Undoubtedly obvious to many of you who read this column regularly, but for those who don’t, I’ll point out that I monitor the happenings in the screen industry in Australia as one possible bellwether for New Zealand’s screen sector.
A trend there that has become blindingly clear from doing so is the incredible volume of commissioning going on in Australia by streamers. Unfortunately, this hasn’t been replicated in New Zealand.
So it was with interest that I read the story by screen ‘rag’ if.com.au about veteran screen journalist Sandy George’s Paper on the need for cultural value and Australianness to be the primary driver of screen funding for film and drama.
From the article:
“George argues if there is nothing recognisably Australian on the screen, it carries little cultural value. It is ‘Australianness’ that excites local viewers, and cultural value is the main reason why taxpayer funding underpins drama production.”
From George’s paper:
“It’s time to be very clear that Screen Australia is there for culture.”
“Depending on economics to deliver cultural value is arse about.”
One underlying reason for George’s issue-raising is the homogenising of ‘Australian content’ due to the foreign money, projects and commissioning flowing into the country—its Australian distinctiveness is being lost.
Another is the convenient obfuscation that lumps foreign production in Australia together with Australian production, and calling it all Australian production. This makes it look like the screen industry there is rosier than it actually is.
At a time when Nude Tuesday, Whina, the soon to be released Muru, Good Grief and Creamerie amongst others are putting a distinctive Aotearoa NZ stamp onto screen content, you’d think we wouldn’t have to worry about loss of our identity.
But then, we haven’t been getting the volumes of international projects and commissioning that our cuzzies across the Tassie have.
However, George’s statement that Screen Australia is there for culture is very pertinent for us. Some argue that the New Zealand Film Commission and the Government have been gradually losing their ways on this front, including depending on economics to deliver cultural value when it comes to screen. The Screen Sector Investment Review, now underway, which is focused very particularly on the New Zealand Screen Production Grant (NZ’s version of the Aussie Producer Offset) and whether or not it’s delivering for New Zealand and our creatives, is therefore very timely.
Another point George makes is how exceptional cultural value in projects delivers exceptional Australian talents, the likes of Baz Luhrmann and George Miller, who then go on to deliver exceptional economic value. In our case, the likes of Peter Jackson, Jane Campion and Taika Waititi. She questions what and how screen talent development is conducted and focused to ensure these kinds of people come along—something we ourselves could give more attention to.