Catalogue.Pdf
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Submission for the Inquiry Into the Australian Film and Television Industry
------------ House of Representatives Standing Committee Communications and the Arts Attention: Mr Luke Howarth MP Submission for the Inquiry into the Australian Film and Television Industry Terms of Reference Factors contributing to the growth and sustainability of the Australian film and television industry SUBMITTED BY: Flying Bark Productions Pty Ltd 62-68 Church St, Camperdown NSW 2050 Introduction Flying Bark Productions (FBP) is Australia’s oldest independent production company specialising in the production of animated, and to a lesser extent, live action original content for children and family audiences. In this submission, FBP’s aim to highlight the unique position the company occupies in the Australian film and television industry as the largest SME in the children’s content space and perhaps on some measures, in the greater domestic film and television industry. FBP aims to present the company’s cultural and economic value including some case studies of key projects which have driven success in the domestic and international markets. In addition, we have presented a summary of FBP’s strategic plan for sustained growth for the future and the key factors contributing to, or hindering the implementation of this plan and realisation of company goals. FBP is a proud member of Screen Producers Association (SPA) and the Managing Director, Barbara Stephen has recently been appointed to the SPA committee to represent the unique interests of children’s content producers in the sector. As a member of SPA, FBP fully endorses the recommendations set out in the its submission and urges the committee to recognise the role SPA plays in voicing the commonalities for the independent production SMEs. -
241 © the Editor(S) (If Applicable) and the Author(S) 2018 D. Torre and L
INDEX A adaptations Abbot and Costello (animated series) book to animation, 150, 187, 232 (1967), 96, 162 comic to animation, 94 Aboriginal live-action to animation, 192, 195 animators, 194 Adlide, Tim, 230 themes, 194 Adolf in Plunderland (1940), 65 Aboriginal Arts Board, 194 Adventures of Blinky Bill, The (1993), Aboriginal Nations studio, 191, 145 193 Adventures of Bottle Top Bill, The Abra Cadabra (1983), 155, 234 (2003–04), 189 abstract animation, 219 Adventures of Hot Chunks, The (1999), Abstracted Refections (2011), 234 202 Abstract Iterations II (2016), 234 Adventures of Sam, The (1996–97), Accents 189 American, 3, 181 advertising Australian, 3, 71, 181, 203, cinema, 2, 10, 25, 26, 60, 81 206 print, 20, 23, 27, 72 British, 3, 71 television, 76, 79, 81, 102, 193, character, 181 195, 201 mid-Atlantic, 3, 181 Aeroplane Jelly (1942), 66 ACME registration system, 85 After All (2017), 235 Ada (2000), 225 Agdag, Daniel, 230, 235 Adam and Eve (1962), 75 Air Cartoons (radio program), 27 Adams, Merredith, 220 Air Programs Australia (APA), 88, 89, Adams, Phillip, 149, 151 104 © The Editor(s) (if applicable) and The Author(s) 2018 241 D. Torre and L. Torre, Australian Animation, https://doi.org/10.1007/978-3-319-95492-9 242 INDEX Air Programs International (API), 3, independent, 4, 71, 72, 97, 101, 79, 88, 89, 91–93, 99, 104, 108, 133, 202, 211, 212, 214, 215, 120–122, 132, 162–166, 179, 220, 221, 228, 230, 231, 233, 181, 182, 194 237, 238 Ajax Films, 100, 189 materials, 15, 65, 109, 232 Aladdin (animated series, Disney), timing, 85, 187, 190 121 animation camera, 14, 23, 74, 100, Aladdin and His Magic Lamp (1970), 147, 213 122 3D system, 156–157 Aladdin and the King of Thieves aerial-image camera, 111, 141 (1996), 199 camera operator, 8, 18, 190, 213 Aladdin-Return of Jafar (1994), 199 Animation Co-Op (Sydney), 220 Albert’s (proposed animated series), Animation Game, The (1980), 229 188 Animation International, Inc., 107, Al et al. -
