem Land Australians At War (Documentary) Rubber Gloves (Short Fiction) Secret Safari (Documentary) Stump (Short Fiction) East Timor – Birth Of A Nation: Rosa’s Story (Documentary) Jack (Short Fiction) Rainbow Bird & Monster Man (Documentary) Roundabout (Short Fiction) Cracker Bag (Short Fiction) Painting With Light In A Dark World Roy Höllsdotter Live (Short Fiction) The Original Mermaid Palermo – ‘History’ Standing Still So Close To Home The Men Who Would Conquer China Truckies Don’t Eat Quiche All Points Of The Compass Jewboy Mr. Patterns The Djarn Djarns Raul The Terrible The Archive Project The Black Road Vietnam Nurses Cuttlefish – The Brainy Bunch Forbidden Lie$ Global Haywire Words From The City Not Quite Hollywood The Oasis Rare Chicken Rescue The Siege Bastardy Cracking The Colour Code – Episode 2 ‘Making Colours How Kevin Bacon Cured Cancer Yes Madam, Sir Contact Inside The Firestorm Surviving Mumbai Veronika Jenet Adolfo Cruzado Jane Usher Patrick Hughes Louis Byrne-Smith Jack Rath; Phillip Crawford Andrea Lang Melanie Sandford Rebecca Murphy Emma Hay Merlin Cornish; Robert Forsyth Terence Doran Merlin Cornish Uri Mizrahi Geordie Anderson Jack Hutchings Rolland Gallois Geoff Hitchins Sally Fryer Janet Merewether Denise Haratzis Jane St Vincent Welch David Cole Paul Hamilton; Michael Horton Jane Moran James Bradley Henry Dangar Stewart Young Uri Mizrahi Lawrie Silvestrin Tony Stevens Carsten Orit Vanessa Milton; Alison Croft Sam Petty Paul Williams Jamie Blanks; Sara Edwards; Mark Hartley Sally Fryer Scott Walton Stewart Young Bill Murphy; Jack Hutchings; Richard Lowenstein Lawrie Silvestrin Zen Rosenthal Megan Doneman; Annie Collins Tania Nehme Steven Robinson David Fosdick 237 Winners are in bold. 2010 Best Editing in a Documentary 2011 2011 2011 Best Editing in a Documentary Best Editing in a Documentary Best Editing in a Documentary 2011 2012 Best Editing in a Documentary Best Editing in a Documentary 2012 2012 Best Editing in a Documentary Best Editing in a Documentary 2012 Best Editing in a Documentary A Thousand Encores: The Ballets Russes In Australia Leaky Boat Mrs Carey’s Concert Shut Up Little Man! An Audio Misadventure The Tall Man Chateau Chunder – A Wine Revolution Dr Sarmast’s Music School Once Upon A Time In Cabramatta – Episode 1 Storm Surfers 3D Karin Steininger Lawrie Silvestrin Sophie Raymond; Ray Thomas; Nick Meyers Bryan Mason Rochelle Oshlack Lawrie Silvestrin Tony Stevens Sam Wilson Rodrigo Balart EXPERIMENTAL FILM 1960 1961 1962 1963 1964 1965 1966 1967 1967 1968 1969 1970 1971 1972 1973 1973 1973 1974/8 1979 1980 1981 1982 1983 1984 1985 1986 1987 1988 1989 Best Experimental Film Best Experimental Film Best Experimental Film Best Experimental Film Best Experimental Film Best Experimental Film Best Experimental Film Best Experimental Film Best Experimental Film Best Experimental Film Best Experimental Film Best Experimental Film Best Experimental Film Best Experimental Film Best Experimental Film Best Experimental Film Best Experimental Film Best Experimental Film Best Experimental Film Best Experimental Film Best Experimental Film Best Experimental Film Best Experimental Film Best Experimental Film Best Experimental Film Best Experimental Film Best Experimental Film Best Experimental Film Best Experimental Film The Blackman And His Bride Not awarded Conference Room Adam And Eve Say Bow Wow Sound And Image Portrait Of A Girl Hearts And Minds Man And His World Run I’m After Me After Proust Earth Message Some Regrets Magic Camera Film 2 Scars Reflections Ten Minutes Not awarded Sydney Harbour Bridge Self Portrait Blood Red Drink The Moon The Bridge Serious Undertakings Passionless Moments The Lead Dress My Life Without Steve Palisade A Song Of Air Soul Mate Tim Burstall N/A B. Porter Dusan Marek Gil Brealey B. Phillips John N. Bale Bruce Petty Albie Thoms Julian Gibson Christopher McGill Arthur Cantrill Brian Robinson Victor Kay Paul Winkler James Ricketson David Stocker N/A Paul Winkler Ivam Durrant Mark Foster Mark Foster Helen Grace Jane Campion; Gerard Lee Virginia Murray Gillian Leahy; Digby Duncan Laurie McInnes Merilee Bennett Linc Hiatt SCREENPLAY NON FEATURE 1983 1983 1983 1983 1984 238 Screenplay Non Feature Screenplay Non Feature Screenplay Non Feature Screenplay Non Feature Screenplay Non Feature A Voice In The Wilderness Marbles Serious Undertakings The Rough And The Smooth A Girl’s Own Story Joan Bean; Richard Dennison Wendy Thompson Helen Grace David Muir Jane Campion 1984 1984 Screenplay Non Feature Screenplay Non Feature For Love Or Money Heads ’N Tails 1984 1985 1986 1986 1986 1986 1987 1987 1987 1987 Screenplay Non Feature Best Screenplay In A Short Film Screenplay Non Feature Screenplay Non Feature Screenplay Non Feature Screenplay Non Feature Screenplay Non Feature Screenplay Non Feature Screenplay Non Feature Screenplay Non Feature One Last Chance Danny Half Life Rocking The Foundations The Mooncalf The Rentman How The West Was Lost Smacks And Kicks Spaventapasseri Witch Hunt 1988 1989 1989 1989 1989 1990 1990 1990 1990 Screenplay Non Feature Screenplay Non Feature Screenplay Non Feature Screenplay Non Feature Screenplay Non Feature Screenplay Non Feature Screenplay Non Feature Screenplay Non Feature Screenplay Non Feature 1991 1991 1991 1991 Screenplay Non Feature Screenplay Non Feature Screenplay Non Feature Screenplay Non Feature 1993 1993 1993 1993 1994 1994 1994 1994 1995 1995 1995 1995 Screenplay Non Feature Screenplay Non Feature Screenplay Non Feature Screenplay Non Feature Screenplay Non Feature Screenplay Non Feature Screenplay Non Feature Screenplay Non Feature Screenplay Non Feature Screenplay Non Feature Screenplay Non Feature Screenplay Non Feature The Killing Of Angelo Tsakos The Space Between The Door And The Floor A Horse With Stripes Plead Guilty, Get A Bond Sure Thing The Man In The Blue And White Holden Black Dogs Just Desserts Mr Electric Terra Nullius Frailejon Only The Brave Simple The Silk A Dancing Foot And A Praying Knee Hell, Texas And Home Out The Beat Manifesto 1996 1996 1996 1996 1997 1997 1997 1997 Screenplay Non Feature Screenplay Non Feature Screenplay Non Feature Screenplay Non Feature Screenplay Non Feature Screenplay Non Feature Screenplay Non Feature Screenplay Non Feature Cabbie Of The Year No Way To Forget Parklands Stitched Boy Little White Lies My Second Car Revisionism Megan McMurchy; Margot Oliver; Jeni Thornley Janis Balodis; Ken Cameron; Jane Oehr; Pamela Van Amstel Rob George Robert Marchand Dennis O’Rourke Pat Fiske Kieran Weir Ross Hutchens; Peter Flynn David Noakes; Heather Williams Catherine Stone Luigi Acquisto Barbara Chobocky; Jeffrey Bruer; Sue Castrique Not awarded N/A Bonza David Swann No Need To Stand Steven Faux Ruthven – A Poem Of Life And Dettol Barry Dickins The Contract David Ogilvy Night Out Lawrence Johnston Catherine Zimdahl Sparks Kay Pavlou; Petro Alexiou Andrew O’Sullivan Andrew O’Sullivan Ben Lewin Jacquelin Perske Peter Luby Andrew G. Taylor Monica Pellizzari Stuart McDonald Anne Pratten Joshua Yeldham Ana Kokkinos; Mira Robertson Polly Seddon Alison Lyssa Andrew Sully Steven Vidler Alexandra Long Tony MacNamara; Daniel Nettheim; Matthew Schulz Mick Connolly Richard Frankland Kathryn Millard Gregor Jordan Glenn Fraser; Chris Wheeler Della Churchill Stuart McDonald Rachel Landers 239 Winners are in bold. 240 1998 1998 1998 1998 1999 1999 1999 1999 2000 2000 2000 2000 2001 2001 2001 2001 2002 2002 2002 2002 2003 2003 2003 2003 2004 2004 2004 2004 2005 2005 2005 2005 Screenplay Non Feature Screenplay Non Feature Screenplay Non Feature Screenplay Non Feature Screenplay Non Feature Screenplay Non Feature Screenplay Non Feature Screenplay Non Feature Screenplay Non Feature Screenplay Non Feature Screenplay Non Feature Screenplay Non Feature Best Screenplay Short Fiction Best Screenplay Short Fiction Best Screenplay Short Fiction Best Screenplay Short Fiction Best Screenplay In A Short Film Best Screenplay In A Short Film Best Screenplay In A Short Film Best Screenplay In A Short Film Best Screenplay Short Fiction Best Screenplay Short Fiction Best Screenplay Short Fiction Best Screenplay Short Fiction Best Screenplay Short Fiction Best Screenplay Short Fiction Best Screenplay Short Fiction Best Screenplay Short Fiction Best Screenplay In A Short Film Best Screenplay In A Short Film Best Screenplay In A Short Film Best Screenplay In A Short Film 2006 2006 2006 2006 2007 2007 2007 2007 2008 2008 2008 2008 2009 2009 2009 2009 Best Screenplay Short Fiction Best Screenplay Short Fiction Best Screenplay Short Fiction Best Screenplay Short Fiction Best Screenplay Short Fiction Best Screenplay Short Fiction Best Screenplay Short Fiction Best Screenplay Short Fiction Best Screenplay in a Short Film Best Screenplay in a Short Film Best Screenplay in a Short Film Best Screenplay in a Short Film Best Screenplay in a Short Film Best Screenplay in a Short Film Best Screenplay in a Short Film Best Screenplay in a Short Film Denial Mate My Colour Your Kind Picture Woman Break & Enter Cousin Harry’s War Pilbara Pearl Brother Confessions Of A Headhunter Gate Other Days Of Ruby Rae Delivery Day Inja (Dog) Sparky D Comes To Town The Big House Eve Of Adha Into The Night The Only Person In The World The Shot Cold Turkey Cracker Bag Preservation The Rouseabout Birthday Boy Floodhouse Queen Of Hearts So Close To Home Barely Visible Jewboy The Djarn Djarns The Mysterious Geographic Explorations Of Jasper Morello A Natural Talent Paper And Sand Stranded The Safe House Boy’s Own Story Crossbow Dugong Katoomba 296 Smith Street Chainsaw fOUR The Ground Beneath Boxer Liebermans In The Sky Miracle Fish Water Phillip Crawford Evan Clarry Danielle Maclean Peter Rasmussen Trudy Hellier Adam Elliot Richard Frankland Sarah Rossetti Adam Elliot Sally Riley; Archie Weller Peter Carstairs Vikki Blanche Khoa Do Steve Pasvolsky Kris Mrksa Rachel Ward Leonard Yip Cath Moore Ben Chessell Matthew Hawkins Steven McGregor Glendyn Ivin Sofya Gollan Scott Pickett Sejong Park Miro Bilbrough Danielle Maclean Madeleine Blackwell Jody Dwyer Tony Krawitz Wayne Blair Mark Shirrefs Louise Fox Matt Rubinstein; Ian Kennedy Williams Kathleen O’Brien Lee Whitmore Michael Petroni David Michod Erin White Leon Ford John Evagora Dennis Tupicoff Erin White Rene Hernandez Michael Latham Richard Vilensky Luke Doolan Corrie Jones; Sarah Shaw; Ian Meadows 2010 2010 2010 2010 2011 2011 2011 2011 2012 2012 2012 2012 Best Screenplay in a Short Film Best Screenplay in a Short Film Best Screenplay in a Short Film Best Screenplay in a Short Film Best Screenplay in a Short Film Best Screenplay in a Short Film Best Screenplay in a Short Film Best Screenplay in a Short Film Best Screenplay in a Short Film Best Screenplay in a Short Film Best Screenplay in a Short Film Best Screenplay in a Short Film Deeper Than Yesterday Glenn Owen Dodds The Kiss A Parachute Falling In Siberia Afterglow Cropped The Palace Waiting For The Turning Of The Earth BINO Dumpy Goes To The Big Smoke Julian Transmission Ariel Kleiman Sonia Hofmann Antoinette Starkiewicz Trent Dalton Ashlee Page Sarah Shaw; Ian Meadows Nadine Garner Dave Wade Anthony Maras David Evan Giles Billie Pleffer Mirrah Foulkes Matthew Moore Zak Hilditch BEST SHORT ANIMATION FILM 1979 1980 1981 1981 1981 Best Animation Film Best Animation Film Best Animation Film Best Animation Film Best Animation Film Letter To A Friend Pussy Pumps Up Bushed Foxbat And Mimi The Animation Game 1982 1982 1982 1983 Best Animation Film Best Animation Film Best Animation Film Best Animation Film Dudu And The Line Flank Breeder The Great Wave Dance Of Death 1983 1984 1984 1984 1984 1985 1985 1985 1985 1986 1986 1986 1986 1987 1987 1987 Best Animation Film Best Animation Film Best Animation Film Best Animation Film Best Animation Film Best Animation Film Best Animation Film Best Animation Film Best Animation Film Best Animation Film Best Animation Film Best Animation Film Best Animation Film Best Animation Film Best Animation Film Best Animation Film Foxbat And The Demon Anatomy Of A Businessman Ned Wethered The Thief Of Sydney Waltz Mambo Cut Out Animation Kitchen Sync Pianoforte Waltzing Matilda Change Of Place Elephant Theatre Joshua Cooks The Huge Adventures Of Trevor, A Cat 224 Crust In Love Cancer 1987 1988 1988 1988 1988 1989 1989 Best Animation Film Best Animation Film Best Animation Film Best Animation Film Best Animation Film Best Animation Film Best Animation Film Worry A Craven Feathers And Fools Home Sweet Home Where The Forest Meets The Sea Lucky Girl Ratropolis Director – Stephen French Director – John Skibinski Producer – Eric Halliday; Director – David Johnston Producer/Director/Script – Steve French Producer/Director/Script – Bruce Currie Producer/Director – Tony Gooley Producer/ Director/ Cinematography/Script – Dennis Tupicoff Producer/Director – John Skibinski Bruce Currie Lee Whitmore Toby Zoates Andrew Quinn David Johnson Maree Woolley Antoinette Starkiewicz; Julia Overton Michael Chataway; Richard Chataway Producer – Kathy Smith Director – Sabrina Schmid Director – Penny Robenstone Director – John Taylor Producer/Director – Dirk de Bruyn Producer/Director – John E. Hughes Producer – David Atkinson; Director – Jenni Robertson Producer/ Director – Charles Amsden Director – Anne Algar Director – Penny Robenstone Director – Simone Lindhout Director – Jeannie Baker Producer/Director – Jeffrey Noonan Producers/Directors – Jenni B-Zipporah; Bix Nussey 241 Winners are in bold. 242 1989 1989 1990 Best Animation Film Best Animation Film Best Animation Film Still Flying The Shadowlands Once As If A Balloon 1990 Best Animation Film Picture Start 1990 1990 1991 1991 1991 1991 1992 1992 1992 1992 1993 1993 1993 1993 1994 1994 1994 1994 1995 Best Animation Film Best Animation Film Best Animation Film Best Animation Film Best Animation Film Best Animation Film Best Animation Film Best Animation Film Best Animation Film Best Animation Film Best Animation Film Best Animation Film Best Animation Film Best Animation Film Best Animation Film Best Animation Film Best Animation Film Best Animation Film Best Animation Film 1995 1995 1995 1996 1996 1996 1996 1997 1997 1997 1997 1998 1998 1998 1998 1999 1999 1999 1999 2000 2000 2000 2000 Best Animation Film Best Animation Film Best Animation Film Best Animation Film Best Animation Film Best Animation Film Best Animation Film Best Animation Film Best Animation Film Best Animation Film Best Animation Film Best Animation Film Best Animation Film Best Animation Film Best Animation Film Best Animation Film Best Animation Film Best Animation Film Best Animation Film Best Animation Film Best Animation Film Best Animation Film Best Animation Film The Emu And The Sun Tiga Feral Television Reaper Madness Two Fish Union Street Secrets Of The City Shelf Life The Amphibian The Descent A Saucer Of Water For The Birds Arnold Has A Thought The Darra Dogs The Web: Bandicoot Gorgeous Muttaburrasaurus The Junky’s Christmas Total Recession Great Moments In Science: Falling Cats Small Treasures The Story Of Rosie Dock Writer’s Block Blood On The Chandelier Lovely Day The Journey The Web 2: Wolf Heartbreak Motel His Mother’s Voice On A Full Moon Uncle Harry The Human Fly Has Beans Seabound Vengeance Cousin Headspace Project Vlad Slim Pickings Brother Full Circle Leunig: Tricks Way Of The Birds Producer/Director – Robert Stephenson Producer/Director – Anthony Lucas Producer/Director – Sabrina Schmid; Director – Jeremy Parker Producers – David Atkinson; John Bird; Director – Jeremy Parker Producer/Director – John Skibinski Producer/Director – Lucinda Clutterbuck David Ledwich Nick Donkin Rohan Smith Director – Wendy Chandler Cathy Linsley Andrew Horne Sina Azad; Anthony Lucas Andrew Schult Ann Shenfield Peter McDonald Dennis Tupicoff Lucinda Clutterbuck; Sarah Watt Kaz Cooke Grahame Binding; Norman Yeend Nick Donkin Durand Greig Andrew Horne Sarah Watt Jeannie Baker Leon Cmielewski Jeffrey Norris Chris Backhouse Robert Gudan Lucinda Clutterbuck Greg Holfeld Dennis Tupicoff Lee Whitmore Adam Elliot Darryl Aylward Andrew Tamandl Donna Kendrigan Wendy Chandler Adam Elliot Chris Backhouse Aaron Rogers Anthony Lucas Adam Elliot Adam Head Andrew Horne Sarah Watt 2001 2001 2001 2001 2002 2002 2002 2002 2003 2003 2003 2003 2004 2004 2004 2004 2005 2005 2005 2005 Best Short Animation Film Best Short Animation Film Best Short Animation Film Best Short Animation Film Best Short Animation Film Best Short Animation Film Best Short Animation Film Best Short Animation Film Best Short Animation Film Best Short Animation Film Best Short Animation Film Best Short Animation Film Best Short Animation Film Best Short Animation Film Best Short Animation Film Best Short Animation Film Best Short Animation Film Best Short Animation Film Best Short Animation Film Best Short Animation Film 2006 2006 2006 2006 2007 Best Short Animation Film Best Short Animation Film Best Short Animation Film Best Short Animation Film Best Short Animation Film (Awarded To Producers) Best Short Animation Film (Awarded To Producers) Best Short Animation Film (Awarded To Producers) Best Short Animation Film (Awarded To Producers) Best Short Animation Film (Awarded To Producers) Best Short Animation Film (Awarded To Producers) Best Short Animation Film (Awarded To Producers) Best Short Animation Film (Awarded To Producers) Best Short Animation Best Short Animation Best Short Animation Best Short Animation Best Short Animation Best Short Animation Best Short Animation Best Short Animation Best Short Animation 2007 2007 2007 2008 2008 2008 2008 2009 2009 2009 2009 2010 2010 2011 2011 2011 Bad Baby Amy Living With Happiness The Collective The Exploding Woman Into The Dark Pa Shhh … Show And Tell Cane Toad – What Happened To Baz? Harvie Krumpet Hello Mother Tongue Birthday Boy Footnote It’s Like That Lucky For Some 2:41 Upfield Fritz Gets Rich Piñata The Mysterious Geographic Explorations Of Jasper Morello Carnivore Reflux Gargoyle The Astronomer The Safe House An Imaginary Life Anthony Lucas Sarah Watt Dust Echoes 2 – ‘The Bat And The Butterfly’ The Girl Who Swallowed Bees Michael Wagner; Dave Jones The Goat That Ate Time Lucinda Schreiber Chainsaw Fiona Cochrane; Dennis Tupicoff Dog With Electric Collar Steve Baker; Damon Escott Mutt Beth Frey; Glen Hunwick Paper City Architects Daniel Agdag The Cat Piano Chicken of God The Not-So-Great Eugene Green Reach The Lost Thing Zero Forget Me Not The Missing Key The Moment Jessica Brentnall; Eddie White; Ari Gibson Jodi Satya; Frank Woodley Melanie Brunt; Michael Hill Luke Randall Sophie Byrne; Andrew Ruhemann; Shaun Tan Christopher Kezelos; Christine Kezelos Emily Dean Garth Nix; Anna McFarlane; Jonathan Nix Justin Wight; Kristian Moliere; Troy Bellchambers; Shane McNeil Norah Mulroney Nancy Allen Dennis Tupicoff Neil Goodridge Adam Robb Mark Gravas David Clayton; Andrew Silke Adam Elliot Jonathan Nix Susan Kim Sejong Park Pia Borg Southern Ladies Animation Group (S.L.A.G.) Robert Stephenson Callum Cooper James Calvert; Eddie White Mike Hollands Anthony Lucas James Calvert; Eddie White Michael Cusack Kate McCartney Lee Whitmore Steve Baker Justine Kerrigan; Paul McDermott 243 Winners are in bold. 2011 Best Short Animation Nullarbor 2012 2012 Best Short Animation Best Short Animation 2012 2012 Best Short Animation Best Short Animation The Hunter LEGO® Star Wars®: The Padawan Menace™ The Maker Sleight of Hand Alister Lockhart; Patrick Sarell; Katrina Mathers; Merrin Jensen; Daryl Munton Marieka Walsh David Scott; Mark Thorley; Amber Naismith Christopher Kezelos; Christine Kezelos Michael Cusack; Richard Chataway BEST SHORT FICTION FILM 244 1970 1971 1974/5 1974/5 1976 1977 1978 1979 1980 1981 Best Short Fiction Film Best Short Fiction Film Best Short Fiction Film Best Short Fiction Film Best Short Fiction Film Best Short Fiction Film Best Short Fiction Film Best Short Fiction Film Best Short Fiction Film Best Short Fiction Film Dead Easy Homesdale Matchless Who Killed Jenny Langby? Queensland Love Letters From Teralba Road Temperament Unsuited Goodbye Johnny Ray Gary’s Story Captives Of Care 1981 1981 Best Short Fiction Film Best Short Fiction Film Mallacoota Stampede Piece Of Cake 1981 1982 Best Short Fiction Film Best Short Fiction Film The Report A Most Attractive Man 1982 Best Short Fiction Film Greetings From Wollongong 1982 1982 Best Short Fiction Film Best Short Fiction Film The Revenant To Florinda 1983 1983 1983 1983 Best Short Fiction Film Best Short Fiction Film Best Short Fiction Film Best Short Fiction Film A Town Like This The Genius Is Lying On Guard Peel 1984 1984 1984 1984 1985 Best Short Fiction Film Best Short Fiction Film Best Short Fiction Film Best Short Fiction Film Best Short Fiction Film A Girl’s Own Story Every Day, Every Night Getting Wet Skipping Class After Hours 1985 1985 1985 1986 1986 1986 1986 1987 Best Short Fiction Film Best Short Fiction Film Best Short Fiction Film Best Short Fiction Film Best Short Fiction Film Best Short Fiction Film Best Short Fiction Film Best Short Fiction Film Public Knowhow Tarzan’s South Yarra Adventure The Cellist The Fogbrook Thing The Mooncalf The Portrait Of Wendy’s Father The Rentman Damsels Be Damned Nigel Buesst Peter Weir John Papadopoulos Donald Crombie John Ruane Stephen Wallace Ken Cameron Michael Harvey Richard Mihalchak Producer – Don Catchlove; Director – Stephen Wallace Producer/Director – Peter Tammer Producer – Pan Vanneck; Director – Mitch Matthews Producer – Pam Scott; Director – Tony Wheeler Producer – Gillian Coote; Director – Rivka Hartman Producer – Nina Saunders; Director/Script – Mary Callaghan Producer/Director/Script – Nigel Abbott Producer – AFTS; Director/Script – Fiona Louise Meek Producer – John Prescott Director – Anne Harding (Swinburne) Producer – Digby (Janice) Duncan Production Company – AFTS; Director – Jane Campion Jane Campion (AFTS) Kathy Mueller (Swinburne) Paul J. Hogan (AFTS) Producer/Director – Chris Warner Director – Jane Campion (Women’s Film Unit, Film Australia) Producers – Margaret Wertheim; John E. Hughes Director – Ray Boseley (Swinburne) Director – Robert Marchand (AFTS) Director – Mark Osborne (Swinburne) Producer – Ian Rochford (AFTRS) Producer – Ian Rochford (AFTRS) Producer – Ross