2015– 2016
ANNUAL REPORT AUSTRALIAN FILM, TELEVISION AND RADIO SCHOOL AUSTRALIAN The text in this Annual Report is released subject to FILM, TELEVISION a Creative Commons BY-NC-ND licence, except for the AND RADIO SCHOOL text of the independent auditor’s report. This means, in summary, that you may reproduce, transmit and otherwise Building 130 use AFTRS’ text, so long as you do not do so for commercial The Entertainment Quarter purposes and do not change it. You must also attribute the Moore Park NSW 2021 text you use as extracted from the Australian Film, Television PO Box 2286 and Radio School’s Annual Report. Strawberry Hills NSW 2012 For more details about this licence, see Tel 1300 131 461 http://creativecommons.org/licenses/by-nc-nd/3.0/ Tel +61 (0)2 9805 6611 deed.en_GB. This licence is in addition to any fair dealing Fax +61 (0)2 9887 1030 or other rights you may have under the Copyright Act 1968. You are not permitted to reproduce, transmit or otherwise www.aftrs.edu.au use any still photographs included in this Annual Report, © Australian Film, Television without first obtaining AFTRS’ written permission. and Radio School 2016 The report is available at the AFTRS website: Published by the http://www.aftrs.edu.au Australian Film, Television Cover image: Still from VR Noir: A Day Before the Night, and Radio School created by AFTRS in partnership with Start VR and FSM. ISSN 0819–2316 Image design Kain Tietzel. Image copyright Start VR 2016. LETTER FROM THE CHAIR
2 September 2016
Senator the Hon. Mitch Fifield Minister for the Arts Parliament House Canberra ACT 2600
Dear Minister, It is with great pleasure that I present the Annual Report for the Australian Film, Television and Radio School (AFTRS) for the financial year ended 30 June 2016. The Annual Report 2015–16 has been prepared pursuant to section 46 of the Public Governance, Performance and Accountability Act 2013. The report was adopted by resolution of the Council of AFTRS on 2 September 2016.
Yours faithfully,
Professor Julianne Schultz AM FAHA Chair of Council Australian Film, Television and Radio School Contents AFTRS Annual Report 2015–16
Letter from the Applications Chair and 59 1 Enrolments Academic Governance 62 1 Chair’s Introduction 4 Educational Compliance 62 2 CEO’s Perspective 10 Technology and 63 Infrastructure
3 Vision, Values and 10 Corporate Purpose Governance 16 64 Council 65 4 Strategic Direction 18 Finance, Audit and Risk Management Committee 68 5 Award Course Program Academic 20 Board 70 Diploma Program 22 Executive Team 71 Bachelor of Arts Organisation Screen Chart 72 23 Graduate Diploma in ScreenPortfolio Budget Statements Business and Key Performance 24 Indicators 2015–16 73 Graduate Certificates 24 Statement of Preparation 75 Radio 25 Annual Performance Statement 2015–16 76 Masters Program 26 11 Statutory Reports 84 Teaching and Learning Equal Employment 28 Opportunity (EEO – Workplace Diversity) 85 Academic Governance 30 Staffing, Establishment85 and Appointments Graduation 2015 31 Staff Training and Development 89 Student Radio Achievements Industrial 32 Relations 90 Student Film Achievements Work 33 Health 90 and Safety 6 AFTRS Open 37Disability Reporting 92 Industry and National Freedom Program of 40 Information 92 Television Unit 41 Privacy 92 Schools and 41 Youth Ministerial Programs Directions and Government Policies 93 Judicial Decisions and Reviews by Outside Bodies 93 7 Indigenous Unit 42 Fraud Control 93 8 Collaboration and Engagement Indemnities 46 and Insurance Premiums for Officers 93 Environmental Protection and Biodiversity Conservation 94 VR Noir: 48 A Day Before the Night An Evening with 12 Appendices Jamie Brewer 96 49 ARTS8 Community of 1. Practice Enabling 50 Legislation 96 Networking Initiatives 51 2. Financial Resource Summary 97 Public Program 51 3. 2015 AFTRS Graduates 101 Industry Guilds and Associations, Festivals and 4. Conferences 53 2015 Graduation Prizes 103 Industry Use 54 of 5. AFTRS’ FacilitiesPublic Program 104 Teaching Staff and Guest Lecturers: Industry6. Practitioners Industry 54 107 Use of AFTRS’ Facilities 9 Operations 55 7. Industry Practitioners at AFTRS 110 8. Student 113 Film Achievements Workplace Culture and Communication 56 9. Financial Statements 117 Jerzy Toeplitz Library 57 Production Delivery, Technical and Tutorial Support and VideoIndex Post 57 151 Student Services 58 AFTRS Annual Report 2015–16
1 Chair’s Introduction THERE IS A NEED FOR A NEW GENERATION OF CREATIVE ENTREPRENEURS WHO HAVE TECHNICAL KNOWLEDGE AND SKILLS, PLUS DEEP CULTURAL INSIGHT, UNDERSTANDING OF NARRATIVE AND BUSINESS ACUMEN.
This year marked the consolidation Under the leadership of the new In this environment, the role of Australia’s needed the opportunity to... “see our of the repositioning of the Australian Chief Executive Officer,Neil Peplow, national cultural institutions is more own landscapes, hear our own voices Film Television and Radio School that the School has combined insights from important than ever, but in need of and dream our own dreams.” 1 commenced when it moved to a bespoke best international practice to enhance contemporary restatement. Not long after It is helpful to remember the past and building at the Entertainment Quarter, and reimagine the founding, and enduring, his arrival Mr Peplow asked the School assess how things have changed, yet the Moore Park in 2008. In this location, it is ambition of the School. Using all the community and the industry to consider essential truth remains: whoever creates strategically located close to the hub of means at our disposal the School, its staff a series of big questions: What is the role our stories, shapes our culture. The purpose screen production and creative innovation and students are determined to ensure of AFTRS in 2016? What is its remit? What of the School is to nurture great Australian in Sydney. The School this year refocussed that Australian culture, life and stories are are the traditions that can be revived? storytellers, to provide them with excellent its education and training offerings, comprehensively represented and available What is different? How should our purpose education and training, and the opportunity investigated and addressed the needs on many different screens, heard on radio be restated? What does industry need? to develop the knowledge and skills to of industry, broadened its cultural remit, and transmitted on new digital platforms. How do we ensure that the full diversity of imagine and produce great stories for and sought to engage actively with a Under Mr Peplow’s leadership the education Australia is present in the School and in the screen and broadcast. As film, media and more diverse mix of students. and training programs offered by the School work produced by students and graduates? entertainment become more globalised have been refreshed, to ensure that they As the only national institution dedicated Going back to the origins is always a helpful and homogenised, having a clear sense of meet the contemporary and emerging needs exclusively to educating and training tool when thinking about how the future Australian cultural uniqueness is important. of industry, the expectations of students talented and creative people seeking to might be shaped. In doing this Mr Peplow In the Age of FAANG 2 (Facebook, Apple, and address the changing nature of society work in the screen and broadcast industries, reminded us that when the School was Amazon, Netflix and Google), the role and the screen and broadcast sectors. The AFTRS is more important than ever in founded 43 years ago it was to address of national cultural institutions remains aim is to inspire and challenge Australia’s the internet-age in which screen-based a very real need – there was no national important. Digitisation makes storytelling future digital storytellers and filmmakers communication is the new normal. training institution able to educate and available as never before. But to succeed in and equip them with the skills to succeed. train would-be filmmakers, almost no this global environment there is a need for At a time of intense globalisation there is The leadership of the School, including the Australian film production, and very limited a new generation of creative entrepreneurs a need for skilled storytellers and creative Council and Executive, are acutely aware local television production. At the time who have technical knowledge and skills, entrepreneurs equipped to ensure that of the changing nature of the industry and international films – and stories – dominated plus deep cultural insight, understanding Australian stories reach audiences at the increasing importance of screen-based Australian screens. In the words of the 2015 of narrative and business acumen. home and abroad. The internet-enabled communication in many other sectors. AFTRS Honorary Degree recipient Phillip age, which has made screens ubiquitous, Globalisation has also provided new Adams AO FAHA, who was a co-author presents new challenges and opportunities. opportunities, but increasing challenges of the report that lead to the formation in ensuring that Australian cultural identity of the School, Australians desperately is fully and comprehensively represented in compelling and engaging ways.
1 “How Phillip Adams, Barry Jones and Hector Crawford helped start our film industry”, Phillip Adams, The Australian; 17 November, 2014. 2 The Idea of Australia in the Age of FANG, Julianne Schultz, The Brian Johns Annual Lecture; 2 May 2016.
4 5 Section 1 Chair’s Introduction AFTRS Annual Report 2015–16
Equipping students with this mix of skills As well as providing targeted training for The School’s alumni continue to succeed Dalgaard when they were AFTRS students and capacity is an exciting opportunity. This women, She Shoots provided an opportunity locally and internationally. At the 2015 has gone on to be supported by Fresh year the School undertook a comprehensive for AFTRS to partner with industry to AFI/AACTA Awards, nine AFTRS graduates Blood, an initiative of Screen Australia and survey of the training needs of the screen create employment opportunities for the received peer-voted awards. The Dressmaker, the ABC. In 2015, BedHead was selected and broadcast industries. This research has participants. The success of this program produced by Sue Maslin, directed/co-written as one of five series to be released on informed the repositioning of the education provides a powerful model of how the by Jocelyn Moorhouse and co-written by ABC’s iView, and won a number of awards and training and will continue to shape School can partner with industry to address PJ Hogan, also received the People’s Choice at the LA WebFest Awards. Web series future decisions. both commercial and social needs. Award for Favourite Australian Film, as well The Horizon, produced by graduate Brian as achieving substantial box-office and Cobb, follows the lives and loves of a group As a result the School has refined its Mr Peplow has put diversity high on commercial success. of gay and alternative characters living in whole-of-career pathways approach: AFTRS’ agenda: seeking to ensure a Sydney. Across six online seasons, the series with an undergraduate Bachelor of Arts culturally diverse workforce and student Continuing the theme of successful women, received more than 45 million views on Screen, specialist diplomas, an elite masters body, increasing opportunities for people this year’s Academy Award for Best Editing YouTube and recently received funding from program, plus industry focussed training living with disabilities to work in the screen was won by alumna Margaret Sixel for her Screen Australia to create a television pilot. and programs available to interested industry, by supporting training programs work on Mad Max: Fury Road. The Academy members of the community. This builds on provided by Bus Stop Films and providing Award statuette adds to her impressive list In order to continue to achieve success in the ground-breaking work by the previous opportunities for underprivileged people. of awards, including an American Cinema this complex and ever-changing industrial CEO, Sandra Levy AO, to implement a The School has facilitated workshops Editor Award and a BAFTA. and educational environment, the School platform-neutral undergraduate degree. with partners including UNSW’s outreach has developed a five-yearCorporate Plan for AFTRS student films continue to burnish The importance of this repositioning was program, ASPIRE and Western Sydney’s 2016–2017 to 2020–2021. Developed with the School’s well-deserved international acknowledged in the findings of the survey, community engagement, art and education the Council and Executive, the new plan reputation, which was also recognised which revealed that employers were seeking network, the Information and Cultural outlines an ambitious vision for the future: by inclusion in Hollywood Reporter’s 2016 to employ graduates with a wide range Exchange. AFTRS has continued to build on list of the top 15 international film schools. of skills. its long-standing commitment to ensuring In 2015–16, 42 student films were selected Indigenous participation in the sector by TO BE THE REFERENCE The survey also informed decisions about for screening at 91 festivals worldwide, establishing a dedicated Indigenous Unit. how to re-orient postgraduate offerings. a total of 143 screenings. AFTRS films won POINT FOR INNOVATION In 2017 the School will again offer a two- The AFTRS Scholarship program established 16 awards at international film festivals in IN SCREEN, SOUND, year, discipline focused Master of Arts in 2015 was also extended this year. In Canada, China, France, Germany, the UK Screen degree. It is expected that the the 2016 academic year, seven Indigenous and the USA including the Special Jury AND STORY-MAKING, Masters program will be highly competitive Scholarships and 20 Equity Scholarships Award for Fiction (International Gold Panda GLOBALLY. and will produce future industry leaders. were provided to students so that financial Award for Students) for A Boy Called Su disadvantage would not prohibit them from at the Sichuan TV Festival, China, and the Another important focus this year has studying at the School. These scholarships Festival Honours Award for Outstanding been on diversity. Following publication In order to achieve this vision, and the are drawn from the Kenneth Myer Fellowship Achievement in Filmmaking for Foal at last year of AFTRS’ journal LUMINA Women renewed purpose – To find and empower Trust. Broadening the mix of students the Newport Beach Film Festival, USA. in Film: Does Gender Matter? film agencies Australian talent to shape and share their able to attend AFTRS by securing more launched new programs to redress gender School graduates are also demonstrating stories with the world by delivering future- philanthropic support for scholarships, imbalance. AFTRS partnered with Screen success in producing work for digital focused, industry-relevant education, is an important priority for 2017–18. NSW, Women NSW and leading broadcasters platforms that demand entrepreneurial research and training – AFTRS will focus on and production companies to fund a training funding and production skills. BedHead, three areas: Outreach, Talent Development, initiative for women. She Shoots trains female originally created as a super low-budget and Industry Training. Underpinning the camera operators and sound recordists for web series by Benjamin Mathews, Claire success of these strategies is a commitment roles in reality and unscripted television. Phillips, Tom Keele, Reece Jones and Jon to Research & Development, and Inclusion.
6 7 Section 1 Chair’s Introduction AFTRS Annual Report 2015–16
THE STRATEGIES Outreach The Council and Council Committees I join the Council in thanking Mr Peplow, look forward to working with the Minister the Executive and the dedicated and expert THAT UNDERPIN Build awareness and appreciation of Australian for the Arts, the CEO and Executive to staff for their support and the invaluable THESE AREAS ARE: screen and broadcast culture and empower all deliver on these ambitious strategies. contribution they made in 2015–16 to Australians to tell their stories, wherever they education, training and research in the come from and whoever they are. The achievements of the past year are screen and broadcast industries. due to the commitment of my fellow Talent Development members of the Council and Council On behalf of Council, I also acknowledge Educate and train new talent to ensure innovative, Committees. I thank them for their good and thank Senator the Hon. Mitch Fifield, relevant Australian content creators are supported judgement, enthusiasm and wisdom. Minister for the Arts and the officers of on their journey into the screen and broadcast industry. the Department of Communications and the In particular I would like to thank Deputy Arts for their continued support of AFTRS. Chair, Mr Darren Dale who assumed the Industry Training responsibilities of the chair for several Yours sincerely, Ensure current Australian screen and broadcast months and exercised them with insight and practitioners have the highest levels of skills commitment and Professor Robyn Ewing required to compete in the international marketplace. AM for her leadership of the Academic Board, including the implementation of Research & Development the new academic governance framework. Drive innovation in the screen and broadcast Mr Andrew Mason deserves special thanks industry and practice-based education through Professor Julianne Schultz AM FAHA for his diligence in the key governance research to ensure relevance and growth. Chair of Council role of Chair of the Finance, Audit and Australian Film, Television and Radio School Risk Management Committee and Ms Kate Inclusion Dundas for her leadership and attention Ensure AFTRS reflects Australian society by to detail in the development of the School’s supporting diversity across the Schools’ activities. corporate and strategic plans.
Operations Outgoing Council members, Dr Matthew Ensure an efficient and effective financially Campora as staff-elected member, Mr sustainable organisation. Oliver Heath, student-elected member made important contributions, and Ms Communications Ann Browne provided diligent stewardship Position AFTRS as a leading international cultural as Acting CEO prior to Mr Peplow’s arrival centre of excellence and innovation in education in October 2015. for the screen and broadcast industries.
