Annual Report 0506

The Australian Film Commission
The Australian Film Commission is an Australian Government agency, operating as part of the Commonwealth Film
Program to ensure the creation, availability and preservation of Australian audiovisual content.
The AFC enriches Australias national identity by supporting the development of film, television and interactive media
projects and their creators, promoting the availability of Australian content to Australian audiences, and cultivating
and assisting the development and appreciation of Australian screen culture locally and internationally. Through the
National Film and Sound Archive, the AFC collects, documents, preserves and provides access to Australias screen and
sound heritage. As the major collector and analyser of data about the industry, the AFC leads opinion, policy and the
outlook about the audiovisual industries and screen content in Australia.
The AFC maintains offices in Sydney, Melbourne and Brisbane, with the headquarters of the Archive residing in Canberra.
The AFCs Corporate Plan sets out the organisations strategic objectives, which are:
identify and develop outstanding Australian film, television and interactive media projects
cultivate the professional development of talented writers, directors, producers and digital content creators
cultivate diverse and distinctive Indigenous Australian work, and promote its recognition as part of Australian
screen culture
maximise the participation of Australian programs and their creators in the national and international
marketplace
ensure the permanent availability of the nations audiovisual heritage
cultivate and assist the development and appreciation of Australian screen culture, locally and internationally
inform, shape and influence the national agenda relating to the creation, availability and preservation of
Australian audiovisual content.
The Annual Report outlines the ways in which resources have been utilised to achieve these objectives.
The AFCs Corporate Plan is available on the AFC website at www.afc.gov.au
In 2005/06, the AFC also administered the governments Official Co-production Program. The AFCs role involved
negotiations with potential co-production treaty partners, ongoing discussions on the maintenance and administration
of existing co-production agreements, assessing co-production applications, making recommendations to the
Commission for approval, providing information to the film and television industries about the co-production program
and consulting with the Co-production Industry Advisory Panel on policy issues affecting the program.
Adoption of report of operations

The Commissioners of the Australian Film Commission are responsible under section 9 of the Commonwealth
Authorities and Companies Act 1997 for the preparation and content of a Report of Operations in accordance with
Orders issued by the Minister for Finance. The following Report of Operations was adopted by resolution of the
Commission on 12 September 2006.
Maureen Barron
Chair
Australian Film Commission Annual Report 2005/06
Abbreviations and Acronyms

ABC
AEAF
AFC
AFC Act
AFI
AFTRS
AGSC
AIATSIS
Australian Broadcasting Corporation

Australian Effects and Animation Festival
Australian Film Commission
Australian Film Commission Act 1975
Australian Film Institute
Australian Film Television and Radio School
Australian Guild of Screen Composers
Australian Institute of Aboriginal and Torres
Strait Islander Studies
AICC
Australia International Cultural Council
AIDC
Australian International Documentary
Conference
AIMIA
Australian Interactive Media Industry
Association
AKF
AustraliaKorea Foundation
APRA
Australian Performing Rights Association
ASDA
Australian Screen Directors Association
ASTRA
Australian Subscription Television and Radio
Association
ATOM
Australian Teachers of Media
AWG
Australian Writers Guild
BAFTA
British Academy of Film and Television Arts
BCPI
Broadband Cross-media Production Initiative
BPI
Broadband Production Initiative
BRACS
Broadcasting for Remote Aboriginal
Communities Scheme
CAAMA Central Australian Aboriginal Media Association
CAC Act Commonwealth Authorities and Companies Act
1997
CICI Group Copyright in Cultural Institutions Group
CSAR
Centre for Scholarly and Archival Research
DCITA
Department of Communications, Information
Technology and the Arts
DFAT
Department of Foreign Affairs and Trade
FCCA
Film Critics Circle of Australia
FFC
Film Finance Corporation Australia
FOI Act Freedom of Information Act 1982
FTO
New South Wales Film and Television Ofce
ICD
IDFA
IPRIA
ISA
LAN
MAVIS
MEAA
MIFF
MOU
NFSA
NIDF
NLA
PFTC
PRC
RDSN
SAFC
SASSA
SBSi
SFF
SOE
SPAA
TLF
TRIM
WTO
Industry and Cultural Development

International Documentary Festival Amsterdam
Intellectual Property Research Institute of
Australia
Indigenous Screen Australia
Local Area Network
Merged Audio Visual Information System
Media Entertainment and Arts Alliance
Melbourne International Film Festival
Memorandum of Understanding
National Film and Sound Archive
National Indigenous Documentary Fund
National Library of Australia
Pacic Film and Television Commission
Policy, Research and Communications
Regional Digital Screen Network
South Australian Film Corporation
South Australian Short Screen Awards
Special Broadcasting Service Independent
Sydney Film Festival
Standard Operating Environment
Screen Producers Association of Australia
The Learning Federation
Tower Records Information Management
World Trade Organisation
Contents
Letter from the Chair
Governance Statement
Commission Charter
Commissioners Code of Conduct
Commissioner Profiles
10
Executive Overview 2005/06
15
Film Development
19
Indigenous
28
35
Marketing
43
50
58
Corporate Services
65
Statutory Reports
75
APPENDICES
85
APPENDIX 1 Enabling Legislation
86
APPENDIX 2 Awards won by AFC-funded Films
88
APPENDIX 3 International Screenings of AFC-funded Films
92
APPENDIX 4 Publications
94
APPENDIX 5 Access and Equity
98
APPENDIX 6 NFSA Curatorial Highlights
101
APPENDIX 7 Assessors and Consultants
106
APPENDIX 8 Investments, Loans, Grants and other AFC Initiatives
108
Financial Statements
147
Letter from the Chair

Senator the Hon Rod Kemp
Minister for the Arts and Sport
Parliament House
Canberra
Dear Minister
It is my pleasure to present the Australian Film Commissions Annual Report for the year ended 30 June 2006, my
ninth year as Chair. The year has seen a wide range of activity across all divisions of the AFC.
In keeping with the Australian Governments focus on building strategic capabilities and better practice governance
mechanisms in autonomous agencies, the AFC undertook another program of review of its strategic and governance
framework. The Commission reviewed the AFCs strategic directions for the next 3 years and re-formulated its
Statement of Strategic Intent to guide the AFCs activities and its resource planning and allocation. As well as
confirming its commitment to develop programs in the areas of digital and Indigenous content, the Commission also
determined to broaden the national and regional outreach of the AFCs programs.
In 2005/06 the AFC received the first instalment of the additional funding allocation announced as part of the
Governments election policy, A World Class Australian Film Industry. To bolster the health of the nations screen
content production industry, $15 million has been made available over 3 years for film development and $6.9
million over 3 years for screen culture.
The AFC has used this funding to implement a number of new programs. The low-budget feature initiative IndiVision
delivered intensive script development and marketing workshops to over 50 Australian filmmakers. The first two lowbudget features produced through IndiVision are now complete. The Caterpillar Wish screened in Australian cinemas
in 2006, and West will be seen in cinemas in 2007. Consolidation and expansion of the AFCs script and professional
development programs also continued during the year, including continuation of the well-received Enterprise Tasman
workshop, which equips filmmakers with skills to build sustainable production companies. In addition, a new round
of the SP*RK script workshop was held. Three projects previously developed via this initiative have now successfully
raised finance and have gone into production.
The additional funding allocation also enabled the AFC to expand its screen culture activities. Big Screen, the
regional touring festival, delivered a program of Australian films to over 90 regional centres, with a series of special
screenings introduced to cater to the needs of the education sector and Indigenous communities. The AFC also
expanded its international screen culture activities through the Embassy Roadshow program.
In 2005/06 the AFC announced a substantially revised Collection Policy for the National Film and Sound Archive
(NFSA) following extensive consultation with staff and the national and international archive community. The
Archive continued to implement its Charter of Curatorial Values, with appointments to curatorial leadership positions
for Indigenous, Moving Image, Recorded Sound, and Documents and Artefacts now finalised. The NFSA Advisory
Committee continued to play an important role in assisting the Archive in defining strategies and policies related to
the collection.
The AFC has maintained its active engagement in industry research and policy development and analysis for the
film, television and new media production industries. The AFCs annual National survey of feature film and TV drama
production in Australia is now in its eighteenth year. The AFC provided submissions to all significant government
reviews and inquiries including the legislative reviews of the Copyright Act arising from the Australia-US Free Trade
Agreement. The AFC also undertook an international benchmarking study of public assistance to the audiovisual
content production sector to identify a range of future assistance options.
Indigenous films supported by the AFC once again found acclaim, with Series 7 of the National Indigenous
Documentary Fund (NIDF) premiering to full houses at the Sydney Opera House as part of the 2006 Message Sticks
Indigenous Film Festival. In addition, Warwick Thorntons Green Bush won the Audience Award at the National
Geographic All Roads Film Festival in the US.
In animation, the AFC-funded The Mysterious Geographic Explorations of Jasper Morello received a 2006 Academy
Award nomination for Best Short Film (Animated). It was nominated in the same category for the equally prestigious
British Academy of Film and Television Arts Awards (BAFTAs).
Another highlight of this year was the impressive contingent of Australian films in a range of genres selected to
screen at the Cannes Film Festival.
Towards the end of the year, the AFC welcomed the Governments announcement of a review of film funding
support. The review process is an opportunity to examine mechanisms to reinvigorate the local production industry
and secure its long-term future.
There were no new appointments to the Board of Commissioners in 2005/06.
MAUREEN BARRON
CHAIR
15 September 2006
Governance Statement
Introduction
Role of the Commission
The legal framework for the AFCs corporate governance

practices is set out in the Australian Film Commission
Act 1975 (the AFC Act) and the Commonwealth
Authorities and Companies Act 1997 (the CAC Act).
The Commission is responsible for performing its

functions and exercising its powers consistent with
the AFC Act. The Chief Executive is appointed by the
Minister, but is not a member of the Commission.
This legal framework is supplemented by a number of

other internal protocols and measures that are consistent
with the Department of Finance and Administration
publication Governance Arrangements for Australian
Government Bodies (2005), and the DCITA publication
General Guidance for Directors of Statutory Authorities
(2004), as well as the Australian National Audit Office
publications on Public Sector Governance.
The Commission acts in accordance with its Charter and

Code of Conduct, set out on pages 89.
The AFC has established a number of governance

practices and procedures to ensure it adheres to
appropriate levels of accountability, disclosure and
transparency.
Commission Audit Committee
Commissioners
During 2005/06, the Commission Audit Committee

consisted of Paul Hamra (Chair), Maureen Barron, Tom
Kennedy and Dominic Case.
Members of the Commission are appointed by

the Governor-General on the nomination of the
Minister for the Arts. All Commissioners serve
in a non-executive capacity.
Under section 16 of the AFC Act, Commissioners can
be appointed for a period not exceeding 5 years,
with provision for re-appointment.
The Commission is responsible for the governance
practices of the AFC. To this end, Commissioners
participate in ongoing Corporate Governance workshops.
Attendance and remuneration

Commissioners attendance at Commission and Commission
Audit Committee meetings is set out on page 13.
Commissioners are paid such remuneration and
allowances as determined by the Remuneration Tribunal,
out of the monies of the AFC.
The Commission undertakes an annual planning process,

at which it formulates the AFCs strategic directions,
along with developing the Corporate Plan with senior
management which covers the following 3-year period,
and which is reviewed annually.
A Commission Audit Committee has been established

to assist the Commission in the discharge of its
responsibilities.
The Commission Audit Committee provides a forum for

communication between the full Commission, senior
management, and the AFCs internal and external
auditors.
Pursuant to the Charter of the Commission Audit
Committee, the Committee must satisfy itself that
the internal management and accounting controls are
operating effectively, review the risk management
strategy, consider external audit reports, monitor
managements implementation of recommendations,
and regulatory compliance.
Attendance at Commission Audit Committee meetings
is on the invitation of the Committee. The meetings
are attended by the Chief Executive, the Director
of Corporate Services and the internal and external
auditors.
Conflicts of interest
Risk management
Commissioners obligations are provided for in the CAC

Act. Commissioners who may have an actual, potential
or perceived conflict of interest in a matter under
consideration by the Commission or the Commission
Audit Committee are required to make the nature of
that interest known and, if considered appropriate by
the Chair or the Commission, must not be present while
the matter is being considered. In such circumstances,
Commissioners do not exercise their vote. Disclosure of
such interests is recorded in the minutes of the meeting.
The Executive Officer is responsible for managing
Commissioners standing interests in relation to matters
that may arise in the Commission papers.
The Commission is responsible for risk management

and monitors operational and financial risks through the
Commission Audit Committee, with assistance from the
internal auditor.
The Commission also maintains a Register of Standing

Interests that is provided for review and update at each
meeting.
External audit
Fraud control
The Commission has developed a Fraud Control Plan
in accordance with section 28 of the Commonwealth
Authorities and Companies Act 1997 and the Fraud
Control Guidelines 2002 issued by the Minister for
Justice and Customs.
The AFC Fraud Control Plan 200507 takes into account
functional changes in the Commission following
integration with the National Film and Sound Archive.
Based on the adequacy of the controls that are in place
or are being implemented, the AFC has been assessed
as a low-risk agency.
Under section 8 of the CAC Act, the Auditor-General is

the external auditor of the AFC.
Internal audit
The AFC maintains an internal audit function, which
reports to the Commission Audit Committee. The
current internal auditor is KPMG. The role of the internal
auditor includes monitoring of the risk management
plan, assurance regarding the accuracy of financial and
management information, asset protection, regulatory
compliance and fraud control.
The audit strategies of the internal auditor are subject
to review by the Commission Audit Committee on an
annual basis. The internal audit report of operations
is reviewed at each meeting of the Commission Audit
Committee.
Commission Charter
The Commission is responsible to the Minister for the Arts for the performance of the AFC. The Commissions
role, responsibilities and powers are set out in the Australian Film Commission Act 1975 and the Commonwealth
Authorities and Companies Act 1997.
The Commission is responsible for the strategic directions and objectives of the AFC, as represented in the Corporate
Plan and other strategy documents. The 3-year Corporate Plan is reviewed annually. The Commissions responsibilities
include the governance practices of the AFC.
The Commission has delegated responsibility to management for the day-to-day operations of the AFC, subject to
certain authority limits and reporting requirements. The Commission reserves the following matters:
expenditure of funds outside the current financial delegations
approval of guidelines for all funding programs and Archive collecting policies
approval of all submissions to inquiries and reviews and policy positions advocated by the AFC
the Annual Report
the Corporate Plan (including strategic plan and overall strategic directions)
senior management appointments (through commission membership of the selection panel), including the
Chief Executive (which is an appointment by the Minister)
the annual budget and departures from the budget
monthly financial reports
granting of official co-production status
instigating formal discussions for co-productions treaties and changes in treaties (excluding preliminary and
exploratory discussions)
organisational re-structuring
membership of the Audit Committee and other Commission committees
risk management and monitoring of operational and financial risks.
The Commission may decide on other matters as necessary and at its discretion. An Audit Committee has been
established to assist the Commission in the discharge of its responsibilities and its role is contained in a charter
established by the Commission. Other committees of the Commission are established as needed.
The Commission Charter will be included in each annual report of the Commission.
Commissioners Code of Conduct

The Code sets out the standards of personal and professional conduct required of Commissioners. The standards
concern personal integrity, honesty, self-discipline, diligence and professional competence.
Commissioners have an obligation to accept and abide by this Code in spirit as well as by the letter of the law.
Commissioners must at all times:
understand and uphold the values and objectives of the AFC
be familiar with the Australian Film Commission Act 1975, its policies and procedures, and the duties of
directors as defined in the relevant legislation including the Commonwealth Authorities and Companies Act
1997
prepare for, attend, and participate actively in board meetings, and make decisions in a timely, fair and
efficient manner
ensure decisions of the board are based on the best evidence and information available
maintain good relations with other government agencies and have regard to stakeholders
report immediately any personal conflicts of interest or serious breaches of the law to the Commission
conduct themselves with regard to the reputation, purpose, objectives and interests of the AFC, and not do,
say, or omit to do anything which might bring the AFC into disrepute, be inconsistent with or detrimental to its
objectives and interests or cast doubt on Commissioners own professional integrity
not claim or give the impression that they are representing the official views of the AFC, unless they have
been expressly authorised to do so
perform their duties diligently, conscientiously and without favour to themselves or another person
not allow their judgment or conduct to be influenced or compromised by commercial considerations
not improperly use information they have obtained as a result of their position, and ensure that confidential
information is not disclosed improperly, or only as required.
Maureen Barron
Paul Hamra
Dominic Case
Chair
Deputy Chair
Reappointed as Chair for 3 years

to 1 November 2006
Reappointed as Deputy Chair for 3 years

to 25 June 2008
Appointed for 3 years to

21 October 2006
Maureen Barron is General Manager

Corporate for Southern Star Group Limited.
She has extensive business expertise
specialising in the entertainment industry.
Maureen has been a member of the
Copyright Tribunal and the Copyright Law
Review Committee, and is currently a
member of the Minister for Trades WTO
Advisory Group.
Paul Hamra is Managing Director of

South Australian-based publishing
company Solstice Media, publisher of The
Independent Weekly newspaper. Paul
has worked in media, politics and public
relations for 20 years in Australia and the
US. Over 11 years Paul built a national
public relations company, specialising in
corporate and consumer clients. He sold
his business to Young and Rubicam and
moved into publishing in 2003.
Dominic Case has over 30 years

experience in the film industry, having
worked mainly in film laboratories, but
also as a post-production consultant,
on films ranging from What I Have
Written (1993) to the restoration of
The Sentimental Bloke (1919). He is
Director of Communications for the Atlab
Group. As Chair of FIBRE (Film Industry
Broadband Resources Enterprise) he led
an industry-wide group in developing
business models for broadband access.
Dominic holds degrees in Physics
and Mass Communications and is
the author of two books on film and
post-production methods. He has also
published and presented papers locally
and internationally. He is a Fellow of the
Society of Motion Picture and Television
Engineers (SMPTE) and also of the British
Kinematograph, Sound and Television
Society (BKSTS). As a past Chair of SMPTEs
Australian section and International
Governor he was recently honoured with
the SMPTE Presidential Proclamation for
his outstanding reputation and status in
the industry.
10
Paul Grabowsky
Thomas A Kennedy
Sue Masters
Appointed for 3 years to

21 October 2006
Reappointed for 3 years to

7 August 2008
Appointed for 3 years to 6 June 2008
Paul Grabowsky is a pianist, composer

and conductor. He is regarded as one of
Australias foremost screen composers, with
credits for over 17 film and 13 television
scores, including Innocence, Jessica, The
Jungle Book 2, The Last Days of Chez
Nous, Last Orders, Phoenix and Shiner. His
works for the stage include the opera Love
in the Age of Therapy and the multimedia
production Theft of Sita. In 1994, he
founded the Australian Art Orchestra.
Tom Kennedy is CEO of Media Zoo P/L,

a Photon Group Company (ASX-PGA),
and Chairman of the Digital Content
Action Agenda Experts Group. In 2005 he
received the AIMIA Award for Outstanding
Contribution to Industry.
Paul produced and presented the television

series Access All Areas in 1996, was
Commissioning Editor for ABC Television
Arts and Entertainment 199698, and was
the Musical Director of Tonight Live with
Steve Vizard 199092. At the 2000 Sydney
Olympics, Paul was a composer for the
opening and closing ceremonies and the
Musical Director for the Paralympics closing
ceremony. He has won three ARIA Awards,
an AFI Award, a Helpmann Award and was
Sidney Myer Performing Artist of the Year
in 2000.
Tom founded Brainwaave Interactive in

1995 as a division of John Fairfax Holdings,
before spearheading a management buyout
in 1998. He has over 20 years experience in
media and technology, software publishing,
distribution and interactive content creation
and management. He is a former board
member and chairman of the Internet
Industry Association (IIA) 200305, and
was president of the Australian Interactive
Media Industry Association (AIMIA)
199798, as well as a board member
for 8 years until 2003. He has been an
advisor to the Australian Cultural Network
and a member of the Digital Television
Advisory Group. He is also a member of
the Joint Singapore Australia IT Council, the
Australian Information Economy Advisory
Council (AIEAC), and the National Bandwidth
Enquiry.
Sue Masters is Head of Drama at Network

TEN and is one of Australias most
accomplished television producers.
In 1990 she produced Brides of Christ
for ABC TV, one of the most successful
dramas seen in Australia. This was
followed by a tenure at Roadshow, Coote
and Carroll during which she created and
produced G.P. Sue was responsible for such
acclaimed series as Janus, The Bite and
Simone De Beauvoirs Babies. In 1998 she
was appointed National Commissioning
Editor for ABC TV Drama and in this
capacity oversaw the development and
production of A Difficult Woman, Wildside,
Something in the Air, Grass Roots and
Sea Change. Sue also commissioned The
Farm, Changi and Head Start. Sue took up
her appointment as Network TEN Head of
Drama in October 2000. Since this time
she has overseen the production of The
Secret Life of Us, Heroes Mountain, White
Collar Blue, Crash Burn, The Cooks, Go Big
and The Society Murders; the successful
telemovie franchises Blackjack and Small
Claims; as well as the acclaimed miniseries
After the Deluge, Jessica and Mary Bryant.
From 2000 to 2004 Tom was a director

of the Biennale of Sydney, a major
contemporary international arts festival.
11
Rachel Perkins
Colin South
Antonio Zeccola
Appointed for 3 years to 7 July 2007
Appointed for 3 years to 7 July 2007
Rachel Perkins is from the Arrernte and

Kalkadoon nations. She is a graduate and
past Council Member of the Australian Film
Television and Radio School, and currently
serves as Chair of Indigenous Screen
Australia. Trained at the Central Australian
Aboriginal Media Association (CAAMA) in
Alice Springs, Rachel went on to become
an executive producer with both the SBS
and ABC Indigenous Units, where she
commissioned the first National Indigenous
Documentary Fund, among other series.
Colin South started in the television

industry in 1972 working in the props
department at Channel 10 in Melbourne.
From 1975 he produced career and training
films for the Federal Department of Labour
before co-founding the independent
production company Media World in 1982,
producing live-to-air sport, music and
numerous documentaries.
Reappointed for 3 years to

20 October 2006
Rachel has independently produced and

directed a number of documentary series,
set up the finance for the first Indigenous
Drama Initiative for the Australian Film
Commission and produced three shorts
under this initiative. Her two features,
Radiance and One Night the Moon,
between them screened at Berlin, London,
Toronto and Sundance film festivals, and
received three Australian Film Institute
(AFI) Awards. She was also awarded the
Byron Kennedy AFI Award in 2002 for her
contribution to the Australian film industry.
Rachel is currently developing an 8-hour
series for SBS on the history of Aboriginal
and Torres Strait Islander people entitled
First Australians.
12
In 1993 Colin co-produced the awardwinning feature film The Silver Brumby.
Since establishing Animation Works Pty Ltd
in 1994, Colin has produced six animated
television series, including the current
childrens comedy series Dogstar.
With offices in Melbourne and Perth, Media
World Pictures continues to develop and
produce animated and live action film and
television drama. The companys latest
production is the miniseries The Circuit.
Antonio Zeccola is the Managing Director

of Palace Films and Palace Cinemas, with
a 40-year history of distributing quality
local and international titles in Australia
and New Zealand. He has received credit
as Executive Producer for Paul Goldmans
Australian Rules and Rolf de Heers
Alexandras Project, which was officially
selected for screening at the Berlin
International Film Festival in 2003, where
it was nominated for a Golden Bear.
Antonio has a strong commitment to the
Australian film industry and has invested
in three of the countrys most highly
anticipated films of 2006: The Book of
Revelation, Ana Kokkinos follow-up to
the past Palace Films success Head On;
Irresistible, starring Susan Sarandon and Sam
Neill; and Macbeth, in which the director
of Romper Stomper brings Shakespeares
Macbeth to gangland Melbourne.
Palace Cinemas is Antonios exhibition
division, with 73 screens across
21 locations in Melbourne, Sydney,
Brisbane, Adelaide and Perth, making it
Australias only national group of cinemas
dedicated to the presentation of quality
film. Antonios passion for restoring,
reinvigorating and saving cinema icons has
led him to recently acquire and refurbish
the Chauvel Cinema in Sydney and the
Westgarth Theatre in Melbourne.
Table 1: Commission meetings held 2005/06 and Commissioner attendance
2005
2006
14/7 22/7
9/8
16/8
7/9
15/9 27/9 27/10 8/11 21/11 5/12/ 13/12 18/1 19/1 30/1 22/2 27/3
2/5
9/5
16/5 13/6 27/6
Maureen Barron, Chair
Paul Hamra, Deputy Chair
Dominic Case
Paul Grabowsky
Tom Kennedy
Sue Masters
Rachel Perkins
Colin South
Antonio Zeccola
3 = Present
l = Apologies received for absence
n = Absent because of conflict of interest
Table 2: Audit Committee meetings held 2005/06 and Commissioner attendance
2005
2006
27/9 13/12 27/3 27/6
Paul Hamra, Chair
Maureen Barron
3 3 3 3
Dominic Case
3 3 3
Tom Kennedy
3 3 3 3
3 3 3
13
Chris Fitchett
Following the departure of Kim Dalton in February
2006, the AFCs Director of Film Development Chris
Fitchett was appointed Acting Chief Executive. Chris
graduated from Melbourne University with a Bachelor of
Science (Hons) degree, majoring in Psychology, in 1974.
Immediately following this degree, and while working as
a university tutor, he became involved in the Melbourne
independent filmmaking scene. Chris first film, Melanie
and Me (1975), received an extended screening at the
Melbourne Filmmakers Co-Operative and led to Chris
producing John Ruanes short feature Queensland (1976),
which went on to win an Australian Film Institute (AFI)
Award for Best Short Fiction Film.
In the following years, Chris continued to combine both
independent filmmaking and teaching. He worked as a
staff writer at Crawford Productions and lecturer in Media
Studies at the Victorian College of Education. In 1980 he
directed and co-wrote his first feature film, Blood Money,
starring Bryan Brown. Blood Money was awarded a Jury
Prize at the AFI Awards and sold to 19 international
territories. It quickly led to a second feature, Desolation
Angels (aka Fair Game, 1982), which was distributed
worldwide through US sales agent Shapiro Entertainment.
In 1982, Chris was appointed Head of Screenwriting at
the Australian Film and Television School (now AFTRS).
During his tenure at AFTRS, Chris acted as executive
producer on a number of award-winning short films,
including PJ Hogans Getting Wet, with a crew that
included Jane Campion, Jocelyn Moorhouse and
Alex Proyas.
From 1990 to 1995 Chris was Project Manager/Deputy
Director at Film Victoria and was responsible for
investments in feature films such as Romper Stomper,
The Heartbreak Kid, Muriels Wedding, Hotel Sorrento,
Love Serenade and Shine, as well as television dramas
such as Flying Doctors, Ocean Girl and Blue Heelers.
In 1996 Chris was appointed Chief Executive Officer of
the Commercial Television Production Fund. The fund
14
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Acting Chief Executive
financed a total of 38 projects over a 4-year period,

including the miniseries Day of the Roses, Kangaroo
Palace and Kings in Grass Castles; the telemovies
13 Gantry Row, State Coroner, Murder Call, Medivac,
The Territorians and Never Tell Me Never; the
documentary series Our Century and Barry Humphries
Flashbacks; the anthology series Twisted Tales; and
the pilot for Hi Five!. At the end of the funds term,
Chris returned to the independent sector, script editing
a number of major projects, including 26 half-hour
episodes of the Australian-Canadian co-production
Quads! and the privately financed feature film
One Perfect Day. He also produced and script edited
the feature films Blurred and Under The Radar.
Chris is a former member of the Board of the National
Screenwriters Conference, as well as the Victorian
College of the Arts industry advisory panel and Film
Victorias Evaluation and Advisory Committee. He was
a member of the task force set up by the Victorian
Government to review the Victorian film and television
industry, and has assessed projects for the Film Finance
Corporation Australia, the Pacific Film and Television
Commission, the New Zealand Film Commission and
Screen Tasmania.
In October 2005, Chris was appointed Director of Film
Development at the AFC. He has been Acting Chief
Executive since February 2006.
Executive Overview 2005/06

The AFC is the Australian Governments key
development agency for the creation of screen
content. This year the AFC has delivered a series of
highly successful programs in script and professional
development for screen content creators, as well as
building on a number of new initiatives to address
the industrys current developmental needs and global
changes in the industry.
IndiVision is an exciting initiative which was developed
as a strategic response to declining levels of film and
television production in Australia. It comprises a suite
of programs designed to support the development,
production and promotion of distinctive low-budget
features in Australia. The first two IndiVision features
are now complete and a further seven projects are in
various stages of production.
The second round of AFC Writer Fellowships were
announced in June 2006. Five writers, including
Academy Award nominee Anthony Lucas, have been
funded to create and develop feature film screenplays.
Test Drive is also in its second year. This collaborative
initiative of the AFC and AFTRS provides intensive
training in project development and production of digital
short films. It constitutes a professional development
opportunity for emerging practitioners and draws upon
the expertise of established industry professionals.
The Enterprise Tasman workshop was held for the
third successive year, with international representatives
from the production, distribution and financing sector
providing screen content creators with practical guidance
on developing and maintaining a sustainable business.
The AFC was partnered in this initiative by the New
Zealand Screen Council, AFTRS, Film Australia, the Film
Finance Corporation Australia (FFC), Film Victoria, the
NSW Film and Television Office (FTO) and the South
Australian Film Corporation (SAFC).
Eight creative teams were selected to participate in the
AFCs SP*RK residential script development program.
International advisors from the US Sundance Script

Lab and the French eQuinoxe script workshop joined
award-winning Australian advisors to provide focused
tutorial sessions for the selected projects. Three projects
previously developed through SP*RK have successfully
raised finance and gone into production.
Rapid developments in digital technology have
impacted on every facet of the screen production
industry, from content creation through to the
mechanisms for making content available and the way
content is preserved. The AFC has been closely involved
in the Government and the industrys digital agenda,
and continues to prioritise a range of diverse and
innovative programs that foster the creation, availability
and preservation of digital content. Six of the seven
projects produced as part of the ABC/AFC Broadband
Production Initiative (BPI) are now live on the ABC
broadband site and are recording significant audiences.
Based on the resounding success of these projects,
the AFC has been invited to advise other international
agencies about digital funding initiatives. Together
with ABC New Media and Digital Services, the AFC
has committed to funding a further four multi-platform
projects which will go into production in late 2006.
A vigorous, diverse and innovative screen culture is at
the heart of a distinctive screen industry, fostering its
development and encouraging audiences to consume
and engage with screen programs. The AFC cultivates
awareness and appreciation of screen culture, with
a focus on contemporary Australian practice and
an awareness that this practice is informed by an
international perspective. With increased funding from
the Government, the AFCs extensive screen culture
initiatives were this year expanded: the Big Screen
program toured Australian films to over 90 regional
locations with attendances exceeding 19,000; curated
programs were delivered to over 8,000 students in
regional schools; and a web-based educational resource
(australianscreen online) which will provide free
access to a vast array of curated content is currently
15
in development. The AFC was also involved in the

coordination of 37 international festivals of Australian
films.
As part of its commitment to broadening the national
and regional outreach of its programs, the AFC has
established a pilot program for a network of digital
cinemas. The Regional Digital Screen Network (RDSN)
will use digital technology to provide a diverse range
of content to communities which are currently underserviced in this regard.
The AFC recognises the significant contribution of
the Indigenous production community to Australias
contemporary screen output, and appreciates the
importance of Indigenous screen and sound historical
material to understanding and preserving Australian
culture. The AFC provides opportunities for Indigenous
practitioners to make notable and ongoing contributions
to screen culture and national cultural life in general. A
highlight of this year was the first workshop of the new
SBS/AFC initiative, A Bit of Black Business. Indigenous
writers and directors attended a three-day workshop,
from which twenty projects emerged for development.
With legislative responsibility for the functions of
preserving, collecting and providing access to the
national audiovisual collection, the AFC this year
continued to progress implementation of a new
curatorial model for the NFSA. Substantial donations
and deposits during 2005/06 have seen the collection
increase by almost 205,700 audiovisual items, an
increase on the previous year of 300 per cent. These
items include film, video, recorded sound, as well as
documentation and artefacts, highlighting the many
challenges and opportunities presented by existing and
emerging technologies.
The AFC continued its substantial research and analysis
of the screen content industries and produced a number
of significant publications. Get the Picture continues to
be widely used as the primary source of data about
audiovisual production and distribution in Australia. At
16
Executive Overview
June 2006, almost 3,000 individuals or organisations

subscribed to update alerts for the online interface of
this publication. Other reports updated and reproduced
by the AFC this year include: Australias Audiovisual
Markets, which highlights key data and trends in
Australias cinema, video, television and interactive
media industries; Film agency funding in Australia,
which provides a comprehensive historical view of
funding initiatives to the industry from federal, state
and territory governments; Documentary Production in
Australia; and the National survey of feature film and
TV drama production, which is published annually.
The AFC also published data on the 2005 Australian box
office, showing that Australian films earned a combined
total of $23.1 million, or 2.8 per cent of the total
2005 box office of $817.5 million. This represented a
significant increase on the previous share of
1.3 per cent in 2004.
The AFC has continued to assist the Government tackle
some of the bigger policy issues facing the production
industry, such as private investment, reviewing taxation
incentives and fostering Australian content on television
and new platforms. In addition, the Government has
sought the AFCs input on legislative reviews related to
the Copyright Act.
The AFC once again co-sponsored the opening night
of the Australian International Movie Convention. The
event brought together industry professionals from
the production, distribution and exhibition sectors, and
provided a significant opportunity for dialogue between
filmmakers and the market. The AFC commissioned a
showreel of upcoming Australian releases and supported
the attendance of a number of filmmakers.
Official co-production constitutes an increasingly
significant aspect of the local production industry.
Australian filmmakers work with their international
counterparts to pool resources and maximise
market opportunities. The AFC has administered the
Governments Official Co-production Program since its
inception in 1986. During 2005/06, the AFC processed

22 applications for official co-production status, of which
15 were granted provisional approval. This year, a oneoff Memorandum of Understanding was established
with China to facilitate the production of the first
AustralianChinese official co-production.
This year marked the thirtieth anniversary of
AFC participation at the Cannes Film Festival and
coincidentally an unprecedented number of Australian
films five features and three short films were
selected to screen in various sections of the festival.
The following features screened in Un Certain Regard:
Ten Canoes, written and directed by Rolf de Heer in
conjunction with the people of Ramingining; Suburban
Mayhem, directed by Paul Goldman; and 2:37,
directed by Murali K Thalluri. Jindabyne, directed by
Ray Lawrence, screened in Directors Fortnight; and
Look Both Ways, directed by Sarah Watt, screened as
the FIPRESCI (International Federation of Film Critics)
Revelation of the Year. The AFC-funded short film Sexy
Thing, directed by Denie Pentecost, was selected to
screen in the official Short Film Competition; The Water
Diary, directed by Jane Campion, screened in the
Cannes Classics short film program; and Snow, directed
by Dustin Feneley, screened in the student section of
Cinfondation.
The feature film Ten Canoes received AFC General Development

Investment funding, and bridging and marketing loans. It was
written and directed by Rolf de Heer in conjunction with the
people of Ramingining, and produced by Rolf de Heer and Julie
Ryan. It received the Special Jury Prize in the Un Certain Regard
section of the Cannes Film Festival (France).
Ten Canoes went on to win the Special Jury Prize.
The short animation The Mysterious Geographic Explorations

of Jasper Morello received AFC development and production
funding. It was written by Mark Shirrefs, directed by Anthony
Lucas, and produced by Anthony Lucas and Julia Lucas. It was
nominated for Best Short Animation Film at the BAFTA and
Academy Awards.
17
RIGHT: The feature film The Caterpillar Wish received AFC development, production investment funding
and a bridging loan. It was written and directed by Sandra Sciberras and produced by Kate Whitbread.
It was one of the projects involved in the inaugural IndiVision Project Lab 2005,
which is part of the AFCs IndiVision low-budget feature initiative.
Organisational output and outcome framework

EXECUTIVE
FILM
DEVELOPMENT
&
INDIGENOUS
MARKETING
OUTPUT 1.1
Investment in film and
television projects and
professional development
of screen content creators.
OUTPUT 1.2
Participation of Australian
screen content creators
and their programs in the
global marketplace.
CORPORATE
SERVICES
NATIONAL
FILM & SOUND
ARCHIVE
INDUSTRY &
CULTURAL
DEVELOPMENT
POLICY,
RESEARCH &
COMMUNICATIONS
18
Executive Overview
OUTPUT 1.3
Development, preservation,
presentation and availability
of Australias national
audiovisual collection.
OUTPUT 1.4
Cultivation and appreciation
of Australian screen culture,
locally and internationally.
OUTPUT 1.5
Policy development,
data collection and analysis,
and information services.
OUTCOME
To enrich Australias cultural
identity by fostering an
internationally competitive
audiovisual production industry,
developing and preserving a
national collection of sound and
moving image, and making
Australias audiovisual heritage
available to all.
Film Development
19
OBJECTIVES
To identify and develop outstanding Australian film, television
and interactive media projects.
To cultivate the professional development of talented writers,
directors, producers and digital content creators.
Overview
The Film Development Division devises funding
programs in response to local industry developments
and global trends to help Australian film practitioners
engage with the creative and technological challenges
of an evolving screen industry.
This year Film Development received a total of 1,462
funding applications from all states and territories,
for both the development and production of drama,
documentary, animation and interactive digital media
projects. The number of applications increased from
1,316 last year, and continues to exceed the AFCs
ability to fund projects deserving support. The ratio of
projects seeking funding to the number of projects Film
Development could actually support in 2005/06 was as
high as 10:1 in some programs.
Film Development programs are assessed in rounds,
with applications submitted according to published
deadlines. Every round is managed by two project
managers, or a project manager and an industry
professional. Staff are based in offices in Sydney,
Melbourne and Brisbane. Applications are brought to a
meeting of the Project Committee, which is responsible
for implementing AFC policy in its decisions and for
maintaining the diversity and range of projects and
practitioners funded by AFC Film Development programs.
Project Development
The divisions ongoing project development programs
fund script development for feature films, short features,
documentaries, animations and digital media projects.
The programs aim to give writers, directors and
20
Film Development
producers the time and support necessary to achieve

each projects full creative and commercial potential.
Drama
Support for feature film development is delivered
through eight funding strands, which cater to the
different needs of practitioners at various stages in their
careers. In addition to draft-by-draft script development
funding for both established and emerging practitioners,
these strands provide early seed funding for established
practitioners, and multi-draft funding for teams able
to attract matching third-party investment. Film
Development also provides matched funding to feature
projects able to secure marketplace investment. In
2005/06 this resulted in $449,000 from third party
investors being raised against initial AFC investments
totaling $100,750.
Overall, the division received 518 applications for
feature film development this year and approved 82.
Film Development also provided seven development
cash facilities to feature projects that had received
letters of intent from the Film Finance Corporation
Australia (FFC), four of which had previously received
development support from the AFC.
In 2005/06, Film Development received three
applications for development funding for short television
drama series, defined as series of 48 x half-hour
episodes or 24 x one-hour episodes. It is anticipated
that the number of applications for this type of funding
will rise in the next financial year.
Documentary
Film Development administers three documentary
funding programs. These strands support the
development of documentary productions at early
stages of development, as well as providing the
opportunity for filmmakers to access funding in order
to shoot time-critical material that will assist in the
sale of their project to a broadcaster. In 2005/06 Film
Development received 192 applications for documentary
development funding, of which 65 were approved.
Animation
The animation development program provides support
for short films and animation series. In 2005/06 Film
Development received 24 applications and funded one
short animation and eight animation series. Projects
longer than 25 minutes were eligible for development
support under the short feature and feature
development programs.
Professional Development
Film Development supports production to assist the
professional development of a selection of talented
filmmakers, allowing them to create projects that might
function as calling cards in the industry. The division
provides professional development opportunities
through investment in low-budget feature films,
short features, short dramas, short TV drama series,
documentary, animation and interactive digital media
projects. In the case of higher-budget productions
such as feature films and some documentaries, AFC
investment has the effect of launching careers or
helping people reach a new level of achievement.
AFC post-production investment allows practitioners
to complete innovative and exciting works (and thus
realise the works potential career benefits), by assisting
enterprising emerging filmmakers who have managed
to finance production.
Interactive digital media

Film Development received 31 applications for
interactive digital media development funding and
approved nine. Matched funding was also provided to
three projects that had raised contributions from third
parties of $183,938 (the AFC investment was $139,937).
General development investment

As well as funding individual projects, Film
Development provided general development investment
funding, which enabled producers to drive the
development and financing of a slate of projects and to
maintain a business infrastructure during development.
The program actively encourages and supports producers
who develop business plans and diversity strategies,
raise equity finance and develop alternative income
streams to build sustainable businesses. In 2005/06, 20
feature film producers received between $12,500 and
$70,000 in funding; 17 documentary producers received
between $17,000 and $70,000; and nine television
producers received between $20,500 and $70,000.
The short drama Sexy Thing received AFC production investment

funding and a marketing loan. It was written and directed by Denie
Pentecost and produced by Heather Oxenham. It screened in the
Shorts Competition at the Cannes Film Festival (France).
21
Film Development received 87 applications for feature,

short feature, half-hour animation and drama, and short
television drama series production funding this year, and
approved investment in 15: seven feature films, one
television drama series and seven half-hour short films.
The documentary program received 65 applications for
production funding this year, of which 12 were approved.
The division offers three animation programs to assist
practitioners to create high quality, bold and innovative
animation projects designed for theatrical, online or
broadcast television release. This financial year, 60
applications were received for production funding and
10 projects were funded, including a 13 x one-minute
series with SBS Independent (SBSi).
The broadband project A Stowaways Guide to the Pacific received

AFC development and production investment funding under the
Broadband Production Initiative. It was created by Claire Jager and
Nell White, directed by Claire Jager and Dennis Smith, and produced
by Nell White.
Film Development received 51 applications and funded

seven interactive digital productions through the
Broadband Cross-media Production Initiative (BCPI).
The Internship practitioner support program provides
professional development opportunities for producers
and directors to work with established production
companies and television networks to further enhance
skills and knowledge. Film Development received 27
applications for the program this year and approved
17. Attachments have been secured by filmmakers to
Southern Star, Burberry Productions, Tama Films and
The Maurits Binger Institute, as well as to directors and
producers such as Penny Chapman, Mark Lewis, Shekhar
Kapur, Trevor Blainey and Andrew Wiseman.
Special Initiatives
Additional appropriation
The short feature The Heartbreak Tour received AFC development and
production investment funding. It was written and directed by Ben
Chessell, and produced by Jason Byrne and Joanna Werner. It was a
guest project at the inaugural IndiVision Project Lab 2005, which is part
of the AFCs IndiVision low-budget feature initiative. The Heartbreak
Tour screened as part of the FRESH Film Festival (Australia).
22
Film Development
As part of the 2004 election commitment A World

Class Australian Film Industry, the Australian
Government increased funding to the AFC to support
script development and help local short filmmakers to
graduate to feature production. An initial $2.5 million
enabled the AFC to establish the IndiVision program at
the end of 2004. This was then increased to $5 million
per year for three years, starting in 2005/06. With

this increased triennial funding it has been possible to
extend the exciting initiatives to re-energise Australian
low-budget filmmaking and to establish a number of
new initiatives.
The IndiVision Script Development Program identifies

projects at outline stage on the strength of the story
idea and its ability to stand out in the marketplace,
from filmmakers with the talent and skill to see the
project through to completion.
IndiVision Low-budget Feature Initiative
The IndiVision Production Program is designed to

provide investment of up to $1 million in low-budget
features. Six new films were supported this year
through the IndiVision Production Fund, with three
features receiving commitments for production funding,
and three projects receiving commitments for postproduction funding. The Caterpillar Wish (w/d: Sandra
Sciberras, p: Kate Whitbread), funded in 2005 after
having progressed through the first IndiVision Lab, was
released by Palace Films in June 2006 and has received
excellent reviews. After only 12 days in release, The
Caterpillar Wish grossed over $250,000 and was the
number one film at several Australian cinemas.
IndiVision comprises a suite of programs to support

the development, production and promotion of
distinctive low-budget features in Australia. It is the
AFCs strategic response to declining levels of film and
television production in Australia. The aim is to increase
opportunities for professional development while
exploring the methodologies and creative possibilities of
low-budget features and their relevance for a national
cinema with a small domestic market. The initiative is
creating additional opportunities within the industry to
complement the traditional medium- and large-budget
approaches to feature filmmaking. The five components
of the IndiVision initiative are set out below.
The IndiVision Project Lab is a high-level
professional hothouse tailored to low-budget feature
film development, combining workshops on script
development, performance work and visual language,
production strategies and marketing. Run alongside the
IndiVision Screenings, the second IndiVision Project Lab
was held in Sydney over seven days in February 2006,
with eight filmmaking teams participating from around
the country. Advisors included US producer Andrew
Fierberg (Secretary), French producer Marc Missonnier
(Swimming Pool), Australian director Gillian Armstrong
(My Brilliant Career, Charlotte Gray), visual consultant
Rowan Cassidy (House of Flying Daggers) and
Australian producers Su Armstrong (Good Will Hunting),
David Lightfoot (Wolf Creek), Bridget Ikin (Look Both
Ways) and Lynda House (Proof, Muriels Wedding). At
the lab, the selected teams rehearsed, shot and edited
scenes from their scripts, working with leading actors,
cinematographers and editors. Participating actors
included Joel Edgerton, David Field and Marcus Graham.
West (w/d: Daniel Krige, p: Matt Reeder, Anne Robinson)

is also a graduate of the IndiVision Lab and a recipient
of production funding through the IndiVision Production
Program. The film is slated for release in early 2007.
The IndiVision Screenings showcase outstanding
independent low-budget features from around the
world. This years screenings were curated by Melbourne
International Film Festival (MIFF) Director James
Hewison, and included Close to Home (Israel, selected
for Berlin International Film Festival 2006), Allegro
(Denmark, selected for the Venice Film Festival 2005
and Sundance 2006), Down to the Bone (US, winner of
the Directors Award at Sundance 2004) and Keane (US,
selected for Directors Fortnight, Cannes). Following the
Sydney launch in early February, the national IndiVision
Screenings tour continued in Melbourne, Hobart,
Adelaide and Perth from February to April 2006.
The Indie Screen 06 Director Dialogues were run
alongside the Sydney Film Festival (SFF) in June
2006. They comprised two professional masterclasses
which focused on how to create distinctive work in a
23
low-budget context. The sessions were conducted by

SFF guest directors Kelly Reichardt (Old Joy) from the
US, and Danny Lerner (Frozen Days) from Israel. Both
sessions were very well attended by a combination of
emerging and experienced filmmakers.
Ongoing Initiatives
The Broadband Cross-media Production Initiative
The Broadband Production Initiative (BPI) operated
successfully as a partnership between the AFC and ABC
New Media and Digital Services from 2002 to 2004.
With initial funding of $2.1 million from the Australian
Government, the BPI managed to leverage further
funding which, in combination with in-kind services
and facilities from ABC New Media, produced seven
projects with a total production value of $4 million.
The completed projects were launched on the ABCs
broadband site throughout 2005 and 2006, and
can be accessed from the AFC website at:
www.afc.gov.au/funding/fd/broadband/
Building on this successful model, the AFC and ABC
New Media and Digital Services continued their
partnership in 2005/06 through the Broadband Crossmedia Production Initiative (BCPI), jointly providing
a cash contribution of $1.2 million over 2 years to
produce a further four major multi-platform projects.
Additional cash support will be contributed by the AFC
towards development of the projects, and ABC New
Media and Digital Services will assist with a range of
in-kind services and facilities.
This year, 51 BCPI applications were received by February
2006 and seven projects were approved for development
investment in June 2006. ABC and AFC Project Managers
will work closely with these teams to further develop
their proposals, and the four successful projects will be
selected for production in September 2006.
The BCPI seeks to fund innovative documentary projects
designed for multi-platform delivery, to be broadcast
via the ABCs broadband service and digital television
24
Film Development
service (ABC2). Aimed at 1840 year old audiences, the

projects range from 5 to 55 minutes and are either oneoff or documentary series with an educational focus.
Enterprise Tasman
Enterprise Tasman, a residential business skills workshop
for producers, was held for the third successive year
in March 2006. The program is designed and run
by Jonathan Olsberg of Olsberg|SPI, a UK specialist
management consultancy for the media industries,
and provides producers with practical guidance on
developing and maintaining a sustainable business.
Once again, 16 program participants were selected: four
from New Zealand and 12 from around Australia.
Advisers included New York-based film and TV producer
and distributor Ira Deutchman (founder of Fine Line
Features, and CEO of the digital film distribution and
production company Emerging Pictures), UK Emmy awardwinning television producer John Smithson, high-profile
New Zealand post-production and distribution specialist
Sue Thompson, new media and television producer John
Gregory, feature film and television producer Hal McElroy,
and venture capitalist/merchant banker Cass OConnor.
The principal partners in this initiative were the New
Zealand Screen Council in association with the AFC, the
Australian Film Television and Radio School (AFTRS),
Film Australia, the FFC, Film Victoria, the New South
Wales Film and Television Office (FTO), and the South
Australian Film Corporation (SAFC).
Test Drive initiative

The second Test Drive non-residential workshop
was held in Melbourne in February 2006. A joint
initiative with AFTRS, the workshop provides intensive
training in script and story development, digital
technology and low-budget production techniques
for applicants who have received Film Development
funding to make digital short films. Mentors included
experienced feature film directors Nadia Tass,
John Ruane and Alkinos Tsilimidos.
Writer Fellowships
Film Developments Writer Fellowships support the
development of distinctive features at an early stage on
the basis of the writer or writer/directors track record
and the strength of the story idea. The second round of
Fellowships were awarded to outstanding writers who
have received significant local and international awards
and/or have had significant commercial success.
This years recipients, announced in June 2006, were:
Bonapartes Retreat: Shirley Barrett

Fig Tree: Stavros Kazantzidis and Allanah Zitserman
Flying Man: Jacquelin Perske
Jasper Morello and the Ebenezer of Gothia: Anthony
Lucas, Mark Shirrefs and Julia Lucas
Pans Daughter: Louise Fox.
Filmmaker Fellowships
Film Development Filmmaker Fellowships provide two
outstanding creative practitioners with $20,000 to
pursue professional development which is deemed
crucial to their career and to their ongoing contribution
to the Australian film industry.
This years round of Filmmaker Fellowships were
awarded in February 2006. The Fellowships went to
award-winning animator Lucinda Clutterbuck (Walnut and
Honeysuckle, The Web), who will update her traditional
animation skills through a program of study with mentor
and new media producer Catherine Gleeson; and
producer Vincent Sheehan (Little Fish, Mullet), who will
pursue a program of study with a focus on international
financing structures involving private investment.
SP*RK
SP*RK is a national residential script development
program designed to broaden the quality, range and
ambition of Australian feature projects and build the
creative skills of talented film practitioners. In early
2005 writer/producer/director teams were invited to
submit feature film projects from which eight creative
teams were selected for the four-stage program.
The documentary Vietnam Symphony received AFC development funding.