Hutchens (AFTRS) Producer/Director – Wendy Thompson 1987 Best Short Fiction Film Feathers 1987 1987 Best Short Fiction Film Best Short Fiction Film Poetry For An Englishman Spaventapasseri 1988 1988 1988 1988 1989 Best Short Fiction Film Best Short Fiction Film Best Short Fiction Film Best Short Fiction Film Best Short Fiction Film Boss Boy Cherith Rabbit On The Moon The Seannachie Bonza 1989 Best Short Fiction Film Crack In The Curtains 1989 Best Short Fiction Film Lover Boy 1989 1990 Best Short Fiction Film Best Short Fiction Film The Contract Sparks 1990 1990 1990 Best Short Fiction Film Best Short Fiction Film Best Short Fiction Film Swimming Teenage Babylon The Killing Of Angelo Tsakos 1991 1991 1991 Best Short Fiction Film Best Short Fiction Film Best Short Fiction Film 1991 1992 1992 1992 1992 1993 1993 1993 1993 1994 1994 1994 1994 1995 1995 1995 1995 1996 1996 1996 1996 1997 1997 1997 Best Short Fiction Film Best Short Fiction Film Best Short Fiction Film Best Short Fiction Film Best Short Fiction Film Best Short Fiction Film Best Short Fiction Film Best Short Fiction Film Best Short Fiction Film Best Short Fiction Film Best Short Fiction Film Best Short Fiction Film Best Short Fiction Film Best Short Fiction Film Best Short Fiction Film Best Short Fiction Film Best Short Fiction Film Best Short Fiction Film Best Short Fiction Film Best Short Fiction Film Best Short Fiction Film Best Short Fiction Film Best Short Fiction Film Best Short Fiction Film A Horse With Stripes Puppenhead The Man In The Blue And White Holden The Tennis Ball My Tiger’s Eyes Road To Alice See You Next Weekend The Art Of Drowning Heart Of Pearl Mr Electric Opportunity Knocks Terra Nullius Frailejon Only The Brave Rosie’s Secret Simple A Dancing Foot And A Praying Knee Hell, Texas And Home Out The Beat Manifesto Happy Little Vegemites unauthorised Lovely No Way To Forget Stainless Steel Boy Flying Over Mother Revisionism Producers – Timothy White; Ken Sallows; Director – John Ruane Producer/Director – Martin Daley Producer – Peter Tammer; Director – Luigi Acquisto Producer – Swinburne; Director – George Viscas Producer – AFTRS; Director – Shirley Barrett Producer – AFTRS; Director – Monica Pellizzari Producer – Swinburne; Director – Lynn Hegarty Producer – Deborah Hoare; Director – David Swann Producer – Anna Grieve; Director – Jinks Dulhunty Producer – Daniel Scharf; Director – Geoffrey Wright Producer/Director – David Ogilvy Producer – Prue Adams; Director – Robert Klenner Producer/Director – Belinda Chayko Producer/Director – Graeme Wood Producer – Rosemary Blight; Director – Kay Pavlou Andrew O’Sullivan David Cox Peter Luby John Dobson Teck Tan Stavros Efthymiou John Irwin Jaems Grant Andrew G. Taylor Stuart McDonald Mick Connolly Anne Pratten Joshua Yeldham Ana Kokkinos Lisa Matthews Polly Seddon Andrew Sully Deborah Niski Samantha Lang Daniel Nettheim Colin Mowbray Ruth Carr Richard Frankland Jonathon Hill Glenn Fraser Michael James Rowland Rachel Landers 245 Winners are in bold. 1997 1998 1998 1998 1998 1999 1999 1999 1999 2000 2000 2000 2000 2001 2001 2001 2001 2002 2002 2002 2002 2003 2003 2003 2003 2004 2004 2004 2004 2005 2005 2005 2005 2006 2006 2006 2006 2007 2007 2007 2007 2008 2008 246 Best Short Fiction Film Best Short Fiction Film Best Short Fiction Film Best Short Fiction Film Best Short Fiction Film Best Short Fiction Film Best Short Fiction Film Best Short Fiction Film Best Short Fiction Film Best Short Fiction Film Best Short Fiction Film Best Short Fiction Film Best Short Fiction Film Best Short Film Best Short Film Best Short Film Best Short Film Best Short Film Best Short Film Best Short Film Best Short Film Best Short Fiction Film Best Short Fiction Film Best Short Fiction Film Best Short Fiction Film Best Short Fiction Film Best Short Fiction Film Best Short Fiction Film Best Short Fiction Film Best Short Fiction Film Best Short Fiction Film Best Short Fiction Film Best Short Fiction Film Best Short Fiction Film Best Short Fiction Film Best Short Fiction Film Best Short Fiction Film Best Short Fiction Film (Awarded To The Producers) Best Short Fiction Film (Awarded To The Producers) Best Short Fiction Film (Awarded To The Producers) Best Short Fiction Film (Awarded To The Producers) Best Short Fiction Film (Awarded To The Producers) Best Short Fiction Film (Awarded To The Producers) The Beneficiary Delia My Bed Your Bed Tears Two/Out Above The Dust Level Break & Enter Liu Awaiting Spring Wind Confessions Of A Headhunter The Extra Flowergirl Kulli Foot Delivery Day Inja (Dog) Saturn’s Return The Big House Eve Of Adha Into The Night Roundabout The Host Cracker Bag Preservation Roy Höllsdotter Live The Visitor Floodhouse Lennie Cahill Shoots Through So Close To Home The Scree A Message From Fallujah Azadi Jewboy The Eye Inside Small Boxes Stranded The 9:13 The Desert Boy’s Own Story Graeme Burfoot Dugong Melanie Brunt; Erin White Spike Up Anthony Maras; Kent Smith Swing Louise Pascale; Christopher Houghton fOUR Zyra McAuliffe; Erin White Jerrycan Stuart Parkyn; Julius Avery Priscilla Cameron Erica Glynn Ivan Sen Kriv Stenders Carla Drago Amanda Brotchie Andrew Soo Ivan Sen Sally Riley Darren Ashton Cate Shortland Brendan Fletcher Jane Manning Steve Pasvolsky Wenona Byrne Rachel Ward Leonard Yip Tony Krawitz Rachel Griffiths Nicholas Tomnay Glendyn Ivin Sofya Gollan Matthew Saville Dan Castle Miro Bilbrough Paul Oliver Jessica Hobbs Paul McDermott Richard Gibson Anthony Maras Tony Krawitz Cordelia Beresford Rene Hernandez Stuart McDonald Matthew Phipps Glendyn Ivin Michael Petroni; Jamie Hilton The Ground Beneath Kristina Ceyton; Rene Hernandez My Rabit Hoppy Anthony Lucas 2009 2009 2009 2009 2010 Best Short Fiction Film (Awarded To The Producers) Best Short Fiction Film (Awarded To The Producers) Best Short Fiction Film Best Short Fiction Film Best Short Fiction Film Best Short Fiction Film Best Short Fiction Film Burn Liebermans In The Sky Miracle Fish Water Deeper Than Yesterday 2010 2010 2010 2011 2011 2011 2011 2012 2012 2012 2012 Best Short Fiction Film Best Short Fiction Film Best Short Fiction Film Best Short Fiction Film Best Short Fiction Film Best Short Fiction Film Best Short Fiction Film Best Short Fiction Film Best Short Fiction Film Best Short Fiction Film Best Short Fiction Film The Kiss The Love Song Of Iskra Prufrock Suburbia Adam’s Tallit Cropped The Palace The Telegram Man BINO Dumpy Goes To The Big Smoke Julian Transmission Anna Kaplan; David Selvarajah Vadiveloo Jessica Redenbach; Richard Vilensky Drew Bailey; Luke Doolan Sarah Shaw; Corrie Jones Ariel Kleiman; Benjamin Gilovitz; Sarah Cyngler; Anna Kojevnikov Sonya Humphrey; Ashlee Page Lucy Gaffy; Lyn Norfor Antonio Oreña-Barlin; Richard Halsted Justin Olstein; Marie Maroun Bettina Hamilton; Dave Wade Kate Croser; Anthony Maras; Andros Achilleos James F. Khehtie; Victoria Wharfe McIntyre Billie Pleffer; Rita Walsh Mirrah Foulkes; David Michôd; Michael Cody Robert Jago; Matthew Moore Zak Hilditch; Liz Kearney 2008 2008 BEST SOUND IN A DOCUMENTARY OR NON-FEATURE FILM 1983 1983 1983 1983 1984 1984 1984 1984 1985 Sound Non Feature Sound Non Feature Sound Non Feature Sound Non Feature Sound Non Feature Sound Non Feature Sound Non Feature Sound Non Feature Sound Non Feature A Zoo In The Trees Birdmen Of Kilimanjaro On Guard The Lion In The Doorway All That Glitters Every Day, Every Night Heads ’N Tails Something Old Something New Bronco 1985 1985 Sound Non Feature Sound Non Feature 1985 Sound Non Feature Collum Calling Canberra Death & Destiny: A Journey Into Ancient Egypt The Lead Dress 1986 Sound Non Feature Camera Natura 1986 Sound Non Feature Chile: Hasta Cuando? 1986 1986 Sound Non Feature Sound Non Feature Flight Of The Windhorse My Life Without Steve 1987 1987 Sound Non Feature Sound Non Feature Friends And Enemies Landslides 1987 1987 Sound Non Feature Sound Non Feature Palisade The Musical Mariner (Part One) 1988 Sound Non Feature Coo-Ee David Hughes Max Hensser Pat Fiske Peter Hammond Syd Butterworth; George Hart Neill Bell; Kathy Mueller John Franks; Ken Hammond; Alasdair MacFarlane Lloyd Carrick; George Hart; Ian Wilson Kathryn Fenton; Averil Nicholl; Miriana Marusic; Annie Cocksedge Judith MacDougall; Peter Fenton Max Hensser; Julian Ellingworth; Liz Goldfinch George Worontcshak; Rex Watts; Peter Watson Jnr; Stuart Beatty John Cruthers; Andrew Plain; Adrienne Parr; Alasdair MacFarlane; Ian Allen David Bradbury; Leah Cocks; Stewart Young; Annie Cocksedge Hugo Devries; Alasdair MacFarlane Gillian Leahy; Denise Haslem; Elizabeth Drake; Steve Adams; Peter Fenton; Gethin Creagh Keiran Knox; Geoff Stitt Howard Spry; Denise Haslem; Geoffrey Stitt; Cameron Allen Greg Bell; Martin Oswin David Fanshawe; Alasdair MacFarlane; Gary O’Grady Rodney Simmons; George Hart 247 Winners are in bold. 248 1988 1988 1988 Sound Non Feature Sound Non Feature Sound Non Feature Crane Salt, Saliva, Sperm And Sweat South Of The Border 1989 1989 Sound Non Feature Sound Non Feature Bodywork Crack In The Curtains 1989 1989 1990 1990 1990 1990 1991 1991 Sound Non Feature Sound Non Feature Sound Non Feature Sound Non Feature Sound Non Feature Sound Non Feature Sound Non Feature Sound Non Feature Joe Leahy’s Neighbours The Bear A Parting Handmaidens & Battleaxes Land Bilong Islanders Sparks As Happy As Larry As The Mirror Burns 1991 1991 1992 1993 1993 1993 1993 1994 1994 1994 1994 1994 1995 1995 Sound Non Feature Sound Non Feature Sound Non-Feature Sound Non Feature Sound Non Feature Sound Non Feature Sound Non Feature Sound Non Feature Sound Non Feature Sound Non Feature Sound Non Feature Sound Non Feature Sound Non Feature Sound Non Feature Chainsaw 327 Puppenhead Not awarded Exile And The Kingdom Opportunity Knocks The Resting Place The Sleep Of Reason Aeroplane Dance The Last Magician The Sewing Room Universal Appliance Company Watch The Watch La Cloche (The Bell) Raskols 1995 1995 1996 1996 1996 1996 1997 1997 1997 1997 1998 1998 1998 1998 1999 1999 1999 1999 Sound Non Feature Sound Non Feature Sound Non Feature Sound Non Feature Sound Non Feature Sound Non Feature Sound Non Feature Sound Non Feature Sound Non Feature Sound Non Feature Sound Non Feature Sound Non Feature Sound Non Feature Sound Non Feature Sound Non Feature Sound Non Feature Sound Non Feature Sound Non Feature The Beat Manifesto The Needy And The Greedy No Way To Forget Rhythms Of Life Stainless Steel The Coolbaroo Club At Sea Hospital: An Unhealthy Business The Drip Urban Fairytale Mama Tina Remote Three Chords And A Wardrobe Urban Clan Project Vlad Sadness The Astonishing Ashtons Wind Liam Egan; Michelle Cattle; Geoffrey Stitt Philip Brophy; Ian Haig; Pillip Samartzis John Patterson; Annie Cocksedge; David Bradbury Liam Egan; Greg Bell; Robert Sullivan James Manche; Robert Sullivan; Counterpoint Sound Robin Anderson Tim Chau; Ralph Strasser; Mark Tarpey James Middleton Bronwyn Murphy Bronwyn Murphy; Rex Watts Michael Webster; Trish Fitzsimons Tony Vaccher; John Dennison Gretchen Thornburn; Paul Huntingford; Dean Gawen Victor Gentile David Cox; Graeme Jackson N/A Noeline Harrison; Lawrie Silvestrin; Kim Lord Phil Winters Anne McKinolty Gareth Vanderhope; Ralph Ortner Bronwyn Murphy Steve Best; Ian Sherry; Peter Sullivan Craig Carter; Gretchen Thornburn James Currie Michael Gissing; Leo Sullivan Liam Egan; Robert Sullivan; Alicia Slusarski Mark Ward; David Bridie; John Phillips; Gethin Creagh John Willsteed Gretchen Thornburn; Livia Ruzic; Craig Carter Mark Tarpey; Neil McGrath Craig Carter; Martin Friedel Jonathon Hill Roger Scholes; Peter Walker Linda Murdoch; Martin Oswin Mark Tarpey; David Harrison Vladimir Divlijan Paul Healy; Andrew Lancaster; Tony Vaccher Paul Finlay Sebastian Craig David White; Liam Egan Michael Gissing Luke Dunn Gielmuda Pat Fiske; Livia Ruzic; Peter Walker Paul Finlay; Mark Tarpey; Peter Walker Craig Butters; Kuji Jenkins; John Patterson; Tony Vaccher 2000 2000 Sound Non Feature Sound Non Feature Intransit La Nina 2000 2000 2001 2001 Sound Non Feature Sound Non Feature Sound Non Feature Sound Non Feature Pozieres The Third Note Australians At War (Documentary) Facing The Music (Documentary) 2001 2001 2002 2002 2002 2002 Sound Non Feature Sound Non Feature Sound Non Feature Sound Non Feature Sound Non Feature Sound Non Feature 2003 2003 2003 2003 2004 Sound Non Feature Sound Non Feature Sound Non Feature Sound Non Feature Sound Non Feature 2004 2004 2004 2005 2006 2006 Sound Non Feature Sound Non Feature Sound Non Feature Best Achievement In Sound In A Non-Feature Film Best Achievement In Sound In A Non-Feature Film Best Achievement In Sound In A Non-Feature Film Best Achievement In Sound In A Non-Feature Film Best Sound In A Documentary Best Sound In A Documentary ICQ (Short Fiction) The Collective (Short Animation) Beginnings (Short Fiction) Roundabout (Short Fiction) Shadow Play (Documentary) Two Thirds Sky – Artists In Desert Country (Documentary) Hello Silent Storm The Navigators – Baudin V Flinders The Projectionist Big Men, Bigger Dreams – Australian Wrestlers Birthday Boy Good Luck Jeffrey Brown Land Of The Morning Star Cool 2006 Best Sound In A Documentary 2006 Best Sound In A Documentary 2007 2007 2007 2007 2008 Best Sound In A Documentary Best Sound In A Documentary Best Sound In A Documentary Best Sound In A Documentary Best Sound In A Documentary 2008 2008 2008 2009 Best Sound In A Documentary Best Sound In A Documentary Best Sound In A Documentary Best Sound in a Documentary The Oasis Rare Chicken Rescue The Siege The Choir 2009 Best Sound in a Documentary Glass: A Portrait of Philip In Twelve Parts 2005 2005 2005 Liam Price Craig Carter; Mark Street; Bryce Grunden; Emma Bortignon Mark Tarpey; Paul Pirola; Livia Ruzic Paul Miskin Julian Ellingworth; John Patterson Robin Anderson; Andrew Plain; Robert Sullivan Sam Petty and Yulia Ackerholt Katy Wood Shannon O’Neill George Craig; Paul Pirola; Skye Ritchie Robert Sullivan; Nigel Christensen Sam Petty Jonathan Nix Julian Ellingworth Doron Kipen; Mark Street; Cameron Davies Paul Charlier; Ian McLoughlin Liam Egan; Phil Judd; Andrew Duffield Chris McKeith; Megan Wedge; James Lee Liam Price; Andrew Plain Tony Vaccher; John Patterson; David Bridie Basil Krivoroutchko; Davin Patterson Iraq, My Country Doron Kipen; Emma Bortignon; Ken Sallows Jewboy Sam Petty; Mark Blackwell Vietnam Symphony Leo Sullivan; Tony Vaccher; Danny Longhurst Rampage The Archive Project Nick Meyers Martin Friedel; Andrew Plain; Keith Thomas; Emma Bortignon Unfolding Florence – The Many Lives Annie Breslin; Gethin Creagh; Paul Finlay; Of Florence Broadhurst Paul Grabowsky Vietnam Nurses Livia Ruzic; Mark Tarpey; Keith Thomas; John Willsteed Cuttlefish – The Brainy Bunch Sam Hayward Forbidden Lie$ Peter Smith; Craig Carter Sam Petty Global Haywire Words From The City Fairweather Man Peter Smith; Emma Bortignon Ben Crane; Michael Gissing; Guy Gross; Mike Jones Felicity Fox; Michael Gissing Brett Aplin; Greg Docwra; John Willsteed Ian McLoughlin; Antony Partos; David White Sam Hayward; Phil Judd; Felicity Fox; Alli Heynes; Phil Vail; David White Stephen R. Smith; Peter Smith; Tom Heuzenroeder; Adrian Medhurst 249 Winners are in bold. 2009 Best Sound in a Documentary Intangible Asset Number 82 2009 Best Sound in a Documentary Lionel 2010 2010 Best Sound in a Documentary Best Sound in a Documentary Inside The Firestorm Kokoda – Episode 1 ‘The Invasion’ 2010 Best Sound in a Documentary 2010 Best Sound in a Documentary 2011 Best Sound in a Documentary Strange Birds In Paradise – A West Papuan Story A Thousand Encores: The Ballets Russes In Australia Jandamarra’s War 2011 2011 Best Sound in a Documentary Best Sound in a Documentary Mrs Carey’s Concert murundak – songs of freedom 2011 Best Sound in a Documentary 2012 2012 Best Sound in a Documentary Best Sound in a Documentary 2012 Best Sound in a Documentary Shut Up Little Man! An Audio Misadventure Dr Sarmast’s Music School Once Upon A Time In Cabramatta – Episode 2 Paul Kelly – Stories Of Me 2012 Best Sound in a Documentary Matthew Ferris; Michael Gissing; Andrew McGrath Nick Batterham; Keith Thomas; Cezary Skubiszewski Jock Healy; Tristan Meredith; AJ Bradford David Bridie; Chris Goodes; Ian Grant; Patrick Slater Mik la Vage; Doron Kipen; David Bridie Brett Aplin; Andrew McGrath; Erin McKimm; Terry Chadwick Laurie Chlanda; Glenn Martin; Ric Curtin; Ash Gibson Greig; Petris Torres Sophie Raymond; Bob Scott; Doron Kipen Emma Bortignon; Michael Letho; Peter Smith; Christopher O’Young; Simon Walbrook Jonny Elk Walsh; Pete Best; Tom Heuzenroeder; Emma Bortignon; Scott Illingworth Dale Cornelius; Livia Ruzic; Keith Thomas Christopher Elves; Chris McCallum; David White Singapore 1942 – End of Empire – Episode 1 Paul Chartier; Ian McLoughlin; Brooke Trezise; Nick Batterham; Richard Boxhall Glenn Martin; Ric Curtin; Ash Gibson Greig; Ian Grant; Leo Sullivan; Mark Tarpey Lantana Beneath Clouds Japanese Story Andrew Bovell Ivan Sen Alison Tilson AFI SCREENWRITING PRIZE 2001 2002 2003 AFI Screenwriting Prize AFI Screenwriting Prize AFI Screenwriting Prize AUSTRALIA POST AUSTRALIA’S FAVOURITE FILM AWARD 2008 Australia Post Australia’s Favourite Film Award The Castle BYRON KENNEDY AWARD 250 1984 1985 1987 1988 1989 1990 1991 1992 1993 Byron Kennedy Award Byron Kennedy Award Byron Kennedy Award Byron Kennedy Award Byron Kennedy Award Byron Kennedy Award Byron Kennedy Award Byron Kennedy Award (shared by:) Byron Kennedy Award 1993 1993 1993 1994 1995 1996 1997 1998 Byron Kennedy Award Byron Kennedy Award Byron Kennedy Award Byron Kennedy Award Byron Kennedy Award Byron Kennedy Award Byron Kennedy Award Byron Kennedy Award (shared by:) Roger Savage Andrew Pike Martha Ansara George Ogilvie Jane Campion Dennis O’Rourke John Duigan Robin Anderson; Bob Connolly Adrian Martin Evanne Chesson Gary Warner Matt Butler John Hargreaves Jill Bilcock Laura Jones John Polson Alison Barrett; Arthur Cambridge 1999 2000 2000 2001 2002 2003 Byron Kennedy Award (shared by:) Byron Kennedy Award (shared by:) Byron Kennedy Award (shared by:) Byron Kennedy Award Byron Kennedy Award Byron Kennedy Award Baz Luhrmann; Catherine Martin Matt Wheeldon; Gary Doust (Popcorn Taxi) Stephen Jenner; David Barda (if magazine) Ian David Rachel Perkins Dion Beebe 2004 2005 2006 2007 2008 2009 2010 2011 2012 Byron Kennedy Award Byron Kennedy Award Byron Kennedy Award Byron Kennedy Award Byron Kennedy Award Byron Kennedy Award Byron Kennedy Award Byron Kennedy Award Byron Kennedy Award John Clarke Chris Kennedy Rolf de Heer Curtis Levy Chris Lilley Ray Brown Animal Logic (company) Ivan Sen Sarah Watt GLOBAL ACHIEVEMENT AWARD 2001 2002 2003 2004 2007 Global Achievement Award Global Achievement Award Global Achievement Award AFI Global Achievement Award Global Achievement Award Russell Crowe Mel Gibson Geoffrey Rush Naomi Watts Dr George Miller HIGHEST GROSSING FILM AWARD 2009 Highest Grossing Film Award Australia 2009 Highest Grossing Film Award Charlie & Boots 2009 Highest Grossing Film Award Mao’s Last Dancer Marc Wooldridge; Baz Luhrmann; G. Mac Brown; Catherine Knapman; Stuart Beattie; Ronald Harwood; Richard Flanagan Andrew Mackie; Michael Selwyn; David Redman; Dean Murphy; Shana Levine; Stewart Faichney Joel Pearlman; Troy Lum; Jane Scott; Bruce Beresford; Jan Sardi INTERNATIONAL AWARD FOR BEST ACTOR 2005 2006 2006 2006 2006 2007 2007 2007 2007 2008 2008 2008 2008 2009 2009 2009 2009 2010 International Award for Best Actor International Award for Best Actor International Award for Best Actor International Award for Best Actor International Award for Best Actor International Award for Best Actor International Award for Best Actor International Award for Best Actor International Award for Best Actor International Award for Best Actor International Award for Best Actor International Award for Best Actor International Award for Best Actor International Award for Best Actor International Award for Best Actor International Award for Best Actor International Award for Best Actor International Award for Best Actor Cinderella Man Brokeback Mountain Munich V For Vendetta Winter Solstice Lucky You Nip/Tuck Prison Break The Prestige The Other Boleyn Girl American Gangster The Dark Knight Leatherheads Bedtime Stories House State Of Play Without A Trace Avatar Russell Crowe Heath Ledger Eric Bana Hugo Weaving Anthony LaPaglia Eric Bana Julian McMahon Dominic Purcell Hugh Jackman Eric Bana Russell Crowe Heath Ledger Jack Thompson Guy Pearce Martin Henderson Russell Crowe Anthony LaPaglia Sam Worthington 251 Winners are in bold. 2010 2010 2010 International Award for Best Actor International Award for Best Actor International Award for Best Actor The Mentalist – Season 2 The Road True Blood – Season 3 Simon Baker Kodi Smit-McPhee Ryan Kwanten INTERNATIONAL AWARD FOR BEST ACTRESS 2005 2006 2006 2006 2006 2007 2007 2007 2007 2008 2008 2008 2008 2009 2009 2009 2009 2010 2010 2010 2010 International Award for Best Actress Lemony Snicket’s A Series Of Unfortunate Events International Award for Best Actress In Her Shoes International Award for Best Actress King Kong International Award for Best Actress Silent Hill International Award for Best Actress Six Feet Under International Award for Best Actress Brothers & Sisters International Award for Best Actress Damages International Award for Best Actress Little Miss Sunshine International Award for Best Actress The Last Kiss International Award for Best Actress Elizabeth: The Golden Age International Award for Best Actress The Starter Wife International Award for Best Actress Brothers & Sisters International Award for Best Actress The Golden Compass International Award for Best Actress Damages International Award for Best Actress In Treatment International Award for Best Actress In Treatment International Award for Best Actress United States Of Tara – Season 1 International Award for Best Actress Alice In Wonderland International Award for Best Actress Edge Of Darkness International Award for Best Actress Mother And Child International Award for Best Actress United States of Tara – Season 2 Emily Browning Toni Collette Naomi Watts Radha Mitchell Rachel Griffiths Rachel Griffiths Rose Byrne Toni Collette Jacinda Barrett Cate Blanchett Judy Davis Rachel Griffiths Nicole Kidman Rose Byrne Melissa