YEAR in REVIEW Celebrating Australian Screen Success and a Record Year for AFI | AACTA YEAR in REVIEW CONTENTS
2017 - 2018 YEAR IN REVIEW Celebrating Australian screen success and a record year for AFI | AACTA YEAR IN REVIEW CONTENTS Welcomes 4 7th AACTA Awards presented by Foxtel 8 7th AACTA International Awards 12 Longford Lyell Award 16 Trailblazer Award 18 Byron Kennedy Award 20 Asia International Engagement Program 22 2017 Member Events Program Highlights 27 2018 Member Events Program 29 AACTA TV 32 #SocialShorts 34 Meet the Nominees presented by AFTRS 36 Social Media Highlights 38 In Memoriam 40 Winners and Nominees 42 7th AACTA Awards Jurors 46 Acknowledgements 47 Partners 48 Publisher Australian Film Institute | Australian Academy of Cinema and Television Arts Design and Layout Bradley Arden Print Partner Kwik Kopy Every effort has been made to ensure the accuracy of the information contained in this publication. The publisher does not accept liability for errors or omissions. Similarly, every effort has been made to obtain permission from the copyright holders for material that appears in this publication. Enquiries should be addressed to the publisher. Comments and opinions expressed in this publication are not necessarily those of AFI | AACTA, which accepts no responsibility for these comments and opinions. This collection © Copyright 2018 AFI | AACTA and individual contributors. Front Cover, top right: Nicole Kidman accepting the AACTA Awards for Best Supporting Actress (Lion) and Best Guest or Supporting Actress in a Television Drama (Top Of The Lake: China Girl). Bottom Celia Pacquola accepting the AACTA Award for Best right: Gary Oldman accepting the AACTA International Award for Performance in a Television Comedy (Rosehaven). Best Lead Actor (Darkest Hour). YEAR IN REVIEW WELCOMES 2017 was an incredibly strong year for the Australian Academy and for the Australian screen industry at large. -
Drama Report 2015/16
Production of feature Drama films and TV drama in Report Australia in 2015/16 © Screen Australia 2016 ISBN: 978-1-920998-29-5 The text in this report is released subject to a Creative Commons BY licence (Licence). This means, in summary, that you may reproduce, transmit and distribute the text, provided that you do not do so for commercial purposes, and provided that you attribute the text as extracted from Screen Australia’s Drama Report 2015/16. You must not alter, transform or build upon the text in this report. Your rights under the Licence are in addition to any fair dealing rights which you have under the Copyright Act 1968 (Cwlth). For further terms of the Licence, please see creativecommons.org/ licenses/by-nc-nd/3.0/ Screen Australia is grateful to all those who contributed data to the compilation of this report. The data provided has been drawn from a number of sources. While Screen Australia has undertaken all reasonable measures to ensure its accuracy, we cannot accept responsibility for inaccuracies and omissions. Cover image: Leah Purcell and Jessica Mauboy on the set of The Secret Daughter. Contents ABOUT THE REPORT 3 ABOUT THE REPORT Key terms 4 The Drama Report covers the production HIGHLIGHTS 5 of feature films and TV drama programs (mini-series, telemovies and series/ OVERVIEW 6 serials) by financial year. ALL DRAMA PRODUCTION 7 It reports on the operation of the Producer Offset tax rebate for domestic FEATURE FILM PRODUCTION IN AUSTRALIA 8 Australian projects and official co- productions, incorporating data gathered Trends over time 8 through surveys and publicly available sources to give a comprehensive view of AUSTRALIAN FEATURE SLATE 9 drama production activity in Australia and the Offset’s contribution to the Feature budget ranges 9 annual slate. -