It was written and directed by Tom Zubrycki and produced by Kerry Herman.
It won the Silver Conch at the Mumbai International Film Festival and screened
at the Pusan International Film Festival (Korea), Gteborg Film Festival (Sweden),
Hawaii International Film Festival and the Singapore International Film Festival.
Photo: Copyright Film Australia and the New South Wales Film and Television Office.
25
The program began in August 2005 with a week-long

residential script workshop.
The workshop involved focused tutorial sessions with
a number of award-winning Australian advisors, as
well as international advisors who have worked for
the US Sundance Script Lab and the French eQuinoxe
script workshop. The projects selected for the program
included thrillers, a mystery drama, a drama set in
colonial New Guinea, an Indigenous drama set in
remote Western Australia, a romantic comedy and a
Renaissance adventure.
A new round of applications for SP*RK closed in May.
Over 40 applications were received and 10 have been
shortlisted. Successful applicants will be announced later
in 2006.
In addition, three projects previously developed via
the SP*RK initiative have successfully raised finance.
In September 2005, The Home Song Stories (w/d: Tony
Ayres, p: Michael McMahon, Liz Watts) became the third
SP*RK project to be green-lit for production by the FFC,
joining Footy Legends (w: Anh Doh, Suzanne Do, Khoa
Do, d: Khoa Do, p: Megan McMurchy) which was released
in August 2006, and Noise (w/d: Matthew Saville,
p: Trevor Blainey), which is due for release in 2007.
New initiatives in 2005/06

Podlove
Podlove is an innovative cross-platform initiative
developed and funded by the AFC and SBSi. Individuals
and writer/director teams with digital media skills were
invited to submit proposals for 5-minute documentaries
to be broadcast on SBS TV and launched on an advanced
interactive website. The Podlove films will explore the
ways in which recent advancements in communication
technologies have added to, and detracted from,
our lives, loves and relationships. In 2005/06,
43 applications were received and five projects funded.
A producer has been appointed to manage the series
and the projects are scheduled to be delivered and
launched on the SBS website in late 2006/early 2007.
26
Film Development
jtv docs
The jtv docs initiative was launched at the Australian
International Documentary Conference (AIDC) in
Melbourne in February 2006. The initiative is a joint
venture developed and funded by the AFC and ABC TV,
aimed at emerging filmmakers aged 35 years and
under. Four half-hour and/or one-hour documentaries
will be funded, to explore music, ideas, culture and
contemporary issues through the eyes of generations
X, Y and Z. The films will screen on ABC main channel,
ABC2 and ABC Online, and may incorporate podcasts
and mobile phone SMS technology. The AFC and ABC
have each committed $150,000 to the initiative. By
May 2006, 169 applications had been received and the
successful projects will be announced in late 2006.
FRESH Film Festival

The FRESH Film Festival, held in February 2006,
facilitated the theatrical screening of five AFC/SBSfunded short features in cinemas in Sydney, Melbourne,
Brisbane and Adelaide, prior to their broadcast
on SBS TV. The festival offered a rare chance to
experience the latest work from a number of awardwinning filmmakers on the big screen, as well as the
opportunity to meet the filmmakers as they introduced
their films. From heartbroken friends and Lebanese
rappers to a unique suburban self-help group, the films
showcased the vibrancy and diversity of Australian life.
Films screened as part of the FRESH Film Festival were:
Cable (w/d: Roger Scholes, p: Lucy Maclaren)

Jammin in the Middle E (w: Howard Jackson,
d: Kim Mordaunt, p: Enda Murray)
Stranded (w: Kathleen OBrien, d: Stuart McDonald,

p: Beth Frey)
The Glenmoore Job (w/d: Greg Williams,
p: Melanie Coombs)
The Heartbreak Tour (w/d: Ben Chessell,
p: Jason Byrne, Joanna Werner).
Headlands
A documentary development workshop, initiated by the
AFTRS and supported by the AFC and other state and
federal funding agencies, was held for the first time
in August 2005. Headlands provided an opportunity
for experienced documentary filmmakers to develop
original documentary ideas from concept to pitch in
an intensive 3-month program. Forty-three applications
were received and five projects selected. The workshop
was run by Nick Torrens and advisors included Helke
Sander from Germany, Robert Stone from the USA,
and distinguished Australian documentary makers
such as John Hughes, Sue Castrique, Christine Olsen
and Mike Rubbo.
A full list of awards won by AFC-funded films is in

Appendix 2 (page 88).
A full list of international screenings of AFC-funded
films is in Appendix 3 (page 92).
2005/06 Highlights
AFC-funded titles were selected to screen at all of the
key international film festivals in 2005/06, with many
winning awards. Of particular note was the success of
AFC-funded titles at the Academy Awards, the Cannes
Film Festival and the British Academy of Film and
Television Arts (BAFTA Awards).
Following on from its success at Annecy, Flickerfest and
the Dendy Awards last year, The Mysterious Geographic
Explorations of Jasper Morello (w: Mark Shirrefs, d/p:
Anthony Lucas, p: Julia Lucas), funded for production by
the AFC with the assistance of Film Victoria and SBSi,
was this year nominated for Best Short Animated Film
at the Academy Awards. It also received a nomination
in the same category at the BAFTA Awards.
A record number of Australian films were selected
for the Cannes Film Festival. Five features and three
short films screened in various sections of the festival,
with the feature Ten Canoes receiving the Special Jury
Prize in the Un Certain Regard category. Ten Canoes
received AFC development funding through the General
Development Investment program. The AFC-funded
short film Sexy Thing also received recognition at
Cannes when it was selected to screen in the festivals
international short film competition.
The feature Look Both Ways received AFC development, General Development
Investment funding and a marketing loan. It was written and directed by
Sarah Watt, and produced by Bridget Ikin. As well as winning multiple national
and international awards, it had a Critics Week Special Screening at the
Cannes Film Festival (France).
The short animation Granny Queer received AFC production investment funding
and a marketing loan. It was written by Jacinda Klouwens, Tania Klouwens and
Elly Meagan, directed by Jacinda Klouwens and produced by Fiona Dyson. It
won Best Animation at the Moondance Film Festival (US) and the San Francisco
Womens Film Festival, as well as Best Animation Audience Award at the
International Womens Film Festival (Italy).
27
Indigenous
28
Indigenous
LEFT: The documentary My Brother Vinnie received AFC development investment funding under the
NIDF 7. It was written by Aaron Pedersen, directed by Steven McGregor and produced by Sarah Bond.
The film was launched at the 2006 Message Sticks Film Festival, and won Best Short Documentary at MIFF. (Photo: Ian McPherson)
OBJECTIVE
To cultivate diverse and distinctive Indigenous Australian work,
and promote its recognition as part of Australian screen culture.
Overview
Indigenous Branch professional development strategies
include intensive development and production
funding, visual storytelling workshops, mentoring
and filmmaker support. The Indigenous Branch also
facilitates partnerships between funding agencies and
broadcasters, working to broaden the funding base
available and ensure long-term support for the branchs
work. Through the success of these initiatives and the
quality of the resultant films, the AFC has played a
major role in strengthening the place of Indigenous
filmmakers in the wider Australian film industry.
This year has seen the targeted development strategies
of the Indigenous Branch continue and the latest cycle
of practitioner development come to fruition, with a key
production initiative delivered in May 2006 to full houses
at the Message Sticks Indigenous Film Festival. The
National Indigenous Documentary Fund (NIDF) Series 7
(4 x 26-minute documentaries) provided professional
development opportunities for the Indigenous
filmmakers involved and added to the distinctive body
of work produced by Indigenous filmmakers.
Long Black is a feature development program targeted
at filmmakers who have been developed through the
AFCs previous drama initiatives or who have made
a short film. The program offers intensive project
development, a writers lab, and a directors lab with
advisers from Australia and overseas. This year, the first
writers lab was held, with stellar local and international
advisors including Guillermo Arriaga (21 Grams, The
Three Burials of Melquiades Estrada), Zach Sklar (JFK)
and Craig Pearce (Romeo and Juliet, Moulin Rouge).
The films funded reflect Indigenous Australians and
their stories, and in this way will make a vital
contribution to the depiction of Australian culture
on screen.
In 2005/06, the Indigenous Branch partnered with the

Sydney Opera House and Indigenous Screen Australia
(ISA) on the Message Sticks Indigenous Film Festival at
the Sydney Opera House. As noted above, NIDF Series
7 had its premiere at the festival. Message Sticks 2006
had unprecedented press coverage and capacity houses.
The AFC continues to contribute to the formulation
of policy in the Indigenous filmmaking area through
its ongoing relationship with ISA, its participation on
the National Indigenous Television Service working
committee, provision of advice to government, and
advice given to other film funding agencies on their
Indigenous strategies.
The documentary Footy the La Perouse Way received AFC

development investment funding under the NIDF 7. It was written
and directed by Michael Longbottom and produced by Lisa Duff.
The film was launched at the 2006 Message Sticks Film Festival.
(Photo: Mervyn Bishop)
29
The Indigenous Branch participates in the assessment

of projects with Indigenous content or by Indigenous
writers that are submitted to other funding programs
across the AFC.
The AFC also works with the Indigenous filmmaking
community to develop strategies for enhancing the
employment and training opportunities for Indigenous
filmmakers.
The AFC is committed to promoting Indigenous work
internationally through its travel grant program. To
this end, the Indigenous Branch continues to foster
relationships with festivals around the world. The AFC
also provides travel grants to Indigenous filmmakers
who have a film screening in an international film
festival, and provides funding for attachments to feature
films or feature documentaries. Grants are also provided
for workshops to further the development of projects.
Drama Programs
The AFC invests in the development and production of
drama projects by Indigenous filmmakers through the
programs of assistance set out below.
Drama development
Funding for drama development is offered in two
funding rounds per year. Eligible projects can be
features, short features or short films. In 2005/06
two feature projects and one short drama received
development funding:
To Hell and Bourke (w/d: Richard Frankland,

p: Ross Hutchens, John Foss)
Bran Nu Dae (w: Rachel Perkins, Reg Cribb,

d: Rachel Perkins, p: Graeme Isaac)
The Boxer (w/d: Jon Bell, p: Annie Benzie).
Drama production and post-production

Funding for drama production and post-production is
available all year round. In 2005/06 one short drama
received production funding:
30
Indigenous
Crocodile Dreaming (w/d: Darlene Johnson,

p: Sue Milliken).
Long Black feature development program

The Long Black feature initiative provides the next step
for Indigenous filmmakers who have made at least
one short film, by allowing them to work in the feature
format. Following successful completion of the writers
lab in September 2005, the four selected projects will
now proceed to second draft funding, which will then
be followed by an intensive residential workshop (the
Long Black Directors Lab) in November 2006.
The four projects selected were:
Godfrey (w/d: Wayne Blair, p: Kylie du Fresne)

Touch the Wire (w: Romaine Moreton,
p: Charlotte Seymour)
The Place Between (w/d: Beck Cole, p: Kath Shelper)

Father and the Son (w/d: Warwick Thornton,
p: Kath Shelper).
Three projects were also selected for first draft funding and
these filmmakers will attend the Long Black Writers Lab.
In addition, the AFC has invited a number of other
Indigenous filmmakers with features in development to
join the Director/Writers Lab. These participants include
Rachel Perkins, Richard Frankland, Darlene Johnson and
Catriona McKenzie.
A Bit of Black Business

A Bit of Black Business is a 5-minute drama initiative
launched by the AFC Indigenous Branch and SBSi to
support new and emerging Indigenous filmmakers to
make a drama project. Twenty projects were selected
for development to second draft stage. All writers and
directors attended a 3-day writers workshop in March
2006, and an extensive residential directors workshop
was held in April 2006. Thirteen projects have been
selected to go into production and will be broadcast on
SBS TV.
Projects selected for production:
Kwayte (w/d: Trisha Morton-Thomas)

Hush (w/d: Dena Curtis)
Days Like These (w/d: Martin Adams)
Custard (w/d: Michelle Blanchard)
Sharpeye (w/d: Aaron Faaoso)
Blood Lines (w/d: Jacob Nash)
Too Late (w/d: Michael Longbottom)
Nana (w/d: Warwick Thornton)
Two Big Boys Please (w/d: Jon Bell)

Jackie Jackie (w/d: Adrian Wills)
The Turtle (w/d: Kelli Cross)
Done Dirt Cheap (w/d: Debbie Gittens)
Backseat (w/d: Pauline Whyman).
The short drama Plains Empty received AFC Indigenous Branch development and production funding
as part of the Dramatically Black initiative. It was written and directed by Beck Cole, and produced by
Kath Shelper. Beck Cole attended the All Roads Film Festival (US) with the film. (Photo: Mark Rogers)
31
Dramatically Black
Dramatically Black is a joint funding initiative of the
AFC and SBSi, in conjunction with the FTO and the SAFC.
Four films have been completed to date. In 2005/06
the final film in the Dramatically Black initiative went
into production: Crocodile Dreaming (w/d: Darlene
Johnson, p: Sue Milliken), which was funded in
association with the Adelaide International Film Festival.
The Indigenous Branch also provided further
production funding for Plains Empty (w/d: Beck Cole,
p: Kath Shelper).
INDigenousfilmEX
The AFC partnered with ScreenWest for their short film
initiative INDigenousfilmEX, an entry-level program for
aspiring Indigenous filmmakers aimed at identifying
talent in Western Australia. In 2005/06, two short
dramas were delivered:
Amy Goes to Wadjemup (w/d: Denise Groves,

p: Jennifer Gherardi)
Storytime (w/d: Suzanne Clarke, p: Belinda Kelsall).
Documentary Programs
The AFC invests in the development and production of
Indigenous documentary projects. The various programs
are outlined below.
Documentary development
Draft funding for documentary is offered in two funding
rounds per year. Projects can be features, 50-minute
films, short documentaries or series.
Projects that received development funding in
2005/06 were:
Mad Morro (w/d: Kelrick Martin, p: Tom Zubrycki)

Whatever Happened to Mazel Maher
(w/d: Angie Abdilla)
Croker Island Exodus (w/d: Danielle MacLean)
32
Indigenous
Aunty Justine (w: Trisha MacDonald, Pauline Clague,

d: Rachael Maza, p: Pauline Clague)
Vote Yes for Aborigines (w/d: Frances Peters-Little,

p: Denise Haslem).
Documentary production and

post-production
Production funding is available for documentaries all
year round. In 2005/06 the AFC provided support for
A Sisters Love (w/d: Ivan Sen, p: Martin Brown).
National Indigenous Documentary Fund (NIDF)

The NIDF is now in its eighth series and continues to
be a cornerstone of Indigenous film and television
production. It provides production opportunities for new
and emerging Indigenous documentary filmmakers
and gives support to a strong documentary impulse in
Indigenous filmmaking.
The AFC manages the fund in association with ISA. It
is financed by the FFC, and state film funding agencies.
SBS was the broadcaster for Series 7 and the ABC is
the broadcaster for Series 8. The application guidelines
for Series 9, which will comprise two x 52-minute
programs, were advertised in June 2006. Once again
SBS will be the broadcaster.
During 2005/06, two projects from NIDF Series 7
and five projects from Series 8 were funded for
development. Three of the completed films from
Series 7 were launched at Message Sticks in 2006:
Footy the La Perouse Way

(w/d: Michael Longbottom, p: Lisa Duff)
Island Fettlers (w/d: Kelrick Martin, p: Pauline Clague)

My Brother Vinnie (w: Aaron Pederson,
d: Steven McGregor, p: Sarah Bond).
Digital Media
Funding is also available for development of
outstanding interactive digital media projects with
applications accepted throughout the year.
Practitioner Support
This program provides professional development through
assisting Indigenous practitioners to participate in
festivals, conferences and undertake internships.
Travel grants for professional development
festivals to support screenings of their films. Filmmakers

were also assisted to attend industry conferences
to prepare and pitch projects. Three films in the
Dramatically Black series were selected to screen at
two international festivals. The branch supported the
directors Warwick Thornton (Green Bush) and Beck Cole
(Plains Empty) to attend the All Roads Film Festival
in the US, and the writer/director Rima Tamou and
producer Pauline Clague (the team behind Sa Black
Thing) to attend the ImagineNATIVE Film Festival in
Canada.
The Indigenous Branch continued to fund Indigenous

filmmakers to attend local and international film
The documentary Footprints in the Sand: The Last of the Nomads received AFC development and production
investment funding under the NIDF 7. It was written and directed by Glen Stasiuk and produced by Paul Roberts.
33
RIGHT: Bill Hunter in Phillip Noyces Newsfront (1978), one of the titles restored as part
of the Kodak/Atlab collection. Director Phillip Noyce was awarded the NFSAs Ken G Hall Award
in 2005 for his services to the cause of film preservation and his outstanding contribution to film culture.
Internships
Bob Maza Fellowship
The Indigenous Branch funded 14 filmmakers from

remote Aboriginal communities to attend the 7th
National BRACS Video Festival at Woorabinda in far
north Queensland.
The AFC funded the Bob Maza Fellowship for an

established Indigenous actor to further their professional
development and raise their profile internationally. The
fellowship is a grant of $10,000 to assist the recipient
to attend training or short courses at an international
film training institute, and to meet with agents, attend
castings and establish contacts in the international
arena. This years recipient was Leah Purcell, who first
came to public attention with her stage play Box the
Pony, and whose screen credits include Jindabyne,
Lantana and Black Chicks Talking.
Seven filmmakers from around Australia were funded

to attend AIDC in Melbourne.
In 2005/06, the AFC Indigenous Branch also funded
six internships:
Jacob Nash, Mitch Torres and Steven McGregor on

the drama series The Circuit
Allan Collins on the drama series Headlands
Wayne Blair on the drama series Lochie Leonard
Angie Abdilla on the documentary series
First Australians.
The documentary Our Bush Wedding received AFC development and production investment funding under the NIDF 6.
It was written by Adrian Wills and Sienna Brown, directed by Adrian Wills and produced by Sienna Brown.
34
Indigenous
National Film and

Sound Archive
35
OBJECTIVE
Ensure the acquisition, preservation and permanent availability
of the nations audiovisual heritage.
Overview
2005/06 was an important year in the development
of the National Film and Sound Archive (NFSA) as a
leading collecting institution. Director Paolo Cherchi
Usai continued to implement a number of changes
announced in the course of last financial year. These
changes have provided the NFSA with a strong
curatorial focus for the future development of the
nations audiovisual heritage and culture, to ensure that
the collection continues to reflect, interpret and engage
with the Australian audiovisual experience as part of
a global phenomenon, and to play a proactive role in
development of the screen and sound industries. Much
of the NFSAs work is now being driven by its Charter
of Curatorial Values, which in summary:
gives equal importance to acquisition, preservation

and access, the three key components of a
curatorial vision
Gloria Gotch in a publicity still from the lost 1935 film

The Magic Shoes. A series of stills were uncovered by a
CSAR intern in early 2006.
36
National Film & Sound Archive
commits to protect the original format of the artefacts

and the diverse technologies they represent
respects the physical and cultural integrity of all artefacts
promotes a high-quality experience of the artefacts
in their original form, as well as through new
technologies.
To further inform the work of the NFSA, a substantially
revised Collection Policy was approved after extensive
consultation with staff, national and international
archival colleagues and stakeholders. The policy reflects
the NFSAs increasing focus on:
the Indigenous Collection

the International Collection
digital audiovisual works
access to the Archives National Collection
a more balanced approach to the NFSAs threefold
mission to acquire, preserve and make accessible the
national audiovisual heritage
the concept of a distributed national collection
(see National Registry of Audiovisual Collections,
page 40).
The curatorial leadership positions for Indigenous,
Moving Image, Recorded Sound, and Documents
and Artefacts have all been filled by skilled archival
and industry practitioners who are progressively
introducing the full range of curatorial priorities to
the acquisition, preservation and provision of access
to the National Collection. The establishment of the
Indigenous Collections Branch, the introduction of the
Centre for Scholarly and Archival Research (CSAR), and
the appointment of a Chief Film Programmer are three
highlights of the new structure, which all emphasise the
NFSAs increased focus on understanding, interpreting
and presenting the National Collection in all its aspects.
Resourcing
The NFSAs operating expenditure for 2005/06 was
$13.116m. This reflects costs directly under the control
of the NFSA, and excludes asset purchases and national
cost centre costs (eg insurance, finance, IT, property
operating expenses). The following chart represents
how the NFSAs expenditure is split between acquisition,
preservation and access for the year.
Distribution of the NFSAs operating funds 2005/06*
ACCESS
49%
PRESERVATION
28%
ACQUISITION
23%
*Excludes central overhead costs.
Moving Image 2,217 films, 2,545 videos, 201 digital

items and 49 websites
Recorded Sound 657 radio and 21,885 phonograph

items
Documents and Artefacts 176,339 documents and

artefacts, 97 oral histories and interviews, and 1,627
library items.
Acquisition highlights covering Moving Image, Recorded
Sound, and Documents and Artefacts are included in
The establishment of the Indigenous Collection
Branch and the appointment of the first Curator for
the Indigenous Collection of the NFSA is an exciting
development. The branch has confirmed Indigenous
subject matter and/or relevance in over 16,000 titles
within the collection and has instigated a number of
initiatives, including:
development of a National Indigenous Filmography

Ideally, under the NFSAs agreed curatorial charter, it
is desirable to have a more balanced distribution
of funds between preservation and access (ie 30
per cent acquisition, 30 per cent access, 40 per cent
preservation), and if a full legal deposit regime was
in place this would further reduce the amount the
NFSA would spend on acquisition. However, the NFSA
is currently undergoing a significant period of change
to fully implement the new curatorial vision, and in
2005/06 the emphasis was on ensuring the National
Collection is experienced by, and made available to,
a broader and more diverse audience.
Acquisition
Developing and expanding the National Audiovisual
Collection according to a coherent set of curatorial
values is one of the primary objectives of the NFSA.
A total of 205,617 items were added to the collection
in 2005/06, a 300 per cent increase on last year.
These included:
(the scoping work on this project was completed in

2005/06)
outreach to the ACT Indigenous community through

NFSA guidance in establishing a local Aboriginal Film
Society, and regular weekly broadcasts by Indigenous
Curator Liz McNiven on 2XX community radio program
Sovereign Voices
development of policies and training to ensure

staff are employing best practice in dealing with
the Indigenous Collection, including data entry
guidelines for Australian Indigenous content,
types of restricted materials, Indigenous owners
contacts, and introductory disclaimers guidelines
participation in, and contribution to, workshops

conducted by the Intellectual Property Research
Institute of Australia (IPRIA) regarding intellectual
property and Indigenous culture
outreach to remote Indigenous communities through

established working relationships with Aboriginal
traditional owner communities.
37
The Commission approved the NFSA Recorded

Sound Strategy in March 2006, providing a renewed
commitment to the development of the sound collection.
The strategy recognises that in the contemporary
audiovisual industry recorded sound and moving image
are intrinsically linked. Collection activity will focus on all
recorded sound in the Australian context while primarily
addressing published work, and provide substantial
international context for the Australian experience. Plans
are underway to introduce an annual tribute to highlight
recorded sound productions and their contribution to the
Australian cultural heritage.
Development of the National Moving Image Collection
along curatorial lines has resulted in some key
achievements during the year:
a focus on collecting television, digital media, features
and documentaries, including all Australian features

released in 2005/06, and significant Australian shorts
and documentaries
collaborative work with the industry, notably the Atlab
film laboratories, has allowed the NFSA to acquire an
increasing number of retrospective titles not previously
included in the collection
over 200 titles have been added to the international
collection
strategies to ensure that all government-funded film
and television is preserved at the NFSA were further
refined with the support of the AFCs Film Development
Division, the FFC, ScreenWest and the SAFC
the NFSAs Television News Capture project, now in
its eighteenth year, primarily aimed at acquiring major
news bulletins and current affairs from free-to-air and
pay TV, was recently expanded to include selected
community TV sector items
an Australian National Filmography is currently in
development.
The Documents and Artefacts Branch oversees oral

history records, archiving of documents and artefacts,
paper conservation, the reference library, and the CSAR.
38
In 2005/06, a key focus for the branch has been the

development of the CSAR and research library, both
aimed at facilitating improved awareness of, and
access to, the National Collection. There have been
some notable acquisitions during the year, outlined in
Preservation
The NFSAs approach to collection preservation is guided
by its collection policy, which specifies the balancing of
acquisition, access and preservation as a key curatorial
responsibility. The risk posed to collection items is
determined through the analysis of a number of factors
such as decomposition rates of physical items under
varied storage conditions, the availability of equipment
for reproduction, and the existence of purpose-made
preservation copies. Access to collection items is only
given after they have been preserved in their original
form, either by preservation copying or through
acquisition of suitable copies for preservation.
In 2005/06, 4,010 items were copied for preservation,
and 2,115 films inspected and prepared.
During 2005/06, a major review of the preservation
and technical services areas was undertaken to ensure
they are well placed to meet the demands of the new
curatorial model. As a result of the review, there will
be significant changes to the structure and processes of
these areas over the coming years to increase efficiency
and ensure best practice is maintained.
A major project to install more efficient storage systems
within existing repositories was completed during
the year. Storage risk management activities focused
specifically on the preservation of film, video and
documentation material. The collection also survived
a major hailstorm during the year, with water leaking
into the main storage facility. Quick action by staff in
implementing the Disaster Recovery Plan meant there
was no significant damage to the collection.
The provision of adequate storage for the growing

collection is an ongoing priority, with the capacity of
remaining vaults estimated at less than 5 per cent.
Action has been taken to identify storage options for
the short to medium-term and a proposal is being
formulated to provide funding for a major new purposebuilt storage facility.
A key activity of the preservation group is research and
development of improved preservation techniques and
standards. In 2005/06, the NFSA program of scientific
archival research continued with two major projects,
detailed below.
The development of a standards framework to support

the preservation of moving images as data. As a result,
file formats are now close to being standardised, with
uncompressed Tagged Image File Format, Cineon, and
Digital Picture Exchange files offering the lowest risk of
decoding problems in the long term.
An investigation into the processes and mechanisms

of colour photographic dye fade and related issues.
This study will enable the NFSA to refine its risk
management procedures to better manage the
collection and rates of deterioration.
to diversify and broaden the NFSA audience to ensure

that the NFSA is perceived as a key interpreter of
historical and contemporary audiovisual culture
to position and understand the Australian audiovisual

heritage in an international context
to demonstrate that film and sound works are

relevant to a wider spectrum of studies and interests,
ranging from art and technology to the more
traditional fields of social and cultural history.
The NFSAs access service focuses on providing
material to individuals, broadcasters, producers,
cultural institutions and industry researchers. The NFSA
also has a very active and successful loans program,
providing screening prints to festivals and cinemas
both within Australia and around the world. During
2005/06:
8,649 items were accessed, 30 per cent by industry,

53 per cent by cultural and heritage sectors and
17 per cent by the general public
3,415 items were loaned nationally,

143 internationally
2,695 screenings of NFSA prints were held

151,543 people attended these screenings both within
Australia and overseas.
Access
A 3-year Strategic Statement for NFSA Access and
Outreach activities was completed during the year.
This resulted in a renewed focus on ensuring the
NFSA is more actively sharing and stimulating interest
in the cultural richness and diversity of Australias
national audiovisual heritage, reaching as many people
as possible, and working to the highest qualitative
standards. There are a number of goals the NFSA is
hoping to achieve with this strategy:
to foster creativity by linking the audiovisual heritage to

recent and contemporary trends in culture and industry
to present the NFSA as a place where cultural debate

is actively encouraged
A number of new initiatives have been implemented

to open up the collection to a more diverse audience
from around Australia and overseas. These are
outlined below.
Archive Digital Access Project

This project is a means of overcoming the delays
associated with rights clearances for copying of material
by providing walk-in access to digitised content at
sites other than the NFSA headquarters in Canberra.
Through the Archive Digital Access Project, the NFSA
aims to provide access to the National Collection in its
Sydney and Melbourne offices, and through regional
access centres (via the state libraries). In addition, this
project will provide a digitisation on demand facility
39
via the NFSA website, through which users will be able

to request the digitisation of content for viewing or
listening at a later date. The development and testing
of a prototype will provide information on potential
demand, which will hopefully involve the expansion of
the Archive Digital Access Project over subsequent years.
The NFSA collection online

This project aims to create a modern, easy-to-use online
public interface with the National Audiovisual Collection
management database. The end result will be a Googlestyle search facility which will enable users to search
in major fields (eg production year, key production
credits). In 2005/06, the NFSA also began the process
of updating its existing National Collection management
database, with a view to ensuring that all aspects of
the collection, both in their digital and analogue formats,
can be made available.
National Registry of Audiovisual Collections

This initiative was announced by the AFC in December
2005. The Registry, to be developed by the NFSA, aims
to locate and record all holdings of moving image and
recorded sound materials of cultural interest across
Australia. This reflects the notion of a distributed
national collection, held not only at the NFSA but
also in other archives, libraries, government agencies,
distribution and production companies, educational
institutions, research centres, historical societies, fan
clubs, corporations, private collections and local councils.
A pilot study in the ACT was completed during the
year and a first version of the Registry will appear as a
printed catalogue in late 2007. The long-term aim is to
make the catalogue readily available online.
Restoration: The Story of the Kelly Gang

The Story of the Kelly Gang (1906) is considered to be
the first feature-length film ever made. This year, the
NFSA announced that it would digitally restore this
unique Australian classic, to mark the centenary of the
films premiere. Using state-of-the-art technologies for
moving image restoration, the films surviving footage
will be restored to a condition as close as possible
to that of the original. In addition, NFSA curators will
create a study version of the film on DVD incorporating
production stills, narrative intertitles from original
theatre programs, and a musical accompaniment.
Showcasing the collection in the

nations capital
Unique memorabilia from the late Graham Kennedys personal

collection was passed on to the NFSA during 2006.
40
While the NFSA is seeking to broaden its reach both

nationally and internationally, the Canberra headquarters
continues to be an important focal point of activity.
During 2005/06, planning commenced for a facelift
of key public spaces. The NFSA also examined the
feasibility of opening a new cinema that will provide
quality archival projection opportunities unique to the
region. The cinema and its screening programs will
provide a wonderful opportunity for the NFSA to appeal
to a broader and more diverse audience.
Centre for Scholarly and Archival Research

(CSAR)
The CSAR specifically supports active research into
the National Collection. The Centre seeks to attract
scholars, researchers and audiovisual practitioners from
a broad range of backgrounds, who are capable of
high-level research with a view to producing accessible
publications, presentations and productions using the
National Collection as a primary source. The research
program commenced in 2005/06, and scholars have
already unearthed some rare treasures, such as a set of
beautifully photographed production and publicity stills
from the mysteriously lost 1935 film The Magic Shoes.
The NFSA Cinmathque

The NFSA Cinmathque program commenced at
Canberras Electric Shadows Cinemas at the beginning
of 2006, and has developed a regular audience. When
Electric Shadows closes later in 2006, the program will
become an integral part of the screening program of
the new state-of-the-art cinema, Arc, planned for the
NFSA headquarters in Canberra.
Public presentations and special events

A new style of event was introduced during the
year, involving a diverse program of unique archival
presentations by special guests. Audience numbers have
been encouraging and feedback very positive. Forums
have included guests such as Telluride Film Festival
co-founder and co-director Bill Pence, 2006 Internet
Producer of the Year David Pendragon, novelist and
scriptwriter Peter Yeldham, and cinematographer Andrew
Lesnie (The Lord of the Rings and King Kong). Andrew
Lesnies appearance was part of the Celebration of
Cinematography Festival, and attracted over 200 guests.
In 2005/06 the NFSA continued to pay tribute to
significant media individuals and organisations through
two key events.
The 2005 Ken G Hall Award: In December 2005

director Phillip Noyce was awarded the NFSAs
Ken G Hall Award for his services to the cause of film

preservation and for his outstanding contribution to
film culture. Noyces film Newsfront featured extensive
use of archival footage and a new print of the film is
part of the NFSAs Kodak/Atlab Cinema Collection.
The 2005 Longford Lyell Lecture: One of Australias
most recognised and challenging filmmakers, Rolf
de Heer (Bad Boy Bubby, Ten Canoes), delivered the
NFSAs 2005 Longford Lyell Lecture in Melbourne in
November.
Touring programs
During 2005/06, the NFSA provided significant input
and assistance to the Big Screen travelling film festival,
the Embassy Roadshow and the National Cinmathque.
Strategic Partnerships
The NFSA recognises that success in achieving
outcomes in the three core areas of acquisition, access
and preservation is highly reliant upon partnerships
with other cultural and educational institutions and
the industry. The NFSA has significant collaborative
partnerships with the organisations below.
The National Library of Australia (NLA): The NFSA is

involved in the NLAs PANDORA project, which makes
Australias web archive available to the general public.
The NFSA also assists the NLA with MusicAustralia,
a website that provides general access to Australian
music resources. More broadly, the NFSA and NLA
collaborate regularly to ensure the most effective use of
National Collection resources in areas of joint interest.
Australian Institute of Aboriginal and Torres Strait
Islander Studies (AIATSIS): A Memorandum of
Understanding is being developed between the NFSA
and AIATSIS, formalising the existing relationship and
enabling further development of the shared strategic
goal to promote preservation and access of Australias
Indigenous heritage.
Kodak/Atlab: The NFSAs Kodak/Atlab Cinema
Collection, which was completed in December 2005,
41
RIGHT: The short animation Fritz Gets Rich received AFC production investment funding.
It was written by Eddie White, directed by Eddie White and James Calvert and produced by
Sam White. It won the Best Film For Children Award at the UK Bradford Animation Festival.
is the result of a 5-year partnership between the

NFSA, Kodak and Atlab. With new prints of 50 archival
titles now available for screening, the objective of
ensuring that the works of contemporary Australian
filmmakers are fully preserved and accessible has been
met. The success of this project is reflected in the
recent announcement that a second collection is being
prepared (NFSA Atlab/Kodak Collection), which will
make a further 25 feature film titles available.
The Learning Federation (TLF): The NFSAs ongoing
relationship with TLF has resulted in over 700 extracts
from the collection being made available to teachers
and students Australia-wide from Kindergarten to
Year 10, as part of online curriculum support.
Australian Research Council (LINKAGE grant

program): The NFSA, together with a consortium
comprising the University of Canberra, the National
Archives of Australia, the Australian War Memorial and
the Federal Police Forensic Science Unit, has been
researching the issue of dye fades. The NFSA has
been involved in the Photographic Colour Dye Fade
component, with a view to improving preservation
treatments and risk management strategies. The
project is scheduled for completion in 2006.
The NFSA has also collaborated with the Industry and
Cultural Development Division on the australianscreen
online project. This web-based resource for the
education sector is sourcing material from the NFSAs
National Collection of moving and still images. This use
of the NFSAs holdings will provide the opportunity for
students, teachers and life-long learners across a range
of curriculum areas to interact with the collection in
ways not previously possible.
The NFSA Advisory Committee

The NFSA Advisory Committee is a consultative group
comprising 13 individuals from a broad range of
backgrounds, chaired by the Director of the NFSA.
The Deputy Director and Chief Curator are also part of
42
the committee. During 2005/06, four meetings were

held. The committees terms of reference provide
for discussion about NFSA strategies and policies,
collection priorities, preservation standards and access
mechanisms and initiatives. The contribution of the
committee has been invaluable in providing advice and
support on a wide range of topics, including a new
cinema for the NFSA, the development of the NFSA
Digital Strategy, and the successful formulation of the
NFSA Recorded Sound Strategy.
Participation in the International

Archive Community
The NFSA participated in a range of international
audiovisual conferences, international events and
meetings in 2005/06, including: the International
Federation of Film Archives Annual Conference (Sao
Paolo), the Association of Moving Image Archivists
Annual Conference (Texas), the L Jeffrey Selznick School
of Film Preservation 12-month post-graduate program
(Rochester, New York), the International Broadcast
Convention (Amsterdam), the Association of European
Archives Annual Conference (Venice), the 8th Indigenous
Film Makers Conference (Oaxaca), the Telluride Film
Festival (Telluride, Colorado), the Pordenone Film
Festival (Pordenone/Sacile, Italy) and the London
Film Festival. The NFSA used these opportunities both
to present its experience of archiving practice to the
international community and to better inform new
programs under development within the NFSA itself.
In December 2005, the NFSA hosted the
International Federation of Film Archives Executive
Committee meeting at the NFSA in Canberra.
To mark this occasion, the NFSA presented a
program of fascinating documentaries under the
series title The Archive Plays Itself. The series
examined the role of film and television archives
in our popular culture and everyday lives.
Marketing
43
OBJECTIVE
Maximise the participation of Australian programs and their creators
in the national and international marketplace.
Overview
The AFC acknowledges the importance to Australian
practitioners of developing relationships with financiers,
sales companies, distributors and other producers,
and works to provide opportunities to achieve this
objective. Through a combination of international
market representation, travel assistance, the hosting of
events for the domestic industry, and the dissemination
of information, the AFCs Marketing Branch ensures that
practitioners are equipped with the necessary market
intelligence to represent their work in the global
marketplace.
International Market Representation

In order to support the ever-growing number of
Australian practitioners in the marketplace, the AFC
organises a stand and/or office to act as a professional
base for Australian practitioners at a number of key
international markets and festivals. The stand/office
is typically equipped with computers for electronic
messaging, a fax/photocopy machine, a message box
system and meeting areas. It also functions as an area
where filmmakers can leave information on their slate
of projects for interested parties, and a central point of
call for international practitioners, agencies and media
who may have questions about Australian filmmaking.
In addition, the AFC frequently stages special
networking and matching initiatives for Australian
practitioners at these events, often in conjunction with
international bodies.
In 2005/06 the AFC had a presence at the international
markets/festivals detailed below.
Marketing Branch and the AustraliaKorea Foundation

(AKF) once again organised an Australian focus at the
2005 festival. The AFC provided a travel stipend to the
three filmmakers who had films screening. Additionally,
financial support was provided to the directors of the
Brisbane, Melbourne and Sydney Film Festivals to
enable them to attend the festival and view the latest
Asian cinema. The AFC/AKF also hosted a networking
dinner in conjunction with the Australian Embassy
in Seoul. The event was targeted at filmmakers and
key industry representatives from Korea, as well as
international festival selectors.
MIPCOM and Mip-TV

The AFC continued its presence at the two key
international television markets: MIPCOM, held
in October; and Mip-TV, held in April in Cannes.
In 2005/06, a record number of Australian producers
and practitioners were registered at MIPCOM (over
60 companies and 190 participants). At each event,
the AFC distributed a promotional publication and
hosted a networking function.
European Film Market and Berlin International

Film Festival
The European Film Market is held in February, alongside
the Berlin International Film Festival. In 2005/06, a
record number of Australian films were screened at the
festival and the reinvigorated Film Market was likewise
attended by a record number of Australian practitioners.
The AFC Marketing Branch organised a stand to service
the Australian practitioners needs at this major
international event.
Pusan International Film Festival
Hong Kong FILMART
Following successful representation at the 2004 Pusan

International Film Festival in South Korea, the AFC
The Hong Kong Film and Television Market (FILMART)

was held in March 2006 at the Hong Kong Exhibition
44
Marketing
and Convention Centre. This was the second year the

AFC had a presence at the market. Three producers
were assisted to attend, as were the filmmakers
attached to an Australian project selected for a feature
financing forum.
With the Australia/China co-production treaty
negotiations nearing completion and more Australian
filmmakers developing projects suitable for the Asian
market, it is anticipated that FILMART will become
increasingly important for local practitioners.
Cannes Film Festival

Held in May each year, Cannes is arguably the worlds
most prestigious film festival, attracting thousands of
people including hundreds of Australians. Cannes 2006
was a very successful occasion for the Australian film
industry, with a record number of Australian films
selected to screen. It was also the 30th anniversary of
AFC support for Australian filmmakers at the festival.
To take full advantage of this profile-raising opportunity,
the AFC in association with the FFC, the FTO, Ausfilm,
Film Victoria, the SAFC and the Pacific Film and
Television Commission (PFTC), hosted a large reception
for over 500 international guests.
The reception created an opportunity to promote
Australia and its filmmakers to the rest of the world,
and to promote the eight Australian films selected for
the festival: Ten Canoes (which won the Special Jury
Prize), Suburban Mayhem and 2:37 (all screening in
Un Certain Regard); Jindabyne (Directors Fortnight);
Look Both Ways (Critics Week); and the shorts Sexy
Thing (Shorts Competition), Snow (Cinfondation) and a
special out of Competition screening of The Water Diary.
Recognition at the Cannes Film Festival provides
Australian films with a solid platform from which to
launch into the international market. As well as the
eight films in the festival, this year there were
14 Australian films screening in the Marketplace.
In addition to the reception, the AFC continued the

tradition of hosting welcome drinks for all Australians
on the first day of the festival, and a luncheon for the
directors of the worlds major film festivals. The AFC
also organised a number of co-production initiatives
with its counterparts from South Africa, Singapore
and the UK. For the third consecutive year, the AFC
partnered with the Producers Network, offering a
spotlight on Australian producers.
Rotterdam Lab
For the fourth consecutive year, the AFC sponsored
three producers to attend the Rotterdam Lab in
January 2006. The lab runs alongside the CineMart
(co-production market) as part of the International Film
Festival Rotterdam. CineMart and the Rotterdam Lab are
relatively intimate forums, providing an ideal market
environment for those practitioners who are new to the
international arena.
Travel Grants
The AFCs Travel Grant program is a funding initiative that
supports Australian practitioners to: travel internationally
in order to represent their work at key international film
festivals; attend international markets seeking finance for
film, television and digital media projects; and/or attend
key international pitching forums.
In recognition of the increased opportunities in the
global marketplace, the AFC expanded the number of
key international events supported through the Travel
Grant funding program in 2005/06. In addition, a new
type of travel grant was established to assist digital
interactive screen content practitioners to attend
international events related to their field.
In 2005/06 the AFC provided 91 travel grants to
practitioners in support of their attendance at: key
international film and digital media festivals; pitching
forums and interactive digital screen content events;
and film, television and digital media markets.
45
Travel Grant recipients submit a report detailing their

experience and reporting the outcomes of their travel.
Excerpts from these reports are made available on
the AFC website. Some of the benefits outlined by
filmmakers include:
the opportunity to view their film with an
international audience
creating and maintaining a network of international
contacts
exposure to content being produced by international
contemporaries
exposure to production and financing trends in the
international marketplace
the opportunity to market and raise the profile of
projects both internationally and in Australia
pursuing international financing opportunities including
co-productions
representing the Australian film industry in the global
arena.
National Events/Industry Seminars

As a complement to the international program of
travel support and market representation, the AFC also
organises several national marketing events to assist
practitioners with the financing/development and/or
marketing of their projects.
SPAAmart
SPAAmart is the Australasian feature finance market
held during the annual conference of the Screen
Producers Association of Australia (SPAA). It was
held for the third time in August 2005 on the Gold
Coast. The AFC has been a sponsor of SPAAmart since
its inauguration in 2003. In 2005/06, AFC Marketing
assumed responsibility for management of SPAAmart
operations, providing office resources and a range of
AFC facilities to the events Director and Coordinator.
Nine Australian and three New Zealand teams were
selected to have one-on-one meetings with local and
international film financing executives.
46
Marketing
Inside Track
Inside Track is an initiative of the AFC in partnership
with state film agencies, and runs as a sidebar event
to SPAAmart. It gives emerging producers who have
feature projects in development but are not yet ready
to pitch, the opportunity to meet financing executives,
sales agents and distributors in a group situation. The
objective is to assist producers gain market intelligence
about the local and global industry. In 2005/06, seven
producers from around Australia participated in Inside
Track.
Australia On Show Opening Night at the

Movie Convention 2005
The Australian International Movie Convention, held
in August each year, is a forum for distributors to
showcase their film slate to exhibitors from all over
Australia and New Zealand. Since 2002, the AFC has
worked with Convention organisers and local distributors
to highlight Australian films by co-sponsoring the
opening night, attended by over 800 Convention
delegates. In August 2005, ten Australian films were
highlighted at this event through the screening of
extracts, accompanied by interviews with directors
and, where possible, full theatrical trailers. Every
delegate also received a DVD of this footage and a
booklet introducing both the films and their directors.
Films showcased in August 2005 were: The Book of
Revelation directed by Ana Kokkinos, Candy directed by
Neil Armfield, Irresistible directed by Ann Turner, Like
Minds directed by Gregory J Read, Little Fish directed
by Rowan Woods, Macbeth directed by Geoffrey Wright,
The Magician directed by Scott Ryan, The Proposition
directed by John Hillcoat, Ten Canoes directed by Rolf
de Heer and Wolf Creek directed by Greg McLean.
MeetMarket
In March 2006, the AFC was delighted to host, for
This is a new joint initiative of the AFC and the AIDC,

first held in February 2006. It is designed to facilitate
meetings between international acquisition executives
attending AIDC and Australian documentary makers
with innovative ideas. One-minute pitch teasers of 20
selected documentary projects were made available for
online viewing by local and international documentary
buyers. The buyers could then select who theyd like
to meet in a market environment. The inaugural
MeetMarket was an outstanding success, with more than
200 meetings scheduled over three afternoons.
the first time, Noah Cowan, co-director of the Toronto

International Film Festival. Noahs visit took place
courtesy of the Department of Foreign Affairs and
Trades (DFAT) Cultural Attachment Scheme. The AFC
Marketing Branch organised an itinerary that took in
three cities: Adelaide, Melbourne and Sydney. Noah met
with filmmakers who previously had films screened at
the Toronto International Film Festival, as well as with
Australian distributors, state agencies, industry bodies
and filmmakers with forthcoming productions.
Another key North American festival, held in
September each year, is the Telluride Film Festival.
In 2005/06, Marketing hosted a special lunch for
Tellurides Managing Director Stella Pence, and cofounder and Co-director Bill Pence, to introduce them
to a number of Australian filmmakers whose projects
were eligible for selection for the 2006 festival.
The Pences were in Australia at the special invitation
of the Director of the NFSA, Paolo Cherchi Usai.
Festival visitors
In a contemporary market context where international
theatrical releases are increasingly difficult to achieve,
key international film festivals play an important role
in launching Australian films. A successful festival
screening improves a filmmakers international profile
and may result in follow-on sales and/or facilitate the
financing of subsequent projects.
Dissemination of Information
The AFC Marketing Branch invites key film festival

selectors/directors to travel to Australia each year,
where they can meet industry members and preview
films that are likely to be eligible for selection at their
next festival.
The Marketing Branch makes available a range of

valuable information via the AFC website. This site is
predominantly utilised by Australian practitioners but
is also accessed by international film festival selection
committees, screen organisations and the media.
Visits in 2005/06 included:
The International Festival Profiles section offers

extensive information on over 50 key international film,
television and interactive media events and festivals
from around the world. These profiles have been an
online marketing resource for 5 years and provide
comprehensive information including festival submission
deadlines, details of festival screening sections,
submission requirements, deadlines, contact details and
direct links to festival websites. Official invitations to
Australian filmmakers from festival directors are also
featured. Users can perform searches by genre, country,
title or deadline month, assisting filmmakers to plan the
international marketing of their project.
Maryanne Redpath, the Australian scout for the Berlin

International Film Festival. It was her second visit
to Australia and resulted in a number of films being
selected.
Christian Jeune from the Cannes Film Festival, who

returned to Australia for his sixth visit in December
to view features and shorts for potential inclusion
in the Official Selection. It was an extremely strong
lineup of films, eventuating in a total of eight films
(five features, three shorts) being selected across all
sections of Cannes.
47
The Festival Alerts section offers a snapshot of

international festivals seeking Australian content
or offering screening opportunities for Australian
practitioners.
Tips for Filmmakers are available to download for
many of the profiled festivals, enhancing Australian
practitioners understanding of key international events
from the perspective of recent attendees.
Users are able to access information about Australian
activity on the international circuit by visiting
the Recent International Screenings and Recent
International Awards pages. Screenings and awards
listings are available for the current year as well as
the previous 3 years.
The Travel Grants section provides information about
the five types of travel assistance offered by the AFC.
It includes a list of eligible festivals, a prcis of
eligibility criteria, and a downloadable PDF of the
Travel Grant Guidelines and Application Form.
Festival selection announcements and award recipients
are also posted on the website, either in the form of
a full press release or in the abbreviated form of a
Festival Selection Alert.
Festival Highlights 2005/06

In addition to providing direct assistance to Australian
filmmakers, the Marketing Branch contributes indirectly
to the international success of the Australian film
industry by ensuring that:
Australian films have a profile in the global market

the Australian film industry is kept informed of
opportunities for international recognition
Australian filmmakers are well positioned to take

advantage of those opportunities.
In 2005/06 Australian productions screened and/or
won awards at many key international film festivals.
48
Marketing
Highlights are detailed below.