George Mia Wasikowska Toni Collette Mia Wasikowska Bojana Novakovic Naomi Watts Toni Collette INTERNATIONAL AWARD FOR EXCELLENCE IN FILMMAKING 2005 2006 2006 2006 2006 2007 2008 2009 International Award for Excellence in Filmmaking International Award for Excellence in Filmmaking International Award for Excellence in Filmmaking International Award for Excellence in Filmmaking International Award for Excellence in Filmmaking International Award for Excellence in Filmmaking International Award for Excellence in Filmmaking International Award for Excellence in Filmmaking The House Of Flying Daggers Roger Savage (Sound) Memoirs Of A Geisha Dion Beebe ACS (Cinematography) The Chronicles Of Narnia: The Lion, The Witch And The Wardrobe The Chronicles Of Narnia: The Lion, The Witch And The Wardrobe The World’s Fastest Indian Donald McAlpine ACS (Cinematography) Roger Ford (Production Design) Award not linked to a film Roger Donaldson (Producing/Direction/ Screenplay) Jill Bilcock (Editing) Award not linked to a film Peter James ACS, ASC (Cinematography) Award not linked to a film Nathan McGuinness (Senior Visual Effects Supervisor) The Devil’s Playground Storm Boy Mouth To Mouth Mad Max Hard Knocks Wrong Side Of The Road Fred Schepisi Matthew Carroll John Duigan JURY PRIZE 1976 1977 1978 1979 1980 1981 252 Jury Prize Jury Prize Jury Prize Jury Prize Jury Prize Jury Prize George Miller; Byron Kennedy Don McLennan Ned Lander; Graeme Issac 1982 1983 1984 Jury Prize Jury Prize Jury Prize Journey To The End Of The Night The Year Of Living Dangerously Peter Tammer Peter Weir; Linda Hunt Roger Savage MEMBERS’ CHOICE AWARD 2009 AFI Members’ Choice Award Australia 2009 2009 2009 2009 2009 2010 2010 2010 2010 2010 2010 2011 2011 2011 AFI Members’ Choice Award AFI Members’ Choice Award AFI Members’ Choice Award AFI Members’ Choice Award AFI Members’ Choice Award AFI Members’ Choice Award AFI Members’ Choice Award AFI Members’ Choice Award AFI Members’ Choice Award AFI Members’ Choice Award AFI Members’ Choice Award AFI Members’ Choice Award AFI Members’ Choice Award AFI Members’ Choice Award Balibo Beautiful Kate Mao’s Last Dancer Mary And Max Samson & Delilah Animal Kingdom Beneath Hill 60 Bran Nue Dae Bright Star The Boys Are Back Tomorrow, When The War Began The Eye Of The Storm The Hunter Mad Bastards 2011 2011 2011 AFI Members’ Choice Award AFI Members’ Choice Award AFI Members’ Choice Award Oranges And Sunshine Red Dog Snowtown Baz Luhrmann; G. Mac Brown; Catherine Knapman John Maynard; Rebecca Williamson Leah Churchill-Brown; Bryan Brown Jane Scott Melanie Coombs Kath Shelper Liz Watts Bill Leimbach Robyn Kershaw; Graeme Isaac Jan Chapman; Caroline Hewitt Greg Brenman; Timothy White Andrew Mason; Michael Boughen Antony Waddington; Gregory Read; Fred Schepisi Vincent Sheehan David Jowsey; Alan Pigram; Stephen Pigram; Brendan Fletcher Camilla Bray; Emile Sherman; Iain Canning Nelson Woss; Julie Ryan Anna McLeish; Sarah Shaw OPEN CRAFT AWARD 1993 1993 1993 1993 1994 1994 1994 1994 1995 1995 1995 1995 1996 1996 Open Craft Award Open Craft Award Open Craft Award Open Craft Award Open Craft Award Open Craft Award Open Craft Award Open Craft Award Open Craft Award Open Craft Award Open Craft Award Open Craft Award Open Craft Award Open Craft Award Etcetera In A Paper Jam Heart Of Pearl Memories And Dreams One Way Street Frailejon Only The Brave Pram Factory The Last Magician Letter To Eros Square One The Beat Manifesto The Good Looker Here I Sit Rhythms Of Life 1996 Open Craft Award 1996 1997 1997 1997 1997 1998 1998 Open Craft Award Open Craft Award Open Craft Award Open Craft Award Open Craft Award Open Craft Award Open Craft Award The Existentialist Cowboy’s Last Stand The Mini-Skirted Dynamo Faces 1976–1996 Frontier: Worse Than Slavery Itself The Butler Trunk After Mabo The Bridge Michael Bates Catherine Mansell Lynn-Maree Milburn John Hughes Joshua Yeldham Elena Mandalis Rey Carlson; Anna Grieve; James Manche Tracey Holloway; Liz Thompson Josko Petkovic Luigi Pittorino Joel McIlroy Paul Grabowsky Alyson Bell Andrew Davies-Coward; Mark Lamble; Mike Carroll; Simon Kerwin-Carroll Adam Blaiklock Rivka Hartman Sue Ford; Ben Ford Bruce Belsham; Victoria Pitt Anna Kannava Leverne McDonnell John Hughes; Uri Mizrahi Maya Stange 253 Winners are in bold. 1998 1998 1999 1999 1999 1999 2000 Open Craft Award Open Craft Award Open Craft Award Open Craft Award Open Craft Award Open Craft Award Open Craft Award Relative Strangers Two/Out Bush Mechanics Flux Sadness Trinidad Hurt Erika Addis; Rosemary Hesp; Tim Richter Tony Ryan Francis Kelly 2000 2000 2000 2001 Open Craft Award Open Craft Award Open Craft Award Open Craft In A Non Feature Film Intransit Other Days Of Ruby Rae Uncle Chatzkel Australians At War 2001 Open Craft In A Non Feature Film Circa 2001 Open Craft In A Non Feature Film Harvey 2001 Open Craft In A Non Feature Film One Night The Moon 2002 Open Craft Non Feature Dad’s Clock 2002 Open Craft Non Feature 2002 Open Craft Non Feature East Timor – Birth Of A Nation: Rosa’s Story Rainbow Bird & Monster Man 2002 2003 2003 2003 Open Craft Non Feature Open Craft Non Feature Open Craft Non Feature Open Craft Non Feature The Way Back For Acting Cold Turkey Love Letters From A War Preservation 2003 Open Craft Non Feature The Brotherhood 2004 2005 2005 2005 Open Craft Award Open Craft Award Open Craft Award Open Craft Award No Award Jabe Babe: A Heightened Life Jewboy knot at home project 2005 Open Craft Award 2006 2006 2006 Short Fiction Screen Craft Short Fiction Screen Craft Short Fiction Screen Craft The Mysterious Geographic Explorations Of Jasper Morello A Natural Talent End Of Town Gargoyle Mike Daly Magda Hughes Guy Gross Michael Caulfield (For Screen Play [Documentary]) Sally Bongers; Paul Elliot (For Original Concept [Documentary]) Peter McDonald (For Special Effects [Short Fiction]) Mairead Hannan; Kev Carmody; Paul Kelly (For Original Score [Short Fiction]) Dik Jarman (Production Design – Short Animation) Kavisha Mazzella; Anito Matos; Helder De Arujo (For Original Score [Documentary]) Neil Angwin (For Production Design [Documentary]) Norman Yemm (Short Fiction) John Moore (For Acting) Wain Fimeri (For Dramatisation) Margot Wilson; Elizabeth Mary Moore (For Production And Costume Design) Terry Carlyon (For Excellence In Research And Innovative Story-Telling) N/A Karla Urizar (Production Design) Ewen Leslie (Performance) Phillip Crawford (Production Initiative And Realisation) Anthony Lucas (Production Design) 2006 2007 2008 Short Fiction Screen Craft Short Fiction Screen Craft Outstanding Achievement in Short Film Screen Craft Outstanding Achievement in Short Film Screen Craft Outstanding Achievement in Short Film Screen Craft 2009 2010 254 Michaela French Luigi Pittorino Ian Brown Phillip Crawford Stranded Eclipse fOUR Skye Wansey (Acting) Adam Arkapaw (Cinematography) JoAnne Bouzianis-Sellick; Greg Sweeney (Production Design) Emma Lung (Acting) Mark Lapwood ACS (Cinematography) Xanthe Highfield (Production Design) Water Andrew MacLeod (Cinematagraphy) The Kiss Nick Matthews (Cinematography) RAYMOND LONGFORD AWARD 1968 1970 1976 1977 1978 Raymond Longford Award Raymond Longford Award Raymond Longford Award Raymond Longford Award Raymond Longford Award 1979 1980 1981 1982 1983 1984 1985 1986 1986 1987 1988 1989 1990 1991 1992 1993 1994 1995 1997 1998 1999 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 2010 2011 2012 Raymond Longford Award Raymond Longford Award Raymond Longford Award Raymond Longford Award Raymond Longford Award Raymond Longford Award Raymond Longford Award Raymond Longford Award Raymond Longford Award Raymond Longford Award Raymond Longford Award Raymond Longford Award Raymond Longford Award Raymond Longford Award Raymond Longford Award Raymond Longford Award Raymond Longford Award Raymond Longford Award Raymond Longford Award Raymond Longford Award Raymond Longford Award Raymond Longford Award Raymond Longford Award Raymond Longford Award Raymond Longford Award Raymond Longford Award Raymond Longford Award Raymond Longford Award Raymond Longford Award Raymond Longford Award Raymond Longford Award Raymond Longford Award Raymond Longford Award Raymond Longford Award Ian Dunlop Stanley Gilbert Hawes Ken G. Hall Charles Chauvel Paulette McDonagh; Isobel McDonagh; Phyllis McDonagh Professor Jerzy Toeplitz Tim Burstall Phillip Adams Eric Porter Bill Gooley David Willamson Don Crosby Barry Jones MP Nadia Tass; David Parker Paul Riomfalvy A.M. Russell Boyd John Meillon Peter Weir Fred Schepisi Lee Robinson Sue Milliken Jack Thompson Dr George Miller Jan Chapman Charles William Tingwell John Politzer Anthony Buckley David Stratton Dr Patricia Edgar Ted Robinson Patricia Lovell Ray Barrett Ian Jones David Hannay Dione Gilmour Geoffrey Rush Reg Grundy AC, OBE Don McAlpine Al Clark READERS’ CHOICE AWARD 2005 2006 2007 News Limited Readers’ Choice Award News Limited Readers’ Choice Award News Limited Readers’ Choice Award Award not linked to a film Cate Blanchett Award not linked to a film Heath Ledger Award not linked to a film Eric Bana 255 Winners are in bold. 2010 2010 2010 2010 News Limited Readers’ Choice Award News Limited Readers’ Choice Award News Limited Readers’ Choice Award News Limited Readers’ Choice Award News Limited Readers’ Choice Award Readers’ Choice Award Readers’ Choice Award Readers’ Choice Award Readers’ Choice Award 2010 Readers’ Choice Award 2008 2009 2009 2009 2009 Award not linked to a film Hugh Jackman Australia Charlie & Boots Baz Luhrmann; G. Mac Brown; Catherine Knapman David Redman; Dean Murphy; Shana Levine Mao’s Last Dancer Jane Scott Samson & Delilah Kath Shelper Animal Kingdom Bran Nue Dae The Kings Of Mykonos: Wog Boy 2 Legend Of The Guardians: The Owls Of Ga’Hoole Tomorrow, When The War Began Liz Watts Forlorn Gaze Galllipoli: The First Day Scarygirl Scorched Sarah-Jane Woulahan Sam Doust; Meena Tharmarajah; Astric Scott Sophie Byrne Ellenor Cox; Marcus Gillezeau Rose Draper; Mike Seymour Phil Stuart-Jones Simon Rippingale; Tim Richter; Nina Gibbs Robyn Kershaw; Graeme Isaac Nick Giannopoulos; Emile Sherman Zareh Nalbandian Andrew Mason; Michael Boughen SCREEN CONTENT INNOVATION 2009 2009 2009 2009 Screen Content Innovation Screen Content Innovation Screen Content Innovation Screen Content Innovation VISUAL EFFECTS AWARD 256 2006 2006 2006 Visual Effects Award Visual Effects Award Visual Effects Award 2006 Visual Effects Award 2007 Visual Effects Award Hunt Angels Kokoda Unfolding Florence – The Many Lives Of Florence Broadhurst Wicked Science – Series 2, Episode 1 Air Australia – ‘Canvas & Sticks’ 2007 2007 2007 2008 2008 Visual Effects Award Visual Effects Award Visual Effects Award Visual Effects Award Visual Effects Award Crocodile Dreaming Rogue Spider Death Defying Acts Double The Fist – Series 2 2008 2008 2009 Visual Effects Award Visual Effects Award Visual Effects Award Gabriel H2O: Just Add Water – Series 2 Australia 2009 2009 Visual Effects Award Visual Effects Award Death Of The Megabeasts Plastic 2009 2010 Visual Effects Award Visual Effects Award Scorched Daybreakers 2010 2010 Visual Effects Award Visual Effects Award Tinglewood Tomorrow, When The War Began 2010 Visual Effects Award The Tree Barry Lanfranchi; James Maclachlan; Vanessa Magyan David Rutherford; Reigy Skwarko; Paul Siciliano; Delon Govender Kirsty Millar; Chad Malbon Andrew Hellen; Dave Morley; Jason Bath Mike Seymour James Rogers Doug Bayne; Adam MacGowan; Michael Blake; Bill McGuire Matthew Graham; Steve Anderson Barry Lanfranchi Chris Godfrey; James E. Price; Andy Brown; Rob Duncan Matt Drummond; Mike Dunn Sandy Widyanata; Eric So; Mathew Mackereth; Christopher Jackson Bertrand Polivka; Soren Jensen Peter Spierig; Michael Spierig; Rangi Sutton; James Rogers; Randy Vellacott Wil Manning Chris Godfrey; Sigi Eimutis; Dave Morley; Tony Cole Dave Morley; Felix Crawshaw; Claudia Lecaros; Tim Walker 2011 2011 2011 Best Visual Effects Best Visual Effects Best Visual Effects 2011 2012 Best Visual Effects Best Visual Effects 2012 2012 2012 Best Visual Effects Best Visual Effects Best Visual Effects Tim Winton’s cloudstreet The Hunter Legend Of The Guardians: The Owls Of Ga’Hoole Sanctum Iron Sky Killer Elite The Sapphires Utopia Girls – How Women Won The Vote Scott Zero Grant Freckelton David Booth; Peter Webb; Ineke Majoor; Glenn Melenhorst Felix Crawshaw; James Rogers Samuli Torssonen; Jussi Lehtiniemi; Juuso Kaari; Kelly Myers Ineke Majoor; Julian Dimsey James Rogers Kylie Robertson; Rebecca Stegh; Monica Monin YOUNG ACTOR AWARD 1991 1998 1999 2001 2002 2003 Best Juvenile Performance Young Actors Award: Television Young Actors Award Young Actors Award Young Actors Award Young Actors Award Act Of Necessity Water Rats – ‘Romeo Is Bleeding’ Wildside – Episode 59 Yolngu Boy Halifax f.p: Playing God After The Deluge Lauren Hewett Paul Pantano Abbie Cornish John Sebastian Pilakui Emily Browning 2003 2003 2004 2005 2005 2005 2005 2006 2006 2006 2006 2007 2007 2007 2007 2008 2008 2008 2008 2009 2009 2009 2009 2009 2010 2010 2010 2010 2011 2011 2011 Young Actors Award Young Actors Award Young Actor Award Young Actor Award Young Actor Award Young Actor Award Young Actor Award Young Actor Award Young Actor Award Young Actor Award Young Actor Award Young Actor Award Young Actor Award Young Actor Award Young Actor Award Young Actor Award Young Actor Award Young Actor Award Young Actor Award Young Actor Award Young Actor Award Young Actor Award Young Actor Award Young Actor Award Young Actor Award Young Actor Award Young Actor Award Young Actor Award Best Young Actor Best Young Actor Best Young Actor Don’t Blame The Koalas Teesh And Trude Jessica Blue Water High Danya Little Oberon Three Dollars 2:37 Mortified Opal Dream Suburban Mayhem Lockie Leonard Romulus, My Father The Home Song Stories The Home Song Stories Hey Hey It’s Esther Blueburger The Ground Beneath Death Defying Acts September Australia Beautiful Last Ride Lucky Country Samson & Delilah Animal Kingdom Beneath Hill 60 Tomorrow, When The War Began The Tree Tim Winton’s cloudstreet – Part 1 Good Pretender Mad Bastards Liam Hess Emily Browning Mason Richardson Natasha Wanganeen Sophie Luck Maddi Newling Brittany Brynes Joanna Hunt-Prokhovnik Frank Sweet Marny Kennedy Christian Byers Mia Wasikowska Corey McKernan Kodi Smit-McPhee Irene Chen Joel Lok Danielle Catanzariti Tom Green Saoirse Ronan Clarence John Ryan Brandon Walters Sebastian Gregory Tom Russell Toby Wallace Marissa Gibson; Rowan McNamara James Frecheville Harrison Gilbertson Ashleigh Cummings Morgana Davies Lara Robinson Olivia DeJonge Lucas Yeeda 257 Winners are in bold. 2011 Best Young Actor 2012 2012 2012 2012 Best Young Actor Best Young Actor Best Young Actor Best Young Actor My Place – Series 2, Episode 7 ‘1848 – Johanna’ Julian Lore Mental Puberty Blues Emma Jefferson Ed Oxenbould Saskia Rosendahl Lily Sullivan Brenna Harding PLEASE NOTE: Following the 2011 transition from the AFI Awards to the AACTA Awards, the awards ceremony is no longer held late in the year. Instead, the AACTA Awards have been held early the following year. This means that the Inaugural AACTA Awards, held in January 2012, recognised achievements from the 2011 calendar year (and are referred to in the table above as ‘2011’), while the 2nd AACTA Awards, held in January 2013, recognised achievements from 2012 (and are referred to in the table above as ‘2012’). This list of AFI award winners and nominees has been compiled by sifting through all available databases. However, as some of these databases are contradictory, and the information is incomplete for some years or categories, the authors are aware that the above list undoubtedly contains some omissions and errors. Therefore we would be grateful if any reader can offer information about any AFI winners or nominees that are not present in the list. Please forward any additions or proposed changes to the publisher at <editor@atom.org.au>. Thank you. Lisa French and Mark Poole 258 259 Index NUMBERS 2:37 161, 192, 257 2:41 Upfield 243 3 Acts Of Murder 203, 208, 210, 224 3KShort 195 4 228, 234 The 9:13 246 15 Amore 158, 170, 174, 195 18 Foot People 226 27A 156, 181 30 Seconds 222 33 POSTCARDS 159, 196 37 South 8 50 Years Of Silence 232 117 227 224 241 296 Smith Street 240 2000 Weeks 225 A Abbott, Nigel 244 Abbott, Todd 219, 220 Abortion, Corruption and Cops: The Bertram Wainer Story 228 Above The Dust Level 246 Abrahams, Chris 195, 196 Academy Awards 70, 81, 104, 125, 130 Achilleos, Andros 247 Ackerholt, Yulia 249 Acquisto, Luigi 229, 233, 239, 245 Act Of Necessity 160, 257 Actors Equity 114 Adam And Eve 238 Adam Hills In Gordon Street Tonight 220 Adamson, Andrew 112 Adamson, Rod 235 Adams, Phillip 11, 32, 33, 34, 40, 41, 42, 47, 48, 64, 102, 110, 121, 181, 255 Adams, Prue 245 Adams, Steve 207, 247 Adam’s Tallit 247 Addicted To Money 234 Addis, Erika 44, 226, 254 Addison, Alice 193 Adele, Jan 166 Adler, Nicholas 226, 232 The Admiral’s Cup 225 The Adventures of Barry McKenzie 40 The Adventures Of Bottle Top Bill 213 The Adventures Of Charlotte And Henry 213 The Adventures of Figaro Pho 213 The Adventures of Priscilla, Queen of the Desert 7, 115 260 The Adventures Of Priscilla, Queen Of The Desert 157, 169, 173, 177, 183, 186, 190, 194 The Adventures Of Sam 212 Aeroplane Dance 248 AFI (and independent filmmakers--1980s) 61 AFI Awards 27, 34 AFI Awards (1960s) 29, 31 AFI Awards (1965) 32 AFI Awards (1972) 47 AFI Awards (1973) 49 AFI Awards (1974-1975) 49 AFI Awards (1976) 49, 50 AFI Awards (1978, Perth) 111 AFI Awards (ABC TV 1986) 64 AFI Awards (and screen culture) 14 AFI Awards and the production sector 13, 17, 126 AFI Awards (and TV categories) 49, 64, 113, 123 AFI Awards as a platform for social/industrial issues 95, 108, 129 AFI Awards: Australian flavour 114, 129 AFI Awards, (‘Best Film’) 51, 111 AFI Awards, broadcast (first one) 111 AFI Awards, broadcasts 83, 115, 119 AFI Awards (Byron Kennedy Award) 63 AFI Awards (documentaries) 108, 129 AFI Awards judging 94, 120 AFI Awards (overview) 107 AFI Awards (returns to industry) 12 AFI Awards (Screenwriting--Macquarie Bank) 84 AFI Awards (short films) 70 AFI Awards (Victorian government funding 2001-2003) 80 AFI Awards (Young Actor Award) 84 AFI Business Council 71 AFI distributing and marketing Australian films 48 AFI Distribution 11, 45, 46, 66, 69, 74, 78, 79 AFI Distribution (closure) 76 AFI Distribution (documentaries and shorts) 76 AFI Documentary Trailblazer Award 129 AFI (education) 71 AFI (exhibition) 49, 51, 61, 72, 79 AFI Fellowship 8, 84 AFI Global Achievement Award 83 AFI incorporation 25 AFI Information Gathering Conference 72 AFI & international festivals 47 AFI membership 103 AFI National Cinematheque 78 AFI (publications programs) 60 AFI Research and Information @ RMIT 75, 87 AFI Research & Information Centre 48, 50, 52, 72, 73, 79 AFI’s 50th birthday 87 AFI’s influence 92 AFI staff strike (1984) 62 AFI stakeholders (constituency) 99 AFI stakeholders (government) 101 AFI (touring film programs) 11 AFI (trademark) 73 Afraid To Dance 160 Afterglow 241 After Hours 244 After Mabo 229, 253 After Proust 238 Aftershocks 201, 223 After The Deluge 202, 207, 209, 215, 221, 223, 225, 257 AFTRS 245 AFTS 244 Agdag, Daniel 243 Agony Aunts 220 Agutter, Jenny 159 Aikin, Reverend Hamilton 25 Air Australia 256 Akerholt, Yulia 200 Akers, George 179 Alban, Tim 199 Alderton, Chris 198 Alexander, Brian 225 Alexander, George 225 Alexandra’s Project 161, 180, 183, 195, 199 Alexiou, Petro 239 Algar, Anne 241 Alice In Wonderland 252 Allen, Cameron 193, 194, 247 Allen, Ian 247 Allen, Nancy 243 All Men Are Liars 157, 183, 186, 190 All My Friends Are Leaving Brisbane 192 All Points Of The Compass 237 All Saints 207, 209, 215, 217, 218 All That Glitters 247 All The Way 235 Almond, Shalom 230, 234 Alperin, Carlos 234 Alsop, John 220 Altman, Robert 185 Alvin Purple 31, 40 Always Greener 207, 209 The Amazing Race Australia 216, 220 Amélie 185 Amenta, Pino 176, 216 American Gangster 251 Amis, Stephen 229 The Amphibian 242 Amsden, Charles 241 Amy 161, 191 Anastassiades, Chris 191 Anatomy Of A Businessman 241 And A Fire Engine To Go With The Dog 227 Anderson, Andy 202 Anderson, Anthony 184 Anderson, Geordie 237 Anderson, Mathu 172 Anderson, Robin 103, 229, 231, 232, 233, 248, 249, 250 Anderson, Rodney 192 Anderson, Steve 256 Anderson, William 178, 179, 196 Andreef, Christina 177, 191 Andrew, Hollie 167 Andrikidis, Peter 215, 216, 224 And So It Goes 225 And Then There Was Glass 235 Angel Baby 117, 127, 157, 160, 169, 177, 180, 183, 190 Angels Of War 231 Angry Boys 211 Angus, Michael 234 Angwin, Neil 185, 186, 254 Animalia 213 Animal Kingdom 158, 161, 164, 165, 167, 170, 175, 181, 184, 187, 188, 196, 200, 250, 253, 256, 257 Animal Logic 251 The Animation Game 241 Annie’s Coming Out 156, 159, 165, 176, 182, 189, 194 Ansara, Alice 161 Ansara, Martha 226, 250 Answered By Fire 203, 216, 223 Ant 226 Antarctic Man: This Is Not A Place For Humans 226, 231 Aplin, Brett 249, 250 Apps, Matt 220 April, Renée 173 The Archive Project 237, 249 Argall, Ray 168, 176, 227, 236 Argue, David 162 Arkapaw, Adam 170, 237, 254 Armfield, Neil 192, 214 Armiger, Martin 194 Armstrong, Gillian 42, 55, 77, 82, 112, 175, 176, 230, 233 Armstrong, Kerry 119, 160, 161, 205 Armstrong, Sonja 233 Arnold Has A Thought 242 Arnold, Steve 170, 227 Aronson, Linda 188 Arquette, Rosanna 160 Arrighi, Luciana 55, 171, 185, 187 ‘art/culture’ verus ‘industry/commerce’ 34 The Art Of Drowning 245 The Art Of Tracking 227 As Happy As Larry 248 Ashton, Darren 246 As The Mirror Burns 227, 248 The Astonishing Ashtons 248 The Astronomer 243 Atherden, Geoffrey 221 At Home With Julia 214 Atkins, Lizzette 234 Atkinson, David 241, 242 Atkinson, Michael 194 At Sea 248 Aubouy, Bernard 198 Auchinachie, Glen 197 Aucote, Ann 200 audience development 13 audiences 18, 73, 80, 86, 94, 110 audiences (and Australian films) 128 audiences (as ‘prosumers’) 7, 12 Australia 117, 164, 175, 187, 196, 200, 251, 253, 256, 257 Australia Council for the Arts 32, 47 Australia Daze 236 Australian Centre for the Moving Image 50, 76, 78, 79, 80, 81 Australian Council for the Arts 32 Australian Council for the Arts Film and Television Board 48 Australian Council of Film Societies 25 Australian