This section is designed for public engagement with key policy documents, reports and submissions on government funding and strategies for Indigenous film and television dating back to 1966. These documents are representative of significant shifts in policy developments and Indigenous interventions and initiatives. We will continue to update this list. For summaries Read More →
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Screen Australia. Screen Australia: Indigenous Production. 2018.Find it at:
| Screen Australia. Screen Australia: Annual Report 2016 - 17. 2017.Find it at: | Screen Australia. Corporate Plan 2017-2021. 2017.Find it at: | ScreenWest. ScreenWest Indigenous Screen Strategy 2016-2020. 2016.Find it at: | Screen Australia. Seeing Ourselves: Reflections on diversity in Australian TV drama. 2016.Find it at: | Screen Queensland. Aboriginal and Torres Strait Islander Strategy 2016-2019. 2016.Find it at: | South Australian Film Corporation. South Australian Film Corporation’s Aboriginal Screen Strategy 2015-2020. 2015.Find it at: | SBS. Fourth Reconciliation Action Plan: March 2015 - March 2018. 2015.Find it at: | 
National Indigenous Languages Policy. 19 Jul 2018. Web. 2012.Find it at: | Convergence Review and Communications Committee, and Digital Economy Australia. Dept. of Broadband. Convergence Review: Final Report 2012.Find it at: | 
| Finkelstein, Raymond, et al. Report of the independent inquiry into media and media regulation by R. Finkelstein assisted by M. Ricketson. 2012.Find it at: | | Screen Australia. Screen Australia Annual Report 2011/12. 2012.Find it at: | Indigenous Visual Arts Industry Support (IVAIS). 19 Jul 2018. Web. 2012.Find it at: | Australian Government. National Cultural Policy - Review of the Australia Council - Terms of reference. 2012.Find it at: | Australian Indigenous Communications Association. National Review of Government Investment into the Indigenous Broadcasting and Media Sector. 2011.Find it at: | Australian Government. Arts support review to secure new audiences and opportunities. 2011.Find it at: | Australian Institute of Aboriginal and Torres Strait Islander Studies. AIATSIS Submission to the National Cultural Policy Discussion Paper. 2011.Find it at: | ANKAAA Desart and Ananguku Arts. Submission in response to the National Cultural Policy Discussion Paper by ANKAAA, Desart and Ananguku Arts. 2011.Find it at: | Australia Council for the Arts. Visual Arts sector plan 2011-2013. 2011.Find it at: | Australian Government. Summary report on the findings of the review of National Indigenous Television (NITV). 2009.Find it at: | Australian Government. Strategic Review of Indigenous Expenditure. February 2010. 2009.Find it at: | | Australian Government. Responding to the Australia 2020 Summit. 2009.Find it at: | Australia Council for the Arts. National Aboriginal and Torres Strait Islander Arts Policy. 2008.Find it at: | Australian Government. Australian Government response to the Senate Standing Committee on Environment, Communications, Information Technology and the Arts Committee Report. Indigenous Art - Securing the Future. Australia’s Indigenous visual arts and craft sector. 2008.Find it at: | Fieldworx. Making Solid Ground: Infrastructure and Key Organisations Review. 2008.Find it at: | Australian Broadcasting Corporation. Editorial Policy. 2007.Find it at: | Abstract: This document sets out ABC?s editorial policies, for instance, in regards to broadcast standards, discrimination, appropriate material and complaint processes. Relevant sections are: ?topical and factual content? (7.1, 44-48): the ABC commits to reflect a wide range of audience interests, beliefs and perspectives, including those of Indigenous peoples ?content standards? (58-67): this includes a section on cultural diversity (11.7) wherein the ABC commits to content which represents Australia?s cultural, ethnic and racial diversity. The importance of equity and diversity within its work force is also noted. In terms of reporting and creation of content, the ABC will consult those communities concerned, will draw content from a wide range of viewpoints and create contacts with experts (etc). An effort to avoid discrimination and stereotypes will be made. Section 11.11 deals specifically with Indigenous Australian content. Topics dealt with include: a definition of Indigenous identity; the inclusion of Indigenous Australians within the frame of ?cultural diversity? (this entails presenting content by, for and about Indigenous Australians); the production, commissioning, purchasing of this material; the importance of seeking advice and involvement from relevant Indigenous sources where appropriate (and staff in Indigenous Programs Unit); the need to respect sensitive cultural practices in content and reporting (for instance, sensitivity to bereavement) the complete ABC Code of Practice (2007) is included in the appendix (p126-137). This includes a section on Indigenous Australian Content at 2.14: “Significant cultural practices of Indigenous Australians should be observed in content and reporting.” (p128)Parliament of Australia. Indigenous Art: Securing the Future Australia’s Indigenous visual arts and craft sector. 2007.Find it at: | The Australia Council. Inquiry into Australia’s Indigenous Visual Arts and Craft Sector. 2006.Find it at: | Australia Council for the Arts. Policy Objectives. 