Five feature films and three short dramas screened at
the 2006 Cannes Film Festival, which was the greatest
number of Australian films at the festival since 1986.
The feature Ten Canoes (d: Rolf de Heer and Peter
Djigirr) won the Special Jury Prize, Un Certain Regard.
The Berlin International Film Festival also screened more
Australian films than in any year since 1979. Three
feature dramas, a feature documentary and four short
dramas appeared at the festival. The short film Love
This Time (d: Rhys Graham) received a Special Mention
in the Panorama Shorts Competition.
The Toronto International Film Festival showcased
three Australian features, including Look Both Ways
(d: Sarah Watt) which won the Discovery Award; Venice
International Film Festival screened an AFC-funded short
film; Sundance Film Festival screened four Australian
films; Pusan International Film Festival screened four
Australian films; and the Montreal World Film Festival
screened seven Australian films including Three Dollars
(d: Robert Connolly), which garnered a Special Mention
for the Ecumenical Prize.
The International Documentary Festival Amsterdam
(IDFA) screened two Australian documentaries including
AFTRS graduate short Butterfly Man (d: Samantha
Rebillet), which won the Silver Cub Prize for Best
Short Documentary Under 30 Minutes. The Yamagata
International Documentary Film Festival screened In
The Shadow of Palms Iraq (d: Wayne Coles-Janess),
which won the Citizens Prize. The AFC-funded short
film The Last Chip (d: Heng Tang) won the Special
Jury Prize in the International Competition at ClermontFerrand International Short Film Festival. The Valladolid
International Film Festival screened three Australian shorts,
two of which won prizes: Dont Say A Word (d: Marek
Blaha) won the Golden Spike for Short Film, while The
Mysterious Geographic Explorations of Jasper Morello
(d: Anthony Lucas) collected the 50th Anniversary Prize.
The International Film Festival Rotterdam screened one
Australian short and the feature Look Both Ways,

which collected the Critics Prize. Chicago International
Film Festival screened one Australian feature and one
short, Clara (d: Van Sowerwine), which collected the
Gold Hugo for Best Animated Film. Annecy International
Animated Film Festival screened six shorts including
Unlucky in Love (d: Bernard Derriman), which won the
Netsurfers Prize.
Edinburgh International Film Festival screened one
Australian feature, Telluride Film Festival screened three
Australian shorts, Karlovy Vary Film Festival screened a
short and a short feature, San Sebastian Film Festival
screened one feature film, and New Directors New
Films in New York screened one Australian feature
film. Cork International Film Festival screened five
Australian films (three shorts and two features), Aspen
Shortsfest screened four short films, Oberhausen
International Film Festival screened two Australian
shorts, and the International Hamburg Short Film
Festival screened three shorts. Tribeca Film Festival
showcased 12 Australian films, Hawaii International Film
Festival screened eight films, and Mumbai International
Film Festival for Documentary, Short and Animation
Films screened 31 Australian films. The London Film
Festival screened six Australian films and Singapore
International Film Festival showcased eight Australian
films. The Leipzig International Festival of Documentary
and Animation Films screened three Australian films.
Ottawa International Animation Festival screened
one short animation, and Uppsala International Short
Film Festival screened two shorts. The Gteborg Film
Festival screened three Australian films, the Hong Kong
International Film Festival screened one Australian
feature, and New York Film Festival and the Tampere
International Short Film Festival both screened one
short drama.
Videobrasil International Electronic Art Festival
showcased four Australian screen-based works, and
SIGGRAPH one Australian screen-based work.
The short drama The Last Chip received AFC production investment funding
and a travel grant. It was written and directed by Heng Tang and produced by
Donna McCrum and Andrew Canny.
The documentary Kidnapped! (aka Yukai!) received AFC development and

production investment funding. It was written and directed by Melissa Kyu-Jung
Lee and produced by Melissa Kyu-Jung Lee and John Janson-Moore.
49

50
Industry & Cultural Development
LEFT: The feature film West received AFC development and production investment funding. It was written and directed by
Daniel Krige and produced by Anne Robinson and Matthew Reeder. It was one of the projects involved in the inaugural
IndiVision Project Lab 2005 which is part of the AFCs IndiVision low-budget feature initiative.
OBJECTIVE
To cultivate and assist the development and appreciation of Australian
screen culture, locally and internationally.
Overview
Screen culture is the environment in which film and
other screen programs are made, seen and discussed. A
vigorous, diverse and innovative screen culture provides
the intellectual heart of a distinctive screen industry,
fostering its development and encouraging audiences to
consume and engage with screen programs.
The AFCs Industry and Cultural Development (ICD)
Division cultivates screen culture in a number of ways.
It provides opportunities for the filmmaking community
and the public to engage with diverse screen activities,
and fosters activities and events nationally that
contribute to the development and appreciation of
screen culture. By providing access to programs where
the marketplace fails to do so, and by stimulating
further demand for diverse content, ICD expands
opportunities for audiences to consume and engage
with Australian screen programs.
ICD funding seeks to:
provide the wider Australian community, including

regional Australia, with opportunities to access a
diverse range of screen programs
develop and support publications, events and activities
that contribute to the appreciation and promotion of
Australian screen culture nationally
support the development of the community of
Australian screen content creators and interactive
media producers by:
broadening the creative influences on Australian film
and interactive media work
fostering opportunities for critical debate and

analysis of Australian and international screen
programs
increasing access to skills development for Australian
screen content creators and interactive producers
providing opportunities for Australian screen
content creators and interactive media producers to
explore developments in film and interactive media
technologies
supporting a range of mechanisms for entry-level
film and interactive media production support
facilitate and deliver opportunities for students, lifelong learners and film enthusiasts to access and
engage with screen culture in the education sector
promote Australia and its culture internationally
through its screen content by supporting and
delivering events in targeted international cultural
arenas.
This year, ICD began implementing a number of
new initiatives designed to specifically increase
the opportunities for all Australians to engage with
screen culture, particularly in regional areas and in
the education sector. In addition to these domestic
initiatives, ICD has also been focusing on fostering
an appreciation of Australian screen culture among
international communities where Australia has specific
cultural and diplomatic objectives.
51
ICD Funding Program

Funding support to organisations and individuals around
Australia is provided through four funds: the Events and
Activities Fund, the National Touring Exhibition Fund,
the Interactive Media Fund and the New Projects Fund.
The activities supported are determined by the AFCs
strategic objectives.
In 2005/06, ICD supported six awards ceremonies,
16 conferences and seminar programs, one book,
five journals, one online publication, 22 festivals and
screen events, eight touring seasons, five interactive
digital media programs, five screen resource
organisations, and the activities of two interactive
digital media organisations.
Events and Activities

The Events and Activities Fund aims to:
foster original, independent screen content

encourage the professional development of screen
practitioners
increase and develop exhibition and provide access to

diverse screen content
provide opportunities for critical debate and analysis

provide entry-level film and interactive media
production support
stimulate public awareness about screen practice
promote Australian screen programs by recognising
excellence and achievement in the film, television
and interactive digital media industries.
Some of the organisations and events supported
through the fund in 2005/06 are listed below.
Screen resource organisations: QPIX, the Film and

Television Institute, the Media Resource Centre,
OPENChannel, Metro Screen
Film festivals and screen events: Melbourne
International Film Festival, Brisbane International
Film Festival, Sydney Film Festival, REVelation Perth
International Film Festival, Adelaide Film Festival,
52
Flickerfest International Short Film Festival, Sony

Tropfest, St Kilda Short Film Festival, Melbourne
International Animation Festival, Australian Screen
Directors Association (ASDA) screen culture program,
Popcorn Taxi
Conferences: AIDC, SPAA, SPAA Fringe, Australian
Writers Guild (AWG) Conference, ASDA Conference
Awards and events: Australian Film Institute (AFI)
Awards, AWG Awards, Film Critics Circle of Australia
(FCCA) Awards, IF Awards, ASDA Awards, Australian
Teachers of Media (ATOM) Awards
Publications: Metro Magazine, RealTime + OnScreen,
Inside Film Magazine, Australian Screen Education,
Senses of Cinema, Storyline (the AWG journal)
Other organisations: Wide Angle Tasmania, ISA,
Arts Law Centre, dLux Media Arts, Experimenta.
National Touring/Exhibition
ICD support for regional touring and exhibition ensures
that regional audiences have access to Australian and
international films they would otherwise not have the
opportunity to see. ICD funding also allows for events
to be specifically tailored to the needs of different
communities.
During 2005/06 programs supported through the
Touring Exhibition Fund included the Sydney Travelling
Film Festival, Melbourne International Film Festival Tour,
Flickerfest International Short Film Festival National Tour,
St Kilda Film Festival National Tour, Big Screen touring
Australian film festival, the National Cinmathque, Over
the Fence Comedy Film Festival, and the In The Bin
Touring Film Festival.
AFC-funded touring programs were seen in

approximately 100 regional centres, as listed below.
Qld: Barcaldine, Cairns, Caloundra, Cloncurry, Gold

Coast, Hervey Bay, Mossman, Rockhampton, Roma
NSW: Bathurst, Broken Hill, Byron Bay, Deniliquin,

Griffith, Gunnedah, Ivanhoe, Kempsey, Inverell,
Lismore, Menindee, Nambucca Heads, Narrabri,
Newcastle, Nimbin, Orange, Sawtell, Silverton,
Ulladulla, Wagga Wagga, Wilcannia, White Cliffs
NT: Ali Curung, Alice Springs, Katherine, Kintore,

Lajamanu, Laramba, Mount Theo Outstation, Mt Liebig,
Nyirripi, Papunya, Pmara Jutunta, Willowra, Wilora,
Yuelumu, Yuendumu
SA: Arkaroola, Blinman, Coober Pedy, Copley, Leigh

Creek, Maree, Mount Gambier, Nepabunna, Port
Augusta, Quorn, William Creek
Tas: Burnie, Devonport, Launceston

Vic: Albury, Ballarat, Bairnsdale, Bendigo, Briagolong,
Hamilton, Geelong, Horsham, Mansfield, Mildura,
Sale, Stratford, Swan Hill, Violet Town, Warnambool,
Wodonga, Yackandandah, Yarram
WA: Broome, Denmark, Fremantle, Geraldton,

Kalgoorlie, Kulin, Marble Bar, Merredin, Murdoch,
Narrogin, Newman, Northcliffe, Nullagaine, Paraburdoo,
Port Hedland, Wagin, Walpole, Wongan Hills.
Interactive Digital Media

The funding program for interactive digital media
aims to support the development of the interactive
media industry and encourage traditional filmmakers
to become involved in the production of interactive
media. The fund specifically emphasises activities that
contribute to a further understanding of interactive and
broadband content for interactive television applications
and online exhibition and distribution. Programs
supported in 2005/06 included Electrofringe 2006, iLab,
X|Media|Lab, and Future Docs at AIDC 2006.
Support for New Projects

The New Projects Fund provides opportunities for new
initiatives. During 2005/06, new projects supported

included the End Credits Film Club screening program
in Cairns, the regional film events Trasharama-A-go-go
and Shoot Out Across the Regions, and the book
100 Greatest Australian Films.
ICD Special Projects

In 2005/06, ICD delivered a number of special
programs that have delivered significant outcomes
both in Australia and internationally.
Big Screen: touring Australian films

Big Screen is a regional touring film festival that
showcases Australian contemporary films alongside
Australian film classics and regional archival programs.
It is managed and delivered by the ICD Division with
significant input and assistance from the NFSA.
Big Screen is now in its sixth year and has become an
integral part of the national regional arts circuit. Another
highly successful year saw 42 festivals held around
Australia with a total attendance of 19,000 people. This
brings the total attendance for Big Screen events since
2001 to 107,000 people. In 2005/06 Big Screen festivals
were held in a mix of new locations and places where
the event has been particularly popular in previous
years, such as Yeppoon, Malanda, Darwin, Broome, Alice
Springs, Katherine, Warrnambool, Victor Harbour, Port
Augusta, Broken Hill and Mildura. In addition, Big Screen
pushed further afield, reaching smaller communities
such as Silverton, Arkaroola and Deniliquin.
Australia International Cultural Council (AICC)

The AFCs membership of, and participation in, the
Australia International Cultural Council (AICC) is
coordinated by ICD. The AICC was established in 1998
by the Minister for Foreign Affairs, the Hon. Alexander
Downer. It draws together leaders from government,
the arts community and business who have a common
interest in more effective international promotion of
Australian arts and culture.
53
The Embassy Roadshow

The Embassy Roadshow is an initiative funded by the
AICC, delivered by the AFC in partnership with DFAT.
The Embassy Roadshow is designed to facilitate public
diplomacy objectives and promote contemporary
Australian culture through the film medium. This year
Australian diplomatic posts in 19 countries hosted
24 separate Embassy Roadshow film festivals. Over
the past 5 years, up to 116 Australian posts have
held festivals, with audiences of over 163,000 (not
including China, whose audience figures are detailed
below).
The short documentary series Blokes and Sheds received AFC

production investment funding. It was written by Mark Thomson,
directed by Robi Watt and produced by Robi Watt
and Sarah Wishart.
In 2005/06, the majority of events were return visits

with follow-up events in Vietnam, South Africa and
Canada. The Australian Embassy in Beijing sponsored
numerous film festivals throughout China. Venues
included the capital Beijing, Qingdao, Tianjin, Wuhan,
Xian, Shanghai, Guangzhou. A screening event was also
held in Ulaanbaatar, Mongolia. Approximately 10,000
people attended these events across China. Another
event held with the support of the Australian Embassy
in Beijing was the Embassy Roadshow for film students
in April 2006.
The Embassy Roadshow increases its collection every
year. New titles in 2005/06 were Dirty Deeds (2002),
Peaches (2004), Three Dollars (2004), Somersault
(2004) and Danny Deckchair (2002). This years shorts
included Greenbush (2004), The Mysterious Geographic
Explorations of Jasper Morello (2004), Danya (2005)
and Crooked Mick (2005).
A new special collection of Australian films subtitled in
Arabic has also been assembled. Titles include Strictly
Ballroom (1992), Ned Kelly (2003), The Tracker (2001),
The Man from Snowy River (1982), Rabbit-Proof Fence
(2001) and The Dish (2000).
The short drama Still Time received AFC post-production investment

funding. It was written and directed by Sonia Whiteman and
produced by Jason Harty and Karen Radzyner. It screened at the
International Short Film Festival Oberhausen (Germany).
54
Women Working in Television

ICD continued to manage the Women Working in
Television project, which aims to provide opportunities
for women across Australian television to advance

their careers. The project is run in partnership with the
Nine Network, the Seven Network, Network TEN, the
ABC, SBS, Free TV Australia, SPAA and the Australian
Subscription Television and Radio Association (ASTRA).
To coincide with the 50th anniversary of Australian
television, this years theme was Looking Back, Moving
Forward. Eight group networking events attended by a
total of 975 women were held in Sydney, Melbourne,
Perth and on the Gold Coast. This provided a rare
opportunity for female television professionals to
discuss and share ideas about a diverse range of topics
including role models, balancing work and family, and
the importance of leadership in television.
In 2005/06 the book Look at Me Behind the
scenes of Australian TV with the women who made
it was commissioned. Written by Christine Hogan and
published by ABC Books, it includes 42 interviews with
women who have contributed significantly to Australian
television over the past 50 years.
Screen Culture Activities:

additional appropriation
For the financial years 2005/06, 2006/07 and 2007/08
the AFC received additional resources from the Australian
Government. The increased allocation was to improve
access for educational providers to Australias audiovisual
collections, expand access to screen activities including
extended Big Screen and Embassy Roadshow programs,
and provide support for the creation of showcases of
Australian films at international festivals.
During 2005/06, the projects below were supported
though this additional allocation.
australianscreen online
australianscreen online is a web-based resource that
will provide the education sector with free access to
a vast range of Australian moving image and audio
material drawn from the Australian film, television

and radio industries. Sourced from the NFSA and other
archival collections, this material will be available online
for educational users, including students in schools and
tertiary institutions, life-long learners, and the general
public where copyright and licensing permits. Excerpts
from feature films, documentaries, newsreels, short
films and animations, as well as radio broadcasts and
musical recordings produced in Australia over the past
100 years will be available online to users all around
the nation via Australias developing broadband network.
ICD has brought together a number of significant
partners to assist with the development of this resource,
including the Curriculum Corporation through the
Learning Federation, The National Archives of Australia,
the ABC and SBS. As well as moving image material,
the website will include stills, scripts, speeches, oral
histories and written material that contextualises the
content. With the aid of the Curriculum Corporation,
all material will be complemented by educational
and curriculum support.
The australianscreen online project is currently in
production and the first stage will be launched in
mid-2007.
ICD schools program

Consistent with the objective of improving the
education sectors access to Australian audiovisual
content, ICD has expanded the Big Screen program
in 2005/06 by providing free screenings of Australian
films to 24 regional schools and 8,776 students. The
programs expansion resulted in a 10 per cent increase
in student attendance in the first six months of 2006
compared to the same period in 2005.
Secondary schools accessed films such as Australian
Rules, The Big Steal, Lantana, Gallipoli, Hating Alison
Ashley, Newsfront, The Tracker and Picnic at Hanging
Rock and short films from AFTRS such as the 2004
Academy Award-nominated animation Birthday Boy.
55
Primary schools were offered films such as Storm Boy,

No Worries, Hildegarde, Dot and the Kangaroo and
The Magic Pudding.
Teachers can now book film screenings via a quick
and easy-to-use online booking system, created in
partnership with ATOM.
Black Screen
The documentary Elvis Lives in Parkes received AFC production investment

funding. It was written and directed by Anthony Mullins and produced by
Melissa Fox and Noelene Hayes.
Black Screen represents another expansion of Big

Screen, designed to provide Indigenous communities
and the broader Australian public with access to
Indigenous films. Black Screen is touring the highly
successful 2006 Message Sticks Indigenous Film Festival
to Melbourne, Adelaide, Perth, Darwin, Hobart and
Brisbane. Three short films were shown at the Rock the
Block festival in Redfern including Sunrise Awakenings
(an archival film from the Indigenous collection of
the NFSA). Black Screen presented 18 short films
by Indigenous filmmakers to over 1,000 people at
the 2006 Dreaming Festival in Queensland. Over 200
communities were provided with new Indigenous films
for screenings during NAIDOC week, and an additional
80 international screenings were supplied with films
through DFATs embassies and posts.
Regional Digital Screen Network (RDSN)
The short experimental drama I Dream of Augustine received AFC postproduction funding. It was written and directed by Cordelia Beresford and
produced by Cordelia Beresford and Joanne Weatherstone. It received a
High Commendation Best Australian or New Zealand Dance Film at the
ReelDance International Dance on Screen Festival (Australia).
56
As part of the AFCs commitment to offer regional

communities more access to Australian programs,
planning and research is under way for implementation
of a Regional Digital Screen Network (RDSN). The AFCs
RDSN will use digital cinema technology to expand
the reach of the AFCs screening programs such as
Big Screen, and also represents a significant digital
infrastructure investment in regional Australia. Industry
has estimated that digital cinema exhibition will be
standard within 10 years; unless smaller regional
communities are able to participate in this conversion
from analogue to digital, the survival of exhibition in
these communities will be threatened and the capacity
to reach these audiences severely hindered.
The AFCs RDSN is a pilot project that will test new

business models of digital exhibition for regional
and more remote communities, as well as explore
possibilities for screening diverse content such as
documentaries, short films, animations and independent
low-budget feature films. Industry consultation has been
ongoing, with potential industry partners including
technology suppliers, peak exhibition and distribution
coalitions, content creators, and partners from other
sectors including regional arts bodies, local government
and the education sector. It is anticipated that the pilot
network will be launched in November 2006.
Australian International Film Events

As part of the 2-year AusArts India Program, the AFC
presented Australian films at five Indian film festivals
in 2005/06.
introduced by director John Hillcoat, and closed with

Look Both Ways. The program included 17 new features,
a Flickerfest shorts program, the London version of Sony
Tropfest, award-winning documentaries, and a program
of Australian childrens features, shorts and workshops.
With ICD support, the London Australian Film Festival
toured to Cambridge, Manchester, Sheffield, Mold,
Edinburgh, Belfast and Dublin.
ICD also supported a screening of the NFSA-restored
Raymond Longford classic The Sentimental Bloke
at the London International Film Festival and
the Pordenone Silent Film Festival. The film was
screened with live accompaniment, composed
especially by Jen Anderson and played by Anderson
and the Larrikins. The screening received a
standing ovation from the 700-strong audience.
Kolkata Film Festival (Nov 2005): Oyster Farmer,
Three Dollars and Tom White

International Film Festival of India, Goa
(NovDec 2005): Look Both Ways
Chennai Film Festival (Dec 2005): Australia was
the country of focus at the festival, with a program
that included Oyster Farmer, Three Dollars,
Tom White, Human Touch, Japanese Story, Road to
Nhill, Peaches and The Illustrated Family Doctor.
The shorts presented were Harvie Krumpet, Mozzie,
Cracker Bag, Mimi, Green Bush and Plains Empty
Pune Film Festival (Jan 2006): same program as
Chennai
Mumbai International Film Festival (Feb 2006):
Australia was the country of focus and presented
Dramatically Black films from Indigenous Australia,
a 5-hour program of 13 Indigenous short dramas and
documentaries, with Indigenous filmmakers Warwick
Thornton and Wayne Blair in attendance.
ICD again contributed to the London Australian Film

Festival held 212 March 2006 at the London Barbican
Centre. The festival opened with The Proposition
57
Policy, Research
and Communications
58
Policy, Research & Communications
LEFT: The short feature Stranded received AFC development and production investment funding. It was written by Kathleen OBrien,
directed by Stuart McDonald and produced by Beth Frey and Lizzette Atkins. It screened at the London Film Festival (UK),
the Film Independents LA Film Festival (US), the Sydney Film Festival and as part of the FRESH Film Festival (Australia).
OBJECTIVE
Inform, shape and influence the national agenda relating to the creation,
availability and preservation of Australian audiovisual content.
Overview
The role of the Policy, Research and Communications
(PRC) Division is to contribute, by the provision of high
quality information and analysis, to the development of
government policy relating to the creation, availability
and preservation of Australian audiovisual content and
the Australian screen industries. In addition, as a major
collector and analyst of data about the industry, the
AFC helps the industry and government anticipate and
respond to the changing needs of our dynamic culture.
During 2004/05, the AFC identified communications,
including stakeholder relations, as a key strategic issue
for the organisation. In response, the Policy, Research
and Information Division was restructured to enable
communications to be managed and coordinated more
effectively. In June 2005 the division was renamed
the Policy, Research and Communications Division, and
now has responsibility for the key strategic role of
communications management for the AFC.
The AFC has an international reputation for its industry
research and is regarded as setting the standard for
information output and quality through its flagship
publications Get the Picture (which is continually
updated online), National Survey of Feature Film
and Television Drama Production, Film Agency Funding
in Australia, Documentary Production in Australia:
a Collection of Key Data, and Australias Audiovisual
Markets. Reports are also published regularly on
specific topics of concern to the industry. These research
publications have become essential references for
screen content creators and policy makers in the
public and private sectors, and distinguish the AFC as
Australias premier body for information on, and analysis
of, the film and television production industry. See
Appendix 4 on page 94 for a complete listing of AFC
publications.
The AFC aims to shape the national agenda on

the audiovisual industries by providing advice to
government, other film agencies, the industry and
the public. The AFC plays a leading role in liaising
with industry organisations, the Department of
Communications, Information Technology and the Arts
(DCITA) and other relevant government departments
engaged in the development of audiovisual policy. It
analyses key developments, carries out research, and
commissions reports from independent consultants.
As the Australian Governments advisor on audiovisual
issues, the AFC provides informed analysis of trends
and developments as they impact upon the creation,
availability and preservation of Australian content. The
AFC also has a significant role assisting those who
represent the production industry to formulate and
advocate their positions to government.
The documentary A Debt of Honour received AFC development

and production investment funding. It was written and directed by
Rachel Landers and produced by Monica OBrien and Luke Gosling.
59
The division manages a number of ongoing data

collection programs with extensive outputs, including
sales catalogues for titles made throughout Australia,
information on whats shooting, and key annual
indicators such as production levels and box office share.
A diverse range of enquiries is dealt with from industry,
other organisations and the government. The division
also develops and maintains a series of information
handouts.
The division manages the AFCs communications
including online and print publishing, AFC websites,
several newsletters including AFC News, advertising,
public relations, corporate events and corporate image.
Key Policy Platforms

Areas of focus for the PRC Division in 2005/06 have
included the broadcasting sector, the digital content
industry, intellectual property law, and international
trade in audiovisual goods and services. Additionally,
the Government announced a review of the full range
of government support measures for films in Australia,
which is to be completed by October 2006. The AFC is
engaged in modelling a variety of tax measures in order
to discuss them more widely with the industry and
respond to the review.
Broadcasting
The broadcasting and television production sectors are
undergoing a revolution facilitated by developments
in digital technology. The challenge for Australia is
to ensure that we maximise all the potential social,
cultural and economic benefits that can be created by
this massive change. The AFC made submissions to a
number of inquiries into the Australian broadcasting
sector in 2005/06 (all available at: www.afc.gov.au/
policyandresearch/policy/broadcasting.aspx). These were:
DCITAs discussion paper Meeting the Digital Challenge:

Reforming Australias Media in the Digital Age
ACMA Review of Future Use of Unassigned Television
Channels
60
DCITAs ABC Funding Adequacy and Efficiency Review

DCITAs Review of the Duration of the Analogue/Digital
Television Simulcast Period
DCITAs Review into High Definition Television Quota

Arrangements.
Digital content industry

The creative digital industries continue to be a highgrowth sector of the global and Australian economies
and a national priority for research, analysis and industry
development. In 2005/06 the AFC participated in the
Digital Content Industry Action Agenda.
The AFC also made a submission to the Prime
Ministers Science, Engineering and Innovation
Council Working Group on the role of creativity in the
innovation economy. Available at: www.afc.gov.au/
policyandresearch/policy/broadband.aspx
Intellectual property
The AFCs role in fostering an internationally competitive
independent audiovisual production industry, and
developing, preserving and providing access to
Australias national collection of sound and moving
image means that the organisation assists both in the
creation of copyright and the provision of access to
copyright material. The AFC has made submissions to
the reviews set out below, advocating legal mechanisms
to support the interests of owners and to promote and
fulfill the Australian Governments cultural objectives
(both available at www.afc.gov.au/policyandresearch/
policy/ip.aspx).
Attorney Generals Department issues paper Fair Use

and Other Copyright Exceptions: an examination of
fair use, fair dealing and other exceptions in the
digital age
House of Representatives Standing Committee on Legal
and Constitutional Affairs Inquiry into Technological
Protection Measures (TPM) Exceptions.
Trade
Trade continues to be a key issue for the audiovisual
industry. The Australian Government is continuing
bilateral trade negotiations with a series of partners
including China, Malaysia, the United Arab Emirates,
Japan and Mexico. The AFC has participated in the
public consultation processes with DFAT, producing the
following submissions (both available at:
www.afc.gov.au/policyandresearch/policy/trade/
policy.aspx).
DFAT Feasibility Study into an Australia Japan Free

Trade Agreement
DFAT Consultation on issues relevant to AustraliaMexico economic relations, including the possibility
of an Australia-Mexico Free Trade Agreement (FTA).
As a member of the DFAT Roundtable on Trade in
Services, the AFC participates in ongoing discussions
concerning Australias position on cultural goods and
services in multilateral trade negotiations through the
World Trade Organisation (WTO). In 2005/06, the AFC
made a submission to the DFAT Public Consultations
Preceding the Hong Kong Ministerial Meeting of the WTO
Doha Round of Trade Negotiations. Available at:
www.afc.gov.au/policyandresearch/policy/trade/
policy.aspx
National Survey of Feature Film and

TV Drama Production
The results of the AFCs annual drama production survey
for 2004/05 were released in August 2005, and those
for 2005/06 are due to be released in September 2006.
The survey measures production of feature films and
TV drama programs over a financial year. It is based on
data collected from production companies and reflects
commitments during the period. Available online at:
www.afc.gov.au/nps
Documentary Production in Australia:

A Collection of Key Data
First published in February 2004, this collection of
statistics profiles the state of documentary filmmaking in
Australia, summarising the comprehensive documentary
data available online through Get the Picture. The
third edition was presented at AIDC in February 2006.
Statistics include production, employment, funding and
release data. Available at: www.afc.gov.au/gtp/docos
Box Office Report

The AFC undertakes an annual analysis of the Australian
share of the cinema box office, providing a context in
which to examine the performance of Australian feature
films. While box office results are never the sole and
The AFC Chair remains a member of the Minister for

Trades WTO Advisory Group.
Ongoing Research
Get the Picture
Get the Picture is the AFCs comprehensive data
reference publication on the Australian film, video,
television and interactive digital media industries. First
published in book form in 1989, all data has been
available online since 2002 and is continually updated.
Available at: www.afc.gov.au/gtp
The broadband project Dog and Cat News received AFC development and production
investment funding under the Broadband Production Initiative. The Creative Director
was David Gurney and it was produced by Alicia Rackett. It won the Best of the
Best and the Best Childrens awards at the Australian Interactive Media Industry
Association (AIMIA) Awards.
61
defining indicator of the performance of Australian films,

they remain significant in analysing the commercial
success of the industry. The AFCs Australian Films 2005
Box Office Share report was the catalyst for a wideranging public debate on the performance of Australian
feature films. It is available for download at:
www.afc.gov.au/policyandresearch/policy/box_office.aspx
Australias Audiovisual Markets

This is the first of a series of print publications
featuring key data from Get the Picture online.
The new publications present information in short
chunks using a graphic style, and are designed to
complement the detailed data available online.
Australias Audiovisual Markets, covering the cinema,
video, television and interactive media industries in
Australia, was updated and reprinted this year, and
is available through: www.afc.gov.au/gtp. A second
volume in the series, Australias Audiovisual Production,
is due to be published in late 2006, covering the
production industry, the release success of Australian
productions, and audiovisual trade.
Taxation
Private investment incentives are a vital element of a
healthy and sustainable audiovisual industry. The AFC
has a continuing interest in the development of an
effective private investment incentive regime and made
a submission to the DCITA Review of Divisions 10B and
10BA. It is available at: www.afc.gov.au/downloads/
policies/10barev_1105.pdf
The AFC is also a member of the Australian Tax Offices
Film Industry Partnership, whose primary aim is to
ensure measures within the tax system designed to
support the film industry are effectively implemented
and their objectives are achieved.
Film Agency Funding in Australia

This publication analyses government assistance to
the Australian film industry through federal and state
agencies, providing a comprehensive historical view of
62
funding initiatives to the industry from the Australian

Government since 1990/91, and from state and territory
governments since 1994/95. The report is the result of
several years of intensive collaboration between the AFC
and other film agencies, with the first edition published
in print in December 2004 and an update published
online in May 2005. Data continues to be updated
regularly. Available online through Get the Picture:
www.afc.gov.au/gtp/govtdfund.html
Production databases
The PRC Divisions ongoing data collection program
resulted in over 1,400 new films/programs being added
to the AFCs production databases and 1,591 to the
release database during the year. The databases are
used to compile sales catalogues for Australian films
and programs. These catalogues are then distributed to
buyers directly or at key international film and television
markets. AFC databases are also used to compile
reports on upcoming productions, analyse drama and
documentary production, and for other research.
Since 2001 the AFC has been progressively publishing
its production databases in a searchable format online.
In 2005/06, the online databases grew to encompass
over 6,200 feature films, TV dramas, documentaries and
shorts, providing information on sales contacts, cast,
credits, synopsis and year of production for each title.
Available at: www.afc.gov.au/films
The Upcoming Production Report is published monthly
online, listing current features, TV dramas, documentaries
and shorts shooting in Australia. Available at: www.afc.
gov.au/filminginaustralia/upcoming/fiapage_26.aspx
Enquiries and information handouts

In 2005/06 the AFC responded to 4,729 telephone and
email enquiries. Of these, the majority of requests came
from the film/TV/video industry.
The AFCs information handout series act as guides to
the Australian film, television and digital interactive
media industries. They are regularly distributed at
industry conferences and information days. Available at:

www.afc.gov.au/faqs
Communications
The PRC Division has managed the coordination of
media, public relations and events since the latter part
of 2004/05, aiming to identify and create opportunities
to advance the AFCs strategic agenda and raise the
organisations profile.
The division continued to provide print and online
publishing services (editing, design, print management)
to all divisions of the AFC, producing a large range
of material in various media, including guidelines,
catalogues, statistical publications and reports, brochures,
posters and DVDs, as well as being responsible for the
AFCs websites and its online newsletters, including
AFC News.
Communications highlights for 2005/06 are set out
below:
the division oversaw a re-design of the way the NFSA
is presented in all its printed material, advertising and
publications
introduction of the AFCs new logo in JuneJuly 2005
re-design of the Film Development Funding Guidelines
and application forms to make them clearer and
easier to use
re-design of the annual feature film catalogue as
part of a suite of materials supporting the 30-year
anniversary of the AFCs presence at the Cannes Film
Festival; the branch also managed a media strategy
promoting the strong contingent of Australian films
selected for screening, and worked with the FFC on
a press conference to highlight all the Australian
filmmakers attending the festival
promotion of the IndiVision low-budget feature
initiative throughout the year, including a concerted
media campaign supporting the 2006 Project Lab
and Screenings in JanuaryFebruary 2006, which
resulted in coverage in IF Magazine, Encore,
The Sydney Morning Herald and The Australian,

and on ABC TV News and Network TEN News
re-launch of the SP*RK script development workshop
as a high-level professional script hothouse, including
new SP*RK pages on the AFC website, and placement
of editorial and advertising in industry magazines
promotion of the AFCs Indigenous Branch programs,
including a media launch for the Long Black feature
initiative in August 2005 that achieved extensive
media coverage including the ABCs 7:30 Report
supporting and enhancing the profile of the Big
Screen festival in regional Australia through a media
campaign focused locally and a major pictorial feature
article in The Land
event management, publishing support and media for
the NFSAs 2005 Longford Lyell Lecture delivered by
Rolf de Heer; the lecture was broadcast by ABC Radio
National in June 2006, coinciding with the success of
de Heers film Ten Canoes at Cannes
event management, publishing support and media
coordination for the NFSAs Kodak/Atlab celebration
(see Kodak/Atlab, page 41) and Ken G Hall Award;
media coverage was extensive with feature articles in
most major metropolitan dailies, online media both
local and international, industry newsletters, radio and
national television.
The AFCs websites and e-newsletters are an increasingly

significant means of communication and interaction
with clients and stakeholders. Subscriptions to the AFCs
e-newsletters continued to grow. As at June 2006, there
were 5,148 subscribers to AFC News, up from 4,432 in
June 2005, and 2,973 subscribers to the Get the Picture
Update Alert, up from 2,436 last year. IndiVision News,
a specialist e-newsletter focusing on low-budget feature
production was launched in August 2005, with three
issues produced since then. As at June 2006, it had
770 subscribers.
63
RIGHT: The short drama Cool received AFC production investment funding.
It was written by Elecia Pikusa, directed by Kylie Washington and produced by Angela Walsh.
It won Best Cinematography in an Australian Short at Flickerfest (Australia).
In 2005/06, the AFCs web presence included the main

site at www.afc.gov.au, the NFSA site at
www.nfsa.afc.gov.au, and several subsites.
The Big Screen site (www.afc.gov.au/bigscreen) features
a full tour program for each Big Screen town festival,
information on the films screening, messages from
Big Screen patrons and a lively Tour Blog
from Big Screen Director Peter Castaldi.
The Black Book Online (www.blackbook.afc.gov.au) has
been hosted by the AFC since May 2005. Developed
by Rachel Perkins, this comprehensive web directory
covers Indigenous arts and media practitioners and
organisations, works by Indigenous writers, musicians
and filmmakers, Indigenous arts events, and jobs and
training opportunities.
The documentary The Prodigal Son received AFC production
investment funding. It was written and directed by Tony Radevski
and produced by Tom Zubrycki.
A major project has been underway since January 2006

to review the AFCs web presence, with a particular
focus on redesigning the NFSA site. This has involved
extensive consultation across the organisation and
will result in a request for tender for a new content
management system and website re-build in the second
half of 2006.
In a survey by the industry e-newsletter Screen Hub
in May 2006, 77 per cent of respondants rated the AFC
website OK or better (57 per cent rated it good or
better; 10 per cent rated it really really good). This
was the best result of all the screen agencies surveyed.
Detailed web statistics for these sites and various AFC
e-newsletters are set out in the Statutory Reports on
page 75.
The feature film Candy received AFC general development

investment and internship funding. It was directed by Neil Armfield,
written by Luke Davies and Neil Armfield, and produced by
Margaret Fink and Emile Sherman.
64
Corporate Services
65
The Corporate Services Division comprises five branches, with responsibility

for finance, human resources, facilities and services, legal affairs and
co-production, and technology services. The work of these branches
underpins the ability of the AFC to achieve its operational objectives.
Finance Branch
During 2005/06 the Finance Branch:
preparing the AFCs annual financial statements and
managed the AFCs internal and external financial and
portfolio Budget Statements

managing the AFCs insurance issues.
budgetary policy and processes
managed the AFCs financial management system,

including the General Ledger and the Chart of
Accounts
prepared financial reports as per Commission,

management and statutory requirements
managed the AFCs liquidity including the

maximisation of the AFCs cash resources
managed internal accounting control procedures to

promote and protect sound financial management
practices
provided an accounts payable and accounts receivable

function
provided an accounting service for the Disbursement
Financial overview
The following sections provide a summary of the AFCs
financial performance in 2005/06. Detailed information
relating to 2005/06 can be found in the AFCs Financial
Statements (page 147), and the following summary
should be read in conjunction with those statements.
Operating result
The operating result for 2005/06 was a surplus of
$4.486m, compared to a surplus of $2.116m
in 2004/05.
Table A shows the AFCs key results for the financial
years 2004/05 and 2005/06.
Trust function
supported internal and external audits.
Table A: Key Results in Financial Performance
The AFC undertook a number of major activities during

the reporting period. These included:
Indicator
revising, developing and implementing financial

policies and procedures, and making them available
on the AFCs Intranet
adopting the Australian Equivalents to International

Financial Reporting Standards
increasing liaison with AFC operational areas to

improve financial management practices across the
organisation
meeting the Governments external budgetary and

reporting requirements
66
Corporate Services
2004/05 2005/06 Variation

($000) ($000)
(%)
Revenue from government

Other revenue
Total revenue
Employee expenses
Supplier expenses
Grants expenses
Depreciation and
amortisation expenses
48,637
5,601
54,238
19,190
14,906
3,862
3,847
51,991
5,539
57,530
20,775
14,314
4,042
3,837
6.9
(1.1)
6.1
8.3
(4.1)
4.7
(0.3)
Write-down of assets
Other expenses
Total expenses
Operating result
10,225
92
52,122
2,116
9,989
87
53,044
4,486
(2.4)
(5.7)
1.8
112.0
Statement of financial performance

Revenue
Total AFC revenue during 2005/06 was $57.530m
(2004/05 $54.238m) and comprised:
an appropriation from the Australian Government of

$51.991m (2004/05 $48.637m)
$0.771m (2004/05 $0.696m) in recovery of projects

written off
$0.163m (2004/05 $0.308m) in returns on production

investments, buyout of script developments, royalties
and grants
$0.036m (2004/05 $0.028m) in other miscellaneous

project receipts
$0.261m (2004/05 $0.834m) in grants and

sponsorships from external agencies/organisations
for AFC program initiatives. The significant externally
funded initiatives in 2005/06 were Embassy
Roadshow, Big Screen and National Cinmathque
$0.044m (2004/05 $0.035m) in interest on film

industry loans
$0.811m (2004/05 $1.253m) in sales of goods and

services
$1.306m (2004/05 $1.104m) in interest on cash at

bank, interest earned on the Disbursement Trust and
term deposits
$2.147m (2004/05 $1.343m) in sponsorships and

donations. The increase compared to 2004/05 is due
to the non-cash donation of a large number of items
to the National Collection.
The AFC maintains a large portfolio of projects for which
it has provided investment or loan funding. It should
be noted that although many of these projects are no
longer active, the AFC still receives a regular flow of
returns from some of its older projects, as well as more
recent ones. Revenue for projects that have previously
been written off in the financial statements is included
as income in the AFCs Income Statement.
The AFC conducts regular reviews of active projects to
ensure that marketing reports have been provided and

that the AFC has received its share of any revenue due
from local and international sales.
Expenses
The expenses in 2005/06 were $53.044m
(2004/05 $52.122m), and comprised:
$20.775m (2004/05 $19.190m) in employees

salaries and related expenses
$3.085m (2004/05 $2.660m) in property-related

expenses
$0.816m (2004/05 $1.174m) in insurance expenses

$10.500m (2004/05 $11.164m) in other
administrative expenses
$4.042m (2004/05 $3.862m) in grants expenses

$3.837m (2004/05 $3.847m) in depreciation expenses
$9.989m (2004/05 $10.225m) in asset write-downs.
Statement of financial position

Equity
The AFCs total equity the sum of the AFCs total assets
less its total liabilities increased from $83.351m in
2004/05 to $90.973m in 2005/06. The increase in equity
of $7.622m predominantly reflects the operating surplus
of $4.486m achieved by the AFC in 2005/06 and the
increase in the asset revaluation reserve of $3.046m as
a result of a revaluation of the AFCs property, plant and
equipment and heritage and cultural assets.
Assets
The AFCs assets comprise:
cash
plant and equipment, intangibles (non-physical assets
such as software)
receivables
prepayments
inventories
equity film investments and loan funding
investments under section 18 of the CAC Act.
67
The AFCs total assets increased from $90.286m to

$98.211m in 2005/06.
Financial assets
The AFC had a cash balance of $1.642m at 30 June
2006 (30 June 2005 $1.297m) and term deposits
of $19.013m (30 June 2005 $18.400m) classified as
investments under section 18 of the CAC Act. The AFC
retains cash to offset accrued employee entitlements, to
enable payment of currently committed funds in respect
to film projects (contracts not able to be executed
by 30 June and payments waiting on final delivery),
planned building works, replacement of other major
assets owned by the AFC and information technology
projects.
The AFC also provides assistance to filmmakers and
organisations by acting as guarantor for bank loans.
There were no loans under guarantee by the AFC at 30
June 2006 compared to $0.029m as at 30 June 2005.
Non-financial assets
The AFCs non-financial assets increased by $7.015m
from $66.177m to $73.192m in 2005/06. This was due
to additions to and revaluation of land and buildings,
plant and equipment, inventories and intangibles and
the National Collection.
Liabilities
The AFCs total liabilities increased by $0.302m from
$6.935m to $7.237m in 2005/06. This was due to
the recognition of a property lease incentive for the
AFCs new Melbourne premises and an increase in the
provision for make good in respect of properties leased
by the AFC.
Disbursements
The AFC is the disbursement agent for over 400 projects,
although a significant number have been inactive for
many years.
The AFC is generally the disbursement agent for films in
which it provides the major investment. A separate trust
68
Corporate Services
account is maintained to receive returns and to pay

expenses and disburse funds to investors in accordance
with each production agreement.
During 2005/06 $0.440m (2004/05 $0.668m) was paid
out from the Disbursement Trust Account.
Risk management
The AFC has developed a framework for the effective
management of its business risks. The centrepiece
of the framework is the AFCs risk management plan,
which is prepared bi-annually.
For risk identification purposes, the risk management
plan categorises the AFCs business risks using the
methodology derived from Australian/New Zealand
Standard AS/NZS 43600:199 Risk Management.
Throughout 2005/06 the AFC made considerable
investment in further developing and refining the risk
management framework, with the development and
implementation of a new Business Continuity Strategy
and associated plans.
Internal Audit
The Internal Audit Program covering the 2005/06
financial year was approved by the Audit Committee on
27 September 2005. The annual audit program evolved
from the risk assessment process and specifically
addresses identified elements of the AFCs risk functions
and activities.
The following business functions were subject to
internal audit during the reporting period:
accounts payable
Cabcharge usage
credit card usage
information technology security.
Audit Committee
During 2005/06 the Audit Committee, chaired by AFC
Deputy Chair Paul Hamra, met quarterly (refer to Table
of Audit Committee Meetings, page 13).
The Audit Committee reviews internal and external audit

reports, considers findings and recommendations and
oversees the internal audit program. In addition, the
committee monitors risk and fraud control activities.
Key activities undertaken during the reporting period
were:
approval of the Business Continuity Strategy

approval of an Internal Audit Charter
approval of a Project Management Methodology for
the AFC.
Staff of the Australian National Audit Office inspected
the AFCs 2004/05 financial statements and provided
an unqualified audit report.
Human Resources Branch

Staffing overview
At 30 June 2006 the AFC employed a total of 300 staff,
261 of who were full-time and 39 part-time. There were
123 men and 177 women. Over the year the average
number of full-time equivalent staff was 277.8.
The breakdown of staffing numbers by AFC operational
division as at 30 June was:
Branch
Corporate Services
Executive
Film Development
Marketing
NFSA
Full-time Part-time
46
5
4
0
23
2
17
5
4
0
144
19
23
8
Workplace relations
Negotiations to develop a combined NFSA/AFC
Certified Agreement concluded in August 2005, and on
6 September 2005 the Australian Industrial Relations
Commission ratified the new AFC Certified Agreement for
the period 200508. The agreement provides common
pay rates, terms and conditions that are fair and

reasonable and consistent with those in similar agencies
in the rest of the Commonwealth Public Sector, and
presides over staff employed under the AFC Act and the
Public Service Act 1999.
The Agreement provides active promotion of a
more flexible work environment to meet changing
priorities and operational needs, implementation of an
organisation-wide employee performance management
scheme and streamlined recruitment and selection
processes. The majority of AFC employees are engaged
under the Public Service Act, with the exception of
those staff employed to make recommendations on the
allocation of program funds, or employed to undertake
work in relation to specific programs or projects. These
staff are employed as fixed term employees under the
AFC Act.
Payroll and conditions

New policies and guidelines on recruitment and
selection, leave, flextime, probation, the employee
performance and development scheme, study assistance
and handling misconduct have been developed and
promulgated.
The Human Resource Management Information
System for payrun processing, systems and database
administration was transferred from the out-source
provider to the AFC. This transfer was completed in
December 2005. Undertaking this function in-house
ensures greater control of version upgrades and delivers
timelier access to improved system enhancements
and functionality, therefore making the system more
effective and relevant to AFC staffing and employment
requirements.
Workplace diversity
The AFC continued to promote and encourage diversity
in the workplace. In support of this commitment the
AFC initiated and facilitated the implementation of an
employee network for Indigenous staff
69
(the AFC Indigenous Employee Network). The network

provides an important mechanism and conduit for
seeking feedback on development and implementation
of policies that are likely to impact on the AFCs
Indigenous employees.
The network is also an integral component of the
AFCs proposed Indigenous Employment Strategy. This
strategy will include initiatives for recruitment, selection,
induction, retention and development of Indigenous
staff, including support for the attendance of AFC
Indigenous employees at the Australian Public Service
Indigenous Employee Networks which operate in each
state and territory.
Workforce planning
The AFC began work on the development of a
Workforce Planning Strategy and to date has completed
an environmental scan of its current workforce, which
includes age, gender profile and length of service
The feature film Elephant Tales received AFC development

investment funding and a bridging loan. It was written by Mario
Andreacchio, Denis Whitburn and John Wild, directed by Mario
Andreacchio and produced by Mario Andreacchio and Georges
Campana. It screened at the Tribeca Film Festival in New York (US).
70
Corporate Services
broken down by classification levels for each division.