Film 1900–1977 (Pike & Cooper) 60 Australian Film and Television Development Corporation 32 Australian film and television industries, ‘boom and bust’ 11 Australian Film and Television School 112 Australian Film Awards 28, 108 Australian Film Commission 8, 12, 19, 42, 53, 61, 62, 63, 64, 65, 66, 71, 74, 75, 76, 78, 79, 80, 99, 101, 102 Australian Film Commission (policy) 10 Australian Film Development Corporation 34, 53 Australian Film Development Corporation Interim Council 47 Australian Film Festival 27 Australian film ‘revival’/’renaissance’ (1970s) 6, 8, 15, 91, 39, 45, 12 Australian Film Television and Radio School 69 Australian gothic films 46 Australian History 45 The Australian Narrative Cinema, 1919–1929 (AFI publication) 60 Australian Rules 164, 167, 183, 191, 195, 199 Australians At War 237, 249, 254 Australian Screen Council 126 Australian Screen Culture Industry Association (ASCIA) 9 Australian Security Intelligence Organisation 26 Australian stories 18, 83, 92, 96 Australian Theatrical and Amusements Employees Association 62 Australian Writers’ Guild, Awards boycott (1988) 114 Avatar 251 Avery, Julius 246 Aya 160, 163, 169, 173, 186, 194 Aylward, Darryl 242 Ayre-Smith, Sally 184, 217, 218, 223 Ayres, Tony 177, 178, 192, 221, 224, 229 Ayyar, Suresh 179, 180, 181, 235, 236 Azadi 246 Azad, Sina 242 B Backhouse, Chris 242 The Back Of Beyond 7, 30 Backs To The Blast 231 Bad Baby Amy 243 Bad Boy Bubby 157, 169, 177, 179, 183, 190 Bad Cop Bad Cop 207 BAFTA 114 Bailey, Drew 247 Bain-Hogg, Peter 219, 220 Bain, Miranda 182 Bakaloff, Michael 199, 200 Baker, Denson 170, 216, 228 Baker, Ian 82, 168, 170 Baker, Jeannie 241, 242 Baker, Simon 202, 252 Baker, Stephen 229 Baker, Steve 243 Balaban, Bob 185 Balart, Rodrigo 181, 238 Bale, John N. 238 Balibo 158, 164, 167, 170, 175, 178, 181, 184, 187, 192, 196, 200, 253 Ballantine, Jason 180, 181 Ballantyne, Jane 182 The Ball 235 Balodis, Janis 239 Balson, Michael 179, 235, 236 Bana, Eric 82, 131, 158, 251, 255 Bandis, Helen 191 Bani, Jimi 203 Banks, Imogen 218, 219 The Bank 158, 170, 174, 177, 183, 187, 191, 195, 199 Baracchi, Gilda 182 Baranyai, Laszlo 170 Barclay, Emily 161, 209 Barda, David 251 Barden, Craig 225 Bardwell, Harry 231 261 Barely Visible 240 Bargeld, Blixa 194 Barker, Peter 197 Barnard, Antonia 211, 212, 224 Barnes, Helen 192 Barnett, John 185 Barrett, Alison 250 Barrett, Jacinda 252 Barrett, Kym 175 Barrett, Ray 156, 157, 162, 163, 202, 207, 255 Barrett, Shirley 70, 216, 232, 245 Barron, Maureen 79, 97 Barron, Paul 212 Barry, Dorothy 166 Barry, Tony 207 Bartle, James 168, 169 Bartolome, Lourdes 167 Barton, Tim 190 Bashfield, Margaret 219 Baska, Roman 227 Bastard Boys 203, 207, 216, 222, 223, 225 Bastardy 230, 234, 237 Bastoni, Steve 158 The Bat And The Butterfly 243 Bateman, Anna 219 Bate, Matthew 230, 235 Bates, Dean 214 Bates, Michael 253 Bath, Jason 256 Batterham, Genni 232 Batterham, Kim 228, 232 Batterham, Nick 250 Batt, Ian 228 Baxter, Peter 187 Bayly, Lorraine 159 Bayne, Doug 256 BBC 75 Beaconsfield 223, 224 Beahan, Kate 205 Bean, Joan 238 The Bear 227, 248 Beastmaster 224 The Beat Manifesto 239, 245, 248, 253 Beattie, Stuart 249, 251 Beatty, Stuart 247 Beauchamp, Annie 188 Beauman, Nicholas 178, 179, 180, 235 Beaumont, Ellie 223 Beautiful 257 Beautiful Kate 158, 161, 164, 167, 170, 178, 184, 192, 253 A Beautiful Mind 185 Beck, Kathryn 210 Beck, Peter 218, 219 Bed of Roses 209, 224 Bedtime Stories 251 262 Beebe, Dion 82, 169, 227, 251, 252 Beginnings 249 Behlmer, Anna 200 Beilby, Peter 183 Belinda 166, 168, 189, 197 Bell, Alice 192, 222 Bell, Alison 211 Bell, Alyson 253 Bellchambers, Troy 243 Bell, Greg 196, 197, 247, 248 Bellingham, Francis A. 25 Belling, Kylie 165 Bell, John 162 Bell, Neill 247 Bell, Nicholas 202 Bell, Richard 187 The Bell 248 Belsham, Bruce 253 Beneath Clouds 161, 170, 177, 183, 191, 195, 250 Beneath Hill 60 158, 170, 175, 181, 184, 187, 188, 196, 200, 250, 253, 257 The Beneficiary 246 Bennet, Patrick 187 Bennett, Bill 176, 177, 182, 183, 189, 191 Bennett, Colin 23, 24, 25, 26, 29, 42, 48, 53, 64, 109, 111, 122, 126 Bennett, Jennifer 183 Bennett, Merilee 236, 238 Bennett, Michele 183 Benson, Andrew 223 Beresford, Bruce 14, 40, 42, 44, 46, 127, 175, 176, 178, 188, 189, 251 Beresford, Cordelia 228, 246 Berge, Brent 199 Bergman, Yael 191, 235 Beringer, Shareen 175 Berryman, Ken 7, 42, 65, 97, 100 Berry, Peter 222 Bertrand, Ina 53, 103, 114, 125 Bertuccelli, Julie 178, 193 Best, Peter 193, 194, 195, 199, 224, 250 Best, Steve 248 Better Than Sex 158, 161, 167, 177, 183, 187, 191, 195 The Bet 167 Bevan, Tim 183 Beyond Kokoda 228, 234 Beyond Our Ken 230, 234 Bhesania, Delna 213 Bieker, Stefanie 175 Big Bite 213, 225 A Big Hand For Everyone 231 Big House 229 The Big House 240, 246 Big Island 235 Big Men, Bigger Dreams – Australian Wrestlers 249 The Big Steal 14, 157, 160, 163, 166, 182, 186, 190, 194, 198 Bilbrough, Miro 240, 246 Bilcock, Jill 82, 179, 180, 181, 235, 250, 252 Billal 233 Billing, Roy 164, 203 Billy And Percy 156, 175 Billy’s Holiday 173 Bin Amat, Patrick Duttoo 196 Binding, Grahame 242 B I N O 241, 247 Bird In The Wire 227 Bird, John 242 Bird, Kendall 71 Birdmen Of Kilimanjaro 226, 231, 247 Bird Of The Thunder Woman 226 Birthday Boy 240, 243, 249 Bishop, Charles 185 Bishop, Mike 157 Bishop, Pat 159 Bishop, Rod 51 Bisley, Steve 162, 163, 207 Bitter & Twisted 161, 167 Blabbermouth & Stickybeak 212, 215 Blabey, Aaron 201, 207 Black And White 164, 174 The Black Balloon 158, 164, 167, 170, 178, 181, 184, 192, 196, 200 Black Dogs 239 Blackfellas 157, 163, 176, 190 Black Harvest 232 Black Jack 223 The Blackman And His Bride 109, 238 Black River 190 The Black Road 237 Black Robe 14, 157, 163, 169, 173, 176, 179, 183, 190, 194, 198 Blackrock 163, 166, 169, 183, 191 Black Water 167, 181 Blackwell, Madeleine 240 Blackwell, Mark 199, 249 Blackwood, Jennie 230 Blaiklock, Adam 253 Blainey, Trevor 184 Blair, Jock 223 Blair, Wayne 226, 240 Blake, Julia 114, 160, 161, 166, 198, 204 Blake, Michael 256 Blakemore, Michael 190 Blake, Rachael 167, 204, 206 Blanchett, Cate 73, 82, 95, 161, 166, 252, 255 Blanche, Vikki 240 Blanks, Jamie 237 Blaxland, Andrew 212 Bleakley, Annie 182 Blessed 161, 181, 184 Blethyn, Brenda 161 Blight, Rosemary 212, 223, 245 Bliss 156, 159, 162, 165, 168, 172, 176, 179, 182, 185, 189, 194, 197 Blonski, Annette 54, 61, 63, 64, 79, 97, 101, 102 Bloodlock 236 Blood Oath 163, 169, 172, 176, 182, 186, 190, 198 Blood On The Chandelier 242 Bloom, Orlando 164 Blowen, Dylan 234 Bluck, Nigel 170 Blue Heelers 207, 208, 209, 217, 218 Blue Murder 201, 215, 220 Bluett, Mike 234 Blue Water High 212, 213, 257 Blurred 192 Bluteau, Lothaire 157 BMX Bandits 162, 179, 189, 197 Boddington, Adrian 225 Bodyline 59, 64 Body Melt 173, 180, 198 Bodysurfer 201, 220 Bodywork 248 Bollinger, Alun 170 Bomb Harvest 228 Bond, Grahame 181, 193 Bongers, Sally 109, 169, 226, 254 Bonner, Hilton 188 Bonython, Tim 229 Bonza 69, 239, 245 Boock, Paula 213 The Book Of Revelation 175, 192, 196 Booth, David 257 Booth, Emma 167 Bootleg 212, 215, 225 Bootmen 158, 170, 174, 180, 183, 187, 195, 199 Borghesi, Anna 173, 174, 175 Borglund, Mikael 97 Borg, Pia 243 Borrey, Anou 233 Borroloola Community 231 Bortignon, Emma 200, 249, 250 Boseley, Ray 235, 244 Boss Boy 245 Bouchier, Michael 212 Boughen, Michael 250, 253, 256 Boulevard Of Broken Dreams 157, 163, 169, 172, 176, 179, 182 Boundaries Of The Heart 160, 166 Bourchier, Michael 212 Bourne, Shane 202 Bouzianis-Sellick, JoAnne 254 Bovell, Andrew 82, 191, 192, 234, 250 Bowden, Helen 183, 224, 233 Bower, Susan 218, 223 Bowling For Columbine 185 Bowman, Helen 232 Bowman, Phillip 212 Box 236 Boxer 240 Boxhall, Richard 250 box-office 7, 12, 130 box-office (and the AFI Awards) 127 The Box 40 Boy 239, 245 Boyd, Russell 109, 168, 169, 226, 255 The Boys Are Back 158, 167, 193, 253 Boy’s Own Story 240, 246 The Boys 157, 161, 164, 166, 169, 174, 177, 180, 183, 191, 195, 199 The Boy Who Had Everything 162, 172, 189 Bradbury, David 228, 230, 231, 232, 247, 248 Bradford, AJ 250 Bradley, James 180, 237 Bradshaw, Mark 196 Brady, Tait 61, 62, 97, 128 Braithwaite, Nicola 172 Brammall, Patrick 211 Bran Nue Dae 167, 175, 193, 196, 200, 250, 253, 256 Brawely, John 227 Bray, Camilla 184, 253 Break & Enter 240, 246 Breaker Morant 116, 156, 162, 168, 171, 175, 178, 181, 185, 188, 196 Breaking Up 203 Break Of Day 159, 165, 168, 181 Brealey, Gil 26, 27, 32, 109, 110, 176, 181, 230, 231, 238 A Breath 229 Breathe 227 Bregman, Anthony 185 Breheny, Brian J. 169 Brenman, Greg 253 Brennan, Richard 3, 43, 44, 47, 48, 53, 65, 92, 93, 97, 98, 100, 110, 111, 121, 122, 127, 128, 181, 182, 183 Brennan, Shane 220 Brentnall, Jessica 243 Breslin, Annie 197, 198, 199, 200, 249 Breslin, Nick 199 Brew, Damien 188 Brewer, Logan 185 Brides Of Christ 204, 214, 220 The Bridge 238 The Bridge 227 The Bridge 253 Bridie, David 195, 233, 248, 249, 250 Briggs, Tony 193 Bright, Greg 66 Bright Star 70, 162, 167, 170, 175, 181, 184, 187, 188, 196, 250, 253 Briley, John 191 Brilliant Lies 160, 163, 166 Brincat, Paul 198 Briones, Lucia Salinas 232 British Film Institute 75, 92, 93, 101, 102, 103 Britton, Aileen 165 Brockie, Jenny 232 Brock, John 170 Broinowski, Anna 229, 230, 234 Brokeback Mountain 251 Broken Highway 160, 166, 169, 186, 198 Bronco 247 Brooksbank, Anne 188, 221 Brooks, Sue 13, 127, 177, 184 Bropho, Robert 231 Brophy, Chris 74 Brophy, Philip 198, 248 Brotchie, Amanda 214, 231, 246 Brother 240, 242 The Brotherhood 254 Brothers & Sisters 252 The Brothers 28 Brown, Andy 256 Brown, Bille 208 Brown, Bruce 198 Brown, Bryan 129, 156, 157, 162, 164, 184, 253 Brown, Chris 184 Brown, G. Mac 251, 253, 256 Brown, Grant 215, 216 Brown, Helen 197 Brown, Ian 254 Browning, Emily 252, 257 Browning, Sally 233 Brown, Kerry 226 Brownlow, Megan 219 Brown, Ray 251 Brown, Reb 156 Bruce, P. 230 Bruer, Jeffrey 239 Brumpton, John 157, 191 Bruning, Anne 223 Brunt, Melanie 243, 246 The Brush Off 202, 215, 221, 223 Bryan, Chris 229 Brynes, Brittany 257 Bryning, Mal 42 Buck, Andrea 184 Buckley, Anthony 182, 184, 223, 255 Buckley, Michael 233 Buck, Tony 195 Buday, Helen 160, 161 Buddee, Kim 187 Buddies 159, 162, 189, 194, 197 Budd, Sibylla 167 Budge, Tom 164 Buesst, Nigel 32, 44, 244 263 Buggy, Joanna 234 Bullock, Tim 222 Bullocky 231 Bull, Phillip 226, 227 Bullseye 172, 179, 186 Burbury, Sir Stanley 51 Burden, Chris 199 Burfoot, Graeme 246 Burgess, Peter 197, 198 Burgess, Steve 197, 198, 199, 200 Buried Alive: The Story Of East Timor 236 Burke, Simon 156 Burke & Wills 168, 172, 194, 197 Burmeister, Saskia 161, 167, 209 Burn 247 Burnett, Ewan 97, 212, 213, 223 Burning Man 159, 168, 171, 175, 178, 181, 184, 188, 193, 200 Burns, Carol 159, 208 Burr, David 227 Bursill, Tina 166 Burstall, Tim 26, 31, 39, 40, 42, 109, 110, 175, 181, 238, 255 Burton, Geoff 110, 168, 169 Busch, Michael 200 Bushed 241 Bush Mechanics 254 Butel, Mitchell 164 Butler, Martin 230, 234 Butler, Matt 63, 250 Butler, Mimi 218, 224 Butler, Robyn 210, 213, 214 The Butler 233, 253 Butterfield, Syd 197 Butters, Craig 198, 248 Butterworth, Syd 197, 199, 247 Butt, Peter 228, 229, 233, 236 Buxton, Susannah 175 Byers, Billy 194 Byers, Christian 257 Bypass To Life 230 Byrne, Debbie 159 Byrne, Gabriel 158 Byrne, Rose 161, 252 Byrnes, Brittany 210 Byrne, Sean 193 Byrne-Smith, Louis 237 Byrne, Sophie 243, 256 Byrne, Wenona 246 Byron, Annie 165, 166 Byron Kennedy Award 63, 113 B-Zipporah, Jenni 241 C Cabbie Of The Year 239 Cactus 156, 176 Caddie 159, 162, 165 Caesar, David 177, 190, 191 264 A Calcutta Christmas 229, 233 Callaghan, Mary 244 Callen, Mark 214 Call Me Mum 206, 209, 225 Calvert, James 243 Cambis, Tahir 233 Cambridge, Arthur 250 Camera Natura 247 Cameron, James 112 Cameron, Jeanie 172 Cameron, Ken 176, 189, 214, 215, 239, 244 Cameron, Priscilla 246 Campan, Valeriu 228 Campbell, Craig 213 Campbell, Sally 186 Campbell, Susie 213 Campey, Philippa 234 Campion, Jane 63, 70, 77, 82, 109, 177, 187, 189, 190, 205, 214, 235, 238, 244, 250 Candy 158, 161, 164, 167, 180, 184, 187, 192 Cane Toads, An Unnatural History 226, 232, 236 Cane Toad – What Happened To Baz? 243 Cannes Film Festival 70, 110 Canning, Iain 184, 253 Canto A La Vida 232 Cantrill, Arthur 238 Capsis, Paul 164 Captives Of Care 244 Caradee, Serhat 193 Carden, Michael 200 Cardin In Australia 231, 235 Careful, He Might Hear You 117, 156, 159, 162, 165, 168, 171, 176, 179, 182, 185, 188, 194, 197 Carey, Peter 189 Carides, Gia 160, 166 Carides, Zoe 166 Carlson, Rey 253 Carlton filmmakers 32 Carlton, Rob 205, 210, 214 Carlyon, Terry 227, 229, 233, 254 Carmen, Loene 160, 167 Carmody, Kev 254 Carnivore Reflux 243 Carr, Adrian 178, 196 Carr, Gillian 213 Carrick, Lloyd 196, 197, 198, 199, 247 Carrithers, Scott 228 Carroll, Luke 164, 207, 208 Carroll, MaryAnne 218 Carroll, Matt 181, 223 Carroll, Matthew 181, 182, 252 Carroll, Mike 253 Carr, Ruth 245 Carruthers, Glen 227 Carson, Michael 214 Carstairs, Peter 240 The Cars That Ate Paris 52, 193 Carter, Anne 181 Carter, Craig 197, 198, 199, 200, 248, 249 Carter, Robert 190 Casimir, Jon 219, 220 Cassell, Alan 156 Cassidy, Cheree 206 Cassidy, Richard 188 Castle, Dan 246 Castle, Jane 226 The Castle 117, 157, 163, 166, 191, 250 Castrique, Sue 239 Caswell, Robert 189 Catanzariti, Danielle 257 Catchlove, Don 244 The Caterpillar Wish 167 Cathy’s Child 156, 159, 175, 181 Caton, Michael 157 The Cat Piano 243 Catterns, Angela 231 Cattle, Michelle 248 Caulfield, Michael 254 Cavadini, Alessandro 231 Cavadini, Fabio 226 Cavanaugh, Tony 223 Cave, Nick 192, 194, 195 Cawthorne, Richard 208 Cedar Boys 193 Celia 166 The Cellist 244 Celso And Cora 231 A Century of Australian Cinema (AFI book) 72 Ceyton, Kristina 247 Chadwick, Terry 250 The Chain Reaction 165, 168, 171, 178, 185, 193, 196 Chainsaw 240, 243 Chainsaw 327 232, 248 Chamberlain, Richard 156 Chambers, Ross 197 Chandler, Wendy 242 Chandon Pictures 210, 214 Chang, Amanda 230 The Change At Groote 231, 235 Change Of Place 241 Changi 202, 221, 223 Chan, Jacqueline 213 Chan, Julius 199 Chan, Pauline 190 The Chant Of Jimmie Blacksmith 159, 162, 168, 171, 175, 178, 181, 193 Chapman, Jan 183, 213, 223, 253, 255 Chapman, Penny 97, 213, 223, 235 Chapman, Trent 220 Chappel, Tim 173, 175 Charatsis, Terry J. 182 Charlie & Boots 251, 256 Charlier, Paul 249 Chartier, Paul 250 Chase, Cath 236 Chaser Crackerjack 214 The Chaser Decides 214 The Chaser’s War On Everything 210, 214, 222 The Chaser Team 222 Chasing Buddha 229 Chataway, Michael 241 Chataway, Richard 241, 244 Chateau Chunder – A Wine Revolution 238 Chau, Tim 197, 198, 248 Chauvel, Charles 30, 255 Chauvel Cinema (Sydney) 62, 69 Chayko, Belinda 245 Cheminal, Mic 173 Chen, Irene 167, 257 Chen, Joan 161 Cherith 245 Cherry, John 234 Chessell, Ben 240 Chesson, Evanne 63, 250 Chialvo, Jeanine 196, 197, 198 Chicken of God 243 Chi, Jimmy 193, 196 Children Of The Revolution 160, 169, 173, 177, 183, 186, 191, 195, 198 Children of the Silk Road 175, 187 Childs, Billy 194 Childs, Reva 180 Chile: Hasta Cuando? 226, 231, 247 Chilvers, Simon 64, 162, 200 Chittenden, Khan 203 Chlanda, Laurie 250 Chobocky, Barbara 97, 239 Choi, Edmund 195 The Choir 230, 234, 249 Chong, Rose 172 Chopper 158, 164, 170, 177, 180, 183, 187, 191, 195, 199 Christensen, Michael 213 Christensen, Nigel 249 Christian, Beatrix 192 The Chronicles Of Narnia: The Lion, The Witch And The Wardrobe 252 Chuck, Wendy 173 Churchill-Brown, Leah 184, 253 Churchill, Della 239 Churchmans 225 Cilauro, Santo 183, 191, 214, 215, 217, 220, 222 Cinderella Man 251 Cinema Papers 46, 64, 122 Circa 254 The Circuit 203, 206, 208, 216, 218, 222, 223 City Homicide 209, 218 City Of Dreams 227 A City’s Child 159 Clancy, Peter 198 Clanton, Shareena 210 Clark, Al 183, 184, 255 Clarke, David 218 Clarke, John 188, 221, 235, 251 Clarke, Justine 161, 205, 206, 209 Clarke, Paul 219 Clarke, W.H. 225 Clark, Paul 197 Clarkson, Cindy 181 Clarkson, Tammy 206 Clark, Tony 169 Clarry, Evan 240 Classic Tales 213 Clay 32, 109, 168 Clayton, David 243 Clayton, John 156, 207 Clements, Rachel 213 The Clinic 165, 189 Clubland 161, 164, 167, 170, 175, 178, 181, 187, 192, 200 The Club 156, 162, 176, 182, 188 Clutterbuck, Lucinda 242 Cmielewski, Leon 242 CNNNN 213, 221 The Coca-Cola Kid 168, 172, 179, 185, 189, 194, 197 Cochram, Felicity 81 Cochrane, Fiona 230, 243 Cocksedge, Annie 247, 248 Cocks, Leah 247 Code Blue 236 Cody, Michael 247 Cold Chisel: Last Stand 235 A Cold Summer 161 Cold Turkey 240, 254 Cole, David 237 Cole, Leanne 181 Coleman, Martha 183 Coleman, Peter 227 Cole, Marcus 214 Cole, Tony 256 The Collective 243, 249 Collette, Toni 128, 160, 161, 165, 166, 167, 249, 252 Collie, Ian 219, 223, 233 Collins, Allan 170, 227, 229 Collins, Annie 237 Collins, Jennifer 219 Collins, Michael 236 Collum Calling Canberra 231, 247 Collyer, David 226 Colosimo, Rosa 183 Colosimo, Vince 156, 158, 164, 208 Colour Bars 233 Comedy Inc. – The Late Shift 210, 213, 214, 215, 216, 225 Come In Spinner 204, 214 Commercial Television Production Fund 10 Commis, Andrew 217, 228 A Common Purpose 235 Commonwealth Jubilee Film Awards 26 Compo 189 Concerto For Orchestra 225, 231 Concrete Flesh 227 Conference Room 238 Confessions Of A Headhunter 240, 246 Confessions Of A Simple Surgeon 232 Conkie, Gene 189 Connell, David 169 Connelly, Don 196 Connolly, Bob 103, 229, 230, 231, 232, 233, 235, 250 Connolly, Mick 239, 245 Connolly, Polly 219 Connolly, Robert 131, 177, 178, 183, 184, 191, 192 Connor, Joe 219, 220 Connor, Ken 219, 220 Connor, Martin 180, 223, 236 Conquest Of The Rivers 28, 29, 230 Contact 230, 234, 237 The Contract 239, 245 Conversations On Film (AFI event series) 72, 96 Coo-Ee 247 Cooke, Kaz 242 Cook, Ray 194 Cool 249 The Coolbaroo Club 248 Coombs, Dr ‘Nugget’ 47 Coombs, Melanie 184, 253 Cooper, Callum 243 Cooper, Dany 180, 181 Cooper, Sally 204 Coote, Gillian 244 Coote, Greg 223 Coote, Lissa 185 Cop It Sweet 232 Copping, David 185 Copping, Robin 225, 226 Coppola, Francis Ford 75 Coppola, Sofia 185 Corke, D. 230 Cork, Wendy 175 Cornelius, Dale 250 Cornelius, Patricia 193 Cornish, Abbie 161, 202, 209, 257 Cornish, Mark 200 Cornish, Merlin 237 Corr, Ryan 165 265 Corvini, Stephen 224 Cosi 163, 180, 190 Cotta, Elena 167 Counterpoint Sound 248 Country Life 157, 160, 169, 173, 190 Courtin-Wilson, Amiel 229, 230, 234 Cousin 240, 242 Cousins, Robert 187 Cousins, Sean 236 Coustas, Mary 166 Cowan, Tom 109, 226, 230 Cowboy & Maria In Town 232 Cowell, Brendan 158, 222 The Cowra Breakout 59 Cox, David 245, 248 Cox, Deborah 191, 221, 223 Cox, Ellenor 252, 256 Cox, Frank 183 Cox, Paul 44, 176, 177, 182, 188, 189, 190, 231, 233 Cracker Bag 228, 237, 240, 246 Crackerjack 177, 192 Cracking The Colour Code 228, 237 Crack In The Curtains 245, 248 Cracknell, Ruth 159, 166 Craig, George 249 Craig, Sebastian 248 Crane 248 Crane, Ben 249 Crash Zone 212, 215 A Craven 241 Crawford-Fish, Jodie 213 Crawford, Lesley 186 Crawford, Phillip 236, 237, 240, 254 Crawford Productions 40, 64, 87, 223 Crawshaw, Felix 256, 257 Crayford, Peter 59 Creagh, Gethin 197, 198, 199, 200, 232, 247, 248, 249 Creative Nation 9 Cribb, Reg 192, 193 Cripps, Harry 191 Crocker, Barry 211 Crocker, David 231 Crockett, Brent 224 Crocodile Dreaming 256 Crocodile Dundee 7, 59, 112 Crocodile Dundee-films 117 Crocodile Dundee in Los Angeles 112 Croft, Alison 237 Croghan, Emma-Kate 191 Crombie, Donald 175, 244 Cropp, Ben 226 Cropp, Dean 229 Cropped 241, 247 Cropper, Linda 210 Crosby, Don 255 Croser, Kate 246, 247 266 Crossbow 240 The Crossing 128, 157, 169, 179 Crowe, Russell 74, 82, 83, 84, 120, 128, 129, 157, 163, 251 Crude 230 Crust 241 Cruthers, John 247 Cruzado, Adolfo 237 Crystal Voyager 51 Csokas, Marton 131, 164 Cubitt, Allan 193 Cuell, Debbie 219, 220 Cullen, Max 162, 163, 207 Cullen, Ruth 232, 234 cultural imperialism 34 cultural policy 9 ‘culture/commerce’ tensions 34 Cummings, Ashleigh 254, 257 Cunnamulla 229, 233 Cupper, Jack 226 Cupper, Lindsay 226 Curran, John 177 Curran, Lynette 159, 161, 167, 209 Currie, Bruce 241 Currie, James 197, 198, 199, 200, 248 Curry, Stephen 203 The Curse Of The Gothic Symphony 235 Curtin, Ric 250 Curtis, Stephen 187 Cusack, Michael 243, 244 The Custodian 157, 163, 179 Cutcher, Rob 197 Cut Out Animation 241 Cuttlefish – The Brainy Bunch 228, 237, 249 Cybergirl 212 Cyngler, Sarah 247 Czarnecki, Jim 185 D Dabner, Matthew 192 Dad And Dave On Our Selection 163, 166, 190, 195 Dad’s Clock 254 Dafoe, Willem 159 Dainty, Paul 84, 116, 120 Dale, Darren 219, 234, 235 Daley-Jones, Dean 193 Daley, Martin 245 Daley, Nicola 229 Dalkin, Philip 222 Dalton, Kim 76, 77, 79, 103, 123 Dalton, Trent 241 Daly, Mike 254 Damages 252 Damgaard, Charlotte 212 The Damnation Of Harvey McHugh 201, 204, 217, 220 Damsels Be Damned 236, 244 Dance Academy 213, 215, 216 Dance Me To My Song 166, 191 Dance Of Death 241 The Dancing Class 230 A Dancing Foot And A Praying Knee 239, 245 Dancing Orpheus 225 Dangar, Henry 178, 179, 180, 235, 237 Danger 5 214 Dangerous 203, 218 Dangerous Game 186, 197 Dangerous Remedy 206 Daniel Nettheim 178 Dann, Max 190, 191 Danny 239 Danya 257 Daperis, Daniel 206 D’Arcy, Marcus 181 Darcy-Smith, Kieran 178, 193 Dark 49 The Dark Knight 251 Darling, Ian 230, 234 Darling, Jeff 168, 169 Darling, John 163 The Darra Dogs 242 Darrouzet, Ann 212 da Silva, Wilson 233 Dating The Enemy 160 David, Ian 220, 251 Davidson, Ian 225 David Tench Tonight 210, 219 Davie, Gordon 191 Davie, Michael 230, 234 Davies, Brian 6, 32 Davies, Cameron 228, 249 Davies-Coward, Andrew 253 Davies, Iva 194 Davies, Lindy 165 Davies, Luke 192 Davies, Morgana 162, 254, 257 Davies, Paul 199 Davis, Damian 219 Davis, Essie 166, 168, 199, 204, 206, 209 Davis, Judy 55, 159, 160, 161, 165, 166, 252 Davis, Max 227 Davis, Miles 194 Davison, Anthony 228 Davis, Stephen 192 Daws, Gavan 231 Dawson, Jan 3, 4, 52 Dawson, Julie 159 Dawson, Ned 196 Dawson report 4, 52 A Day And A Half 236 Daybreakers 253, 256 Daydream Believer 160 Day, Gary 207 Day, Matt 157 The Day Of The Roses 215, 221, 223 Dead Calm 169, 176, 179, 182, 186, 189, 194, 198 Dead Easy 244 Dead End Drive-In 186 Dead Gorgeous 212, 213 Dead Heart 190, 195, 198 Dead Letter Office 187, 191 Deadly 163, 186, 212 Dean, Bentley 230, 234 Dean, Emily 243 Dean, Nathaniel 164 Dear, Miranda 219 De Arujo, Helder 254 Death Defying Acts 158, 170, 175, 187, 256, 257 Death & Destiny: A Journey Into Ancient Egypt 247 Death In Brunswick 115, 157, 169, 176, 