8 9 AFTRS Annual Report 2015–16
2 CEO’s Perspective
As the 2015–16 year comes to a close, AFTRS produces storytellers with the in the best methods of how to teach Early on in my research, it became apparent my first as AFTRS CEO, it is a time to ability to shape our national identity both this content. Research will inform our that an evidence-based approach would be reflect on the successes of the past nine at home and internationally. Our aim is to key education decisions and help ensure invaluable. In early 2016, in partnership with months. I began my term on 9 October 2015, enable a future where Australian creativity we continue to provide excellence and Screen Audience Research Australia, AFTRS returning to the School after two years at is a driving force for social, cultural and distinctiveness in our offering. This process commissioned the most comprehensive skills the Met School in London, having previously economic good. also assists the School strengthen its role survey ever undertaken of the Australian worked at AFTRS as the Director of Screen. as a knowledge hub, translating research screen and broadcast industry. In order to Within the context of this wider cultural into practical outcomes that are relevant continue to provide high-quality education My goal in the first year has been to look remit, the School’s education and training to industry and other educators. and training, it is vital to identify the industry’s forward and map out an exciting future offerings must remain relevant. Digital training and talent development needs, for AFTRS, by building on the heritage technologies have torn down the barriers Taking the lead from the School’s 2015–16 particularly given the context of a constantly of the School’s extraordinary 43-year between content creators and their Corporate Plan, my focus has been both changing media landscape. history of screen and broadcast education audience. The means of production and outward – engaging with the Australian and training. Although this is a time of distribution are now open to anyone with industry in its myriad forms, as well as More than 500 individuals and companies enormous industrial and cultural change a smart phone and access to the internet. connecting with communities that have were surveyed to identify their immediate in the industry, it also presents us with However, understanding what to do with not previously been on AFTRS’ radar – and training priorities and signpost future needs new opportunities. This is a time where these tools to produce globally competitive inward – improving on what AFTRS delivers and industry trends. The survey’s report – critical thinking, creativity and innovation content is now more important than ever. to its students and revitalising the School’s AFTRS Industrial Strength: Skills and Training position AFTRS well to engage and thrive Working alongside industry is one of creative teaching and learning environment. Audit of the Australian Screen, Digital and in this environment. AFTRS’ many strengths; in this way we can Broadcast Industries – identified the two With the goal to engage with as many of collaborate to identify industry trends and highest training priorities for both individuals AFTRS’ stakeholders as possible and explore pinpoint skills and knowledge gaps, and and companies: the development of business partnerships and possibilities, I have held THE TELLING OF STORIES work to fulfil those in the most targeted skills, and training in the application of meetings with state film agencies, guilds way possible. This approach will accelerate new technologies. In addition, companies HAS THE POWER TO HEAL; and associations, attended festivals and Australian filmmakers and broadcasters’ identified their need for new entrants to SCREEN AND BROADCAST conferences, events and forums, travelled ability to compete in an international be multi-skilled and to have access to a to every state and territory, and met with HAS THE POWER TO marketplace by producing high-quality high calibre of talent across the industry. individuals from large and small companies CHANGE PERSPECTIVES content and having skills that can be from all sectors of the industry: start-ups, applied across platforms. ON SOCIETY, INFLUENCE associations, and education providers, both SOCIAL CHANGE, AND As education undergoes radical change local and international – in total over 230 HELP DEFINE WHAT IT IS in terms of student interactivity and online meetings and attendances. This research TO BE AUSTRALIAN IN 2016. delivery, AFTRS has a leadership role to project has been an important way for me play. The School’s applied research will to connect with AFTRS and its stakeholders, engage with innovation in screen and to understand our strengths and weaknesses, broadcasting content production, and triumphs and failures.
10 11 Section 2 CEO’s Perspective AFTRS Annual Report 2015–16
In terms of undertaking training, while less Launching AFTRS’ Research & Development AS DIVERSITY IN ALL ITS FORMS – RACE, than half of those surveyed had engaged Program is a virtual reality (VR) entertainment GENDER, ABILITY, LANGUAGE, SEXUALITY – in training in the past two years, 90% experience in partnership with production INSISTS ON A LARGER PLACE IN AUSTRALIAN indicated a desire to undertake further house Start VR. VR Noir: A Day Before the training in the future but cited time, money Night, is an interactive crime thriller set in SOCIETY, AFTRS IS PROVIDING LEADERSHIP. and inconvenience as barriers. These key an expansive urban setting created via 360 insights helped shape our offering for 2017. degree live action cinematography and cutting-edge VR technology combined We will use the survey’s findings in a number with computer-generated visual effects. of important ways: to fine-tune our Award This will be the first of many similar the students the opportunity to attend Course program and develop new courses, Developing this genuine industry partnership Research & Development projects that class using the AFTRS building and facilities, to review and better target our industry gave AFTRS the opportunity to engage in will focus on new technology, business or and for the School’s education specialists courses through AFTRS Open, and to work crucial research into this rapidly expanding audience engagement and aim to leverage to further develop and notate the Bus Stop with companies to offer customised training. field, and for the School’s educators to innovation and growth within our industry. Films’ curriculum. This will help similar AFTRS has committed to undertake this research and develop this new medium organisations servicing the disabled level of survey every three years. across various screen specialisations Another key focus of the research program community to offer the same curriculum. including writing, directing, sound and has been our engagement with the diverse Partnerships are an ideal vehicle in which cinematography. VR Noir challenged Australian community. Over the course of this These projects have spurred AFTRS into to achieve our Corporate Plan goals and traditional film narrative in the context of year, AFTRS has reached out to communities commissioning research into the best retain the flexibility that the complex world virtual reality, thus providing a creative and often characterised by disadvantage or practice approaches to address diversity demands. Through combining each partner’s technical challenge for the makers and discrimination. As diversity in all its forms issues in the screen and broadcast industry. strengths – resources, technical ability, a unique experience for the participants/ – race, gender, ability, language, sexuality – education offering, audience reach, and As a leader in the industry, it is vital that audience members. insists on a larger place in Australian society, connection with community – the outcome AFTRS address equity and inclusion issues AFTRS is providing leadership in a number of the partnership can be far greater than Showcased at the 2016 Vivid Sydney that form barriers to participation, particularly of ways. the sum of its parts. Festival and the Melbourne International in relation to gender, race and disability. Film Festival, VR Noir reached more than This year, through various partnerships, This original research will be released and This year, I am proud to report that AFTRS 500 participants in the VR experience we have forged connections with a range distributed later in 2016. has created partnerships with government or through Q&A sessions hosted by the of diverse communities to share the film agencies:Screen NSW, Screen Australia, Closer to home, support for diversity School. The research findings will inform School’s incredible resources. For example, Screen Queensland, Screen Territory; with at AFTRS has been strengthened through new courses, including a travelling training the School worked with the University of screen resource organisations: Wide Angle the launch of a stand-alone Indigenous Unit, program, and published research papers NSW’s outreach program, ASPIRE, which Tasmania, Media Resource Centre (SA); led by Head of Indigenous, Kyas Sherriff. that will allow the learnings to be shared trains high school students from socio- with education providers: NIDA, Australian While AFTRS has had a long history of widely amongst industry, educators and economically disadvantaged areas, as well Roundtable for Arts Training Excellence; nurturing Indigenous students across a others, for the greatest benefit. as the Information and Cultural Exchange with festivals: Vivid Sydney, Sydney Writers’ range of study options, the Unit has begun to provide opportunities for Western Festival, Sydney Film Festival, Tropfest, It has been nominated in the most innovative implementing initiatives that aim to increase Sydney storytellers in screen workshops. ATOM, TedXSydney; and with production category at the 2016 Virtual Reality the number of Indigenous students in our companies and broadcasters: Foxtel, Start Foundation Proto Awards in the USA and Perhaps most rewarding has been the Award courses, such as the provision of VR, FSM and the Audio Network. the 2016 Screen Producers Australia Awards partnership with Bus Stop Films, providing dedicated Indigenous scholarships. in the Interactive Production category. support to their filmmaking workshops While details of these partnerships are to be By focusing on high-level professional for people living with a disability. This found throughout this report, the following development for mid-level Indigenous work has been pioneered through founder, example aptly illustrates how partnerships practitioners, we are acknowledging the filmmaker and alumnaGenevieve Clay- can create unique benefits for all parties, breadth of Indigenous talent in the industry Smith. Partnering with AFTRS has given both now and into the future. deserving of our support. For example,
12 13 Section 2 CEO’s Perspective AFTRS Annual Report 2015–16
in the Unit’s talent lab Black Shot, nine AFTRS Open and the Award Course I would like to thank the members of the emerging Indigenous cinematographers division have been working more closely Executive, the staff, the stakeholders and were mentored and trained by Allan together, to better map student pathways partners, who have worked with AFTRS this Collins, ACS. The School is also committed and provide offerings to a broader range year to produce the excellent and creative to an increased academic focus on the of potential students. outcomes that this report details. Thanks representation of Indigenous voices, to the Council and Council Committee New to the Executive Team is Kirsten stories and practitioners, and respectful members for their dedication, knowledge Downie, as Director of Marketing. Her acknowledgement of Aboriginal and Torres and expertise. In particular I would like focus is ensuring that the industry and Strait Islanders as the First Nations People to thank Professor Julianne Schultz, Chair all stakeholders are actively engaged with THIS YEAR A of Australia. The series Black Talk has of Council for her guidance in my transition the School’s strategic direction, progress begun to share the career pathways and to CEO, and her significant contribution to RECORD NUMBER and success. Marketing will also play a key storytelling approaches of Aboriginal and the new strategic direction for the School. role in attracting a more diverse student OF STUDENTS – 561 – Torres Strait Islander creative practitioners demographic and taking our message to Lastly, my thanks to AFTRS students and with the broader industry. ENROLLED AT AFTRS, current and new stakeholders through the alumni. As Australia’s storytellers we need AN INCREASE OF The Award Course Division, under the screening and distribution of student films. you to reignite the Australian story and hold leadership of Martin Brown, now takes it up to the world. For whoever creates our I would like to thank Chief Operations 82% ON 2014–15. responsibility for all award courses – from stories, shapes our culture. Officer, Ann Browne, for taking the reins as Diploma to Masters’ level. This year a record Acting CEO and keeping the School in good As CEO, I look forward to a bright and number of students – 561 – enrolled at AFTRS, shape for a number of months prior to my innovative future, working together with an increase of 82% on 2014–15. The Bachelor arrival. She has been focused on ensuring a purpose and values to achieve AFTRS’ vision. of Arts Screen has evolved and in 2017 will financially sustainable future for the School include more practice-based learning. The and, along with Director of Technology and Master of Screen Arts degree has also been Infrastructure, Tim Sadler, providing for the subject of review and renewal. the current and future staff, students and In 2017, the School will offer a two- their requirements. This year the focus has year Master of Arts Screen across 11 been the development of a thriving and Neil Peplow specialisations. The BA Screen: Production innovative workplace culture. The results Chief Executive Officer and MA Screen offerings are being of an internal cultural survey kick-started welcomed by industry and their direction a program of cultural forums that engaged reflects the key research findings of our staff in providing input to the review of industry skills survey. the School’s purpose, vision and values. AFTRS Open has expanded its brief This process also led to a highly consultative to include community engagement, and collaborative approach to the philanthropy and partnerships and a more development of the Schools’ Future Vision targeted approach to corporate training 2021 and five-year Corporate Plan 2016–17 and international opportunities. Led to 2020–21. The new strategies position the by Liz Hughes, Director of Partnerships School strongly for the years ahead, as we and Development, AFTRS Open has run take the best of the past and move into the an impressive 324 courses for 4,925 surging creative dynamic that is the screen participants in 2015–16. In terms of and broadcast future. our remit to offer industry courses,
14 15 AFTRS Annual Report 2015–16
VISION • A national and global leader in education • A hub for research and development and training for the converging screen of creative ideas, partnerships and broadcast industries and connections • The destination of choice for talented • A place that recognises and encourages individuals to develop knowledge, skills the rich cultural heritage and diversity Vision, Values and technological expertise, and imagine, of Australia. create and produce engaging stories and Purpose and content
VALUES Creativity Diversity Providing opportunities for the Nurturing and valuing difference and exploration of artistic expression, originality, and reflecting the rich cultural ideas, innovation and risk-taking heritage and diversity of Australia
Excellence Accessibility Striving for the highest standards Promoting broad access to, and participation of creative and technical excellence in, AFTRS’ education and training, and cultural and industry activities and events Sustainability Fostering partnerships, collaboration, Respect resilience and resourcefulness Encouraging mutual respect between staff, students and all AFTRS’ stakeholders.
PURPOSE AFTRS’ purpose is to provide high quality making a unique contribution through education and training at a range of levels its creative expertise and educational to advance the skills and knowledge of capacity. AFTRS collaborates with industry talented individuals and meet the evolving to deliver relevant education and training needs of Australia’s screen and broadcast opportunities, and shares its facilities, industries. AFTRS educates and inspires the services and resources with industry storytellers of the future and encourages organisations, associations and enterprises innovative engagement with technology to support a diversity of developmental to disseminate those stories to audiences. initiatives, activities and events. AFTRS meets the education and training AFTRS conducts research relevant to needs of industry, delivers activities and industry, holds forums and disseminates programs for schools and Indigenous ideas to stimulate conversation about the Australians, and partners with cultural and converging screen and broadcast industries. commercial institutions in joint activities,
16 Participant experiencing VR Noir: A Day Before the Night 17 AFTRS Annual Report 2015–16
AFTRS’ STRATEGIC DIRECTION AS EXPRESSED IN THE 2015–16 CORPORATE PLAN IS CENTRED ON THE FOLLOWING SEVEN GOALS. Strategic
Direction 1 Lead the way in providing excellence in distinctive screen and broadcast education and training
2 Encourage diverse approaches to creativity, storytelling and content through innovative engagement with audiences and technology
3 Provide flexible, accessible lifelong learning opportunities
4 Ensure a diverse, thriving and creative environment for learning and teaching
5 Strengthen AFTRS as a cultural and industry hub
6 Expand AFTRS’ reputation and reach in global screen and broadcasting education
7 Ensure a financially sustainable future and develop opportunities through partnerships and philanthropy
18 Production still from A Boy Called Su 19 AFTRS Annual Report 2015–16
IN RESPONSE TO AN INCREASINGLY FRACTURED MEDIA LANDSCAPE, AFTRS REVIEWED ITS AWARD COURSES AND RECALIBRATED ITS OFFERING TO Award THE MEET THE NEEDS IDENTIFIED IN THE SECTOR. Course
Program The Council, CEO and Executive identified including Introductory courses, Diplomas a need for the School to be more active at and Advanced Diplomas. A Program postgraduate level. As a result, in semester Leader Radio has also been appointed 1, 2016, the School launched a revised version in recognition of the unique requirements of the Master of Screen Arts degree and four of the radio sector and we are planning Graduate Certificate courses in Directing, to appoint a Course Leader for the BA Editing, Screenwriting and Documentary. Screen. The Course and Program Leaders are responsible for ensuring the integrity The incoming CEO also instituted structural of the overall student journey within their changes to the management of the course courses, which ensures coherence between offerings. The Degree Division and the the disciplines. Specialist Division were merged and the Award Course Division created to oversee The Division has commenced appointing all accredited courses. The Division of Heads of Discipline in Editing, Production, Education and Division of Educational Screenwriting, Sound, Screen Studies, Support Services were abolished and some Cinematography, Documentary, Radio, functions, such as teaching and learning Directing, Design, Animation & VFX, Music, and administrative support were moved Producing, Screen Business and Interactive. to the Award Course Division. This has These Heads will be responsible for the created better communication and shared academic integrity of their discipline across resources between course levels and the School, including AFTRS Open courses. provided an oversight across all academic The CEO has also led a review of levels. The link between educational the alignment of the course offerings standards and quality, management in reference to the School’s Charter of resources and delivery of the courses responsibilities. This process has clarified means the students’ journey is taken into the dominant function of each course and account at each stage of planning within level. For example, the Master’s degree a single division, rather than across three. aims to develop future cultural leaders The Award Course Division has a new and innovators while the Diploma program management structure that better reflects targets skills acquisition. This interrogation the expansion and differentiation of the has also clarified the admissions criteria academic offerings across the School. and graduate attributes required at each A Course Leader has been appointed to academic level – Diploma, Bachelor, each academic level: Masters, Graduate Graduate Certificate, Graduate Diploma Certificate and Diploma – the latter and Masters. This clarity extends to
20 AFTRS student on the set of A Dark Spot 21 Section 5 Award Course Program AFTRS Annual Report 2015–16
the scheduling of courses to reflect the DIPLOMA PROGRAM In semester 1, 2016, the Diploma Online Learning circumstances of the students: Diploma Program ran the following courses: The Diploma Program offers skills training AFTRS has developed a considerable and Graduate Certificate programs are in a specific discipline or skillset. Courses skillset in structuring courses for online offered after-hours while BA Screen, Introductory are developed with input from industry and delivery. The School has sought student Graduate Diploma and Masters’ programs • Introduction to Film are adaptive to the emerging requirements and lecturer feedback on the usability of are full-time. The online offerings have also of the sector. For this reason the Diploma • Core Radio Skills our Learning Management System, Moodle, expanded in line with the School’s national Program will develop, and potentially to redesign the interface to make it easier remit. For example, a one semester Diploma Diplomas retire, a number of courses each year. to use. The improvements have received in Screen Design is offered online, followed • Diploma in Camera Fundamentals positive feedback. by a one semester on campus Advanced The program includes Introductory, • Diploma in Design for the Screen Diploma in Art Direction as a pathway into Diploma (AQF level 5) and Advanced As the expertise in structuring learning • Diploma in Digital Content (Radio) this discipline. Diploma (AQF level 6) courses. experiences in the online space is adopted • Diploma in Editing Fundamentals by the School’s lecturers, all courses, even Towards the end of 2015, the CEO In semester 2, 2015, the Diploma • Diploma in Sound Fundamentals those run wholly on campus, are making commissioned an extensive industry Program ran the following courses: use of the system. The usability of the skills survey and the results have been • Diploma in Visual Effects Fundamentals system is increased in many ways, for used as the basis for an audit of the Introductory Advanced Diplomas example, by making Library research course offerings in each discipline. • Introduction to Film • Advanced Diploma in Cine Essentials assets available to students via Moodle. For example, one of the headline results • Core Radio Skills from the survey was that many creative • Advanced Diploma in Music practitioners are under-equipped for the Diplomas Scoring for the Screen demands of running a business. In response, • Diploma in Camera Fundamentals • Advanced Diploma in Producing: BACHELOR OF a Graduate Certificate in Screen Business, • Diploma in Editing Fundamentals. Story, Audience, Finance a Graduate Certificate in Creative Producing • Advanced Diploma in Radio Essentials ARTS SCREEN and a Diploma in Production Management The following courses continued • Advanced Diploma in Screenwriting: In 2016, the first intake of students in will be offered in 2017. on from semester 1: Feature Film Bachelor of Arts Screen (BA Screen) progressed to Year 2, and a new intake Advanced Diplomas • Advanced Diploma in Screenwriting: entered Year 1. Close to 300 applications • Advanced Diploma in Music Series Television. were received for the new Year 1 with Scoring for the Screen All courses in the Diploma Program are 112 students accepted. • Advanced Diploma in Producing: offered outside normal working hours, Story, Audience, Finance The BA Screen aims to produce multi-skilled either online, on campus, or a hybrid graduates, who will be highly sought after • Advanced Diploma in Radio combining online study with occasional in the industry as innovative screen content • Advanced Diploma in Screenwriting: weekend on-campus workshops. Diploma creators. Through its balance of core and Feature Film and Advanced Diploma courses accept elective subjects, the degree is structured • Advanced Diploma in Screenwriting: students on the basis of merit selection to develop ‘T-shaped skilled’ practitioners Series Television. while Introductory courses have no merit or those practitioners who are generalists selection requirements. but also have attained a deep level of expertise in one or two disciplines.