Information is currently being gathered on existing
skills and capabilities and future skills and capability
requirements. This, together with an understanding
of external labour market data, will be used to
identify issues likely to contribute to the capacity and
availability of the future desired workforce. Identification
of future workforce needs and analysis of the current
workforce profile will identify issues and gaps that need
to be addressed by the AFC to enable it to plan and
deliver its business outputs and outcomes efficiently
and effectively into the future.
Occupational health and safety

In accordance with the new Certified Agreement, the
AFC is in the process of revising consultative frameworks
and operational arrangements for managing occupational
health and safety issues in the workplace. A new OH&S
Policy and Agreement, which sets out the formal and
administrative arrangements, is currently progressing
through the agency consultation process. The new policy
and agreement outlines the roles and responsibilities for
all stakeholders including the Occupational Health and
Safety Committee, Health and Safety Representatives,
and managers and employees. The new arrangements
will also require a review of all existing designated work
groups. All OH&S workplace policies are currently being
updated to reflect any changes to relevant Codes of
Practice and Australian Standards.
The AFCs commitment to providing a proactive and
preventative approach to OH&S continued with
workplace assessments being conducted for all staff
that moved to new workstations following the fit out of
Level 5 in the Sydney office. External service providers
completed 50 workplace assessments for individual
employees. These included 35 assessments for new
employees. Staff located in the Canberra office also
undertook manual handling training.
The AFC Employee Assistance Service, which provides
employees and supervisors with access to consultancy
services to assist in resolving workplace and personal

issues, continued to be accessed at a rate consistent
with previous years. Also consistent with previous years,
more cases were referred as a result of personal issues
than work-related problems.
The annual health week program theme in 2005 was
nutrition and wellbeing. The program continued to
provide staff access to a number of activities, including
voluntary health screenings, massages, walks and a
healthy breakfast. Sixty-six staff took up the opportunity
to have influenza vaccinations which were offered on
site at the majority of AFC office locations.
There were no accidents or incidents reported to
Comcare under sections 68 and 69 of the Occupational
Heath and Safety (Commonwealth Employees) Act
1991 and no provisional improvement notices issued.
Performance management
New Employee Performance and Development Scheme
Guidelines were developed in accordance with the new
AFC Certified Agreement 20052008. The AFC assisted
and facilitated promulgation of the new performance
management arrangements by conducting training
sessions for all staff in Canberra, Sydney and Melbourne
in September and October 2005. The scheme prescribes
set intervals for the preparation and review of individual
work and development plans and staff participation in
a two-way process to review and assess performance
and provide feedback on performance expectations and
outcomes.
Training and development

Priorities for AFC national training and development
activities focused on the needs identified by staff in their
personal development plans. Courses undertaken by staff
included manual handling, dealing with difficult people,
FileMaker Pro, speed reading/email management and
project management planning methodology workshops.
The quarterly Orientation Day program continued and a
total of 66 new staff attended. Work began on a new
organisation induction program that will combine and

build on the information contained in the new starter
Induction Package and the Orientation Day Program.
When completed the program will be delivered online
and will provide on-demand support for all new staff
in all locations. The program will ensure access to
complete and consistent core information, and highlight
critical information such as key policies and procedures,
including building access and security, and evacuation
procedures.
In 2005/06, eight staff participated in the joint
collecting institutions 2005 Cultural Management
Development and Advanced Workplace Skills Programs,
and seven staff undertook the Audiovisual Studies
course which is conducted by Charles Sturt University
in conjunction with the AFC.
Facilities and Services Branch

The Facilities and Services Branch manages the AFCs
owned and leased buildings and infrastructure, and
provides support services including general office
services, contract management and procurement.
Key achievements and activities during 2005/06 were:
completion of a major upgrade of the air conditioning

system at the Acton ACT premises
completion of the refit of office accommodation on

level 5 at the AFC Head Office in Sydney, plus the
refurbishment of the ground floor theatrette
sourcing and fitting-out a new 875m2 office in

Melbourne, which replaced the two offices previously
occupied by Melbourne staff
finalisation of documentation for a new cinema for

the NFSA at the Acton ACT premises
publishing new procurement guidelines to be used

across the AFC
completion of major fit-out alterations to

accommodate the new NFSA organisation structure at
the Acton ACT premises
71
installation of new Very Early Smoke Detection

Apparatus at an NFSA repository and the installation
of a new fire control panel and emergency warning
system (EWIS) at the Acton ACT premises
further development of a strategic accommodation
plan covering NFSA storage requirements in Canberra
further revision of the AFCs Heritage Management
Plan for the Acton ACT building in line with new
Commonwealth legislation
final drafting of an Environmental Management
System covering all AFC operations.
Legal Affairs and

Co-production Branch
The Legal Affairs and Co-production Branch is
responsible for the provision of general legal advice and
assistance to the AFC.
the negotiation and contracting of over 300 funding
agreements for the Film Development Division and

the Indigenous Branch, and assessment of six loan
applications for the Production Cashflow Facility
provision of legal and contracting support for a
number of new Film Development initiatives,
including BCPI, Podlove, the Headland Documentary
Workshop, Two Twisted, and IndiVision
provision of legal and contracting support for a
number of new ICD initiatives, including the Women
Working in Television book, Black Screen, the
educational web-resource australianscreen online, and
the Regional Digital Screen Network
delivery of a copyright law training program to over
40 members of staff
the continued chairing of the Intellectual Property
Rights Working Group to develop policies for the use
of copyright material held by the NFSA
recovery of monies owing to the AFC pursuant to the
Commercial Television Production Fund
72
Corporate Services
provision of general legal advice to the AFC

the continued chairing of the Copyright in Cultural
Institutions (CICI) Group, a working group of copyright
and legal officers from cultural institutions who
facilitate awareness of copyright and intellectual
property issues within the sector. Highlights included a
workshop on the management of Indigenous Cultural
Materials and seminars on the Governments Review of
Technological Protection Measures and Orphan Works.
Official Co-production Program

Since its inception in 1986, the Australian Governments
Official Co-production Program has been administered
by the AFCs Legal Affairs and Co-production Branch.
The branch has provided information to the industry,
and reviewed applications for official co-production
status. Treaties and Memoranda of Understanding
(MOUs) currently in place are set out below.
During the financial year, applications for projects
that complied with the relevant Treaty or MOU were
considered by the AFCs Co-production Committee,
which comprised the Chief Executive, the Manager of
Legal Affairs and Co-production, and the Director of
Policy, Research and Communications. The Committee
made a recommendation on each application to the
Commission, which in turn made a provisional decision
on the projects official co-production status. Final
approval for a project was granted when both the AFC
and the competent foreign authority had approved the
production as eligible for official co-production status.
During 2005/06, the Legal Affairs and Co-production
Branch assessed 22 applications for official coproduction status, of which 15 were granted provisional
approval (these titles are listed on the table opposite).
The AFC continued to convene meetings with the
Industry Advisory Panel to discuss policy issues which
arise regarding the program. This panel consists
of one representative from the Australian Guild of
Screen Composers (AGSC), ASDA, the AWG, the Media
Entertainment and Arts Alliance and SPAA.
Co-productions granted provisional co-production status in 2005/06

Co-Producing
Country
Company
Date Approved
Death Defying Acts
UK
Macgowan Lupovitz Nasatir Films Pty Ltd (Aust),

Zephyr Films Houdini Ltd (UK)
16 Aug 05
Red Dog
Canada
Woss Group Film Productions Pty Ltd (Aust),

Slate Development Ltd (Can)
16 Aug 05
Voodoo Lagoon
UK
Taylor Brown Corporation Pty Limited (Aust),

Legaba Productions Limited (UK)
16 Aug 05
$9.99
Israel
Sherman Pictures Pty Ltd (Aust),

Lama Productions Ltd (Israel)
22 Feb 06
Boys are Back in Town,

The
UK
Southern Light Films (Queensland) Pty Limited (Aust),

Tiger Aspect Pictures (SPV) Ltd (UK)
9 May 06
Stranger
UK
Pueblo Film International (Australia) Pty Limited,

Clubdeal BT Film Co Ltd (UK)
16 May 06
Children of Huang Shi,

The
Germany & China
Bluewater Pictures Pty Ltd (Aust), Zero Fiction GmbH

(Germany), Beijing Ming Productions (China)
14 Jun 06
Project
FEATURES
DOCUMENTARIES
Paris Dreaming
France
Essential Viewing Pty Ltd (Aust), Tetra Media (France)
13 Dec 05
Captain Cook Obsession Canada

and Betrayal in the New
World
Cook Films Pty Ltd (Aust), Fern Productions (Cook) Inc (Can)
27 Mar 06
Medicine Woman
Canada
Visionquest Entertainment International Pty Ltd (Aust),

4 Square Productions Ltd (Can)
27 Jun 06
Erky Perky
Canada
Erky Perky Pty Ltd (Aust),

CCI Productions Ltd (Can)
16 Aug 05
Five Minutes More
UK
Buster Dandy Productions Pty Ltd (Aust),

Snow River Media (UK)
22 Feb 06
G2G (Got to Go)
Canada
Moody Street Kids Pty Ltd (Aust),

Title Entertainment Inc (Can)
27 Mar 06
Street Soccer
France
Yoram Gross EM.TV Pty Ltd (Aus),

Tele Images Kids (France)
27 Jun 06
UK
Corner Store Films Pty Ltd (Aust),

Channel 5 Broadcasting Ltd (UK)
22 Feb 06
ANIMATION/TV SERIES
TELEVISION SERIES
Tripping Over
73
RIGHT: The short drama Hold Please received an AFC marketing loan.
It was written by Chris Cudlipp and Stacy Dymalski, directed by Chris Cudlipp and
produced by Lizzy Nash, Chris Cudlipp and Stacy Dymalski.
It screened at the Berlin International Film Festival (Germany).
In conjunction with DCITA and DFAT the AFC progressed

negotiations with the China Film Co-production
Corporation in regard to a proposed co-production
treaty between the Government of Australia and the
Government of the Peoples Republic of China. The text
of the treaty is now close to finalisation.
The AFC also provided advice to the Minister for the
Arts in regard to proposed treaty negotiations with the
Governments of South Africa and Singapore.
the upgrade of the Canberra office LAN backend to
A one off MOU was entered into by the AFC and

Chinas State Administration of Radio, Film and Television
on 14 June 2006 to facilitate the co-production of a
German/Australian/Chinese co-production, The Children
of Huang Shi.
Treaties and MOUs currently in force
Country
France
United Kingdom
Canada
Italy
New Zealand
Israel
Ireland
Germany
Treaty or MOU
MOU
Treaty
Treaty
Treaty
MOU
Treaty
Treaty
Treaty
Date signed
15 May 1986
12 June 1990
23 July 1990
28 June 1993
23 December 1994
25 June 1997
4 February 1998
17 January 2001
Technology Services Branch

The AFCs Technology Services Branch is responsible for
the AFCs network and systems, PABX and voicemail
systems, database development and technical
support, development of online services and records
management.
Key achievements and activities during 2005/06
included:
e-directory Novell Netware upgrade for the Canberra

Local Area Network (LAN)
the implementation of video-conference facilities for

Sydney, Canberra and Melbourne offices
commencement of the replacement of all Canberra
computer desktops
74
Corporate Services
deliver increased speeds to each computer as well as

providing an infrastructure to effectively support audio
and video streaming
development and testing of new OSX Tiger Standard
Operating Environment (SOE) for the Macintosh
workstations
development of a FileMaker Pro interface and
specification guidelines for the development of
FileMaker Pro databases/systems
implementation of an IT backend infrastructure for the
new Melbourne office and upgrading of the PABX as
part of the Melbourne office relocation
implementation of a new staff directory on the
AFCs Intranet
the upgrade of the AFCs Intranet server, resulting in
increased performance for local and remote offices
devolution of intranet authoring for users in Sydney
and Canberra
development of an internal communication site for the
electronic delivery of Commission papers.
Records management
The AFC continued to adopt best practice and continuous
improvement in records management.
approval and promulgation of the AFCs Recordkeeping

Policy and Standards
the merger of pre-integration data from the AFCs

Electronic Records Management system (FileMaster)
into the Tower Records Information Management
(TRIM) context
roll-out of TRIM to all Mac users nationwide via
a Citrix environment, including development and
delivery of TRIM end-user training and TRIM user
guides for both PC and Mac users
progressing a test site and pilot for electronic
document management in a TRIM context.
Statutory Reports
75
Comments by the Ombudsman

During 2005/06 no reports were made by the
Ombudsman under section 15 of the Ombudsman Act
1976 (Cwlth), nor is the AFC aware of any reports made
by the Ombudsman concerning the AFC under sections
16 (reports to the Prime Minister), 17 (reports to
Parliament) or 19 (annual and additional reports) of
the Act. The Ombudsman has not recommended any
Acts of Grace payments.
Decisions of Courts and

Administrative Tribunals
There were no judicial decisions nor decisions of
administrative tribunals handed down during the year
which have significantly affected, or which in the view
of the Secretary of DCITA could significantly affect, the
operation of the AFC in the future.
Freedom of Information
This statement is provided in accordance with section 8
of the Freedom of Information Act 1982 (the FOI Act)
and is correct to 30 June 2006.
Organisation
The Australian Film Commission was established by the
Australian Film Commission Act 1975 (the AFC Act).
The legal framework for the AFCs corporate governance
practices are set out in the Governance statement (see
page 6).
Functions and powers

The functions and powers of the AFC are described in
sections 5 and 6 of the AFC Act as amended, and are
reprinted in full in Appendix 1 (page 86).
Arrangements for outside participation

The AFC is open to the views of bodies or persons
outside the Commonwealth. Through industry forums,
information seminars, surveys and meetings, the
AFC provides opportunities for the industry and
76
Statutory Reports
the community to contribute to the enrichment

of Australias cultural identity with regard to the
audiovisual production industry and the national
collection of sound and moving image.
The AFC also maintains a permanent enquiry service,
which responds to requests for information from the
industry and the public, both locally and internationally.
Categories of documents
The AFC has extensive document holdings in a range
of formats, including:
electronic databases
audiovisual materials
guidelines and manuals
printed publications
files relating to the organisations daily operations.
FOI procedures
Applicants seeking access under the FOI Act to
documents in the possession of the AFC should forward
a $30 application fee and apply in writing to:
Corporate Services Division
GPO Box 3984
SYDNEY NSW 2001
Attention: Freedom of Information Coordinator
Facilities for access

If the FOI application is approved, and once payment
of any charges applying to the provision of the
requested materials has been received, copies of
relevant documents will be forwarded to the applicant
by post. Where legal restrictions prevent this occurring,
applicants may arrange to inspect documents at the
AFCs premises in Canberra, Melbourne or Brisbane.
The application fees and charges for FOI requests are
determined in Schedules to the Freedom of Information
(Fees and Charges) Regulations.
FOI Act statistics 2005/06

There were no requests for information under the
FOI Act during 2005/06.
Privacy
The AFC continued to adhere to the Privacy Act 1988
and to the Privacy Commissioners guidelines in relation
to the collection, maintenance, storage and release of
personal information. No complaints were received by
the AFC under the Privacy Act 1988 during the reporting
period.
for its service standards and over 370 informal

compliments in the form of emails and telephone
calls. In addition the NFSA received 73 complimentary
responses to client surveys regarding collection access
and public education programs.
Four complaints were recorded against the service
charter this year.
Effects of Ministerial Directions

General policies from previous financial years continue
to be noted, namely policies on foreign exchange and
cost recovery and, where relevant, Commonwealth
Procurement Guidelines.
Contingency Liability Statement

As required by section 6, subsection 4 of the Australian
Film Commission Act 1975, the following statement is
furnished:
a) one new guarantee was provided by the
Commission during the year ended 30 June 2006
b) the limit that the Treasurer has approved for the
purpose is $1,000,000
c) there is no amount subject to guarantee as at 30
June 2006.
Service Charter
The AFCs current Service Charter describes the range
of services and service standards that clients can
expect. This year the AFC revised its Service Charter to
consolidate the previously separate Service Charters of
the AFC and the NFSA into one document. The new
Service Charter is available for download at:
www.afc.gov.au/profile/corpinfo/profilepage_11.aspx
In 2005/06 the AFC recorded 19 formal compliments
77
Portfolio Budget Statement (PBS) 2005/06

Performance indicators
Outcome: To enrich Australias cultural identity by fostering an internationally competitive audiovisual production
industry, developing and preserving a national collection of sound and moving image, and making Australias
audiovisual heritage available to all.
PERFORMANCE MEASURE
Result
Output 1.1 Investment in film and television projects and professional development of screen content creators
Quantity: Maintain the participation rate of AFC-developed
projects in the national production slate at more than an
average of six feature films per year on a rolling 3-year basis.
The AFC invested in the development of 14 feature films that

were put into production in the 2005/06 financial year, and
has invested in an average of 11 feature films per year for
the past 3 years.
Minimum of 35% of general development investment recipients

to put at least one project into production in
a 3-year period.
60% of GDI recipients have put at least one project into

production during the 3-year period to 30 June 2006.
The AFC will provide intensive script and marketing assistance

to support a minimum of 12 targeted projects and creative
teams, and a minimum of four Writer Fellowships in 2005/06.
Intensive script and marketing assistance was provided

to support 26 projects, and five Writer Fellowships were
provided in 2005/06.
At least 75% of feature films or short features made with AFC

production investment achieve Australian theatrical release or
television broadcast commitment in the 2005/06 financial year.
15 projects received production investment contracts in the

3-year period to 30 June 2006, of which 12 (80%) achieved
Australian theatrical release or television broadcast.
At least 75% of short dramas, animations and interactive

media titles supported by the AFC achieve festival or television
exposure in the 2005/06 financial year.
38 projects received production investment contracts in the

3-year period to 30 June 2006, of which 30 (79%) achieved
festival exposure or television broadcast.
At least 25% of documentaries with development funding go

into production over a 3-year period.
172 documentary projects received development investment

in the 3-year period to 30 June 2006, of which 62 (32%)
went into production.
48% of documentaries with development funding from the
Indigenous Branch in the 3-year period to 30 June 2006
went into production.
Indigenous: at least 30% of drama scripts with AFC investment

to be seeking finance, be in production or have completed
production over a 3-year period.
32% of projects funded by the Indigenous Branch in the

3-year period to 30 June 2006 have completed production,
have gone into production or are seeking finance.
Indigenous: at least 90% of recipients consider that their

placements with more experienced professionals, or travel
grants, have advanced their skills or provided specific benefits.
13 reports were received and 13 recipients of practitioner

support grants (100%) reported tangible benefits from travel
and/or internships.
78
Statutory Reports
Output 1.2 Participation of Australian screen content creators and their programs in the global marketplace
Quantity: Maintain a presence at a minimum of four key
international film and television markets each year, providing
support to Australian film practitioners through networking
opportunities, liaison and facilities.
Marketing attended and provided support to Australian film

practitioners at six international film and television markets
and one practitioners lab.
Facilitate and support a minimum of three key national industry

events, and visits by a minimum of three international festival
representatives per year.
Four key national industry events were held during 2005/06.

Visits from representatives of four international film festivals
were facilitated and supported.
At least 85% of those receiving travel assistance report specific

benefits from the travel.
60 travel grant reports were received and 53 recipients of

travel assistance (89%) reported tangible benefits from the
travel.
Quality: Maintain current information on the AFC website

relating to Marketing publications and guidelines, and other
relevant information, such as festival profiles and links.
The Marketing information on the AFC website is updated

monthly for festival screenings and awards, as well as
festival dates and information. All Marketing handouts are
current with the Travel Grant Guidelines having been revised
twice during the 2005/06 financial year.
Output 1.3 Development, preservation, presentation and availability of Australias national audiovisual collection
Quantity: 100% of priority acquisitions are accessioned
within 12 months of receipt at the Archive.
A total of 41,968 items were registered or accessioned

into MAVIS. All priority acquisitions were accessioned or
registered within 12 months.
290,000 feet of preservation film, 1,600 video and

2,130 sound preservation carriers are treated.
271,853 feet of film were treated. In addition, 1,243 video

and 1,905 sound carriers were treated for preservation.
Shortfalls in achieving targets can be attributed to a
restructure of the preservation area, the benefits of which
will be obtained over the next 12-18 months.
Increase audience reach for the collection by 5%.
4,557 access requests were serviced, an increase of 60%

on the previous year.
428,051 users visited the NFSA site, an increase of 35%
on the previous year.
79
68,926 people visited the Canberra-based program, a

decrease of 6% on last years figure. This is consistent with
attendance in most other cultural institutions in Canberra but
can also partly be attributed to the suspension of cinema
programs and reduction of public programs and presentations
during fundamental redevelopment work.
Quality: Safety of the collection is maintained
at required levels.
The NFSA maintained storage conditions at optimum

standards for relative humidity 98% of the time and for
temperature 99% of the time.
High user satisfaction and engagement with the collection.
97% of visitors and audiences rated satisfaction as good or

very good.
99% of access clients rated satisfaction as good.
99% were satisfied with the timeliness and quality of service.
Diversify and optimise mechanisms of providing access

to the collection.
The Indigenous Collection Branch has been established and

is led by a Curator for Indigenous Collection, which is an
identified Indigenous position.
The Archive Digital Access Project is continuing to work on
digitised content that will facilitate access to the National
Collection via the web and through state office or regional
access centres.
Work continued on the NFSA Collection Online project,
which will provide an online public interface with the
national audiovisual collection management database.
Output 1.4 Cultivation and appreciation of Australian screen culture, locally and internationally
Quantity: Screen culture events and screenings delivered in at
Screen culture events and screenings were delivered in at
least 35 regional centres each year.*
least 97 regional centres in 2005/06.
Attendances of at least 450,000 in capital cities and regional
centres around Australia for curated screen events and one-off
screenings in the 2005/06 financial year.*
578,040 attendances were recorded for curated screen

events and one-off screenings throughout 2005/06.
Support organisations to provide at least 20,000 professional

development opportunities for practitioners in the 2005/06
financial year.
ICD supported organisations to provide 21,372 professional

development opportunities for practitioners.
80% of organisations delivering AFC-supported programs meet

80% or more of their performance targets in the 2005/06
financial year.
87% of organisations delivering AFC-supported programs met

a minimum of 80% of their performance targets in 2005/06.
Coordinate 20 Australian film festivals internationally in the

2005/06 financial year.
ICD was involved in the coordination of 37 Australian film

festivals internationally.
*These performance measures have been revised upwards in the 2006/072008/09 Corporate Plan.
80
Statutory Reports
At least three new initiatives will be developed and

implemented in the 2005/06 financial year to address the AFCs
objective to cultivate screen culture in the education sector.
Three new initiatives designed to cultivate screen culture

in the education sector were developed and implemented:
australianscreen online, Big Screen Schools Screening
Program, and Black Screen.
Output 1.5 Policy development, data collection and analysis, and information services
Quality: An average of at least 2000 visits to
www.afc.gov.au per day, and an annual increase
of 5% in subscriptions to AFC News.
Website access
Quality: Regular dissemination of key research and information

widely throughout industry and government, available in a
variety of formats and media, and through a phone and email
enquiries service, including:
A. Searchable databases are available online of feature films,

television drama and documentaries since 1990 and shorts
since 1998. Databases are accessible via searches on title
or key words for writer/producer/director credits, synopses
and sales contacts. Online databases grew to more than
6,200 entries in 2005/06. Catalogues of titles in production
or recently completed are available for downloading as PDF
documents. The Upcoming Production Report, listing current
features, TV dramas, documentaries and shorts shooting in
Australia, is available monthly online.
A. feature film, television drama, documentary

and shorts catalogues
www.afc.gov.au Number of visits in the period July 2005 to

June 2006 averaged 2,830 per day, including Big Screen and
Black Book subsites.
www.nfsa.afc.gov.au In the period July 2005 to June 2006,
the NFSA website recorded 428,051 visitors, an average of
1,173 per day.
AFC News Subscriptions to AFC News were 4,432 in July
2005 and 5,148 at end June 2006 (a 16.1% increase).
The AFCs enquiries service responded to 4,729 enquiries

in 2005/06. Over 50% were from the film/TV and video
industry. Most of the enquiries originated in Australia.
B. ongoing updates to Get the Picture statistics, including
box office and awards for Australian productions; cinema and
television release data for Australian productions; and cinema,
TV, video and interactive media industry data
B. All sections of Get the Picture have been available

online since February 2002. Data is continually updated
and subscribers informed by email. At June 2006, 2,973
subscribed to GTP Update Alerts, up from 2,436 in 2005.
Australias Audiovisual Markets, a Get the Picture publication,
was released September 2004, and is updated annually.
Film agency funding in Australia: Government assistance
to the Australian film industry through federal and state
agencies, also on the Get the Picture site, was released in
December 2004, and is updated annually.
C. data on feature film, television drama and documentary

production in Australia, including the National Feature Film
and TV Drama Survey.
C. The 2004/05 National Feature Film and TV Drama Survey

and Documentary production in Australia: A collection of
key data were published in print and online.
81
Recognition of AFC data as a national and international

benchmark/standard, as demonstrated by its use by
organisations such as the Australian Bureau of Statistics,
the European Audiovisual Observatory, and Screen Digest.
AFC data was provided to the Australian Bureau of Statistics

and the Independent Film and Television Alliance in the
US for their publications, and to Screen Digest for its world
survey of film production, distribution and cinema statistics.
Get the Picture was cited as a source in a wide range of
submissions, government reports, industry papers and
trade press publications.
Maintenance of a high standard of accuracy and reliability in

AFC submissions, research and statistics, demonstrated by their
being referenced in government reports from major inquiries,
and in the media.
AFC input and data referenced extensively in 15 major

inquiries.
Substantial participation in industry forums and conferences,

which present and analyse policy issues.
The AFC hosted or participated in six industry forums which

analysed policy issues in relation to tax, copyright, digital
content, trade and screen finance.
The AFC attended, and in some cases addressed policy issues
at a range of industry seminars and conferences.
An active media role demonstrated by media take-up

of AFC issues.
AFC issues were reported extensively in national and trade

media over the period. Key examples include:
the AFCs National Feature Film and TV Drama Survey
(August 2005), which was also covered internationally
AFCs box office backgrounder report, released in January
2006
funding initiatives such as the Indigenous feature
development program Long Black, Broadband Cross-media
Production Initiative, and the IndiVision Project Lab and
Screenings
events, festivals and awards such as the presentation of
the NFSAs Ken G Hall Award, completion of the NFSAs
Kodak/Atlab Collection, Message Sticks Indigenous Film
Festival, announcement of the australianscreen online
project, celebration of the largest contingent of Australian
films at Cannes in 20 years, and Rolf de Heers Longford
Lyell Lecture.
82
Statutory Reports
Resources for PBS Outcomes

(1)
Budget
2005/06
$000
(2)
Actual
2005/06
$000
The AFC has no administered expenses
nil
Total administered expenses
nil
Output 1.1: Investment in film and television projects and professional

development of screen content creators
Variation
(1) minus (2)
Budget
2006/07
$000
nil
nil
nil
nil
nil
nil
18,194
17,017
1,177
17,960
Output 1.2: Participation of Australian screen content creators and their

programs in the global marketplace
2,035
2,193
(158)
1,813
Output 1.3: Development, preservation, presentation and availability of

Australias national audiovisual collection
22,593
22,378
215
22,976
Output 1.4: Cultivation and appreciation of Australian screen culture,

locally and internationally
5,463
6,831
(1,368)
6,326
Output 1.5: Policy development, data collection and analysis, and

information services
3,706
3,572
134
3,324
51,991
51,991
52,399
Output 1.1: Investment in film and television projects and professional

development of screen content creators
1,154
1,684
(530)
1,534
Output 1.2: Participation of Australian screen content creators and their

programs in the global marketplace
53
102
(49)
155
Output 1.3: Development, preservation, presentation and availability of

Australias national audiovisual collection
2,450
3,458
(1,008)
1,962
764
241
523
540
84
54
30
284
4,505
5,539
(1,034)
4,475
56,496
57,530
(1,034)
56,874
Administered Expenses (including third party outputs)
Price of Agency Outputs
Total revenue from government (appropriations) for agency outputs

Revenue from other sources
Output 1.4: Cultivation and appreciation of Australian screen culture,

locally and internationally
Output 1.5: Policy development, data collection and analysis, and
information services
Total revenue from other sources
Total for outcome 1 (total price of outputs and admin expenses)
83
RIGHT: The short feature Jammin in the Middle E received AFC post-production
investment funding. It was written by Howard Jackson, directed by Kim Mordaunt
and produced by Enda Murray. It screened at the Mumbai International Film
Festival (India) and as part of the FRESH Film Festival (Australia).
General Enquiries and Website Access

General enquiries
The AFC provides a full-time industry telephone and
email enquiry service run by PRC Division staff in Sydney.
In 2005/06, the AFC responded to 4,729 enquiries. This
compares with 5,329 in 2004/05 and 4,439 in 2003/04.
Most of the enquiries originated in Australia. In 2005/06
there was a slight decrease in the number of requests
from the film, television and video industry (requests
from this sector represented 56 per cent of all enquiry
calls). There was an increase in enquiries from the
general public (23 per cent of all requests), and a drop
in enquiries from the education sector (9 per cent of all
requests).
Origin of requests to AFC enquiries service by sector
Type of client
Film/TV/video industry
General public
Education
Media
Government
Legal/Financial
Digital Media
Other
03/04
04/05
05/06
Percentage of total requests
51
59
56
17
16
23
9
11
9
4
3
3
5
3
3
6
1
1
5
1
1
2
6
5
The NFSA provides a reference facility on matters

relating to the collection and other NFSA services. In
2005/06, 7,715 enquiries were received, of which 6,312
were access related, 112 preservation related and 1,291
library and research related.
The number of collection items accessed in 2005/06
was 8,649 in the following groups:
By type of client
Industry
Culture & Heritage
General Public
Items % of requests
2,588
30
4,579
53
1,482
17
Website access
www.afc.gov.au
The AFCs main website saw a 28 per cent increase in
the number of visits in 2005/06, from 756,800 (63,000
per month) to 971,034 (80,920 per month), excluding
use by AFC staff or search engine indexing robots.
The number of pages requested totaled 3,230,379, an
average of 8,851 per day, with the most popular being
the Searchable Film Database (1,054 requests per day),
the main site search page (175 requests per day), jobs
at the AFC (129 requests per day), the Funding home
page (96 requests per day), Get the Picture free-toair TV contents page (94 requests per day), and the
Industry Links home page (71 requests per day).
The number of files downloaded during the year
totalled 786,715 (an average of 2,155 per day), up
from 479,700 (1,314 per day) last year. The top files
downloaded were the Film Development Funding
Guidelines (an average of 385 downloads per day),
the Upcoming Production Report (drama) (328
downloads per day), the Upcoming Production Report
(doco) (42 downloads per day), Ive Got a Great Idea
for a Film info guide (40 downloads per day), and What
is a Synopsis? An Outline? A Treatment? (39 per day).
www.nfsa.afc.gov.au
The NFSA website recorded 428,051 visitors in 2005/06,
up by 35 per cent from 316,627 last year. There were
1,168,862 page requests, up from 803,605; and 108,347
file downloads, up from 81,530.
www.bigscreen.afc.gov.au
The new Big Screen website, a subsite of the main
AFC site, received 43,529 visits. The number of pages
requested totalled 93,793, with the most popular being
the Films AZ listing (4,968 requests), the tour program
(1,814 requests), and festival director Peter Castaldis
blog (1,641 requests).
www.blackbook.afc.gov.au
The Black Book, hosted by the AFC since May 2005,
clocked up 20,854 visits, and 88,950 page requests
during the year.
84
Statutory Reports
Appendices
85
APPENDIX 1
Enabling legislation
(2)
The functions of the Commission specified in

paragraphs (1)(a) and (b) may be performed
either within or outside Australia.
(3)
The Commission may carry out a matter within

the functions specified in paragraph (1)(b)
by commissioning a person to undertake that
matter.
(4)
The Commission may perform its functions to

the extent only that they are not in excess of
the functions that may be conferred on the
Commission by virtue of any of the legislative
powers of the Parliament, and, in particular,
may perform its functions:
(a)
by way of expenditure of moneys that are

available for the purposes of the Commission in
accordance with an appropriation made by the
Parliament;
(b)
by way of, or in relation to, trade and

commerce with other countries, among the
States, between Territories or between a
Territory and a State;
(c)
for purposes related to broadcasting services;
(d)
so far as they relate to the collection of

statistics;
Functions and Purposes of the AFC

Section 5 of the Australian Film Commission Act 1975,
as amended, lists the functions of the AFC as:
(1)
The functions of the Commission are:
(a)
to encourage, whether by the provision of

financial assistance or otherwise, the making,
promotion, distribution and broadcasting of
Australian programs; and
(b)
to promote and distribute any programs; and
(c)
subject to the approval of the Minister, to

provide financial assistance to a State or an
authority of a State for the purchase by it of:
(i) Australian programs that are of an
educational nature and of national interest or
importance; and
(ii) rights in respect of any such programs; and
(d)
to encourage, whether by the provision of

financial assistance or otherwise, the proper
keeping of recordings in archives in Australia;
and
(e)
to develop, maintain and preserve a national

collection; and
(e)
for purposes related to external affairs; and
(f)
to exhibit, or to make available for exhibition

by others, items in the national collection; and
(f)
for purposes in relation to a Territory.
Powers of the AFC
(g)
to make items in the national collection

available to such persons and institutions, and
in such manner and subject to such conditions,
as the Commission determines.
Section 6 of the Australian Film Commission Act 1975

lists the powers of the AFC:
(1)
The Commission has power to do all things

necessary or convenient to be done for or in
connexion with the performance of its functions
and, without limiting the generality of the
foregoing, has power:
(1A) In the performance of its functions, the

Commission shall give special attention to the
encouragement of:
(a)
the making of experimental programs and

programs of a high degree of creativeness; and
(a)
to guarantee the repayment of, and payment of

interest on, loans (including bank overdrafts);
(b)
the making and appreciation of Australian

programs and other programs as an art form.
(b)
to provide financial assistance to persons

concerned with the making, promotion,
distribution or broadcasting of Australian
programs under arrangements that entitle the
Commission to receive a share of the proceeds
derived from the sale, hire, distribution or
broadcasting of the programs;
(1B) The Commission must use every endeavour

to make the most advantageous use of the
national collection in the national interest.
86
Appendices
(c)
to acquire rights in respect of programs;
(a)
(d)
to accept gifts, devises, bequests and

assignments made to the Commission (whether
on trust or otherwise); and
the guarantees given by the Commission under

paragraph (1)(a) during the year to which the
report relates;
(b)
the limits that the Treasurer has determined

under subsection (2); and
(c)
the total amount the subject of the guarantees

referred to in paragraph (a).
(5)
The annual report on the Commission under

section 9 of the Commonwealth Authorities and
Companies Act 1997, in respect of a financial
year, must include particulars of all disposals
of items in the national collection during that
financial year that the Commission considers
were significant items in the national collection.
(6)
The annual report of the Commission under

section 9 of the Commonwealth Authorities
and Companies Act 1997, in respect of a
financial year, must include a report of the
operations relating to the national collection.
(7)
The Finance Minister may, by written

instrument, delegate any of the Finance
Ministers powers or functions under this
section to an official (within the meaning of
the Financial Management and Accountability
Act 1997). In exercising powers or functions
under a delegation, the official must comply
with any directions of the Finance Minister.
(8)
In this section: Finance Minister means

the Minister who administers the Financial
Management and Accountability Act 1997.
(e)
to act as trustee of moneys, recordings or

other property vested in the Commission upon
trust, or to act on behalf of the Commonwealth
or an authority of the Commonwealth in the
administration of a trust relating to programs or
to matters connected with programs.
(1A) Without limiting subsection (1), the Commission

also has the following powers in relation to the
national collection:
(a)
to purchase programs or material associated

with programs, to take programs or material
associated with programs on hire and to accept
programs or material associated with programs
on deposit or loan or as a gift; and
(b)
to make programs or material associated

with programs available by hire, loan, sale or
otherwise.
(1B) Without limiting subsection (1), the Commission

may make available services in relation to
programs or material associated with programs.
The Commission may charge fees for the
services, but such fees must be approved in
writing by the Minister.
Note: Under subsection 33 (3A) of the Acts
Interpretation Act 1901, services may be specified by
reference to a particular class or classes of service.
(2)
The power of the Commission to give

guarantees is subject to such limits as the
Treasurer determines as to the total amount of
moneys (other than interest) the payment of
which may at any time be the subject of such
guarantees.
(3)
Notwithstanding anything contained in this Act,

any money, recordings or other property held
by the Commission upon trust shall be dealt
with in accordance with the powers and duties
of the Commission as trustee.
(4)
The annual report on the Commission under

section 9 of the Commonwealth Authorities and
Companies Act 1997 must also include
a statement of:
87
APPENDIX 2
Awards won by AFC-funded films
1 July 2005 to 30 June 2006
AFC-funded films are defined as those projects that
have received investment at development, production
or post-production stages from the AFCs Film
Development Branch. Projects developed under the
General Development Investment program, or that
received Short-term Development Investment Facility or
Production Cash Flow Facility funds, are also included.
The AFC monitors all national and international
awards for Australian films.
Fuel
Director: Nash Edgerton
Eyescream Short Film Festival [October 2005, Australia]
Runner Up
Granny Queer
Director: Jacinda Klouwens
IMMAGINARA International Womens Film Festival
[November 2005, Italy]
Best Animation Audience Award
Moondance Film Festival [April 2006, US]
Best Animation
San Francisco Womens Film Festival [April 2006, US]
Best Animation
Green Bush
Shorts
Azadi
Director: Anthony Maras
Flickerfest [January 2006, Australia]
SBS Television Award
SA Short Screen Awards (SASSA) [April 2006, Australia]
Best Video/Cinematography Nick Matthews
Best Direction Anthony Maras
St Kilda Film Festival [April 2006, Australia]
Judges Special Commendation
Cool
Director: Kylie Washington
Best Cinematography in an Australian Short Jason
Hargreaves
Djarn Djarns, The

Director: Wayne Blair
Best Achievement in an Original Screenplay
Wayne Blair
Everything Goes
Director: Andrew Kotatko
Golden Eye Awards [October 2005, Australia]
Best Drama
Fritz Gets Rich

Director: Eddie White and James Calvert The Peoples
Republic of Animation
Bradford Animation Festival [November 2005, UK]
Best Film For Children Award
88
Appendices
Director: Warwick Thornton

National Geographic All Roads Film Festival
[September 2005, US]
Audience Award
2005 Inside Film (IF) Awards
[November 2005, Australia]
Best Short Film
Best Direction in an Australian Short Film
Warwick Thornton
I Dream of Augustine
Director: Cordelia Beresford
ReelDance International Dance on Screen Festival
[May 2006, Australia]
Highly Commended Best Australian or New Zealand
Dancefilm
Runner Up Peoples Choice Award
Jewboy
Director: Tony Krawitz
Australian Film Institute (AFI) Awards [November 2005,
Australia]
Best Short Fiction Film
Best Screenplay in Short Film Tony Krawitz
Best Cinematography in a Non-Feature Film
Greig Fraser
The Australian Writers Guild AWGIE Awards
Best Original Telemovie Tony Krawitz
Film Critics Circle of Australia (FCCA) Awards
Best Australian Short Film
Last Chip, The
Ward 13
Director: Heng Tang

Clermont-Ferrand International Short Film Festival
[January 2006, France]
International Competition, Special Jury Prize
St Kilda Film Festival [May 2006, Australia]
SBS Television Award
Judges Special Commendation
Short Shorts Film Festival [June 2006, Japan]
Best Film Asia International
Grand Prix
Director: Peter Cornwell

Home Brewed International Film Festival [October 2005,
Australia]
Illawarra Region, Best Short Film
1030 Minutes, Runner Up (shared)
Mechanicals, The
Director: Leon Ford
Best Comedy
Short Shorts Film Festival [June 2006, Japan]
Student Jury Prize
Mysterious Geographic Explorations of Jasper

Morello, The
Director: Anthony Lucas
Valladolid International Film Festival [October 2005, Spain]
50th Anniversary Prize Short Film
ATOM Awards [October 2005, Australia]
Best Animation
APRA-AGSC Screen Music Awards [November 2005,
Australia]
Best Music for a Short Film Bruce Rowland
2005 Inside Film (IF) Awards [November 2005, Australia]
Best Animation
Australia]
Best Short Animation
Outstanding Achievement in Craft in a Non-Feature Film
Anthony Lucas (Production Design)
The Australian Writers Guild AWGIE Awards
Best Short Film Mark Shirrefs
Australian Effects and Animation Festival (AEAF) Awards
[December 2005, Australia]
Best Short Film
Best Animation
Best Achievement in Sound Post-production
John Rowland
89
Features/Short Features
Little Fish
Director: Rowan Woods
QLD Premiers Literary Awards [September 2005, Australia]
Film Script Award Jacquelin Perske
Best Sound Sam Petty, Peter Grace, Robert Sullivan
and Yulia Akerholt
Best Actor Hugo Weaving
Best Actress Cate Blanchett
IF Award for Box Office Achievement
Australia]
Best Actor Hugo Weaving
Best Actress Cate Blanchett
Best Supporting Actress Noni Hazlehurst
Best Editing Alexandre de Franceschi ASE, John Scott
ASE
Best Sound Sam Petty, Peter Grace, Robert Sullivan,
Yulia Akerholt
Film Critics Circle of Australia (FCCA) Awards [November
2005, Australia]
Best Actor in a Supporting Role Hugo Weaving
Best Actress in a Supporting Role Noni Hazlehurst
Best Actress in a Lead Role Cate Blanchett
Highly Commended (shared) Danny Ruhlmann ACS
Look Both Ways

Director: Sarah Watt
Toronto International Film Festival [September 2005,
Canada]
Discovery Award
Best Script Sarah Watt
Best Direction Sarah Watt
Best Editing Denise Haratzis
Australia]
Best Film
Best Direction Sarah Watt
Best Original Screenplay Sarah Watt
Best Supporting Actor Anthony Hayes
Film Critics Circle of Australia (FCCA) Awards [November
2005, Australia]
Best Film
Best Original Screenplay Sarah Watt
Best Actor in a Lead Role William McInnes
Best Director Sarah Watt
90
Appendices
International Film Festival Rotterdam [January 2006,

Netherlands]
Sturm und Dang, Critics Award
Mar del Plata International Film Festival [March 2006,
Argentina]
Official Competition Best Screenplay
Official Competition Best Actress Justine Clarke
NatFilm Festival [March 2006, Denmark]
Down Under Program Critics Award
Australian Screen Directors Association (ASDA) Awards
[April 2006, Australia, held biennially]
2005 ASDA Award for Best Direction of a First Feature
Film Sarah Watt
Peaches
Director: Craig Monahan
Australian Screen Sound Awards [November 2005,
Australia]
Best Achievement in Sound for Sound Recording
John Wilkinson, Marco Arlotta
Somersault
Director: Cate Shortland
APRA-AGSC Screen Music Awards [November 2005,
Australia]
Feature Film Score of the Year Decoder Ring
Australian Screen Directors Association (ASDA) Awards
[April 2006, Australia, held biennially]
2004 ASDA Award for Best Direction of a First Feature
Film Cate Shortland
Ten Canoes
Director: Rolf de Heer and Peter Djigirr
Cannes Film Festival [May 2006, France]
Special Jury Prize, Un Certain Regard
Three Dollars
Director: Robert Connolly
Australia]
Best Adapted Screenplay Robert Connolly,
Elliott Perlman
Best Adapted Screenplay Robert Connolly and
Elliot Perlman
Montreal World Film Festival [August 2005, Canada]
Special Mention Ecumenical Prize (World Competition)
Documentaries
Vietnam Symphony
Director: Cathy Drayton

Best Australian Short Documentary
Dendy Awards for Australian Short Film
[June 2006, Australia]
2006 Rouben Mamoulian Award
SBS Language Services Prize, Documentary Category
Dendy Award, Documentary Category
Director: Tom Zubrycki

Australian Cinematographers Society (ACS) Awards
NSW/ACT [October 2005, Australia]
Highly Commended (shared), Documentaries:
Cinema & TV Simon Smith
Australia]
Best Sound in a Non-Feature Film Leo Sullivan,
Tony Vaccher, Danny Longhurst
Australian Screen Sound Awards [November 2005,
Australia]
Best Achievement in Sound for a Documentary
Leo Sullivan, Danny Longhurst, Duncan McAllister,
Helen Brown, Tony Vaccher
Mumbai International Film Festival [February 2006, India]
Second Best Documentary Film Silver Conch
(Documentary up to 60 minutes)
Jabe Babe A Heightened Life
Yellow Fella
Breaking Bows and Arrows

Director: Liz Thompson
International Festival of Oceania Documentary Film
[January 2006, Australia]
Grand Jury (First) Prize
Girl in a Mirror
Director: Janet Merewether

Best Documentary
Australia]
Best Direction in a Documentary Janet Merewether
Mr Patterns
Director: Catriona McKenzie
Australia]
Best Editing in a Non-Feature Film James Bradley
Rosie
Director: Debbie Gittens
ATOM Awards [October 2005, Australia]
Best Short Documentary
Director: Ivan Sen

International Festival of Oceania Documentary Film
[January 2006, Australia]
Third Prize
Digitals/Interactive
Dog and Cat News
Director: Blue Rocket Media
Australian Interactive Media Industry Association (AIMIA)
Awards [March 2006, Australia]
Best of the Best Award
Best Childrens
Us Mob
Director: David Vadiveloo
Australian Interactive Media Industry Association (AIMIA)
Awards [March 2006, Australia]
Best Learning
91
APPENDIX 3
International screenings
of AFC-funded films
Hold Please
1 July 2005 to 30 June 2006
Last Chip, The
AFC-funded films are defined as those projects that

have received investment at development, production
or post-production stages from the AFCs Film
Development Branch. Projects developed under the
General Development Investment program, or that
received Short-term Development Investment Facility or
Production Cash Flow Facility funds, are also included.
Shorts
Black Talk
Djarn Djarns, The

Singapore International Film Festival [April 2006, Singapore]
Dust Echoes (Morning Star episode)

Director: Studio Moshi
Annecy International Animated Film Festival [June 2006,
France]
Everything Goes
Director: Andrew Kotatko
Hawaii International Film Festival [October 2005, US]
Extreme Makeover
Director: Chris Cudlipp

Berlin International Film Festival [February 2006, Germany]
Director: Heng Tang
Aspen Shortsfest [April 2005, US]
Clermont-Ferrand International Short Film Festival
[January 2006, France]
Mechanicals, The
Director: Leon Ford
London Film Festival [October 2005, UK]
Venice International Film Festival [August 2005, Italy]
Mimi
Mysterious Geographic Explorations of Jasper

Morello, The
Director: Anthony Lucas
Valladolid International Film Festival [October 2005, Spain]
Leipzig International Festival of Documentary and
Animation Films [October 2005, Germany]
Ottawa International Animation Festival [September 2005,
Canada]
Sundance Film Festival [January 2006, US]
Plains Empty
Director: Beck Cole
Sa Black Thing
Director: Rima Tamou
Director: Jonathan Daw

Annecy International Animated Film Festival [June 2006,
France]
Sexy Thing
Flat
Shit Skin
Director: Denie Pentecost

Director: Beck Cole

Director: Nicholas Boseley

Green Bush
Still Time

Tampere International Short Film Festival [March 2006,
Finland]
92
Appendices
Director: Sonia Whiteman

International Short Film Festival Oberhausen [May 2006,
Germany]
Turn Around
Opal Dream
Director: Samantha Saunders

Director: Peter Cattaneo

Berlin International Film Festival Kinderfilmfest/14 Plus
[February 2006, Germany]
Features/Short Features
Stranded
Candy
Director: Neil Armfield
Berlin International Film Festival [February 2006, Germany]
Elephant Tales
Director: Mario Andreacchio
Tribeca Film Festival [April 2006, US]
Illustrated Family Doctor, The

Director: Kriv Stenders
Gteborg Film Festival [January 2006, Sweden]
Jammin in the Middle E

Director: Kim Mordaunt
Jewboy
Director: Tony Krawitz
Karlovy Vary International Film Festival [July 2005, Czech
Republic]
Pusan International Film Festival [October 2005, Korea]
Sundance Film Festival [January 2006, US]
Director: Stuart McDonald

Film Independents LA Film Festival [June 2006, US]
Ten Canoes
Director: Rolf de Heer and Peter Djigirr
Three Dollars
Director: Robert Connolly
Documentaries
Dream of Love, The
Director: Lawrence Johnston
Our Bush Wedding

Director: Adrian Wills
Little Fish
Vietnam Symphony
Director: Rowan Woods

Canada]
Director: Tom Zubrycki

Look Both Ways

Director: Sarah Watt
Canada]
International Film Festival Rotterdam [January 2006,
Netherlands]
Cannes Film Festival Critics Week [May 2006, France]
Chicago International Film Festival [October 2005, US]
Karlovy Vary International Film Festival [June 2006, Czech
Republic]
New Directors New Films New York [March 2006, US]
San Sebastian International Film Festival [September 2005,
Spain]
Wirriya: Small Boy

Director: Beck Cole
Yellow Fella
Director: Ivan Sen
93
APPENDIX 4
Publications
Guidelines, agreements and documents to assist applicants
94
AFC Notes on Notes

Australian Film Commission Corporate Governance Guidelines for Funded Organisations August 2005
AZ Animation Budget
AZ Documentary Budget
Bit of Black Business Guidelines
Black on White National Indigenous Documentary Fund (NIDF): Series 8 Application Form
Black on White National Indigenous Documentary Fund (NIDF): Series 8 Guidelines
Broadband Cross-media Production Initiative Application Form
Broadband Cross-media Production Initiative Guidelines
Bob Maza Fellowship
Film Development Funding Guidelines July 2005
General Development Investment Application Form
Indigenous Branch Application for Travel Assistance Rotterdam Lab 2006
IndiVision 06 Dossier
IndiVision 06 Readings
Industry and Cultural Development Funding Guidelines January 2006
Industry and Cultural Development Funding Guidelines July 2005
Info Guide: Getting Started in Film, Television and Interactive Digital Media
Info Guide: Guide to the AFCs Resources for Documentary Filmmakers
Info Guide: Information for Filmmakers
Inside Track participants, application for travel assistance Rotterdam Lab 2006
Internship and Fellowship Application Form
jtv docs Application Form
jtv docs Guidelines
Long Black Feature Development Initiative AFC Indigenous Branch Guidelines
Marketing Loan Application Form
MeetMarket Dossier
National Indigenous Documentary Fund (NIDF): Series 9 Guidelines
New Screenwriters Program Application Form
Podlove Application Forms
Podlove Guidelines
Short-Term Development Investment Facility & Production Cashflow Facility Application Form
SP*RK Script Development Program Guidelines and Application Form
SPAAmart Feature Film Market Project Dossier and Executive Profiles
Appendices
Strand A1 & A2 Draft Drama Funding & International Script Workshops Application Form
Strand B Seed Feature Funding & International Script Workshops Application Form
Strand C Matched Investment Application Form
Strand D Draft Funding Application Form
Strand F1 IndiVision Project Lab & Script Development Application Form
Strand F2 IndiVision Single Draft Script Development Application Form
Strand G Long Shorts Production (Short Features and Short TV Drama Series) Application Form
Strand I IndiVision Low-budget Feature Production Application Form
Strand N Documentary Production Application Form
Strand S Animation Development Application Form
Strand T Animation Production Application Form
Strand V Early Development (Interactive Digital Media) Application Form
Strand W Matched Investment Development Funding (Interactive Digital Media) Application Form
Strand X Experimental Digital Production Application Form
Strands H1 & H2 Short Shorts Production Application Form
Strands J, K & L Documentary Development Application Form
Travel Grant Program Selection Criteria and Application Form July 2005
Travel Grant Program Selection Criteria and Application Form February 2006
What is a Synopsis? An Outline? A Treatment?
Writer Fellowship Application Form
Submissions to inquiries, industry briefings, reports, research results, surveys

AFC response to the industry priorities of the Digital Content Industry Action Agenda (DCIAA), August 2005
AFC submission to the Attorney Generals Department on its Issues Paper Fair Use and Other Copyright Exceptions
An examination of fair use, fair dealing and other exceptions in the Digital Age, July 2005
AFC submission to Australian Communications and Media Authority, Future Use of Unassigned Television Channels
Discussion Paper, April 2006
AFC submission to DCITA discussion paper, Meeting the Digital Challenge: Reforming Australias Media in the Digital
Age, April 2006
AFC submission to DCITAs Proposed Reforms to the Regulatory Powers of ACMA, December 2005
AFC submission to House of Representatives Standing Committee on Legal and Constitutional Affairs Inquiry into
technological protection measures (TPM) exceptions, October 2005
AFC submission to the Department of Foreign Affairs and Trade: Public Consultations preceding the Hong Kong
Ministerial Meeting of the WTO Doha Round of Trade Negotiations, October 2005
95
AFC submission to the 2005 Feasibility Study into an Australia Japan Free Trade Agreement, October 2005
AFC submission to the DCITA ABC Funding Adequacy and Efficiency Review, December 2005
AFC submission to the DCITA Review into High Definition Television Quota Arrangements, July 2005
AFC submission to the DCITA Review of Divisions 10B and 10BA, December 2005
AFC submission to the DCITA Review of the Duration of the Analogue/Digital Television Simulcast Period,
December 2005
AFC submission to the PMSEIC Working Group on the Role of Creativity in the Innovation Economy, August 2005
Australian Films 2005 Box Office Share
Co-production Report March 2006
Documentary Production in Australia: a collection of key data February 2006
National Survey of Feature Film and TV Drama Production 2004/05
Production of TV Commercials in Australia: Key Survey Findings
Upcoming Production Report
Promotional and Marketing Publications
Australian Feature Films 2006 Catalogue

Australian Feature Films Mini Catalogue January 2006
Australian Feature Films Mini Catalogue May 2006
Australian Short Films 2005/06 Catalogue
Australian TV Drama and Documentary Catalogue September 2005
Australian TV Drama and Documentary Catalogue March 2006
Australians at MIPCOM 2005
Australians at MIPTV and MILIA 2006
Corporate and other documents

AFC Annual Report 2004/05
AFC News (monthly, online only)
IndiVision News (three issues, online only)
96
Appendices
Limited release
DVDs
Australia on Show
Australian Film Commission Presentation Reel 2006
australianscreen online trailer 2006
The Canberra Files: Politics and Persuasion
NFSA publications
Promotional and marketing publications
National Film and Sound Archive information brochure
NFSA Cinmathque calendar (FebruaryMay, May and June 2006)
Other publications
National Film and Sound Archive Collection Policy (online only)
Credits Rolling! 12th Bicentennial Conference of the Film and History Association of Australia and New Zealand,
Marilyn Dooley
After contrivance comes passion: Rolf de Heer on the creative impulse and financial imperative in filmmaking,
Longford Lyell Lecture 2005
The short animation series One Minute to Midnight received AFC production investment funding. It was written and produced by
Andrea Gillies and directed by Steve French.
97
APPENDIX 5
Access and Equity
The following is an analysis of access and equity
characteristics of applicants to AFC funding programs
in 2005/06.
Individual Funding
In 2005/06, 83.6 per cent of applicants for AFC funding
were born in Australia and 16.4 per cent were born
overseas a substantial change from the 2004/05
results which were 74 per cent and 26 per cent
respectively.
These results are similar to the birthplace profile for the