182, 190 A Death In The Family 229, 233 Death Of A Soldier 156, 163 Death Of The Megabeasts 256 Debertin, Sebastian 213 de Broca, Michelle 184 de Bruyn, Dirk 241 Decoder Ring 195 Decrausaz, Philippe 200 Deeper Than Yesterday 241, 247 de Franceschi, Alexandre 180, 181 de Groot, Andrew 168, 234 de Groot, Myra 165 de Heer, Rolf 119, 176, 177, 178, 182, 183, 184, 190, 192, 251 DeJonge, Olivia 257 Delacombe, Rohan 32 De la Lande, Ruth 171, 174 Delaney, Anne 235 Delerue, Georges 194 Delhomme, Benoît 170 Delia 246 Delivery Day 240, 246 Dellora, Daryl 232 Delofski, Maree 229, 232 Demons At Drivetime 227 de Montamas, Damian 208 Dence, Maggie 209 Denholm, Andrea 221, 235 Denial 236, 240 Dennis, Gill 190 Dennison, John 198, 248 Dennison, Richard 231, 238 Denny, Paul 211 Denton, Andrew 213, 219, 220 Dermody, Maeve 167 Dermody, Susan 97 De Roche, Everett 189 The Descent 242 The Desert 246 Desire 226 De Souza, Macario 229, 230 Devereaux, Ed 201 Devil’s Dust 223, 224 The Devil’s Playground 42, 51, 111, 116, 156, 168, 175, 181, 188, 252 Devries, Hugo 247 de Vries, Pieter 228 Dhuway 233 The Diaries Of Vaslav Nijinski 233 Dibbs, Simon 236 Dickins, Barry 190, 239 Dickson, Wendy 185 The Die Hard 231 Dillane, Stephen 201 Dillon, Michael 226, 232 Dimitriades, Alex 157, 164, 203 Dimsey, Julian 257 Dingo 157, 169, 176, 179, 182, 194, 198 Dingo, Ernie 201 Dingwall, John 189 The Diplomat 229, 233 The Director 237 dirtgirlworld 213 Dirty Deeds 170, 174, 180, 187 Dirty Three 195 Disable Bodied Sailors 228, 234 The Dish 117, 183, 195 The Dismissal 59, 64 Displaced Persons 214 Division 4 39 Divlijan, Vladimir 248 The Djarn Djarns 237, 240 Djigirr, Peter 178 Dobrowolska, Gosia 159, 166 Dobson, John 245 Dobson, Steve 168 Docker, Mary 205 Docwra, Greg 249 Dodds, Peter 217 Dog 240, 246 Dogstar 208, 222 Dog With Electric Collar 243 Doing Time For Patsy Cline 157, 166, 169, 173, 177, 183, 186, 191, 195, 198 Do, Khoa 177, 192, 240 Dolman, Glen 222 Domaradzki, Jerzy 176 Dominik, Andrew 177, 191 Donald Friend: The Prodigal Australian 227, 236 Donaldson, David 25 Donaldson, Roger 252 Doneman, Megan 237 Donkin, Nick 242 Donovan, Michael 185 Don’s Party 127, 159, 165, 175, 178, 181, 188, 196 Don’t Blame The Koalas 212, 257 Doolan, Luke 233, 240, 247 Do Or Die 215, 223, 224 Doran, Terence 237 Doring, Jef 226, 231 Doring, Melinda 174, 175, 187, 188 Doring, Su 226, 231 Dorsman, Judith 171 Double Concerto 231, 235 Double The Fist 213, 256 Double Trouble 213 Douge, Amanda 166 Doust, Gary 251 Doust, Sam 256 Dowding, Jon 185, 186 Dow, Martyn 235 Down, Elissa 178, 192 Downes, Cathy 165 Down, Martyn Langdon 232 Doyle, Christopher 170 Doyle, John 221 Drago, Carla 246 The Dragons Of Galapagos 227, 233 Drake, Elizabeth 195, 247 Drake, Nick 192 Drape, Justin 222 Draper, Rose 256 Draskovic, Giorgio 182, 183 The Dreaming 179 Drechsel, Benny 184 Drew, Di 218 Dreyton, Cathy 236 Drink The Moon 238 The Drip 248 Dr Sarmast’s Music School 229, 230, 235, 238, 250 Drummond, Matt 256 Dryburgh, Stuart 169 Drynan, Jeanie 161, 166 Drynan, Jeannie 159 Du Cane, Peter 233 Dudu And The Line 241 Duffield, Andrew 249 Duffield, Michael 162 du Fresne, Kylie 184, 212, 213, 223 Duggan, Simon 169 Dugong 240, 246 Duigan, John 14, 52, 111, 175, 176, 181, 188, 189, 250, 252 Dulhunty, Jinks 245 Dulux: Colours Of Your Day 226 Dumpy Goes To The Big Smoke 241, 247 Duncan, Carmen 159 Duncan, Digby 238, 244 Duncan, Peter 177, 178, 191, 192, 219 267 Duncan, Rob 256 The Dunera Boys 64, 200, 203, 214, 220 Dunlop, Ian 255 Dunn, Beverley 187, 188 Dunn Gielmuda, Luke 248 Dunn, Mike 256 Dunphy, Kristen 222 Dunstan, Don 41 Durrant, Ivam 238 Dust Echoes 2 243 Dusty 156 Dwyer, Jody 240 Dyer, Jo 184 Dyer, Lesly 184 Dykstra, Russell 158, 164 Dyson, Catherine 233 E Eadie, Nicholas 201, 202 Eagles, Phill 174 Earle, Kath 219 Earl, Nathan 214 Earth Message 238 East Timor – Birth Of A Nation: Rosa’s Story 228, 229, 233, 237, 254 Eastway, John 218 East West 101 203, 206, 208, 211, 216, 218, 220, 222, 224 Eastwood, Clint 185 Eastwood, Larry 186 Eastwood, Lawrence 186 Eclipse 254 Eclipse Of The Man-Made Sun 232, 236 Edens Lost 204, 214, 220 Edgar, Patricia 211, 212, 255 Edge Of Darkness 252 Edge Of The Cold 226 Edge Of The Deep 230 Edgerton, Joel 164, 189, 192, 202 Edgerton, Nash 178, 236 Edgeworth, Patrick 189 Edmondson, Ray 97 Edols, Michael 231 Edward, Marion 165 Edwards, John 218, 219, 223, 224 Edwards, Ricky 199 Edwards, Sara 237 Efthymiou, Stavros 183, 245 Egan, Liam 198, 199, 200, 232, 248, 249 Eggins, Dave 199 Eimutis, Sigi 256 Ekland, Britt 111 El Angelito 227 The Elephant Princess 213 Elephant Theatre 241 Elfick, David 181, 183, 223 Elizabeth: The Golden Age 252 Eliza Fraser 31, 156 268 Ellingworth, Julian 196, 197, 247, 249 Elliot, Adam 187, 226, 240, 242, 243 Elliot, Paul 254 Elliott, Paul 226 Elliott, Stephan 177, 190 Ellis, Bob 176, 188, 189, 190 Ellis, Warren 195 Elves, Christopher 250 Embassy 214, 216 Emerald City 157, 163, 166, 169, 189 Emery, Ross 227 Emirates 73, 116 Emoh Ruo 165 Emond, Johanna 200 Emond, Nick 200 The Emu And The Sun 242 Encore 66 End Of Town 254 End Play 178 English, Evan 182, 189 Enough Rope With Andrew Denton 219 Enright, Nick 191 Envy 167 Epsilon 169 Epstein, Sascha Ettinger 230 Erky Perky 213 Erskineville Kings 158 Escape Of The Artful Dodger 212 Escott, Damon 243 Etcetera In A Paper Jam 253 Eternal Sunshine Of The Spotless Mind 185 Eternity 227, 232 Ettinger-Epstein, Sascha 229 Eugenie Sandler P.I. 212 Evagora, John 240 Evans, Helen 171 Evans, Stephen 181, 225 Eve Of Adha 240, 246 Everest – Sea To Summit 236 Everett, Karen 172 Everitt, Jacqui 173 The Everlasting Secret Family 157, 163 Every Day, Every Night 226, 244, 247 Everynight … Everynight 177, 190 Evil Angels 7, 14, 114, 157, 160, 176, 179, 182, 189, 194, 198 Evison, Pat 165 Evison, Patricia 165 Ewart, John 162 Ewing, Jon 162 Exile 169, 194 Exile And The Kingdom 232, 248 Exile In Sarajevo 233 The Existentialist Cowboy’s Last Stand 253 Experimental Film and Television Fund 3, 31, 32, 41, 42, 43, 44, 45, 48, 49, 53, 65, 94 The Exploding Woman 243 The Extra 237, 246 The Eye Inside 228, 246 The Eye Of The Storm 158, 162, 165, 167, 168, 175, 178, 184, 188, 193, 253 F Fa’aoso, Aaron 207, 208 Fabinyi, Martin 184 Faces 1976–1996 253 Face To Face 165 Facing The Music 229, 233, 249 Faen, Laurie 187 Fahey, Maryanne 166 Fahimeh’s Story 229 Faichney, Stewart 251 Faiman, Peter 7 Fairfax, Kaarin 166 Fairley, Wade 227, 228 Fairweather Man 249 Fallen Angels 201, 204 False Witness 203, 206, 208, 210, 216, 224 Falzon, Albert 52 Fanshawe, David 232, 247 Far East 162 Farinacci, Daniela 167 Farkas, Jackie 228 The Farm 205 Farrant, Trevor 182, 190 Farr, Judi 167 Fassbinder, Rainer Werner 62 Fast Talking 162, 176, 189 Father 157, 166 The Fat 219 Fatty Finn 159, 165, 171, 178, 185, 193 Faux, Steven 239 Fawdon, Michelle 159, 160, 165, 204 Feathers 245 Feathers And Fools 241 Featherstone, Daniel 227 Federation of Film Societies 24, 53 Federation of Victorian Film Societies 26, 29 Feeney-Connor, Shane 201 Fennessy, Mark 213 Fenton, Kathryn 247 Fenton, Peter 196, 197, 198, 247 The Ferals 212 Feral Television 242 Fergus McPhail 212 Ferguson, Matthew 157 Ferguson, Murray 236 Ferrier, Noel 156 Ferrier, Tim 225 Ferris, Matthew 250 Fever 176, 194 A Few Best Men 196 Fiddess, Les 199, 200 Field, David 164, 202, 206 Fielder, Angie 184 Fields, Maurie 163 Figaro Pho 213, 225 Fighting Back 165 Fighting Fear 229, 230 Files, Gary 208 Fill, Dan 213 Film and Television Institute (WA) 69 Film Arts Network (FAN) 11 film as ‘art’ 108 Film Critics Circle of Australia Awards 131 film culture (see also screen culture) 3, 4, 95, 108 Film Finance Corporation 9, 101, 112, 128 Filmnews 62, 65, 66 Film Victoria 8, 14, 61, 101, 102 Fimeri, Wain 229, 254 Final Cut 236 Findleton, Rhondda 204, 209 Fingleton, Anthony 191 The Finished People 177, 192 Fink, Margaret 55, 181, 184 Finlay, Paul 248, 249 Finlayson, Bruce 171 Finnane, Francine 220 Finney, Alan 6, 17, 26, 31, 85, 87, 97 Finn, Tim 194 Finsterer, Anni 210 First Australians 230, 234 First Contact 59, 104, 231, 235 Firth, Charles 221 Fischer, Silke 188 The Fish Are Safe 204 Fisher, Kirsty 222 Fiske, Pat 232, 239, 247, 248 Fisk, Peter 214, 215 Fitchett, Chris 43 Fitzgerald, Geraldine 159 Fitz-Gerald, Lewis 162 FitzGerald, Mark 214 Fitzgerald, Tara 160 Fitzpatrick, Peter 190 Fitzsimons, Trish 248 Flanagan, Richard 251 Flank Breeder 241 Flatman, David 233 Flatman, Sue 233 Flaus, John 5, 25, 44, 47, 60, 93, 97 Flea-bitten! 213 Fletcher, Brendan 184, 193, 246, 253 Fleuren, Andre 227 Flight Of The Windhorse 226, 231, 235, 247 Flirting 14, 163, 169, 179, 182, 186, 198 Floating Life 166, 177, 191 Floodhouse 228, 240, 246 Florance, Sheila 160 Flowergirl 246 Flux 254 Flying Over Mother 245 Flynn, Errol 82 Flynn, Peter 239 The Fogbrook Thing 244 Fogiel, Yaël 184 Folland, Anne 231 Fong, Eddie L.C. 191 Fontana, Ellen 222 Footnote 243 Fooy, Vincent 228 For All The World To See 232 Forbidden Lie$ 230, 234, 237, 249 Ford, Ben 253 Ford, Jo 188, 224, 225 Ford, Leon 226, 240 Ford, Luke 164 Ford, Matt 221 Ford, Roger 172, 173, 174, 186, 187, 252 Ford, Sue 44, 253 The Forest 225 Forget Me Not 243 Forlani, Claire 210 Forlorn Gaze 256 For Love Alone 160, 172, 186, 189, 194 For Love Or Money 231, 239 Forster, Jill 166, 204 Forster, Patricia 171 Forsythe, Abe 202, 208 Forsythe, Drew 156, 162, 210 Forsyth, Robert 237 Fortress 64 Fosdick, David 237 Foster, John 55, 59 Foster, Mark 238 Foulkes, Mirrah 241, 247 fOUR 240, 246, 254 The Fourth Wish 156, 159, 165 Foxbat And Mimi 241 Foxbat And The Demon 241 Fox, Felicity 249 Fox, Kerry 160, 167, 206 Fox, Louise 240 Fox, Robert 185 Fox Studios 73, 129 Foxx, Felicity 194 Frailejon 239, 245, 253 Fran 159, 165, 176, 182, 189 Francis-Bruce, Richard 179 Francis collection 50 Francis, David 50 Franken, Mark 200 Frankland, Richard 77, 216, 239, 240, 245 Franklin, Richard 177, 181, 183, 190 Franks, John 247 Franz And Kafka 227 Fraser, Glenn 239, 245 Fraser government 9 Fraser, Greig 170, 216, 228 Frater, Jim 229 Frauds 173 Frazer, Lindsay 236 Frazier, Jim 226 Frecheville, James 254, 257 Freckelton, Grant 257 Fredericks, Murray 228 Frederiksen, Daniel 203 Freedman, Rod 233 Freeman, Beverley 187 Freeman, Emma 216 Freeman, Nicolette 232 free trade/multilateral trade agreements 95, 96 French, Anna 172 French, Michaela 254 French, Stephen 241 French, Steve 241 Fresh Air 180 Frew, Frank 225 Frey, Beth 234, 243 Friar, Poppy Lee 206 Friedel, Martin 248, 249 Friedman, Jack 196 Friedman, Vicki 173 Friels, Colin 156, 157, 158, 201 Friends And Enemies 232, 247 Friends of the AFI 71 The Fringe Dwellers 160, 165, 168, 176, 179, 182, 189 Frith, Rebecca 209 Fritz Gets Rich 243 Frog Dreaming 179, 185, 194, 197 From The Tropics To The Snow 225 Frontier: Worse Than Slavery Itself 253 Frontline 59, 215, 217, 220, 231 Fryer, Sally 237 Full Circle 242 Fulton, Nial 224 Furlong, Hilary 189 Furness, Deborra-lee 167, 208 Fury, Veronica 235 G Gabriel 256 Gabriel, Peter 195 Gadd, Natasha 228, 230 Gaden, John 165 Gaffy, Lucy 247 Gainsbourg, Charlotte 162 Gallacher, Frank 207 The Gallery 226, 231 269 Gallipoli 59, 116, 117, 128, 156, 162, 168, 171, 176, 178, 182, 185, 188, 196 Galllipoli: The First Day 256 Gallois, Roland 181 Gallois, Rolland 237 Gameau, Damon 164 The Games 202, 205, 221 Gann, Jason 210, 211, 214, 222 Gannon, Ben 183 Ganz, Bruno 157 Gao, Wenyan 175 Garage Days 167, 187, 199 Garai, Romola 205 Gardiner, Calvin 228 Gardiner, Geoff 111 Gardiner, Lizzy 173, 175 Gardner, David 220 Gargoyle 243, 254 Garner, Alice 165, 166 Garner, Bill 221 Garner, Helen 190, 220 Garner, Nadine 160, 166, 204, 241 Garvey, Damien 208 Gary’s Story 244 Gasp! 213 Gate 240 Gawen, Dean 197, 198, 248 Gawler, Peter 189, 221, 222 Geer, Celeste 235 Geller, Rusty 229 The Genius Is Lying 244 Gentile, Victor 248 George Lugg Library 41, 53 George, Melissa 252 George, Peter 233 George, Rob 239 Georgia 160, 169, 172, 176, 186, 189, 194, 198 Gerrand, Maggie 85 Gerrard, Lisa 196 Gerson, Isaac 47 Gest, Vickie 234 The Getting Of Wisdom 40, 171, 188 Getting Wet 235, 244 Gettin’ Square 158, 164, 167, 170, 174, 177, 180, 184, 187, 192, 195, 199 Ghazarian, Nubar 236 Ghosts … Of The Civil Dead 157, 163, 172, 179, 182, 186, 189, 194, 198 Giacco, Carlo 195 Giannopoulos, Nick 256 Gibbie, Neill 236 Gibbons, Pamela 189 Gibbons, Shaun 228, 234 Gibbs, Nina 256 Gibney, Rebecca 166, 168, 198, 204, 211 Gibson, Ari 243 Gibson, Dave 212, 213 270 Gibson Greig, Ash 250 Gibson, Julian 238 Gibson, Marissa 161, 257 Gibson, Mel 128, 156, 251 Gibson, Mitjili 167 Gibson, Richard 246 Gibson, Robert 178, 179, 236 Gibson, Will 170 Gilbert, Andrew S. 163, 164 Gilbertson, Harrison 257 Giles, David Evan 241 Gillespie, Rosalind 232 Gillezeau, Marcus 252, 256 Gillies, Max 97 Gillmer, Caroline 160 Gilmour, Dione 255 Gilmour, Ian 215 Gilovitz, Benjamin 247 Ginnane, Antony I. 6, 32, 181, 182 Gino 186 Girl In A Mirror 233 A Girl’s Own Story 63, 109, 226, 238, 244 The Girl Who Swallowed Bees 243 Gissing, Michael 248, 249, 250 Give It Back 231 Glass: A Portrait of Philip In Twelve Parts 234, 249 The Glass House 219 Gledhill, Nicholas 156 Gleisner, Tom 183, 191, 214, 215, 217, 220, 222 Glen, Diana 206 Glenn, Diana 210 Glenn Owen Dodds 241 ‘glitter cycle’ films 115 Global Haywire 230, 234, 237, 249 globalisation (Australian film industry) 81, 82 Glynn, Erica 246 Glynn, Kathleen 185 The Goat That Ate Time 243 Go Back To Where You Came From 229, 230, 235 Go Big 223 Godfrey, Chris 256 Godman, Eliza 175 God’s Girls: Stories From An Australian Convent 232 Going Down 162 Golden Braid 169, 176, 179, 190, 198 The Golden Compass 252 Goldfinch, Liz 247 Goldie, David 229 Goldman, Mitzi 233, 235 Goldman, Paul 178, 191 Goldsmith, Chris 197 Goldsworthy, Kym 190 Golin, Steve 185 Gollan, Sofya 240, 246 Gonski, David 9 Gonzalez, Claude 234 Goodall, Caroline 160 Goodbye Johnny Ray 244 Goodbye Paradise 156, 176, 182, 188 Goode, Matthew 159 Goodes, Chris 250 Good Guys Bad Guys 201, 215, 217, 220, 222 The Good Looker 233, 253 Good Luck Jeffrey Brown 249 Good Pretender 257 Goodridge, Neil 243 The Good Son 236 Gooley, Bill 255 Gooley, Tony 241 Gordon, Bruce 223 Gordon, Christopher 195, 196 Gordon, Vivienne 53 Gore, Sandy 165 Gorgeous 242 Gorman, Vanessa 229 Gorton government 39, 42 Gorton, John 9, 11, 32, 33, 34, 46 Gosford Park 185 Gould, David 223 Govender, Delon 256 Government and film in Australia 60, 79 Government and film in Australia (inquiries) 48 government film organisations (1970s) 40 government funding 92 Gower, Garry 196 Gow, Michael 220 G.P. 201, 204 Grabowsky, Paul 194, 195, 225, 249, 253 Grace, Helen 238 Grace, Peter 199 Gracie, Ian 187, 188 Graeme-Evans, Posie 218 Graham, Katie 174 Graham, Marcus 201, 207 Graham, Matthew 256 Graham, Max 28, 230 Graham, Rhys 228, 230 Graham, Trevor 95, 232, 233, 235 Grant, Angus 207 Grant, Ben 223 Grant, Ian 250 Grant, Jaems 226, 227, 228, 245 Grantley, Gyton 203 Grant, Shaun 193 Grass Roots 201, 202, 204, 206, 207, 208, 209, 215, 218, 221 Gravas, Mark 243 Gray, Antony 198, 199, 200 Gray, Scott 180, 181 Gray, Wendy 212 Grazer, Brian 185 The Great Bookie Robbery 214 The Great Duel 229, 236 Greater Union 113 Great Falls 227 The Great McCarthy 162, 193 Great Moments In Science 242 The Great Wave 241 Green 226 Green Card 112 Green Dragon 196 Greenkeeping 190 Greenslade, Francis 207 Green, Tom 257 Greetings From Wollongong 226, 244 Gregory, Jon 180 Gregory, Sebastian 257 Gregson, Dimity 197 Greig, Durand 242 Grendel, Grendel, Grendel 185, 193 Grenville, Ashley 197, 198 Gribble, David 168 Grice, Alan 225 Grieve, Anna 97, 245, 253 Grievous Bodily Harm 163, 169, 179, 182 Griffin, Craig 234 Griffith, Melanie 167 Griffiths, Lew 233 Griffiths, Rachel 161, 166, 167, 246, 252 Griff The Invisible 193 Grigsby, D. Howard 182 Grist, Geoff 197 Gross, Guy 194, 234, 249, 254 Gross Misconduct 173 Gross, Sandra 45 Gross, Yoram 44, 45 The Ground Beneath 240, 247, 257 Ground Zero 156, 163, 168, 176, 179, 182, 186, 189, 197 Growing Up Series 231 Grubb, Robert 162 Gruen Sweat 220 The Gruen Transfer 219 Grunden, Bryce 249 Grundy, Reg 255 Gudan, Robert 242 Gudgeon, Mac 189 Guess How Much I Love You – The Adventures of Little Nutbrown Hare 213 Guess Who’s Coming to Dinner 130 Gulpilil, David 119, 156, 158, 164 Gumshoe 236 Guns And Roses 232 a gURL’s wURLd 213 Gwynne, Phillip 191 Gyngell, Bruce 45, 110 Gyngell, Kim 163, 211 H H2O: Just Add Water 206, 210, 213, 256 Hackforth-Jones, Penne 166 Haddrick, Greg 191, 218, 222, 223, 224 Hagen, Andrew 194 Haig, Ian 248 Haines, Frank 234 Half Life 231, 239 Halfway Across the Galaxy and Turn Left 211 Halifax f.p 201, 202, 204, 205, 215, 221, 223, 224, 257 Hall, Belinda 236 Hall, Dannielle 161 Hall, Geoff 226 Hall, Geoffrey 170 Halliday, Eric 241 Hall, Ken G. 255 Halsted, Richard 247 Hambly, Glenda 176, 189, 215 Hamer, Rupert 47 Hamer, Senator David 59, 60, 62 Hamilton, Bettina 247 Hamilton, Julie 166 Hamilton Lawes, Emma 174 Hamilton, Paul 237 Hamlyn, Mark 234 Hamlyn, Michael 183 Hammers Over The Anvil 169 Hammond, Ken 247 Hammond, Peter 247 The Hamster Wheel 220 Handmaidens And Battleaxes 227, 232, 236, 248 Hanlon, Teresa-Jayne 183 Hannam, Ken 42, 110 Hannan, Mairead 254 Hannay, David 255 Hansen, Andrew 210 Hansen, Gary 168 Hanson, Nell 187 Hany, Don 203 Hany, Taffy 208 Happy Feet 83, 96, 125 Happy Little Vegemites unauthorised 245 Haratzis, Denise 180, 181, 237 Harding, Anne 244 Harding, Brenna 258 Harding, Megan 213, 214 Hardisty, Sue 127, 232 Hard Knocks 159, 188, 252 Hard To Windward 28, 29, 230 The Hard Word 161, 164, 226 Hardy, Alan 212, 216, 218 Hardy, Ann 165 Hardy, Jonathon 188 Hargreaves, John 156, 157, 162, 163, 250 Harlequin 159, 171, 175, 178, 185, 196 Harmon, Paul 232 Harper, Graeme 215 Harrington, Kevin 158 Harris, Jess 211 Harris, Louise 168 Harrison, David 197, 198, 248 Harrison, Noeline 248 Harris, Paul 60, 62, 97, 126 Harrow, Lisa 160 Harry’s War 240 Harry The Human Fly 242 Hart, George 247 Hartley, Mark 237 Hartley Sims, Jeremy 157, 178, 201 Hartman, Rivka 244, 253 Hart, Phoebe 235 Harvey 254 Harvey, James 198, 200 Harvey, Margaret 209 Harvey, Michael 244 Harvey, Mick 194, 195 Harvie Krumpet 243 Harwood, Ronald 251 Has Beans 242 Haslem, Denise 233, 236, 247 Hastings, Peta 225 Hating Alison Ashley 161, 167, 174, 192 Hatred 233, 236 Haver, June 111 Hawes, Stanley 29, 255 Hawke 203, 210, 216, 222, 224 Hawke, Bob 9, 114 Hawkins, Matthew 240 Hawley, Suzanne 220 Haydon, Tom 109, 231 Hay, Emma 237 Hayes, Anthony 164, 203 Hayes, Clifford 178 Hayes, Jeff 223 Hayes, Terry 182, 183, 189 Hay, John 173 Hayward, Kevin 170 Hayward, Phil 196 Hayward, Sam 249 Haywood, Chris 156, 157, 163, 207 Hazlehurst, Noni 159, 161, 167, 204, 206 Head, Adam 242 Head On 157, 164, 174, 177, 180, 183, 191, 195, 199 Heads ’N Tails 235, 239, 247 Headspace 242 Healy, Jock 250 Healy, Paul 248 The Heartbreak Kid 163, 177, 183 Heartbreak Motel 242 Heartland 214 Heart Of Pearl 227, 245, 253 Hearts And Minds 238 271 Heathcote, Sophie 204 Heath, Paul 187 Heatwave 178, 196 Heaven Tonight 163 He Died With A Felafel In His Hand 191 Hegarty, Lynn 245 Hegh, Anita 204, 209 Hehir, Peter 162 Helen’s War: Portrait Of A Dissident 229, 233 Hellen, Andrew 256 Hell Has Harbour Views 207, 223 Hellier, Trudy 226, 240 Hello 243, 249 Hell, Texas And Home 239, 245 Helpmann, Robert 156 Henderson, Martin 164, 251 Hendrickx, Monic 161 Henkel, Cathy 230 Henshall, Daniel 159 Hensley, Lisa 204 Hensser, Max 247 Hephzibah 229, 233, 237 Herbert, Bob 189 Here I Sit 253 Hernandez, Rene 240, 246, 247 Heroes’ Mountain 207, 223 Herriman, Damon 211 Herron, John 197 He’s Coming South 228 Hesp, Rose 233 Hesp, Rosemary 254 Hess, Liam 257 Heuzenroeder, Tom 199, 200, 249, 250 Hewett, Lauren 257 Hewison, James 83, 84, 85, 103 Hewitt, Caroline 250, 253 Heyer, John 25, 26, 30 Hey Hey It’s Esther Blueburger 175, 192, 200, 257 Heynes, Alli 249 Heywood, Phil 200 Heywood, Philip (Phil) 197, 199, 200 Hiatt, Linc 236, 238 Hibberd, Rod 236 Hickey, Jacob 230, 234, 235 Hicks, Scott 44, 49, 177, 234 Hides, Bernard 185, 186 Higgs, Amanda 218, 223 Highfield, Xanthe 254 High Tide 160, 166, 176, 182, 189, 197 Hilditch, Zak 241, 247 Hillcoat, John 178, 189 Hill, Jonathon 245, 248 The Hillmen 233 Hill, Michael 243 Hills, Adam 220 Hill-Smith, Charlie 230 272 Hilton, Chris 232, 234 Hilton, Jamie 246 Hirschfelder, David 195, 196 Hirsh, Michael 183 His Mother’s Voice 242 Hitchins, Geoff 181, 237 Hoare, Deborah 245 Hobbs, Jessica 215, 216, 246 Hobson, David 195 Hodges, Kate 235 Hodgman, Roger 215 Hofmann, Sonia 241 Hogan, P.J. 14, 177, 190, 222, 235, 236, 244 Hogios, Basil 196 Holden, Frankie J. 157, 164, 201 Holden, Karina 234 Holfeld, Greg 242 Hollands, Mike 243 Holloway, Tracey 232, 253 The Hollowmen 210, 214, 222 Holly’s Heroes 212 Hollywood 16 Holman, David 190 Holmes, Cecil 230 Holmes, John 217 Holmes, Kerith 186 Holmes, Nick 198 Home And Away 216, 217 Homelands 232 Homesdale 42, 45, 121, 175, 181, 244 The Home Song Stories 117, 127, 131, 158, 161, 167, 170, 175, 178, 181, 184, 187, 192, 196, 200, 257 Home Sweet Home 241 Homicide 39 Honey, John 175 Honey, Michael 179 The Honourable Wally Norman 158 Hoodwink 156, 162, 165, 171, 176, 178, 188, 196 Hooper, Helen 172 Hope, Nicholas 157 Hope, Wayne 211, 213, 214 Hopkins, Harold 162 Hopkinson, Simon 191 Horler, Sacha 161, 167, 209, 210 Horne, Andrew 242 Horner, Ron 225 Horrocks, Michael 213 A Horse With Stripes 239, 245 Horton, Michael 237 Hospital: An Unhealthy Business 248 The Host 246 The Hot Centre Of The World 226 Hotel Sorrento 160, 163, 177, 180, 183, 190, 195, 198 Houghton, Christopher 246 The Hours 185 House 251 House, Lynda 182, 183, 223 The House Of Flying Daggers 252 House Taken Over 227 Howard, Doug 236 Howard, Gus 218, 224 Howard, John 9, 201, 202 Howard, Ron 185 Howe, Janette 234 Howie, Andrew 216 How Kevin Bacon Cured Cancer 237 Howlett, Deborah 232 Howson, Frank 182 How The West Was Lost 226, 232, 236, 239 Howzat! Kerry Packer’s War 203, 208, 210, 216, 224 Hoyt, Judie G. 185 Hübner, Frank 185 Hudson, Tim 228 The Huge Adventures Of Trevor, A Cat 241 Huggett, David 179, 197 Hugginson, John 223 Hughes, Bill 183, 216, 218, 223 Hughes, Carol 214 Hughes, David 247 Hughes, Jennie 83 Hughes, John 229, 253 Hughes, John E. 241, 244 Hughes, Karen 231 Hughes, Kent 26 Hughes, Magda 254 Hughes, Patrick 223, 237 Hughes, Wendy 159, 160, 165 Hulme, Lachy 203 The Human Race 227 