22 23 Section 5 Award Course Program AFTRS Annual Report 2015–16
It is the ambition of the BA Screen Accommodating two years of the BA In 2016, the following two courses RADIO qualification that its graduates: Screen cohort in the building has created were delivered over a single semester: a lively academic environment and seen the Radio Talent Pathway • Will be highly employable in the Graduate Certificate in Directing School adapt to facilitate additional student burgeoning media content sector Fundamentals provides insight into three Radio courses offer a genuine, practice- support. For instance, the Education team key facets of screen directing: storytelling based pathway for aspiring radio • Can work to a brief introduced a ‘buddy’ system, in which second structures, cinematic principles and professionals. The suite of courses ranges • Understand social video year students were available to support performance, and how they can be used from the enabling of those who have an first year students. The students initiated • Have a strong sense of their to effectively engage audiences. This initial interest and passion through to a student film club with regular screenings own creative approach; and experiential course with intensive practical intensive training of those who require high- of notable works. • The ability to navigate career exercises culminates in the development level, industry-ready expertise. Entry-level opportunities. of a short screen project. Each student students can study anywhere in Australia, produces a test scene using professional as the entry level courses are wholly online. Work has commenced to ensure the actors to include in their portfolio. diversity of the intake matches the diversity GRADUATE DIPLOMA of the Australian population. This process IN SCREEN BUSINESS Graduate Certificate in Documentary Introductory involves a review of all steps in the student’s Fundamentals provides students with Core Radio Skills is a basic introduction journey, beginning with recruitment and The Graduate Diploma in Screen Business the creative and technical skills to develop to the radio sector that teaches students admission processes. Benchmarking the was offered for several years as a two-year a major project with a multi-platform how to write for radio and develop a voice. School’s practices against comparable part-time course for people with experience strategy, pitched to a real world industry Students discover interview and preparation institutions has also begun. in the industry looking to develop their panel. The panel’s feedback noted the techniques to produce and present radio business knowledge and skills. The cohort high calibre of the students’ projects. It is also fundamental to the BA Screen programs. The course runs for six weeks that graduated in 2015 was the last in that students are prepared to operate In 2016, two courses commenced in semester with a total commitment of 30 hours. This this program. From 2017, a new Graduate in the environment they will enter after one and will complete in semester two: course is 100% online, with weekly video Certificate in Screen Business will be graduation. New entrants to the content conference sessions. It is very popular with available to meet demand for specialised Graduate Certificate in Editing Drama sector will be expected to produce high those who aspire to a professional radio business training in the sector. equips students with the knowledge and quality work with the resources available. career, as well as those in the community skills to meet the creative, conceptual, Coursework is regularly reviewed to ensure radio sector who need further skills technical and procedural challenges students are developing a work practice development and provides an entry involved in editing a variety of dramatic that is successful, irrespective of the level point into the next level of qualification. screen productions. Students graduate of equipment used. GRADUATE CERTIFICATES with a portfolio of work that demonstrates In 2016, AFTRS reviewed and re-launched Students completing Year 1 of the BA their ability to progress to the next stage Diploma four Graduate Certificate courses. Screen have reported a high level of of their careers. The Diploma in Digital Content (Radio) satisfaction, with a number of comments These practice-based courses are designed Graduate Certificate in Screenwriting offers new skills for those who wish to gain that more practice-based activities would for emerging and experienced practitioners offers emerging and intermediate employment in the fastest growing sector further enhance the learning experience. to hone their creative voice and deepen their screenwriters the opportunity to develop of radio. This course was developed in Towards the end of 2015, the academic conceptual understanding and professional the creative talents and analytical skills response to industry demand across both staff responded to these comments by practice of their chosen specialisation. required by professional screenwriters and the commercial and public broadcasting increasing the number of workshops The Graduate Certificates are part-time writer/directors. Students graduate with sectors and allows students to acquire in relation to lectures. postgraduate courses delivered at the a first draft screenplay for a feature film skills to become innovative digital content AFTRS campus on evenings and weekends. or a pilot screenplay for a television series. producers. The 16-week course was run successfully for the second time in 2016,
24 25 Section 5 Award Course Program AFTRS Annual Report 2015–16
with most participants now employed or MASTERS PROGRAM Practice Master of Screen Arts and Business contracted to interesting new roles in the Students advance their specific skillsets The Master of Screen Arts and Business industry. As this course is online, it is also Master of Screen Arts in a series of weekly exercises. The weeks (MSAB) addresses the pressing need for accessible to people right across Australia. alternate between discipline-neutral The Master of Screen Arts (MSA) was entrepreneurial thinking and new leadership workshops focused around collaborative reviewed and then reintroduced in 2016. in the screen arts and broadcast industries. group work, and individual sessions where Advanced Diploma The MSA is a unique program that builds This is in response to the opportunities and students test and practice discipline-specific on AFTRS’ established success in practice- challenges of digital technologies and the The Advanced Diploma significantly skills agreed between student and mentor based learning to equip the next generation new digital media platforms. up-skills students by offering a part-time in their learning plan. of exceptional screen practitioners with the on-campus experience in the Radio studios. The MSAB equips students to participate high-level skills needed to achieve creative It is ideal for those who don’t have an fully in the financial aspects of any project excellence in a fluid and dynamic industry. Seminar undergraduate qualification but who wish including how to pull apart a financial A series of fortnightly screenings and to gain entry into the Graduate Diploma The revised MSA is offered over three proposition and put it back together, discussions that focus on deep enquiry in Radio. It is of particular appeal to those semesters. In the first two semesters financial modelling, and how to communicate into the work. Discussions critically reflect who wish to continue to support themselves students complete four subjects through financial information to stakeholders. The on a practitioner’s body of work and their by working full time. Radio Essentials is structured coursework: MSAB also focuses on the development of industrial and cultural contexts through a seven and a half hour commitment each leadership. Through a series of workshops a range of theoretical lenses. week, outside normal working hours, over and exercises, students address the art of Project two semesters. It provides foundation In the third semester, students complete persuasion and how to influence fellow In Project, students synthesise their learning skills in four key subject areas. a single subject: decision makers, on paper and in person. across the other subjects to create or develop Most importantly, students gain the a work in response to an articulated practice- opportunity to work with a group of talented Graduate Diploma based research question. The project can Final Project and highly motivated peers who become be a short film, a study for a feature film, In this subject, students develop a The Graduate Diploma in Radio is the part of their lifelong professional networks. a screenplay, a web series, or an animation. more complex work or a series of works school’s year-long, full-time flagship A number of research papers produced by informed by a specific research question radio course and produces industry-ready the 2015 cohort were published including and the experiences gained in the first professionals for both the commercial Incubator Call the specialists: What Thor and Aliens two semesters. Students support this work and public sectors. Highly practical and Structured around a series of creative could really do for the Australian film with a creative exegesis. The exegesis can intensive in its structure, the course builds workshops and peer-feedback sessions, industry by Abi Tabone, published in either be a written paper, video essay or a broad range of skills through four pop-up Incubator is a space for divergent thinking The Conversation, 29 October, 2015. created work. It should critically reflect on radio stations, which become increasingly and a testing ground for Project ideas the student’s process of creating their Final more complex throughout the year. The and processes. Students experiment with Project in relation to their research question. course culminates in the students creating techniques to develop and progress their an entirely new radio format and building storytelling and ideas. a radio station from the ground up to live broadcast. Work placement is an essential component of this course, and often leads to future employment. The Graduate Diploma in Radio has a remarkable success rate in achieving employment outcomes for students and the industry watches each year’s cohort to cherry pick graduates early.
26 27 Section 5 Award Course Program AFTRS Annual Report 2015–16
TEACHING AND LEARNING Professional Development of Faculty • Sarah Stollman, PhD, Thesis title: Designing • Dr. Sabina Hussain and Dr. Matthew nostalgia: Cinematic objects in magical Campora. Developing an integrated The Award Course Division’s approach to As part of the ongoing commitment to the realism, Curtin University: Media, Culture undergraduate film curriculum through the continuous improvement of teaching professional development of faculty and and Creative Arts, graduating 2017 a collaborative and cross-disciplinary and learning was articulated through the in order to enhance the quality of teaching, approach: Challenges and opportunities. 2016 Teaching and Learning Plan. The the School has supported the following staff • Lisa Sweeney, Master of Education Paper presented at the 12th annual plan focused on four goals: ensuring the to undertake study: (Leadership and Learning), University conference of the International Society coherence of AFTRS’ course offerings, of Technology, graduating 2017 • Julia Avenall, Graduate Certificate for the Scholarship of Teaching and assuring the quality of award courses, E-Learning, University of New England, • Dr. Steven Vidler, PhD, Thesis title: Learning (ISSOTL), 27-30 October 2015 enhancing the quality of teaching and graduated 2016 The words that make pictures move: An in Melbourne, Victoria fostering a community of learning. implicit theory of viewer empathy in the • Andrew Belletty, PhD, Thesis title: • Dr. Sabina Hussain and Dr. Matthew During the past year, the School undertook tacit knowledge of expert screenwriters, Listening to country: Can an audio-visually Campora. From theory to practice: a comprehensive review of its courses Macquarie University, graduated 2015 skewed body understand what a sentient Planning and designing the curriculum of and teaching and learning activities. The country is saying? National Institute of • Dejay Vi Nguyen, Master of Media Arts, a Bachelor degree in film at the Australian development of the 2017 course offerings Experimental Arts, University of NSW University of Technology, graduating 2016. Film Television and Radio School. Paper has been undertaken in consultation with Art and Design, graduating 2017 presented at Australian Association faculty, industry and students. For example, In 2015–16, AFTRS faculty published for Research in Education (AARE), a number of BA Screen students provided • Rachel Cormack, Bachelor in Media or presented the following papers at 29 November – 3 December 2015 advice to the Education team on the student Communication, Charles Sturt University, conferences: in Fremantle, WA experience in relation to the ongoing graduated 2015 development of the course. • Mireille Astore and Ann Browne. Intangible • Dr. Sabina Hussain. The discourse of • Catherine Gleeson, Master of Research, heritage or corporate memory: From global citizenship: Implications for learning The School has enhanced its academic Research title Biofeedback and auditory- conversions to conservation (English), and teaching practices. Paper presented support for students. Students can access visual language processing, The Héritage intangible ou mémoire d’entreprise: at Australian Association for Research support in a number a ways: by attending MARCS Institute for Brain, Behaviour des conversions à la conservation (French) in Education (AARE), 29 November – a workshop on a specific issue; by attending and Development, University of published in the bi-lingual journal Cahier 3 December 2015 in Fremantle, WA a drop-in session; by arranging one-to- Western Sydney Louis-Lumière, 9 one support; or by emailing a question to • Mike Jones. The adaptive writer: • Nell Greenwood, PhD, Thesis title: the Education team. Further, there is an • Dr. Matthew Campora. Rake: An Australian Screenwriting process across platforms. Lighting the way: Pedagogy, creativity extensive online platform for academic answer to HBO television. Paper presented Paper presented at CAPA CILECT and the unconscious, University of support that contains content for students. at the Film and History Association of Conference in Beijing, October 2015 Sydney, graduating 2017 This has expanded the reach of the School Australia and New Zealand Conference • Marty Murphy. We only laugh when to those studying part-time, online, or in • Dr. Sabina Hussain, Master of Philosophy in July 2015 it doesn’t hurt: Comic effect and the a blended learning pattern. From semester in Higher Education, Thesis topic: The • Dr. David Court. Two information abstraction of violence in literary comedy 2, 2015 to the end of semester 1, 2016, 156 concept of global citizenship in higher aggregation mechanisms for predicting narratives. Paper presented at AHSN students attended workshops and 65 education, University of New South the opening weekend box office revenues Conference 2016 (Australasian Humour took part in one-to-one consultations. Wales, graduating 2017 of films: Box office prophecy and guess Studies Network) Sydney University, Launched in mid-2015, the Research • Gabiann Marin, PhD, Thesis title: of guesses. Paper published on 28 Sydney in February 2016, and at ISHS Seminar Group, a professional development Dealing with difficult women – The December 2015 by the California Institute Dublin 2016 (International Society of program for teaching staff, met monthly to recontextualisation of the antagonistic of Technology as Social Science Working Humor Studies) Conference, Trinity share updates on research projects and report female in modern media, Macquarie Paper 1412 with co-authors Benjamin College, Dublin in June 2016 on key insights from conferences attended. University, graduating 2021 Gillen, Jordi McKenzie and Charles Plott
28 29 Section 5 Award Course Program AFTRS Annual Report 2015–16
• Dr. Steven Vidler. Monkeys with typewriters: • Dr. Rachel Lander’s attendance of the These committees are responsible for the The SRC is the key forum for students to Embodied character priming in narrative World Science and Factual Producers management of School activities relating raise matters relating to the award course screenwriting. Paper presented at Society Congress in Vienna facilitated to student representation; curriculum student experience and the quality of the for Cognitive Studies of the Moving Image collaboration between the 2016 MSA design and review; the approval of research School’s higher education programs. The (SCSMI) Conference 2016, 1-4 June 2016 students and the Australian Science Media projects and the review of research ethics committee is comprised of students from in New York. Centre. The material gathered from this proposals; the authorisation of offers for all academic levels and is chaired by the event also informed the development of award courses and the development of student member of Council. the BA Screen. Rachel was also recruited admissions processes; and the review of Other key activities by faculty include: as a judge for the 2016 Sydney Film Festival assessment procedures and student grades. • Kim Batterham moderated a Meet To ensure consistent pedagogical guidance • Dr. Steven Vidler presented at the session, the Makers session leading up to the and oversight, independent members of What Neuroscience Can Teach Us About GRADUATION 2015 2015 AACTA Awards and a Meet the the Academic Board are also members Screen Story at the StoryCode Conference The 2015 Graduation ceremony was held on Nominees session for the 2016 annual of the Research and Ethics Committee in Sydney, July 2015. Friday 4 December 2015 at Hoyts Cinemas ACS national awards and the ASQC. in the Entertainment Quarter, Moore Park. • Andrew Belletty was a lead facilitator for The ASQC reports directly to the The order of proceedings included opening the innovative initiatives of Screen Australia Academic Board. It reviews and comments remarks by Council member Kate Dundas, Indigenous in 2016, Songlines on Screen 2 ACADEMIC GOVERNANCE on educational quality and standards with the keynote address presented by in Darwin, and Pitch Black in Sydney across the Award Course Division. Further, AFTRS alumna Imogen Banks. The academic governance of the School it reviews the accuracy of grades and • Dr. David Court was a visiting lecturer at was reviewed and strengthened through A highlight of the ceremony was the recommends the graduand list to the the University of Tasmania’s workshop on the introduction of an Academic Governance awarding of the Honorary Degree (Doctor Academic Board for endorsement. The Media and Entrepreneurship in November Framework in January 2016. of Arts) to broadcaster, commentator other four committees in the framework 2015, a speaker on Copyright & Creativity and filmmaker MrPhillip Adams, OAM. As part of the implementation process, all report to the ASQC, each focusing at the IP & Media Law Conference, the Academic Board’s terms of reference on a specific area. Mr Adams played a key role in the revival University of Melbourne, and an adviser were revised to extend board membership of the Australian film industry in the 1970s. at the RELEASE Music Conference in late The Admissions Committee reviews and to include the student member of Council He was the author of a 1969 report, which 2015. He was also a panelist on the topic reports on the process of admissions. It and an elected member of teaching staff. led to legislation by then Prime Minister What if we could reimagine copyright at ensures that the recruitment, selection and Responsibility for managing the framework John Gorton to create the Australian Film the Australian Digital Alliance Conference, admission of students meet the requirements is shared between the Award Course Development Corporation (later the Australian National Library of Australia in March 2016 of all relevant policies and procedures. Division and Student Services in the Film Commission), the Experimental Film • Mike Jones spoke at the National Operations Division. The Course Committee reviews and reports Fund as well as the creation of the National Screenwriter’s Conference panel session on quality assurance oversight of all award Film School (now AFTRS). He was also one Under the oversight of Academic Board Bigger, Longer and Uncut: The Present courses. It considers all information and of the original members of Council for the and the Council, the framework consists and Future of Writing Webseries, as data in relation to academic standards, interim School in 1972. of five committees: theCourse Committee, well as hosting the session He Got Game: reviews curriculum and shares best practice Research and Ethics Committee, Admissions As the Honorary Degree recipient, Phillip In Conversation with Jesse Stern. At the in teaching and learning. Committee, Student Representative Adams joins a select group of significant Sydney Film Festival, Mike was a speaker Committee (SRC), and Academic Standards The Research and Ethics Committee Australian film and television industry and moderator for the session, Down the and Quality Committee (ASQC). monitors the quality assurance of research practitioners including Dr George Miller, VR Rabbit Hole, and at the ScreenFutures activities across the School and reviews Baz Luhrmann, John Edwards, Jan Summit in Melbourne, he presented and approves proposals and applications Chapman, Phillip Noyce and Darren Dale. Writing for the Screen – Finding Your Place for research projects.