Australian film and video production industry generally,
as reported in the 2001 Census, which showed 79 per
cent of personnel were born in Australia and 21 per
cent were born overseas. In 2005/06 the proportion
of AFC applicants who were North, South or Central
American, African, Aboriginal or Torres Strait Islander
was higher than the numbers for the Australian film
industry generally.
Analysis of successful applicants shows an increase from
75 per cent to 84 per cent for people born in Australia,
while the number of successful applicants born overseas
dropped from 25 per cent to 16 per cent.
AFC applicants advising birthplace information, 2005/06

AFC
applicants*
1.6%
Birthplace of people working

in the Australian film & video
production industry**
0.8%
Americas***
2.1%
1.3%
Asia (inc. Western Asia)****
2.1%
3.8%
Australians other than Aboriginal and Torres Strait Islander people
72.5%
79.1%
Australian Aboriginal and Torres Strait Islander people*****
11.2%
0.7%
Total (Australia)
Place of Birth
Africa
Australia
83.7%
79.8%
Europe
7.6%
9.7%
Oceania (exc. Australia)
2.8%
3.1%
Source: Compiled by AFC Research & Information

Notes:
*
**
98
Based on analysis of 1,188 applicants to Film Development,

Marketing, Indigenous, and Industry and Cultural
Development programs in 2005/06 who completed the
forms requesting this information. Figures are for individual
applicants; there may be several applicants per project.
Birthplace information for people working in the Australian
film and video production industry: Australian Bureau of
Statistics Census of Population & Housing 2001.
Appendices
***
Includes North, South and Central America,

and the Caribbean.
****
Due to the low numbers involved, the Middle East category

has been included in Asia for reasons of confidentiality.
***** 89.1 per cent of the figure for Indigenous Australians

relates to Indigenous Unit Initiatives.
ICD-funded organisations for

2005/06
Application statistics by gender
Of the 85 applications received in 2005/06 by the

Industry and Cultural Development Division, 83
were made by organisations and two by individuals.
Access and equity forms were included in 77 of the
applications, giving a 91 per cent return rate for the
forms. Of the 85 applications, 58 were approved for
funding. Some organisations applied for several different
projects over the year, and when duplicates were
excluded, data was compiled on a total of 65 different
applications and 2 individuals.
Gender application statistics reflect the sex of the

principal creative team (writer, director, producer)
at the time of application.
Film development and production program
DEVELOPMENT
FEMALE
MALE
JOINT
TOTAL
Applicants
311
419
179
909
Approvals
94
83
42
219
FEMALE
MALE
JOINT
TOTAL
Applicants
182
205
150
537
Approvals
24
19
17
60
PRODUCTION
Equal opportunity in ICD-funded organisations

Fifty-eight ICD-funded organisations (70 per cent) had
an equal opportunity policy in 2005/06. This compares
to 40 (80 per cent) in the 2004/05 financial year.
Thirty-two organisations (39 per cent) had programs
specifically designed to enhance the participation of
people from non-English speaking backgrounds, people
of Aboriginal or Torres Strait Islander descent, women,
or people with disabilities in the screen industry.
This compares to 29 (41 per cent) in the 2004/05
financial year.
Profile of board members and staff of
ICD-funded organisations
Non-English Speaking Background

Aboriginal or Torres Strait Islander
Women
Board Members
13%
4%
46%
Staff
20.5%
1%
56%
Market expansion
TRAVEL GRANTS/
AFC DELEGATIONS
FEMALE
MALE
JOINT
TOTAL
Applicants
61
88
158
Approvals
41
41
91
NB: One application was withdrawn by the applicant prior to

assessment, and three applications were withdrawn by
applicants after being approved.
Marketing loans
FEMALE
MALE
JOINT
TOTAL
Applicants
MARKETING LOANS
13
Approvals
10
Industry and cultural development

FEMALE
MALE
ORGs
TOTAL
Applicants
83
85
Approvals
61
63
99
Indigenous representation
FEMALE
MALE
JOINT
TOTAL
Applicants
22
34
60
Approvals
12
16
29
Applicants
Approvals
Applicants
12
24
Approvals
11
Applicants
Approvals
Applicants
10
19
Approvals
17
Applicants
Approvals
Applicants
Approvals
Drama Development
Drama Production
Documentary Development
Documentary Production
Travel Grant
Attachment/Internship
Special Events
NB: One Travel Grant application was withdrawn

by the applicant after being approved.
100
Appendices
APPENDIX 6
NFSA Curatorial Highlights
The NFSAs first full year under its curatorial structure has
seen major advances in its curatorial and contextualising
work across all branches. Actively seeking new
audiences, the NFSA has hosted special events such as
the 2006 Celebration of Cinematography festival with
the Australian Cinematographers Society, An Evening
with David Pendragon (Internet Producer of the Year in
2006), a program of new video work by Thai director
Apichatpong Weerasethakul entitled Ghosts of Asia, and
special evenings with Telluride Film Festival Director Bill
Pence and Australian scriptwriter Peter Yeldham. The
2005 Ken G Hall Award was presented to director Phillip
Noyce at the NFSAs Canberra headquarters, and the
completion of the hugely successful Kodak/Atlab feature
film copying project was celebrated at a gala event in
Sydney. The newly negotiated Atlab/Kodak extension to
this project was also announced at the Sydney event.
The 2005 Longford Lyell Lecture was presented by Rolf
de Heer while he was completing Ten Canoes, a film
that has now been deposited with the NFSA as part of
the National Collection.
Each of these events affirm the NFSAs commitment
to delivering exciting opportunities to engage with the
National Collection of audiovisual material in increasingly
adventurous ways.
Further highlights directly connected to the NFSAs key
curatorial programs are detailed below.
Indigenous Collection
The Indigenous Collection Branch is actively engaged
in extending the NFSAs connections with Indigenous
communities and providing a context for the large
holdings of film, sound and documents relating to the
Australian Indigenous experience. Some of the branchs
highlights for 2005/06 are listed below.
Identification and repatriation of material of specific
importance to various Indigenous communities
has been successfully completed, with ongoing
connections made for future traditional rights advice.
A formal memorandum of understanding is being

negotiated between the NFSA and AIATSIS to support
the strong relationship between these organisations
and assist in facilitating exciting new opportunities.
The NFSAs collection of contemporary Indigenous
work has been expanded to include the televised
Deadly Awards and work from Imparja TV. This
is in addition to the NFSAs active program to
comprehensively collect contemporary Indigenous
recorded sound productions.
Access
The NFSA delivers collection material to an everincreasing range of clients for activities such as
screenings, performances, productions, research and
exhibitions. Highlights from the provision of over 7,000
National Collection items in 2005/06 are listed below.
The restored Australian feature classic The Sentimental
Bloke (1919) screened at the 2005 Pordenone Silent
Film Festival and the 2005 London Film Festival. The
film continues its international tour with a visit to the
US in 2006.
Vital production material was provided for many DVD
releases of Australian film titles, including The Killing
of Angel Street (1981), The Irishman (1978), Love
Letters from Teralba Road (1977) and The Getting of
Wisdom (1977).
300 selected collection items were delivered to the
Learning Federation for use in the major national
online curriculum program.
Posters, lobby cards and screening prints were
provided as key exhibits for the Queensland Art
Gallerys Kiss of the Beast exhibition.
Many unique objects were loaned and hours of
television content were provided for inclusion
in both the Powerhouse Museums On the Box:
Great Moments in Australian Television 19562006
exhibition, and the Australian Centre for the Moving
Images TV50 exhibition.
Unique archival recordings of political speeches
were provided as a part of an experimental sound
101
installation performed by sound artist Michelle Outram

in the Sydney Domain.
Recorded Sound
The Recorded Sound Branch is committed to building,
preserving and delivering the highest quality national
and international recorded sound resource. 2005/06
saw major advances in developing a meaningful
international collection and forging strong relationships
with key industry bodies including the Commercial
Radio Broadcasters Association, the Australian Recording
Industry Association and the Australian Performing
Rights Association (APRA). Other significant highlights of
2005/06 are outlined below.
Active negotiations with the Australia Council have
resulted in an agreement to encourage lodgment of
all Australia Council-funded sound productions with
the NFSA. This assistance significantly extends the
NFSAs ability to engage with emerging recorded
sound artists and practitioners.
With the launch of Apple iTunes in Australia on
25 October 2005, the NFSA has opened an iTunes
account and is acquiring sound recordings that are
only available from the iTunes store. This was an
ideal opportunity to engage immediately with one of
the major, rapidly evolving technologies of the 21st
century.
The NFSA received over 15,000 vinyl discs in excellent
condition as a donation from radio station 2WS. Discs
from this collection will form the basis of a substantial
international collection of popular music from the
1960s to 1980s, as heard by Australian audiences.
The discs will also complement the existing significant
holdings of Australian popular recordings.
Reg James, long-time controller of Grace Gibson
(Radio) Productions, visited Canberra to work with
the Recorded Sound Branch and provide invaluable
copyright and historical information, and general
assistance in relation to the Archives extensive
holdings of radio serials produced and/or distributed
102
Appendices
by Grace Gibson. This collection is the largest in

Australia, is regularly requested and still offers major
potential for distribution to world-wide niche markets.
An AC/DC Lane street sign from Melbourne City
Council was donated to the NFSA on the anniversary
of the naming of AC/DC Lane in honour of the
Melbourne rock band. This is an example of the more
unusual memorabilia the NFSA collects, which often
illustrates the style and culture of a specific period in
recorded sound promotion. Items such as these are
useful for both historic and exhibition purposes.
Documents and Artefacts

The Documents and Artefacts Branch has been
revitalised to provide a curatorial focus on the essential
accompaniments to moving images and recorded
sound, such as stills, scripts, posters, publicity materials,
manuscripts, scrapbooks etc. This material often gives
life and meaning to the context of production and
provides infinite research potential which the branch
then facilitates through the Centre for Scholarly and
Archival Research (CSAR). Highlights for the branch in
2005/06 are listed below.
One of Australias most significant and longstanding
radio and television production houses, Crawfords
Productions, has donated a massive collection of
documents including photographs, transparencies,
TV and radio scripts, publicity kits, posters and
artefacts covering productions from the 1960s to
the 1990s. This collection adds substantially to the
NFSAs broadcast holdings and provides one of the
most fruitful potential research resources for future
broadcast scholars.
The 2UE radio studio setup of veteran talkback
host John Laws was donated to the NFSA, offering
a unique opportunity for the NFSA to archive
an operational commercial radio environment
representing over 30 years of operation and
development.
The sorry suits worn by Midnight Oil in performance

at the closing ceremony of the Sydney Olympics,
and James Morrisons first trumpet were donated to
the NFSA and again offer great potential for both
exhibition and future social comment.
Renowned country music star Smoky Dawson has
begun to donate his collection to the NFSA, which
includes manuscripts, artefacts, photos and awards
spanning the career of Smoky and his wife Dot.
Since his death, Graham Kennedys large collection of
memorabilia has progressively been lodged with the
NFSA, providing an invaluable insight into the man
and his career.
During the year, the NFSAs CSAR was established and
hosted a number of tertiary interns and researchers
who investigated a range of film and sound related
topics, bringing a range of new insights to aspects
of the National Collection. 2006/07 will see the first
intake of longer-term fellowship researchers.
Moving Image
The Moving Image Branch has been actively involved
in exciting new projects to build the international
screening print collection, to expand national funding
body support for automatic lodgment of new Australian
productions with the NFSA, and a number of restoration
and reconstruction projects. Important achievements for
2005/06 are listed below.
Restoration work commenced on the worlds first
feature film The Story of the Kelly Gang (1906),
including the addition of recently discovered original
footage that brings the extant film to almost 20
minutes.
The addition of contemporary works to the collection,
including all Australian features released in 2005/06,
as well as significant short films, television programs
and documentaries. Titles included the award-winning
miniseries The Incredible Journey of Mary Bryant, the
Academy Award-nominated animation The Mysterious
Geographic Explorations of Jasper Morello, and the
features Little Fish, Kokoda, Oyster Farmer and Candy.

An active commitment to further develop the
international film screening collection has seen a
dramatic increase in the number of significant foreign
titles available in the collection. New prints of classic
films such as Fantasia (1940) and the restored version
of A Hard Days Night (1964) are just two of the 200plus new titles available.
The critically acclaimed and rarely seen US/Australian
co-production Wake in Fright (1971) is progressing
through a complex restoration process.
Strategies to ensure that all government-funded film
and television is preserved were further negotiated
with the support of the AFCs Film Development
Division, the FFC, ScreenWest and the SAFC. This will
ultimately mean that the NFSA is able to formally
support preservation of funded productions
Australia-wide.
The Television News Capture project is now in its
eighteenth year and has extended its coverage to
collect samples of Australian TV news and current
affairs from free-to-air, pay TV and the community TV
sector. The NFSAs collection of television news for
this period is comprehensive, with television stations
providing coverage 365 days per year.
Over 46 audiovisual websites were harvested for
addition to the NFSA and NLAs collaborative PANDORA
project. Online capture is an expanding challenge for
the NFSA and will be a focus for the forthcoming year.
103
NFSA publications
A number of NFSA staff had works published or/and
gave presentations in 2005/06.
Paolo Cherchi Usai, Crepa nitrato, tutto va bene, in

Francesco Casetti (ed), La Cineteca Italiana. Una storia
Milanese, Milan: Editrice Il Castoro, 2005, pp1122
Books
Lectures
Paolo Cherchi Usai (general editor), The Griffith Project:

Volume 9: Films Produced in 19161918, LondonPordenone: BFI Publishing/Le Giornate del Cinema
Muto, 2005
Paolo Cherchi Usai, Ten Years Later: The L Jeffrey

Selznick School of Film Preservation, invited keynote
speech, George Eastman House, Rochester, New York,
23 June 2006
Paolo Cherchi Usai, La muerte del cine. Historia y

memoria cultural en el medioevo digital, revised
Castellan Spanish edition of The Death of Cinema:
History, Cultural Memory and the Digital Dark Age,
Barcelona: Editorial Laertes, 2005
Paolo Cherchi Usai, Blowin in the Wind: Film Archive

Management at a Time of Change, workshop, 62nd
Congress of the International Federation of Film Archives
(FIAF), Cinemateca Brasileira, So Paulo, Brazil, 27 April
2006
Articles
Paolo Cherchi Usai, K Sera, Sera, or How I Learned to

Stop Worrying and Love the Content, invited lecture,
Australian National University, Canberra, 7 March 2006
Christine Law, Disaster Preparedness Why Bother?,

Journal of the Australian Registrars Committee, vol 51,
November 2005
Graham McDonald, The National Film and Sound
Archive and Folk Music, Folk Alliance Newsletter,
Winter 2006
Victoria Ramshaw, Storage Making the Most of
What Youve Got, Journal of the Australian Registrars
Committee, vol 51, November 2005
Paolo Cherchi Usai, Zivot filmu navzdory jeho fyzick
smrti. Rozhovor s Anna Batistov, Andrea Rottinov.,
Iluminace, vol 18, 1(61), 2006, pp99109
Paolo Cherchi Usai, The Demise of Digital (Print #1),
Film Quarterly, vol 59, 3, Spring 2006, p3
Paolo Cherchi Usai, Book review: De Path Frres
Path Cinma Catalogue 19231927, by Henri
Bousquet, Journal of Film Preservation, no 70,
November 2005, pp7779
Paolo Cherchi Usai, la dcouverte de Raoul Barr
(Cinmathque Qubcoise, 2005), Journal of Film
Preservation, no 70, November 2005, pp8991
104
Appendices
Paolo Cherchi Usai, La muerte del cine, invited lecture,

Filmoteca de Andalucia, Cordoba, Spain, 18 October
2005
Presentations
David Boden and Elizabeth Jamieson, address to the
Australian Council of Film Societies on the National Film
and Sound Archive and the National Film and Video
Lending Service, Annual General Meeting, Hobart,
1 April 2006
Matthew Davies, Any Damn Fool Can Predict the Past
at the 2005 International Association of Sound and
Audio Visual Archive Conference, Barcelona, September
2005
Matthew Davies, Optimism of the Digital Transfer
Process to Storage Formats at the Joint Australasian
Sound Recording Association/National Oral History
Association of New Zealand Technical Workshop,
Christchurch, New Zealand, July 2005
Matthew Davies, National Film and Sound Archive

Sound Strategy at the Cultural Histories and
Geographies Radio Seminar, Melbourne, May 2006
Ian Gilmour, Digital Audio and Metadata, Association of
Moving Images Archives, Austin Texas, December 2005
Ian Gilmour, Digital AV File Formats at the Council
on Library and Information Resources, Engineers
Roundtable, Washington DC, March 2006.
Ian Gilmour, Digital AV Archiving at the Association
of Parliamentary Librarians Australasian Conference,
Brisbane, June 2006
Elizabeth Jamieson and Rodney Butler, Orphan Works
at the NFSA A Sectoral Perspective, Orphan Works
Forum at the National Library of Australia (Australian
Libraries Copyright Committee and Copyright in Cultural
Institutions), May 2006
Director Rolf de Heer delivered the NFSAs 2005 Longford Lyell

Lecture in Melbourne.
Meg Labrum and Elizabeth Jamieson, The NFSA Centre for

Scholarly and Academic Research, Research Applications
in Information and Library Studies Conference, National
Library of Australia, September 2005
Mick Newnham, Archiving Audiovisual Collections Under
Difficult Conditions from the Perspective of South East
Asia, a comparative study of archiving in SE Asia and
Latin America presented at Consejo Latinoamericano de
Cine y Comunicacin de los Pueblos Indgenas (CLACPI)
8th International Indigenous Film Makers Conference,
Oaxaca, Mexico, June 2006
Mick Newnham with J Lindner (Managing Member of
Media Matters LLC), Magnetic Materials Preservation,
workshop held in Bangkok, Thailand and Phnom Penh,
Cambodia, February 2006
Victoria Ramshaw, New Challenges and Solutions
for Audiovisual Storage, Annual Australian Registrars
Committee Conference Stretched to the Limit: finding
storage solutions for the 21st Century, Sydney,
December 2005
The AC/DC Lane street sign, named in honour of the classic

Australian rock band, was donated to the NFSA by the
Melbourne City Council.
105
APPENDIX 7
Assessors and Consultants
Film Development consultants used
for special projects 2005/06
IndiVision
Gillian Armstrong, Marc Missionnier, Joan Sauers,
Su Armstrong, Andrew Fierberg, Lynda House, David
Lightfoot, Matthew Reeder, Anne Robinson, Robert
Webb, Steven Vidler, Rowan Cassidy, Mark Bergin,
Rainier Davenport, Max Hensser, Robert Mackay, Daniel
Miau, Ralph Steele, Graham Wyse, Nick Beauman,
Karryn de Clinque, Roland Gallois, Bin Li, Basia Ozerski,
Daniel Nettheim, Andrew Soo, Tim Wellburn, Denson
Baker, Ian Jones, Justine Kerrigan, Steve Macdonald,
Tristan Milani, Lachlan Milne, Joseph Pickering, Simon
Cardwell, Amanda Bishop, Nathan Butler, Darren Casey,
Luke Carroll, Winston Cooper, Michael Dorman, Russell
Dykstra, Leon Ford, Marcus Graham, John Gregg, Sam
Lyndon, Victoria Longley, Alice McConnell, Maddi
Newling, Rachael Taylor, Mia Wasikowska, Brendan
Barry, Courtney Botfield, Sondra Clarke, Loosie Craig
Film Development script and budget assessors

2005/06
Elisa Argenzio, Geoffrey Atherden, Ron Blair (Thrasher
Pty Ltd), Annette Blonski (Rushmead Consulting Pty
Ltd), Michael Brindley (Picture Palace Pty Ltd), Naomi
Cleaver, Robert Connolly (Arenafilm Pty Ltd), Melanie
Coombs (Melodrama Pictures Pty Ltd), Ian David (Mulga
Wire Pty Ltd), Suheil Dahdal (Alternative Planet Earth),
Pat Dedal (Gobo Box), Don Featherstone (Featherstone
Productions Pty Ltd), Julie Forster (Production Value
Pty Ltd), David Gurney (Blue Rocket Productions Pty
Ltd), Frank Haines (Frank Haines Films Pty Ltd), Cathy
Henkel (Hatchling Productions Pty Ltd), John Hewitt
(Rough Beast), Amanda Higgs (Amanda Higgs Pty Ltd),
John Hughes, Robert Hutchison, Sally Ingleton (Singing
Nomads Pty Ltd), Claire Jager (Omar Khayam Pty Ltd),
Joel Jenkins, Steve Jodrell, Carolyn Johnson (Carolyn
Johnson Films Pty Ltd), Mojgan Khadem, Reece Lamshed
(Binary Blue), Mark Lazarus, John Lewis (Omar Khayam
106
Appendices
Pty Ltd), Helen Lovelock (Green Island Films Pty Ltd),

Anthony Lucas (3-D Films Pty Ltd), Julia Lucas (3-D
Films Pty Ltd), Robert Marchand (First Class Films Pty
Ltd), Megan McMurchy (Suitcase Films Pty Ltd), John
Moore (John Moore Productions Pty Ltd), Alison Nisselle
(Centaur Screenworks Pty Ltd), Chris Noonan (Binnaburra
Film Co Pty Ltd), Cherie Nowlan (Too True Films Pty
Ltd), Deborah Parsons, Nick Parsons (The Great South
Land Film Co Pty Ltd), Cristina Pozzan (Buona Notte
Productions Pty Ltd), Molly Reynolds, Esther Rodewald,
John Ruane, Julian Russell (220 Productions Pty Ltd),
Joan Sauers, Daniel Scharf (Daniel Scharf Productions
Pty Ltd), Kath Shelper (Film Depot Pty Ltd), Ben Speth,
Kriv Stenders (Horrorshow), David Stevens, Robert
Stephenson (Free Radicals), Jonathan Teplitzky (Meercat
Films Pty Ltd), Dennis Tupicoff (Samara Films Pty Ltd),
Kate Woods (HLA Management Pty Ltd), Greg Woodland
(Elm Films Pty Ltd), Tim White (Southern Light Pictures
Pty Ltd), Geoffrey Wright
Industry and Cultural

Development assessors
Vicki Sowry, Gayle Lake
Consultants
The AFC engages consultants with specialist skills to
assist with defined projects where the tasks involved
cannot be performed by existing staff.
During 2005/06, the AFC entered into 16 new
consultancy contracts, involving total actual expenditure
of $613,962. In addition nine ongoing consultancy
contracts were active during the 2005/06 year, involving
total actual expenditure of $164,218.
The following table comprises consultancy contracts for
$10,000 or more let in 2005/06.
CONTRACT PRICE
(LIFE OF CONTRACT
INCLUSIVE OF GST)
CONSULTANT NAME
DESCRIPTION
KPMG
Provision of internal audit services
$45,760.00
Direct sourcing
Acumen Alliance
Development of Business Continuity

Plan
$21,162.00
Direct sourcing
Michaela Kalowski
Production Management services:

IndiVision Workshop
$23,718.75
Select tender
Dragonet Films, Kate

Riedl
Project Management services:

IndiVision Workshop
$22,925.00
Select tender
Film Depot Pty Ltd
Production and workshop facilitation:

A Bit of Black Business
$15,500.00
Direct sourcing
A and B
Dakota Films, Richard

Sowada
Program curation and delivery:

Big Screen
$24,907.30
Direct sourcing
Walter Turnbull
Evaluation of curatorial functions
$48,500.00
Direct sourcing
A and B
Valuesourcing
Media asset management

consultancy service
$56,320.00
Direct sourcing
Gary Transue
NFSA theatre lighting design

consultant
$17,472.00
Direct sourcing
Inquirion Receipts
Online catalogue, software services
Open tender
Reel Time Research
National Indigenous Filmography

scoping
$20,000.00
Direct sourcing
Avviso P/L
Public Relations
$173,069.00
Select tender
Jane Sumner
Assist in the review of the

AFCs websites, in particular the
redevelopment of the NFSA site
$66,197.00
Select tender
Cecile Casanova
Research and benchmark international

support mechanisms to assist with
developing a long-term funding policy
for the Australian film industry and
various special research projects
$46,443.00
Direct sourcing
A and B
Cass OConnor (Cassocom Provision of advice on a range of tax

P/L)
and investment options as part of the
Governments review of film funding
$38,500.00
Direct sourcing
Terri Janke & Company
$16,658.00
Direct sourcing
Research, development and

preparation of strategies for
Indigenous film funding and policy
$180,255.00
SELECTION PROCESS
JUSTIFICATION
Justification for decision to use consultant

A: skills currently unavailable within agency
B: need for specialised or professional skills
107
APPENDIX 8
Investments, loans, grants and other AFC initiatives
TITLE
APPLICANT
2005/06
PAYABLE IN
FUTURE YEARS
TYPE
4,000.00
1,250.00
I
I
FEATURES PROJECT DEVELOPMENT

FEATURES PROJECT DEVELOPMENT STRAND A
Bee
Damien McLindon
Beetle Ramen
Moonlight Cinata Pty Ltd
35,150.00
Black Annis
Matthew King
10,960.00
2,740.00
Boy, The
Train of Thought Pty Ltd
16,000.00
Come To Me
Ian Kennedy Williams
3,600.00
Come With Me
Marion Lee
2,100.00
Comedians, The
Roger Joyce
200.00
Digger, The
Two Dogs Productions Pty Ltd
745.45
Frankie
Peter Jattke
2,000.00
Golf Hackers
Andrew Murray
4,800.00
1,200.00
Good Shepherd, The
Kelly Broad
2,000.00
Her and Her Bloody Opera
Sonja Armstrong Productions Pty Ltd
3,000.00
Hey Hey Its Esther Blueburger
Tama Films Pty Ltd
20,000.00
Jennifer Louise Perrott Intership
Jennifer Louise Perrott
16,000.00
Jungle, The
Alice Addison
Kingdom, The
Edstrong Productions Pty Ltd
Malkies Giantkillers
Steven Moriarty
Me and My Tuk Tuk
Trudi-Ann Tierney
Mirror Man
Matt Wheeldon
Miss Showgirl
Julianne Negri
Moving South
3,600.00
20,000.00
3,400.00
4,800.00
1,200.00
1,250.00
1,500.00
Cath Moore
11,700.00
Not Drowning Waving
Eve Spence
11,780.00
2,420.00
Reasons To Be Cheerful
Cath Murphy
14,000.00
3,500.00
Running Wild
Film Depot Pty Ltd
4,000.00
Salt
Priscilla Cameron
36,500.00
Satellite Boy
CAAMA Productions Pty Ltd
3,100.00
Scratch the Surface
Happening Films
18,300.00
Serina and Her Sisters
Winston Furlong
Serpent, The
Lizzette Atkins
Shit Happens
Lyn Chick
Stranded III
3,000.00
20,000.00
2,100.00
Tim Maricic
12,800.00
3,200.00
Sucker
Jason Byrne Productions
14,400.00
3,600.00
This Kiss
Vermillion
10,000.00
Utopia
Spiro Economopoulos
14,400.00
3,600.00
Note: Funding Types are I = Investment, GDI = General Development Investment, L = Loan, G = Grant, S = Special AFC Initiative.
108
Appendices
TITLE
APPLICANT
Warmth, The
Rhys Graham
Waterlily
Elissa Down
West
Millennium Pictures Pty Ltd
Australian Academy of Digital Arts
Features Project Development Strand A TOTAL
2005/06
PAYABLE IN
FUTURE YEARS
TYPE
3,000.00
15,050.00
3,600.00
500.00
17,760.00
279,500.00
114,305.45
FEATURES PROJECT DEVELOPMENT STRAND B

Almost French
Sonja Armstrong Productions Pty Ltd
Amnesia
Porchlight Films Pty Ltd
1,470.00
18,000.00
Architect, The
Circe Films Pty Ltd
3,000.00
Cargo
David Caesar
20,900.00
Cheating Hearts
Harry Kirchner
300.00
Clear Sense of Duty, A
Slamcam Films Pty Ltd
6,000.00
Comet, The
Blackfella Films Pty Ltd
3,500.00
Desert Rose
Brian Hoare and Associates
3,200.00
Dying for Cake
GFN Productions
12,000.00
Expedition
Ben Speth
15,200.00
3,800.00
FAQ
Deborah Parsons
3,200.00
Father Lands
Emma Freeman
3,200.00
Grand Final
Weis Films Pty Ltd
3,600.00
Gun Alley
Cascade Films Pty Ltd
3,500.00
Intersection
Honky Tonk Angel Productions
16,000.00
4,000.00
Lenny and Venice
Eidolon Pty Ltd
22,000.00
Lets Get Lost
Pocket Pictures Pty Ltd
2,000.00
Lola
John Brumpton
2,600.00
Mud Over Blood
Leesa Kahn
4,600.00
My Year Without Sex
Sarah Watt
20,000.00
Pillow Fight, The
Deep Rock Pty Ltd
20,000.00
Sapphire, The
RB Films Pty Ltd
Saving Mr Banks
CIS and Associates
Shakespeares New Play
Southern Star Entertainment
Strangerland
Fiona Seres
Tuna
18,000.00
22,000.00
22,000.00
3,100.00
Radhart Pictures Pty Ltd
20,000.00
Wetware
Jon Hewitt
3,000.00
White Knuckles
Monkey Business
10,000.00
122,670.00
167,500.00
Features Project Development Strand B TOTAL
109
TITLE
APPLICANT
PAYABLE IN
FUTURE YEARS
TYPE
3,150.00
5,000.00
2005/06
FEATURES PROJECT DEVELOPMENT STRAND C

Actresses, The
Big And Little Films Pty Ltd
Bennelong
Bill Bennett Productions Pty Ltd
Death Defying Acts
Macgowan Films Pty Ltd
25,750.00
Eugenia
Sherman Pictures
22,800.00
5,700.00
Little White Horse, The
Meredith Garlick
10,000.00
Maos Last Dancer
Early Mark Films Pty Ltd
50,000.00
Mary & Max
Melodrama Pictures Pty Ltd
6,000.00
Mr Darwins Shooter
Chapman Pictures Pty Ltd
12,000.00
White Spirit
Instinct Entertainment Pty Ltd
29,200.00
7,300.00
Years of Wonders
Rumbalara Films
10,000.00
152,900.00
34,000.00
Features Project Development Strand C TOTAL

FEATURES PROJECT DEVELOPMENT STRAND D
Accidental Heroes
Rosen Harper Entertainment Pty Ltd
20,440.00
5,110.00
All I Want
24,000.00
6,000.00
Amnesia
22,400.00
5,600.00
Aristotle Bykovsky
Vertigo Productions Pty Ltd
15,000.00
3,700.00
Behind the Wire
Robert Rabiah Gharios
2,500.00
Black Cockatoo
Sherman Pictures Pty Ltd
24,000.00
6,000.00
Blessed
Zizani Films Pty Ltd
4,000.00
Blogger Girl
Robyn Kershaw Productions Pty Ltd
23,940.00
5,985.00
Boston Crab, The
250.00
Bridge of Sights
James Lingwood T/A Darnley House

Productions
Such Much Films Pty Ltd
24,000.00
6,000.00
Cleave
Silver Lining Production Pty Ltd
5,000.00
Cloudcatcher
Tama Films Pty Ltd
15,760.00
3,940.00
Creatures of Habit
Huzzah Productions Pty Ltd
5,000.00
Digger, The
Two Dogs Productions Pty Ltd
25,000.00
End of Anxiety, The
Agenda Film Productions Pty Ltd
12,000.00
3,000.00
Father Lands
Emma Freeman
27,000.00
30,000.00
Floating World, The
2,000.00
For Life
Pericles Film Productions Pty Ltd
19,600.00
2,000.00
Grand Final
Weis Films Pty Ltd
21,600.00
5,400.00
Hannah and Rebecca
Vincent Ward Films Pty Ltd
2,250.00
Happy Families (aka Mark My Words)
Alison Tilson
3,000.00
Harvest, The
RB Films Pty Ltd
14,400.00
3,600.00
110
Appendices
TITLE
APPLICANT
Healing
Pointblank Picture Pty Ltd
Homecoming
Film Graphics Entertainment
Hunter, The
I Want My Money Back
Stephen MacLean
If Id Known Id Live This Long
2005/06
PAYABLE IN
FUTURE YEARS
TYPE
30,000.00
4,000.00
17,600.00
4,400.00
9,825.00
John Brousek
15,735.00
Imaginary Life, An
20,800.00
5,200.00
Isabelle the Navigator
Figurehead Films Pty Ltd
Keplers War
Anthony Buckley Films Pty Ltd
Kraal
Stewart & Wall Entertainment Pty Ltd
Last Dragon, The
Pacific Film Pty Ltd
Last Man
5,000.00
23,800.00
5,000.00
5,000.00
Prairie Dog Films Pty Ltd
25,000.00
Last Ride, The
Talk Films Pty Ltd
20,000.00
5,000.00
Lenny and Venice
Eidolon Pty Ltd
5,100.00
Luv Sux
Vitascope International Pty Ltd
12,500.00
Machiavelli Project, The
Instinct Entertainment Pt Ltd
30,000.00
Making Sense
A Nice Picture Company Pty Ltd
4,500.00
Maud Gonne and Yeats
Ruby Entertainment
3,500.00
Maxwell
Sandra Sciberras
16,500.00
4,000.00
Mehri Joe and Jesus De Livers
Philmsound
30,000.00
Mr Darwins Shooter
20,000.00
Murder of Maggie Sykes, The
A Nice Picture Company Pty Ltd
26,000.00
Nip XI
Blacrobi Wallace
20,000.00
Nobody Dies From Singing
Ross McGregor
234.50
Nosferatu Project, The
Global Entertainment Media
30,000.00
Obelia
Rumbalara Films
5,200.00
Okay
Princess Pictures Pty Ltd
20,000.00
Paupaus Garden
9,600.00
2,400.00
Pigeon of Desire
3,000.00
Quarry, The
Sophia Turkiewicz
400.00
Shit Happens
Lyn Chick
20,568.00
5,142.00
South Solitary
Marian Macgowan
30,000.00
Talk Shit and Dance Like a Girl
Big Wave Films Pty Ltd
29,400.00
To Hell and Bourke
Media World Pty Ltd
3,100.00
Truth About Almost Dying, The
Ghost Pictures
Truth Game, The
Alkinos Tsilimidos
Zebra, The
J McElroy Holdings Pty Ltd
Features Project Development Strand D TOTAL
8,000.00
2,000.00
21,500.00
3,000.00
606,493.00
354,986.50
111
TITLE
APPLICANT
2005/06
PAYABLE IN
FUTURE YEARS
TYPE
LOW BUDGET FEATURES WORKSHOP & STRAND F

Angry Young Man
Shallville House
Aperion
Lunar Films Pty Ltd
12,000.00
22,000.00
Attic in Celestial Lane, The
Shane Luther
2,400.00
Ballad of Tui Lee, The
Chili Films Pty Ltd
21,600.00
2,400.00
Beaudesert
17,600.00
4,400.00
Big Jesus, The
Fitzroy Films Pty Ltd
9,600.00
2,400.00
Bridge, The
Crow Films Pty Ltd
12,000.00
Cedar Boys
Daniella Ortega
14,400.00
Dirt
Luke Davies
20,000.00
Girl, The
Lisa Collins
12,000.00
Godless
Allset Film Pty Ltd
9,600.00
2,400.00
Hope
Damien Power
12,000.00
Irini
Nestani Productions
14,400.00
1,600.00
Lions Teeth
Lawrence Johnston
11,000.00
1,000.00
Lou
Big and Little Film Pty Ltd
14,400.00
Low Budget Features Other Costs
78,836.23
Low Budget Features Workshop
208,109.72
Moving South
Cath Moore
11,700.00
300.00
Project Greenlight
789.68
Shelter, The
Circe Films Pty Ltd
11,600.00
2,400.00
Skipping Girls
Alice Bell
14,600.00
3,700.00
Warm Blood
Ghost Pictures
10,000.00
14,000.00
West
2,400.00
504,635.63
73,000.00
Low Budget Features Workshop & Strand F TOTAL

DOCUMENTARY PROJECT DEVELOPMENT STRAND J
Aussie Battlers
I Kandy Films Pty Ltd
4,000.00
1,000.00
Back to the Country
Bronwyn Kidd
1,000.00
Bleaching Australia
Ronin Films
1,000.00
Bollywood Billboard
Rough Trade Pictures Pty Ltd
4,000.00
1,000.00
Bongkar
Suzanne Howard
500.00
Borooloola Blues
Paul Roy
3,920.00
980.00
Boy from Bowraville, The
Fil Baker
1,000.00
China Car
Stefan Moore
5,000.00
Cuisine and Country
Capture Productions
5,000.00
112
Appendices
2005/06
PAYABLE IN
FUTURE YEARS
TYPE
5,000.00
1,000.00
4,000.00
1,000.00
4,000.00
1,000.00
5,000.00
Janet Merewether T/A Go Girl
4,000.00
1,000.00
Man of Steel
Byzantine Film & Video
1,000.00
Mrs Murrays Christmas Cake
Virus Media Pty Ltd
4,000.00
1,000.00
My Fair Language (A )us
Princess Pictures
4,000.00
1,000.00
Northern Conflict
Simon Says Television
546.00
Passion of Gina Sinozich, The
Vagabond Films Pty Ltd
1,000.00
Pin-Up
Marina Films Pty Ltd
4,000.00
1,000.00
Power to the People
Hatching Productions Pty Ltd
5,000.00
Return of the Masta
Filmcraft Pacific Pty Ltd
500.00
Rrurrambu
Tony Collins, Carmel Young
1,000.00
Shameless Hussies
Katrina Sawyer
500.00
Taking the Waters
Omar Khayam Pty Ltd
1,000.00
Terror on the High Seas
Handmade Productions Pty Ltd
900.00
Tin Mosque Men
Christopher McCullough
4,200.00
1,000.00
Trouble in Paradise
Judy Rymer
5,000.00
True Pleasures
Sonja Armstrong Production Pty Ltd
5,000.00
Uluru A Rock and a Hard Place
Leonie Dickinson
5,000.00
Under the Mekong
Lemur Films
5,500.00
64,020.00
42,526.00
TITLE
APPLICANT
Fall of Singapore, The
Fury Productions Pty Ltd
Forbidden Lies: The Norma Kouri Stories
Anna Broinowski
Half Moon Park
John Moore Productions Pty Ltd
Ingkatas Pepa, The
Desert Vision/Consulting
Looking for Nadine
Mari Morocz
Making Baby
Documentary Project Development Strand J TOTAL

DOCUMENTARY PROJECT DEVELOPMENT STRAND K
And Then There Were Three
Tiger Eye
Back in the USSR
Cube Media Pty Ltd
3,000.00
5,000.00
Baseworld/American Friends
Film Projects Pty Ltd
Beyond the Backyard
Breeding Words
Bums Rush
Bluegreen Media Pty Ltd
Chifleys of Busby Street, The
Ronin Film
Clap Hands, Here Comes Charlie
Hilton Cordell
Collector, The Joan Bowers
Aviva Ziegler
Connected The Real Matrix
Real Pictures Pty Ltd
Crimes of War
Film Art Deco Pty Ltd
3,000.00
3,000.00
12,000.00
3,000.00
2,200.00
12,000.00
3,000.00
3,000.00
1,225.00
11,960.00
2,990.00
113
TITLE
APPLICANT
Crown Vs MacPhee, The
Magic Real Picture Co
Cubbyland
Lawrence Johnston
Cultural Desert
Plexus Productions Pty Ltd
Deputy Sheriff aka Eagle and Matilda
2005/06
PAYABLE IN
FUTURE YEARS
TYPE
12,000.00
2,994.00
1,650.00
6,200.00
1,500.00
Gil Scrine Films
12,000.00
Digger
Kevin Anderson
3,000.00
Do Not Resuscitate
Circe Films Pty Ltd
3,000.00
Dogs, Tomatoes, Santa and Speed
Libby Laird
Even Girls
Sandi Austin
Final Sacrifice, The
Gregory Miller
Anna Broinowski
Forgotten Australians, The
Circe Films Pty Ltd
Gospelbound
Robyn Marais
Gown of the Year
Deep Rock Pty Ltd
Great Southern Land
Halcyon Films Pty Ltd
Hermans Voyage
Russell Hawkins
Hungry Ghosts
975.00
500.00
15,000.00
7,950.00
12,000.00
3,000.00
2,000.00
12,000.00
3,000.00
3,300.00
15,000.00
Black Ray Films Pty Ltd
12,000.00
3,000.00
Ian Fairweather Project, The
5,000.00
In the End
Charlotte Roseby
11,520.00
2,880.00
Island of Ghosts: The Jacob Runbiak Story
The House of Red Monkey
15,000.00
Judy Cassab
Featherstone Productions Pty Ltd
15,000.00
Kokoda
Pericles Film Productions Pty Ltd
4,800.00
Life on the Rocks
Pigfish Australia Pty Ltd
5,000.00
Lifeswamp
Omar Khayam Pty Ltd
5,000.00
Lionel Rose Factory, The
Lizzette Atkins
12,000.00
3,000.00
Loitering With Intent
Rymer Bayly Watson Pty Ltd
15,000.00
5,000.00
Mad Morro
Jotz Productions Pty Ltd
3,000.00
Maggie Diaz In Available Light
Tribal Pty Ltd
15,000.00
Man Overboard
Carmel McAloon
12,000.00
3,000.00
My America
Peter Hegedus
12,000.00
3,000.00
Nora Heysen A Life of Her Own
Seven S Productions
6,024.00
1,506.00
Northern Town, A
Pony Films Pty Ltd
12,000.00
3,000.00
Paris Dreaming
Chris Hilton
6,000.00
1,500.00
Pop Life
Imake Pty Ltd
1,500.00
Portrait of an Assassin
Kate McCarthy
15,000.00
Power to the People
Hatching Productions Pty Ltd
15,000.00
Pump Up the Volume
Sascha EttingerEpstein
825.00
114
Appendices
TITLE
APPLICANT
Relocation of a Nation
Conscious Production
Roudenko File, The
Nautilus Films
Running With Scissors
Film Camp Pty Ltd
Saving Andrew Mallard Part 2
Artemis International Pty Ltd
Saving the World
Pony Films Pty Ltd
Search for the Worlds Oldest Seed
Singing Nomads Production Pty Ltd
Shadowplay
Slava The Eternal Flame
2005/06
PAYABLE IN
FUTURE YEARS
TYPE
5,000.00
8,800.00
2,200.00
10,000.00
15,000.00
3,000.00
15,000.00
Upstream Productions Pty Ltd
12,000.00
Music Arts Dance Films
500.00
So Close, So Far Away
Carmela Baranowska
2,000.00
Sounding The Future: The Music of

Tristram Cary
Porthmeor Productions
2,526.00
Stoned In Kabul
Raskol Films
15,000.00
Storming the Beaches
Sauce Films Pty Ltd
2,000.00
Stumped!
Ryan Loewy
3,000.00
Temple Bazaar, The
Brian McKenzie
3,000.00
Ten Pound Poms
CIS and Associates
15,000.00
To Hell and Back
Film Projects Pty Ltd
2,800.00
Tough Love
Circe Films Pty Ltd
USmob.com
UsMob Pty Ltd
Weird Mob, A
Video Images Pty Ltd
What the Ambassador Saw
3,500.00
10,000.00
2,000.00
Journocam Productions
11,680.00
2,920.00
Whatever Happened to Sean Flynn
Tarpaulin Productions
12,000.00
3,000.00
Who Killed Bony?
Two Heads Media Pty Ltd
14,450.00
369,460.00
213,915.00
Documentary Project Development Strand K TOTAL

DOCUMENTARY PROJECT DEVELOPMENT STRAND L
1000 Days
Sojourn Films
3,200.00
13 Moons
Mayfan Pty Ltd
12,000.00
5,954.00
Awakening the Spirits
New Holland Pictures Pty Ltd
8,000.00
2,000.00
Beyond Kokoda
SGSS Productions Pty Ltd
2,000.00
Cassowary Crusaders
BK Films
8,368.00
2,092.00
Fearless
Prospect Productions Pty Ltd
3,000.00
Fight Game, The
1,800.00
Harare No Questions
Eugene Ulman
12,000.00
500.00
Heaven on Earth
Mayfan Pty Ltd
4,000.00
Hope
Steve Thomas
15,000.00
115
TITLE
APPLICANT
How the Quest was Won The True Story of Fury Productions Pty Ltd
Miss Australia
2005/06
PAYABLE IN
FUTURE YEARS
TYPE
10,000.00
Ian Fairweather Project, The
8,000.00
2,000.00
Loo with a View, A
See View Pictures Pty Ltd
2,000.00
Man Made
Big And Little Films Pty Ltd
2,000.00
My Chinese Face
Believe Studios
4,416.00
1,104.00
Once was an Island Diego Garcia
4,970.00
Ooldea
CM Film Productions
20,000.00
Rise and Rise of Michelle Bachelet, The
Mike Carroll
10,400.00
2,600.00
Road to Gove
Dai Le
15,000.00
Running with Scissors
Film Camp Pty Ltd
5,000.00
Saving Schapelle
I Kandy Films Pty Ltd
3,000.00
Secret Life of Teachers, The
Ella Kennedy
2,300.00
Story About Feeling
Music Arts Overton
2,000.00
Tattooist, The
Liz Burke
12,000.00
3,000.00
Temple Bazaar, The
Brian McKenzie
12,000.00
3,000.00
Toadbusters
Celia Tait
10,000.00
Two Mums and a Dad
Singing Nomads Productions Pty Ltd
15,000.00
Wave of Aid
Mitra Films Pty Ltd
3,200.00
Westall 1966 A Melbourne UFO Mystery
Endangered Pictures Pty Ltd
9,730.00
201,414.00
41,220.00
Documentary Project Development Strand L TOTAL

FEATURES PROJECT DEVELOPMENT
28 Stops in the Heartland
Andrew Bovell
17,500.00
Four Legged Lottery, The
New Town Films Pty Ltd T/A Samson Prod.
4,700.00
Friend of Dorothy
Orde-JL Pty Ltd
2,300.00
His Authorised Life
Alexandra Long
2,000.00
In Wolfs Clothing
Gina Boon, Robert Raymond
2,000.00
Not Quite Waiting in the Wings
Alison Tilson
3,000.00
Panic
Peter Kaufmann
3,200.00
Resonance
Insomnia Film Television Software
4,500.00
Sound of Eugene, The
Brian Mckenzie
4,500.00
Tale of Brave Ulysses, The
Media World Features Pty Ltd
5,000.00
Thin Ice
Eclipse Films Pty Ltd
6,300.00
Unlimited Potential
John Coulter
5,000.00
0.00
60,000.00
Features Project Development TOTAL

116
Appendices
TITLE
APPLICANT
2005/06
PAYABLE IN
FUTURE YEARS
TYPE
DOCUMENTARY PROJECT DEVELOPMENT

Hoof Print/Foot Print
Libby Porter, Janet Hines
1,250.00
Human Race 2, The
Electric Pictures Pty Ltd
2,265.00
Power and Privilege
Pike-Fitzpatrick Nominees Pty Ltd
3,300.00
Walk a Mile In My Shoes
Little Universe Films Pty Ltd
1,700.00
0.00
8,515.00
Documentary Project Development TOTAL

ANIMATIONS PROJECT DEVELOPMENT STRAND S
Adventures of Charlotte and Henry, The
Paige Livingston
9,000.00
1,000.00
Animated Works of Sam Wagan Watson, The
Chris Holland
4,315.00
Arty Farties, The
Huy Nguyen
5,000.00
Awaken
David Gould Productions
10,000.00
Bridge of Birds
Tom Wild
2,000.00
Campus Confidential
Bob Pictures Pty Ltd
4,300.00
Children of Lighthouse Island, The
Grange Calveley
7,000.00
Duncan Monkey
Shaun Patten
200.00
Eduganda Panda Show, The
Melinda Wearne
10,000.00
Illustrated Dog, The
Sal Cooper
4,320.00
Labels
Freerange Aimation Pty Ltd
1,750.00
Lucy Wants To Kill Herself
Julie Stone
6,000.00
Middle Ages
Maggie Fooke
7,200.00
1,800.00
Mong and Oose
Studio Moshi
8,000.00
2,000.00
Moon Ranger Mandy
Plasmation
1,200.00
Nocabouts, The
Danny May
7,600.00
1,700.00
Red-Eye
Erogenous Productions
2,000.00
Riki the Rocket
Anthony Lawrence
9,000.00
Wokkies
Second Banana Films Pty Ltd
9,663.00
Wombat Spirits
Joe Connor
Animations Project Development Strand S TOTAL
2,000.00
59,315.00
57,733.00
40,000.00
WRITERS FELLOWSHIP
Bent
Steven Vidler
Bonapartes Retreat
Shirley Barrett
40,000.00
Dog
James Walker
18,250.00
2,050.00
Fig Tree
Screen Artists
20,000.00
Flying Man
Jacquelin Perske
30,000.00
117
2005/06
PAYABLE IN
FUTURE YEARS
TYPE
3-D Films Pty Ltd
40,000.00
Life and Times of Digger J. Jones, The
Richard Frankland
20,000.00
10,000.00
Lime Splice
Cate Shortland
25,000.00
15,000.00
Pangs
Greg Woodlanf
2,000.00
Pans Daughter
Tamara Popper
20,000.00
Running to a Standstill
Emu Creek Pictures
8,500.00
1,500.00
Wind from Africa, The
Keith Thompson
15,000.00
113,750.00
193,550.00
TITLE
APPLICANT
Jasper Morello and the Ebenezer of Gothia
Writers Fellowship TOTAL