Humfress, Paul 233 Humphrey, Sonya 247 Humphreys, Robert 170 Humphries, Barry 162 Humphries, Dean 198 Hungry Beast 219, 220 The Hungry Sea 226 Hunt Angels 228, 230, 234, 256 Huntaway Films 223 Hunter, Bill 156, 162, 163, 201 Hunter, Denise 236 Hunter, Holly 160 Hunters 226 Hunters Of The Skies: The Fishing Hunters 226 The Hunter 159, 162, 165, 168, 170, 175, 178, 184, 188, 193, 196, 200, 244, 253, 257 Hunting 160, 172 Huntingford, Paul 198, 248 Hunt, Linda 165, 253 Hunt-Prokhovnik, Joanna 257 Hunwick, Glen 243 Hurley, Jan 172 Hurley, Russell 179 Hurt 237, 254 Hurt, John 164 Hutchens, Ross 218, 223, 235, 239, 244 Hutchings, Jack 237 Huxley, Nicholas 172 Hyde, Sophie 230, 235 I I Can Change Your Mind About Climate 235 ICQ 249 Iddon, Ron 231 Idiot Box 157, 177, 180, 186, 195, 198 IF Awards 129, 131 I Got A Rocket 212 Ikin, Bridget 184 I’ll Be Home For Christmas 231 Illingworth, Scott 250 The Illustrated Family Doctor 192 Image Makers 226 An Imaginary Life 243 Immigration Nation: The Secret History Of Us 234 In A Savage Land 161, 169, 174, 177, 187, 195, 199 In Between 220 Incident At Raven’s Gate 186, 194 The Incredible Journey Of Mary Bryant 202, 205, 209, 215, 222, 223, 225 An Indecent Obsession 156, 162, 189 Industrial Park 226 Ingleton, Sally 234 In Her Shoes 252 Initiation 163 Inja 240, 246 In Love Cancer 241 Innocence 161, 164 In Search Of Anna 156, 175, 181, 188 In Search Of Dr Mabuse 232 Inside Australia 228 Inside Film 129 Inside The Firestorm 230, 234, 237, 250 Intangible Asset Number 82 250 Interim Council for a National Film and Television Training School 47 internationalisation 82, 91, 120 internationalism 83, 95 The ‘Interval’ (of Australian cinema) 11, 27, 109 The Interview 127, 157, 169, 177, 180, 183, 187, 191, 195, 199 In the Heat of the Night 130 In The Winter Dark 157, 166, 169 Into The Dark 243 Into The Night 240, 246 Intransit 249, 254 In Treatment 252 Iraq, My Country 249 Ireland, Cappi 175 Ireland, Celia 167 Iron Sky 257 Irvine, Mark 212 Irving, Louis 169, 225, 226 Irwin, John 245 Isaac, Graeme 182, 250, 253, 256 Isaac, Oscar 164 Isabelle Eberhardt 173, 186, 198 Ishida, Eri 160 Island 157, 160, 176, 179, 182, 186, 189 Island Life – Macquarie Island 228 Island Of The Vampire Birds 227 Island Shunters 231 Issac, Graeme 252 I The Aboriginal 230 It’s Like That 243 Ivin, Glendyn 226, 240, 246 J Jabe Babe: A Heightened Life 234, 254 Jack 228, 237 Jacka, Elizabeth 97 Jack And Jill: A Postscript 110, 181 Jack Irish: Bad Debts 216 Jackman, Hugh 82, 117, 158, 251, 256 Jackpot Town 231 Jackson, Christopher 256 Jackson, Gemma 187 Jackson, Glenys 172 Jackson, Graeme 236, 248 Jackson, Peter 81, 112, 185 Jackson-Vaughan, Stephen 198, 200 Jacobsen, Adrian 52 Jacobsen, Marta 52 Jacobson, Clayton 7, 96, 178, 180, 184, 192 Jacobson, Ronald 164 Jacobson, Shane 158, 192 Jacobs, Steve 201 Jacoby, Anita 219, 220 Jaffer, Melissa 165 Jager, Claire 233 Jago, Robert 247 James, Dennis 193 James, Peter 168, 169, 252 The Jammed 125, 131, 161, 167, 178, 181, 184, 192 Jandamarra’s War 229, 235, 250 Japanese Story 13, 117, 127, 158, 161, 170, 177, 180, 184, 187, 192, 195, 199, 250 Jarman, Catherine 184 Jarman, Dik 254 Jarratt, John 95, 114, 157 Jarre, Maurice 194 Jasek, Richard 215 Jauncey, Clayton 188 Jedda 7, 30 Jedda Award 110 Jefferson, Emma 258 Jeffery, Aaron 208 Jeffrey, Tom 42 Jeffs, Martin 197 Jemison, Anna 165 Jenet, Veronika 179, 180, 181, 223, 237 Jenkins, Kuji 248 Jenkins, Michael 177, 188, 189, 215 Jenner, Stephen 251 Jennings, Anthony 228 Jennings, Terry 213, 223 Jensen, Merrin 244 Jensen, Soren 256 Jerrycan 246 Jessica 202, 225, 257 Jewboy 237, 240, 246, 249, 254 Jewison, Norman 130 Jewson, Bob 188 Jilted 166 Jindabyne 86, 158, 161, 167, 170, 178, 184, 192, 195, 199 Jodrell, Steve 215, 223 Joe Leahy’s Neighbours 232, 248 Joffe, Mark 128, 214 Johansen, Ron 225 Johanson, Jill 174 John, Alan 195 John Safran’s Music Jamboree 213, 225 John Safran Vs God 213, 225 Johnson, David 241 Johnson, Samuel 201, 202, 207 Johnson, Stephen 215 Johnson, Tony 198 Johnston, David 241 Johnston, Lawrence 191, 232, 239 Jones, Barry 11, 32, 33, 34, 48, 49, 255 Jones, Benjamin 234 Jones, Bry 200 Jones, Corrie 240, 247 Jones, Dave 243 Jones, Evan 189 Jones-Evans, Steven 186, 187, 188 Jones, Helen 166 Jones, Ian 169, 170, 225, 255 Jones, Laura 82, 189, 191, 250 Jones, Mike 249 Jones, Rosey 160 Jones, Ruth 9, 12, 71, 72, 73, 76 Jones, Sue 166 Jones, Susie 234 Jordan, Gregor 177, 191, 239 Jordan, John 197 Jordan, Tim 198, 199 273 Jorgensen, Anita 214 Joshua Cooks 241 The Journey 227, 232, 242 Journey To The End Of Night 231, 253 Jowsey, David 184, 253 Judd, Phil 193, 194, 196, 197, 198, 199, 200, 234, 249 Judge, Robyn 197 Judith Lucy’s Spiritual Journey 220 Julian 241, 247, 258 Junior MasterChef 220 The Junky’s Christmas 236, 242 Jurevicius, Luke 213, 225 Just Desserts 239 Just Out Of Reach 226 K Kaari, Juuso 257 Kalina, Paul 97 Kalowski, Rick 214 Kamath, Tara 187 Kane, Bruce 219, 220 Kane, Carol 159 Kangaroo 160, 163, 172, 189 Kangaroo Palace 201, 223 Kangaroos: Faces In The Mob 227 Kannava, Anna 233, 253 Kants, Ivar 156 Kaplan, Anna 234, 247 Karmel, Pip 177, 180, 191 Karvan, Claudia 160, 166, 167, 204, 205, 206, 218, 219 Kath & Kim 202, 205, 207, 209, 213, 218, 221, 225 Katoomba 240 Katz, Leah 200 Katz, Ross 185 Kaufmann, Peter 97 Kaufman, Tina 97 Kavanagh, Brian 178, 179, 182 Kaye, Norman 156 Kay, Victor 238 Kazantzidis, Stavros 191 Keady, Gary L. 172 Kearney, Liz 247 Keating, Paul 9, 47 Keays-Burne, Hugh 162 Keddie, Asher 205, 206, 210, 211 Keddie, Richard 184, 223, 224, 233 Keenan, Haydn 181 Keene, Daniel 191, 192 Keep Moving 49 Keily, Joseph 187 Keitel, Harvey 157 Kelley, Samantha 233 Kelly, Francis 254 Kelly, Lee 229 Kelly, Paul 195, 254 274 Kemira: Diary Of A Strike 231 Kemp, Angus 229 Kemp, Julian 215 Kemp, Peter 65, 98, 100, 129 Kendall, Jeni 233 Kendrigan, Donna 242 Keneally, Thomas 189 Kenneally, Des 199, 200 Kennedy, Anne 191 Kennedy, Byron 63, 113, 181, 196, 197, 252 Kennedy, Chris 177, 183, 186, 187, 190, 191, 251 Kennedy, Deborah 166 Kennedy, Graham 156 Kennedy, Jane 183, 191, 215, 217, 220 Kennedy, Jo 160, 204 Kennedy, Marny 257 Kennedy Miller 14 Kennedy, Patricia 165 Kenny 7, 14, 86, 96, 158, 164, 178, 180, 184, 192 Kerr, Bill 156, 162 Kerrigan, Justine 243 Kerr, Mariot 175 Kershaw, Robyn 183, 250, 253, 256 Kerwin-Carroll, Simon 253 Kestelman, Sara 159 Kezelos, Christine 243, 244 Kezelos, Christopher 243, 244 Khehtie, James F. 247 Kick 164 Kickbush, Richard 229 Kick Start 236 Kidman, Nicole 81, 82, 117, 161, 166, 203, 252 Kiely, Dennis 212, 213 Kildea, Gary 231 Killer Elite 188, 257 Killers In Eden 234 The Killing Of Angelo Tsakos 239, 245 Killing Time 208 Kim, Susan 243 The King Is Dead! 165 King Kong 252 King, Maggie 166 King, Martin Luther 130 King, Ross 226 Kingsbury, Bob 231 Kings In Grass Castles 201 The Kings Of Mykonos: Wog Boy 2 256 The King 203, 209, 216, 223, 225 Kipen, Doron 200, 249, 250 Kirk, Roger 172 Kiss Or Kill 157, 160, 163, 169, 174, 177, 180, 183, 191, 198 The Kiss 241, 247, 254 Kitchen Sync 241 Kleiman, Ariel 241, 247 Klenner, Robert 245 Klohk, Kristine 213 Knapman, Catherine 251, 253, 256 Knapman, Steve 217, 218, 223, 224 Knaus, David 226 Knight, Andrew 190, 191, 221, 223 knot at home project 254 Knox, Keiran 247 Knox, MacGregor 185, 186, 187 Koca, Bogdan 163 Koch, C.J. 189 Koch, Harold 225 Koetsveld, Graeme 220 Kojevnikov, Anna 247 Kokkinos, Ana 177, 191, 192, 239, 245 Kokoda 86, 174, 234, 250, 256 Kokoda Crescent 166 Koman, Jacek 208 Kondos, Aphrodite 171, 172, 173, 174 Kostas 188 Kotcheff, Ted 45 Kowald, Matt 220 Kowitz, Peter 200, 201, 210 Krafzik, Ulrich 227 K-Rahber, Faramarz 229 Kramer, Stanley 130 Krawitz, Tony 230, 240, 246 Krejus, Kim 159 Krive Stenders 178 Krivoroutchko, Basil 249 Krix, Geoff 197 Kronen, Roman 194 Kruger, Linda 236 Kulli Foot 246 Kuring, Jude 165 Kurts, Alwyn 162, 163 Kurzel, Jed 196 Kurzel, Justin 178 Kurzer, Edie 174 Kwanten, Ryan 252 L Labor government 11 La Cloche 248 The Lady Bug 70 Lahiff, Craig 176 Laid 211, 213, 214, 222 Lake, Alan 179 Lake, Trish 184 Lalai Dreamtime 231 Lambert, Verity 182 Lamble, Mark 228, 253 Lam, Kiet 163 Lamprell, Mark 191 Lamshed, Bruce 196, 197 Lancaster, Andrew 233, 248 Land Bilong Islanders 248 Lander, Ned 182, 183, 232, 236, 252 Lander, Sean 180 Landers, Rachel 228, 234, 239, 245 Land Mines – A Love Story 234 Land Of The Morning Star 249 Landslides 247 The Land That Waited 27, 230 Lanfranchi, Barry 225, 256 Lang, Andrea 237 Lang, Samantha 177, 245 Lang, Veronica 165 La Nina 227, 249 Lantana 82, 117, 119, 158, 161, 164, 167, 174, 177, 180, 183, 187, 191, 195, 199, 250 Lantos, Robert 183 LaPaglia, Anthony 157, 158, 251 LaPaglia, Jonathan 203 Lapwood, Mark 254 Larcher, Geoffroy 186 Larson, Nathan 195 Lasance, Todd 208 La Spagnola 161, 164, 167, 170, 174, 180, 187, 191, 195, 199 Lass, Darrell 185 The Last Confession Of Alexander Pearce 224 The Last Days Of Chez Nous 157, 160, 163, 166, 169, 176, 179, 183, 186, 190, 194 The Last Kiss 252 The Last Magician 232, 236, 248, 253 The Last Of The Knucklemen 156, 162 The Last Of The Nomads 233 The Last Of The Ryans 223 Last Ride 158, 170, 257 Last Train To Freo 158, 164, 192 The Last Wave 156, 168, 175, 178, 196 Latham, Marianne 234 Latham, Michael 240 Lathouris, Nico 163 Launay, Nick 195 la Vage, Mik 250 Lavelle, Brendan 227 Law, Clara 177, 191 Law, Philip Mark 231 Lawrence, Bruno 163 Lawrence, Denny 14, 73, 76, 82, 96, 97, 102, 114, 126, 129, 131, 132, 188, 218 Lawrence Leung’s Choose Your Own Adventure 214 Lawrence, Ray 14, 82, 119, 176, 177, 178, 189 Lawson, Peta 186 Lazarus, Mark 183 The Lead Dress 238, 247 Leadley, Simon 199, 200 Leahy, Gillian 238, 247 Leaky Boat 235, 238 Leatherheads 251 The Leaving Of Liverpool 220 Lecaros, Claudia 256 LeClos, Wayne 179 Ledger, Heath 158, 251, 255 Ledwich, David 242 Lee, Ben 196 Lee, Christopher (Chris) 220, 221 Lee, David 198, 199, 200 Lee, Gerard 63, 189, 190, 238 Lee, James 249 Lee, Mark 156, 157 Lee, Sophie 166 Lefever, Kelly 222 The Legend Of Damien Parer 231 The Legend Of Enyo 203, 213 Legend Of The Guardians: The Owls Of Ga’Hoole 196, 200, 256, 257 Legends of the Screen: The Australian Narrative Cinema (AFI Publication) 60 LEGO® Star Wars®: The Padawan Menace™ 244 Legrand, Michel 194 Lehtiniemi, Jussi 257 Leimbach, Bill 219, 232, 236, 253 Leimbach, Claire 232 Le, Joe 192 Le Marquand, Steve 158 Lember, Toivo 198, 199 Le Mesurier, Roger 217, 218, 222, 223 Lemkow, Tutte 189 Lemon, Genevieve 160, 167 Lemon, Max 178, 179 Lemony Snicket’s A Series Of Unfortunate Events 252 Le Nevez, Matt 207 Lennie Cahill Shoots Through 246 Lenoir, Denis 169 Lenon, Tracy 213 Leonard, Michelle 172, 173 Leski, Jessica 235 Lesley, Lorna 159, 165 Leslie, Ewen 254 Leslie, Lorna 62 Lesnie, Andrew 81, 169, 170, 226 Letho, Michael 225, 250 The Letter 227 Letter To A Friend 241 Letter To Eros 253 Let The Balloon Go 162, 171 Leunig: Tricks 242 Levine, Shana 251, 256 Levy, Curtis 229, 230, 233, 251 Levy, David 185 Levy, Sandra 182, 183 Lewin, Ben 64, 176, 189, 214, 220, 239 Lewis, John 233 Lewis, Mark 197, 232 Lewis, Tim 179, 236 Liberal Rule – The Politics That Changed Australia 234 Libido 110 Libido: The Child 159, 181 The Librarians 210, 214 Liddle, George 172, 173, 174, 185, 186 Liebermans In The Sky 240, 247 Life 157, 163, 180, 191 Life In Movement 230, 235 The Life Of Harry Dare 157 Lift Off 211 The Lighthorsemen 169, 194, 197 Li, Jun 227 Li’l Horrors 212 Lilley, Chris 203, 210, 214, 222, 235, 251 Lillian’s Story 166, 195 Lim, Bernadine 230 Lindhout, Simone 241 Linney, Laura 161 Linsley, Cathy 242 Linstead, Hilary 183 Linton, Ross 198, 199 Lionel 234, 250 The Lion In The Doorway 226, 247 Lipson, Frank 197, 198, 199, 200 Lira, Michael 196 Liscombe, Jane 224 Litchfield, Tim 236 Little, Angela 196 The Little Angel 227 A Little Bit Of Soul 163 Little Fish 158, 161, 164, 167, 170, 174, 177, 180, 184, 187, 192, 195, 199 A Little Life 232 Little, Mark 162, 163 Little Miss Sunshine 252 Little Oberon 205, 223, 257 Little White Lies 239 Litt, Robert J. 197 Liu Awaiting Spring 237, 246 Livingston, Jenny 214 Livingston, Paige 213 Livingston, Paul 163 Living With Happiness 243 Lloyd, Phil 211, 222 Lloyd, Tim 196, 197 Lockhart, Alister 244 Lockie Leonard 211, 212, 213, 216, 222, 257 Löfvén, Chris 175 Logies 18 Lok, Joel 257 Lomma, Vanessa 192 Lonely Boy Richard 233 Lonely Hearts 156, 159, 176, 182, 188 Long, Alexandra 239 275 Longford Cinema (Melbourne) 52, 60, 61, 62, 64 Longford, Raymond 7, 49 Longhurst, Danny 249 Long, Joan 181, 182 Longley, Victoria 160, 165, 166 Long, Tom 201, 202, 207 The Long Way Home 200 Looby, Anne 204 Look Both Ways 86, 158, 161, 164, 167, 174, 178, 180, 184, 187, 192, 199 Looking For Alibrandi 161, 167, 170, 177, 180, 183, 187, 191 Lord, Kim 248 Lord Of The Bush 232 The Lord Of The Rings: The Fellowship Of The Ring 81, 185 The Lord Of The Rings: The Return Of The King 112, 185 The Lord Of The Rings: The Two Towers 185 Lore 171, 175, 178, 184, 188, 193, 200, 258 L’Oreal Paris 83, 84, 116 Lorenz, Robert 185 Losing Layla 229 lost children (in Australian cinema) 7 Lost In Translation 185 Lost Love 226 The Lost Thing 243 Love And Other Catastrophes 160, 166, 180, 183, 191 The Loved Ones 193 Love In Ambush 191 Love In Limbo 173, 186, 198 Love Is A Four Letter Word 205, 208, 224 Love Letters From A War 229, 254 Love Letters From Teralba Road 226, 244 Lovell, Patricia 64, 181, 182, 255 Lovely 245 Lovely Day 242 The Love Market 230, 234 Love My Way 202, 203, 205, 206, 207, 209, 215, 216, 218, 222, 225 Lover Boy 69, 245 Love’s Brother 170, 174, 177, 184, 187, 192 Love Serenade 173, 186 The Love Song Of Iskra Prufrock 247 Lowdown 211, 214, 222 Lowenstein, Richard 189, 191, 237 Lowe, Sophie 161 Luby, Peter 239, 245 Luby, Stephen 224 Lucas, Anthony 242, 243, 247, 254 Lucas, Kevin 190 Lucas, Michael 193 Lucinda, 31 236 Luck, Sophie 257 276 Lucky Break 166 Lucky Country 175, 257 Lucky For Some 243 Lucky Girl 241 Lucky Miles 184, 192 Lucky You 251 Ludgate, Malcolm 227, 228 Lugg, George 25, 53 Luhrmann, Baz 74, 82, 117, 176, 177, 183, 190, 196, 251, 253, 256 Lumley, Keith 59 Lum, Troy 251 Lundy, Senator 79 Lung, Emma 161, 254 Lurhmann, Baz 81 Luscombe, Dan 195 Lust And Revenge 177 Lye, Reg 162 Lynch, John 157 Lynch, Michael 234 Lyndon, Simon 163, 164, 202 Lyssa, Alison 239 M Mabo 203 Mabo, Bonita 95 Mabo decision 95 Mabo: Life Of An Island Man 95, 233 Macbeth 170, 174, 187, 195, 199 Macchia, Nicole La 224 MacDougall, David 231 MacDougall, Judith 231, 247 MacFarlane, Alasdair 247 MacGowan, Adam 256 Macgowan, Marian 183, 184 Machine Gun 45 Mackenzie, Rob 200 Mackenzie, Robert 200 Mackereth, Mathew 256 Mackie, Andrew 251 Mackiewicz, Lech 207 Maclachlan, James 256 Maclaren, Lucy 234 Maclean, Danielle 240 Maclean, Melissa 230 MacLeod, Andrew 254 MacMurray, Fred 111 MacNamara, Tony 239 Madafferi, Christine 192 Mad Bastards 184, 193, 200, 253, 257 Madden, Alan 190 Mad Dog Morgan 162, 175 Maddy, Laurence 199 Mad Max 14, 96, 112, 162, 175, 178, 181, 188, 193, 196, 252 Mad Max 2 14, 59, 112, 168, 171, 176, 179, 185, 193, 197 Magic Camera Film 2 238 The Magic Pudding 191, 199 The Magistrate 220 Maguire, David 229 Magyan, Vanessa 256 Maher, Brendan 215 Maher, David 214, 219 Maidens 43 Mailman, Deborah 161, 162, 167, 200, 205, 210 Ma, Jono 196 Majoor, Ineke 257 Major, Ross 171, 172 The Maker 244 Making a TV Series: The Bellamy Project (AFI publication) 60 Malane, Donna 213 Malbon, Chad 256 Malcolm 112, 117, 156, 163, 165, 176, 179, 182, 189, 197 Malcolm, Harry 28, 230 Mallacoota Stampede 244 Mama Tina 248 Man And His World 109, 238 Manche, James 248, 253 Mandalis, Elena 253 The Man from Snowy River 59, 60, 112, 168, 193, 197 The Man from Snowy River II 198 Manganinnie 159, 168, 171, 175, 182, 193 Mangan-Lawrence, Hanna 209 Mangiamele, Giorgio 28, 32, 109, 168 The Mango Tree 156, 159, 168, 171 The Man In The Blue And White Holden 239, 245 Mann, Cynthia 71, 97 Manning, Jane 246 Manning, Wil 256 Mann, Tracy 159, 167 Man Of Flowers 156, 168, 176, 182, 189 Mansell, Catherine 253 The Man Who Jumped 235 The Man Who Stole My Mother’s Face 230 The Man Who Sued God 191 Mao’s Last Dancer 175, 178, 181, 184, 187, 193, 196, 200, 251, 253, 256 Map Of The Human Heart 169, 177, 179, 183, 194, 198 Maras, Anthony 241, 246, 247 Marbles 238 Marceli, Lola 161 Marchand, Robert 214, 239, 244 Marchetta, Melina 191 Marco Polo Junior Versus The Red Dragon 175 Marek, Dusan 32, 44, 238 Margaret Star: A Fall From Grace 236 Marinelli, Anthony 194 Maring, Catherine 186 Marking Time 202, 205, 207, 209, 215, 221, 223 Marks, Bryony 196 Marmion, Grainne 183 Marnell, Jan 211 Maroun, Marie 247 Marshall, Annie 174 Martin, Adrian 63, 250 Martin, Catherine 81, 82, 174, 175, 187, 235, 251 Martinetti, Nino Gaetano 169, 227 Martin, Glenn 250 Martin-Jones, Chris 215 Martin, Tony 201 Martin, Vic 225 Maruff, John 226 Marusic, Miriana 247 Mary And Max 184, 187, 193, 253 Maslin, Sue 13, 97, 127, 184, 232, 234 Mason, Andrew 250, 253, 256 Mason, Bryan 230, 235, 238 Mason, Ingrid 165 Mason, Richard 182 Mason, Roger 194, 196 Mason, Steve 169, 170 MasterChef Australia 211, 219, 220 Masters, Sue 217 Matching Jack 165 Matchless 244 Mate 240 Mathers, Katrina 244 Matos, Anito 254 Matsos, Emanuel 212 Matter Of Convenience 214 Matthews, Lisa 245 Matthews, Mitch 244 Matthews, Nick 254 Matthews, Ross 182 Mauboy, Jessica 168 Maughan, Monica 159, 165, 204, 209 Maund, P. 230 Mavromatis, Michael Manolis 196 Maxwell, Chloe 161 Maybe This Time 159, 165, 182, 188, 193 May, Brian 193, 194 Maygar, Karchi 225 Maynard, John 131, 182, 183, 184, 253 Mazzella, Kavisha 254 McAlpine, Andrew 186 McAlpine, Donald 55, 168, 170, 252, 255 McAuliffe, Zyra 246 McCall, Lael 183 McCallum, Chris 250 McCallum, Nicholas 187 McCarthy, Delia 199 McCarthy, Maureen 220 McCarthy, Paul 210 McCartney, Kate 243 McClausand, James 188 McClelland, Alyssa 209 McClements, Catherine 160, 204, 206, 209 McClory, Belinda 167, 209 McCloud, Cheryl 172 McConnell, Alice 209 McCredie, Elise 191 McCrossin, Judy 223 McCulloch, Malcolm 168, 169, 170 McCune, Lisa 204 McDarra, Robert 156 McDermott, Paul 243, 246 McDonagh, Isobel 255 McDonagh, Paulette 255 McDonagh, Phyllis 255 McDonald, David 213, 214, 215, 216 McDonald, Garry 162, 203 McDonald, Malcolm 232 McDonald, Margot 212, 213 McDonald, Peter 242, 254 McDonald, Stuart 215, 216, 239, 245, 246 McDonaugh, John Michael 192 McDonnell, Leverne 253 McElhinney, Mandy 210 McElroy, Hal 183 McElroy, Jim 182, 183 McFarlane, Anna 243 McFarlane, Hamish 157 McGahan, Andrew 191 McGahey, Michelle 188 McGill, Christopher 238 McGoldrick, Jason 192 McGrath, Andrew 241, 250 McGrath, Martin 169, 224 McGrath, Neil 248 McGregor, Ewan 158 McGregor, Rory 199, 200 McGregor, Steven 226, 240 McGuinness, Nathan 252 McGuinness, Rory 227 McGuire, Bill 256 McGuire, Kerry 204 McIlroy, Joel 253 McInnes, Laurie 226, 227, 228, 238 McInnes, William 158, 202, 203 McKay, David 186, 187 McKay, Michael 219, 220 McKeith, Chris 249 McKenzie, Brian 231, 233 McKenzie, Jacqueline 160, 166, 204 McKenzie, Kim 231 McKernan, Corey 239, 257 McKern, Leo 157 McKerrow, Jack 199 McKimm, Erin 246, 250 McKimmie, Jackie 129, 176 McKinnon, Polly 200 McKinolty, Anne 248 McLachlan, Dee 131, 178, 181, 184, 192 McLaren, Les 232 McLaughlin, Ian 199 Mclean, Greg 95, 178, 192 McLeish, Anna 184, 253 McLennan, Don 176, 188, 189, 252 McLeod’s Daughters 218 McLoughlin, Ian 198, 199, 200, 249, 250 McMahon, Jeni 235 McMahon, Julian 251 McMahon Liberal/Country Party Coalition government 48 McMahon, Michael 184, 224, 233 McMahon, Travis 207 McManus, Rove 213 McMicking, Germain 229 McMurchy, Megan 231, 233, 239 McNamara, Rowan 158, 257 McNamara, Tony 192, 222 McNeil, Shane 243 McPhee, Rick 230, 235 McQuade, Kris 159, 165, 166, 167, 210 McQueen-Mason, Edward 178 McQuillen, Cate 213 McWilliams, Tara 220 MDA 202, 205, 207, 209, 218, 221, 222 Meadows, Ian 240, 241 Meagher, Felix 196 Meaney, Jenni 228 Medhurst, Adrian 249 Media Resource Centre (SA) 69 Meek, Fiona Louise 244 Meillon, John 156, 162, 163, 255 Melbourne Cinematheque 79 Melbourne cultural scene (1970s) 41 Melbourne Film Co-operative 41, 65 Melbourne Film Festival & AFI organisational separation 29 Melbourne Film Festival (MFF) 6, 11, 24, 26, 29, 63, 108 Melbourne Film Festival (Olinda) 28 Melbourne Filmmakers Co-operative 52 Melbourne International Film Festival (MIFF) 8, 47, 80, 98 Melbourne Museum 50 Melbourne/Sydney tensions 41, 66, 101 Melbourne University Film Society 6, 24, 29 Melenhorst, Glenn 257 Melville, Craig 214 Melville, Esme 167 Melville, Paul 219 Memoirs Of A Geisha 252 Memories And Dreams 253 Me Myself I 161, 177, 180, 191 Menage, Chiara 184 277 Mendelsohn, Ben 157, 158, 159, 163, 198, 203 Mental 162, 165, 168, 175, 193, 196, 258 The Mentalist 252 The Men Who Would Conquer China 233, 237 Menzies, Bryce 182 Menzies, Robert 156, 164, 203 Menzies, Stuart 212 Mercurio, Paul 157 Meredith, Tristan 199, 250 Merewether, Janet 234, 237 Merritt, Robert 189 Merwin, Dido 189 A Message From Fallujah 246 Metal Skin 157, 163, 166, 173, 186, 198 Metro 96 Meyer, Rob 225 Meyers, Nick 180, 181, 236, 238, 249 Miall, Tristram 183, 184 Micallef, Shaun 219, 225 Micallef Tonight 219 Michôd, David 178, 193, 240, 247 Middleton, James 248 Midgley, Susan 198 Mihalchak, Richard 244 Mikas, Nada 199 Milani, Tristan 169, 170, 224, 227, 228 Milburn, Lynn-Maree 173, 234, 253 Millar, Catherine 215 Millard, Kathryn 192, 239 Millar, Kirsty 256 Millar, Rachel 220 Miller, Bill 193 Miller, Campbell 227 Miller, Colin 199 Miller, Dennis 162 Miller, Dr George 7, 13, 14, 18, 41, 49, 63, 73, 75, 83, 95, 96, 112, 113, 128, 175, 176, 179, 182, 188, 251, 252, 255 Miller, Michael 222, 223 Miller, Natalie 52, 61 Miller, Peter 199 Miller, Robyn 233 Miller, Sean Peter 186 Millikan, Tim 225 Milliken, Angie 160, 205, 209 Milliken, Sue 182, 183, 223, 255 Millin, Greg 189 Milliss, Kathryn 227 Millo, Mario 194 Mills, Peter 200 Milton, Vanessa 237 Milwood, Scott 229 Minchin, Nicole 214, 219, 220 The Mini-Skirted Dynamo 253 Minty 212 Miracle Fish 240, 247 278 Miracles 229 Mirams, Roger 212 Miranda, Pia 161 Mirror, Mirror 212 Miskin, Paul 249 Miss Fisher’s Murder Mysteries 206 The Missing Key 243 Misto, John 220, 221 Mitchell, Doug 182 Mitchell, Radha 252 Mitchell, Richard 231 Mitchell, Warren 162 Mizrahi, Uri 237, 253 A Model Daughter: The Killing Of Caroline Byrne 203, 224 Moffatt, Mark 193 Moffatt, Tracey 77 Mohamed Ali’s Happy Day Feast 233 Moir, Bruce 231 Moir, Richard 156 Moliere, Kristian 243 Molineaux, Dee 187 Molloy, Mick 192 Molloy, Richard 192 Molloy, Vicki 11, 61, 64, 65, 71, 99, 100, 101, 102, 113 Molokai: The Story Of Father Damien 158, 191 Moloney, Frank 62 Moloney, Paul 177 The Moment 243 Monaghan, Des 223 Monahan, Craig 127, 177, 183, 191 Mondo Thingo 219 Monin, Monica 257 Monkey Grip 159, 165, 168, 179, 182 The Monkey’s Mask 191 Monk, Roger 192 Monk, Sophie 117 Montgomery, Scott 200 Monticelli, Anna-Maria 165, 191 Monton, Vincent 168 A Moody Christmas 211, 214, 222 The Mooncalf 239, 244 Mooney, Ray 190 Moore, Brian 190 Moore, Cath 240 Moore, Elizabeth Mary 254 Moore, John 157, 163, 232, 254 Moore, Matthew 241, 247 Moore, Michael 185 Moorhouse, Frank 189 Moorhouse, Jocelyn 14, 115, 128, 176, 183, 190 Mooy, Genevieve 165 Moran, Jane 180, 237 Mora, Philippe 175 Morassi, Kestie 167 Mordaunt, Kim 228 Morelle, Henri 198 The More Things Change 156, 160, 165, 182, 189, 194 Morgan, Alec 230 Morgan, Denise 189 Morgan, John 42 Morgan, Robert 163 Moriceau, Norma 171, 172 Morice, Tara 160 Morley, Dave 256 Morrell, Geoff 201, 202 Morris, Genevieve 210 Morris, Judy 110, 159, 160, 165, 193 Morrow, Julian 214, 221 Morse, Helen 159, 167 Mortified 212, 216, 222, 257 Morton, Robert 229 A Most Attractive Man 244 Mother And Child 252 Motherland 227 Mother Tongue 243 Motzing, William 194 Moulin Rouge! 