30 31 Section 5 Award Course Program AFTRS Annual Report 2015–16
Phillip Adams was presented with his • Ashleigh Blucher (Graduate Diploma in STUDENT FILM Honorary Degree by producer and alumna Radio 2013) – Best Entertainment/Music Sue Maslin. Her recent feature film The Presenter (Country) ACHIEVEMENTS Dressmaker, has earned more than $15m AFTRS supports student work by nominating • Foal (Vanessa Gazy, Master of Screen • Stephen Cenatiempo (Graduate Diploma to date at the Australian box office. selected films for awards and for screening Arts 2014) received the Festival Honours in Radio Broadcasting 2010) – the at national and international film festivals. Award for Outstanding Achievement Other prizes presented were: prestigious Brian White Memorial (News) In 2015–16, 42 films were selected for in Filmmaking (Best Foreign Short) at • Selwyn Speight Award for Radio Reporting • Claire Humphery (Graduate Diploma screening at 91 festivals worldwide, a total Newport Beach Film Festival. It was also was presented to Eliot Barham and Kate in Radio 2014) – Best Newcomer of 143 screenings, winning 26 awards. nominated for the Craft Award, Best Drinkwater by Neil Peplow, CEO On-Air (Country) Achievement in Editing and Best Young For the full list of AFTRS Student Film Actor (Lola Bennett) Awards at the St. • AV Myer Indigenous Awards for • Jacqui Kassulke (Graduate Diploma Achievements, see Appendix 8. Kilda Film Festival in Melbourne Exceptional Talent were presented to in Commercial Radio Broadcasting Kodie Bedford and Bernard Namok Jnr 1999) – Best Digital Radio Format • Stuffed (Warwick Young, Master of Screen Highlights this year include: by Indigenous performer and filmmaker, (Triple M Modern Rock Digital) Arts 2013) was awarded Best Foreign Aaron Fa’Aoso and Kyas Sherriff, Head • A Boy Called Su (Vedrana Musić, Graduate Film at the Beverly Hills Film Festival, the • Ross Turner (AFTRS Open – Program of the Indigenous Unit Diploma in Directing 2014) won the Special Audience Award (New Talent Showcase) Directors Course 1999) – Best Program Jury Award for Fiction at the International at Down Under Berlin in Germany, and • Foxtel Award for New Media Innovation Director (Provincial) Gold Panda Award for Students as part of was runner-up for the Best Short Film was presented to Bridget Callow, Peter • Matt Dickson (AFTRS Open – Short the Sichuan TV Festival in China (Nicholas Baudin Prize) at Recontres Drinkwater and Chloe Rickard by Brooke Course in Comedy Writing) – Best Internationales du Cinéma des Antipodes Pettit, Community and Corporate Social • Deszcz (Malina Maria Mackiewicz, Graduate Station Produced Commercial – Single in Saint-Tropez Responsibility Manager at Foxtel. The Diploma in Directing 2014) was selected (Westspecs – start, Metropolitan) prize is intended to help seed fund a new for Toronto International Film Festival and • The Kangaroo Guy (Joel Loxton, Master company to explore new business models. • Libby Daniewska (AFTRS Open – Creative was also an official selection at Chicago of Screen Arts 2014) won the Jury Award Craft of Radio Copywriting 2014) – Best International Film Festival (International Student Category) at the For the full list of 2015 Graduation Prizes, Sales Promotion (Honda Lovin’, Country) Montreal World Film Festival. see Appendix 4. For the full list of AFTRS 2015 Graduates, see Appendix 3. • Rod McLeod (Graduate Diploma in Commercial Radio Broadcasting 1988) – Best News Presenter Country and Provincial (Provincial) STUDENT RADIO • Dee Curtis (Graduate Diploma ACHIEVEMENTS in Commercial Radio 2003) – Best Multimedia Execution – Station AFTRS Radio alumni are also richly awarded (Nova’s Insta Party, Metropolitan) for their expertise. At the 2015 Australian Commercial Radio Awards, the following • Jerimiah Busniak (AFTRS Open – Program were awarded: Directors Course 2013) – Best Station Produced Comedy Segment (Peppa Pig • Tim Blackwell (Graduate Diploma in Reboot, Metropolitan). Commercial Radio Broadcasting 2001) – Best Entertainment/Music Presenter (Metropolitan) and Best Networked Program (Kate, Tim and Marty, Metropolitan)
32 33 Section 5 Award Course Program AFTRS Annual Report 2015–16
A BOY CALLED SU FOAL 2014 | 07’59 2014 | 24’02
Director Vedrana Musić Director Vanessa Gazy Writer Nicole Reddy Writer Vanessa Gazy Producer Rachel Argall Producers Lyn Norfor, Ciara Hehir Cinematographer Raj Muneshwar Cinematographer Ryley Brown Sound Designer Callum Hedemann Sound Designer Abigail Sie Editor Simon Greenfield Editor Anil Griffin Production Designer Bec Sheedy Composer Freya Berkhout Music Score James Collins Production Designer Sherree Philips Production Company Australian Film Television Cast Aurora: Tess Haubrich and Radio School Annie: Lola Bennett Cast Su: Jayden Lai Joe: Benjamin Hoetjes James: Sebastian McKenzie Synopsis In the extended absence of her older Linda: Everlyn Stuart stockman husband, Aurora falls pregnant Mrs Brown: Helen Stuart to her young lover, Joe. As Aurora braces for the imminent return of her husband, her Synopsis Su, a kindergarten boy, must beat the language barrier and find his young daughter Annie struggles to make voice to get his favourite ball back. sense of her mother’s complex adult world, and of her own burgeoning sexuality.
DESZCZ STUFFED 2014 | 05’14 2013 | 22’00
Director Malina Maria Mackiewicz Director Warwick Young Writer Malina Maria Mackiewicz Writer Warwick Young Producer Millie Gligorevic Producers Rachel Argall, Warwick Young Cinematographer Ben Cotgrove Cinematographer Jeremy Rouse Sound Designer Liam Price Sound Designer Diego Ruiz Editor Rolando Olalia Editor Dany Cooper Production Designer Elsie Moult Production Designer Ella Carey Music Score Ellie Cumming Music Score Matt Rudduck, Jonathan Zwartz Cast Jędrzej: Lech Mackiewicz Cast Peter: Travis Cotton Magda: Victoria Haralabidou Ellen: Anita Hegh Prison Guard: Christopher Stollery Mary: Jan Oxenbould Synopsis When Magda visits her lover Jędrzej, Synopsis Taxidermist Peter Murphy loves his neither of them know when his execution mother, so when she dies he can’t bear will take place. For two years each to live without her and does all that he visit could have been their last, and can to keep her with him. so could today.
34 35 Section 5 Award Course Program AFTRS Annual Report 2015–16
THE KANGAROO GUY 2014 | 15’00
Director Joel Loxton Writer Joel Loxton Producers Eleanor Winkler, Racquelle David Cinematographer Michael Steel AFTRS Sound Supervisor Blake Guy Sound Recordist Gareth Evans Open Editor Jenny Hicks Production Designer Michael Price Music Score Helen Grimley Cast Keith: Ben Wood Trevor: Danny Adcock Gayle: Jeannette Cronin Rebecca: Rina Freiberg Cam: Sam Campbell TV Director Brendan Smith TV Producer Khan Trieu Synopsis A politician’s statement is taken out of context and the media question his ethical integrity. To prove himself he goes to the extreme, even if it borders on the unethical.
AFTRS student films once again screened in the annual Cinema des Antipodes, a special designated non-competitive program of Australian and New Zealand films that runs alongside the officialCannes Film Festival. This year the following films were selected:
• All God’s Creatures (Brendon McDonall, Graduate Diploma in Directing 2012) • Deszcz (Malina Maria Mackiewicz, Graduate Diploma in Directing 2014) • Foal (Vanessa Gazy, Master of Screen Arts 2014) • Midnight Poetry (Emilie Boyard, Master of Screen Arts 2014) • The Flying Adventures of Amelia (Pepi Kokab, Graduate Diploma in Directing 2013) • The Kangaroo Guy (Joel Loxton, Master of Screen Arts 2014).
36 AFTRS Open filmmaking student 37 Section 6 AFTRS Open AFTRS Annual Report 2015–16
AFTRS also teamed up with the Information A suite of courses tailored for individuals and Cultural Exchange which provides and entities from corporate and government cultural opportunities and education for sectors is in development. This program Western Sydney creative practitioners. not only meets the need for all Australian Another successful new partnership is with businesses to be media-literate, but CuriousWorks, which celebrates Australia’s also contributes to the School’s financial cultural diversity and enables communities sustainability. Program development has to tell their stories. been informed by the delivery of a number of short courses this financial year to clients These workshops, run by industry AFTRS Open delivers a broad range education, irrespective of background including media companies, government professionals, signal AFTRS’ of quality short courses and education or circumstances, and attracting non- departments, not-for-profit organisations as commitment to provide opportunities for screen and broadcasting industry government revenue to support this well as ongoing training for customer service for the development of storytellers professionals, adults aspiring to learn greater outreach. staff of major transportation companies. by providing access and training. new media skills, primary and secondary To support the School’s new direction, The School is also exploring other school students and businesses needing In addition, three significant initiatives three distinct units were formed, led initiatives to bring to life AFTRS’ ambitions, to stay relevant. were developed with state film agencies. by the Director of Partnerships and many of which will require imagination AFTRS Open collaborated with Screen The courses are customised for their Development. The units are: and collaboration through a number NSW, Women NSW and the Executive target audiences in terms of duration, of partnerships. • Industry to develop and implement Women’s Television Group to create She level and content. Taught by industry all media industry courses; Shoots, a training and internship initiative In the future there will be a stronger emphasis professionals, they reflect current that addresses gender diversity in reality on partnerships with international production practice in the media industry and • Engagement to facilitate outreach television camera and sound roles. With companies and education providers. AFTRS simulate professional environments. activities; and Screen Territory, AFTRS Open delivered Open has been fostering relationships with AFTRS Open courses are continuously • Development to focus on generating two location sound courses that addressed the Shanghai Media Group and the Singapore monitored to ensure the quality of the alternative revenue streams through a skills gap in the Northern Territory. AFTRS Media Academy. In 2015–16 AFTRS delivered education experience and their relevance corporate programs, customised has also collaborated with Wide Angle training to these organisations which will to each audience. training, sponsorship and philanthropy. Tasmania to provide a structured program continue in 2016–17. In 2015–16, AFTRS Open ran 324 short The Head of Open Program is now for the development of web series projects Prior to the restructure in 2015, AFTRS courses for 4,925 participants, and in charge of all the Industry programs, with local filmmakers. Open had the following four program units: provided a number of customised programs and two new positions have been Industry and National, Television Unit, for corporate and government clients, established: a Development Manager Schools and Youths, and Indigenous. The including a large-scale communications and an Engagement Manager. activities of the Indigenous Program are training program for 300 front-line This year AFTRS Open engaged reported in the Indigenous Unit chapter. transportation staff. new partnerships and delivered fresh The following information reflects the 2015 This year, AFTRS Open has refocused on training activities in line with the program structure. providing even greater value for the School’s updated outreach strategy. stakeholders across industry, and schools To prioritise diversity and access, and youth in the broader community. This AFTRS delivered training in partnership has meant ensuring the delivery of a large with UNSW’s ASPIRE program that assists scale short course program while expanding THIS YEAR, AFTRS OPEN HAS REFOCUSED high school students from disadvantaged the division’s priorities. The new priorities ON PROVIDING EVEN GREATER VALUE FOR THE backgrounds access tertiary study include providing greater accessibility by introducing them to a range of SCHOOL’S STAKEHOLDERS ACROSS INDUSTRY, AND for all Australians interested in media education experiences. SCHOOLS AND YOUTH IN THE BROADER COMMUNITY.
38 39 Section 6 AFTRS Open AFTRS Annual Report 2015–16
INDUSTRY AND TELEVISION SCHOOLS AND NATIONAL PROGRAM UNIT YOUTH PROGRAMS The aim of the Industry and National The National Program provides the The Television Unit plays an important role The Schools and Youth Programs provide Program is to deliver quality short course opportunity for the School to work with in providing short courses and seminars short course training for teachers, primary training to emerging and established state film agencies to provide local training to meet the needs of the television sector. and secondary schools and children during industry practitioners. for industry practitioners. In 2015–16, in It maintains productive relationships with school holidays. response to a need identified byScreen broadcasters, production companies and This year, Industry Program course During 2015–16, a number of school groups Territory, two location sound recording independent practitioners who provide highlights included Writing for Hollywood: travelled to AFTRS for training from courses were run in Darwin and Alice insight into the sector’s educational needs, Masterclass with John Collee, Six Scenes regional areas and interstate including Springs and a screen business program in addition to participating as AFTRS Open Cinematographer’s Must Know with from Coffs Harbour (NSW), Bundaberg was offered in partnership with the lecturers and guest speakers. Louis Irving, and a Steadicam Techniques (QLD), Merimac (QLD) and the ACT. A South Australian Film Corporation. Workshop. The year-long blended learning Among the highlights this year was the highlight was the delivery of an ambitious course, Radio Program and Content Other courses delivered in partnership expansion of the Summer School program documentary training project for Oxley Directors Course held an inspiring two-day include a digital filmmaking course with with an intensive Sketch and Short Form College (Bowral, NSW). This project residential workshop, at which the national the Mid-West Regional Council in stop Comedy course as well as the Six Week involved 60 Year 9 students who learned content directors of radio networks ARN, motion animation, a writing workshop Doco School. The latter concluded with documentary filmmaking and made a film NOVA and Grant Broadcasters shared for the Queensland Touring Film Festival, a pitch to Screen Australia and ABC TV. about their three-week excursion to Sydney. their knowledge and experience. and Running Your Own Creative Business Subsequently, one student has secured The school holiday program remains in Western Australia and Queensland. development funding from Screen Australia. AFTRS Open also delivered 20 online successful with many new and repeat Additionally, a program of courses was Additional master classes included Advanced courses to facilitate access to professional students, and attracts consistently positive run in Melbourne and Brisbane including Lighting Skills with Roger Lanser and training outside of Sydney and NSW. feedback. Due to popular demand, Kids Directing Masterclass with Daina Reid, Directing Actors with Peter Andrikidis. Courses were offered in radio, screen Digi Part 2 was launched this year as Script Editing, Introduction to Directing, music, screenwriting, content creation for In 2015–16 the Television Unit ran a total a follow-on course from the hugely Introduction to the Television Industry iPads and iPhones and writing for television. of 99 courses for 1,088 participants. popular Kids Digital animation course. and Introduction to Screenwriting. A total of 277 students across all states and The Schools Advisory Committee territories accessed these courses, compared In total, the Industry and National Programs provides expert advice on Schools and to 247 in 2014–15, an increase of 11%. ran a total of 91 courses for 1,162 participants. Youth Program activities to ensure their educational value and suitability for identified student demographics. The Committee’s membership draws on a broad range of experience from primary and secondary schools across the public, independent and Catholic sectors. The Committee comprises Chair, Dr Miranda Jefferson and members Matt Clausen, Margot Bowen and David Chapman. In 2015-16, 122 Schools and Youth courses were run for a total of 2,543 students.
40 41 AFTRS Annual Report 2015–16
AFTRS ACKNOWLEDGES THE RISE AND IMPORTANCE OF INDIGENOUS STORYTELLING BOTH IN AUSTRALIA AND ON THE INTERNATIONAL STAGE. Indigenous
Unit In 2016, the School established an Indigenous Unit to support its future growth and development. Under the direction of the Head of Indigenous, Kyas Sherriff, AFTRS’ mission is to reposition the school as the leading screen and broadcast educator of Indigenous craft and best practice. The Indigenous Unit has three core objectives:
1 Establish clear learning pathways for Indigenous people The Indigenous Unit established the Industry Pathway program to connect relevant community representatives and industry bodies with course participants and address specific skills gaps in the industry. The School is already seeing positive results through an increase in Indigenous students enrolling in award courses. In 2015–16, the number of students enrolled in AFTRS award courses who identify as Indigenous Australians was 18, an increase from the eight students enrolled the previous financial year. The support offered has also made a difference this year, with 16 students continuing their studies after the census date. In addition, Indigenous specific talent labs were introduced, with a focus on intense master classes for career practitioners. Black Shot, a cinematography course, was the first talent lab to be offered. Run by Indigenous cinematographer and AFTRS alumni Allan Collins, ACS, nine emerging cinematographers were identified and enrolled from across Australia – Alice Springs, Broome, Perth, Townsville, Brisbane, Sydney and Yirrkala in the Northern Territory. Three of the participants were women, and one participant was successful in gaining an industry placement on a professional production following completion of the course. The School has also introduced Indigenous Scholarships for students enrolled in its Award Course program. Seven scholarships were awarded to students who would not have previously considered studying at AFTRS. The scholarships assist with the cost of higher education, including relocation.
