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Agency looks to build pride in Oz cinema

Screen Australia has started a scoping study to figure out new approaches to building pride in Australian films.

The workshopping of ideas is a tacit recognition that the Australian cinema ‘brand’ was tarnished last year by a string of films that underperformed at the B.O., reflected in the lowly market share of 2.43 per cent.

Arguably the brand wasn’t the underlying problem as audiences this year have readily embraced The Water Diviner, Paper Planes, Mad Max: Fury Road and That Sugar Film, in addition to the well-received Frackman and Wyrmwood: Road of the Dead.

Moviegoers may well feel more even confident about the entertainment value of national cinema with Brendan Cowell’s Ruben Guthrie and Gillian Armstrong's Women He's Undressed launching next week, followed by Jeremy Sims' Last Cab to Darwin, Simon Stone's The Daughter, Jocelyn Moorhouse's The Dressmaker, Neil Armfield's Holding the Man and Stuart McDonald’s Oddball.

Still, Screen Australia’s communications manager Imogen Corlette is working with the agency For the People to consult with a variety of industry stakeholders on ideas to develop a more engaged market for Australian films.

“We are looking to reframe the ways people think and talk about Australian film – shifting perceptions of success away from a simplistic focus purely on box office performance, to encompass less visible achievements, and a deeper appreciation for the many impressive achievements in a global industry,”  she says on the Screen Aus website .

“As a first step we’re looking at how and why attitudes to Australian film tend to form and how we might be able to encourage Australians to feel as proud of our achievements in this arena as we do in so many others. This is no small – or new – task, nor one we want to do in isolation.”

The agency plans to draw up an action plan encompassing PR, events, digital/social and other initiatives designed to “create a culture of pride and passion amongst consumers.”

By the time that rolls out, audiences may well have re-engaged with our films even more.

  1. It all starts and ends with ‘story’. Australian books for Australians about Australians. As a WA publisher and screenwriter I talk face to face with about 5,000 everyday West Australians every year about their reading habits. Since most successful films originate from popular books, try talking to publishers for answers. No writers, no film industry. How simple is that.

  2. If you want to build pride in the industry, start to mandate diverse casting, story choices, and creative teams as criteria for grant assistance

  3. Well, at least it’s a good challenge for some spin merchants.
    What marvellous candour: “…looking to reframe the ways people think.. about Australian film – shifting perceptions of success away from …. performance, to encompass less visible achievements”
    Less visible? Probably a good idea not to think about Australian film in terms of what you can see.
    Here’s a radical thought – instead of trying to persuade the audience to like the films the industry makes, perhaps Screen Aust could try to persuade the industry to make the films an audience likes.
    Attacking the self-important sense of entitlement of its funding recipients might be a good start.

  4. How to build pride in Oz cinema? Easy – stop making awful, earnest, melodramatic art-house schlock like Strangerland.

  5. As said above, it’s about having a good story. I suggest, however that one needs to be cautious about ‘Australian stories for Australians’.

    There is the concept of ‘Deja vu’… that you come to a place you’ve never been before and feel a spiritual connection, as if you’ve been there in a past life.

    My grandfather also defined the concept of ‘Vuja Dae’ where you come to a place, know very well you’ve been there before and you never wanted to go back.

    I find this in Australian films. 48 Shades / Wasted on the young. I went to ‘that’ school, suffered ‘that’ party, cleaned up afterwards. I’ve even got ‘that’ car (Mine’s a 1980, not a ’74) Heat, dust, flies and roads which roll forever. Lots of that, except for ‘Mad Max’. The roads are there but the protagonist blows them up.

    Australian films showcase landscapes and towns that look like every town I’m not sorry I’ll never go back to. I don’t want to pay for a ticket to be taken back.

    The stories are out there. It’s a case of not going where we’ve gone before. Focus on the box office is not a bad thing. It’s an engineering job. We need to engineer a visceral response in our audience to keep them on the edge of their seats for 110 +/- 10 pages.

    That means changing how we look at Australia and finding stories we haven’t told, or tried to understand before.

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