SPA Kids TV FINAL.Pdf
Kids TV on Commercial KidsFree-to-Air TV on Commercial Free-to-Air CONTENTS INTRODUCTION 3 Introduction 4 Australian children’s television on commercial free-to-air 6 Community Asset & Community Cohesion 8 Australian children’s television Kidson the world stage TV Kids 10 Commercial TV in creative Australia 12 New opportunities — digital and online Commercial free-to-air television produces a diverse These efforts have produced world class content 14 Children’s — a special case range of engaging and high quality content for garnering both domestic and international awards Australian children. and nominations and entertaining audiences around the globe. 15 The regulatory environment An overview of the past ten years reveals a range of content spanning different genres and production This paper showcases some of the best children’s 16 The Future houses: from animation to live action drama, content broadcast on commercial free-to-air projects created by small independent producers television and highlights the immense value of such to international co-productions with foreign content. It also provides an overview of the wider 17 Appendix: case studies broadcasting partners, from unique and distinctively benefits flowing from the creation and broadcast of Australian programs that couldn’t be made locally produced children’s content on commercial anywhere else, to internationally facing content free-to-air television. TV Kidsintended for global audiences. TV Image: Mako: Island of Secrets –Jonathan M. Shiff Productions, Network Ten Kids2 3 TV Kids TV The historical contribution of the commercial free-to- air broadcasters to Australian children’s television is enormous. Iconic shows Iconic shows such as Round the Twist (Seven: 1989- 2001), Mortified (Nine: 2006-2007), Ocean Girl (Ten: 1994-1997), H2O: Just Add Water (Ten: 2006-2010), Lockie Leonard (Nine: 2007-2010), The Henderson Kids (Ten: 1985-1987) and Heartbreak High (Ten: 1994-1999) were commissioned and first broadcast by the commercial broadcasters. -
Friends with Benefits a Report on Australia’S International Co-Production Program Australia’S Co-Production Program Has Resulted in 132 Co-Productions to Date
Friends with benefits A report on Australia’s International Co-production Program Australia’s co-production program has resulted in 132 co-productions to date. canada, the UK and france represent the highest level of activity. feature films make up the largest proportion and have been the most consistently produced format. However, children’s programs – animation in particular – have increased since the mid-1990s. © Screen Australia 2012 ISBN: 978-1-920998-18-9 The text in this report is released subject to a Creative Commons BY licence (Licence). This means, in summary, that you may reproduce, transmit and distribute the text, provided that you do not do so for commercial purposes, and provided that you attribute the text as extracted from Screen Australia’s Friends with benefits: A report on Australia's International Co-production Program. You must not alter, transform or build upon the text in this report. Your rights under the Licence are in addition to any fair dealing rights which you have under the Copyright Act 1968 (Cwlth). For further terms of the Licence, please see http://creativecommons.org/licenses/by-nc- nd/3.0/. You are not licensed to reproduce, transmit or distribute any still photographs contained in this report. Screen Australia is grateful to all those that contributed data to the compilation of this report. The data provided in this survey has been drawn from a number of sources. Screen Australia has undertaken all reasonable measures to ensure its accuracy and therefore cannot accept responsibility for inaccuracies and omissions. Cover picture: Bright Star (feature, Australia/UK) screened in Competition at Cannes in 2009, and had multiple international festival screenings including Pusan, Telluride and Toronto. -