74, 81, 82, 158, 161, 164, 170, 174, 177, 180, 183, 187, 199 Mouth To Mouth 111, 159, 175, 181, 252 The Moving Image 11, 87 Moving Out 156, 176, 188, 197 Mowbray, Colin 245 Mr Electric 239, 245 Mrksa, Kris 222, 240 Mr Neal Is Entitled To Be An Agitator 232 Mr. Patterns 237 Mr. Reliable 169, 173, 183 Mrs Carey’s Concert 229, 230, 235, 238, 250 Mr Symbol Man 231 Much Ado About Something 229 Mueller, Kathy 244, 247 Mueller-Stahl, Armin 163 Muggleton, Amanda 209 Muir, David 110, 225, 238 Mukherjee, Robin 193 Muldoon, Rhys 201, 208 Mullaway 160, 166, 172, 176, 182 Mullet 158, 164, 167, 177, 191 Mulroney, Norah 243 Mulvey, Callan 203 Munda Nyuringu: He’s Taken The Land, He Believes It Is His, He Won’t Give It Back 231 Munich 251 Munton, Daryl 244 Murdoch, Linda 199, 248 Muriel’s Wedding 11, 14, 115, 128, 129, 160, 163, 166, 173, 177, 180, 183, 186, 190, 198 Murphy, Annabelle 236 Murphy, Bill 179, 180, 237 Murphy, Brett 228 Murphy, Bronwyn 198, 199, 248 Murphy, Dean 251, 256 Murphy, Karen 187 Murphy, Paul 168, 169 Murphy, Rebecca 237 Murray, Don 182 Murray, John B. 182 Murray, Nick 223 Murray, Scott 97, 122 Murray-Smith, Joanna 189 Murray, Virginia 238 Murtagh, Tony 200 murundak – songs of freedom 250 Mushrooms 169, 173, 180, 186, 190, 195, 198 The Musical Mariner 226, 232, 236, 247 Mutt 243 Muttaburrasaurus 242 My Asian Heart 228 My Bed Your Bed 246 My Brilliant Career 42, 55, 112, 116, 159, 162, 165, 168, 171, 175, 181, 185, 188 My Brother Jack 202, 205, 215, 223, 224 My Colour Your Kind 240 Myer, Andrew 183 Myers, Kelly 257 My Father 131 My First Wife 156, 159, 168, 176, 179, 182, 189 My Forgotten Man 194 My Husband My Killer 202, 215, 223, 224 My Kitchen Rules 220 Myles, Bruce 176 My Life Without Steve 226, 238, 247 My Mother Frank 164, 191 My Place 208, 213, 258 My Rabit Hoppy 247 My Second Car 239 My Sister 228 The Mysterious Geographic Explorations Of Jasper Morello 228, 240, 243, 254 Mystic River 185 myths (Australian national) 45 My Tiger’s Eyes 245 My Year Without Sex 161, 193 N Naidu, Santhana 182 Naismith, Amber 244 Nalbandian, Zareh 256 Nankervis, Brian 219, 220 Nash, Chris 232 Nash, Margot 177, 190, 231 Nasht, Simon 235 National Cinematheque 11 National Film and Sound Archive 76, 104 National Film Theatre of Australia 41, 52, 54, 60 National Library of Australia 27 Natural Causes 220 A Natural Talent 240, 254 The Navigators – Baudin V Flinders 228, 249 The Navigator 157, 163, 169, 172, 176, 179, 182, 186 Nay, Igor 185, 186 Neal, Chris 194 Nearly Normal Nimbin Part One 233 The Necks 195 Ned Kelly 158, 164, 170, 174, 177, 180, 187, 192, 199 Ned Wethered 241 Needles, Nique 162 The Needy And The Greedy 227, 248 Nehl, Andy 214, 219, 220 Nehme, Tania 180, 181, 236, 237 Neighbours 217 Neil, Andrew 200 Neill, Sam 157, 163, 164, 198, 202, 215 Nelson, Andy 199, 200 Nelson, Hank 231 Nettheim, Daniel 239, 245 Never Tell Me Never 204, 223 Nevin, Robyn 159, 165 The New Inventors 214 Newling, Maddi 257 Newman, Thomas 195 Newnham, Glenn 197, 198, 199 Newsfront 13, 14, 42, 111, 116, 156, 159, 165, 168, 171, 175, 178, 181, 185, 188 Next Of Kin 179 Ngoombujarra, David 163, 164, 208 Nicaragua: No Pasaran 235 Nichola, Paul 225 Nicholl, Averil 247 Nicholls, Frank 23, 24, 25 Nicolai, Jamie 234 Niehus, Vicki 186 Night 228 Night Freighter 230 The Night Light 227 Night Of The Bogongs 233 Night Out 239 The Night, The Prowler 159 The Night We Called It A Day 167, 174, 187 Nihill, Julie 166 Nip/Tuck 251 Niski, Deborah 245 Nix, Garth 243 Nix, Jonathan 243, 249 Noah & Saskia 212, 225 Noakes, David 232, 239 No Fixed Address 193 Noise 131, 158, 170, 178, 181, 184, 187, 192, 196, 200 No Man’s Land 235 No Need To Stand 239 Noonan, Chris 114, 231 Noonan, Jeffrey 241 Noonan, Michela 161 Norfor, Lyn 247 Norman Loves Rose 159, 162, 165 Norris, Jeffrey 242 Norris, Kathleen 59, 60, 62 Norris, Terry 164 Northcott, Sir John 109 A Northern Town 228 North, Simone 223 The Nostradamus Kid 173, 190 Not Fourteen Again 227, 233 Not Quite Hollywood 234, 237 The Not-So-Great Eugene Green 243 Not Suitable For Children 162, 165, 193, 196 Nottage, Geoffrey 214 Novakovic, Bojana 205, 252 Novikova, Natalia 208 Now And Forever 188 No Way To Forget 236, 239, 245, 248 Nowell, Scott 222 Nowlan, Cherie 178, 215, 232 No Worries 169, 190 Nowra, Louis 190, 191 Noyce, Phillip 13, 14, 42, 44, 77, 111, 175, 176, 177, 183, 188, 231 NSW Department of State and Regional Development 72, 80 Nullarbor 244 Number 96 40 Nunney, Ben 228 The Nurses’ Story 225 Nussey, Bix 241 Nyman, Michael 194 Nyst, Chris 192 O The Oasis 230, 234, 237, 249 O’Brien, Kathleen 240 O’Brien, Peter 202 Ocean Girl 212 ‘ocker’ films 39, 40 O’Connor, Frances 160, 161 O’Donnell, Trent 216, 222 O’Donnell, Vincent 42 O’Donoghue, Rory 193 O’Dowd, Chris 159 Oehr, Jane 239 Offer, Michael 215 Offspring 208, 210, 218 Ogilvie, Andrew 233, 234, 235 Ogilvie, George 128, 176, 250 279 Ogilvy, David 212, 239, 245 O’Grady, Gary 247 The Old Man Who Read Love Stories 164, 180, 184, 195 Olive 204 Oliver, Margot 231, 239 Oliver, Paul 246 Oliver, Toby 170, 226, 229 Oliver, Tom 181 O’Loughlin, Alex 202 O’Loughlin, Jules 171 Olsen, Christine 183, 191 Olsen, Ollie 195 Olstein, Justin 247 O’Mahoney, Ivan 230, 235 O’Mahony, Bernadette 212 On A Full Moon 242 Once As If A Balloon 242 Once Bitten 234 Once In Time 236 Once Upon A Time In Cabramatta 230, 235, 238, 250 One Hundred A Day 226, 235 O’Neill, Shannon 249 O’Neill, Willa 166 One Last Chance 239 One Night Stand 172 One Night The Moon 7, 228, 254 One Perfect Day 158, 161, 170, 174, 180, 187, 195, 199 One Way Street 253 On Guard 244, 247 The Only Person In The World 240 Only The Brave 239, 245, 253 On My Own 157, 166, 169, 183, 190, 194 On The Beach 223, 224 On The Border Of Hopetown 227 Opal Dream 257 Opal Fever 228 Opportunity Knocks 245, 248 Oranges And Sunshine 159, 162, 165, 175, 181, 184, 253 Orchids: My Intersex Adventure 235 Oreña-Barlin, Antonio 247 Or Forever Hold Your Peace 43, 44 The Original Mermaid 233, 237 Original Schtick 227, 229, 233, 237 Orit, Carsten 237 Orner, Eva 233 O’Rourke, Dennis 229, 231, 233, 234, 239, 250 Ortner, Ralph 248 Osborne, Barrie M. 185 Osborne, Mark 244 Oscar And Lucinda 161, 169, 174, 187, 191, 195, 199 Osherov, Vladimir 227 Oshlack, Rochelle 238 280 Osmo, Ben 197, 198, 199, 200 Ossard, Claudie 185 Osterrieth, Marie-Pascale 182 O’Sullivan, Andrew 239, 245 O’Sullivan, Jackie 184 Oswin, Martin 197, 247, 248 The Other Boleyn Girl 251 Other Days Of Ruby Rae 240, 254 Otto, Barry 156, 163 Otto, Miranda 160, 166, 205 Out 239, 245 Outback Fight Club 234 Outback Kids 234 Out Of The Ashes 229 Out There 212, 215 Overett, Cathy 184 The Overlanders 45 Overton, Julia 223, 241 Owen, Chris 232 Owen, Clive 158 Owen, Rena 166, 210 Oxenbould, Ed 258 Oxlade, Boyd 190 O’Young, Christopher 250 Oyster Farmer 170, 184 Oz 171, 175 P Pa 243 Packed To The Rafters 206, 211, 217, 218 Pacquola, Celia 211 Page, Ashlee 241, 247 Pain, Richard 200 Painting The Town 232 Painting With Light In A Dark World 229, 233, 237 The Palace 241, 247 Palanki, Peter 199 Palermo – ‘History’ Standing Still 237 Palisade 226, 238, 247 Palm Beach 188 Palmer, Teresa 161 Pam, Brenda 218, 224 Panckhurst, Helen 234, 235 Pantano, Paul 257 Papadopoulos, John 244 Papandrea, Bruna 183 Papas, Irene 160 Paper And Sand 240 Paperback Hero 164 Paper City Architects 243 Paper Giants: The Birth Of Cleo 203, 206, 211, 215, 216, 224 A Parachute Falling In Siberia 241 Parer-Cook, Elizabeth 233 Parer, Damien 97 Parer, David 226, 227, 228, 229, 231, 233 Parker, David 112, 169, 182, 189, 190, 191, 255 Parker, Jeremy 242 Parker, Robert 231 Parklands 227, 239 Park, Sejong 240, 243 Parkyn, Stuart 246 Parr, Adrienne 247 Parsons, Nick 190 A Parting 227, 248 Partos, Antony 195, 196, 234, 249 Pascale, Louise 246 Pashley, Wayne 198, 199, 200 Pasquill, Derryn 200 Passi, Charles 203 Passion 158, 167, 169, 174, 187, 199 Passionless Moments 63, 238 Pasvolsky, Steve 240, 246 Pate, Christopher 162 Pat & Eddy’s Greyhound Racing Family 233, 236 Paterson, Andy 184 Paterson, Jane 199 Paterson, Owen 185, 186 Paterson, Tony 178, 179 Patience, Denise 223 Patrick 178, 181 Patterson, Clarissa 173, 186 Patterson, Davin 249 Patterson, Gary 43 Patterson, Janet 173, 174, 175, 186, 188 Patterson, John 189, 197, 198, 248, 249 Patterson, Owen 186 Patterson, Scott 236 Pattinson, Michael 176, 182 Paul Kelly – Stories Of Me 250 Pavlou, Kay 239, 245 Paying For The Piper 233, 236 Pearce, Craig 190 Pearce, Guy 158, 164, 251 Pearce, Michael 231 Pearlman, Joel 251 Pearson, Noel 233 Pederson, Aaron 203 Peedersen, Lief 226 Peedom, Jennifer 234 Peel 63, 235, 244 Pellizzari, Monica 70, 239, 245 Pellizzeri, Riccardo 217 Penders, John 198, 199 Penfold-Russell, Rebel 182, 183 Penguin Television Awards 49, 110 Penicillin: The Magic Bullet 228 Peppimenarti 231 Perez, Isabel 234 The Perfectionist 64 period films (1970s) 40 Perkins, Rachel 177, 193, 230, 234, 251 Perkins, Robbie 171 Perlman, Elliot 192 Perlman, Joel 97 Perrin, Bryce 186 Perryman, Jill 165 Perry, Mark 180 Perske, Jacquelin 192, 218, 219, 222, 239 Perth Film Festival 49 Pescarolo, Leo 183 Petersen 31, 156 Petersen, Joel 226 Petersen, R. 230 Peterson, Joel 228 Petkovic, Josko 253 Petroni, Michael 240, 246 Petty, Bruce 45, 230, 238 Petty, Sam 196, 199, 200, 224, 237, 249 Phar Lap 156, 171, 176, 179, 182, 189, 194, 197 Phelan, Anne 204 Phelps, Peter 201 Philippines, My Philippines 226, 232 Philips, Michael 187 Phillips, Anna Lise 167 Phillips, Art 194 Phillips, B. 238 Phillips, Garry 170, 171 Phillips, John 198, 248 Phillips, Michael 186, 187 Phipps, Matthew 246 Phipps, Max 156 Phobia 157 Phoenix 216 Piano 225 Pianoforte 241 The Piano 63, 115, 116, 117, 157, 160, 163, 166, 169, 173, 177, 179, 183, 186, 190, 194, 198 Pick, Anne 233 Pickering, Joseph (Joe) 225, 226 Pickett, Scott 240 Picknett, Murray 173, 187 Picnic At Hanging Rock 40, 111 Picot, Genevieve 159, 160 The Picture Show Man 156, 162, 165, 171, 181, 185, 193 Picture Start 242 Picture Woman 240 Piece Of Cake 244 Piersanti, Franco 194 Pigeot, Olivia 161 Pigram, Alan 184, 253 Pigram, Stephen 184, 196, 253 Pike, Andrew 44, 52, 63, 77, 97, 231, 250 Pilakui, John Sebastian 257 Pilbara Pearl 240 Piñata 243 Pinter, Herbert 185, 187, 225 Piper, Corey 228 Piper, Hugh 232 The Pirate Movie 162, 171 Pirola, Paul 199, 200, 249 Pitjiri: The Snake That Will Not Sink 231 Pittorino, Luigi 187, 253, 254 Pitt, Victoria 253 The Place At The Coast 166, 172, 186, 189 Plain, Andrew 198, 199, 200, 232, 247, 249 Plastic 256 Platypus – The World’s Strangest Animal 228 Playing Beatie Bow 172, 179, 185, 189, 197 Playing The Game 233 Plead Guilty, Get A Bond 239 Pleasence, Donald 163 Pleffer, Billie 241, 247 Plowright, Christopher 179 Podem, Harold 25 Poetry For An Englishman 245 Pogos, Abe 189 Poitier, Sidney 130 Police Crop 201 Police Rescue 201, 204, 214, 220 Police State 114, 201, 220 Politzer, John 255 Polivka, Bertrand 256 Pollock, Daniel 163 Polson, John 163, 164, 250 Poor Man’s Orange 204 Pope, Murray 186, 213 Popplewell, Brett 223 Porter, B. 238 Porter, Brett 231 Porter, Eric 175, 255 Porter, Garth 194 Porter, Jo 217, 218 Porter, Ross 198 Porter, Susie 161, 167, 205, 206, 210 Portman, Rachel 194 Port Of Melbourne 225 Portrait Of A Girl 238 The Portrait Of Wendy’s Father 244 The Postcard Bandit 223 The Potato Factory 204, 223 Potente, Franka 161 Potra, Dan 187 Powell, Michael 45 Power, John 175 The Power Makers 230 Pozieres 229, 249 Praise 161, 169, 174, 177, 180, 183, 187, 191, 195, 199 Pram Factory 253 Pratten, Anne 236, 239, 245 Preisler, Susanne 234 Premiere Fund (MIFF) 8 Prentice, Sharyn 234 Prescott, John 244 Preservation 240, 246, 254 The President Versus David Hicks 230, 233 Press, Fiona 166 The Prestige 251 Preston, Michael 156 Price, Felicity 162, 193 Price, James E. 256 Price, Liam 249 Price, Nick 219 Price, Noel 212, 213 Prick 236 Priest, Diana 235, 236 Priest, Joanne 208 Priestley, Mark 207 Pringle, Ian 183 Pringle, Julian 214 Prior, Susan 210 Prison Break 251 The Prize 31 Probyn, Brian 168, 226 Procacci, Domenico 183 The Projectionist 228, 249 Project Vlad 242, 248 Pront, Joel 236 Proof 14, 115, 128, 157, 160, 163, 176, 179, 182, 190, 198 Proost, Rikkie 220 The Proposition 86, 158, 164, 170, 174, 178, 180, 184, 187, 192, 195, 199 Prowse, Andrew 179 Proyas, Alex 82, 226 Puberty Blues 206, 208, 210, 219, 222, 258 Public Enemy Number One 231 Public Knowhow 244 Pugh, Mark 227 Pugsley, Ian 227 Pulbrook, David 179, 180 Punchard, Ed 233, 235 Punch McGregor, Angela 159, 165, 166 Puppenhead 236, 245, 248 Purcell, Dominic 251 Purcell, Graham 171 Purcell, Leah 204, 206 Purvis, Ron 197, 198 Pussy Pumps Up 241 Pye, Tim 221 Q Quail, Greg 214 Queen Of Hearts 240 Queensland 244 Queensland Art Gallery 79 Quesnelle, Andrea 234, 235 281 Quinn, Andrew 241 Quinnell, Ken 188 Quint, Ray 216, 223 R Rabbit On The Moon 245 Rabbit-Proof Fence 7, 164, 170, 174, 177, 180, 183, 187, 191, 195, 199 Rabe, Pamela 97, 160 Rabiah, Robert 165 Rachel: A Perfect Life 230 Radcliffe, Daniel 120 Radclyffe, Sarah 184 Radiance 161, 177, 180, 183, 187, 191 Rado, Erwin 11, 23, 24, 25, 43, 44, 46, 94, 108, 109, 111, 120, 122 Radomsky, Marc 234 Radomsky, Mark 234 Radzyner, Karen 224 Rae, Stephen (Douglas Stephen) 195, 225 Rafferty, Chips 46 The Rage In Placid Lake 161, 167, 184, 192 Rainbow Bird & Monster Man 229, 233, 237, 254 Rainbow Farm 51 Rain Shadow 224 Rake 218, 219 Ramage, Andrew 199 Rampage 249 Rampling, Charlotte 162 Ramsey, Lois 208 RAN 203, 205, 207, 209, 222, 223, 225 Randall, Cathy 192 Randall, Luke 243 Range Of Experience 236 Raoul Wallenberg: Between The Lines 231 Rapsey, David 182 Rare Chicken Rescue 228, 230, 234, 237, 249 Raskols 227, 233, 248 Rasmussen, Peter 240 Rath, Jack 237 Ratropolis 241 Rats In The Ranks 236 Raul The Terrible 230, 234, 237 Ravenscroft, Gary 170 Raw Deal 162 Raw FM 204 Raymond, Candy 203 Raymond Longford Award (AFI Award) 32, 52 Raymond, Sophie 230, 235, 238, 250 Rayson, Hannie 221 Razorback 168, 179, 185, 189, 194, 197 Razzle Dazzle 161, 175, 196 Reach 243 Read, Aggy 44 282 Read, Gregory 184, 253 Realist Film Society 23 Reaper Madness 242 Reardon, Paddy 187 Reardon, Patrick (Paddy) 186, 187, 225 Rebel 159, 162, 168, 172, 179, 185, 189, 194, 197 Redding, Oscar 126 Red Dog 170, 178, 181, 184, 188, 193, 196, 253 Redenbach, Jessica 247 Redfern Now 206, 208, 210, 218, 219 Redheads 160, 194 Red Hill 193 Redman, David 251, 256 Redwood, Julia 235 Reeves, Melissa 193 Reflections 238 Regan, Julie 97 Regan, Sally 234 Reichel, Stephane 183 Reid, Daina 216 Reid, Philip 179 Relative Strangers 254 Remote 248 The Rentman 226, 235, 239, 244 The Report 244 Rescue 214 Resegotti, Elisa 183 Resistance 179, 186 The Resting Place 248 Return Home 157, 176 The Return Of Captain Invincible 185 Return To Jupiter 212 Revell, Graeme 194 The Revenant 226, 244 Review With Myles Barlow 211, 214, 216, 222 Revisionism 239, 245 revival, see: Australian film ‘revival’/’renaissance’ (1970s) 91 Rhodes, Adrian 199 Rhodes, John 226 Rhythms Of Life 248, 253 Riachi, Lavinia 234, 235 Richardson, Damien 207 Richardson, Mason 257 Richardson, Miranda 167 Richter, Tim 254, 256 Ricketson, James 176, 190, 238 Riding The Gale 232 Rigg, Rebecca 165 The Right Hand Man 168, 186 Rijavec, Frank 232, 236 Rikky & Pete 197 Riley, Gina 205, 213, 221 Riley, Sally 240, 246 Riomfalvy, Paul 255 Rippingale, Simon 256 Ritchie, Kate 210 Ritchie, Skye 249 River Street 157 Roach, David 189, 193 The Road From Coorain 205, 215, 223, 224, 225 Roadgames 165, 168, 178, 193 The Road 252 Road To Alice 245 Road To Nhill 13, 191, 195 Robb, Adam 243 Robbins, Glenn 202, 207 Robb, Jill 182 Robenstone, Penny 241 Roberts, David 158 Roberts, Denise 204 Roberts, Jan 231 Robertson, Jenni 241 Robertson, Kylie 257 Robertson, Mira 191, 239 Robinson, Brian 110, 111, 181, 238 Robinson, Lara 210, 257 Robinson, Lee 230, 255 Robinson, Nick 228, 234 Robinson, Penn 197, 198 Robinson, Steven 237 Robinson, Ted 214, 219, 255 Rochford, Ian 244 Rocking The Foundations 232, 235, 239 RocKwiz 219, 220, 225 Rodgers, Peter 64 Rodman, Terry 197, 198 Roe, David 49, 50, 55 Roeg, Nicholas 45 Rogers, Aaron 242 Rogers, James 256, 257 Rogers, Tim 195 Rogers, Tony 214, 216 Rogue 256 Roly Poly Man 190 Romper Stomper 14, 115, 128, 157, 163, 173, 176, 179, 183, 186, 194, 198 Romulus, My Father 14, 83, 84, 131, 158, 161, 164, 170, 175, 178, 181, 184, 187, 192, 196, 200, 257 Ronan, Saoirse 257 Rose, Bartholomew 163 Rose, Heather 191 Rosenberg, Marc 182 Rosendahl, Saskia 258 Rosenthal, Zen 237 Rosie’s Secret 245 Rossetti, Sarah 240 Rothwell, Ellouise 205 Rothwell, Steve 219 The Rough And The Smooth 238 The Rough Shed 227 Roundabout 228, 237, 246, 249 Round The Twist 211, 212 Rountree, Camilla 171 The Rouseabout 240 Rouse, David 223 Rouse, Virginia 186 Rowe, David 236 Rowe, Glenys 44, 61, 97 Rowland, Bruce 193, 194 Rowland, Michael James 192, 245 Roxburgh, Richard 157, 158, 164, 178, 203, 207, 208, 219 Royal Commission (1927) 48 Roy Höllsdotter Live 237, 246 Ruane, John 70, 115, 176, 177, 190, 244, 245 Rubber Gloves 237 Rubbo, Michael 229 Rubenstein, Deidre 64, 203 Rubie, Howard 212 Rubinstein, Matt 240 Ruby Entertainment 223 Rudely Interrupted 234 Rudin, Scott 185 Ruff, Carol 232 Ruhemann, Andrew 243 Ruhlmann, Danny 169, 170 Run I’m After Me 238 Ruse, Mark 213, 218, 224 Rush 87, 203, 216, 218 Rush, Geoffrey 120, 157, 158, 163, 164, 251, 255 Russell Dykstra 167 Russell, Judith 186 Russell, Tom 257 Russian Doll 167, 191 Russo, Dario 214 Rutherford, David 256 Ruthven – A Poem Of Life And Dettol 239 Ruttelle, Fiona 160 Ruzic, Livia 197, 198, 199, 248, 249, 250 Ryan, Clarence John 257 Ryan, Ellery 169 Ryan, Geoffrey 169 Ryan, Julie 183, 184, 253 Ryan, Suzanne 212, 213 Ryan, Terry 171, 172, 173, 174, 175 Ryan, Tony 254 Rymer, Michael 127, 177, 190 S Sabine, James 72, 85, 102 Sabine, Jenny 65, 69, 70, 97, 99, 102 Sadness 229, 233, 248, 254 The Safe House 240, 243 Safran, Henri 78, 175, 189 Safran, John 213, 225 Sahbaz, Alma 233 Sainken, Jon 181 Salama, Sherine 229, 233 Sallows, Ken 179, 180, 197, 245, 249 Salt 228, 234 Salt, Saliva, Sperm And Sweat 248 Samartzis, Pillip 248 Samson & Delilah 158, 161, 167, 170, 178, 181, 184, 193, 196, 200, 253, 256, 257 Sanctuary 190, 195 Sanctum 257 Sanders, Tim 185 Sandford, Melanie 236, 237 Sanjurjo, Fabian 200 The Sapphires 159, 162, 168, 171, 175, 178, 181, 184, 188, 193, 200, 257 Sardi, Jan 82, 177, 188, 189, 191, 192, 193, 251 Sarell, Patrick 244 Sargent, Stefan 231, 235 Sarin, Vic 169 Sassine, Jackline 174 SAS – The Search For Warriors 235 Satisfaction 206, 210, 216, 218 Saturn’s Return 246 Satya, Jodi 243 A Saucer Of Water For The Birds 242 Saunders, Justine 160 Saunders, Nina 244 Savage, Roger 196, 197, 198, 199, 200, 250, 252, 253 Saved 224 Saville, Matthew 131, 178, 192, 215, 216, 246 Say A Little Prayer 160, 166, 173, 186 Say Bow Wow 238 Saylor, Vicki 209 Scacchi, Greta 167, 205 Scars 238 Scarygirl 256 Scharf, Daniel 183, 184, 212, 245 Schefferle, Edwin J. 25, 27 Schellenberg, August 163 Schepisi, Alexandra 168 Schepisi, Fred 14, 32, 42, 51, 111, 114, 175, 176, 178, 181, 184, 188, 189, 252, 253, 255 Schiefelbein, John 199 Schmid, Sabrina 241, 242 Schnall, Peter 226 Schnell, Stig 228, 234 Schofield, Tess 173, 174, 175 Scholes, Roger 176, 235, 248 Schreck, Peter 188, 220 Schreiber, Liev 165 Schreiber, Lucinda 243 Schult, Andrew 242 Schultz, Carl 176, 191 Schulz, Matthew 239 Schuman, Renata 233 Schutze, Paul 194 Schwartz, Morry 83, 84, 85 Scooter: Secret Agent 212, 225 Scorched 210, 256 Scorsese, Martin 75 Scott, Astric 256 Scott, Bob 250 Scott, David 244 Scott, Dougray 203 Scott, Jane 182, 183, 184, 251, 253, 256 Scott, John 178, 179, 180, 191 Scott, Pam 244 Scott, Paul 234 Scott, Phillip 194 Scragg, Edwin 235 Screen Australia 9, 18 screen culture 85, 3, 72, 75, 76, 78, 79, 80, 94, 95, 101, 103, 129 screen culture, government reviews 9 screen culture (the politics of) 15 Screenrights 78 The Scree 246 Scully, Liz 213 Scully, Sean 157 Sculthorpe, Peter 193, 194 Sdraulig, Sandra 13, 69, 71, 80, 83, 97, 98, 131 Seabound 242 SeaChange 119, 201, 202, 204, 205, 208, 215, 217, 218, 221 Seale, John 82, 168 The Sealer 235 The Seannachie 245 Secret Bridesmaids’ Business 209, 223 The Secret Life Of Us 202, 205, 207, 209, 215, 218, 221, 223 Secret Men’s Business 202 Secrets 166 Secret Safari 237 Secrets Of The City 242 Seddon, Polly 239, 245 Seeary, Sue 212 See How They Run 212, 215 Seet, Shawn 224 See You Next Weekend 245 Sekiguchi, Noriko 232 Self Portrait Blood Red 238 Selwyn, Michael 251 Semler, Dean 82, 109, 168, 169, 226 Seng, Choon Meng 213 Senior, Anna 55, 171 Sen, Ivan 177, 191, 195, 246, 250, 251 Senso Daughters 232 The Sentimental Bloke 7, 49 September 257 Seres, Fiona 222 Seresin, Emily 174, 175 283 Serious Undertakings 238 Serious, Yahoo 189 The Serpent And The Cross 232 Serra, Eduardo 169 The Settlement 159 Sewell, Stephen 191 The Sewing Room 248 Sexton, John 182 Seymour, Mike 256 The