42 Indigenous students during a Black Shot cinematography course 43 Section 7 Indigenous Unit AFTRS Annual Report 2015–16
In 2015, the AV Myer Indigenous Awards for Exceptional Talent were 3 Embed Indigenous culture into AFTRS presented to Kodie Bedford and Bernard Namok Jnr. Bernard is filming As a leader in education and training for the screen and broadcast his first production, a documentary about his father Bernard Namok Snr industry, it is key that AFTRS articulates its commitment to Aboriginal who designed the Torres Strait Islander flag. Kodie is continuing to work and Torres Strait Islander culture and storytelling as integral to Australian in the screen industry and was able to purchase equipment to support culture and identity, and reflects this commitment across all its education her work in online storytelling and screenwriting webisodes. and training activities. The Indigenous Unit has developed the AFTRS Aboriginal and Torres 2 Strengthen relationships with Indigenous communities and industry Strait Islander policy to guide staff and students and provide a framework By travelling to remote, regional and urban communities and meeting for a culturally competent industry, that champions the participation broadcasters, institutions and local film practitioners, the Indigenous Unit of Indigenous people as skilled practitioners, and the development has been able to communicate the exciting and innovative opportunities of Indigenous storytellers across screen and broadcast platforms. AFTRS is developing for the Indigenous community. In early 2016, AFTRS hosted a cultural awareness session for all staff. The In response to the School’s commitment to strengthening relationships session was facilitated by John Briggs of Indigenous consultancy, Corporate with Indigenous communities and the broader industry, the Indigenous Culcha, and was followed by traditional Torres Strait Islander dance and Unit has forged new partnerships with Indigenous and non-Indigenous music performances. AFTRS is committed to ongoing events and training organisations across the country, including TAFE, NAISDA, CAAMA and to raise cultural awareness and broaden the diversity of the School’s culture. the production company, Lone Star.
In 2016, the Indigenous Unit launched the Black Talk series of events. These talks aim to provide students and the industry with the opportunity to engage with Indigenous film practitioners about their craft and the practice of Indigenous filmmaking and storytelling.
One of the guests of Black Talk was Mexican screenwriter, Guillermo Arriaga (Amores Perros, Babel) who shared his experience of mentoring Aboriginal and Torres Strait Islander screenwriters. Other guests included Cleverman concept creator/co-producer Ryan Griffen, in conversation with producer Rosemary Blight and production designer Jacob Nash and actor Deb Mailman. In June, Black Talk partnered with the Sydney Film Festival to run two sessions: the first on the subject of Indigeneity with panellists and producers David Jowsey and Ned Lander, plus script editor Louise Gough; the second was about Australian screen storytelling with Indigenous auteur Ivan Sen, international guest Sterlin Harjo and emerging Indigenous filmmaker, Dylan River. Close to 300 people attended the talks which have offered fascinating insights into the complexity of Indigenous storytelling.
44 45 AFTRS Annual Report 2015–16
Collaboration and
Engagement This year AFTRS strengthened its role as a cultural and industry hub for the screen and broadcasting sector by hosting and supporting a broader variety of events as well as continuing to offer well-established and popular sessions for industry and the general public. Two headline events based around industry-relevant research were presented – VR Noir: A Day Before the Night and An Evening with Jamie Brewer. These events will continue to have broader impact through the preparation and dissemination of research material that will be invaluable for the industry’s development and also showcase AFTRS’ role in innovation.
46 A student during the She Shoots workshop 47 Section 8 Collaboration and Engagement AFTRS Annual Report 2015–16
VR NOIR: A DAY BEFORE THE NIGHT AN EVENING WITH JAMIE BREWER In 2016, AFTRS partnered with production In addition to presenting the VR interactive On 25 May 2016, AFTRS hosted a special This event arose out of the work of Bus house Start VR and creative studio FSM to experience, the School hosted three event: An Evening with Jamie Brewer with Stop Films and its founder, AFTRS alumna create a virtual reality (VR) production. Q&A panels: partners Bus Stop Films and Screen NSW. Genevieve Clay-Smith. Bus Stop Films is This was a unique opportunity for AFTRS to This event was dedicated to promoting a voluntarily run organisation which works • The Story of VR Noir: Writing, Directing engage with crucial research into this rapidly discussion by production companies, with people with intellectual disabilities and & Performance was hosted by Mike Jones expanding field with local industry leaders. casting agents and the wider community others from marginalised communities. Its with panellists Robert Klenner, Meredith on how the Australian screen industry can classes aim to bridge the tertiary gap and The partnership resulted in VR Noir: A Penman and Nathan Anderson (Start best create roles, both on and off screen, provide access to a film school experience. Day Before the Night, a ground-breaking VR Showrunner, Executive Producer). It for people living with a disability. This year, through the support of AFTRS entertainment experience that explored explored the challenges, possibilities and and Screen NSW, Bus Stop Films has run its the working of traditional film narrative potential of VR as a storytelling medium The event featured a keynote address by filmmaking classes using AFTRS equipment in the VR space. VR Noir is an interactive Screen NSW CEO, Courtney Gibson and • The Making of VR Noir was hosted by CEO and facilities. crime thriller set in an expansive urban a Q&A session with notable American Neil Peplow, with key collaborators from setting created via 360-degree live action actor, Jamie Brewer. Ms Brewer is an Alongside Bus Stop Films, AFTRS Start VR, FSM and AFTRS, and explored the cinematography, and cutting-edge VR active campaigner in the US for the rights has committed to research and develop challenges of fusing traditional narrative technology combined with computer- of actors and others with intellectual accessible film studies curricula to share drama with virtual reality technology generated visual effects. AFTRS also disabilities through The Arc, a leading with educators of disadvantaged students partnered in the development of a new • Building and Shaping VR Noir: Camera, advocacy organisation. and other marginalised groups Australia- virtual reality app, 360 Vision alongside Editing, Sound & Music was hosted by wide. This new education initiative is aimed Two other key event speakers were Screen NSW, ABC, Screen Australia and Mike Jones with AFTRS panellists Kim to encourage more inclusive and diverse Paul Nunnari, Event Access and Inclusion Event Cinemas. Batterham and Andrew Belletty, and filmmaking practices both at AFTRS and Manager at the NSW Department of Premier FSM’s Phil Stuart-Jones. It explored the across the Australian film industry. From 8 – 11 June 2016, through a partnership and Cabinet, and Nathan Basha, Bus Stop process of shooting, editing, scoring, with Destination NSW, VR Noir was presented Films student and NSW Young Australian VFX and sound design for VR Noir. to a broad audience as part of the Sydney- of the Year finalist, 2016. based Vivid festival. Vivid audiences Almost 500 people attended AFTRS across experienced VR first-hand in the AFTRS all the VR Noir related events and panels. studio, as they played a role in the unfolding interactive film noir narrative.
“WE ARE INCREDIBLY GRATEFUL FOR THE SUPPORT THAT “THIS PROCESS HAS BEEN A TREMENDOUS OPPORTUNITY AFTRS IS GIVING US. BRINGING OUR STUDENTS WITH AN TO DEVELOP AND PILOT AN ORIGINAL VR PROPERTY. INTELLECTUAL DISABILITY INTO AFTRS FOR OUR CLASSES WORKING WITH AFTRS WE FEEL WE CAN HARNESS THE WILL BE EXTREMELY TRANSFORMATIVE AND IMPACTING. COLLECTIVE WISDOM OF TRADITIONAL FILMMAKING AS IT WILL GIVE OUR STUDENTS ACCESS TO RESOURCES WE ATTEMPT TO CREATE A NEW SET OF CONVENTIONS THAT WILL BRING DIGNITY, PROFESSIONALISM AND AND TECHNIQUES IN THE EMERGING VR SPACE.” EXCELLENCE TO THEIR LEARNING.” NATHAN ANDERSON, SHOWRUNNER & EXECUTIVE PRODUCER, START VR GENEVIEVE CLAY-SMITH, CO-FOUNDER BUS STOP FILMS
48 49 Section 8 Collaboration and Engagement AFTRS Annual Report 2015–16
ARTS8 COMMUNITY OF PRACTICE NETWORKING INITIATIVES PUBLIC PROGRAM In June 2016, AFTRS partnered with NIDA The project began at AFTRS on a Friday As part of Vivid Sydney 2016, AFTRS Open AFTRS continues to run its successful in a collaborative project series as part of afternoon with creative exercises designed instigated an evening of Speed Networking. public program of events that attract large its membership of ARTS8. ARTS8 is the to rapidly foster collaborative practice. On Following in the footsteps of previous numbers of screen industry members as Australian Roundtable for Arts Training Saturday the participants showcased their events run by Metro Screen, this session well as interested patrons and punters. Excellence and comprises the eight arts artistic skills before creating a performance, provided an important opportunity for training bodies: the Australian Ballet School, which was showcased on Sunday. Though individuals in the screen and broadcast Friday On My Mind the Australian National Academy of Music, their skills were many and varied – musicians, sector to meet and network, and potentially Australian Youth Orchestra, Flying Fruit Fly circus artists, actors, comics, gymnasts, form teams with the aim of producing In partnership with the Australian Centre Circus, National Aboriginal and Islander Skills designers, filmmakers and writers – they collaborative work. With the closure of for the Moving Image in Melbourne, the Development Association Dance College, found that their love of the arts was a screen resource organisations, there are weekly forum Friday On My Mind ran for National Institute of Circus Art, National common language. Using this shared few places where emerging practitioners the fourth consecutive year. James Hewison, Institute of Dramatic Art and AFTRS. language, the group devised a performance can connect with others. This initiative Lee Zachariah, Philippa Hawker and Margot on the theme of Transformation, which attracted a large number of film, TV and McDonald hosted more than 20 sessions, Each training body provided one staff resulted in a 20-minute work of art that digital content collaborators and received with featured guests including Sue Maslin, member and two students to contribute moved its audience to tears. positive feedback. Jill Bilcock, Matthew Saville and the late to the project. BA Screen students, Paul Cox. Rachel Mackey and Matthew Harvey were Outcomes from this initiative have been Another networking opportunity launched selected as participants and Emma Elias, both practical and profound. A detailed in 2016 was Australians in Film’s Charlie’s In Sydney, Friday On My Mind ran for Eden McFarlane and Benjamin Ryan were report has been written including the Networking Hub. Charlie’s is co-funded by its eighth consecutive year with Luke selected as the AFTRS documentary team overwhelming positive and appreciative AFTRS, Screen Queensland, Screen NSW Buckmaster and Giles Hardie sharing the to capture the project. feedback from participants. Perhaps and Film Victoria to provide a home base hosting duties. Their guests included most significantly, the students worked for Australian filmmakers in Los Angeles filmmakers Catriona McKenzie, Brendan collaboratively in a dynamic and mutually to conduct business and collaborate. Cowell, Gillian Armstrong and Kriv Stenders. respectful manner to create a shared Across the year, 1,635 people attended vision. They made connections across Friday On My Mind. disciplines and beyond their institutions “AFTRS HAS TAKEN A DESK and established networks. Staff shared SPACE AT CHARLIE’S TO similarities and challenges in their learning PROVIDE ALUMNI WITH A and teaching practices and strengthened inter-institutional professional networks. HOME TO WORK FROM IN LA. BY BEING PART OF THE Kaitlyn Alice O’Leary of the National Aboriginal and Islander Skills Development AUSTRALIAN COMMUNITY Association (NAISDA) Dance College IN THE US, THEY WILL described the initiative as: GAIN VALUABLE SUPPORT, INSIGHT, AND MUCH NEEDED FRIENDLY FACES AS THEY PITCH THEIR WARES TO THE “A VISIONARY CONCEPT THAT I HOPE WILL CONTINUE, LARGEST ENTERTAINMENT ENABLING THE FOLLOWING GENERATIONS OF ARTISTS INDUSTRY IN THE WORLD.” TO SHARE AND CELEBRATE EACH OTHER’S TALENTS IN A NURTURING AND INSPIRING ENVIRONMENT.” NEIL PEPLOW, AFTRS CEO
50 51 Section 8 Collaboration and Engagement AFTRS Annual Report 2015–16
TV Talks ScreenFutures INDUSTRY GUILDS AND ASSOCIATIONS, TV Talks continues to be a popular forum In August 2015, as part of nurturing the FESTIVALS AND CONFERENCES for TV professionals to discuss and debate connection between students and alumni, AFTRS maintains close relationships with • Generation Next Micro Budget Conference industry-relevant issues and network AFTRS hosted the launch of ScreenFutures, screen and broadcasting industry guilds, with colleagues and peers. In 2015–16, 10 an association formed by a group of alumni • Melbourne Film Festival societies and associations, as well as arts sessions were hosted with an attendance from the Masters of Screen Arts and • Melbourne Writers Festival and cultural festivals and organisations. of 873 people. Issues ranged from drama Business (MSAB), dedicated to researching In 2015–16 AFTRS supported the following • National Screenwriting Conference to documentary, and from audiences to and debating issues affecting the Australian conferences, events and award ceremonies: • RadioDays Europe Australian content. Guests included Sue screen industry. Masters, Jo Porter, Penny Win, Benjamin • 20th Biennale of Sydney: • Screen Forever Conference The event launched the group’s inaugural Law and Debbie Lee. Embassy of Disappearance • Society for Cognitive Studies of the research project, Content You Love about Moving Image (SCSMI) Conference AFTRS also hosts events at significant cultural reframing piracy for a sustainable creative • ASPERA Annual Conference events in Sydney and other cities. In 2015–16 industry. The research identified a series • Audiocraft Conference • Songlines Workshop this included the Sydney Writers’ Festival, of personality profiles and preference • Australia Council • Special Interest Group (SIG) the Australian International Documentary indicators for those engaged in online Writing Conference • Australian Academy of Cinema Conference and the Sydney Film Festival. piracy of screen content. The project looked and Television Arts (AACTA) • Sydney Writers’ Festival at what messages may affect behavioural At the 2016 Sydney Writers’ Festival, • VR Kaleidoscope. change for different sectors of the piracy • Australian Cinematographers AFTRS hosted the session, Why Women’s community. This is the first time such Society (ACS) The Radio Division held its annual Voices Matter to Men. Moderated by writer/ research has been undertaken in Australia. • Australian Commercial Radio residential conference hosting aspiring director and Head of Directing Samantha Awards (ACRAs) Program Directors, current Graduate Lang, the panel included US gender studies The research titled, Anxious addict or Diploma in Radio students and industry sociologist and writer Michael Kimmel; conscious cowboy? A new view on illegal • Australian Directors Guild (ADG) experts. Presenters included Andy screenwriter, playwright, producer and actor downloading by Annie Parnell, Bridget • Australian International Milne, Ideas Director/Head of Creative Nakkiah Lui; and screenwriter and playwright Callow, Chloe Rickard, Ester Harding, Peter Documentary Conference (AIDC) at Nova Entertainment; Joan Warner, Tom Holloway. The trio discussed recent films Drinkwater and David Court was published • Australian Production Design CEO, Commercial Radio Australia; and and TV mini-series that foreground female in The Conversation in August 2015. Guild (APDG) Duncan Campbell, National Content voices and celebrate the screen heroine. For the full list of Public Program sessions • Australian Screen Sound Guild (ASSG) Director, Australian Radio Network. More than 150 people attended the session. and speakers, see Appendix 5. • Australian Writers’ Guild AFTRS’ partnership with the 5th AACTA Awards (AWGIES) Awards resulted in the hosting of nine • Chinese Film Festival sessions of Meet the Nominees. These • Commercial Radio Australia sessions included nominees for various “THE GREAT STRENGTH OF THE MSAB PROGRAM (CRA) Conference industry awards including John Seale ASC ACS, Deborah Peart ASE, Blake • Community Broadcasting Association IS THE OPPORTUNITY FOR A DIVERSE GROUP OF Ayshford, Colin Gibson, Jennifer Peedom Australia (CBAA) Conference PRACTITIONERS TO COLLECTIVELY THINK THROUGH and Jocelyn Moorhouse. ISSUES AFFECTING THE INDUSTRY, WITHOUT NEED • FlickerFest FOR DIRECT PROFESSIONAL GAIN. SCREENFUTURES IS BORNE OUT OF A DESIRE TO CONTINUE THE THINKING AND TURN IT INTO ACTION.” IMOGEN BANKS, PRODUCER & FOUNDING MEMBER
52 53 Section 8 Collaboration and Engagement AFTRS Annual Report 2015–16
INDUSTRY USE OF TEACHING STAFF AFTRS’ FACILITIES AND GUEST LECTURERS: As part of maintaining an ongoing INDUSTRY PRACTITIONERS connection with industry, AFTRS AFTRS remains closely connected to encourages the complimentary use of the industry by employing screen and its facilities for non-commercial activities broadcast practitioners as teachers and including events and networking, auditions lecturers across its education and training and rehearsals, conferences, screenings programs. Teaching staff draw on their and meetings. own professional experience, networks Operations In 2015–16, there were 88 occasions and connections with industry to ensure in which different industry groups used the currency of the courses, and guide AFTRS’ facilities, hosting 2,200 attendees. the students’ development as well as the The groups included alumni, production School’s activities. AFTRS’ reputation companies, industry guilds and associations for excellence attracts leading industry such as the Australian Directors Guild, practitioners as guest lecturers in Award Australian Screen Editors, Australian Writers’ courses across all disciplines and in AFTRS Guild, Foxtel, ABC, OzDox, and WOW Film. Open and Indigenous Unit courses.