FEATURES GENERAL DEVELOPMENT
Stephen Amis
Revolution Pictures
10,000.00
2,500.00 GDI
Anthony Anderson
Red Carpet Productions Pty Ltd
24,000.00
6,000.00 GDI
Mario Andreacchio
Adelaide Motion Picture Company Pty Ltd
Phillipa Bateman & Garry Charny
April Films
Bill Bennett
b.j. films Pty Ltd
2,800.00 GDI
40,000.00
10,000.00 GDI
3,000.00 GDI
Rosemary Blight, Kylie du Fresne & Ben Grant R B Films
34,000.00
8,500.00 GDI
Helen Bowden
Soft Fruit Pty Ltd
23,200.00
5,800.00 GDI
Anna Broinowski
Anna Broinowski
500.00 GDI
Sue Brooks, Alison Tilson & Claire Dobbin
Gecko Films Pty Ltd
7,750.00 GDI
Jan Chapman
Jan Chapman Films Pty Ltd
55,000.00
10,000.00 GDI
Penny Chapman
5,000.00
- GDI
Al Clark, Andrena Finlay & Jodi Matterson
Wild Eddie Pty Ltd
10,500.00
- GDI
Robert Connolly & John Maynard
Arenafilm Pty Ltd
3,000.00 GDI
Robert Connolly & John Maynard
Arenafilm Pty Ltd
5,000.00 GDI
Paul Cox
Paul Cox
50,400.00
12,600.00 GDI
David Curl
David Curl Pty Ltd
Marc Gracie
Mondayitis Productions Pty Ltd
Lynda House
Elm Films Pty Ltd
Bridget Ikin
Hibiscus Films Pty Ltd
Mark Joffe
Empress Road Production
Owen Johnston
Crow Films Pty Ltd
Stavros Kazantzidis & Allanah Zitserman
Screen Artists
Richard Keddie
Sadako Film Pty Ltd
Robyn Kershaw
Robyn Kershaw Productions Pty Ltd
14,000.00
- GDI
Craig Lahiff
Lahiff Craig
8,000.00 GDI
Marian Macgowan
3,000.00
- GDI
118
Appendices
5,000.00 GDI
32,000.00
8,000.00 GDI
2,500.00 GDI
14,000.00 GDI
14,000.00
- GDI
7,500.00 GDI
2,500.00 GDI
21,360.00
5,340.00 GDI
TITLE
APPLICANT
2005/06
Andrew Mason & Lizzie Bryant
City Productions
Heather Ogilvie
Mark Patterson
Cristina Pozzan
Buona Notte Film Productions
David Redman
Ted Robinson
FBN Enterprises T/A Ted Robinson
Daniel Scharf
Daniel Scharf Productions Pty Ltd
Jane Scott
Great Scott Productions Pty Ltd
PAYABLE IN
FUTURE YEARS
TYPE
10,000.00 GDI
Nice Picture Company Pty Ltd
50,197.00
12,530.00 GDI
Mark Patterson
10,000.00
- GDI
5,000.00 GDI
Kath Shelper, Matthew Dabner & Louise Smith Kath Shelper
25,000.00 GDI
30,000.00
- GDI
8,000.00 GDI
3,000.00
- GDI
17,500.00
- GDI
Emile Sherman
Sherman Pictures
5,000.00
- GDI
Anastasia Sideris
Anastasia Sideris
14,000.00
3,500.00 GDI
Roger Simpson & Garry Charny
Lone Hand Pty Ltd
70,000.00 GDI
Raymond Steiner
Raymond Steiner
8,000.00 GDI
Sue Taylor
Taylor Media
44,000.00
11,000.00 GDI
Dennis Tupicoff & Fiona Cochrane
Jungle Pictures Pty Ltd
20,000.00
5,000.00 GDI
Liz Watts, Vincent & Anita Sheehan
47,000.00
- GDI
John Weiley
Heliograph Pty Ltd
12,000.00 GDI
John Winter
Wintertime Films Pty Ltd
20,000.00
Features General Development TOTAL
5,000.00 GDI
597,157.00
305,320.00
18,000.00
G
G
PRODUCER WORKSHOP & SPECIAL INITIATIVES

Accelerator MIFF
Melbourne International Fim Festival
ASDA Conference 2005
Helen Martin
2,000.00
Enterprise Tasman Producers Workshop
11,939.88
Enterprise Tasman 2005/06
AFTRS
17,500.00
7,500.00
Headlands AFTRS Documentary Workshop
AFTRS
13,000.00
5,000.00
SFF Indie Screen 2006
2,222.00
Short Features Festival 2005/2006
AFC & SBSi
15,000.00
Single Shot Cinema Documentary Workshop Mayfan

Tropfest Feature Program 2005/06
Tropfest Feature Program
Producer Workshop & Special Initiatives TOTAL
2,140.00
12,500.00
17,500.00
94,301.88
30,000.00
119
TITLE
APPLICANT
2005/06
PAYABLE IN
FUTURE YEARS
TYPE
NEW SCREENWRITERS PROGRAM

B.L.U.E.
Libra Communications
2,000.00
Flame Beneath the Floor, A
Stephen Kearney
5,000.00
Fork Yu
Hilton Fatt
3,000.00
If Marlowe
Anne Richey
4,000.00
1,000.00
Magnetist, The
Christine Grace
8,400.00
2,050.00
Merriweather
Sarah Warner
8,000.00
2,000.00
Polly, Nick and Alice
Karin Steininger
8,500.00
2,000.00
Such Is Life
Phillip McGrath
8,450.00
2,000.00
Terran Blockade, The
Paul Grace
4,000.00
1,000.00
Thirteen @ Midnight
Shireen Armstrong
1,250.00
49,600.00
13,050.00
New Screenwriters Program TOTAL

DOCUMENTARY GENERAL DEVELOPMENT
Luigi Acquisto & Stella Zammataro
Abracadabra Films
Con Anemogiannis & Judy Menczel
Eortion Productions Pty Ltd
32,000.00
8,000.00 GDI
30,000.00 GDI
Janet Bell
Janet Bell Productions
28,000.00
7,000.00 GDI
David Bradbury
Frontline Films Pty Ltd
40,000.00
- GDI
Ruth Cullen
Ruth Cullen
24,000.00
6,000.00 GDI
David Curl
David Curl Pty Ltd
4,000.00 GDI
Anne Delaney & Ian Walker
Magic/Real Picture Co
24,000.00
6,000.00 GDI
Richard Dennison
Orana Films Pty Ltd
17,500.00
- GDI
Cathy Henkel & Jeff Canin
Cathy Henkel
6,000.00 GDI
Robin Hughes & Edwina Throsby
Robin Hughtes
48,000.00
12,000.00 GDI
Graeme Isaac
Graeme Isaac
24,000.00
6,000.00 GDI
Rachel Landers & Dylan Blowen
Pony Films Pty Ltd
6,000.00 GDI
Penelope McDonald
Chili Films Pty Ltd
2,500.00
- GDI
David Noakes
See View Pictures Pty Ltd
2,000.00 GDI
Ed Punchard & Julia Redwood
Ed Punchard
32,000.00
8,000.00 GDI
James Ricketson
James Ricketson
20,000.00
- GDI
Judy Rymer & Bevan Childs
Judy Rymer
22,250.00
- GDI
Sherine Salama
Habibi Films Pty Ltd
18,750.00 GDI
John Tristram & James Wilson
Juniper Films
5,000.00
- GDI
John Weiley
Heliograph Pty Ltd
Documentary General Development TOTAL
319,250.00
120
Appendices
2,000.00 GDI
121,750.00
TITLE
APPLICANT
2005/06
PAYABLE IN
FUTURE YEARS
TYPE
FEATURES SCRIPT WORKSHOP

Arcanum
Revolution Pictures
23,000.00
Hunter, The
4,800.00
Initiations
The Initiations Partnership
4,000.00
Kid Snowball
Retro Active Fillms Pty Ltd
4,600.00
Like a Dream
Lunar Films Pty Ltd
5,656.00
Machiavelli Project, The
21,500.00
Mad Bastards
Pigram Music Pty Ltd
11,000.00
11,000.00
NZ Business Skills Workshop
5,000.00
Orphan Factory, The
Tidepool Films Pty Ltd
SP*RK Workshop
Strangerland
Fiona Seres
Valve
ANZ Films
Visitor, The
Greg Woodland
Features Script Workshop TOTAL
3,000.00
184,749.87
13,328.00
3,332.00
22,000.00
21,500.00
283,877.87
54,588.00
24,000.00
6,000.00
2,300.00
CASHFLOW FACILITY INVESTMENT

Acolytes
Stewart and Wall Entertainment
Axe Fall
Lynne Vincent-McCarthy
Anna Broinowski
30,000.00
Hey Hey Its Esther Blueburger
Tama Films Pty Ltd
46,000.00
4,000.00
Night
Circe Films Pty Ltd
6,000.00
Pest House, The
Film Graphics Productions
4,000.00
Square, The
Film Depot Pty Ltd
30,000.00
Ten Empty
Dragonfly Pictures Pty Ltd
20,000.00
Who Killed Bony?
Two Heads Media Pty Ltd
40,000.00
198,300.00
14,000.00
4,016,644.38
1,899,958.95
120,000.00
Cashflow Facility Investment TOTAL

TOTAL FILM DEVELOPMENT DEVELOPMENT
FILM DEVELOPMENT PRODUCTION
CINEMA FEATURES
48 Shades of Brown
Prima Production
All My Friends Are Leaving Brisbane
Bunker Productions International
500,000.00
Black Water
Michael Robertson
600,000.00
Bullet Boy, The
Carolyn Johnson Films Pty Ltd
48,000.00
2,000.00
121
2005/06
PAYABLE IN
FUTURE YEARS
TYPE
2,500.00
268,468.00
12,257.00
38,855.00
41,593.00
1.00
Jammin in the Middle E
Virus Media Pty Ltd
13,000.00
Lake Mungo
Lake Mungo Films
880,000.00
Left Ear
Red Rug
Mentone Monopoly Club, The
Melodrama Pictures Pty Ltd
Mysterious Geographical Explorations of

Jasper Morello, The
3 D Films Pty Ltd
Preservations
Space Travel
Ten Empty
Dragonfly Pictures Pty Ltd
West
You Cant Stop the Murders
Big Mo Film Pty Limited
TITLE
APPLICANT
Cable
Edward Street Films Pty Ltd
Caterpillar Wish, The
Maxs Dreaming Pty Ltd
Cross Life
Free Agent.Com
Heartbreak Tour, The
119,654.00
75,000.00
5,000.00
Della Churchill
5,247.00
Circe Films Pty Ltd
4,925.00
1,000,000.00
1,016,623.40
20,000.00
I
I
Cinema Features TOTAL
2,500.00
1,597,856.40
3,177,767.00
DOCUMENTARY
Are You too Busy to Watch This?
Cracker Night Films Pty Ltd
11,500.00
Australia Another Country
Media World Pty Ltd
20,000.00
Bankstown Habib
Virus Media Pty Ltd
12,000.00
Behind the Line
Lets Play Productions
8,500.00
Big Dreamers
Camille Hardman
49,000.00
6,000.00
Blokes and Sheds
Robi Watt
30,000.00
Bloodlines
Enchanted Edge Media
32,500.00
17,500.00
Bomb Squad
Lemur Films
72,250.00
12,750.00
Brainstorm: Brigittes Story
f-reel pty ltd
50,500.00
10,000.00
Broken
11,600.00
400.00
Chris ODoherty, aka Reg Mombassa
Smart Street Films Pty Ltd
10,000.00
Common Humanity, A
Bluegreen Media Pty Ltd
242,995.00
26,999.00
Elvis Lives in Parkes
Big Island Pictures
21,250.00
3,750.00
Fahimehs Story
Faraway Productions Pty Ltd
2,500.00
Fair Go
Firelight Productions Pty Ltd
3,000.00
Fearless
Prospect Productions Pty Ltd
30,000.00
Finding Maggie
Jonathan Heath
32,000.00
3,000.00
Flight Game, The
45,900.00
4,000.00
122
Appendices
2005/06
PAYABLE IN
FUTURE YEARS
TYPE
8,410.00
290.00
Matthew Rooke
5,040.00
Peter Vaughan
25,000.00
Viking Films
38,000.00
In My Fathers Country
Mayfan Pty Ltd
85,000.00
Jabe Babe A Heightened Life
Go Girl Productions Pty Ltd
12,700.00
Just Punishment
Open Channel Productions Ltd
17,500.00
5,000.00
Knot at Home
Big Hart
5,000.00
Korean Anzacs
Alice Ford
500.00
Last of the Crossing Guards, The
Renegade Films (Australia) P/L
2,500.00
Mad Morro
55,000.00
Make It Real
International Production Services
45,171.00
Missing
Pony Films Pty Ltd
My Voice
Quentin Kenihan
Once a Queen
Rough Trade Pictures Pty Ltd
Ooldea
TITLE
APPLICANT
Frocks Off
MMMedia
Gods Resort
Goolengook The Last Valley
Ice Maidens
2,000.00
68,000.00
3,500.00
1,500.00
CM Film Productions
22,000.00
Opera Therapy
f-reel pty ltd
15,500.00
Ordinary People
Jequerity Pty Ltd
15,000.00
Passion of Gina Sinozich, The
35,000.00
Remarkable Mr Kaye, The
Illumination Films Pty Ltd
10,000.00
Running With Scissors
Film Camp Pty Ltd
85,000.00
Salt Not of the Earth
Dragonet Films Pty Ltd
62,000.00
Saving Andrew Mallard
Celia Tait
64,350.00
650.00
Saving Xavier
Virtual Culture
(215.61)
215.61
Sexual Life of Us
Iguana Film Productions Pty Ltd
30,000.00
70,000.00
Short Stories
Get Stuffed Pty Ltd
10,000.00
Song Australia (aka Car 55)
Faramarz K-Rahber
39,000.00
1,000.00
Sounding the Future: The Music of Tristram

Cary
Stock Squad
Porthmeor Productions
65,000.00
3,000.00
2,000.00
They Came, They Saw, They Concreted
Outlook Productions Pty Ltd
1,500.00
Veiled Ambition
Rebel Films
38,205.00
12,306.00
Wanja the Warrior Dog
60,000.00
Warrego
Bryan Duffy Productions
3,600.00
400.00
Words from the City
Toby Patten
35,000.00
15,000.00
Yukai! (aka Kidnapped!)
Hilton Cordell Productions Pty Ltd
12,300.00
1,177,555.39
680,260.61
Documentary TOTAL
Big Island Pictures
123
TITLE
APPLICANT
2005/06
PAYABLE IN
FUTURE YEARS
TYPE
SHORT DRAMA
Advantage Satan
Plus Pty Ltd
126,232.00
Anteater, The
Stuart Parkyn
90,000.00
Astray
Owen Johnston
10,000.00
Azadi
Mills Street Productions Pty Ltd
1,950.00
Ball, The
Panckhurst Productions Pty Ltd
147,214.00
Booth Story
Cheap Seats
Phillip Donnellon
Cool
Angela Walsh Production
Cracker Bag
34,532.00
4,523.00
900.00
Exit Films Pty Ltd
12,177.00
Desert, The
Exit Films Pty Ltd
8,000.00
Disturbance
Idameneo (No 221) Pty Ltd
2,700.00
Edgar and Elizabeth
Factor 30 Film Pty Ltd
56,935.00
Fast Lane
Production
54,000.00
36,000.00
First
Colin Lucre
1,000.00
Grange
McKenzie Black Productions
20,000.00
Ingrid Sits Holding a Knife
Curvaceous Films
87,600.00
2,400.00
Kaleidoscope
Zoot Film Tasmania
45,200.00
7,800.00
Last Chip, The
Plus Pty Ltd
4,998.00
Loves Labour
Stark Raving Productions
20,000.00
5,000.00
Lucky
Blue-Tongue Films
20,000.00
Mens
Coral Lagoon Pty Ltd
2,000.00
Mind the Gap
Elaine Elston
8,871.00
Past History
Andrew Hely
13,782.15
Photograph
International Production Services
135,000.00
Play
Ben West
90,000.00
Poolside
Armand De Saint-Salvy
5,241.00
Punch
Sotiris Dounoukos
10,310.91
2,578.09
Road Ahead, The
Carmel McAloon
13,461.00
Sexy Thing
Cult Pictures
89,100.00
900.00
Skin
Hammerthrow Films
143,000.00
Soul Mates
Naomi Rossdeutscher
10,800.00
1,200.00
Still Time
Tank, The
Renegade Films (Australia) Pty
Test Drive
3,000.00
1,606.00
121,500.00
13,500.00
AFTRS
32,000.01
4,999.99
Three Months at Sea
Kylie Eddy
55,996.00
Uncertainty Principle, The
63,000.00
27,000.00
124
Appendices
TITLE
APPLICANT
What They Dont Know
Mad Angel
William
Lawrence Johnston
Yolk
Head Pictures
Short Drama TOTAL
2005/06
PAYABLE IN
FUTURE YEARS
TYPE
135,000.00
74,700.00
8,300.00
147,500.00
901,919.07
1,111,588.08
ANIMATION
Body Corporate, The
Vicki Sugars
12,276.00
124.00
Burley
Andrew Goode
16,500.00
Chicken of God
Clem Stamation
36,000.00
23,990.00
Designer, The
Terri Dentry
54,412.00
5,472.00
Dog With Electric Collar
Head Pictures
16,423.00
Ephemeral
Tony Radevski
60,000.00
Father
Samantha Jennings
34,650.00
14,850.00
Fritz Gets Rich
Sam White
2,500.00
Girl Who Swallowed Bees, The
Justine Kerrigan
42,000.00
18,000.00
Gloomy Life, A
Warwick Burton
55,000.00
Glossy
Julia Bourke
16,500.00
22,000.00
Gumnutz
Big Pix Cowap
30,000.00
Heirlooms Pieces of Time
Susan Danta
100,000.00
Luminary, The
Shannon Owen
55,000.00
Mutt
Circe Films Pty Ltd
60,000.00
Nightwalking
Plural Films
9,500.00
12,655.00
One Minute to Midnight
Steve French
13,300.00
700.00
Pearlie
Tim Brooke-Hunt
31,230.00
3,470.00
Pinata
Act 3 P/L
5,000.00
Postcard
Marianne Wallace Crab
9,288.00
2,322.00
Pussy Through History
Antoinette Starkiewkz
Raglan
Mathew Mckimmie
Ransis and Alee

Rope
Seringue
5,000.00
25,000.00
10,000.00
9,689.00
Siamese Pty Ltd
7,000.00
2,276.00
Rachel Roberts
4,700.00
550.00
Peter Callas
8,000.00
Szapiro, Deborah Annecy, Special Delegate
Freerange Animation Pty Ltd
350.00
This King of Thing
Lushan Tan
14,924.00
3,731.00
Violin
Joanne Wellington & Fiona Pyson
Ward 13
P J Cornwell
Wild Colonial Boy, The
Murray Debus
Animation TOTAL
1,500.00
3,000.00
28,000.00
7,000.00
449,280.00
444,602.00
125
TITLE
APPLICANT
2005/06
PAYABLE IN
FUTURE YEARS
TYPE
SCREEN CULTURAL RESOURCE ORGANISATIONS PRODUCTION PROGRAM

FTI Raw Nerve
Film & Television Institute WA
30,000.00
6,000.00
Metro Screen Raw Nerve
Metro Screen Ltd
30,000.00
MRC Raw Nerve
Media Resource Centre
36,000.00
Open Channel Raw Nerve
OCP Limited
30,000.00
6,000.00
QPIX Raw Nerve
QPix Ltd
30,000.00
6,000.00
156,000.00
18,000.00
14,965.00
2,500.00
Screen Cultural Resource Organisations Production Program TOTAL

MARKETING LOANS
Blowin in the Wind
Frontline Films Pty Ltd
Granny Queer the Late Bloomers
Jacinda Klouwens
Hold Please
Walkabout Films Pty Ltd
26,950.00
Jewboy
12,440.00
Long Way to Freo
Long Way Films Pty Ltd
5,000.00
Look Both Ways
Hibiscus Films Pty Ltd
6,500.00
Love This Time
Toby Pattern
3,000.00
Mechanicals, The
Everyday Pictures
22,981.00
Sexy Thing
Cult Pictures
45,113.00
Ten Canoes
Vertigo Productions Pty Ltd
25,500.00
161,949.00
3,000.00
Marketing Loans TOTAL

INTERNSHIPS (FORMERLY MENTOR PROGRAM)
Husein Alicajic Internship
2nd Sight Pty Ltd
1,600.00
Lizzette Atkins Designing Dreams Consultant
Lizzette Atkins
1,000.00
David Barison Internship
David Barison
6,300.00
700.00
Jannine Barnes Internship
Jannine Barnes
6,000.00
David Bradbury Internship
David Bradbury
1,000.00
Helen Carmichael Internship
Helen Carmichael
6,833.00
Myles Conti Internship
Myles Conti
7,000.00
1,000.00
Luke Eve Internship
Luke Eve
2,000.00
Melanie Hogan Internship
Richard Brennan
4,668.00
1,168.00
Maia Horniak Internship
Maia Horniak
4,320.00
Craig Ilott/Neil Armfield Internship
Craig Ilott
600.00
Paul Komadina Internship
Paul Komadina
6,960.00
Kelly Lefever Internship
Near Life Productions Pty Ltd
2,000.00
Marian Macgowan Mother of an Attitude
1,000.00
Tamara Popper Internship
Tamara Popper
6,000.00
126
Appendices
TITLE
APPLICANT
Marion Potts Internship
Marion Potts
Kelly Schilling/Phillip Noyce Internship
Rumbalara Films
Mat Wheeldon Internship
Suburban Mayhem Pty Ltd
Aanya Whitehead/Rebecca Gallagher
Idameneo (No 221) Pty Ltd
Internships (formerly Mentor Program) TOTAL
2005/06
PAYABLE IN
FUTURE YEARS
TYPE
1,124.00
5,945.46
10,000.00
1,200.00
61,266.46
17,152.00
FELLOWSHIPS
Anthony Anderson Fellowship
Red Carpet Productions Pty Ltd
Lucinda Clutterbuck Fellowship
Lucinda Clutterbuck
4,000.00
16,000.00
4,000.00
Heather Croall/Andrea Sheffer Fellowship
Re Angle Pictures Pty Ltd
3,110.00
Vincent Monton Fellowship
Monton and Monton Pty Ltd
3,500.00
500.00
Vincent Sheehan Fellowship
Vincent Sheehan
16,000.00
4,000.00
Antoinette Starkiewicz Fellowship
Antoinette Starkiewicz
Fellowships TOTAL
2,000.00
40,610.00
12,500.00
LONG SHORTS
Chainsaw
Jungle Pictures Pty Ltd
200,000.00
Deaths Requiem
Maddfilms
200,000.00
Katoomba
RB Films Pty Ltd
200,000.00
Man Who Plays in Colours, The
Cabbage Films
150,000.00
One of the Lucky Ones
Judi McCrossin
150,000.00
50,000.00
Playground
Eve Spence
170,000.00
28,922.00
Spike Up
Anthony Maras
Wilfred
Jenny Livingston
Long Shorts TOTAL
90,000.00
340,000.00
60,000.00
660,000.00
978,922.00
CASHFLOW FACILITY BRIDGING LOAN

First Australians, The
Blackfella Films Pty
152,264.00
Forbidden Lies
Anna Broinowski
184,664.00
Noise
Retro Active Films Pty Ltd
50,000.00
386,928.00
0.00
5,593,364.32
6,443,791.69
Cashflow Facility Bridging Loan TOTAL

TOTAL FILM DEVELOPMENT PRODUCTION
127
TITLE
APPLICANT
2005/06
PAYABLE IN
FUTURE YEARS
TYPE
INTERACTIVE MEDIA
BROADBAND PRODUCTIONS
Chicko Accidental Alien
Argos Productions Pty Ltd
227,000.00
3,000.00
Dog and Cat News Interactive Website
Blue Rocket Productions Pty Ltd
15,000.00
Dust On My Shoes
Roar Film
15,000.00
Life, Times & Travels of the Extraordinary

Vice-Admiral William Bligh
Film art Doco Pty Ltd
38,000.00
Pure Drop, The
Ether Pty Ltd
31,750.00
25,432.00
Stowaways Guide to the Pacific, A
Consuello Pty Ltd
25,000.00
25,000.00
351,750.00
53,432.00
Broadband Productions TOTAL

BROADBAND MISCELLANEOUS
Broadband Production Initiative
Broadband Miscellaneous TOTAL
34,545.50
34,545.50
0.00
EXPERIMENTAL DIGITAL FUND

Artesian
James Guerts
1,000.00
Bastardy
Ghost Pictures
(10,000.00)
Blue Notes
Bill Mousoulis
1,000.00
Burning Daylight
Rachel Swain
16,000.00
4,000.00
Cabinet of Dust
Rude Mechanical
5,000.00
2,500.00
De Vide
Chili Films Pty Ltd
2,000.00
Desealer, The
James Clayden
20,000.00
Drift
Ben Speth
2,130.00
Kissing Paris
Anna Kannava
20,000.00
Open Cut
Phil Burke
1,000.00
Portraits
Geoff Weary
1,080.00
Ratbags
The Arterial Group
15,000.00
Revolving Door
Taxi Films Pty Ltd
2,500.00
Stati DAmino
Merlyn Fairskye
20,000.00
Surface, The
Marcus Bergner
2,000.00
Shape of Water, The
Cordelia Beresford
20,000.00
Transplants
Donna Kendrigan
762.50
Under the Weather
Tracie Mitchell
992.00
Watch the Skies
Doubleview Films
12,000.00
3,000.00
When Objects Dream
Pia Borg
5,800.00
200.00
Year of the Magpie, The
Paul Oliver
16,000.00
4,000.00
74,054.50
93,910.00
Experimental Digital Fund TOTAL
128
Appendices
TITLE
APPLICANT
2005/06
PAYABLE IN
FUTURE YEARS
TYPE
INTERACTIVE MEDIA SEED FUNDING

Cabinet of Lost Mechanical Puppets, The
David Cox
5,000.00
For Love or Money
John Kirk
2,400.00
0.00
7,400.00
Interactive Media Seed Funding TOTAL

INTERACTIVE MEDIA COMPLETION FUNDING
Bitfeeders
Mark Simpson
6,300.00
Dr Pancoasts Cabinet de Curiosite
Michelle Glasser
11,100.00
Elementia
Kate Sparke Richards
2,700.00
Of Day, of Night
Megan Heyward
5,500.00
Pall 9000
Medialight Productions Pty Ltd
16,000.00
Praetenatural
Michelle Barker
Interactive Media Completion Funding TOTAL
9,534.00
0.00
51,134.00
INTERACTIVE DEVELOPMENT STRAND V

Albert Goes Latin
Ken Newman
1,190.00
Alien Love Race
Blue Rocket Productions Pty Ltd
3,000.00
Capture
MDHF Australia Pty Ltd
13,180.00
3,000.00
Chop Your Own Wood
Chris Caines
12,000.00
3,000.00
Coolest Girl In School
Digital Monkey Pty Ltd
2,000.00
Elephant Tales
Adelaide Motion Picture Company
3,000.00
Four Wheel Slide
Sophie Hyde
2,110.00
Georgiana Molloy
Jag Films Pty Ltd
Home Town
Sammy Ringer
Inside Tasmania
Roar Film
Liferaft
3,000.00
12,000.00
3,000.00
2,600.00
Joe Velikovsky
12,000.00
3,000.00
Medulla
Tina Gonsalves
12,000.00
3,000.00
Meme
Intrigue Entertainment
3,000.00
Modern Oz Suburban Tarot, The
Tao Nelson T/A Somewhere Interesting
1,000.00
Photo Realist Costumes On-Line
Matthew Aberline
2,910.00
Planet Matilda
Katalyst
12,000.00
3,000.00
Read With Me! Play With Me!
Ariel Productions
3,000.00
Rock Chickz
Kylie Robertson
15,000.00
See Me Ring
Liam Cody
4,000.00
1,000.00
Soul Shredder
Net Effective Media Group
15,000.00
Speed Dating
Lisa Hauge
3,000.00
Wolfdragon Moonshine
Springtime Productions
8,956.00
128,280.00
36,666.00
Interactive Development Strand V TOTAL
129
TITLE
APPLICANT
2005/06
PAYABLE IN
FUTURE YEARS
TYPE
INTERACTIVE DEVELOPMENT STRAND W

Archive Project, The
John Hughes
Bug O Vision
Erky Perky Pty Ltd
8,525.00
40,000.00
10,000.00
Cook The Man Behind the Myth
Cook Films
15,000.00
Fangingthekombi.com
Net Effective Media Group
15,000.00
Girl Friday
Kylie Robertson
49,937.00
Harbour of Life
Media Zoo Pty Ltd
6,554.00
2,000.00
I.D.
Trout Films Pty Ltd
12,000.00
3,000.00
Juju Eyeballs
Nigel Odell
10,000.00
Much Depends on Dinner
15,000.00
Music of the Brain
F-Reel Pty Ltd
12,000.00
3,000.00
P S Trixi
Hoodlum Entertainment
40,000.00
Sanctuary, The
Michela Ledwidge
10,000.00
Scorched (a.k.a. Dypothesis)
15,000.00
Surviving Crime An Interactive DVD
6moons Interactive
9,470.00
Westside Stories
12,000.00
3,000.00
Interactive Development Strand W TOTAL
132,024.00
159,462.00
TOTAL INTERACTIVE MEDIA
720,654.00
402,004.00
TELEVISION INITIATIVES FUND

SPECIAL TV DRAMA INITIATIVES
Two Twisted
New Town Films Pty Ltd
Special TV Drama Initiatives TOTAL
150,000.00
150,000.00
0.00
3,000.00
GDI
TVIF PRODUCER PACKAGES

Stephen Amis
Revolution Pictures
Donna Andrew, Stu Connolly & Tim Brook-Hunt
Sticky Pictures Australia
8,000.00
GDI
Phillip Bowman
Enjoy Entertainment Pty Ltd
32,500.00
GDI
Alan Carter
Alley Kat Productions Pty Ltd
32,008.00
8,002.00
GDI
Ann Darrouzet
Westside Film And Television Pty Ltd
6,000.00
GDI
Craig Dow Sainter, Kath Symmons &

Steve Thomas
Fiona Eagger
Roar Film
32,000.00
8,000.00
GDI
David Elfick & Jocelyn Quioc
Palm Beach Pictures Pty Ltd
Mark Gould
Fiona Eagger Twenty 20 Pty Ltd
4,000.00
GDI
7,000.00
GDI
Mark Gould
10,000.00
GDI
Charles Hannah
Charles Hannah/Lightyear Productions
5,000.00
GDI
Chris Hilton, Ian Collie & Sonja Armstrong
CIS and Associates
52,000.00
GDI
130
Appendices
2005/06
PAYABLE IN
FUTURE YEARS
TYPE
6,000.00
GDI
Olsen Levy Productions Pty Ltd
11,000.00
GDI
Ruby Entertainment
5,300.00
GDI
2,500.00
GDI
Rebel Films Pty Ltd
4,800.00
GDI
Simone North
Liberty Pty Ltd
10,000.00
GDI
Andrew Ogilvie
Electric Pictures Pty Ltd
56,000.00
14,000.00
GDI
Jane Ramsey & Stephen Ramsey
Ramsey Films Pty Ltd
35,000.00
GDI
Ted Robinson
FBN Enterprises T/A Ted Robinson
2,000.00
8,000.00
GDI
Paul Roy & Jennifer Ainge
Iguana Films Pty Ltd
10,000.00
GDI
Mike Searle
Storyteller Media Group
5,000.00
GDI
Jonathan M Shiff
Jonathan M Shiff Productions Pty Ltd
42,000.00
10,500.00
GDI
Richard Stewart
Stewart Entertainment Pty Ltd
Carmel Travers
Purple Picture
Tom Zubrycki
TITLE
APPLICANT
Samantha Kelley & Matthew Kelley
Mask Production
Curtis Levy & Christine Olsen

Stephen Luby & Mark Ruse
Penelope McDonald
Chili Films Pty Ltd
Jeni McMahon & David Batty
TVIF Producer Packages TOTAL
2,000.00
GDI
32,000.00
8,000.00
GDI
11,000.00
GDI
358,008.00
124,602.00
TVIF ATTACHMENTS
Lizzette Atkins & Beth Frey Internship
Circe Films Pty Ltd
1,000.00
Fil Baker Internship
Indiana Pictures
10,000.00
Simon Blyth Internship
Simon Blyth
1,000.00
Christopher Eley Internship
Christopher Eley
3,125.00
Louise Fox Internship
Louise Fox
2,850.00
Jennifer Gherardi Internship
Jennifer Gherardi
8,000.00
2,000.00
Marcus Gillezeau Internship
1,600.00
Alison Kelly Internship
Alison Kelly
9,760.00
Joel Kohn Internship
Joel Kohn
2,400.00
Peta Lawson Internship
Peta Lawson
9,600.00
Melissa Lee & John Janson-Moore Intership
Eight Gauge Productions
1,000.00
Michael Lucas Internship
Michael Lucas
10,000.00
Brett Popplewell & Raymond Quint Internship Decade Films Pty Ltd
4,500.00
Jocelyn Quioc Internship
Jocelyn Quioc
5,600.00
1,400.00
Kate Riedl Internship
Kate Riedl
7,520.00
Miriam Stein Internship
Tama Films Pty Ltd
1,000.00
Anne Tsoulls
Shining Light Productions
10,000.00
Kathryn Westbrook Internship
Kathryn Westbrook
6,000.00
48,835.00
49,520.00
556,843.00
174,122.00
TVIF Attachments TOTAL

TOTAL TELEVISION INITIATIVES FUND
131
TITLE
APPLICANT
2005/06
PAYABLE IN
FUTURE YEARS
TYPE
INDIGENOUS BRANCH
INDIGENOUS DEVELOPMENT DOCUMENTARY
Aunty Justine
Core Films Pty Ltd
15,000.00
3,000.00
Catherine Freeman
Lous Control
12,000.00
3,000.00
Changing Times
Media Fix Pty Ltd
4,590.00
Cherbourg Documentary
Spirited Films Pty Ltd
9,504.00
Coming Home Russell Moores Story
Cathy Eatock
1,200.00
Croker Island Exodus
15,000.00
Find Me in the Blue Tarp
Darrin Ballangarry
2,150.00
First Australians
13,920.00
Flour, Sugar, Tea
Virus Media Pty Ltd
11,000.00
4,000.00
Footprints in the Lake
15,000.00
Indigenous
Ivan Sen
1,500.00
Island Fettlers
Core Films Pty Ltd
6,300.00
690.00
Its Not the Money its the Land
1,500.00
Kitchen to the Courthouse
Taylor Media Pty Ltd
10,000.00
5,000.00
Love is Supposed to be Simple
10,000.00
5,000.00
Mad Morro
20,000.00
My Brother Vinnie
Black Ruby Productions Pty Ltd
9,500.00
1,030.00
NIDF Series 6
5,834.31
Nigger Lovers
Mainjin Entertainment
7,500.00
7,500.00
Nins Brother
Dreaming Digital Pty Ltd
700.00
Vote Yes for Aborigines
Denise Haslam Productions
Wanja the Warrior Dog
Whatever Happened to Mazel Maher

When the Natives Get Restless
15,000.00
1,475.00
Angie Abdilla
10,320.00
2,580.00
RB Films Pty Ltd
10,200.00
4,800.00
152,553.31
93,240.00
Indigenous Development Documentary TOTAL
INDIGENOUS DEVELOPMENT DRAMA

Amy The Search for Kudanew
Denise Groves
2,500.00
Backseat
Pauline Whyman
1,500.00
Blood Lines
Jacob Nash
1,500.00
Boxer, The
Jon Bell + Annie Benzie
5,000.00
1,000.00
Bran Nue Dae
Bran Nue Dae Films Pty Ltd
20,000.00
Burgers
Murray Lui
1,000.00
132
Appendices
2005/06
PAYABLE IN
FUTURE YEARS
TYPE
500.00
Darlene Johnson
3,848.00
Michelle Blanchard
1,500.00
Days Like These
Martin Adams
1,500.00
Deaf Bed
Tracey Rigney
1,500.00
Done Dirt Cheap
Debble Gittens
1,300.00
200.00
Dust
Martin Brown Films P/L
Father and the Son
Film Depot Pty Ltd
Forever
Gillian Moody
Go You Bastard
Lee Willis Ardler
Godfrey
RB Films Pty Ltd
Green Bush
Hush
Dena Curtis
Imprint
Mark Oliver
Indigenous Feature Film Workshop
Instinct
TITLE
APPLICANT
Camp Jungi
Sista Girl Productions Pty Ltd
Crocodile Dreaming
Custard
5,200.00
21,000.00
4,000.00
1,300.00
200.00
1,300.00
200.00
20,200.00
4,000.00
50.00
1,500.00
500.00
49,347.40
Jason De Santolo
1,500.00
Jackie Jackie
Adrian Wills
1,500.00
Kwatye
Patricia Morton-Thomas
1,500.00
Lincoln South
Jason Ramp
900.00
1,600.00
Marys Day Out
Robyn Nardoo
1,300.00
200.00
My Time
Core Films Pty Ltd
5,000.00
Nana
Warwick Thornton
800.00
700.00
Nevermind
Paula Maling
500.00
On the Edge
Goolarri Media Pty Ltd
500.00
Outer Limits, The
Ivan Sen
3,000.00
Petrolla: A Love Story
3,600.00
Place Between, The
Film Depot Pty Ltd
5,000.00
Place Between, The
Film Depot Pty Ltd
16,000.00
4,000.00
Sharpeye
Aaron Faaoso
1,500.00
Slut Hut/Close to the Bone
SLR Productions
10,000.00
Stockman
1,500.00
To Hell and Bourke
Media World Pty Ltd
15,000.00
5,000.00
Too Late
Michael Longbottom
1,500.00
Touch the Wire
Seymour Films Pty Ltd
16,000.00
4,000.00
True Colours
Samantha Saunders
100.00
Turtle, The
Kelli Cross
1,500.00
133
TITLE
APPLICANT
Two Big Boys
Jon Bell
Uniapon
Gina Rings
Where Anna is God
Danielle MacLean
Which Way?
Chris Doyle
Wilson Creek
Sam Conway
Indigenous Development Drama TOTAL
2005/06
PAYABLE IN
FUTURE YEARS
TYPE
1,500.00
G
G
500.00
16,400.00
3,850.00
1,300.00
200.00
500.00
205,295.40
74,300.00
GENERAL DEVELOPMENT INVESTMENTS

Bungabura Prod GDI
Bungabura Productions Pty Ltd
General Development Investments TOTAL
2,000.00
2,000.00
0.00
GDI
PRACTITIONER DEVELOPMENT
Abdilla, Angie/Attachment
Angie Abdilla
4,800.00
200.00
Blackfella Films/Travel Grant
Darren Dale
200.00
Blair, Wayne/Attachment
Wayne Blair
4,800.00
200.00
Clague, Pauline/Travel Grant
Pauline Clague
4,000.00
Pauline Clague
1,124.00
Pauline Clague
4,000.00
Cole, Beck/Travel Grant
Beck Cole
1,810.00
Cole, Beck/Travel Grant
Beck Cole
1,150.00
Collins, Allan/Internship
Allan Collins
4,800.00
200.00
Collins, Allan/Travel Grant
Allan Collins
200.00
0.64
Collins, Allan/Travel Grant
Allan Collins
2,845.00
200.00
Collins, Priscilla/Travel Grant
Priscilla Collins
4,000.00
Copley, Ian/Travel Grant
Ivan Copley
100.00
Circuit, The/Attachments
Media World Pictures
18,590.00
2,000.00
Curtis, Dena/Attachment
Dena Curtis
200.00
Curtis, Dena/Attachment
Dena Curtis
(242.52)
442.52
Curtis, Dena/Travel Grant
Dena Curtis
200.00
Dale, Darren/Travel Grant
Darren Dale
200.82
Denning, Tanya/Travel Grant
Tanya Denning
685.00
100.00
Garret, EJ/Travel Grant
EJ Garret
685.00
100.00
Lewis, Tom E/Travel Grant
Tom E Lewis
200.00
MacLean, Danielle/Travel Grant
Danielle MacLean
100.00
Macumber, John/Travel Grant
Macumber Media Pty Ltd
384.55
Martin, Kelrick/Travel Grant
Kelrick Martin
200.00
134
Appendices
TITLE
APPLICANT
2005/06
PAYABLE IN
FUTURE YEARS
TYPE
Maza, Bob Fellowship 2005
Tom E Lewis
500.00
McGregor, Steven/Travel Grant
Steven McGregor
200.00
Moriarty, Tim/Travel Grant
Tim Moriarty
200.00
Morton-Thomas, Patricia/Travel Grant
200.00
Morton-Thomas, Patricia/Travel Grant
1,450.00
Nimmo, Julie/Travel Grant
Julie Nimmo
200.00
Page, David/Travel Grant
David Page
1,700.00
PAKAM/Travel Grant
PAKAM
11,308.00
Ramp, Jason/Attachment
Jason Ramp
200.00
Ramp, Jason/Attachment
Jason Ramp & Charmanine Morton
200.00
Rigney, Tracey/Travel Grant
Tracey Rigney
3,975.80
Saunders, Grant/Travel Grant
Grant Saunders
1,760.00
Saunders, Grant/Travel Grant
Grant Saunders
820.00
Syron, Daniel/Attachment
Daniel Syron
500.00
Tamou, Rima/Travel Grant
Rima Tamou
4,000.00
Thompson, Kimba/Travel Grant
Kimba Thompson
200.91
Thornton, Warwick/Travel Grant
Warwick Thornton
130.80
69.20
Thornton, Warwick/Travel Grant
Warwick Thornton
1,810.00
Torres, Mitch/Travel Grant
Mitch Torres
200.00
Tranter, David/Travel Grant
David Tranter
200.00
Wirrpanda, Dhukal/Travel Grant
Dhukal Wirrpanda
1,700.00
200.00
80,901.08
9,298.64
Practitioner Development TOTAL

INDIGENOUS DEVELOPMENT WORKSHOP
Bit of Black Business, A
234,515.35
Black on White
20,361.66
Dramatically Black 2005/06
7,203.86
Indigenous Feature Film Workshop 2005/06
Australian Film commission
126,146.01
NIDF Series 7
Indigenous Development Workshop TOTAL
32,666.31
420,893.19
0.00
32,611.00
4,389.00
INDIGENOUS PRODUCTION DOCUMENTARY

Munan
Sisters Love, A
Martin Brown Films Pty Ltd
49,882.00
Wirriya: Small Boy
3,000.00
35,611.00
54,271.00
Indigenous Production Documentary TOTAL
135
TITLE
APPLICANT
2005/06
PAYABLE IN
FUTURE YEARS
TYPE
INDIGENOUS PRODUCTION DRAMA

Amy Goes To Wadjemup Island
Jag Films Pty Ltd
5,000.00
Bit of Black Business Production, A
327,970.00
Crocodile Dreaming
Samson Productions Pty Ltd
240,000.00
90,675.00
Djarns Djarns, The
RB Films Pty Ltd
10,304.92
Dream of Love, The
Lawrence Johnston
12,000.00
Flat
500.00
Green Bush
35,345.00
Mimi
500.00
Plains Empty
Film Depot Pty Ltd
5,355.00
15,000.00
Sa Black Thing
Core Films Pty Ltd
0.17
Storytime
Solid Films Pty Ltd
5,000.00
245,355.00
502,295.09
Indigenous Production Drama TOTAL

SEMINARS/CONFERENCES/TRAINING
National Indigenous Training Strategy
Seminars/Conferences/Training TOTAL
1,448.59
0.00
1,448.59
SPECIAL EVENTS EXPENSES

Bob Maza Fellowship 2006
Leah Purcell/Bungabura Prod
9,500.00
500.00
Indigenous Sponsorship & Awards
500.00
Indigenous Television Summit Conference
7,364.85
Message Sticks 2005
18,357.98
Message Sticks 2006
32,927.43
Rotterdam Lab 2006
Rotterdam International Film Festival
15,565.73
76,351.14
8,364.85
Special Events Expenses TOTAL

MISCELLANEOUS
Indigenous Film Protocols
5,143.74
National Indigenous Television (NITV)
1,082.93
Sundance Institute Producers Conference
12,041.94
18,268.61
0.00
Miscellaneous TOTAL
TRAVEL GRANT
Bin Bakar, Mark/Travel Grant
Mark Bin Bakar
200.00
Collins, Priscilla/Travel Grant
38.00
136
Appendices
2005/06
PAYABLE IN
FUTURE YEARS
TYPE
Cathy Eatock
200.18
Flanagan, Lisa/Travel Grant
Lisa Flanagan
200.00
ISA Travel Grant
2,847.45
Johnson, Darlene/Travel Grant
Darlene Johnson
420.00
Moore, John/Travel Grant
60.00
0.00
3,965.63
TITLE
APPLICANT
Eatock, Cathy/Travel Grant
Travel Grant TOTAL

TOTAL INDIGENOUS UNIT
1,237,228.73
747,183.80
12,124,734.43
9,667,060.44
Film & Television Markets
525,752.65
Marketing Seminars
252,627.41
TOTAL FILM DEVELOPMENT
MARKETING
FESTIVAL TRAVEL GRANTS

Academy Awards, The Mysterious Geographic
Explorations of Jasper Morello
Annecy International Animated Film Festival,
Dust Echoes Morning Star episode
Extreme Makeover
Pinata
Asia Cinevision Freight Grant
Anthony and Julia Lucas
6,000.00
Michael Amos
3,600.00
400.00
Jonathan Daw
3,600.00
400.00
Mike Hollands
400.00
Aspenshortsfest, Small Boxes
Rene Hernandez
Asian Cinevision Inc
172.63
4,000.00
Berlin International Film Festival, Hold Please Chris Cudlipp
4,000.00
Berlin International Film Festival, Opal Dream Christian Byers
4,000.00
Berlin International Film Festival, Rampage
George Gittoes
4,000.00
Berlin International Film Festival, Candy
Emile Sherman and Neil Armfield
8,000.00
Cannes Film Festival, Suburban Mayhem
Leah Churchill-Brown and Paul Goldman
12,000.00
Cannes Film Festival, Ten Canoes
Rolf de Heer and Julie Ryan
10,800.00
1,200.00
Cannes Film Festival, 2:37
Nicholas Matthews and Murali K Thalluri
12,000.00
Cannes Film Festival, Jewboy
Elizabeth Sharpe
Cannes Film Festival, Jewboy
Ewen Leslie
Cannes Film Festival, Jindabyne
60.00
540.00
400.00
Catherine Jarman
5,400.00
600.00
Cannes Film Festival, Jindabyne
Ray Lawrence
6,000.00
Cannes Film Festival, Sexy Thing
Denie Pentecost
5,400.00
600.00
137
2005/06
PAYABLE IN
FUTURE YEARS
TYPE
Jane Campion
6,000.00
Cannes Film Festival, Wolf Creek
Greg McLean
600.00
Cannes Film Festival, Wolf Creek
Matthew Hearn
500.00
Cannes Film Festival, Yella Fella
Citt Williams
600.00
Clermont Ferrand International Short Film

Festival, The Last Chip
Clermont Ferrand International Short Film
Festival, The Saviour
Clermont-Ferrand International Short Film
Festival, Everything Goes
Edinburgh International Film Festival, The
Magician
European Media Arts Festival (EMAF), The
Staring Girl
Frameline San Francisco International LGBT
Film Festival, Hitch Cock
Frameline San Francisco International LGBT
Film Festival, Tomboy
IMZ Dancescreen, I Dream of Augustine
Donna McCrum
4,000.00
Peter Templeman
4,000.00
200.00
Scott Ryan
2,725.00
Sarah Leadbeter
3,500.00
Stuart Vauvert
300.00
Judith Cobb
300.00
Cordelia Beresford
300.00
International Documentary Festival

Amsterdam (IDFA), Butterfly Man
International Documentary Festival
Amsterdam (IDFA), Kidnapped!
International Short Film Festival Oberhausen,
Gabriel
International Short Fim Festival Oberhausen,
Still Time
Millenium Dialogue New Media Arts
Exhibition & Symposium, Floating Territories
Montreal World Film Festival, Peaches
Samantha Rebillet
3,500.00
Melissa K Lee
3,500.00
300.00
Sonia Whiteman
3,500.00
Leon Cmielewski
350.00
Craig Monahan
250.00
Montreal World Film Festival, The Widower
Kevin Lucas
25.00
Montreal World Film Festival, Three Dollars
Robert Connolly
3,800.00
Outfest Los Angeles LGBT Film Festival, Lypi Jim Stamatakos
3,500.00
Picture This Film Festival, Mercury Stole

My Fire
SIGGRAPH, Medulla Intimata
Anitra Nelson
3,500.00
Tina Gonsalves
3,000.00
400.00
TITLE
APPLICANT
Cannes Film Festival, The Water Diary
Graeme Isaac
Janine Burchett
Sundance Film Festival, Dhakiyarr vs The King Graeme Isaac

Sundance Film Festival, Clara
Van Sowerwine
4,000.00
Sundance Film Festival, The Mysterious

Geographic Explorations of Jasper Morello
Sundance Film Festival, Unfolding Florence
Anthony Lucas
4,000.00
Charles Hannah and Gillian Armstrong
6,000.00
Telluride Film Festival, Monster
Jennifer Kent
3,500.00
Toronto International Film Festival and

Sarah Watt
San Sebastian Film Festival, Look Both Ways
Toronto International Film Festival, Little Fish Liz Watts and Rowan Woods
7,500.00
7,000.00
Tribeca Film Festival, Bourke and Wills
2,700.00
300.00
Matthew Zeremes
138
Appendices
2005/06
PAYABLE IN
FUTURE YEARS
TYPE
Mario Andreacchio
2,700.00
300.00
Type E Travel Grant, DIGIMART, Us Mob
David Vadiveloo
4,500.00
Type E Travel Grant, MILIA
Debra Allanson
5,000.00
Stephane Zerbib
5,000.00
Steve Kearney
3,600.00
400.00
Type E Travel Grant, Transit Lounge Residency

and Transmediale, Slate of Projects
Type E Travel Grant, World Summit on the
Information Society Awards & Exhibition,
Underworld
Venice International Film Festival,
The Mechanicals
Videobrasil, The Fall
Sumugan Sivanesan
3,500.00
Jennie Swain
3,500.00
Nicole ODonohue
4,000.00
Mel OCallaghan
3,500.00
VIPER, Poppy
Sophie Boord
3,500.00
Yamagata International Documentary Film

Festival, In the Shadow of Palms Iraq
Festival Travel Grants TOTAL
Wayne Coles Janess
4,000.00
215,207.63
5,515.00
TITLE
APPLICANT
Tribeca Film Festival, Elephant Tales
MARKET TRAVEL GRANTS

AFM
Louise Smith
5,000.00
American Film Market
David Redman
5,000.00
Asia Superpitch, Scav Hunt
Warwick Holt and Anna Reeves
5,000.00
Cannes Film Market
Sally Regan
550.00
Cannes Film Market
Sue Maslin
550.00
Cannes Film Market
Michelle Harrison
4,950.00
550.00
Cannes Film Market
Jackie OSullivan
5,500.00
Cannes Film Market
Matthew Dabner
5,500.00
Cannes Film Market
Vincent Sheehan
550.00
Cannes Film Market
Mark Lazarus
4,950.00
550.00
Cannes Film Market
Martin Fabinyi
4,950.00
550.00
Cannes Film Market
Cathy Overett
5,500.00
Cannes Film Market
Jonathon Shteinman
550.00
European Film Market
Angela Walsh
4,000.00
Liz Watts
5,000.00
Philip Brophy
5,000.00
HAF, Apeiron
Clara Law & Eddie Fong
6,000.00
Hong Kong FILMART
Trish Lake
2,700.00
300.00
Hong Kong FILMART
Jonathan Shteinman
2,700.00
300.00
Hong Kong FILMART
David Roe
3,000.00
Hot Docs Doc Lab
Shannon Sleeth
3,600.00
400.00
139
2005/06
PAYABLE IN
FUTURE YEARS
TYPE
Andrew Davies
4,050.00
450.00
MIPCOM
Donna Andrews
5,000.00
MIPCOM
Cecile Blackman
5,000.00
MIPCOM
Ann Darrouzet
5,000.00
MIPTV
Ewan Burnett
5,000.00
MIPTV
Leanne Tonkes
3,600.00
400.00
MIPTV
David Curl
4,500.00
500.00
MIPTV
Paul Barron
5,000.00
MIPTV
Gregory Miller
5,000.00
MIPTV
Chris Hilton
500.00
MIPTV
Juliet Rosser
500.00
MIPTV/MILA
Jacqui North
500.00
Rotterdam Cinemart, Beetle Ramen
Margot McDonald and Chi Yen Ooi
6,300.00
700.00
Rotterdam Lab
Jimmy Jack
4,000.00
Rotterdam Lab
Kate Riedl
4,950.00
550.00
Rotterdam Lab
Melanie Coombs
4,000.00
Rotterdam Lab
Karen Radzyner
4,000.00
Sunny Side of the Doc
Sonja Armstrong
4,500.00
500.00
Nicki Roller
4,500.00
500.00
David Bradbury
4,500.00
500.00
World Congress of History Producers
Stephen Amezdroz
5,000.00
World Congress of History Producers
John Moore
5,000.00
World Congress of History Producers and