2006.Find it at: | Harrison, Michelle. Submission to the Department of Communications, Information Technology and the Arts Review of the Viability of Creating an Indigenous Television Broadcasting Service and the Regulatory Arrangements That Should Apply to the Digital Transmission of Such a Service Using Spectrum in the Broadcasting Services Bands. 2004.Find it at: | | Abstract: The NITV is an industry representative group formed by AICA to develop an effective strategy for the establishment of a National Indigenous television service. The group is primarily comprised of representatives from Australian Indigenous Communications Association (AICA), Indigenous Remote Communications Association (IRCA), aboriginal and Torres Strait Islanders Corporation, Indigenous Screen Australia (ISA), and IMPARJA Television. The aim of the group was to gain industry wide support for NITV and to lobby Parliamentarians for its establishment. The submission consists of an executive summary, the submission itself, and a business plan for the first five years of operation. The NITV Committee proposed that the Federal Government immediately provide funding for the establishment of a national Indigenous television service to be owned and operated by Indigenous Australians with programming content created by and for Indigenous Australians. Prior to this proposal, Indigenous Australians expressed desires for an independent Indigenous television service and there have been various movements to establish this, particularly since 1980. Following from the Productivity Commission?s recommendation regarding the creation of such a service (see above), further research was produced by ATSIC and NIMAA which outlined its viability. Two submissions regarding implementation were proposed to government in cabinet but neither were endorsed. This report argues for the establishment of this service, in direct response to the questions raised in the DCITA review discussion concerning the viability, purpose and objectives of this service. The three proposed models (listed above) are considered in detail.Harrison, Michelle. Business Plan: National Indigenous Television Committee. 2004.Find it at: | Abstract: This report is a business plan for the establishment of National Indigenous Television, including an analysis of establishment and operating costs for the first five years of operation. The paper considered factors such as benefits to Indigenous and non-Indigenous Australians, potential audience, and aspects and types of programming.Parliament of Australia. From Reel to Unreal: Future opportunities for Australia’s film, animation, special effects and electronic games industries. 2004.Find it at: | | Indigenous Screen Australia. Inquiry into the Future opportunities for Australia’s film, animation, special effects and electronic games industries. 2003.Find it at: | Ministry for the Arts. 2000.Find it at: | Abstract: The NSW Government released their Cultural Development Policy in 1995 in order to affirm a commitment to the support and promotion of Indigenous cultural expression. Amendments have been made to this policy since its release, most notably with the Statement of Commitment to Aboriginal People (1997). The following developments have occurred as a result of this policy: An Indigenous Arts Fund was established by the Ministry for the Arts to provide support for projects Indigenous people were appointed to the NSW Arts Advisory Council and its committees. These members also convene as the Indigenous Arts Reference Group to advise on policies and strategies. A Regional Indigenous Cultural Officer?s position was created to assist artists and communities with project planning and applications The paper Indigenous Arts Protocol: A Guide was launched in 1998 to help promote dialogue between Indigenous and other communities This report provides a list of seven broad principles which inform the policy together with an outline of the strategies and procedures to be followed when implementing the policy. Strategies include the promotion of the arts through assistance programs, the protection of copyright and initiatives to increase awareness regarding these rights, and the enhancement of training and employment within the arts industry.Australia Council. Arts in a Multicultural Australia: Australia Council policy on Arts in a Multicultural Australia. 2000.Find it at: | Meadows, Michael. The Indigenous Broadcasting Sector. 2000.Find it at: | | Ministry for the Arts. The Arts and Cultural Diversity. 1997.Find it at: | Abstract: This document aims to highlight the need for a strategy of intervention into the Arts in order to ensure that all funded arts and cultural activities cater for the needs of a culturally diverse society. The key principles guiding arts funding follow the Cultural Development Policy (1995), Building on Our Cultural Heritage: Ethnic Affairs Action Plan 2000 (1996) and Charter of Principles for a Culturally Diverse Society (1993), and can be summarized as follows: The Government acknowledges the inter-relationship and interconnectedness of ares that have previously been considered distinct (eg…mainstream art and minority art) so that each art practice will ‘have a place’ The Government will ensure that the resources it administers are distributed as equitably as possible The Government will treat cultural diversity, as expressed in the arts, as one of the defining characteristics of a united modern Australia Two major strategies are proposed. The first