CONTENT GLOBAL DISTRIBUTION Index
668 U 264 U 1495 U CONTENT GLOBAL DISTRIBUTION Index Animation 6 Contact Live Action 56 Studio 100 Media GmbH Index A–Z Neumarkter Str. 18-20 100 % Wolf 6 81673 München Germany Adventures of Lolly Laffalot, The 62 T + 49 (0) 89 960 855 0 Alice’s Adventures in [email protected] Wonderland 36 www.studio100media.com All That Glitters… 86 Alligator Pie 85 Amazing Journeys of Jules Verne, The 35 Amika 68 Angel Wings 48 Anne of Green Gables 36 Anton 55 Art Alive 82 Arthur and the Minimoys 8 B.C. – A Special Xmas 55 Babar – King of the Elephants 45 Baby It’s You 87 Bamboo Bears 44 Bannertail 39 Beginner’s Bible, The 47 Benjamin Dove 81 Fairy Tale Collection: Frankenstein’s Aunt 79 Emperor’s New Clothes, The 71 Big & Small 67 Frog & Friends 42 Fairy Tale Collection: Blinky Bill 26 Galaxy Park 69 Faithful John 73 Blinky Bill CGI 11 Ghost Rockers 57 Fairy Tale Collection: Brothers Flub, The 44 False Prince, The 75 Gormiti 28 Bruno the Kid 41 Fairy Tale Collection: Halfway Across the Galaxy Frog Prince, The 71 and Turn Left 80 Bumba 66 Fairy Tale Collection: Hans Christian Andersen – Busy World of Good-For-Nothing, The Fairytaler 26 Richard Scarry, The 40 Bravest Knight, The 74 Heidi 12 Camp Wilderness 86 Fairy Tale Collection: Heidi CGI 13 Castillo 42 King Thrushbeard 72 Heidi Feature Film 26 Child’s Christmas Fairy Tale Collection: in Wales, A 87 Little Claus and Big Claus 74 Heidi Live Action 76 Cocco Bill 37 Fairy Tale Collection: Hello K3 80 Magic Galoshes 73 Conni 30 Hippo Tub & Co. -
Drama Report 2019/20 | Screen Australia
The Drama Report 2019/20 | Screen Australia Screen Australia Drama Report Production of feature films, TV and online drama in Australia in 2019/20 © Screen Australia 2020 ISBN: 978-1-920998-34-9 The text in this report is released subject to a Creative Commons BY licence (Licence). This means, in summary, that you may reproduce, transmit and distribute the text, provided that you do not do so for commercial purposes, and provided that you attribute the text as extracted from Screen Australia’s Drama Report 2019/20. You must not alter, transform or build upon the text in this report. Your rights under the Licence are in addition to any fair dealing rights which you have under the Copyright Act 1968 (Cwlth). For further terms of the Licence, please see http://creativecommons.org/licenses/by-nc-nd/3.0/ Screen Australia is grateful to all those who contributed data to the compilation of this report. The data provided has been drawn from a number of sources. While Screen Australia has undertaken all reasonable measures to ensure its accuracy, we cannot accept responsibility for inaccuracies and omissions. Cover: Mystery Road series 2 Inside Cover: Penguin Bloom 2 The Drama Report 2019/20 | Screen Australia Contents ABOUT THE REPORT 4 KEY TERMS 5 OVERVIEW 6 ALL DRAMA PRODUCTION 8 AUSTRALIAN FEATURE SLATE 10 Feature budget ranges 11 Sources of finance for Australian features 12 AUSTRALIAN GENERAL TV DRAMA SLATE 15 AUSTRALIAN CHILDREN’S TV DRAMA SLATE 20 AUSTRALIAN ONLINE DRAMA SLATE 22 SOURCES OF FINANCE FOR AUSTRALIAN TV AND ONLINE DRAMA 23 TV/ONLINE DRAMA FINANCE BY FIRST RELEASE PLATFORM 27 FOREIGN PRODUCTION 28 DRAMA PRODUCTION BY LOCATION 30 PDV SERVICES – FEATURES, TV DRAMA AND ONLINE PRODUCTION 31 All PDV 32 PDV expenditure by state 32 Focus on foreign PDV-only expenditure 33 Showcases 35 TITLES IN THE 2019/20 SLATE 38 METHODOLOGY 42 3 ABOUT THE REPORT cancelled altogether as finance fell through are shot (or substantially shot) in Australia, or This year marks the thirtieth anniversary or unique, time-sensitive conditions were lost. -
