ABSTRACT

Australian cinema is defined as simultaneously national, international and transnational. This paper takes these defined characteristics and applies them to the low budget, independent feature sector. It argues the sector mirrors the orientation of the wider industry. Given the instrumental role the national screen agency, Screen Australia, plays in influencing the direction of the industry, the relationship between low budget filmmakers and the agency is explored. The federal agency's focus is on the apex of the industry pyramid; high budget films appealing to the global market rather than low budget films. However, the high volume of low budget features in Australia is argued to play an important role in replenishing the Australian screen industry. Not only do they contribute to industry innovation, but low budget productions are also instrumental in practitioner career development. Despite these virtues, Screen Australia continues to pursue policies that threaten, rather than support this dynamic component of the screen sector. In considering these issues, the article uses a case study methodology drawing on interviews with key creatives of four low budget features, Bilched, A Lion Returns, Juvenile Delinquents and A Boy Called Sailboat.

摘要

澳大利亚电影同时被定义为国家、国际和跨国电影。本文采用这些定义的特征并将它们应用于低预算、独立的特征部门。它认为该部门反映了更广泛的行业的方向。鉴于国家银幕机构 Screen Australia 在影响行业发展方向方面发挥的重要作用，我们探讨了低预算电影制作人与该机构之间的关系。联邦机构的重点是产业金字塔的顶端；吸引全球市场的高预算电影而不是低预算电影。然而，澳大利亚大量的低预算电影被认为在补充澳大利亚银幕产业方面发挥了重要作用。他们不仅为行业创新做出了贡献，但低预算制作也有助于从业者的职业发展。尽管有这些优点，澳大利亚银幕继续奉行威胁而不是支持银幕行业这个充满活力的组成部分的政策。在考虑这些问题时，本文采用案例研究方法，对四个低预算电影的主要创意人员进行采访，分别是 Bilched、A Lion Returns、Juvenile Delinquents 和 A Boy Called Sailboat。