Shadowlands 242 Shadow Panic 226 Shadow Play 249 Shadows Of The Peacock 160, 194, 197 The Shark Net 223 Sharpe, Jan 231 Shaun Micallef’s Mad As Hell 214 Shaw, Sarah 184, 240, 241, 247, 253 Sheehan, Annabelle 198 Sheehan, Vincent 184, 253 Shelf Life 242 Shell Shellset 225 Shell Theatrette 109 Shelper, Kath 184, 253, 256 Shenfield, Ann 242 Shepherd, Sally 224 Sherman, Emile 184, 233, 253, 256 Sher Mountain Killing Mystery 194 Sherry, Ian 248 Sherwood, Caroline 232 Shhh … 243 Shield, Brad 170 Shiff, Jonathan M. 212, 213 Shine 117, 157, 163, 169, 173, 177, 180, 183, 186, 191, 195, 198 Shioya, Toshi 163 Shirrefs, Mark 240 Shorey, Kier 192 Short Changed 163, 176, 179, 182, 189 Short Cuts 212 short films 45, 60, 69, 70, 76 short films (AFI Awards) 70 Shortland, Cate 94, 121, 177, 178, 192, 231, 246 Shotgun Wedding 198 The Shot 240 Show And Tell 243 Shrek 2 112 Shteinman, Jonathon 183 Shultz, Carl 176 Shut Up Little Man! An Audio Misadventure 230, 235, 238, 250 Siam Sunset 164, 180, 183, 187, 191 Siciliano, Paul 256 Sicker, Tina 213 Sics, Guntis 198, 199, 200 The Sideshow With Paul McDermott 214 Sidwell, Varcha 232 The Siege Of Barton’s Bathroom 236 284 The Siege 237, 249 The Silence 203, 209, 223 The Silent Conversation 226 Silent Hill 252 Silent Partner 191 Silent Storm 228, 229, 233, 249 Silke, Andrew 243 The Silk 239 The Silver Brumby 190 Silver City 156, 159, 162, 165, 168, 172, 176, 182, 185, 189, 194 Silvestrin, Lawrie 236, 237, 238, 248 Simmons, Rodney 247 Simone De Beauvoir’s Babies 201, 204, 221, 223 Simple 236, 239, 245 Simpson, Geoffrey 169, 170 Simpson, John 200 Simpson, Narelle 165 Simpson, Roger 217, 218, 221, 222, 223 Sims, Jeremy. See Hartley Sims, Jeremy Singapore 1942 – End of Empire 235, 250 A Single Life 201 Sirens 160, 194, 198 Siro, Sandor 225 Sisters Of War 206, 223, 224 Sitch, Rob 117, 183, 191, 210, 214, 215, 217, 220, 222 Six Feet Under 252 Skibinski, John 241, 242 Skipping Class 244 Skithouse 213 Sklan, Carole 3 Skubiszewski, Cezary 195, 196, 213, 225, 250 Skwarko, Reigy 256 Sky Trackers 212 Slade, Tim 234 The Slap 203, 210, 216, 222, 224 Slater, Blaire 200 Slater, Patrick 250 Slate, Wyn And Me 189 Sleeping Beauty 170, 175, 188 The Sleep Of Reason 248 The Sleepover Club 213 Sleepwalker 236 Sleight of Hand 244 Slim Pickings 242 Slusarski, Alicia 198, 233, 248 Smacks And Kicks 239 Small Boxes 246 Small Claims 205, 223 Small Claims: White Wedding 209 Smalley, Peter 189 Small Time Gangster 216 Small Treasures 242 Smart, Judy 219 Smart, Rebecca 166 Smeaton, Bruce 193, 194 Smit, Anton 184 Smith, Bobby 163 Smith, Bronwyne 233 Smith, Dennis K. 229 Smith, Justin 207 Smith, Kathy 241 Smith, Kent 246 Smith, Lee 180, 197, 198, 199 Smith, Louise 184 Smith, Malcolm 42 Smith, Pete 200 Smith, Peter 197, 199, 200, 249, 250 Smith, Richard 230 Smith, Rohan 242 Smith, Simon 228 Smith, Stephen R. 249 Smith, Sue 220, 222 Smit-McPhee, Kodi 84, 131, 158, 239, 252, 257 Smoke ’Em If You Got ’Em 226 Smyth, Paul 194 Snapshot 159 Snell, David 192 Snider, Phillip 226 Snook, Sarah 162, 206 The Snowman 234 Snowtown 159, 168, 170, 178, 181, 184, 193, 196, 200, 253 Sochackyj, Jennifer 200 So Close To Home 237, 240, 246 Sodersten, Karl 180 So, Eric 256 Soft Fruit 158, 161, 167, 177, 183, 191, 195 So Help Me God 232 Sokol, Yuri 168, 169 Solo 234 Some Babies Die 232 Some Regrets 238 Somersault 94, 116, 121, 127, 158, 161, 164, 167, 170, 174, 177, 180, 184, 187, 192, 195, 199 Something In The Air 204, 207, 215, 217, 218, 221 Something Old Something New 247 A Song Of Air 236, 238 Sons Of Steel 172 Soo, Andrew 246 Sophie’s Choice 102 S.O.S. 236 Soul Mate 236, 238 Sound And Image 238 The Sound Of One Hand Clapping 174 South Australian Film Corporation 41 South, Colin 218, 223 Southern Cross 212 Southern Ladies Animation Group 243 South Of The Border 226, 232, 236, 248 The Space Between The Door And The Floor 227, 239 Spall, Timothy 158 Sparke, Ian 175 Sparks 236, 239, 245, 248 Sparky D Comes To Town 240 Spaventapasseri 226, 239, 245 Speak Softly Please To Mrs Babajaga 227 Spellbinder 212 Spence, Alister 195 Spence, Bruce 156 Spence, Fiona 173 Spencer, Caroline 219 Spencer, Will 183 Spicks And Specks 219 Spider 256 Spider & Rose 163 Spielberg, Steven 63, 113 Spielman, Dan 158, 164 Spierig, Michael 253, 256 Spierig, Peter 253, 256 Spike Up 246 Spirited 217, 218, 219 Spirits Of The Air, Gremlins Of The Clouds 172, 186 Sporting Nation 235 Spotswood 128, 157, 163, 166, 169, 173, 179, 183, 186, 190 Spring Ball 227 Spry, Howard 247 Square One 253 The Square 158, 164, 178, 184, 192, 196 Squizzy Taylor 185 Stahl, Frederick 191 Stainless Steel 227, 245, 248 Stamp, Terence 157 Stan And George’s New Life 194 Stange, Maya 161, 167, 253 Stapleton, Jacinta 209 Stapleton, Oliver 170 Stapleton, Sullivan 165 Stark, Avrill 213 Starkiewicz, Antoinette 241 Starr, Antony 165 Starstruck 171, 185, 193 star system (Australia) 18, 128 The Starter Wife 252 State Cinema (Hobart) 51, 60, 69 State Film Centre (Melbourne) 23, 27, 69, 101 State Of Play 251 Stations 226 Stavrides, Stavros 183 Stegh, Rebecca 257 Steininger, Karin 238 Stenders, Kriv 192, 227, 246 Stepfather Of The Bride 206 Stephany 226 Stephen, Barbara 213 Stephens, Jason 223 Stephens, Jon 190 Stephenson, Pamela 113 Stephenson, Robert 242, 243 Stepping Out 231 Steuart, Andrew 196, 197 Stevens, David 188, 190 Stevens, Jim 235 Stevenson, Juliet 205 Stevenson, Ross 221 Stevens, Sarah 233 Stevens, Tony 235, 237, 238 Stewart, Amanda 232 Stewart, Clare 97 Stewart, Kat 206 Stigwood, Robert 182 Still Flying 242 Stingers 204, 206, 207, 209, 215, 218, 221 Stir 156, 162, 168, 175, 178, 182, 185, 188, 193, 196 Stitched 239 Stites, Wendy 171 Stitt, Alex 185 Stitt, Geoffrey (Geoff) 247, 248 Stiven, Annie 232 Stiven, David 179, 235 Stocker, David 238 Stocks, Ian 47 Stoddart, John 185, 186 Stolen Generations 233 Stollman, Sarah 187 Stone, Catherine 239 Stories From The Golf 213 Stork 31, 39, 42, 110, 156, 159, 175, 181 Storm Boy 78, 156, 171, 175, 181, 252 Storm, Esben 110, 175, 181, 188, 215 Storm Surfers 3D 229, 235, 238 The Story Of Rosie Dock 242 Stöter, Karsten 184 Stout, Professor A.K. 42 Strachan, Carolyn 231 Stranded 240, 246, 254 Strange Birds In Paradise – A West Papuan Story 229, 230, 234, 250 The Strange Calls 211 Strange Fits Of Passion 161, 164, 191 Strange Residues 226 Strangio, Frank 194 Strasser, Ralph 248 Strathie, Angus 81, 173, 174 Stratton, David 255 Streep, Meryl 160 Street Hero 165, 172, 185, 189, 194, 197 Street, Mark 249 A Street To Die 156, 176, 182, 189 Strictly Ballroom 11, 115, 117, 128, 157, 160, 163, 166, 169, 173, 176, 179, 183, 186, 190, 198 Strictly Dancing 219 Strikebound 156, 159, 168, 172, 179, 182, 185, 189, 197 Stronger Since The War 231 Struck By Lightning 176, 182, 190, 194 Struzina, Marcus 227 Stuart, Grant 196, 197 Stuart-Jones, Phil 256 Stubbs, Richard 126 Stuckey, Kitty 225 Stump 237 St Vincent Welch, Jane 237 Suburban Mayhem 161, 164, 167, 170, 175, 178, 181, 187, 192, 195, 200, 257 Suburbia 247 Sugar And Fiji 225 Sullivan, Errol 62, 181, 182, 223 Sullivan, Leo 198, 248, 249, 250 Sullivan, Lily 258 Sullivan, Peter 248 Sullivan, Robert 199, 200, 232, 248, 249 The Sullivans 40 Sully, Andrew 239, 245 Summer Heights High 210, 214, 216 The Sum Of Us 163, 166, 180, 183, 190, 198 Sunday In Melbourne 27 Sunday Too Far Away 27, 42, 110, 156, 162, 181 Sunshine City 48 Supernova 210, 214, 219 Sure Thing 239 The Surgeon 205, 223 Surviving Mumbai 229, 234, 237 Surviving Shepherd’s Pie 228 The Survivor 159, 168, 185, 196 Susak, Jane 71 Sutton, Rangi 256 Swain, Pam 214 Swanborough, Greg 220 Swann, David 69, 239, 245 Swanton, Lloyd 195 Sweeney, Greg 254 Sweet, Frank 257 Sweet, Gary 201 Sweetie 63, 109, 160, 163, 166, 169, 189 Swerve 200 Swimming 245 Swimming Upstream 158, 161, 174, 187, 191 Swinburne 69, 245 Swing 246 Sydney Film Centre 72 Sydney Film Festival 25, 46, 121 Sydney Filmmakers Co-operative 46, 62, 65, 66, 93, 101 285 Sydney Harbour Bridge 238 Sydney Opera House (AFI exhibition) 62 Sydney University 110 Sydney University Film Society 46 Sydow, Max von 157 Sywak, Veronica 161 Szubanski, Magda 209 T Tackling Peace 234 Taig, Jim 197 Tait, Greg 193 Tait, Paul 226, 233 Taking A Look 226 The Tale Of Ruby Rose 176, 182, 194 The Talgai Skull 231 Talk 160 Talkin’ ’Bout Your Generation 219, 225 The Tall Man 229, 230, 235, 238 Tamandl, Andrew 242 Tammer, Peter 44, 231, 235, 244, 245, 253 Tangle 206, 216, 218, 219, 222 Tan, Shaun 243 Tan, Teck 245 Taplitz, Daniel 193 Tapp, Peter 78, 97 Tardif, Graham 194, 195 Tariff Board inquiry 48 Tarpey, Mark 248, 249, 250 Tarzan’s South Yarra Adventure 235, 244 Tass, Nadia 14, 82, 112, 176, 182, 255 Tatarka, Ros 217, 222 Tate, Jennie 172, 173, 186 Tate, Nick 156 Tatoulis, John 190 Tax incentives (10BA) 59, 112 Taylor, Andrew G. 239, 245 Taylor, Barbara 46 Taylor, Chris 221 Taylor, David 214, 219 Taylor, Jeremy Lindsay 208, 211 Taylor, John 241 Taylor, Noah 157, 163 Taylor, Sue 204, 212, 213, 223, 224 Taylor, Vincent 227 Taylor, Wayne 226 Tears 246 Teenage Babylon 245 Teesh And Trude 161, 192, 257 The Telegram Man 247 Temperament Unsuited 244 Tempest, Piers 184 Ten Canoes 14, 86, 128, 170, 178, 181, 184, 187, 192, 200 Tender Hooks 160 The Tender Hook 170, 175, 187, 196, 200 Ten Minutes 238 286 The Tennis Ball 236, 245 Teno 235 Teplitzky, Jonathan 177, 178, 184, 191, 193 Tepper, Greg 182 Terhoch, Leonard 213 Terracini, Lyndon 192 Terra Nova 166 Terra Nullius 239, 245 Tétaz, François 195, 196 Thalluri, Murali K. 192 Thank God He Met Lizzie 160, 166, 174, 180, 186 Thanks Girls And Goodbye 127, 232 Tharmarajah, Meena 256 That Eye, The Sky 160, 166, 169, 173, 177, 183, 186, 190 The Exploder, Jimmy 192 Then The Wind Changed 235 Theodorakis, Maria 161 They’re A Weird Mob 45 The Thief Of Sydney 241 The Third Note 249 This Won’t Hurt A Bit 160, 190 Thomas, Ben 163 Thomas, Keith 249, 250 Thomas, Ray 236, 238 Thompson, Jack 156, 207, 251, 255 Thompson, Keith 192, 211, 222 Thompson, Liz 232, 253 Thompson, Peter 231, 235 Thompson, Wendy 238, 244 Thoms, Albie 42, 44, 48, 65, 109, 188, 238 Thomson, Brian 185, 186 Thomson, Erik 164, 211 Thomson, Helen 167 Thomson, Katherine 221 Thomson Of Arnhem Land 237 Thomson, Pat 166 Thorley, Mark 244 Thornburn, Gretchen 248 Thornhill, Michael 45, 111, 122 Thornley, Jeni 43, 231, 239 Thornton, Sigrid 97, 159, 205 Thornton, Warwick 170, 178, 193, 194, 196 Those Dear Departed 172, 194 A Thousand Encores: The Ballets Russes In Australia 230, 234, 238, 250 Three Chords And A Wardrobe 248 Three Dollars 161, 164, 187, 192, 195, 257 Three In A Million 230 Three To Go 27 Three To Go: Michael 110, 181, 226 Through My Eyes 205, 209, 223 Thrussell, David 195 Thumpston, Neil 179 Thunderheads 228 Thunderstone 212 Thunderstruck 195, 199 Thwaites, Susan 227 Tidikawa And Friends 226, 231 Tiga 242 Tightrope Dancer 232 Tillam, Chris 42 Till There Was You 198 Tilse, Tony 216 Tilson, Alison 184, 191, 192, 250 Tim 128, 156, 162, 165 Time Trackers 213 Timlock, Rohan 184 Tim Winton’s cloudstreet 206, 208, 210, 222, 224, 225, 257 Tinglewood 256 Tingwell, Charles William (Bud) 162, 163, 255 Tipene, Phil 198, 199 Titanic 112 Todd, Sonia 204 Toeplitz, Jerzy 48, 255 To Florinda 244 Toft, Klaus 227, 228, 233, 234 To Have And To Hold 186, 198 To Market, To Market 186 Tomnay, Nicholas 246 Tomorrow, When The War Began 181, 184, 188, 193, 200, 253, 256, 257 Tom White 158, 164, 167, 170, 174, 177, 180, 184, 187, 192, 199 To Nefertiti 45 Toni, Bernice 219 Toni, Tim 220 Tonkin, Phoebe 206 Tonks, Angela 172 Toppano, Peta 165 Torrens, Nick 233, 234 Torres, Eileen 235 Torres, Petris 250 Torssonen, Samuli 257 Tosi, Jenni 212 Total Recession 242 Townend, Peter 198 A Town Like This 244 Townsend, Peter 199 Tracey Mcbean 212 The Tracker 119, 158, 170, 177, 180, 183, 192 The Tragedy of Hamlet Prince of Denmark 126 Transfiguration 225 Transit 228 Transmission 241, 247 transnational filmmakers (Australian) 82 Tranter, David 200 Traps 163, 166, 186, 190, 195 Travelling Light 167, 170, 192, 195 Travelling North 157, 160, 189 Tredinnick, David 201 Tredray, Beth 200 The Tree 162, 178, 184, 193, 256, 257 Trenouth, Andy 52 The Trespassers 52 Trewhella, Damian 14, 80, 83, 129 Trezise, Brooke 200, 250 Trinidad 254 Tripe 235 Truckies Don’t Eat Quiche 237 The True Believers 201, 214 True Blood 252 Trunk 253 Tsilimidos, Alkinos 177, 184, 190 Tsiolkas, Christos 193 Tsunashima, Gotaro 158 Tucker, Matthew 236 Tuckfield, Christopher 229, 232 Tupicoff, Dennis 240, 241, 242, 243 Turkiewicz, Sophia 176, 189 Turner, Jane 205, 213, 221 Turner, Mick 195 Twelfth Night 166 Twelve Moons 227 Twentieth Century Fox 81 twentysomething 213, 214 Twisted Tales 215 Two Brothers Running 172, 179 Two Fish 242 Two Friends 214, 220 Two Hands 158, 164, 167, 170, 174, 177, 180, 183, 191, 195, 199 Two Laws 231 Two/Out 246, 254 Two Thirds Sky – Artists In Desert Country 249 Two Thousand Weeks 31 Tyson-Chew, Nerida 195 U Ubu 32, 47, 48 The Umbrella Woman 157, 163, 168, 172, 179, 194 Un Chien Andalou 70 Uncle 242 Uncle Chatzkel 233, 254 Underbellly: A Tale Of Two Cities 208 Underbelly 87, 203, 206, 208, 210, 216, 218, 222, 225 Underbelly: A Tale Of Two Cities 203, 206, 210, 216, 218, 222 Underbelly Badness 208 Underbelly Razor 211 Underbelly: The Golden Mile 206, 208 Undercover 159, 165, 168, 179, 185 Underground 223, 224 Under The Radar 161 Unfinished Business 156, 160, 176, 182, 189 Unfinished Sky 158, 161, 170, 178, 181, 184, 187, 192, 196, 200 Unfolding Florence – The Many Lives Of Florence Broadhurst 230, 249, 256 Union Street 242 United States of Tara 252 Universal Appliance Company 248 University of Sydney 109 Untold Desires 233 The Upside Down Show 212 Urban Clan 233, 248 Urban Fairytale 248 Urizar, Karla 254 Usher, Jane 236, 237 Us Mob 193 Utopia Girls – How Women Won The Vote 257 V Vacant Possession 177, 180, 190, 198 Vaccaro, Brenda 111 Vaccaro, Mario 200 Vaccher, Tony 198, 199, 248, 249 Vadiveloo, David Selvarajah 234, 247 Vagg, Steven 192 Vail, Phil 249 Valentines Day 224 Van Amstel, Pamela 239 van Buuren, Marc 179, 197 Vandenburg, Frans 180 Vanderhope, Gareth 198, 248 Vanneck, Pan 244 Vaughan, Martin 156, 157 VCA School of Film and Television 69 Veitch, Patrick 59 Vellacott, Randy 256 Vella, Richard 195 Vellis, Aleksi 117 Vengeance 242 Verheggen, Frank 213 Verhoeven, Deb 73 Vertue, Beryl 214 Vertue, Sue 214 Very Small Business 211, 214 V For Vendetta 251 Victorian government 102, 116, 131 Victorian Government’s Community Support Fund 71 Victorian Major Events Company 80 Victorian Ministry for the Arts 50 Video Fool For Love 236 Vidler, Steven 163, 201, 239 Viegas, Bea 167 Vietnam 201, 203 Vietnam Nurses 230, 234, 237, 249 Vietnam Symphony 249 Vilensky, Richard 240, 247 Village Roadshow 113 Villiers, Cat 184 Vincent 189 Vincent Film Library 41, 45, 46, 47, 48, 60 Vincentich, Natalie 225 Vincent Report 45, 48 Vincent, Senator Seddon 45 The Violent Earth 215, 221, 223 Viscas, George 245 The Visitor 246 A Voice In The Wilderness 238 Voices From The Cape 234 The Voice 220 Von Loopin Stab, Chit Chat 195 von Sydow, Max 114 W Waddell, Gary 201, 207 Waddington, Antony 184, 253 Wade, Dave 241, 247 Wagner, Michael 243 Wagstaff, Keith 168 Wah, Annette Shun 166 Waiting 129, 166, 173, 176, 179 Waiting At The Royal 204, 215, 223 The Waiting City 170 Waiting For Harry 231 Waiting For The Turning Of The Earth 241 Wakefield, Louise 173, 174 Wakefield, Rhys 158 Wake In Fright 45, 46 Waks, Nathan 194 Walbrook, Simon 250 Walkabout 7, 45 Walker, Andrew 217, 218, 223 Walker, Graham 185, 186 Walker, Jeffrey 216 Walker, Kerry 165, 166 Walker, Luke 230, 234 Walker, Mandy 82, 169, 227 Walker, Peter 199, 248 Walker, Simon 194 Walker, Tim 256 Walking On Water 158, 161, 164, 167, 177, 180, 192, 195, 199 Walk The Talk 174 Wallace, Stephen 175, 176, 189, 244 Wallace, Toby 257 Wall, Katie 209 Walmsley, Bryce 185 Walmsley, Craig 199 Walshe-Howling, Damian 207, 208 Walsh, Frances (Fran) 185 Walsh, Jonny Elk 250 Walsh, Marieka 244 Walsh, Michael 52 287 Walsh, Rita 247 Walsman, Leeanna 161, 167 Walters, Brandon 164, 257 Walton, John 163 Walton, Scott 237 Waltzing Matilda 241 Waltz Mambo 241 A Waltz Through The Hills 201 Wanganeen, Natasha 257 Wansey, Skye 254 Ward, Jenny T. 199 Ward, Josephine 212 Ward, Julie 220 Ward, Mark 248 Ward, Rachel 178, 226, 240, 246 Ward, Vincent 176, 177, 183 Ward, Will 200 Wareham, Mark 170, 224 Warm Nights On A Slow Moving Train 168 Warner, Chris 220, 244 Warner, Gary 63, 250 Warner, Lavinia 223 Warner, Mark 181 Warren, Paul 174 Wasikowska, Mia 252, 257 Wasiutak, Mark 197 Wasted On The Young 181 Watch The Watch 232, 236, 248 Water 240, 247, 254 The Water Diary 70 Water For A City 226 Water Rats 204, 257 Waters, John 156, 157, 207, 208 Waters, Laura 214, 235 Waterstreet, Charles 182 Wathen, Jo 214, 219 Watkins, Polly 230 Watson, Clayton 207 Watson, Don 191 Watson, Emily 162 Watson Jnr, Peter 247 Watson, John 193 Watt, Anthony 219 Watt, Harry 45 Watt, Sarah 14, 178, 192, 193, 242, 243, 251 Watts, Liz 184, 213, 214, 253, 256 Watts, Naomi 251, 252 Watts, Rex 197, 198, 247, 248 Watts, Richard 62 Watt, Tracy 185 The Way Back 254 The Wayne Manifesto 212 Way Of The Birds 242 We Are All Alone My Dears 231 Weaver, Jacki 159, 164, 165 Weaving, Hugo 157, 158, 164, 251 Webber, Angela 222 288 Webb, Peter 257 Webb, Robert 188 Webb, Russell 217 Webster, David 213 Webster, Michael 248 The Web 242 We Can Be Heroes 203, 214, 215, 222 A Wedding In Ramallah 229, 233 Wedge, Megan 249 Weekend Of Shadows 156 Weekend With Kate 160, 173, 186 Weir, Kieran 239 Weir, Peter 40, 42, 43, 44, 45, 46, 52, 109, 110, 112, 121, 128, 175, 176, 189, 244, 253, 255 Weir, Wendy 185 Weis, Bob 15, 64, 71, 72, 92, 97, 121, 132, 189, 231 Weiss, Ariane 175 Welcher & Welcher 207 Welcome 2 My Deaf World 234 Wellburn, Tim 178, 179, 196 Weller, Archie 240 The Well 160, 169, 174, 177, 180, 183, 186, 191, 195, 198 Welsh, Paul 184 Wendy Cracked A Walnut 160, 194 Wenham, David 157, 158, 196, 201, 202, 203 We Of The Never Never 159, 168, 171, 182, 188, 193 Werner, Joanna 213 Wertheim, Margaret 244 West, Alex 234 Westlake, Nigel 195 West, Madeleine 210 Whaleboat, Merwez 209 Whale Rider 185 Whaley, George 190 Wharfe McIntyre, Victoria 247 Whatham, Claude 176 What I Have Written 169, 191 What The Moon Saw 172 Wheeldon, Matt 251 Wheeler, Chris 239 Wheeler, Tony 244 Wheelwright, Laura 167, 210 Where The Forest Meets The Sea 241 Where The Outback Ends 194 Whitburn, Denis 182, 190, 220 White Collar Blue 202, 218 White, David 198, 248, 249, 250 White, Eddie 243 White, Erin 240, 246 White, G. 197 White, Harold 27 Whitehead, Aanya 233 White, Jim 195 White, John Clifford 194, 195 White, Timothy 253 White, Timothy (Tim) 97, 182, 183, 184, 245 Whitlam, Gough 9, 11 Whitlam government 34, 46, 49, 51 Whitmore, Lee 185, 240, 241, 242, 243 Whittaker, Roger 226, 231 Whitteron, John 226 Whittington, Karin 198 Who Killed Jenny Langby? 159, 244 Who Killed Malcolm Smith? 232 Whyte, Alison 206 Wicked Science 212, 225, 256 The Widower 192 Widyanata, Sandy 256 Wight, Justin 243 The Wild Duck 162, 185, 189 Wild, John 217, 218 Wildness 229, 233 Wildside 201, 204, 215, 217, 221, 223, 257 Wilfred 210, 214, 216 Wilfred II 211, 214, 222 Wilkes, Evan 220 Wilkins, Gary 196, 197, 198, 199, 200 Wilkinson, John 198, 199, 200 Willamson, David 189, 255 Willfull 174 Williams, Brian A. 182, 190 Williams, Geoffrey 83 Williams, Heather 232, 239 Williams, Ian Kennedy 240 Williamson, David 170, 188, 189, 190, 192 Williamson, Rebecca 184, 253 Williams, Paul 237 Williams, Ron 171 Williams, Steve 228 Willis, Lord (Ted) 32 Willsteed, John 248, 249 Wilson, Andrew Thomas 193 Wilson, Ian 247 Wilson, Margot 174, 237, 254 Wilson, Morton 194 Wilson, Richard 164 Wilson, Sam 238 Wilson, Tony 227 Wincer, Simon 112, 175, 176 Wind 227, 246, 248 Windon, Stephen F. (Steve) 169, 227 The Winds Of Jarrah 162 Winkler, Paul 32, 49, 238 Winspear, Ben 208 Winstone, Ray 158 Winter, John 183 Winter Of Our Dreams 159, 165, 176, 182, 185, 188, 196 Winter Solstice 251 Winters, Phil 199, 248 Winton, Tim 222 Wiseman, Andrew 182, 223, 224, 229, 233, 234 Wish You Were Here 159, 162, 165, 171, 178, 181, 184, 193 Witch Hunt 239 Witcombe, Eleanor 55, 188 Witherow, Stephen 199, 225 Without A Trace 251 Witness 233 The Wog Boy 117, 174 Wolf Creek 86, 95, 167, 170, 178, 180, 192, 195, 199 A Woman’s Tale 160, 166, 190, 194 women filmmakers 55, 65 Women filmmakers (Reel Women) 65 Women’s Film Festival (AFI) 65 Women’s Film Fund 65 Women’s Film Unit 244 Wonderboy 229, 233 The Wonderful World Of Dogs 227, 236 Wood, Graeme 245 Wood, Katy 249 Woodley 211 Woodley, Frank 235, 243 Wood, Moya 189 Wood, Peter D. 197 Wood, Randall 228, 230 Woods, Kate 177 Woods, Rowan 177, 215 Woodward, Edward 156 Woodyard, Gary 180 Woof, Emily 167 Wooldridge, Marc 251 Woolley, Maree 241 Woolmer, Tim 231 Words From The City 228, 230, 234, 237, 249 Working Dog films 117 Workout 225 The World’s Fastest Indian 252 Wormer, Tim 123 Worontcshak, George 247 Worry 241 Worst Best Friends 212 Worthington, Sam 158, 251 Woss, Nelson 184, 253 Woulahan, Sarah-Jane 256 A Wreck, A Tangle 199 Wright, Geoffrey 14, 69, 70, 115, 128, 176, 245 Wright, Tony 212, 233 Writer’s Block 242 Wrong Side Of The Road 182, 193, 252 Wrong World 168 Wszelaki, Maciej 227, 229 Wu Ting 168, 171 Wyld, Kris 218, 221, 222, 224 Wyllie, Dan 202, 203, 208 X X 181 Y Yamagami, Tetsujiro 232 Yaman, Selin 213 Yanthalawuy, Mawuyul 159 Yared, Gabriel 194 The Year My Voice Broke 13, 14, 157, 160, 163, 176, 179, 182, 189 The Year Of Living Dangerously 128, 156, 165, 168, 171, 176, 179, 182, 185, 189, 194, 197, 253 Year Of The Dogs 236 Yeeda, Lucas 257 Yeend, Norman 242 Yekta, Mahmoud 233 Yeldham, Joshua 239, 245, 253 Yemm, Norman 254 Yes Madam, Sir 237 Yezerski, Michael 196 Yip, Leonard 240, 246 Yolngu Boy 170, 180, 191, 257 You Always Hurt The Ones You Love 233 Young, Aden 157 Young Einstein 168, 189, 194, 197 Young Lions 202 Young, Stewart 179, 235, 236, 237, 247 You Only Live Twice – The Incredibly True Story Of The Hughes Family 234 Yuwu, Qi 158 Z Zakharov, Peter 229 Zambarloukos, Haris 170 Zammataro, Stella 233 Zanchetta, Rita 187 Zeke’s Pad 213 Zero 243 Zero, Scott 257 Zettel, Harry 185 Zimdahl, Catherine 239 Zingales, Matteo 196 Zitserman, Allanah 191 Zoates, Toby 241 A Zoo In The Trees 247 Zub, Martyn 200 Zubrycki, Tom 229, 231, 232, 233 Zwar, Adam 210, 214, 220, 222 Zwicky, Karl 218, 224 289