For the full list, see Appendix 6. For details of Industry Practitioners, see Appendix 7. AFTRS also has the opportunity to host special guests for one-off events. For example, in March 2016, John Smithson, a creative director at Arrow Media in the UK presented a master class entitled Maximising the Power of Story. John used specific examples from films he has worked on in the past decade, seeking to answer the creative challenges of vital importance to anyone involved in storytelling. The event was held in the Main Theatre and attended by Masters and Graduate Certificate students, staff and also by emerging filmmakers from Screen Australia.
54 AFTRS Open school holiday student 55 Section 9 Operations AFTRS Annual Report 2015–16
IN LATE 2015, AN OPERATIONS DIVISION The future appointment of a Director The number of visits to the library has WAS CREATED TO IMPROVE THE ALIGNMENT OF of People and Performance will elevate increased by 59 per cent compared to last SERVICE DELIVERY AND STREAMLINE SYSTEMS. and strengthen the School’s cultural year with a total of 25,836 visits. Typical development activities and the Human activities of library visitors consist of quiet Resources function. The new director or group study, borrowing and returning will report directly to the CEO and be items from collection, seeking assistance at a member of the Executive. the information desk, searching the library catalogue, printing/scanning/photocopying, viewing from the screen collection in the Led by a Chief Operations Officer, this WORKPLACE CULTURE viewing rooms or on individual computers. brought together a number of service JERZY TOEPLITZ LIBRARY During 2015-16, there were 41,912 items areas including Finance, Human Resources, AND COMMUNICATION This year, the library conducted a survey borrowed, an increase of 70 per cent Business Affairs, Policy and Governance, In October 2015, more than 100 staff seeking client feedback on its resources compared to 2014-15. In addition, 24,161 Facilities and Administration, as well as completed a comprehensive workplace and services. The responses were mostly abstracts were viewed online in the first student-facing services such as the Library, wellness survey. The Cultural Inquiry: Report positive, although there were requests for year of the Ebscohost Discovery Service’s Student Services, Technical and Tutorial and Recommendations was delivered to an expansion of current services. As a result, operation. Some 142 members of the general Support, Production Resources and Video Council in December 2015 and has formed the library has extended its opening hours, public joined the library and 18 alumni also Post. In addition, the Technology and the basis of the School’s cultural change re-introduced its monthly-curated collection became members upon graduation. Infrastructure Division was also brought initiatives. Major activities include clarifying and created a video demonstrating how-to- into this combined division. the School’s purpose, involving staff in the search the library. creation of a shared set of values, and the The integrated division has enabled AFTRS development of a regular cultural forum The Jerzy Toeplitz Library also reviewed to review and re-engineer systems and in which staff and executives discuss and its eReserve Springshare module that PRODUCTION DELIVERY, processes. For example, the revision of progress workplace issues. provides students with access to copyright- our National Archives of Australia Records TECHNICAL AND monitored, curriculum-based set readings Authority focused on records management, In order to ensure staff work together and screenings. As a result, the library has TUTORIAL SUPPORT archiving and distribution requirements towards defined objectives, we have replaced the module with a free in-house for all student productions. The project renewed the School’s focus on information AND VIDEO POST system using Mendeley. Journal articles, identified which production records should sharing, consultation and collaboration. In 2015–16, these departments provided book chapters or other digital files can be kept, the location of masters and their Staff are invited to regular meetings to essential support to more than 75 BA now be accessed directly and remotely components, staff responsibilities, linked discuss and refine AFTRS’ purpose and Screen first-year productions, and 17 from Moodle. tasks, tools and the type of IT support vision, review and further develop values, Graduate Certificate productions. These needed. Subsequently, the preservation and inform and engage in new directions In addition, the library conducted a major areas have responsibility for conducting of student productions and related records and opportunities. upgrade for the Springshare Libguide in excess of 50 induction and permission are now well documented under a more module and created 24 award course and classes for students in camera, sound, Staff have many ways to provide input effective system. Another example has been subject specific Libguides. Students and lighting, grip and editing equipment to the management of the School – the review of the appropriate governance staff now have access toBrow Zine, and facilities. through large and small groups, through framework, which supports our philanthropic a journal-viewing mobile application supervisors, direct to members of the The Production Delivery department strategy. This involved scrutinising and of current journal issues in their areas Executive and CEO, or anonymously. supports all productions and course strengthening our Deductible Gift Recipient of learning, teaching and research. The School has formed new committees exercises as part of the Award Courses (DGR) management and the way we obtain to increase opportunities for staff input The library has also migrated the majority and also many AFTRS Open courses. the relevant charity status. and collaboration. For example, the of the off-air recording collection from Production Delivery includes staff Implementation Management Forum Editshare to the Clickview server. This members in administration, props, works to progress cross-divisional projects allows copyright-cleared films and TV staging, lighting and grips. through removing duplication and episodes to be integrated and streamed improving communication and autonomy. from within the library’s online catalogue.
56 57 Section 9 Operations AFTRS Annual Report 2015–16
Video Post conducted a tour and held applicants and current students, and program supports students from lower socio- Applications for entry to the Bachelor discussions about workflows and facilities is responsible for the accuracy, integrity, economic backgrounds, or who are otherwise of Arts Screen opened on 1 September with the MSA students. Subsequently, and security of academic transcripts under-represented in higher education. and closed on 1 November 2015, while some of these students learned Resolve and testamurs. applications for the Specialist Program went These scholarships assist financially and colour grading in their exercises. live online on 1 September and closed on The Student Centre continues to support disadvantaged students with the costs Video Post also assisted with several 1 December 2015. All Foundation Diploma students from the beginning of their associated with higher education. In BA Screen productions. alumni (from 2009–14) were eligible to relationship with the School and throughout 2016, the School received 33 applications enrol in the BA Screen having already been As part of the organisational restructure, their student journey to graduation. The and awarded 20 Equity Scholarships, a merit selected into the School. In 2016, eight the School formed the Technical & Tutorial Student Support Program and the Student significant increase on the 11 scholarships alumni enrolled in the first year BA Screen. Support area. This area was initially staffed Centre work closely with the Award Course awarded in 2015. with 2.6 full-time equivalent resources. team to provide pastoral care, academic The School implemented a new admissions Through the newly-established Indigenous These staff members provide production support and advice. policy and procedure for the 2016 award Unit, Indigenous Scholarships are awarded support to the students. Staff also produced course application round. The main The Student Centre moved in May 2016 to to students on the basis of merit or equity. 24 video asset recordings for various courses changes in approach were: BA Screen offer a purpose-built enclosed office that includes The scholarships assist Aboriginal and and departments, including online. They numbers were capped at 112 with a waitlist; a private space where students and staff Torres Strait Islander award course students also provided support to other courses applicants for the BA Screen and Graduate are able to discuss issues confidentially. with higher education costs, including study such as the Black Shot cinematography Diploma in Radio were able to defer; an resources and relocation costs. talent lab run by the Indigenous Unit, AFTRS has made ongoing improvements appeal process was introduced; selection and the VR Noir interactive production. in the assessment of student applications The value of the scholarship awarded panels were established and included and submissions by implementing a new may vary depending on the course of study industry representatives who assessed academic governance structure. and the individual student’s circumstances. and recommended to an Admissions In 2016 AFTRS received nine applications Committee chaired by the CEO. The Student Centre and Marketing Division (three transferred from Equity Scholarships) STUDENT SERVICES worked together to promote AFTRS courses Courses in 2016 were offered at six different and awarded seven Indigenous Scholarships. Student Services was established following through recruitment activities, such as careers levels: Introductory; Diploma (AQF 5); the restructure of the Operations Division expos. Across 17 such events, the School In total, AFTRS awarded 27 scholarships Advanced Diploma (AQF 6); Bachelor (AQF in late 2015. The unit comprises Student distributed 6,220 packs and gave advice and for the 2016 academic year. 7); Graduate Certificate (AQF 8); Graduate Centre, Academic Governance, and information to 1,770 prospective applicants. Diploma (AQF 8); and Masters (AQF 9). Compliance and Projects. AFTRS attended key careers expos In addition to students enrolling in these Student Services encompasses in Sydney, Western Sydney, Brisbane, levels for the 2016 academic year, there the whole of the student journey, Melbourne and Canberra, as well as regional APPLICATIONS were continuing students in the Bachelor underpinned by academic governance, centres and schools. Two additional expos AND ENROLMENTS of Arts Screen and the Master of Screen the gathering of student information in Wollongong and Newcastle were added Arts and Business (MSAB). The allocation of places in the Award and compliance requirements. in 2016 in response to broadening the Course Program is competitive and On 5 September 2015, AFTRS’ Open Day School’s outreach to more diverse regions. based on merit selection. Applicants provided the opportunity for potential Student Centre must complete the published application students and the general public to see the Scholarships tasks and meet the selection criteria for School’s facilities in action, talk to teaching The Student Centre is the central information their application to be considered for staff and gather course information. and administrative management hub for Through the financial support of the a place in their preferred course. students, including applications, enrolment Kenneth Myer Fellowship Trust, AFTRS and graduation. The Student Centre manages offersEquity Scholarships for BA Screen the Student Support Program, provides students valued at $5,000 for a one-year information and advice to prospective period. Established in 2015, the scholarship
58 59 Section 9 Operations AFTRS Annual Report 2015–16
Applications and Enrolment Data Course Applications Offers Enrolments
Diploma in Editing Fundamentals 27 27 25 2015 Semester 2 Intake Diploma in Sound Fundamentals 9 9 6 Course Applications Offers Enrolments Diploma in Visual Effects 12 11 7 INTRODUCTORY Advanced Diploma in Cine Essentials 21 15 11 Core Radio Skills 11 11 10 Advanced Diploma in Music Scoring for the Screen 13 13 11 Introduction to Film 10 10 9 Advanced Diploma in Producing: Story, Audience, Finance 34 32 26 Sub-total 21 21 19 Advanced Diploma in Radio Essentials 23 20 17 Advanced Diploma in Screenwriting: Feature Film 29 24 18 SUB-DEGREE Advanced Diploma in Screenwriting: Series Television 45 40 37 Diploma in Camera Fundamentals 17 14 12 Sub-total 275 244 196 Diploma in Editing Fundamentals 15 14 13 Sub-total 32 28 25 DEGREE Bachelor of Arts Screen Year 1 289 112 96 POSTGRADUATE Bachelor of Arts Screen Foundation Alumni 12 12 8 Master of Screen Arts and Business 22 13 12 Bachelor of Arts Screen total waitlist offers 0 8 8 Sub-total 22 13 12 Bachelor of Arts Screen Year 1 Sub-total 301 132 112 COURSES NOT PROCEEDING Bachelor of Arts Screen Year 2 (continuing) – – 93 Diploma in Design for the Screen 6 – – Sub-total 301 132 205 Diploma in Digital Content (Radio) 6 – – POSTGRADUATE Diploma in Directing Comedy 5 – – Graduate Certificate in Directing Fundamentals 31 20 17 Sub-total 17 – – Graduate Certificate in Documentary Fundamentals 6 6 4 TOTAL SEMESTER 2 2015 INTAKE 92 62 56 Graduate Certificate in Editing Drama 13 13 11 Graduate Certificate in Screenwriting 38 21 19 2016 Semester 1 Intake Graduate Diploma in Radio 23 17 15 Master of Screen Arts 41 15 13 Course Applications Offers Enrolments Master of Screen Arts and Business (continuing) – – 11 INTRODUCTORY Sub-total 152 92 90 Core Radio Skills 17 17 10 COURSES NOT PROCEEDING Introduction to Film 11 11 4 Diploma in Directing Comedy 4 – – Sub-total 28 28 14 Diploma in Factual Television Fundamentals 4 – – DIPLOMA Sub-total 8 – – Diploma in Camera Fundamentals 37 29 21 TOTAL SEMESTER 1 2016 INTAKE 764 496 505 Diploma in Design for the Screen 13 13 7 Diploma in Digital Content (Radio) 12 11 10 TOTAL 2015-16 856 558 561
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ACADEMIC GOVERNANCE EDUCATIONAL TECHNOLOGY AND INFRASTRUCTURE As detailed in the Award Course chapter, COMPLIANCE Technical Systems Provision Facilities the academic governance framework The School’s educational compliance introduced in January 2016 is jointly In response to the increasing number of Regular assessment and planning provides and reporting function was transferred managed by Student Services and the students and the requirements of multi-year guidance for a structured approach to to Student Services as part of the 2015 Award Course Division. courses, the start of an expansion program building services, building improvements restructure. Its primary focus is the has boosted the School’s equipment fleet and modernisation decisions, all aimed at The Head of Student Services is a member regulatory reporting of key student- and resources. This will cater specifically delivering sustainable services and physical of the Academic Standards and Quality centric measures, including enrolments, for the next stage of these courses and the infrastructure for high-level education Committee, the Course Committee, and completions and FEE-HELP estimates re-introduction of postgraduate programs. at AFTRS. the Admissions Committee and is the to government. staff representative on the Student The mid-range camera fleet was expanded The School’s procurement procedures In late 2015, the Minister for Education Representative Committee. with the introduction of the Sony FS5 ensure services are obtained at the best and Training announced a new set of camera. This camera has both hand-held possible value for money. These principles threshold standards known as the Higher and traditional drama modes, providing are considered in assessing all existing Education Standards Framework (Threshold flexibility to teach different applications and new contracts. The security guard and Standards) 2015. In 2016, Student Services at lower levels. The higher-end fleet was cleaning services contracts were procured staff attended a briefing session with the expanded with the addition of two ARRI by tender during this period. The café Tertiary Education Quality and Standards Amira cameras. These cameras are available service, which is a sub-lease, was conducted Agency (TEQSA) to understand the transition to BA Screen Year 2 and Year 3 students, through an expression of interest process. to the new standards framework. Student for documentary courses, and Master’s Services is carrying out a mapping exercise The School has improved its physical space program courses. to ensure that the School complies with the through building improvement projects new threshold standards in readiness for such as re-purposing a training room into their commencement in January 2017. a tiered lecture theatre, expansion of two computer-training labs and the addition Through this function, AFTRS ensures of a training room. that it continues to comply with all relevant legislation, guidelines and regulations in Relocation and improvement of the respect of higher education. This includes Student Centre, foyer (stage 1) and office compliance with the Higher Education accommodation have improved the amenity Support Act 2011 and the Australian and work spaces for staff and students. Qualifications Framework. A PABX replacement RFQ (request for During the 2015–16 year, AFTRS complied quotation) commenced in May 2016 and with all of its regulatory compliance is currently under evaluation. reporting obligations including the annual Provider Information Request to TEQSA.
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Corporate Governance COUNCIL Under the Australian Film, Television and • Three members appointed Radio School Act 1973 (the Act), the School by the Governor-General; is governed by a Council responsible to the • Three members appointed Federal Parliament through the Minister from Convocation by the Council; for the Arts. In 2015-16, the Minister for the • The Chief Executive Officer, ex officio; Arts was Senator the Hon George Brandis QC to 21 September 2015, and Senator the • A staff member elected by staff Hon Mitch Fifield from 21 September 2015. each year; and AFTRS is also governed by the provisions • A student member elected of the Public Governance, Performance and by students each year. Accountability Act 2013. Under the PGPA Members represent the interests of the Act, AFTRS is a corporate Commonwealth School and the screen and broadcasting entity, Council is the accountable authority, sector, contributing expertise in a range and Council members are officials. of areas including education, policy, film and television production, commercial Responsibilities and Duties activities and management. The Council is responsible for strategic The Governor-General appoints the Chair direction, organisational development, and the Council elects the Deputy Chair. succession planning and resource allocation, These positions may not be held by the ex including budget control and risk. The officio, staff or student member of Council. Council ensures that policies on key issues Members appointed by the Governor-General, are in place and are appropriate, and that and those appointed from Convocation, risks facing AFTRS are identified, assessed hold office for a term of up to three years. and properly managed. The staff member holds office for one year and ceases to be a member of Council if Composition they cease to be a staff member of the School. The student member holds office There are nine members of the Council, for one year and ceases to be a member of specified under the Act: Council if Council determines that he or she has ceased to be a student of the School.