Australian Film Productions, 1990-2019
AUSTRALIAN FILM PRODUCTIONS, 1990-2019 TITLE PRODUCTION CO. PRODUCERS SCRIPT DIRECTOR DOP PROD DESIGNER COSTUME DESIGN EDITOR SOUND DESIGN #7 DAYS LATER * Ludo Studio Pty Ltd Dave Jansen, Nicholas Nicholas Boshier Daley Pearson James L Brown, Josh Ella Carey Mia Harris Que Minh Lu Luke Mynott, Mick Teleseries 2013 Boshier, Daley Pearson, Flavell Boraso Charlie Aspinwall $9.99 * Feature (A) 2007 Sherman Pictures/Lama Amir Harel, Emile Etgar Keret, Tatia Tatia Rosenthal Susan Stitt Melinda Doring Caroline Sherman Dany Cooper Christopher Bowen Productions Ltd Sherman Rosenthal 02:37:00 * Feature 2005 Moon On A Stick Nick Matthews Murali K Thalluri Murali K Thalluri Nick Matthews Jeni Lee Murali K Thalluri, Nick Mark Tschanz Productions Matthews 1 * Feature 2018 BarrLipp Productions Tristan Barr Robert Braiden Robert Braiden Damien E. Lipp Ellie Popov 1% * Feature 2017 Ticket To Ride Pty Ltd Jamie Hilton, Michael Matthew Nable Stephen McCallum Shelley Farthing-Dawe Louise Brady Terri Lamera Pontin 100 BLOODY ACRES * Cyan Films Pty Ltd Kate Croser, Julie Ryan, Cameron Cairnes, Colin Cameron Cairnes, Colin John Brawley Tony Cronin Chloe Spalding Joshua Waddell Emma Bortignon Feature 2012 Bryce Menzies, Jonathan Cairnes Cairnes Page 100% WOLF * Feature Flying Bark Productions, Alexia Gates-Foale, Fin Edquist Alexs Stadermann Shane Devries 2019 Siamese Pty Ltd Barbara Stephen 100% WOLF * Teleseries Flying Bark Productions Barbara Stephen, Michael Fin Edquist, Tim Lee, Serg Delfino, Jacquie 2019 Bourchier Joshua Tyler, Michelle Trowell Offen, -
Motion to Amend Mpaa List of Represented Claimants for 2011 Satellite to Include Additional Claim Number Reference
Before the COPYRIGHT ROYALTY JUDGES Washington, D.C. ___________________________________ ) In the Matter of ) ) Docket No. 14-CRB-007-CD (2010-12) Distribution of the 2010, 2011, ) and 2012 Cable Royalty Funds ) ___________________________________ ) ___________________________________ ) In the Matter of ) ) Docket No. 14-CRB-008-SD (2010-12) Distribution of the 2010, 2011, ) and 2012 Satellite Royalty Funds ) ___________________________________ ) MOTION TO AMEND MPAA LIST OF REPRESENTED CLAIMANTS FOR 2011 SATELLITE TO INCLUDE ADDITIONAL CLAIM NUMBER REFERENCE On January 21, 2015, MPAA submitted petitions to participate in the captioned proceedings. As required by the Federal Register Notice issued by Copyright Royalty Judges (“Judges”), MPAA included, as Exhibit A, detailed lists of its represented claimants for each of the 2010, 2011, and 2012 cable and satellite royalty years, including identifying the claim number associated with each MPAA-represented claimant as to each year. See 79 Fed. Reg. 76396 (December 22, 2014). In the course of preparing its January 21, 2015 filings, MPAA discovered that one of its represented claimants, Telco Productions, Inc. (“Telco”), which filed a timely claim for the 2011 satellite royalty year, did not appear on official claim list of Copyright Royalty Board (“CRB”) for that year (“2011 Satellite Claims List”). As a result of Telco’s omission from the 2011 Satellite Claims List, MPAA did not have a 2011 satellite claim number reference to associate with Telco in Exhibit A to its January 21, 2015 filing. Thereafter, on February 4, 2015, MPAA received an updated copy of the 2011 Satellite Claims List from the CRB. This updated copy of the 2011 Satellite Claims List assigned claim number 211 to the Telco claim.