World Congress of Science Producers
Judy Rymer
5,000.00
Andrea Ulbrick
3,500.00
Chris Hilton
3,500.00
182,450.00
7,250.00
TITLE
APPLICANT
MIFA
Market Travel Grants TOTAL

SPECIAL TRAVEL GRANTS
Cannes Film Market, Moving South
Robyn Kershaw & Kate Woods
8,100.00
900.00
Cannes Film Market, The Caterpillar Wish
Kate Whitbread & Sandra Scibberas
8,100.00
900.00
Cannes Film Market, The Machiavelli Project
David Redman
4,950.00
550.00
Cannes Film Market, The Shelter
Lizzette Atkins & Samuel McGeorge
8,100.00
900.00
IFP No Borders, Unlocked
Robyn Kershaw & Jo Kennedy
8,000.00
37,250.00
3,250.00
1,213,287.69
16,015.00
Special Travel Grants TOTAL

TOTAL MARKETING
140
Appendices
TITLE
APPLICANT
2005/06
PAYABLE IN
FUTURE YEARS
TYPE
INDUSTRY & CULTURAL DEVELOPMENT

FUNDING PROGRAM
Awards
AFI Awards
Australian Film Institute Ltd
240,000.00
100,000.00
ASDA Awards Dinner
Australian Screen Directors Association Ltd
1,000.00
ATOM Awards
Australian Teachers of Media Inc
8,000.00
1,600.00
AWGIE Awards
Australian Writers Guild Ltd
11,000.00
1,500.00
Film Critics Circle of Australia Awards
Film Critics Circle of Australia Inc
14,000.00
3,000.00
IF Awards
IF Media Pty Ltd
50,000.00
10,000.00
324,000.00
116,100.00
7,400.00
1,500.00
1,600.00
Awards TOTAL
CONFERENCES, SEMINARS
ACT Filmmakers Seminar Series
ACT Filmmakers Network
Arts-Film Online Speakers Bureau
ASDA Conference
12,000.00
2,400.00
ASDA Seminar Series
34,000.00
25,500.00

Conference
Backing Our Creativity Symposium

Conference Inc
Australia Council
30,000.00
35,000.00
5,000.00
Equity Professionals Program
3,200.00
800.00
Festival of Darwin Film and TV Workshops
Equity Foundation, Media Entertainment

and Arts Alliance
Australian Guild of Screen Composers
1,000.00
Gold Coast Film Fantastic
Gold Coast Film Fantastic Inc
5,000.00
Northern Rivers Screenworks
Northern Rivers Screenworks Ltd
22,200.00
3,800.00
Popcorn Taxi
Popcorn Taxi Pty Ltd
33,750.00
50,000.00
Screenplay
Screenplay Melbourne Inc
small screen BIG PICTURE TV Conference
Mills Wilson
SPAA Conference and Fringe

Vital Signs Conference
Wide Angle Tasmania
2,000.00
1,200.00
Screen Producers Association of Australia
28,600.00
5,800.00
Centre for Animation and Interactive

Media, RMIT
Salamanca Arts Centre Inc
12,000.00
62,500.00
12,500.00
10,000.00
2,500.00
269,350.00
141,900.00
Working Words on Screen, AWG Masterclasses Australian Writers Guild Ltd

Writing for Games, AWG Writers Research
Conferences, Seminars TOTAL

EXHIBITION & SCREENING PROGRAM
Adelaide Cinmathque
End Credits Film Club, The
The End Credits Film Club
Flix in the Wet
Darwin Film Society
20,000.00
10,000.00
2,000.00
9,600.00
2,400.00
141
2005/06
PAYABLE IN
FUTURE YEARS
TYPE
State Cinema (Hobart)
9,000.00
Melbourne Cinmathque
Melbourne Cinmathque Inc
20,000.00
Perth Cinmathque
Film & Television Institute (WA) Inc
20,000.00
19,600.00
73,400.00
TITLE
APPLICANT
Hobart Cinmathque
Exhibition & Screening Program TOTAL

FILM FESTIVALS
Adelaide International Film Festival
40,000.00
10,000.00
Auburn International Film and Video Festival

for Children and Young Adults
Brisbane International Animation Festival
Cinewest Multimedia
5,000.00
1,000.00
Queensland Animators Group Inc
2,000.00
Brisbane International Film Festival
Pacific Film Festivals Ltd
40,000.00
20,000.00
Canberra International Film Festival
Canberra International Film Festival Inc
1,000.00
Colourised Festival
Uniikup Productions
1,000.00
Down Under International Film Festival
NT Filmakers Association (NTFA) Inc
1,000.00
Fist Full of Films
Browns Mart Community Arts
8,000.00
1,600.00
Flagfall Film Festival
Popcorn Taxi Pty Ltd
10,000.00
Flickerfest International Short Film Festival
Flickerfest Pty Ltd
5,000.00
Little Big Shots: The Melbourne International Media Giants Pty Ltd
Childrens Film Festival
Melbourne International Animation Film
Melbourne Animation Posse
Festival
Filmfest Limited
8,000.00
1,600.00
23,580.00
4,720.00
65,000.00
32,500.00
Message Sticks
20,000.00
5,000.00
Mountain Film Festival
The Mountain Festival Inc
3,200.00
800.00
Other Film Festival, The
Arts Access Society inc
8,000.00
2,000.00
REVelation Perth International Film Festival
32,000.00
6,400.00
Shooting Out Across the Regions
Revelation Perth International Film

Festival Inc
24 Hour Events Pty Ltd
4,800.00
1,200.00
Sony Tropfest
Tropfest Events
45,000.00
St Kilda Film Festival
City of Port Phillip
15,600.00
3,200.00
Stringland Homelands Movies Film Festival
Browns Mart Community Arts
2,500.00
65,000.00
404,680.00
91,020.00
Film Festivals TOTAL

INTERACTIVE PROJECTS
Conference
Convergence Jam

Conference Ltd
International Production Services Pty Ltd
10,000.00
1,000.00
Crossover Australia
24,000.00
6,000.00
Electrofringe
Octapod Association Inc
15,000.00
3,000.00
Sydney Film Festival Digital Media Program
7,000.00
1,400.00
142
Appendices
TITLE
APPLICANT
X|Media|Lab
Australian Academy of Digital Arts and

Sciences Pty Ltd
Interactive Projects TOTAL
2005/06
PAYABLE IN
FUTURE YEARS
TYPE
8,000.00
2,000.00
65,000.00
12,400.00
INTERACTIVE RESOURCE ORGANISATIONS

dLux Media Arts
dLux Media Arts
42,500.00
22,500.00
Experimenta Media Arts
Experimenta Media Arts
85,000.00
42,500.00
127,500.00
65,000.00
Interactive Resource Organisations TOTAL

PUBLICATIONS & JOURNALS
100 Greatest Films of Australian Cinema
Scribal Holdings Pty Ltd
8,000.00
2,000.00
Australian Screen Education
35,000.00
8,750.00
Metro Magazine
50,000.00
12,500.00
IF Inside Film Magazine
IF Media Pty Ltd
85,000.00
19,000.00
RealTime + OnScreen
Open City Inc
58,125.00
11,875.00
Senses of Cinema
Senses of Cinema Inc
60,000.00
12,500.00
Short Site: Recent Australian Short Film
Australian Centre for the Moving Image
1,500.00
Storyline
2,000.00
14,400.00
Take 4: Australian Filmmakers Talk
Raffaele Caputo
2,000.00
Women Do Animate: Interviews with

Ten Australian Animators
Publications & Journals TOTAL
Insight Publications Pty Ltd
1,000.00
300,625.00
83,025.00
230,000.00
115,000.00
SCREEN DEVELOPMENT ORGANISATIONS

FTI (WA)
Film & Television Institute (WA) Inc
47,500.00
2,500.00
Media Resource Centre Inc
190,000.00
95,000.00
Metro Screen
Metro Screen Limited
190,000.00
95,000.00
OPENChannel
OPENChannel Co-Operative Ltd
229,999.00
QPIX
Qpix Ltd
150,000.00
75,000.00
SDA Meeting Grant
QPIX Ltd
Screen Development Organisations TOTAL
2,500.00
1,039,999.00
382,500.00
SECTOR RESOURCING
Arts Law Centre
The Arts Law Centre of Australia
52,500.00
27,500.00
SDA Review
35.42
Women in TV Project: lunches & seminars
37,398.71
Women Working in Television: book
523.34
90,457.47
27,500.00
Sector Resourcing TOTAL
143
TITLE
APPLICANT
2005/06
PAYABLE IN
FUTURE YEARS
TYPE
8,000.00
1,600.00
3,000.00
TOURING FESTIVALS/EXHIBITIONS
15/15 Film Festival
15/15 Film Festival Inc
Brisbane International Animation Festival Tour Queensland Animators Group Inc.

Flickerfest International Short Film Festival
Tour
In The Bin Touring Film Festival
Flickerfest Pty Ltd
45,000.00
25,000.00
In The Bin Film Festival
12,497.00
4,653.00
Japanime and Animasia
Freerange Animation Pty Ltd
1,000.00
Melbourne Travelling Film Festival
12,962.00
4,052.00
My Queer Career
Queer Screen Ltd
1,600.00
Over The Fence Comedy Festival
Voices Arts Networking Group Inc
12,000.00
2,400.00
PAW Remote Video Festival
Walpiri Media Association Inc
1,600.00
St Kilda Film Festival Tour
City of Port Phillip
20,800.00
4,200.00
Sydney Travelling Film Festival
72,500.00
35,000.00
Trasharama A-go-go Touring Film Festival
Trasharama
8,000.00
2,000.00
197,959.00
79,905.00
Touring Festivals/Exhibitions
SUB-TOTAL FUNDING PROGRAM
2,839,170.47
1,072,750.00
EVENTS AND ACTIVITIES

AUSTRALIANSCREEN ONLINE
australianscreen online
australianscreen online TOTAL
706,734.84
706,734.84
0.00
BIG SCREEN
Big Screen
Big Screen TOTAL
503,195.53
503,195.53
0.00
BLACK SCREEN
Black Screen
Black Screen TOTAL
33,634.45
33,634.45
0.00
CINMATHQUE
National Cinmathque
Cinmathque TOTAL
197,738.54
197,738.54
0.00
DIGITAL CINEMA
Regional Digital Screen Network Pilot
Digital Cinema TOTAL
36,816.41
36,816.41
0.00
144
Appendices
TITLE
APPLICANT
2005/06
PAYABLE IN
FUTURE YEARS
TYPE
EDUCATIONAL RESOURCES
Indigenous filmmakers publication
Educational Resources TOTAL
51,300.00
51,300.00
0.00
INTERNATIONAL PROMOTIONS
AusArts India program
21,627.67
London Australian Film Festival and Tour
40,000.00
The Sentimental Bloke, international tours
27,202.39
Australian Film Festival Tokyo
37,346.45
126,176.51
0.00
International Promotions TOTAL

SCHOOLS SCREENING PROGRAM
Schools Screening Program
Schools Screening Program TOTAL
37,324.30
37,324.30
0.00
SUB-TOTAL EVENTS & ACTIVITIES
1,692,920.58
0.00
TOTAL INDUSTRY & CULTURAL DEVELOPMENT
4,532,091.05
1,072,750.00
POLICY, RESEARCH & COMMUNICATIONS

PR&C PROJECTS
Get the Picture Online and Australias
Audiovisual Markets
Policy development and government liaison
83,085.67
207,724.09
Policy research projects
74,081.07
364,890.83
0.00
PR&C Projects TOTAL
RESEARCH AND INFORMATION SERVICES

Information program
131,834.51
Research program
197,928.65
Statistical program
Research and Information Services TOTAL
123,931.40
453,694.56
0.00
COMMUNICATIONS
Advertising
94,894.37
Database development
38,460.00
Design and printing
239,084.67
145
The documentary Bush School received AFC post-production investment funding.

It was written by Bryan Duffy and Ashley Smith and directed and produced by Bryan Duffy.
2005/06
PAYABLE IN
FUTURE YEARS
TYPE
191,498.10
Media service
114,423.14
Publicity
157,473.10
Website maintenance and redevelopment
170,249.31
Communications TOTAL
1,006,082.69
0.00
TOTAL POLICY, RESEARCH & COMMUNICATIONS
1,824,668.08
0.00
TITLE
APPLICANT
Events management
OTHER AFC INITIATIVES FUNDED BY OTHER AGENCIES

AustraliaKorea Foundation DICON Present
2,593.64
Big Screen
77,161.78
Black On White
100,000.00
Copyright royalties and publications revenue
20,301.38
Embassy Roadshow
120,878.71
Endangered
Endangered Pictures Pty Ltd
4,000.00
Marketing Special Project Externally Funded Australian Film Commission
79,100.00
8,000.00
17,500.00
Munan
CAAMA Productions
National Cinmathque
31,762.84
NIDF 7
439.77
Our Bush Wedding
Pine Street Films Pty Ltd
4,000.00
Short Features Festival 2005/2006
AFC & SBSi St Leonards
15,000.00
Singapore Film Festival
586.13
Willaberta Jack
1,500.00
Women in TV Project: lunches & seminars
7,000.00
Women Working in Television: book
41,859.18
414,183.43
117,500.00
Other AFC Initiatives Funded By Other Agencies TOTAL

AFC TOTAL
20,108,964.68 10,873,325.44
Summary
Total Film Development
12,124,734.43
9,667,060.44
Marketing
1,213,287.69
16,015.00
4,532,091.05
1,072,750.00
1,824,668.08
0.00
414,183.43
117,500.00
Externally Funded Projects

TOTAL PROGRAM EXPENDITURE AND FUTURE YEAR FUNDING COMMITMENTS
146
Appendices
20,108,964.68 10,873,325.44
INDEPENDENT AUDIT REPORT
To the Minister for the Arts and Sport

Scope
The financial statements and Commissioners responsibility
The financial statements comprise:
Statement by Commissioners and Chief Executive;
Income Statement, Balance Sheet and Statement of Cash Flows;
Statement of Changes in Equity;
Schedules of Commitments and Contingencies; and
Notes to and forming part of the Financial Statements
of the Australian Film Commission for the year ended 30 June 2006.
The Commissioners of the Australian Film Commission are responsible for preparing the financial statements that give a true and fair view of the financial position and
performance of the Australian Film Commission and that comply with the Finance Ministers Orders made under the Commonwealth Authorities and Companies Act 1997,
Accounting Standards and mandatory financial reporting requirements in Australia. The Commissioners are also responsible for the maintenance of adequate accounting records
and internal controls that are designed to prevent and detect fraud and error, and for the accounting policies and accounting estimates inherent in the financial statements.
Audit approach
We have conducted an independent audit of the financial statements to express an opinion on them to you. Our audit has been conducted in accordance with Australian
National Audit Office Auditing Standards, which incorporate the Australian Auditing and Assurance Standards, to provide reasonable assurance as to whether the financial
statements are free of material misstatement. The nature of an audit is influenced by factors such as the use of professional judgement, selective testing, the inherent
limitations of internal control, and the availability of persuasive, rather than conclusive, evidence. Therefore, an audit cannot guarantee that all material misstatements have
been detected.
While the effectiveness of managements internal controls over financial reporting was considered when determining the nature and extent of audit procedures, the audit
was not designed to provide assurance on internal controls.
We have performed procedures to assess whether, in all material respects, the financial statements present fairly, in accordance with Finance Ministers Orders made under the
Commonwealth Authorities and Companies Act 1997, Accounting Standards and other mandatory financial reporting requirements in Australia, a view which is consistent with
our understanding of the Australian Film Commissions financial position, and of its performance as represented by the statements of financial performance and cash flows.
The audit opinion is formed on the basis of these procedures, which included:
examining, on a test basis, information to provide evidence supporting the amounts and disclosures in the financial statements; and
assessing the appropriateness of the accounting policies and disclosures used, and the reasonableness of significant accounting estimates made by the
Commissioners.
Independence
In conducting the audit, we have followed the independence requirements of the Australian National Audit Office, which incorporate the ethical requirements of the Australian
accounting profession.
Audit Opinion
In my opinion, the financial statements of the Australian Film Commission:
(a) have been prepared in accordance with Finance Ministers Orders made under the Commonwealth Authorities and Companies Act 1997; and
(b) give a true and fair view of the Australian Film Commissions financial position as at 30 June 2006 and of its performance and cash flows for the year then ended, in
accordance with:
(i) the matters required by Finance Ministers Orders; and
(ii) applicable Accounting Standards and other mandatory financial reporting requirements in Australia.
Australian National Audit Office
P Hinchey
Senior Director
Delegate of the AuditorGeneral
Sydney
14 September 2006
148
AUSTRALIAN FILM COMMISSION

FINANCIAL STATEMENTS for the year ended 30 June 2006
STATEMENT BY COMMISSIONERS AND CHIEF EXECUTIVE

In our opinion, the attached financial statements for the year ended 30 June 2006 are based on properly maintained
financial records and give a true and fair view of the matters required by the Finance Ministers Orders made under
the Commonwealth Authorities and Companies Act 1997.
In our opinion, at the date of this statement, there are reasonable grounds to believe that the Australian Film
Commission will be able to pay its debts as and when they become due and payable.
This Statement is made in accordance with a resolution of the Commissioners.
Maureen Barron
Chair
12 September 2006
Chris Fitchett
Acting Chief Executive
12 September 2006
Paul Hamra
Deputy Chair
12 September 2006
Greg Brown
Chief Financial Officer
12 September 2006
149

INCOME STATEMENT for the year ended 30 June 2006
NOTES
2006
$
2005
$
REVENUE
Revenues from Government
4a
51,991,000
48,637,000
Goods and services
4b
810,961
1,254,297
Interest
4c
1,349,401
1,138,971
Other revenues
4d
1,280,873
1,898,388
55,432,235
52,928,656
Total revenue
GAINS
2,098,171
1,308,887
Total gains
2,098,171
1,308,887
TOTAL INCOME
57,530,406
54,237,543
Donations
4e
EXPENSES
Employees
5a
20,775,184
19,189,918
Suppliers
5b
14,313,724
14,905,706
Grants
5c
4,041,711
3,862,260
Depreciation and amortisation
5d
3,837,050
3,847,392
Finance costs
Write-down and impairment of assets
5e
Other expenses
5f
TOTAL EXPENSES
OPERATING RESULT
The above statement should be read in conjunction with the accompanying notes
150
86,502
89,283
9,989,641
10,225,210
19
2,118
53,043,831
52,121,887
4,486,575
2,115,656

BALANCE SHEET as at 30 June 2006
NOTES
2006
$
2005
$
ASSETS
Financial assets
Cash and cash equivalents
12b
1,642,628
1,296,835
Receivables
7a
1,387,062
1,292,045
Investments film industry assistance

Investments under s18 of the CAC Act
7b
7c
2,975,410
19,013,453
3,119,987
18,400,000
25,018,553
24,108,867
29,678,441
Total financial assets

Non-financial assets
Land and buildings
8a
31,682,152
Plant and equipment
8b
7,060,109
6,530,159
Heritage and cultural assets
8c
32,810,275
28,752,916
Inventories
8f
737,653
416,926
Intangibles
Other non-financial assets
8d
8g
754,012
148,129
594,367
203,932
Total non-financial assets
73,192,330
66,176,741
TOTAL ASSETS
98,210,883
90,285,608
459,760
1,909,085
539,067
1,731,885
2,368,845
2,270,952
167,217
224,007
167,217
224,007
4,177,991
523,334
4,117,097
322,913
Total provisions
4,701,325
4,440,010
TOTAL LIABILITIES
7,237,387
6,934,969
90,973,496
83,350,639
Contributed equity
Reserves
Accumulated deficits
Total equity
240,345,007
7,374,381
(156,745,892)
90,973,496
240,255,007
4,328,099
(161,232,467)
83,350,639
Current assets
Non-current assets
Current liabilities
Non-current liabilities
22,293,441
75,917,442
3,363,039
3,874,348
21,292,132
68,993,476
2,731,996
4,202,973
LIABILITIES
Payables
Suppliers
Other payables
9a
9b
Total payables
Interest bearing liabilities
Leases
10
Total interest bearing liabilities

Provisions
Employees
Other provisions
11a
11b
NET ASSETS
EQUITY
151

STATEMENT OF FINANCIAL
CASH FLOWSPERFORMANCE
for the year ended
for the30
year
June
ended
200630 June 2006
NOTES
2006
$
2005
$
OPERATING ACTIVITIES
Cash received
Appropriations
Goods and services
Interest
GST recovered from ATO
Other
Total cash received
Cash used
Employees
Suppliers
Grants
Financing costs
GST paid
Total cash used
Net cash from/(used by) operating activities
12a
51,991,000
820,179
1,379,974
2,769,937
1,770,831
58,731,921
48,945,000
1,230,888
981,897
2,651,969
2,079,892
55,889,646
20,732,254
14,801,164
4,050,451
77,185
3,052,743
42,713,797
16,018,124
19,062,724
14,511,318
3,888,708
89,283
2,931,088
40,483,121
15,406,525
149,774
836,324
1,000
63,429,544
64,416,642
537,572
891,199
1,647
24,526,792
25,957,210
578,877
9,568,582
5,665,103
64,042,997
79,855,559
(15,438,917)
652,973
11,842,902
1,683,170
26,687,691
40,866,736
(14,909,526)
90,000
90,000
90,000
90,000
180,571
142,843
323,414
(233,414)
149,571
292,932
442,503
(352,503)
345,793
144,496
1,296,835
1,152,339
1,642,628
1,296,835
INVESTING ACTIVITIES
Cash received
Recoupment of loans film industry assistance
Recoupment of investments film industry assistance
Proceeds from sales of property, plant and equipment
Proceeds from sale of investments (s18 CAC Act)
Total cash received
Cash used
Loans paid film industry assistance
Investments paid film industry assistance
Purchase of property, plant and equipment
Purchase of investments (s18 CAC Act)
Total cash used
Net cash from/(used by) investing activities
FINANCING ACTIVITIES
Cash received
Equity injection
Total cash received
Cash used
Repayment of finance lease liability
Repayment of amount borrowed under lease incentive arrangement
Total cash used
Net cash from/(used by) financing activities
Net increase/(decrease) in cash held
Cash at the beginning of the reporting period
Cash at the end of the reporting period
12b
152

Statement of Changes in Equity for the year ended 30 June 2006
Accumulated Results
2006
$
Opening Balance at 1 July
Asset Revaluation Reserve

2006
$
2005
$
Contributed Equity
2006
$
2005
$
Total Equity
2005
$
2006
$
2005
$
(161,232,467)
(163,348,123)
4,328,099
1,258,404
240,255,007
240,165,007
83,350,639
78,075,288
Revaluation adjustment
3,046,282
3,069,695
3,046,282
3,069,695
Subtotal income and

expenses recognised
directly in equity
3,046,282
3,069,695
3,046,282
3,069,695
Net Operating Result
4,486,575
2,115,656
4,486,575
2,115,656
Total income and

expenses
4,486,575
2,115,656
3,046,282
3,069,695
7,532,857
5,185,351
90,000
90,000
90,000
90,000
(156,745,892)
(161,232,467)
7,374,381
4,328,099
240,345,007
240,255,007
90,973,496
83,350,639
Income and Expense
Transactions with Owner

Contributions by Owner
Equity injection
Closing Balance
at 30 June
153

SCHEDULE OF COMMITMENTS as at 30 June 2006
2006
$
2005
$
BY TYPE
Capital commitments
-
48,495
419,122
559,915
25,014
106,493
444,136
714,903
Operating leases 4
10,625,961
10,827,684
Project commitments 5
13,148,547
10,167,768
335,027
234,438
Land and buildings
Plant and equipment
Other capital commitments
Total capital commitments

Other commitments
Other commitments 6
Total other commitments
24,109,535
21,229,890
Commitments receivable
(2,084,261)
(1,974,277)
Net commitments
22,469,410
19,970,516
444,136
714,903
444,136
714,903
One year or less
1,655,996
1,491,764
From one to ve years
6,082,068
4,992,409
Over ve years
2,887,897
4,343,511
10,625,961
10,827,684
12,157,971
9,660,916
BY MATURITY
Capital commitments
One year or less
Total capital commitments
Operating lease commitments
Total operating lease commitments

Other commitments
One year or less
1,325,603
741,290
Total other commitments
13,483,574
10,402,206
Commitments receivable
(2,084,261)
(1,974,277)
Net commitments by maturity
22,469,410
19,970,516
From one to ve years
NB: Commitments are GST inclusive where relevant.

1 Outstanding contractual payments for building and leasehold improvements projects.
2 Plant and equipment commitments are primarily for purchases of equipment for preservation works.
3 Other capital commitments arise from contracts for purchases of computer software.
4 Operating lease commitments are effectively non-cancellable and primarily comprise leases for office accommodation.
5 Project commitments comprise agreements to provide film industry assistance support in the form of investments, loans or grants.
6 Other commitments comprise amounts payable for office supplies and consultants.
The recipients are yet to either perform the services required or meet eligibility conditions.
The above schedule should be read in conjunction with the accompanying notes.
154

SCHEDULE OF CONTINGENCIES as at 30 June 2006
2006
$
2005
$
Contingent liabilities
Bank guarantees
50,000
Total contingent liabilities
50,000
Net contingent liabilities
50,000
There are no contingent liabilities as at 30 June 2006. A contingent liability existed at 30 June 2005 in the form
of guarantees of $50,000 to the bankers of assisted lm organisations and producers. Of this sum, $28,962 was
outstanding at 30 June 2005.
Contingent assets
There were no quantiable contingent assets as at 30 June 2006 (2005: nil).
The above schedule should be read in conjunction with the accompanying notes
155

NOTES TO AND FORMING PART OF THE FINANCIAL STATEMENTS for the year ended 30 June 2006
Note
1.
2.
3.
4.
5.
Description
Summary of Significant Accounting Policies
The impact of the transition to AEIFRS from previous A-GAAP
Economic Dependency
Income
Operating Expenses
6.
7.
8.
9.
10.
11.
12.
13.
14.
15.
16.
17.
18.
19.
20.
Finance Costs Expense

Financial Assets
Non-Financial Assets
Payables
Interest Bearing Liabilities
Provisions
Cash Flow Reconciliation
Commission Members Remuneration
Related Party Disclosures
Remuneration of Officers
Remuneration of Auditors
Average Staffing Levels
Disbursement Trust
Financial Instruments
Reporting of Outcomes
1. Summary of Significant Accounting Policies

(i) Basis of Accounting
The financial statements are required by clause 1(b) of Schedule 1 of the Commonwealth Authorities and Companies Act 1997 (CAC Act)
and are a general purpose financial report.
The financial statements have been prepared in accordance with:
Finance Ministers Orders (or FMOs, being the Commonwealth Authorities and Companies Orders (Financial Statements for reporting
periods ending on or after 1 July 2005));
Australian Accounting Standards issued by the Australian Accounting Standards Board (AASB) that apply for the reporting period; and
Interpretations issued by the AASB and Urgent Issues Group (UIG) that apply for the reporting period.
This is the first financial report to be prepared under Australian Equivalents to International Financial Reporting Standards (AEIFRS). The
impacts of adopting AEIFRS are disclosed in Note 2.
The Income Statement, Balance Sheet and Statement of Changes in Equity have been prepared on an accrual basis and are in accordance
with historical cost convention, except for certain assets, which, as noted, are measured at fair value. Except where stated, no allowance is
made for the effect of changing prices on the results or the financial position of the AFC.
The financial report is presented in Australian dollars and values are rounded to the nearest dollar.
Unless alternative treatment is specifically required by an Accounting Standard, assets and liabilities are recognised in the Balance Sheet
when and only when it is probable that future economic benefits will flow and the amounts of the assets or liabilities can be reliably
measured. Assets and liabilities arising under agreements equally proportionately unperformed are however not recognised unless required
by an Accounting Standard. Assets and liabilities that are unrecognised are reported in the Schedule of Commitments and the Schedule of
Contingencies.
Unless alternative treatment is specifically required by an Accounting Standard, revenues and expenses are recognised in the Income
Statement when and only when the flow or consumption or loss of economic benefits has occurred and can be reliably measured.
156

(ii) Significant Accounting Judgements and Estimates
In the application of AEIFRS and the specific accounting policies listed in this note, judgements, estimates and assumptions are required to
be made by management about the carrying values of assets and liabilities where these are not readily apparent from other sources. These
estimates and associated assumptions are based on historical experience and various other factors that are believed to be reasonable under
the circumstance, the results of which form the basis of making the judgements. All estimates and underlying assumptions are reviewed on
an ongoing basis.
Any revisions to accounting estimates are recognised in the period in which the estimate is revised if the revision affects only that period,
or in the period of the revision and future periods if the revision affects both current and future periods.
No accounting assumptions or estimates have been identified that have a significant impact on the amounts of assets and liabilities
recorded in the 2005-06 financial statements. No accounting assumptions or estimates have been identified that have a significant risk of
causing a material adjustment to carrying amounts of assets and liabilities within the next accounting period.
(iii) Statement of Compliance
The financial report complies with Australian Accounting Standards, which include Australian Equivalents to International Financial Reporting
Standards (AEIFRS). The AASB has issued amendments to existing Standards, which are not effective at the reporting date. The AFC intend to
adopt all Standards upon their application date. As at the reporting date, there is no expected effect from the application of those standards.
(iv) Film Investments and Loans, Allowance for Impairment and Write-offs
The AFC provides financial assistance to film developers and producers for the purposes of fostering and developing an Australian film,
television and interactive media production industry in Australia. The financial assistance is provided in the form of film investments and
loans and is accumulated in respect of each individual film development project and film production project.
All film investments and loans are initially recognised at cost being the fair value of the consideration given. After initial recognition,
investments and loans are recorded at cost less impairment as investments and loans are only carried forward from year to year to the
extent that recoupment is likely.
The carrying amount of investments and loans is reviewed annually by Commissioners to ensure that these assets are not being carried in
the Balance Sheet in excess of their recoverable amounts.
Investments and loans are written off in full where the recoupment of the investments and loans is considered unlikely. All AFC investments
older than three years at balance date are written off unless there are expectations of significant recoveries, with the exception of General
Development Investments (GDIs). Unless there are expectations of significant recoveries, GDIs older than 5 years at balance date are written
off.
A premuim is credited to revenue on recoupment of film development investments. Interest on loans is credited to revenue as it accrues.
(v) Acquisition of Assets
Assets are recorded at cost on acquisition except as stated below. The cost of acquisition includes the fair value of assets transferred in
exchange and liabilities undertaken. Financial assets are initially measured at their fair value plus transaction costs where appropriate.
Assets acquired at no cost, or for nominal consideration, are initially recognised as assets and revenues at their fair value at the date of
acquisition.
157

(vi) Property (Land, Buildings and Leasehold Improvements), Plant and Equipment and Heritage and Cultural Assets
Asset Recognition Threshold
Purchases of property, plant and equipment and heritage and cultural assets are recognised initially at cost in the Balance Sheet, except for
purchases costing less than $2,000, which are expensed in the year of acquisition, other than where they form part of a group of similar
items which are significant in total. Property, plant and equipment and heritage and cultural assets acquired free or for a nominal charge are
recognised initially at fair value.
The initial cost of an asset includes an estimate of the cost of dismantling and removing the item and restoring the site on which it is
located. A corresponding provision for the makegood is taken up.
Revaluations
Basis
Land, buildings, plant and equipment and heritage and cultural assets are carried at fair value, being revalued with sufficient frequency such
that the carrying amount of each asset class is not materially different, as at reporting date, from its fair value.
Valuations undertaken in any year are as at 30 June.
Fair values for each class of assets are determined as shown below.
Asset Class
Fair Value Measured at:
Land
Market selling price
Buildings
Leasehold Improvements
Depreciated replacement cost
Plant & Equipment
Heritage & Cultural Assets
Market buying price or depreciated replacement cost
Formal valuations are carried out by an independent qualified valuer. The Australian Valuation Office completed a revaluation of the AFCs
property, plant and equipment and heritage and cultural assets as at 30 June 2006.
Revaluation adjustments are made on an asset class basis. Any revaluation increment is credited to equity under the heading of asset
revaluation reserve except to the extent that it reverses a previous revaluation decrement of the same asset class that was previously
recognised through profit and loss. Revaluation decrements for a class of assets are recognised directly through the Income Statement
except to the extent that they reverse a previous revaluation increment for that class.
Any accumulated depreciation as at the revaluation date is eliminated against the gross carrying amount of the asset and the asset restated
to the revalued amount.
Heritage and cultural items in the national film and sound collection where the copyright has not vested in the AFC or where the copyright
period has not expired are classified as assets. The value of these assets is represented by the fair value of the carrier (not the content
on the carrier), but only for those items where the carrier is reusable. Film or other write-once carriers do not meet the definition of an
asset once recorded on as they become integral to the content and the capacity to re-record on them does not exist. Preservation and
reproduction cost incurred on these assets is expensed as incurred.
Heritage and cultural items where the copyright period has expired or where the copyright is vested in the AFC are classified as assets and
are recorded at fair value. The value of these assets is represented by both the carrier and the content on the carrier. Assets that have an
active and liquid market are valued at the current market buying price. Assets where there is no active and liquid market are predominantly
collectables and historical treasures. These assets cannot be reliably measured and are accordingly recorded as invaluable. The costs relating
to any significant and active preservation activity undertaken during the reporting period for these assets are capitalised and valued at fair
value using depreciated reproduction cost.
Assets which are surplus to requirement are measured at their net realisable value.
158

(vii) Depreciation and amortisation
Depreciable property, plant and equipment and heritage and cultural assets are written off to their estimated residual values over their
estimated useful lives to the AFC using, in all cases, the straight-line method of depreciation. Leasehold improvements are amortised on
a straight-line basis over the lesser of the estimated useful life of the improvements or the unexpired period of the lease. Depreciation/
amortisation rates (useful lives), residual values and methods are reviewed at each balance date and necessary adjustments are recognised
in current, or current and and future reporting periods, as appropriate. Depreciation and amortisation rates applying to each class of
depreciable assets are based on the following useful lives:
2006
Leasehold improvements
2005
Lower of 10 years or Lease term Lower of 10 years or Lease term

4066 years
40-66 years
Furniture and fittings
10 years
10 years
Computer equipment
3 years
3 years
Office machines
5 years
5 years
Plant
920 years
920 years
Heritage and Cultual Assets
377 years
377 years
Buildings
The aggregate amount of depreciation allocated for each class of asset during the reporting period is disclosed in Note 5d.
(viii) Impairment of Non-Current Assets
All assets were assessed for impairment at 30 June 2006. Where indications of impairment exist, the assets recoverable amount is
estimated and an impairment adjustment made if the assets recoverable amount is less than its carrying amount.
The recoverable amount of an asset is the higher of its fair value less costs to sell and its value in use. Value in use is the present value of
the future cash flows expected to be derived from the asset. Where the future economic benefit of an asset is not primarily dependent on
the assets ability to generate future cash flows, and the asset would be replaced if the AFC were deprived of the asset, its value in use is
taken to be its depreciated replacement cost.
No indicators of impairment were found for assets at fair value.
(ix) Intangibles
Intangibles, comprising purchased computer software and internally developed software, are carried at cost.
These assets, which are not held to generate net cash inflows, have been assessed for indications of impairment at the reporting date.
Where indications of impairment exist, the asset is written down to the higher of its net selling price and, if the AFC would replace the
assets service potential, its depreciated replacement cost. No assets were found to be impaired (2005: nil).
Software assets are amortised on a straight-line basis over their anticipated useful lives. The useful lives are :
2006
2005
Purchased software
5 years
5 years
Internally developed software
5 years
5 years
Any upgrades to existing software are amortised over the remaining life of the software asset.
159

(x) Inventories
Inventories held for sale are valued at the lower of cost and net realisable value.
Inventories held for distribution are measured at the lower of cost and current replacement cost.
Costs incurred in bringing each item of inventory to its present location and condition are assigned as follows:
raw materials and stores purchase cost on a weighted average cost basis; and
finished goods and work in progress cost of direct materials and labour plus attributable costs that are capable of being allocated on a
reasonable basis.
(xi) Employee Benefits
Benefits
As required by the Finance Ministers Orders, the AFC has early adopted AASB 119 Employee Benefits as issued in December 2004.
Liabilities for services rendered by employees are recognised at the reporting date to the extent that they have not been settled.
Liabilities for short-term employee benefits (as defined in AASB 119) such as liabilities for salaries and wages, annual leave and
termination benefits due within twelve months are measured at their nominal amounts. Other employee benefits expected to be settled
within 12 months of the reporting date are also measured at their nominal amounts.
Nominal amounts are calculated with regard to the rates expected to be paid on settlement of the liability.
All other employee benefit liabilities are measured as the present value of the estimated future cash outflows to be made in respect of
services provided by employees up to the reporting date.
Leave
The liability for employee benefits includes provision for annual leave and long service leave. No provision has been made for sick leave
as all sick leave is non-vesting and the average sick leave taken in future years by employees of the AFC is estimated to be less than
the annual entitlement for sick leave.
The leave liabilities are calculated on the basis of employees remuneration, including the employer superannuation contribution rates to
the extent that the leave is likely to be taken during employment rather than paid out on termination.
Employee benefit liabilities that are expected to be settled more than 12 months after the reporting date are recognised and measured
at the present value of the estimated future cash flows to be made by the AFC in respect of all the services provided by employees up
to 30 June 2006 at rates at which the liabilities are expected to be settled. A market yield of 5.775% on national 10 year government
bonds as at 30 June 2006 has been used as the discount rate.
Superannuation
The majority of employees contribute to the Commonwealth Superannuation Scheme (CSS), the Public Sector Superannuation Scheme
(PSS) and the PSS accumulation plan (PSSap).
The CSS and PSS are defined benefit schemes for the Commonwealth whereas the PSSap is a defined contribution scheme.
The AFC makes employer contributions to the Commonwealth at rates determined by the actuary to be sufficient to meet the cost to the
Commonwealth of the superannuation entitlements of the AFCs employees. Details of superannuation payments made by the AFC are
disclosed in Note 5a.
The liability for the defined benefits is recognised in the financial statements of the Australian Government and is settled by the
Australian Government in due course.
The liability for superannuation recognised as at 30 June represents outstanding contributions for the final fortnight of the financial year.
(xii) Leases
A distinction is made between finance leases and operating leases. Finance leases effectively transfer from the lessor to the lessee
substantially all the risks and rewards incidental to ownership of leased non-current assets. All other leases are classified as operating
leases. Under operating leases, the lessor effectively retains substantially all such risks and benefits.
Where a non-current asset is acquired by means of a finance lease, the asset is capitalised at either the fair value of the lease property or,
if lower, the present value of minimum lease payments at the inception of the contract and a liability recognised at the same time and for
the same amount.
Leased assets are amortised over the shorter of the estimated useful life of the asset or the lease term.
Lease payments are allocated between the principal component and the interest expense.
160

Operating lease payments are expensed on a basis which is representative of the pattern of benefits derived from the leased assets.
Lease incentives included in operating leases that take the form of free leasehold improvements are recognised as liabilities. These
liabilities are reduced by allocating lease payments between rental expense in the Income Statement and the lease incentive liability in the
Balance Sheet, over the lease term.
(xiii) Taxation
The Australian Film Commission is exempt from taxation except fringe benefits tax (FBT) and the goods and services tax (GST). Revenues,
expenses and assets are recognised net of the amount of GST, except where the amount of GST incurred is not recoverable from the
Australian Taxation Office (ATO).
(xiv) Foreign Currency
Foreign currency transactions are converted to Australian currency at the rates of exchange ruling at the dates of the transactions. Amounts
receivable and payable in foreign currencies are translated at the rates of exchange ruling at balance date. Exchange differences relating to
amounts payable and receivable in foreign currencies are brought to account in the Income Statement and are not material.
(xv) Cash
Cash comprises cash on hand, deposits held at call with banks and investments in term deposits maturing within 90 days or less. Cash is
recognised at its nominal amount.
(xvi) Insurance
The Australian Film Commission cover its general insurance needs including Directors and Officers liability through the Commonwealth
insurable risk managed fund, Comcover. Workers compensation is insured through Comcare Australia.
(xvii) Financial Risk Management
The AFCs operations expose the AFC to financial risk. The financial assets that significantly impact on the AFCs financial risk are film
investments and loans receivable. The AFC is not engaged in hedging activities.
The AFC retains a copyright interest in all development investments and production investments. Development investments provide for a
premium on recoupment. Repayments are only made to the AFC when the film project generates revenue. An interest is retained in the
profits of production investments after the recoupment of the AFCs investment. There is no interest in development investments after they
have been recouped in full.
Loans receivable are recognised at the amounts lent. Repayment of the loans is dependent on the earnings of the film project. Interest is
credited to revenue as it accrues.
The AFCs business is to invest and lend amounts for film development and production, which, by its nature, has a high probability of being
unprofitable. Accordingly, as there is no security provided against these film investments and loans, AFC expects to incur significant losses.
Liquidity risk is negligible as the AFC has no external borrowings except for finance leases.
(xviii) Derecognition of Financial Instruments
Financial assets are derecognised when the contractual rights to the cash flows from the financial assets expire or are forfeited or the asset
is transferred to another entity.
Financial liabilities are derecognised when the obligation under the contract is discharged or is cancelled or expires.
Comparative Year
For the comparative year, financial assets were derecognised when the contractual right to receive cash no longer existed. Financial
liabilities were derecognised when the contractual obligation to pay cash no longer existed.
(xix) Impairment of Financial Assets
At each balance date the AFC assesses whether there is objective evidence that a financial instrument has been impaired. Impairment
losses are recognised in the Income Statement.
Financial Assets held at Cost
If there is objective evidence that an impairment loss has been incurred for loans and receivables or held to maturity investments held at
cost, the amount of the loss is measured as the difference between the assets carrying amount and the recoverable amount. The carrying
amount is reduced by way of a provision or allowance account.
Comparative Year
As cost under AEIFRS is comparable to cost under the former Australian GAAP, there is no change to the way in which financial assets are
being measured by the AFC.
(xx) Contingent Liabilities and Contingent Assets
Contingent Liabilities and Assets are not recognised in the Balance Sheet. They arise from uncertainty as to the existence of a liability or
161

asset, or represent an existing liability or asset in respect of which settlement is not probable or the amount cannot be reliably measured.
Remote contingencies are part of this disclosure.
(xxi) Revenue
Revenue generated from the sale of goods is recognised when:
the risks and rewards of ownership have been transferred to the buyer;
the seller retains no managerial involvement nor effective control over the goods;
the revenue and transaction costs incurred can be reliably measured; and
it is probable that the economic benefits associated with the transaction will flow to the AFC.
Revenue generated from the rendering of services is recognised by reference to the stage of completion of contracts at the
reporting date. The revenue is recognised when the:
amount of revenue, stage of completion and transaction costs incurred can be reliably measured; and
probable economic benefits associated with the transaction will flow to the AFC.
The stage of completion of contracts at the reporting date is determined according to the proportion that costs incurred to date bear to the
estimated total costs of the transaction.
Interest revenue is recognised on a time proportionate basis that takes into account the effective yield on the relevant asset.
Sponsorship and donation revenue is recognised as and when the sponsorship or donation is received.
Revenue from disposal of non-current assets is recognised when control of the asset has passed to the buyer. The gain or loss on disposal is
calculated as the difference between the carrying amount of the non-current asset at the time of disposal and the net proceeds on disposal.
Receivables for goods and services are recognised at the nominal amounts due less any provision for bad and doubtful debts. Collectability
of debts is reviewed at balance date. Provisions are made when collectability of the debt is judged to be no longer probable.
Amounts appropriated for the financial year, adjusted for any formal additions and reductions, are recognised as revenue, except for
certain amounts that relate to activities that are reciprocal in nature, in which case revenue is recognised only when it has been earned.
Resources Received Free of Charge
Services received free of charge are recognised as revenue when and only when a fair value can be reliably determined and the
services would have been purchased if they had not been donated. Use of those resources is recognised as an expense.
Contributions of assets at no cost of acquisition or for nominal consideration are recognised at their fair value when the asset qualifies
for recognition.
(xxii) Transactions by the Government as Owner
Amounts appropriated by the Parliament as equity injections for a financial year are recognised directly in Contributed Equity in accordance
with the Finance Ministers Orders.
(xxiii) Bad and Doubtful Debts
Bad debts are written off to expense during the year in which they are identified, to the extent that they have not previously been
provided for. An allowance is made for doubtful debts based on a review of all outstanding receivables at year end.
(xxiv) Finance Costs
All finance costs are expensed as incurred.
(xxv) Grants
A commitment is recognised by the AFC on execution of each grant agreement.
Most grant agreements require the grantee to meet certain conditions. These conditions are generally not met prior to the grant being paid
out to the grantee. In these cases where there is a significant impact on the financial statements, the AFC recognises a grant prepayment
but only to the extent that the conditions required to be met or performed have not been satisfied by the grantee. When the grantee has
met the conditions of the grant, the grant prepayment is reduced and a grant expense is recorded.
(xxvi) Other Financial Assets Investments under s18 of the CAC Act
Term Deposits are recognised at cost due to the short term nature of the term deposits held by the AFC.
162

(xxvii) Other Financial Liabilities
Trade creditors and accruals are recognised at their nominal amounts, being the amounts at which the liabilities will be settled. Liabilities
are recognised to the extent that the goods or services have been received and irrespective of having been invoiced. Interest payable is
accrued over time.
(xxviii) Unrecognised Financial Liabilities
The AFC has, through the use of bank guarantees, agreed to honour the commitments of a third party under certain circumstances in the
event that the third party is unable to meet its commitments. Bank guarantees are not recognised in the AFCs Balance Sheet, instead they
are disclosed in the Schedule of Contingencies. At the time of completion of the financial statements, there were no bank guarantees in
existence.
(xxix) Comparative Figures
Where necessary, comparative figures have been adjusted to conform with changes in presentation in these financial statements.
(xxx) Rounding
Amounts have been rounded to the nearest dollar.
2. The impact of the transition to AEIFRS from previous A-GAAP

There is no material difference between the net profit or loss prepared under AEIFRS and A-GAAP.
There is no material difference between total equity prepared under AEIFRS and A-GAAP.
The cash flow statement presented under previous A-GAAP is equivalent to that prepared under AEIFRS.
The AFC has not restated comparatives for financial instruments because the adjustments between AEIFRS and the previous GAAP are not
material. There is no significant change to the method of determining impairment.
3. Economic Dependency
The Australian Film Commission is controlled by the Commonwealth of Australia and is dependent on Government Policy and on continuing
appropriations by the Parliament of the Commonwealth for its continued existence and ability to carry out its normal activities.
163

2006
$
2005
$
Appropriations for outputs
51,991,000
48,637,000
Total revenues from Government
51,991,000
48,637,000
Goods
247,751
398,683
Services
563,210
855,614
Total sales of goods and services
810,961
1,254,297
4. Income
Revenues
4a Revenues from Government
4b Sales of Goods and Services
Provision of goods to:

Related entities
4,476
59,680
External entities
243,275
339,003
Total sales of goods
247,751
398,683
Related entities
35,297
267,944
External entities
527,913
587,670
Total rendering of services
563,210
855,614
Cost of sales of goods
144,956
303,470
Rendering of services to:
4c Interest Revenue
Film industry loans
Investment of cash balances
43,935
34,629
1,294,714
1,090,517
10,752
13,825
1,349,401
1,138,971
Profit on fully recouped film investments
133,349
174,681
Recovery of written off loans and investments
260,392
282,773
Recovery of Television Initiatives Fund investments
510,657
412,866
Revenue for externally funded projects
261,066
833,502
Revenue from Special Industry Assistance
36,569
28,313
Grants
29,794
7,860
124,293
Disbursement Trust
Total interest revenue
4d Other
Royalties
49,038
34,100
1,280,873
1,898,388
4e Donations
2,098,171
1,308,887
Total gains
2,098,171
1,308,887
Other
Total other revenue
Other revenue includes sponsorship, conference fees and parking fees.
Gains
Donations include non-cash donations of heritage and cultural items.