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The maximum appointment period is two • Mr Andrew Mason AFTRS Council Members’ Attendance July 2015 – June 2016 terms. Casual vacancies for elected positions Term: reappointed 14 February 2014 – may be filled with the approval of the Minister 13 February 2017 #238 #239 #240 #241 #242 until the current term for that position expires. • Ms Kate Dundas BA Communications 28 August 23 October 7 December 25 February 10 May 2015 2015 2015 2016 2016 Council members are non-executive CSU, Vincent Fairfax Fellow Melb. directors with the exception of the Chief Term: 28 November 2014 – Governor General Appointment | Chair Executive Officer who is anexecutive 27 November 2017. Professor Julianne Schultz director. The CEO manages the affairs of the School, and oversees daily operations Staff-Elected Member Member Convocation | • Mr David Balfour MA (Producing) Deputy Chair and activities according to general policy Darren Dale approved by the Council. National Film & Television School Term: 25 February 2016 – Governor General Appointment Professor Robyn Ewing On appointment, members receive a 24 February 2017. corporate governance handbook that Member Convocation Andrew Mason sets out their responsibilities and duties Student-Elected Member as members of Council. • Mr Conlan Mackenzie enrolled Year Member Convocation 2 Bachelor of Arts Screen AFTRS Kate Dundas Council Members Term: 6 April 2016 – 5 April 2017. A/Chief Executive Officer Ann Browne As at 30 June 2016, Council members were: Immediate Past Members (2015–16) Ex Officio • Dr Matthew Campora BA Liberal Neil Peplow Appointed by the Governor-General Arts Crichton, MA Literature UM, MPhil Staff Elected Member • Professor Julianne Schultz AM FAHA Literary Studies UQ, PhD UQ. Subject Matthew Campora BA UQ PhD Sydney, GCM, AGSM: Chair Leader, History of Film AFTRS Staff Elected Member Term: 29 October 2012 – 28 October Term: reappointed 25 February 2015 – David Balfour 2015 | 10 March 2016 – 9 March 2017 24 February 2016 Student Elected Member Oliver Heath • Professor Robyn Ewing AM Staff-Elected Member BEd (Hons), PhD Sydney Student Elected Member • Mr Oliver Heath BA (Hons) Macq., Conlan Mackenzie Term: 25 October 2012 – 24 October MA International Studies UTS, 2015 | 10 March 2016 – 9 March 2018 GradCert (Documentary) AFTRS, • One vacancy. AdvDip (Screenwriting) AFTRS Key Present Present as Invitee Meeting Post Term: 8 April 2015 – 15 November 2015 but not required End of Term Student-Elected Member Present via Ex Officio Telephone Meeting Prior Absent • Mr Neil Peplow MBA Business • Ms Sandra Levy BA DipEd to Appointment Administration London Business School, Sydney, HonDLitt Macq BA (Hons) University of Bath Term: 2 July 2007 – 24 June 2015 AFTRS Chief Executive Officer. AFTRS Chief Executive Officer.
Appointed from Convocation • Mr Darren Dale BA Communications (Journalism) UTS, Hon MSA AFTRS: Deputy Chair Term: reappointed 5 April 2015 – 4 April 2018
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FINANCE, AUDIT AND RISK MANAGEMENT COMMITTEE j) to review any significant matters reported Composition by the internal auditors and ascertain whether The Council of AFTRS established the –– significant adjustments resulting The FARM Committee consists of up to five management’s response is adequate; Finance, Audit and Risk Management from the audit; members but no less than three members, (FARM) Committee in compliance with –– compliance with accounting standards; k) to ensure that the internal auditors are who have appropriate qualifications, section 45 of the Public Governance, –– compliance with Government and independent of the activities that they audit; knowledge, skills or experience to assist the Performance and Accountability Act 2013 legal requirements; and FARM Committee to perform its functions. l) to discuss with the external auditor before (PGPA Act). The main objective of the FARM –– reports prepared by management the audit commences the nature and scope The FARM Committee may include Committee is to assist Council to perform for release to the stakeholders; of the audit; Council members (excluding the Chair the following functions for AFTRS: b) to provide any other advice to the of Council and the CEO as the ex officio m) to discuss issues and/or reservations • Review the appropriateness of Council’s: accountable authority about the accountable Council member), AFTRS’ officers and arising from the interim and final audits, and authority’s obligations under the PGPA Act employees (excluding the CEO and CFO) –– financial reporting; any matters the auditor may wish to discuss; –– performance reporting; and other relevant legislation; and independent members as may be –– system of risk oversight; and n) to consider the external auditor’s determined by Council from time to time. –– system of internal control; Performance reporting management letter and management’s The majority of the FARM Committee c) to satisfy itself that AFTRS has an response; members must not be AFTRS’ employees. • Provide a forum for communication appropriate performance reporting o) to request and review special audits between the Council, senior management framework that is linked to AFTRS’ or investigations as may be necessary; FARM Committee Members and the internal and external auditors; objectives and outcomes; As at 30 June 2016, FARM Committee • Consider other matters, as referred System of internal control System of risk oversight members were: to the FARM Committee by Council. p) to verify that the internal control systems d) to review the process established for are adequate and functioning effectively; • Mr Andrew Mason: Chair The Committee held five (5) meetings identifying major risks to which the AFTRS in 2015–16. is exposed; q) to discuss and review with management • Mr Darren Dale its philosophy with respect to business • Mr Paul Apps CPA, MIIA (Aust.) e) to review all significant transactions that ethics, corporate conduct, the AFTRS Code Audit and Control Advisor, Duties and Responsibilities do not form part of AFTRS’ normal business; of Conduct and values; International Monetary Fund; former In carrying out its functions, the FARM f) to review any current and pending Head of Audit, Reserve Bank of Australia Committee may consider any matters relating r) to review with management or the internal litigation which has significant financial • Ms Carole Campbell FCA, GAICD Group to the financial affairs and risk management auditors or both the philosophy with respect risk exposure for AFTRS; Business and Finance Director, Merivale; issues of AFTRS that the FARM Committee to controlling the AFTRS’s assets and former Group Chief Financial Officer determines to be desirable. g) to consider significant cases of employee information systems, the staffing of the key and student conflict of interest, misconduct functions and the plans for enhancement and Company Secretary, IPH Limited. The duties of the FARM Committee are: or fraud; to evaluate AFTRS’ exposure of operations; and The Chief Executive Officer, the Chief to fraud; Operations Officer and the Head of Financial reporting s) to consider compliance with any Financial Services have a standing invitation a) to examine the annual report before h) to consider the internal audit program regulatory or statutory requirements. to attend FARM Committee meetings. submission to Council, focusing and ensure that the internal audit function The internal and external auditors are particularly on: is adequately resourced and has appropriate standing within the AFTRS; also in attendance. –– any changes in accounting policies and practices; i) to promote co-ordination between –– areas where significant judgement management and internal and is required, such as provisions or external auditors; contingent liabilities;
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FARM Members’ Attendance July 2015 – June 2016 Composition • Mr Conlan Mackenzie, enrolled Year 2 Bachelor of Arts Screen, AFTRS The Academic Board consists of the 21 August 16 October 25 February 29 April 24 June Student-elected member of Council Independent chair, a higher education 2015 2015 2016 2016 2016 specialist with professorial qualifications • By invitation: Member of Council | and experience, two or more Independent Mr David Balfour MA (Producing) FARM Committee Chair members with higher education experience; National Film & Television School Andrew Mason the CEO, the Director of Award Courses, Head of Teaching and Learning, AFTRS. Member of Council | a member of the teaching staff, and the FARM Committee Member student member of Council. The Head Darren Dale of Teaching and Learning is an invitee. Independent Member Paul Apps EXECUTIVE TEAM Independent Member Academic Board Members The Chief Executive Officer manages the Carole Campbell affairs of the School, and oversees daily As at 30 June 2016, Academic operations and activities according to Board members were: general policy approved by the Council. Key Present Present via Absent • Professor Robyn Ewing AM The CEO leads the Executive team, which Telephone BEd (Hons), PhD Sydney: Chair is made up of Divisional Directors. The Professor, Teacher Education and Directors manage the key strategic and the Arts, University of Sydney operational activities and report to the CEO.
• Mr Graham Forsyth BA (Hons) Sydney Chief Executive Officer Associate Dean (Academic) UNSW Mr Neil Peplow Art & Design ACADEMIC BOARD As at 30 June 2016, Executive Team were: • Dr Graham Hendry BA (Hons), PhD UOW, The Academic Board is an ad hoc sub- • Make recommendations to the CEO • Chief Operations Officer GradDip Ed Studies (Higher Ed) Sydney committee of the Council. relating to academic matters in the Ms Ann Browne Senior Lecturer, Institute for Teaching School; report on any issues referred The Academic Board met six (6) times and Learning, University of Sydney • Director, Award Courses to it by Council or the CEO; in 2015–16. Mr Martin Brown • Mr Neil Peplow MBA Business • Make recommendations to Council • Director, Partnerships and Development The functions of the Academic Board are to: Administration London Business School, regarding the conferring of degrees, Ms Liz Hughes BA (Hons) University of Bath • Make recommendations to Council or any other Award; following successful Chief Executive Officer, AFTRS • Director, Technology and Infrastructure relating to the approval of new curricula; completion of any approved course of Mr Tim Sadler study conducted by the School; and • Mr Martin Brown BA Dip Ed. • Make recommendations to Council • Director, Marketing T.T.C. M. Hum. UTAS relating to major changes to courses • Make recommendations to Council Ms Kirsten Downie. Director, Award Courses, AFTRS of study; approve curriculum and ensure regarding the conferral of the it is designed to meet the highest standards honorary degree. • Ms Lisa Sweeney M.Ed (Learning of the higher education sector; and Leadership) UTS – current Program Leader Radio, AFTRS • Review policies, rules, guidelines and procedures related to the admission, enrolment, assessment and progress of students in approved courses of study;
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ORGANISATION CHART PORTFOLIO BUDGET STATEMENTS AND Introductory KEY PERFORMANCE INDICATORS 2015–16 Diploma Advanced Diplomas Graduate Certificates Outcome 1 Contributions to Outcome 1 Award Graduate Diplomas Courses Support the development of a professional Program 1.1: Delivery of specialist education Bachelor Program screen arts and broadcast culture in to meet the diverse creative needs of students Masters Program Australia including through the provision and the skill requirements of industry by Radio of specialist industry-focused education, means of Award courses, activities and Education training and research. events and through its Open Program.
Industry Program Schools and Youth Program Talent Development AFTRS Corporate and Tailored 2015–16 2015–16 Open Deliverables Budget Target AFTRS Actuals Business Development Philanthropy Number of higher education levels offers 6 6 Outreach Open Program courses* 250 333 Forums for industry practitioners to share their expertise 40 55 Communications Use of School facilities by industry for events and activities 100 88 Chief Student Recruitment Regular consultations on skill requirements of industry nationally Annually Annually AFTRS Executive Corporate Council * Also includes courses run by Indigenous Unit. Officer Marketing Public Relations Sales and Distribution Event Management Sponsorships
Technology and Infrastructure – Production Technology – ICT and Services Corporate Policy and Governance Business Affairs Financial Services Operations Human Resources Facilities Services Technical and Tutorial Production Delivery Video Post Student Services Jerzy Toeplitz Library
Indigenous Unit
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Program 1.1 Key Performance Indicators (KPIs) STATEMENT OF PREPARATION Performance of the program is measured through the applications and enrolments of AFTRS Council, as the accountable authority of the Australian Film, Television students in the Award courses; the number of eligible students successfully completing and Radio School (AFTRS), present the 2015-2016 Annual Performance Statement of their course of study; and paid enrolments across the full range of AFTRS Open activities. AFTRS, as required under paragraph 39(1)(a) of the Public Governance, Performance and Accountability Act 2013 (PGPA Act) and the Australian Film, Television and Radio Performance measures shared with other national arts and cultural agencies include School Act 1973. This Annual Performance Statement, based on properly maintained attendance at events, activities and Open Days, visits to the AFTRS website and page views. records, accurately reflects the performance of the entity, and complies with subsection 39(2) of the PGPA Act.
2015–16 2015–16 KPIs Budget Target AFTRS Actuals
Visitor Interactions Number of visits to the organisation’s website 150,000 530,665 Number of page views on the organisation’s website 750,000 1,146,911 Professor Julianne Schultz AM FAHA Number of attendances at AFTRS’ events, activities and Open Days 7,000 7,434 Chair of AFTRS Council
Share of Funding by Source Operational funding from government (as a % of total funds) 73.4% 73.7% Capital funding from government (as a % of total funds) 6. 9% 7.8% Other income (as a % of total funds) 19.7% 18.5%
Expenditure Mix Expenditure on programs/projects (as a % of total expenditure) 82.1% 80.7% Expenditure on capital items (as a % of total expenditure) 6.9% 7.8% Expenditure on other labour costs (as a % of total expenditure) 8.5% 8.5% Other expenses (as a % of total expenditure) 2.5% 3.0%
2015–16 2015–16 AFTRS Specific KPIs Budget Target AFTRS Actuals
Number of new student applications (with creative portfolios) 1 700 807 Number of new and ongoing student enrolments 2 450 561 Percentage of eligible completions 3 90% 91% Number of Open Program enrolments 4 4,750 5,033
1. In 2015–16, AFTRS received 856 applications – of these 49 were applying for Introductory courses that did not require a creative portfolio, as entry is not based on merit selection. 2. 561 students enrolled in 2015–16: of these 457 were new students and 104 were ongoing. 3. 91 per cent eligible completions for 2015 represents 205 graduates from a cohort of 225 students enrolled at course commencement. 4. Also includes Indigenous Unit course enrolments.
