ABSTRACT This article discusses the problems that Australian films face in the big distribution model, and ways thatproducers have rethought how their films are funded and distributed. To do this it uses the case study of Robert Connolly'sCinema Plus exhibition company. Although there is a historical precedence set for Connolly's self-distribution venture, this shiftto rethink how Australian films are being distributed and exhibited is certainly representative of a changing reassessment of theporous relationship between production and exhibition, which for some time Screen Australia demarcated in by two separatepools. What Cinema Plus represents is a recognition that conventional big distribution is not always the most effective way toreach the widest possible audience.

中文翻译：

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Cinema Plus：Robert Connolly和事件观众放映

摘要本文讨论了在大发行模式下澳大利亚电影所面临的问题，以及制片人重新考虑了其电影的融资和发行方式。为此，它使用Robert Connolly的Cinema Plus展览公司的案例研究。尽管Connolly进行自我发行业务具有历史上的先例，但这种转变是重新思考澳大利亚电影的发行和放映方式，这无疑代表着对制作与展览之间的多孔关系的重新评估，在一段时间内，澳大利亚银幕由两个部分来划分。独立游泳池。Cinema Plus所代表的是一种认识，即传统的大发行并不总是接触最广泛观众的最有效方法。