Australian Film Commission

• Ken Watts (1975-1990)
• Patrick Condon (1975-1977)[6]
• Sue Milliken (1994–1997)[7]

The Australian Film Commission as well as the Film Finance Corporation (FFC) were responsible for sustaining Australian culture through film.[8] The AFC was a leading analyst and collector of film data, and in particular, Australian audiovisual media aiming to preserve and foster the audiovisual production industry. It led opinion, outlook and policy regarding the audiovisual industry.[9]

The Commission covered Australian content, in which Australian national and indigenous identity was preserved and represented through film. The AFC supported the production of Australian history as constructed by filmmakers through documentaries.[10]

Whilst working closely with the National Film and Sound Archive (NFSA), the Australian Film Commission financed the Archive's first major film reconstruction, "For the Term of His Natural Life (1980)."[4]

The Commission has also collaborated with the agencies Australia Council for the Arts and Film and Television and Radio School (AFTRS) in support of the rising use of internet and technological innovation in the late 1990s and early 2000s.[9]

From the mid-1950s, with the rise of television, until the 1980s, documentary production of Australian life was supported by federal agencies such as the Commission. The AFC has continued to support Australian documentaries until 2008, where the film agency merged with other Australian film agencies, to form Screen Australia.[11] Screen Australia overtook the Commission’s responsibilities in supporting films with Australian content, or Australian Programs. Films with Australian content are determined by the subject matter, location of production, nationalities of contributors to the making of the film, and potential to be significant Australian content, as outlined in the Screen Australia 2008 Bill.[3]

Listed on Screen Australia's Screen Guide, the online database of Australian film productions and co-productions, are 16 titles which the Australian Film Commission has contributed to either domestically in Australia, or internationally.[12]

In the 1970s, the government assisted the film industry indirectly through tax exemptions and write-offs to private investors. Film bodies, such as the Australian Film Commission, were encouraged to increase overseas sales due to the tax shelter provided by a budget increase.[13]

Changes to the AFC Amendment Bill 1980 allowed the Commission for more flexibility in funding films under the rational program and Film Australia.[18] Funds regarding the promotion, distribution, or broadcasting of Australian programs, were also accommodated by the Bill.

The Commission was delegated to overcome costs which had little return on both government and private investments. Under the Bill, the Commission was able to appoint its own staff. Members of the AFC were appointed on part-time basis, and to ensure flexible and efficient day-to-day operation a general manager was elected.[18]

Upon the passing of the Australian Film Commission Amendment Act 2003, the Commission became legally responsible for the NFSA. In 2008, the AFC was then merged with two other film agencies, Film Finance Australia, and Film Australia Ltd., to form the current film agency of Australia, Screen Australia. The merge with the NFSA was reversed upon the passing of the Screen Australia Bill 2008.[1]

Due to the lower valuation of the Australian dollar to the American dollar, American majors became interested in Australian films in the late 1970s. Investment in Australian film was financially attractive to American backers, and the Australian Film Commission, as well as other state film authorities, began to sell Australian films in the American market. The American market received Australian film with depictions of outback landscapes, and historical settings as impressions of Australia.[11]

In 1978, AFC moved its North American office from its original location in New York City to Los Angeles.[11]

In 1975, with assistance from the Australian Federal Government, the Australian Film Commission began to send Australian films and filmmakers to Cannes, France. Cannes is renowned for hosting annual international film festivals as of 1946. In 1978, the Commission’s marketing efforts in Cannes were criticised by David Stratton, a film critic and consultant, for the slogan "Our Product’s Got Great Legs" captioned under a photo of a woman’s legs.[13]

In 2003, plans to reorganise the AFC emerged when ScreenSound Australia, otherwise known as the National Film and Sound Archive of Australia (NFSA), indicated new arrangements to board positions. The Commission was merged with ScreenSound under the Howard Government which was speculated by news outlets as a move to undermine cultural industries in Australia. A campaign called "Save ScreenSound Australia" was initiated.[19]

The Australian Film Commission Amendment Act 2003 outlined the transfer of contractual rights and obligations under ScreenSound to the AFC to accommodate the reorganisation. This took effect on 1 July 2003.[4] In December 2003, the Commission revealed its Directions plan, introducing its proposals on the future of the NFSA.[15]

The merger introduced the National Film and Sound Archive Advisory Committee in late 2004 which succeeded the NFSA Advisory Council. The Committee included representatives of key stakeholders for the Archive and was established under the Directions plan to allow for communication between stakeholders and the Archive. The Committee had no directive powers in relation to the AFC Board and film events originally under the NFSA brand, such as the premier of ‘The Sentimental Bloke’ at the Sydney Film Festival 2004, were redirected under the Australian Film Commission’s brand.[15]

On 12 January 2006, Kim Dalton departed from his CEO position at the Commission to the head of television at the Australian Broadcasting Corporation. The shift introduced new operations and communications between the NFSA Advisory Committee and the AFC Board which acknowledged concerns on the overriding control of the AFC over the Archive. The Directions plan had received approximately 120 submissions from stakeholders with 90% being critical of its plans. The renegotiation amended concerns over the Archive’s branding and introduced a new plan on 10 July 2006, called the Independent statutory status for the National Film and Sound Archive.[15]

The NFSA Advisory Committee was in operation until May 2008.[15]

In May 2007, plans for another amalgamation was prompted by the new Minister for the Arts, George Brandis. The Australian Federal Election in November 2007 saw a changeover of government to the Labor Party, but support legislation for the merge was approved on 23 March 2008.[15] On 20 February 2008,[20] Peter Garrett, the new Minister for Arts from the changeover, introduced the Screen Australia Bill 2008, which allowed the NFSA to move freely under its body as it was de-merged from the Commission.[21]

On 1 July 2008, the Australian Film Commission merged with the Film Finance Corporation and Film Australia Limited to form Screen Australia. As the main film agency financially supporting the Australian screen production industry, Screen Australia acts as the combined servicer of the three agencies. The amalgamation revised interests on Australian programs such as documentaries, and Screen Australia took over the AFC’s role in commissioning the documentary sector.[11] For example, the development and production of the National Interest Program documentaries, which were initially produced by Film Australia Ltd, resulted from the merger.[3]  

The main functions of the Australian Film Commission were carried over by the Bill, outlining Screen Australia’s duties to financially invest in “film and television development, production and distribution activities.” Screen Australia also took over the Commission’s role in supporting Australian content in films, focusing on programs with high levels of artistic and cultural qualities. Other functions included providing aid to Australian filmmakers, promoting Australian films both domestically and internationally at related film festivals, trade shows and industry markets, and supporting the development of screen culture in Australia.[3]