places focus on cultural diversity, the second is the requirement that mainstream arts structures incorporate cultural diversity considerations in their activities. Furthermore it is recommended that organizations be redefined along the following lines: the Ethnic Affairs Commission should allocate funding from its annual Grants Program toward ethic community cultural groups; the Community Cultural Development Program of the Ministry for the Arts should place a higher priority on multicultural diversity and activity; the multicultural arts event ‘Carnivale’ should continue to showcase a wide range of art forms by artists with diverse backgrounds; and the Government should increase effort to publicise the existence of funding programs, resources and responsibilities of funding bodies, in order to facilitate the process by which artists and arts organizations apply for resources. Finally, it is proposed that mainstream arts structures must incorporate cultural diversity considerations in their activities. To this end, the Government will continue to ensure that there is apprpriate non-English speaking background representation on all decision-making boards and committees (for instance, funding advisory structures).Australian Government. Creative Nation: Commonwealth Cultural Policy. 1994.Find it at: | 
Media and Indigenous Australians Conference. Transcript of the Media and Indigenous Australians Conference.. Australian Government Publishing Service, 1993.Find it at: | Office of Evaluation and Audit (ATSIC). Evaluation of Broadcasting and Communications Sub-Program.. ATSIC, 1992.Find it at: | Aboriginal and Torres Strait Islander Commission (ATSIC), and Department of Transport and Communication (DOTAC). Aboriginal and Torres Strait Islander broadcasting policy review, a discussion paper prepared jointly by the Aboriginal and Torres Strait Islander Commissions and the Department of Transport and Communications. 1991.Find it at: | SBS Charter. 19 Jul 2018. Web. 1991.Find it at: | Abstract: This charter sets out the principal functions of the SBS and a number of duties it has to fulfil. These functions include the requirement to contribute to meeting the communication needs of Australia’s multicultural society (including Aboriginal and Torres Strait Islander communities), to increase awareness and promote understanding of these cultures, and to contribute to the retention of languages and provide content in these preferred languages.Australian Film Commission. Australian Independent Film. 1982.Find it at: | Abstract: This handbook contains a brief one page outline of ‘hundreds of low budget independent films’ produced in Australia in the decade preceding 1982. These outlines contain a short synopsis followed by information including: running time; Director; Producer; TV rights; and Distribution. The handbook overall is broken down into genre divisions: documentary; fiction; experimental and avant garde; and animation films. Also included is a comprehensive directory of distributors, film publications, Australian International film festivals, and a film index.Aboriginal Land Commissioner, et al. Borroloola land claim: report 1979.Find it at: | Australian National Commission for Unesco. Round Table on Ethnographic Film in the Pacific Area, Sydney, 25th-29th July, 1966. 1966.Find it at: | Abstract: The aim of this meeting was to investigate the extent of ethnographic filmmaking in Australia and the Pacific area with the intention of ‘stimulating the production of ethnographic films and making better known to specialist and possibly wider audiences the existence of films of outstanding quality and interest’ (7). Ten papers were presented on subjects including: a comparative overview of Australian ethnographic film (Elkin 18-22); technical aspects of production (Rouch 26-27 and Dunlop 34-45; 46-50); and the potential use of these films as an educational tool (Benedict 51-56). Key themes discussed were the: urgency of recording vanishing or changing cultures and the inadequacy of the resources available for this purpose (13) need for integrity in ethnographic and sociological filmmaking (14) need for greater dissemination of information and coordination of effort (16) strength of the film medium in the area under discussion, and its wide appeal (16) The conference passed a series of general resolutions including: recognition of the indispensable role of cinema to the recording of cultures; the use of film as an ‘historical duty’ (10); and an urgent call for programmes focussing on ‘primitive cultures’ threatened with extinction within the next decade. Specific resolutions in regards to the Pacific area were also put forward. These concerned the development or expansion of ethnographical and sociological film committees for the purpose of coordinating, researching, and promoting film production. These resolutions are summarised as follows: That each Pacific nation be asked to constitute at national level an ethnographical and sociological film committee (affiliated with CIFES) That certain nations in the Pacific area should establish a Pacific Ethnographic Audio-Visual Centre to operate under the aegis of UNESCO (with five main functions as listed on p11). That further enlarged conferences be held That steps be taken to increase Pacific participation in international film festivals That a comprehensive descriptive catalogue of ethnographic film of the Pacific area be compiled.