164

2006
$
2005
$
5. Operating Expenses
5a Employee Expenses
16,222,899
14,984,351
Superannuation
2,578,633
2,374,197
Leave and other entitlements
Wages and salaries
1,209,455
1,113,734
Separation and redundancy
432,214
333,365
Other employee benefits
179,920
158,124
20,623,121
18,963,771
Total employee benefits expenses

Workers compensation premium
Total employee expenses
152,063
226,147
20,775,184
19,189,918
An independent actuarial review in 2005 determined that the employer contribution rate paid in 2005-06 for the CSS was 21.3%,
for the PSS 11.5% and for the PSSap 15.4%. An additional average 3.0% is contributed as Employer Productivity Superannuation
Contributions.
Contributions of 9.0% of salary were also paid in 2005-06 to comply with the Superannuation Guarantee (Administration) Act
1992 for those staff members that were not members of either the CSS, PSS or the PSSap. Separate employer superannuation
contributions of up to 15.4% of salary were also provided for certain Senior Executive Service employees on fixed term contracts.
5b Supplier Expenses
Goods from related entities
Goods from external entities
991
10,456
1,247,420
1,810,196
Services from related entities
1,300,693
282,995
Services from external entities
10,487,289
11,861,087
Operating lease rentals

Total supplier expenses
1,277,331
940,972
14,313,724
14,905,706
Supplier expenses includes special industry assistance expenditure which comprises market expansion support for international film
markets and festivals, policy, industry collaboration, research and information.
5c Grants Expense
Special Industry Assistance
Film Development
461,361
424,577
Indigenous
215,212
160,971
Marketing
434,908
373,578
72,292
140,673
2,789,213
2,511,821
Externally funded grants
1,500
183,800
2,000
7,000
Television Initiatives Fund
54,835
49,840
10,390
10,000
4,041,711
3,862,260
Interactive Media
Total grants expense
165

2006
$
2005
$
3,406,689
3,541,755
5d Depreciation and Amortisation

Depreciation of property, plant and equipment and heritage and cultural assets
Amortisation of leased assets
Total depreciation and amortisation
430,361
305,637
3,837,050
3,847,392
The aggregate amounts of depreciation or amortisation expensed during the reporting period for each class
of depreciable asset are as follows :
Buildings
364,901
363,289
Leasehold improvements
430,361
305,637
1,774,959
2,050,478
Heritage and cultural assets
876,038
759,975
Intangibles
390,791
368,013
3,837,050
3,847,392
37,062
(190,110)
Plant and equipment
Total depreciation and amortisation

5e Write-down of assets
Bad and doubtful debts expense
Receivables for goods and services
Loans receivable
Investments
Property, plant and equipment write-down
Buildings revaluation decrement
185,160
52,086
8,940,765
10,316,136
256,513
47,098
72,739
497,402
9,989,641
10,225,210
1,000
1,947
Net book value of assets disposed
(1,019)
(4,065)
Net gain/(loss) from sale of assets
(19)
(2,118)
Leases
86,502
89,283
Total finance costs expense
86,502
89,283
Leasehold improvements revaluation decrement

Total write-down of assets
5f Net Gain/(Loss) from Sale of Assets
Property, plant and equipment:
Proceeds from disposal
6. Finance Costs Expense
166

2006
$
2005
$
Loans 1
635,484
317,606
Other 2
751,578
974,439
1,387,062
1,292,045
Principal and interest brought forward from previous year
447,080
368,464
Add: Loans made during the year
578,877
652,973
7. Financial Assets
7a Receivables
Total receivables (net)

1
Loans
Add: Interest on outstanding advances

Less: Repayments during the year and loans receivable
43,936
34,630
1,069,893
1,056,067
(119,774)
(554,572)
950,119
501,495
Less: Amounts written-off during the year
(51,146)
(54,415)
Loans carried forward at year end
898,973
447,080
(263,489)
(129,474)
635,484
317,606
Less: Allowance for impairment

Total loans receivable
All non-current receivables are in the form of industry assistance loans which are secured against the future earnings of the
particular film and as such do not have a specific repayment date. See Note 1(v).
2
Other
Sundry debtors
309,012
459,139
Less: Allowance for doubtful debts
(34,149)
(16,022)
274,863
443,117
GST receivable
417,718
399,676
Accrued income
58,997
131,646
751,578
974,439
167,091
193,921
Total other receivables

Sundry debtors (gross) are aged as follows:
Current
Overdue by:
37,085
26,604
30 to 60 days
6,698
40,354
61 to 90 days
24,344
98,138
173,916
141,921
265,218
309,012
459,139
(34,149)
(16,022)
(34,149)
(16,022)
Less than 30 days
More than 90 days

Total sundry debtors (gross)
The allowance for doubtful debts is aged as follows:
Overdue by:
More than 90 days
167

2006
$
2005
$
7b Investments Film Industry Assistance

Film investments brought forward from the previous year
Add: Film investments during the year
Less: Recoupment during the year and receivables
Less: Amounts written-off during the year
28,205,035
21,671,253
9,696,769
12,285,230
37,901,804
33,956,483
(900,581)
(1,281,227)
37,001,223
32,675,256
(9,533,883)
(4,470,221)
27,467,340
28,205,035
(24,491,930)
(25,085,048)
2,975,410
3,119,987
Non-current
2,975,410
3,119,987
Total film investments
2,975,410
3,119,987
19,013,453
18,400,000
Film investments carried forward at year end

Less: Allowance for impairment
Total film investments
Film investments are categorised as follows:
7c Investments under s18 of the CAC Act

Term deposits current
8. Non-Financial Assets
A formal revaluation was conducted in 2005-06 by by an independent Valuer from the Australian Valuation Office
(Simon B. OLeary AAPI) as at 30 June 2006.
Movement in Asset Revaluation Reserve
(7,351)
2,586,069
3,069,695
Increment/(decrement) for land
895,000
Increment/(decrement) for buildings
(51,272)
Increment/(decrement) for leasehold improvements

Increment/(decrement) for heritage and cultural assets
Increment/(decrement) for plant and equipment
(376,164)
3,046,282
3,069,695
Additional revaluation decrements of $72,739 for buildings and $497,402 for leasehold improvements were expensed (2005: nil).
8a Land and Buildings
Freehold land
at valuation (fair value)
4,800,000
3,905,000
Total freehold land
4,800,000
3,905,000
23,235,000
23,659,717
work in progress at cost
307,300
8,348
23,542,300
23,668,065
Buildings on freehold land
Total buildings on freehold land
168

2006
$
2005
$
3,228,000
2,064,771
Leasehold Improvements
- at valuation (fair value)
111,852
40,605
3,339,852
2,105,376
31,682,152
29,678,441
5,489,612
6,530,159
work in progress at cost
1,570,497
Total Plant and Equipment (non-current)
7,060,109
6,530,159
work in progress (fit-out asset) at cost

Total leasehold improvements
Total Land and Buildings (non-current)
8b Plant and Equipment
Plant and equipment under finance lease is subject to revaluation. The carrying amount is included in the valuation figures above
and is separately disclosed in Table C in Note 8e below.
8c Heritage and Cultural Assets
32,810,275
28,752,916
Total Heritage and Cultural Assets (non-current)
32,810,275
28,752,916
8d Intangibles
Computer software in use
Accumulated amortisation
3,004,508
2,545,226
(2,341,650)
(1,950,859)
662,858
594,367
91,154
754,012
594,367
Work in progress at cost

Total Intangibles (non-current)
8e Analysis of Property, Plant and Equipment and Heritage and Cultural Assets and Intangibles
Table A Reconciliation of the opening and closing balances of property, plant and equipment and heritage and cultural assets and intangibles
ITEM
BUILDINGS
BUILDINGS
LAND ON FREEHOLD
LEASEHOLD
$
LAND $ IMPROVEMENTS $
PLANT &
EQUIPMENT $
HERITAGE &
CULTURAL INTANGIBLES
ASSETS $ (SOFTWARE) $
TOTAL
$
Gross value as at 1 July 2005
3,905,000
23,668,065
2,105,376
6,530,159
28,752,916
2,545,226
67,506,742
Accumulated depreciation/
amortisation as at 1 July 2005
(1,950,859)
(1,950,859)
3,905,000
23,668,065
2,105,376
6,530,159
28,752,916
594,367
65,555,883
Additions
363,147
2,158,846
2,703,916
2,347,328
550,436
8,123,673
Disposals
(234,690)
(22,842)
(257,532)
Depreciation/amortisation charge for the year
(364,901)
(430,361)
(1,774,960)
(876,038)
(390,790)
(3,837,050)
Net book value as at 1 July 2005
Net revaluation increment/(decrement) 30 June 2006

Gross value as at 30 June 2006
Accumulated depreciation/amortisation as at 30
June 2006
Net book value as at 30 June 2006
895,000
(124,011)
(259,319)
(376,164)
2,586,069
2,721,575
4,800,000
23,542,300
3,339,852
7,060,109
32,810,275
3,095,662
74,648,198
(2,341,650)
(2,341,650)
4,800,000
23,542,300
3,339,852
7,060,109
32,810,275
754,012
72,306,548
169

Table B Assets at valuation as at 30 June 2006
BUILDINGS
BUILDINGS
LAND ON FREEHOLD
LEASEHOLD
$
LAND $ IMPROVEMENTS $
ITEM
PLANT &
EQUIPMENT $
HERITAGE &
CULTURAL
ASSETS $
TOTAL
$
71,552,536
As at 30 June 2006
Gross value
4,800,000
23,542,300
3,339,852
7,060,109
32,810,275
4,800,000
23,542,300
3,339,852
7,060,109
32,810,275
71,552,536
3,905,000
23,668,065
2,105,376
6,530,159
28,752,916
64,961,516
3,905,000
23,668,065
2,105,376
6,530,159
28,752,916
64,961,516
Accumulated depreciation/amortisation
Net Book Value
As at 30 June 2005
Gross value
Net Book Value
Table C Assets held under finance lease as at 30 June 2006
ITEM
PLANT &
EQUIPMENT $
TOTAL
$
234,922
234,922
As at 30 June 2006
Gross value
Net Book Value
234,922
234,922
267,308
267,308
As at 30 June 2005
Gross value
Net Book Value
170
267,308
267,308

2006
$
2005
$
Finished goods (cost)
113,662
238,632
Inventories held for sale
113,662
238,632
Inventories not held for sale (cost)
623,991
178,294
Total inventories
737,653
416,926
8f Inventories
All inventories are current assets.

8g Other Non-Financial Assets
-
21,187
Other prepayments
148,129
182,745
Total other non-financial assets
148,129
203,932
Trade creditors
459,760
539,067
Total supplier payables
459,760
539,067
1,476,822
1,468,197
Prepaid property rentals
9. Payables
9a Supplier payables
All supplier payables are current.
9b Other payables
Property lease incentive
Deferred revenue
432,263
263,688
1,909,085
1,731,885
Deferred revenue represents amounts received for specific film industry initiatives that have not yet been expended.
10. Interest Bearing Liabilities

Finance lease commitments
Payable:
Within one year
132,254
142,464
In one to five years
35,320
92,218
Minimum lease payments
167,574
234,682
(357)
(10,675)
167,217
224,007
131,767
133,861
Deduct: future finance charges

Total lease liability
Lease liability is categorised as follows:
Current
Non-current
Total lease liability
35,450
90,146
167,217
224,007
Finance leases were entered into between 20032005 in relation to certain IT assets. The leases are for terms of up to 3 years,
with an option to extend for a further term.
171

2006
$
2005
$
11. Provisions
11a Employee Provisions
141,766
68,720
99,909
134,251
Annual leave
1,780,265
1,650,348
Long service leave
2,125,472
2,221,770
Aggregate employee benefit liability
4,147,412
4,075,089
30,579
42,008
4,177,991
4,117,097
Current
2,339,249
1,795,380
Non-current
1,838,742
2,321,717
4,177,991
4,117,097
523,334
322,913
523,334
322,913
Salaries and wages

Superannuation
Workers compensation
Aggregate employee benefit liability and related on costs
Employee Provisions are categorised as follows:
11b Other Provisions

Provision for make good
The provision for make good relates to the exiting of a property lease and is classified as a non-current liability.
12. Cash Flow Reconciliation

12a Reconciliation of operating surplus/(deficit) to net cash from operating activities
Operating surplus/(deficit) before extraordinary items
4,486,575
2,115,656
3,837,050
3,847,392
(43,936)
(36,538)
Non-Cash Items
Interest capitalised on loans receivable
(Gain)/loss on disposal of property, plant and equipment
Non-cash donations of heritage and cultural assets
19
2,118
(2,096,171)
(1,284,671)
14,150
Write-down of property, plant and equipment and intangibles
256,513
47,098
Write-down of property on revaluation
570,141
37,017
(190,342)
9,125,925
10,388,288
Prior year adjustment to heritage and cultural assets
Write-down of receivables for goods and services

Write-down and allowance for impairment on film investments and loans receivable
Changes in assets and liabilities
(Increase)/decrease in receivables
52,945
292,379
(Increase)/decrease in prepayments
55,805
(60,216)
(320,727)
144,588
Increase/(decrease) in supplier payables
(79,307)
7,287
Increase/(decrease) in lease liability
(56,790)
Increase/(decrease) in employee provisions
(60,893)
62,031
(Increase)/decrease in inventories
172

2006
$
2005
$
Increase/(decrease) in other provisions
45,025
278,713
Increase/(decrease) in other payables
177,199
(221,408)
16,018,124
15,406,525
Net cash from operating activities

12b Reconciliation of Cash
Cash balance comprises:
1,642,628
1,296,835
Total cash
1,642,628
1,296,835
Balance of cash as at 30 June shown in the Statement of Cash Flows
1,642,628
1,296,835
2006
NUMBER
2005
NUMBER
Cash at bank and on hand
As at 30 June 2006, the AFC had committed all available funds. Refer to the Schedule of Commitments.
13. Commission Members Remuneration

$ BANDS
Nil-$14,999
$15,000-$29,999
$30,000-$44,999
Total number of Commission Members
2006
$
2005
$
229,689
218,366
Total remuneration received or due and receivable by Commission Members

Part-time Members Fees are determined under the Remuneration Tribunals Act 1973.
Commission Members, under the Superannuation Guarantee (Administration) Act 1992 and the Superannuation (Productivity Benefit) Act
1988, are entitled to have employer superannuation contributions made to an approved scheme. Total superannuation contributions in 2006
of $18,965 are included in total remuneration ($18,030 in 2005).
14. Related Party Disclosures

The Commission Members during 2006 were:
Maureen Barron (Chair)
Paul Hamra (Deputy Chair)
Thomas Kennedy
Antonio Zeccola
Dominic Case
Paul Grabowsky
Rachel Perkins
Colin South
Sue Masters
The aggregate remuneration of Commission Members is disclosed in Note 13.
During 2006 no Commission Member has received or has become entitled to receive any benefit (other than a benefit included in Note 13
or the fixed salary of a full-time employee) by reason of a contract made between the AFC and the Commission Member, a relative of a
Commission Member, or with a firm in which the Commission Member is also a member or has a substantial financial interest, other than in
respect of:
(a) In the ordinary course of business a payment of $990 was made to Southern Star Entertainment Pty Ltd, in which Maureen Barron is a
director. The payment was in relation to a license renewal for the National Film and Video Lending Service.
173

(b) In the ordinary course of business a project development investment for $20,000 in To Hell and Bourke was approved for Media World
Pictures Pty Ltd. Colin South is a director of the production company. The project was approved under delegation by the Manager
Indigenous Unit. Payments of $16,500 were made in 2005-06.
(c) In the ordinary course of business a project development investment for $9,500 in The Nocabouts was approved for Native Flame
Pictures. Colin South is the consultant producer to the project. The project was approved under delegation by the Director Film
Development. Payments of $7,600 were made to Native Flame Pictures in 2005-06.
(d) In the ordinary course of business a payment of $22,000 was made to Media World Pictures Pty Ltd for Anthem. Colin South is a
director of the production company. Funding for the project was approved prior to his appointment as a Commissioner.
(e) In the ordinary course of business a payment of $20,449 was made to Media World Pictures Pty Ltd as an attachment grant to
The Circuit for three indigenous filmmakers. Colin South is a director of the production company. The project was approved under
delegation by the Manager Indigenous Unit.
(f) In the ordinary course of business payments of $8,828 were made to Palace Enterprises Pty Ltd, Palace Cinemas and Palace Centro
Cinemas for cinema and film hire. Antonio Zeccola is a director of the companies.
(g) In the ordinary course of business a payment of $7,209 was made to Mediazoo Pty Ltd as a development investment in Harbour
of Love. Thomas Kennedy is a director of the production company. The project was approved under delegation by the Director Film
Development in 2004-05.
(h) In the ordinary course of business a project development investment for $22,000 was approved for Beaudesert. Rachel Perkins
is a director of the production company, Blackfella Films Pty Ltd. The project was approved under delegation by the Director Film
Development. Payments of $19,360 were made in 2005-06.
(i) In the ordinary course of business payments of $11,016 were made to Blackfella Films Pty Ltd for supervising producer services and
costs for NIDF Series 7 and the Indigenous Feature Film Workshop. Payment of $5,280 for an attachment grant was also made to
Blackfella Films Pty Ltd for Angie Abdilla. Rachel Perkins is a director of the production company.
(j) In the ordinary course of business payments of $3,850 were made to Blackfella Films Pty Ltd for The Comet. Rachel Perkins is a director
of the production company. The funding for The Comet was approved prior to her appointment as a Commissioner.
(k) In the ordinary course of business payments of $15,312 were made to Blackfella Films Pty Ltd for The First Australians. Rachel Perkins is
a director of the production company. The development funding was approved prior to her appointment as a Commissioner.
(l) In the ordinary course of business a bridging loan of $152,264 was approved and paid to Blackfella Films Pty Ltd for The First Australians.
Rachel Perkins is a director of the production company. The bridging loan was approved under delegation by the Chief Executive.
The Commission members involved took no part in the approval process and the approvals were reported to the Commission in the usual
way.
There were no other loans made to Commission Members or related entities during the reporting period.
There were no other transactions with Commission Members or related entities during the reporting period.
There were no transactions with other related parties during the reporting period.
All figures include GST where applicable.
15. Remuneration of Officers

The number of officers who received or were due to receive total remuneration of $130,000 or more :
2006
NUMBER
$ BANDS
2005
NUMBER
$130,000-$144,999
$145,000-$159,999
$160,000-$174,999
$175,000-$189,999
$190,000-$204,999
$205,000-$219,999
$265,000-$279,999
174
The aggregate amount of total remuneration of officers shown above.

The aggregate amount of separation, redundancy or termination payments during the year to
the officers included above
2006
$
2005
$
1,234,544
987,628
22,087
The remuneration of officers includes all Executive Officers concerned with or taking part in the management of the AFC during 2005-06
except for the Commission Members.
Details in relation to Commission Members are disclosed in Note 13 Commission Members Remuneration.
16. Remuneration of Auditors
Remuneration to the Auditor-General for auditing the financial statements for the
reporting period
2006
$
2005
$
55,450
53,000
277.8
277.6
No other services were provided by the Auditor-General during the reporting period.
17. Average Staffing Levels

The average staffing levels for the AFC during the year were:
18. Disbursement Trust

The Commission provides assistance to producers and investors of various films by handling the receipt and disbursal of returns. The funds
received are held in trust, in a separate bank account. The accounting records of the Disbursement Trust are maintained on a cash receipts
and payments basis. The AFC is entitled to retain the interest earned on the account in lieu of a service fee for providing this facility.
Net earnings in 2006 on the account were $10,752 (2005 $18,103). The financial statements of the Disbursement Trust are set out below.
AUSTRALIAN FILM COMMISSION DISBURSEMENT TRUST STATEMENT OF RECEIPTS AND PAYMENTS FOR YEAR ENDED 30 JUNE, 2006
Balance 1 July, 2005
2006
$
269,156
2005
$
251,305
Plus: Receipts
343,279
685,800
Funds available for disbursement
612,435
937,105
(439,487)
(667,949)
172,948
269,156
Less: Payments
Balance 30 June, 2006
AUSTRALIAN FILM COMMISSION DISBURSEMENT TRUST STATEMENT OF ASSETS AND LIABILITIES FOR YEAR ENDED 30 JUNE, 2006
2006
$
2005
$
172,948
269,156
172,948
269,156
101,992
172,113
Assets:
Cash at bank
Total assets
Liabilities:
Amounts held pending disbursement
Other including unclaimed disbursements and unidentified receipts
Total liabilities
70,956
97,043
172,948
269,156
175
176
7c
7a
7a
7b
Term deposits
Receivables for goods

and services
Loans receivable
Film investments
Other guarantees
Credit terms are 30 days.
Temporarily surplus funds are placed on deposit at call with the AFCs banker. Interest
is earned on the daily balance at the prevailing rate for money on call and is paid at
month end.
Term deposits earned an effective average rate of interest of 5.3% in 2006, payable on
maturity (2005: 5.1%).
Nature of Underlying Instrument
Liabilities are recognised at the present value of the minimum

lease payments at the beginning of the lease. The discount rates
used are estimates of the interest rates implicit in the leases.
Creditors and accruals are recognised at their nominal amounts,

being the amounts that the liabilities will be settled. Liabilities are
recognised to the extent that the goods or services have been
received (and irrespective of having been invoiced).
Guarantees are provided to the bankers of film organisations and producers. At 30 June
2006, there were no guarantees in existence (2005 : one guarantee)
At reporting date, the AFC has finance leases for IT equipment for terms of up to 3
years, with an option for a further term. The interest rate used to discount the minimum
lease payments is 0.98%. All lease liabilities are secured by the lease assets.
Settlement is usually made net 30 days (30 days in 2005).
Repayment of loans is dependent on the earnings of the film project. Repayments are
made when the film project generates revenue. The interest rate for marketing loans as
at 30 June is 7.75% (30 June 2005: 7.75%). The interest rate on bridging loans repaid
within 12 months is 7.75% (30 June 2005 : 7.75%). The interest rate on bridging loans
outstanding for more than 12 months is 12.75% (30 June 2005: 12.75%).
The AFC retains a copyright interest in all development investments After recoupment of the AFCs investment, an interest is retained in the profits of
and production investments. Provision is made for losses based on production investments. A premium is received on project development investments and
the likely amount that will not be recouped. Both development
GDIs on recoupment. There is no interest in project development investments and GDIs
investments and general development investments (GDIs) provide after they are recouped in full.
for a premium on recoupment.
Financial liabilities are recognised when a present obligation to
another party is entered into and the amount of the liability can be
reliably measured.
Loans are recognised at the amounts lent. Provision is made for

losses based on the likely amount that will not be recouped.
Interest is credited to revenue as it accrues.
Receivables are recognised at the nominal amounts due less any

provision for bad and doubtful debts. Provisions are made when
collection of the debt is judged to be less rather than more likely.
Schedule of The amount guaranteed by the AFC has been disclosed in the
Contingencies Schedule of Contingencies. The AFC does not consider it likely that
there will be any loss resulting from these guarantees.
Unrecognised financial liabilities
Finance lease liabilities 10
Trade creditors
9a
Deposits are recognised at their nominal amounts. Interest is

credited to revenue as it accrues.
12b
Cash
Financial liabilities
Financial assets are recognised when control over future economic

benefits is established and the amount of the benefit can be
reliably measured.
Term deposits are recognised at cost. Interest is accrued as it is

earned.
Accounting Policies and Methods
Financial Instrument Notes
Financial assets
(a) Terms, conditions and accounting policies
19. Financial Instruments
7c
Term deposits
Schedule of
Contingencies
447,080
(129,474)
898,973
(263,489)
167,217
167,217
19,013,453
19,013,453
2006
$
224,007
224,007
18,400,000
18,400,000
2005
$
Fixed Interest Rate Maturing

in 1 Year or Less
459,760
1,909,085
2,368,845
3,726,988
(24,491,930)
27,467,340
751,578
2006
$
50,000
539,067
1,731,885
2,270,952
4,094,426
(25,085,048)
28,205,035
974,439
2005
$
Non-Interest Bearing
50,000
6,934,969
7,237,387
539,067
1,731,885
224,007
2,494,959
90,285,608
459,760
1,909,085
167,217
2,536,062
24,108,867
98,210,883
18,400,000
(25,085,048)
28,205,035
(129,474)
447,080
974,439
1,296,835
2005
$
25,018,553
19,013,453
(24,491,930)
27,467,340
(263,489)
898,973
751,578
1,642,628
2006
$
Total
n/a
n/a
n/a
0.98
5.30
n/a
n/a
n/a
7.75
n/a
4.54
2006
%
n/a
n/a
n/a
4.72
5.10
n/a
n/a
n/a
7.75
n/a
4.38
2005
%
Weighted Average Effective

Interest Rate
The AFCs maximum exposure to credit risk at the reporting date in relation to each class of recognised financial assets is the carrying amount of those assets as indicated in the Balance Sheet.
The figures do not take into account the value of any collateral or other security.
The AFC has no significant exposures to any concentration of credit risk.
(d) Credit Risk Exposures
The net fair value of the AFCs financial assets and liabilities approximate their carrying amounts in the Balance Sheet.
The net fair value of loans provided to filmmakers is assessed based on the amount expected to be recouped represented by their carrying amounts. See Note 7a.
There is no ready market for trading in screen investments. Investments in screen projects are carried at cost less an allowance for impairment. The 30 June carrying amount represents the net fair
value. See Note 7b.
Trade creditors are short-term in nature and are approximated by their carrying amounts.
1,614,441
2,278,112
1,296,835
2005
$
1,642,628
2006
$
Floating
Interest Rate
(c) Net Fair Values of Financial Assets and Liabilities
Other guarantees
Financial Liabilities
(Unrecognised)
Total Liabilities
Total Financial Liabilities

(Recognised)
Financial Liabilities
(Recognised)
Trade creditors
Other creditors
Finance lease liabilities
Total Assets
9a
9b
10
7b
Less provision for loss
Total Financial Assets

(Recognised)
7a
7b
7a
Loans receivable
Investments film industry
7a
Less provision for loss
12b
Receivables goods and services
Notes
Cash at bank
Financial Assets (Recognised)
Financial Instrument
(b) Interest Rate Risk
177

20. Reporting of Outcomes
20a Outcome of the AFC
The AFC is structured to meet one outcome as follows:
Outcome 1:
To enrich Australias cultural identity by fostering an internationally competitive audiovisual production industry,
developing and preserving a national collection of sound and moving image and making Australias audiovisual
heritage available to all.
The AFCs ve output groups are as follows:
1.1 Investment in lm and television projects and professional development of lmmakers;
1.2 Participation of Australian lmmakers and their programs in the global marketplace;
1.3 Development, preservation, presentation and availability of Australias national audiovisual collection;
1.4 Cultivation and appreciation of Australian screen culture, locally and internationally; and,
1.5 Policy development, data collection and analysis, and information services.
20b Net Cost of Outcome delivery
Outcome 1
Departmental expenses
2006
$
2005
$
53,043,831
52,121,887
Total expenses
53,043,831
52,121,887
Costs recovered from provision of goods and services to the

non-government sector
Departmental expenses
771,188
926,673
Total costs recovered
771,188
926,673
39,773
327,624
Other external revenues

Departmental:
Sale of goods and services to related entities
Interest
1,349,401
1,138,971
Donations
2,098,171
1,308,887
Other revenue
1,280,873
1,898,388
Total Departmental revenues
4,768,218
4,673,870
Total Other external revenues
4,768,218
4,673,870
47,504,425
46,521,344
Net cost of outcome
178
Interest
805,201
202,289
Grants
16,297,995
Borrowing costs expense
Total operating expenses
20,953
Loss on disposal of assets
9,205,068
2,700,870
Write-down of assets
3,363,614
Suppliers
18,700,884
954,807
Employees
Operating expenses
Total operating revenues
Other revenue
20,642
708,197
Sale of goods and services
Donations
17,017,238
Operating revenues
2006
$
18,070,818
32,233
827
10,329,310
334,865
914,861
3,267,422
3,191,300
19,722,542
1,738,695
389,198
4,686
17,589,963
2005
$
Output Group 1.1
2,100,812
5,175
11,878
31,868
434,908
1,032,903
584,080
2,294,746
90,715
10,161
684
2,193,186
2006
$
1,820,917
3,419
88
(6,255)
35,517
373,578
908,452
506,118
2,024,737
117,195
41,182
717
1,865,643
2005
$
Output Group 1.2
20c Departmental Revenues and Expenses by Output Groups and Outputs
24,671,990
15,150
19
667,719
3,310,180
10,390
7,469,356
13,199,176
25,836,332
123,788
2,098,171
537,660
698,714
22,377,999
24,928,486
40,819
875
(74,404)
3,343,900
10,000
8,633,701
12,973,595
24,646,912
723,258
554,269
1,179,114
22,190,271
2005
$
Output Group 1.3

2006
$
6,545,239
19,046
46,593
120,958
2,789,212
1,907,620
1,661,810
7,072,365
113,416
42,272
85,897
6,830,780
4,502,309
7,815
200
(14,299)
81,185
2,556,821
1,041,524
829,063
4,925,933
512,277
94,135
55,003
4,264,518
2005
$
Output Group 1.4

2006
$
3,427,795
26,178
58,383
171,755
2,000
1,202,975
1,966,504
3,626,079
(1,853)
51,111
5,024
3,571,797
2,799,357
4,997
128
(9,142)
51,925
7,000
1,054,607
1,689,842
2,917,419
115,850
60,187
14,777
2,726,605
2005
$
Output Group 1.5

2006
$
Total
1,138,971
3,207,275
2,098,171
1,280,873
52,121,887
2,118
89,283
19
86,502
53,043,831
3,847,392
10,225,210
3,862,260
4,041,711
9,989,641
14,905,706
14,313,724
3,837,050
19,189,918
20,775,184
54,237,543
1,254,297
1,349,401
57,530,406
48,637,000
810,961
2005
$
51,991,000
2006
$
179
INDEX
Arts Law Centre 52
A Bit of Black Business (5-minute drama initiative) 30

ABC2 24, 26
ASDA see Australian Screen Directors Association

(ASDA)
ABC New Media & Digital Services 24
Aspen Shortsfest 49
ABC Online 26
assessors 106107
ABC TV 26, 32, 55, 63
ASTRA see Australian Subscription Television and Radio

Association (ASTRA)
Academy Awards 27
access and equity 98100
Acts Interpretation Act 1901 (Cwlth) 87
s 33: 87
Adelaide Film Festival 52
AFC Act see Australian Film Commission Act 1975
(Cwlth)
AFC Certied Agreement 2005-08 69, 70, 71
AFC News 60, 63
AFC websites 1, 4748, 60, 63, 64, 84
Atlab Australia 4142, 63

ATO see Australian Tax Ofce (ATO)
ATOM see Australian Teachers of Media (ATOM)
ATOM Awards 52
audit
external 7
internal see Audit Committee (AFC)
Audit Committee (AFC) 6, 7, 6869
meetings 13, 68
Big Screen website 64, 84
AusArts India Program, participation in 57
The Black Book Online 64, 84
Auslm 45
NFSA website 64, 84
Australia International Cultural Council (AICC) 53, 54
AFI see Australian Film Institute (AFI)
Australia-Korea Foundation 44
AFTRS see Australian Film Television and Radio School

(AFTRS)
Australia on Show 46
AIATSIS see Australian Institute of Aboriginal and Torres

Strait Islander Studies (AIATSIS)
Australian, The 63
Australias Audiovisual Markets (publication) 59, 62
AICC see Australia International Cultural Council (AICC)
Australian Film Television and Radio School (AFTRS) 24,

27, 55
AIDC see Australian International Documentary

Conference (AIDC)
Australian Film Commission Act 1975 (Cwlth) 6, 8, 9,

69, 76
All Roads Film Festival 33
s 5: 76, 86
ANAO see Australian National Audit Ofce (ANAO)
s 6: 76, 77, 86
animation
s 16: 6
professional development 2122

project development 21
Annecy International Animated Film Festival 27, 49
180
Index
Australian Film Institute (AFI)

Awards 52
Australian Films 2005 Box Ofce Share (publication)

62
ATOM Awards 52
Australian Guild of Screen Composers 72
BAFTA awards 27
Australian Institute of Aboriginal and Torres Strait

Islander Studies (AIATSIS) 41
Deadly Awards 101
Australian International Documentary Conference

(AIDC) 26, 47, 52, 53, 61
Film Critics Circle of Australia 52
AWGIE Awards 52
Dendy Awards 27
Future Docs 53
IF Awards 52
MeetMarket 47
Ken G. Hall Award 41, 63, 101
Australian International Movie Convention 46
AWGIE Awards 52
Australian National Audit Ofce (ANAO) 6, 69

Australian Research Council 42
Australian Screen Directors Association (ASDA) 72
BAFTA see British Academy of Film and Television Arts

(BAFTA)
Awards 52
Conference 52
screen culture program 52
Barron, Maureen (Chair) 1, 45, 6, 10

BCPI see Broadband Cross-media Production Initiative
(BCPI)
Australian Screen Education (publication) 52
Berlin International Film Festival 23, 44, 47, 48
Australian Subscription Television and Radio Association

(ASTRA) 55
Big Screen (regional touring lm festival) 41, 52, 53,

55, 56
Australian Tax Ofce (ATO) 62

Australian Teachers of Media (ATOM) 56
Awards 52
website 64, 84
Black Screen 56
Australian War Memorial 42
box ofce report 6162
Australian Writers Guild 72

Awards 52
BRACS see Broadcasting for Remote Aboriginal

Communities Scheme (BRACS)
Conference 52
Brisbane International Film Festival 44, 52
Storyline (publication) 52
British Academy of Film and Television Arts (BAFTA) 27
australianscreen online project 42, 55

Australias Audiovisual Production (publication) 62
Broadband Cross-media Production Initiative (BCPI)

22, 24
awards 4849, 8891
Broadband Production Initiative (BPI) 24
Academy Awards 27
AFI Awards 52
ASDA Awards 52
Broadcasting for Remote Aboriginal Communities

Scheme (BRACS) 34
Burberry Productions 22
181
INDEX
s 9: 1, 87
CAC Act see Commonwealth Authorities and

Companies Act 1997 (Cwlth)
consultants 106107
Cannes Film Festival 23, 27, 45, 47, 48, 63
contingency liability statement 77
Case, Dominic (Commissioner) 6, 10
Cork International Film Festival 49
Celebration of Cinematography Festival 41
Corporate Plan (AFC) 1, 6, 8
Centre for Scholarly and Archival Research (CSAR) 36,

38, 41
Corporate Services Division 6674
s 28: 7
Facilities and Services Branch 7172
Charles Sturt University 71
nancial management see Finance Branch
Charter (AFC) 6, 8
Chicago International Film Festival 49
legal affairs see Legal Affairs and Co-production

Branch
China Film Co-production Corporation 74
stafng matters see Human Resources Branch
CineMart 45
technology services see Technology Services Branch
Cinmathque, National (NFSA) 41, 52
courts and tribunals, decisions of 76
Clermont-Ferrand International Short Film Festival 48

co-productions see Ofcial Co-production Program
CSAR see Centre for Scholarly and Archival Research

(CSAR)
Code of Conduct (Commissioners ) 6, 9
Curriculum Corporation 55
Commission
Audit Committee see Audit Committee (AFC)
functions and purposes 76, 86
Dalton, Kim (former Chief Executive) 14
meetings 13
organisation and role 6, 76
DCITA see Department of Communications, Information

Technology and the Arts (DCITA)
powers 76, 8687
Deadly Awards 101
Commissioners (AFC) 1, 6 see also individual

Commissioners
appointment 6
Department of Communications, Information

Technology and the Arts (DCITA) 59, 74, 76
attendance 6
Department of Finance and Administration 6
Code of Conduct 6, 9
Department of Foreign Affairs and Trade (DFAT) 47, 54,

56, 61
conicts of interests 7
remuneration 6
Commonwealth Authorities and Companies Act 1997
(Cwlth) 6, 7, 8, 9
s 8: 7
182
Dendy Awards 27
Index
DFAT see Department of Foreign Affairs and Trade

(DFAT)
dLux Media Arts 52
documentaries see also Australian International

Documentary Conference (AIDC)
Enterprise Tasman 24
European Film Market 44
awards won by 4849, 91
Executive overview 1517
Headlands (workshop) 27
Experimenta 52
Indigenous see documentaries (Indigenous)
external audit 7
international screenings 93
jtv docs 26
Facilities and Services Branch 7172
feature lms
The Archive Plays Itself 42

documentaries (Indigenous)

international screenings 93
development and production 32
NIDF see National Indigenous Documentary Fund

(NIDF)
Documentary Production in Australia: A Collection of

Key Data (publication) 59, 61
Federal Police Forensic Science Unit 42

FFC see Film Finance Corporation Australia (FFC)
Downer, the Hon Alexander see Minister for Foreign

Affairs
Film Agency Funding in Australia (publication) 59, 62
drama
Film Australia 24
Film and Television Institute 52
feature lms see feature lms
Film Critics Circle of Australia Awards 52
short features see shorts/short features
Film Development Division 2027 see also Indigenous

Branch
shorts see shorts/short features

television see television, short drama series
Dramatically Black 32, 33
Dreaming Festival 56
E
Edinburgh International Film Festival 49
Electrofringe 2006 53
Embassy Roadshow 41, 54
Emerging Pictures 24
Encore (magazine) 63
enquiry service 62, 76, 84
Broadband Cross-media Production Initiative (BCPI)

22, 24
Enterprise Tasman 24
Filmmaker Fellowships 25
FRESH Film Festival 26
Headlands (documentary workshop) 27
highlights 27
IndiVision see IndiVision
objectives 20
ongoing initiatives 2426
overview 20
Podlove (cross-platform initiative) 26
183
INDEX
Film Development Division (continued)
Freedom of Information Act 1982 (Cwlth) 76, 77
s 8: 76
project development see project development
FRESH Film Festival 26
special initiatives 2224
FTO see NSW Film and Television Ofce (FTO)
SP*RK (script development program) 2526, 63
Future Docs 53
Test Drive initiative 24

Writer Fellowships 25
lm festivals see also individual lm festivals
highlights 4849
G
General Guidance for Directors of Statutory Authorities
(2004) (publication) 6
Film Finance Corporation Australia (FFC) 20, 24, 32, 38,

45, 63, 103
Get the Picture Online 59, 61, 62, 63
Film Industry Partnership (ATO) 62
Gteborg Film Festival 49
Film Victoria 24, 27, 45

Filmmaker Fellowships 25
Governance Arrangements for Australian Government

Bodies (2005) (publication) 6
Finance Branch 6669
governance statement 67
Audit Committee see Audit Committee (AFC)
Get the Picture (publication) 59, 61
Grabowsky, Paul (Commissioner) 11
nancial performance, statement of 67

nancial position, statement of 6768
internal audit 68
Hamra, Paul (Deputy Chair) 6, 10
overview 6668
Hawaii International Film Festival 49
risk management 7, 68
Headlands (documentary workshop) 27
Financial Management and Accountability Act 1997

(Cwlth) 87
Hong Kong FILMART 4445
nancial statements 147179
Human Resources Branch 6971
Fitchett, Chris (Acting Chief Executive) 14

Executive overview 14, 1517
Hong Kong International Film Festival 49

AFC Certied Agreement 2005-08 69, 70, 71
occupational health and safety 7071
Flickerfest International Short Film Festival 27, 52
payroll and conditions 69
Flickerfest International Short Film Festival National

Tour 52
performance management 71
Fraud Control Guidelines 2002 7
training and development 71
Fraud Control Plan 2005-07 (AFC) 7
workforce planning 70
Free TV Australia 55
workplace diversity 6970
freedom of information 7677
workplace relations 69
184
Index
stafng overview 69
Industry Advisory Panel 72
IF Awards 52
Industry and Cultural Development Division 5157
IF Magazine 63
AusArts India Program, participation in 57
iLab 53
Australia International Cultural Council (AICC) 53, 54
ImagineNATIVE Film Festival 33
australianscreen online project 42, 55
Imparja TV 101
In the Bin Touring Film Festival 52
Big Screen (regional touring lm festival) 41, 52,

53, 55, 56
Indigenous Branch 2934
Black Screen 56
A Bit of Black Business (5-minute drama initiative)

30
Embassy Roadshow 41, 54
funding program 5253
digital media 33
interactive digital media 53
documentaries see documentaries (Indigenous)
London Australian Film Festival 57
drama development and production 3032
London Australian Film Festival Tour 57
Dramatically Black 32, 33
National Cinmathque 41, 52
INDigenouslmEX 32
national touring/exhibitions 5253
internships 34
new projects 53
Long Black (feature initiative) 29, 30
objective 51
Message Sticks Indigenous Film Festival 29
overview 51
objective 29
Regional Digital Screen Network (RDSN) 5657
overview 2930
schools program 5556
practitioner support 33
screen culture activities 5557
special projects 5355
Indigenous Screen Australia (ISA) 29, 52
events and activities 52
Women Working in Television 5455
INDigenouslmEX 32
Inside Film Magazine 52
IndiVision 2224, 63
Inside Track 46
Director Dialogues 2324

Low-budget Features 23
Intellectual Property Research Institute of Australia

(IPRIA) 37
Production Program 23
interactive digital media
Project Lab 23, 63
Screenings 23
funding program 53
Script Development Program 23
IndiVision News 63
185
INDEX
internal audit 68 see also Audit Committee (AFC)
International Documentary Film Festival Amsterdam 48
Marketing Branch 4449
International Film Festival Rotterdam 45, 48
AFC website 4748, 60, 63, 64, 84
International Hamburg Short Film Festival 49
Australia on Show 46
international screenings of AFC-funded lms 9293
festival highlights 4849
investments, loans, grants and other initiatives (table)

108146
festival visitors 47
IPRIA see Intellectual Property Research Institute of

Australia (IPRIA)
information, dissemination of 4748
ISA see Indigenous Screen Australia (ISA)
industry seminars 4647

Inside Track 46
international market representation 4445
MeetMarket 47
J
jtv docs 26
national events 4647

objective 44
overview 44
K
Karlovy Vary Film Festival 49
Ken G Hall Award 41, 63, 101
Kennedy, Thomas A (Commissioner) 6, 11
Kodak/Atlab Cinema Collection 4142, 63, 101
SPAAmart 46
travel grants 4546
Masters, Sue (Commissioner) 11
Maurits Binger Institute 22
Media Entertainment and Arts Alliance (MEAA) 72
Media Resource Centre 52
L
Legal Affairs and Co-production Branch 7274
Co-production Program see Ofcial Co-production
Program
MeetMarket 47
Melbourne International Animation Festival 52
Melbourne International Film Festival 23, 44, 52
Leipzig International Festival of Documentary and

Animation Films 49
Melbourne International Film Festival Tour 52
London Australian Film Festival 57
Metro Magazine 52
London Australian Film Festival Tour 57
Metro Screen 52
London International Film Festival 42, 49, 57, 101
Minister for Finance 1
Long Black (feature initiative) 29, 30
Minister for Foreign Affairs 53
Longford Lyell Lecture 41, 63, 101
Minister for Justice and Customs 7
Look at Me Behind the scenes of Australian TV with

the women who made it (publication) 55
Minister for the Arts 6
186
Index
Message Sticks Indigenous Film Festival 29, 32, 56
ministerial directions 77
MIPCOM 44
online collection 40
MIPTV 44
overview 36
Montreal World Film Festival 48
preservation 3839
Mumbai International Film Festival for Documentary,

Short and Animation Films 49
public presentations 41
MusicAustralia 41
Recorded Sound Branch 102
publications 97, 104

resourcing 37
restoration:The Story of the Kelly Gang 40
National Archives of Australia 42, 55
showcasing the collection 40
National BRACS Video Festival 34
special events 41
National Cinmathque (NFSA) 41, 52
strategic partnerships 4142
National Collection Risk Management Strategy
National Film and Sound Archive (NFSA) 1, 7, 3642,

55, 56, 63, 64, 71, 72, 77, 84
touring programs 41
access 39, 101102

acquisition 3738
Advisory Committee 42
Archive Digital Access Project 3940
Centre for Scholarly and Archival Research (CSAR)
36, 38, 41
conferences, events and meetings, participation
in 42
website 64, 84
National Film and Video Lending Service (NFVLS)
National Indigenous Documentary Fund (NIDF)
Series 7: 29, 32
Series 8: 32
National Indigenous Television Service 29
National Library of Australia (NLA) 41, 103
curatorial highlights 101
National Survey of Feature Film and Television Drama

Production (publication) 59, 61
Documents and Artefacts Branch 102103
Network TEN 55, 63
enquiry service 84
New York Film Festival 49
Indigenous Collection Branch 101
New Zealand Screen Council 24
Ken G Hall Award 41, 63, 101
NFSA see National Film and Sound Archive (NFSA)
Kodak/Atlab Cinema Collection
NFSA Advisory Committee 42
Longford Lyell Lecture 41, 63, 101
NIDF see National Indigenous Documentary Fund

(NIDF)
Moving Image Branch 103

National Cinmathque 41, 52
National Registry of Audiovisual Collections 40
objective 36
Nine Network 55
NLA see National Library of Australia (NLA)
NSW Film and Television Ofce (FTO) 24, 32, 45
187
INDEX
enquiry service 62, 76, 84
Oberhausen International Film Festival 49
Film Agency Funding in Australia (publication) 59,

62
occupational health and safety 7071

Occupational Health and Safety (Commonwealth
Employees) Act 1991 (Cwlth) 71
ss 68, 69: 71
Ofcial Co-production Program 1, 7274
treaties and MOUs in force 72, 74
Get the Picture Online 59, 61, 62, 63

Get the Picture (publication) 59, 61
information handout series 6263
intellectual property 60
key policy platforms 6061
OlsbergSPI 24
media and public relations 6364
Ombudsman, comments by 76
National Survey of Feature Film and Television

Drama Production (publication) 59, 61
Ombudsman Act 1976 (Cwlth) 76

ss 15, 16, 17, 19: 76
NFSA website 64
OPENChannel 52
objective 59
organisational output and outcome framework 18
ongoing research 6163
Ottawa International Animation Festival 49
overview 5960
Over the Fence Comedy Film Festival 52
production databases 62
taxation 62
trade 61
Pacic Film and Television Commission (PFTC) 45
Upcoming Production Report (online publication) 62
Palm Springs International Short Film Festival
Popcorn Taxi 52
Perkins, Rachel (Commissioner) 12
Pordenone Film Festival 42
Podlove (cross-platform initiative) 26
Pordenone Silent Film Festival 57, 101
Policy, Research and Communications Division 5964
portfolio budget statement 7883
Australias Audiovisual Markets (publication) 59, 62
privacy 77
Australian Films 2005 Box Ofce Share

(publication) 62
Privacy Act 1988 (Cwlth) 77
Australias Audiovisual Production (publication) 62
project development 2021 see also Indigenous Branch
animation see animation
box ofce report 6162
documentaries see documentaries
broadcasting 60
drama see feature lms; shorts/short features;

television, short drama series
digital content industry 60

Documentary Production in Australia: A Collection
of Key Data (publication) 59, 61
188
ss 30, 52, 72:
Index
general development investment 21
interactive digital media see interactive digital

media
ScreenWest 32, 38, 103

Senses of Cinema (publication) 52
Public Sector Governance (ANAO publications) 6
Service Charter 77
Public Service Act 1999 (Cwlth) 69
Seven Network 55
publications
shorts/short features
AFC 9497
NFSA 97, 104
international screenings 92, 93
Pusan International Film Festival 44, 48

SIGGRAPH 49
QPIX 52
Singapore International Film Festival 49

Sony Tropfest 52
South, Colin (Commissioner) 12
RealTime + OnScreen (publication) 52
Southern Star 22
records management 74
Regional Digital Screen Network (RDSN) 5657
SPAA see Screen Producers Association of Australia

(SPAA)
REVelation Perth International Film Festival 52
SPAA Fringe 52
risk management 7, 68
SPAAmart 46
Rotterdam Lab 45
SP*RK (script development program) 2526, 63
RSDN see Regional Digital Screen Network (RDSN)
St Kilda Short Film Festival 52

St Kilda Short Film Festival National Tour 52
statutory reports 7684
SA Film Corporation (SAFC) 24, 32, 38, 45, 103
contingency liability statement 77
SAFC see SA Film Corporation (SAFC)
courts and tribunals, decisions of 76
San Sebastian Film Festival 49
freedom of information 7677
SBS Independent (SBSi) 22, 26, 27, 30, 32
ministerial directions 77
SBS TV 26, 30, 32, 55
Ombudsman, comments by 76
schools program 5556
portfolio budget statement 7883
Science, Engineering and Innovation Council Working

Group 60
privacy 77
Screen Producers Association of Australia (SPAA) 46,

55, 72
Conference 46, 52
Service Charter 77
Storyline (publication) 52
Sundance Film festival 23, 48
Sydney Film Festival 23, 44, 52
189
INDEX
Sydney Morning Herald, The 63
Valladolid International Film Festival 48
Sydney Opera House 29
Venice International Film Festival 23, 48
Sydney Travelling Film Festival 52
Videobrasil International Electronic Art Festival 49
Tama Films 22
websites, AFC see AFC websites
Tampere International Short Film Festival 49
Wide Angle Tasmania 52
Technology Services Branch 74
Women Working in Television 5455
records management 74
television, short drama series
workplace diversity 6970

workplace relations 69
World Trade Organization (WTO) 61
Writer Fellowships 25
Telluride Film Festival 41, 42, 47, 49, 101

Test Drive initiative 24
X|Media|Lab 53

The Learning Federation (TLF) 42, 55, 101
The Story of the Kelly Gang 40
Yamagata International Documentary Film Festival 48
TLF see The Learning Federation (TLF)

Toronto Film Festival 47, 48
training and development 71
Zeccola, Antonio (Commissioner) 12
treaties and memoranda of understanding see Ofcial

Co-production Program
Tribeca Film Festival 49
Tropfest see Sony Tropfest
U
University of Canberra 42
Upcoming Production Report (online publication) 62
Uppsala International Short Film Festival 49
190
Index
191
192

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The Australian Film Commission

Adoption of report of operations

Abbreviations and Acronyms

Australian Broadcasting Corporation

Industry and Cultural Development

Commissioners Code of Conduct

Executive Overview 2005/06

National Film and Sound Archive

Industry and Cultural Development

Policy, Research and Communications

APPENDIX 1 Enabling Legislation

APPENDIX 2 Awards won by AFC-funded Films

APPENDIX 3 International Screenings of AFC-funded Films

APPENDIX 5 Access and Equity

APPENDIX 6 NFSA Curatorial Highlights

APPENDIX 7 Assessors and Consultants

APPENDIX 8 Investments, Loans, Grants and other AFC Initiatives

Australian Film Commission Annual Report 2005/06

Letter from the Chair

Australian Film Commission Annual Report 2005/06

Role of the Commission

The legal framework for the AFCs corporate governance

The Commission is responsible for performing its

This legal framework is supplemented by a number of

The Commission acts in accordance with its Charter and

The AFC has established a number of governance

Commission Audit Committee

During 2005/06, the Commission Audit Committee

Members of the Commission are appointed by

Attendance and remuneration

The Commission undertakes an annual planning process,

A Commission Audit Committee has been established

The Commission Audit Committee provides a forum for

Commissioners obligations are provided for in the CAC

The Commission is responsible for risk management

The Commission also maintains a Register of Standing

Under section 8 of the CAC Act, the Auditor-General is

Australian Film Commission Annual Report 2005/06

Commissioners Code of Conduct

Australian Film Commission Annual Report 2005/06

Reappointed as Chair for 3 years

Reappointed as Deputy Chair for 3 years

Appointed for 3 years to

Maureen Barron is General Manager

Paul Hamra is Managing Director of

Dominic Case has over 30 years

Appointed for 3 years to

Reappointed for 3 years to

Appointed for 3 years to 6 June 2008

Paul Grabowsky is a pianist, composer

Tom Kennedy is CEO of Media Zoo P/L,

Paul produced and presented the television

Tom founded Brainwaave Interactive in

Sue Masters is Head of Drama at Network

From 2000 to 2004 Tom was a director

Appointed for 3 years to 7 July 2007

Appointed for 3 years to 7 July 2007

Rachel Perkins is from the Arrernte and

Colin South started in the television

Reappointed for 3 years to

Rachel has independently produced and

Antonio Zeccola is the Managing Director

Table 1: Commission meetings held 2005/06 and Commissioner attendance

16/5 13/6 27/6