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ANNUAL PERFORMANCE STATEMENT 2015–16 Performance Criterion Criterion Source Result Against Performance Criterion
1.1.1: AFTRS curriculum Corporate – AFTRS curriculum reviewed and repositioned Entity Purpose AFTRS meets the education and training development model Plan 2015–16 to ensure excellence in teaching creative needs of industry, delivers activities and AFTRS’ purpose is to provide high quality evaluated, refined practice and industry relevance programs for schools and Indigenous education and training at a range of levels and documented – Mapping of course offering to establish Australians, and partners with cultural and to advance the skills and knowledge of clear pathways across Award and Open commercial institutions in joint activities, talented individuals and meet the evolving Program courses making a unique contribution through needs of professional Australia’s screen and 1.1.2: Ongoing curriculum Corporate – Course naming conventions standardised its creative expertise and educational broadcast industries. AFTRS educates and development, regular Plan 2015–16 – Academic governance framework introduced to capacity. AFTRS collaborates with industry inspires the storytellers of the future and review and evaluation ensure high standard of curriculum is maintained to deliver relevant education and training undertaken encourages innovative engagement with and embedded in management structure opportunities, and shares its facilities, technology to disseminate those stories – Bachelor of Arts Screen and Master of Arts services and resources with industry to audiences. Screen reviewed organisations, associations and enterprises – New staffing structure in faculty focuses to support a diversity of developmental curriculum development in the Heads of initiatives, activities and events. Discipline roles AFTRS conducts research relevant to 1.1.3: High-level Corporate – Roll out of academic governance framework industry, holds forums and disseminates academic governance Plan 2015–16 defines approach to research and strategic and oversight undertaken direction ideas to stimulate conversation about the converging screen and broadcast – Academic governance framework expanded to ensure the quality of education and students’ industries (Outcome 1). feedback is embedded into the management of the School’s courses 1.2.1: Talented individuals Corporate – All Award course students chosen through a merit-selected for Plan 2015–16 merit selection process that was clearly defined Award courses in a new Admissions policy, and overseen by the newly-created Admissions Committee 1.2.2: Opportunities to Corporate – Talent labs established through the Indigenous recognise and develop Plan 2015–16 Unit and with state film agencies. For example talent and ability provided Black Shot and She Shoots targeted talented camera operators to support their journey into industry 1.2.3: Students and Corporate – AFTRS employs industry practitioners as industry connected Plan 2015–16 teachers, guest lecturers and throughout through practitioner-led Open Program courses teaching and mentoring 1.2.4: 700 new student Program 1.1, – There were 856 new student applications, 807 applications received 2015–16 PBS, p. 158 that went through a merit selection process 1.2.5: 450 new and ongoing Program 1.1, – 561 new and ongoing student enrolments student enrolments 2015–16 PBS, p. 158
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Performance Criterion Criterion Source Result Against Performance Criterion Performance Criterion Criterion Source Result Against Performance Criterion
1.2.6: 90% eligible Program 1.1, – 91% completions of enrolled students 2.1.2: Bachelor of Arts Corporate – Bachelor of Arts Screen Year 2 curriculum completions of 2015–16 PBS, p. 158 Screen degree syllabus Plan 2015–16 design completed and outlines for Year enrolled students for Year 2 completed, and 3 are in the process of being completed 1.3.1: Research undertaken Corporate – Research projects in virtual reality and social Year 3 and Honours Year – Bachelor of Arts, Screen is undergoing in connection with screen Plan 2015–16 video have been resourced by the School and course outlines written a review for 2017, Honours Year unlikely to and broadcast industries and, undertaken in collaboration with industry proceed due to change in strategic direction as relevant, in collaboration 2.1.3: Master of Screen Corporate – Master of Screen Arts and Business enrolled with these industries Arts and Business Plan 2015–16 11 students 1.3.2: Curriculum and Corporate – Research into virtual reality and social video degree delivered short course development Plan 2015–16 will result in the development and delivery of 2.2.1: Targeted courses Corporate – An Indigenous Unit was established, reporting informed by industry short courses via the Open Program. The social offered and short course Plan 2015–16 directly to the CEO research and practice video short course will be the first of its kind subsidies provided to – 9 courses were run for Indigenous Australian in Australia Indigenous Australian students, including one talent lab 1.3.3: AFTRS research Corporate – Virtual reality research was disseminated students – 49 subsidies were provided to Indigenous is shared, published Plan 2015–16 through industry and public program panels Australian students undertaking short courses and/or presented 2.2.2: Indigenous Australian Corporate – 4 Indigenous Australian organisations: Lone 1.4.1: Research conducted Corporate – AFTRS undertook a comprehensive audit media, arts and community Plan 2015–16 Star, NITV, NAISDA and IRCA have partnered and presented on the Plan 2015–16 of industry skills needs that has been organisations partner with with the Indigenous Program development of incorporated into the development the Indigenous Program AFTRS curriculum of the School’s offering for 2017 3.1.1: Courses offered Program 1.1, – Courses were offered at six levels: Introductory, 1.4.2: Best practice Corporate – A paper was prepared by academic staff for at six levels of higher 2015–16 PBS, p. 158 Diploma, Advanced Diploma, Bachelor of educational research Plan 2015–16 the Australian Screen Production Education education Arts, Graduate Certificate/Graduate Diploma informs AFTRS teaching & Research Association (ASPERA) Conference and Masters and learning on the School’s distributed leadership approach to curriculum development 3.1.2: Introductory courses Corporate – Two Introductory courses were delivered: offered to enhance Plan 2015–16 Core Radio Skills and Introduction to Film – Papers have been produced on the practice- accessibility for a broad based pedagogy of the School, the application range of students processes that encourage diversity, and how to gauge effectively the student experience 3.2.1: New markets Corporate – A number of new markets for Open for the Open Program Plan 2015–16 Program were explored, including locally 1.4.3: Quality of teaching Corporate – The new academic governance framework are investigated and internationally is reviewed and evaluated Plan 2015–16 embeds the quality of teaching into the terms and a program of continuous of reference for each of its committees. An – Courses were run for Shanghai Media Group improvement is maintained audit of the School’s academic polices has and the Singapore Media Academy commenced and will be complete by 2017 3.2.2: State and Corporate – Partnerships have been developed with state 1.4.4: Online and blended Corporate – The delivery of Diploma courses continues regional collaboration Plan 2015–16 agencies to offer events and courses: Wide learning pedagogy is Plan 2015–16 to mix online and face-to-face teaching modes and partnerships are Angle Tasmania, Screen NSW, Media Resource accessed and integrated of delivery. Improvements are made in terms strengthened to increase Centre Australia (South Australia), Screen into AFTRS courses of user experience after each iteration the Open Program’s Queensland and Screen NT (Northern Territory) national reach 2.1.1: Master of Arts Screen Corporate – The Master of Arts Screen was redesigned, – A digital filmmaking course was run with degree is redesigned and Plan 2015–16 received 41 applications and enrolled the Mid-West Regional Council, NSW and offered in 2016 13 students a writing workshop for the Queensland Touring Film Festival
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Performance Criterion Criterion Source Result Against Performance Criterion Performance Criterion Criterion Source Result Against Performance Criterion
3.2.3: Industry Corporate – Screen NSW, Women NSW and the Executive 4.2.1: An internal Corporate – Internal communications have been enhanced stakeholders partner Plan 2015–16 Women’s Television Group partnered with communication plan is Plan 2015–16 through regular all-staff meetings and the in the provision AFTRS to provide the training and internship developed and implemented establishment of a workplace cultural forum of industry training initiative, She Shoots 4.2.2: A four-year Corporate – Stakeholder engagement has been a priority – The Radio division held its annual conference stakeholder engagement Plan 2015–16 across the School. For example, the CEO has in collaboration with the radio industry. plan is developed held 238 separate meetings with a large variety Representatives from Nova Entertainment, of stakeholders, including government agencies, Australian Radio Network and Commercial arts organisations, education providers, Radio Australia attended broadcasters, production companies, screen 3.2.4: 250 Open Program 1.1, – 333 Open Program short courses were resource organisations, industry guilds and Program short 2015–16 PBS, p. 158 delivered. (This figure includes courses associations, festival and conference organisers, courses offered run by the Indigenous Unit in 2016) distributors and individuals 3.2.5: 4,750 enrolments Program 1.1, – 5,033 enrolments in Open Program short 4.3.1: Student focused Corporate – Student centre has been relocated and in Open Program 2015–16 PBS, p. 158 courses. (This figure includes enrolments on-campus support Plan 2015–16 provided with appropriate space for managing short courses in Indigenous Unit courses in 2016) is provided, including student welfare student learning and – A newly identified Indigenous staff position is 3.3.1: A review of online Corporate – Online branding has been considered welfare strategies course branding effectiveness Plan 2015–16 in the redesign of the Moodle interface planned as an addition to the student welfare is conducted support team 3.3.2: Staff capability in Corporate – Staff trained on how to conduct online 4.3.2: Off-campus Corporate – Offsite counselling for students has online teaching methods Plan 2015–16 tutorials, assess remotely and structure support structure is Plan 2015–16 been expanded is developed course design to ensure engagement by available for students students studying online 5.1.1: 40 AFTRS forums Program 1.1, – 55 forums were delivered, including Friday 3.3.3: Online teaching Corporate – The Course Leader, Diploma courses, has are delivered by industry 2015–16 PBS, p. 158 On My Mind in Sydney and Melbourne; TV Talks, model is evaluated and Plan 2015–16 undertaken a comprehensive review of the practitioners to share Black Talk and VR Noir: A Day Before the Night refined to deliver efficiencies online delivery methodology and applied their creative and it to the new Diploma courses to be delivered industry expertise in 2017 5.2.1: 100 external cultural Program 1.1, – 88 cultural and industry events were supported 4.1.1 A four-year student Corporate – Research into diversity best-practice has been and industry events and 2015–16 PBS, p. 158 and educational diversity Plan 2015–16 commissioned with a conference to be held activities are supported plan is developed at AFTRS in September 2016 5.2.2: Indigenous Corporate – Indigenous partnerships with four Indigenous 4.1.2: A Diversity & Inclusion Corporate – A School-wide diversity policy is being drafted partnerships that facilitate Plan 2015–16 organisations were supported Workforce Plan is developed Plan 2015–16 Indigenous Australian and implemented creative and industry development are supported 4.1.3: Equity Scholarships Corporate – Equity Scholarships offered to students are offered to provide Plan 2015–16 experiencing financial difficulty: 11 recipients 5.3.1. Broad engagement Corporate – Broad engagement with AFTRS initiatives, support to AFTRS students in 2015 and 20 recipients in 2016 with AFTRS initiatives, films Plan 2015–16 films and events evidenced through who meet established criteria and events occurs through attendance of 7,434 people, 530,665 visits – Indigenous Scholarships provided to a number of media platforms to the AFTRS website, success of events such 7 Indigenous Australian students to assist as VR Noir presented as part of the Vivid with the costs of higher education festival, with tickets sold to the experience 4.1.4: AFTRS meets annual Corporate – The School is currently developing an via the Vivid website Indigenous employment Plan 2015–16 Indigenous policy to ensure employment 5.3.2: 7,000 people Program 1.1, – 7,434 people attended AFTRS events, target in accordance considerations are embedded throughout attend AFTRS events, 2015–16 PBS, p. 158 activities and Open Days with government policy the School. Government policy in regards activities and Open Days to Indigenous employment does not come into effect until 2018
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Performance Criterion Criterion Source Result Against Performance Criterion Performance Criterion Criterion Source Result Against Performance Criterion
5.3.3: 150,000 visits Program 1.1, – 530,665 visits occurred to the AFTRS website 7.2.3: Technology systems Corporate – A CRM system is being developed to connect are recorded to the 2015–16 PBS, p. 158 continue to be developed Plan 2015–16 previously siloed systems that operated AFTRS website to streamline processes between academic administration, Open 6.1.1: Areas and Corporate – International collaboration with New York Program and Marketing opportunities for Plan 2015–16 Tisch Film School has been re-established – Video conferencing has been incorporated international collaboration – Whistling Woods (Mumbai) requested that into online courses and installed in two identified AFTRS review their curriculum and consider additional rooms a future collaborative project 7.3.1: The 2015–16 Corporate – 2015–16 Business Risk Assessment was 6.1.2: AFTRS’ student films Corporate – 71 films have been submitted to international Business Risk Assessment Plan 2015–16 developed to meet the requirements set submitted to international Plan 2015–16 film festivals and award screenings is developed that meets by the Corporate Plan film festivals and award the requirements of – The Risk Assessment was regularly reviewed screenings the Corporate Plan and updated throughout the year by the Finance, Audit and Risk Management Committee 6.1.3. MSAB students Corporate – MSAB students have completed the complete international Plan 2015–16 international unit 7.3.2: AFTRS’ Risk Plan Corporate – A Risk Matrix was implemented to ensure unit as part of refreshed activities for 2015–16 Plan 2015–16 that specific risk plans were developed for course offering are implemented activities required. 7.1.1: New revenue streams, Corporate – A philanthropy consultant has been including philanthropic Plan 2015–16 engaged and a strategy is being prepared programs are explored for presentation to Council in late 2016. A new position within Open Program has been created to define the philanthropic offering Analysis of Performance against Purpose and open up potential revenue streams 7.1.2: AFTRS cost base Corporate – AFTRS has undergone a budget reduction In 2015–16, the performance targets set in With the commencement of a new CEO is reviewed, including Plan 2015–16 from government that has led to an examination the 2015–16 Corporate Plan, both qualitative part-way through the financial year (in provision of administration of costs and overheads. There has been a and quantitative, were largely completed, October 2015), the School’s strategic and services reorganisation of the School that has allowed in some cases exceeding targets set. The direction has been redefined through an resources to be reallocated that focus on the performance outcomes in all cases were enhanced external focus, the development new strategic priorities aligned to the School’s purpose to provide of partnerships and broader engagement 7.2.1: Technology Corporate – A new Moodle platform has been developed high quality education, training and research. with the national and international screen developed to manage Plan 2015–16 and implemented that adds additional and broadcast industry. The redefined increased online flexibility to the assessment process strategic focus is detailed in AFTRS’ five course delivery – A new position has been created to co-ordinate year Corporate Plan for the period 2016–17 the capture and development of online assets to 2020–21. 7.2.2: Increased student Corporate – Two large theatres were completed numbers are accommodated Plan 2015–16 to increase capacity both on and off-campus – All library databases have been made available externally – Foyer redesigned to give additional space for students
82 83 Section 10 Corporate Governance AFTRS Annual Report 2015–16
EQUAL EMPLOYMENT STAFFING, OPPORTUNITY (EEO – ESTABLISHMENT WORKPLACE DIVERSITY) AND APPOINTMENTS There was one complaint received from AFTRS’ staff selection processes are based employees this financial year. This is currently on merit selection. Representation of women Statutory being investigated by an external consultant. at AFTRS has increased slightly from 57% to 58% of staff. Staff input continues to be sought through Reports anonymous surveys for new employees The Executive team was restructured in and staff exit surveys. The external 2016 including the creation of a Director of anonymous whistleblowing hotline service People and Performance (yet to be filled) has not received any reports during this and a Director of Marketing. This is a net period. In addition, special email addresses reduction of one Executive position from are advertised for Authorised Officers the previous financial year. Currently there appointed for the purposes of the Public is equal representation of women and men Interest Disclosure Act 2013 who may in the Executive team. receive complaints. The percentage of Head of Department positions held by women has increased from 57% in the previous year to 65% this reporting period. There has been a slight reduction in the percentage of women in lecturer roles (52% to 46%) and a decrease in the number of women occupying technical roles from three to two staff (18% to 11%). As at 30 June 2016 there were 118 staff at AFTRS, 15 of whom worked part-time (an increase of one from last year). Staff from non-English speaking backgrounds occupied 20 positions (to Head of Department level), two were occupied by people identifying as having a disability, and one member of staff identifying as an Aboriginal and/or Torres Strait Islander. Of the 39 appointments made by AFTRS during the year, 25 were women, two indicated they were from a non-English speaking background, and one indicated they were from an Aboriginal and/or Torres Strait Islander background. All equity- related policies are available on the intranet.
84 A student during the She Shoots workshop 85 Section 11 Statutory Reports AFTRS Annual Report 2015–16
Comparison Tables 2014–15 and 2015–16: Staffing Information Breakdown of AFTRS Staff by Gender, Level and NESB
Male Male Female Female 2014–15 Male Female Total NESB† 2014–15 Full-time Part-time Full-time Part-time Total Senior Management* 3 5 8 NEW SOUTH WALES Management/Heads of Department 6 8 14 1 a) PEO 1 1 Teaching 13 14 27 3 b) SES 4 4 8 Teaching/Training Support 14 14 2 c) Below SES 44 2 54 9 109 Administration 8 20 28 7 d) Temporary 1 1 1 2 5 Technical 13 3 16 6 Total 49 3 60 11 123 Production 5 1 6 1 Support 3 3 1
2015–16 Education 1 6 7 1 Total 52 71 123 22 NEW SOUTH WALES a) PEO 1 1 b) SES 3 4 7 2015–16 c) Below SES 43 3 51 9 106 Senior Management* 3 3 6 d) Temporary 1 3 4 Management/Heads of Department 11 20 31 2 Total 47 3 56 12 118 Teaching 7 6 13 1 Teaching/Training Support 1 8 9 2 Administration 4 24 28 7 Staff are employed at AFTRS under theAustralian Film, Television and Radio School Act 1973. The majority of staff are covered by the AFTRS Enterprise Agreement 2011, of which three Technical 16 2 18 6 have Individual Flexibility Arrangements or Individual Variable Remuneration. SES equivalent Production 5 1 6 staff are employed on a contract basis. The holder of the Principal Executive Office is covered Support 3 3 1 by a performance appraisal scheme which allows for an annual performance-related payment. Education 4 4 1 Total 50 68 118 20
* Includes 1 PEO † Non-English Speaking Background
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Representation of EEO Target Groups within Salary Bands STAFF TRAINING AND DEVELOPMENT 2014–15 Salary Band NESB ATSI PWD Women Internal training during 2015–16 continued Programs addressing the training and to offer employees basic administration, development needs of staff as identified To $45,619 1 general and technology skills. In addition, by management and staff, continued to be $45,620 – $59,934 1 4 training was undertaken in: providing implemented. Compliance-related information $59,935 – $63,814 2 14 feedback; resilience; mental health and training, including the online induction $63,815 – $85,245 11 16 awareness; project management; virtual program, was also provided. $85,246 – $97,064 4 1 15 reality skills; leadership; specific production technology, and customer relationship $97,065 – $119,295 3 1 9 Cost of Staff Training management systems. Over $119,295 1 13 Value of staff time involved in training Total 22 1 2 71 Staff also attended a range of external training including: web marketing and 183 days internal training $81,331 analytics; technology related; accounting 104 days external training $44,575 2015–16 NESB ATSI PWD Women and financial; library and information management; industrial and legal. 214 days attending conferences $104,649 To $45,619 1 84 days approved study leave $21,470 Teaching and Education staff were offered $45,620 – $59,934 1 4 opportunities to upgrade their skills in areas $59,935 – $63,814 2 10 including: the student experience; online Direct expenditure staff training $63,815 – $85,245 10 17 learning, Moodle and Zoom; and discipline- $85,246 – $97,064 4 12 specific training. A number of staff across Internal training $47,400 $97,065 – $119,295 2 1 1 11 the School were granted leave without External training $35,377 pay to enhance their industry-based skills. Over $119,295 1 14 External studies assistance $7,862 Total 20 1 2 68 Staff attended conferences in areas Conferences $44,655 including: education research and teaching Related travel $58,118 scholarship; education in the creative arts and media; inclusion and diversity; Total cost of staff training $445,437 The table above shows the representation of the four EEO target groups: Non-English technology; radio; producing; documentary; Speaking Background (NESB), Aboriginal and/or Torres Strait Islanders (ATSI), People audiocraft; leadership; health and safety; Average expenditure with a Disability (PWD), and Women of the AFTRS staff. The data is drawn from information per staff member $3,775 and corporate wellness. Conferences were voluntarily provided. attended both overseas and in Australia.
In 2015–16, AFTRS provided study assistance The overall cost of staff training is 50% Work and Private Commitments for staff undertaking external studies in fields more than 2014–15, and there has been a AFTRS retains a flexible policy in relation to accommodating private commitments which including higher education, digital design, similar increase in the average expenditure includes part-time work, job sharing, home-based work, flexible working hours, personal e-learning, technology and information per staff member. leave (which can also be used for religious/cultural observances), recreation leave at half studies as well as supporting academic pay and leave without pay. In addition, AFTRS allows individual flexibility arrangements staff in obtaining higher qualifications based on genuine agreement. through the academic workload model. The qualifications undertaken ranged from Bachelors to Doctorate.
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INDUSTRIAL RELATIONS The AFTRS Enterprise Agreement 2011 Consultation • Emergency Warden nominally expired in February 2014, AFTRS continued its commitment Workers are regularly consulted on health • Induction/Orientation – although the provisions will continue to involving staff in decision-making and safety related issues by their managers Staff and contractors to apply until the Agreement is either processes. The primary expression of or specialist staff. In addition theHealth • Construction Induction Training terminated or replaced. AFTRS is currently this is the inclusion of a staff-elected and Safety Committee, the key consultative (“White card” – staff and students) negotiating a replacement Agreement. member in the governing Council. Staff body, held regular meetings during the • Production Safety (new students) representatives have had input through reporting period. Workers are encouraged • Various Licences/Tickets a range of committees including the to communicate concerns, either directly Health and Safety Committee. Staff to the Committee or through their • Manual Handling input is also provided through regular WORK HEALTH representatives, and are welcome to attend • Building Resilience through change departmental and divisional meetings AND SAFETY meetings. The Senior First Aid Officer and • Mental Health Awareness (employees and, when seeking input about change, Health and Safety Representatives groups AFTRS continues to identify and promote and managers) anonymous methods of providing meet prior to each Health and Safety best practice work, health and safety (WHS) • Harassment Contact Officer training comments have been made available. Committee meeting and report to the management and is committed to the larger meeting. • Staff Wellness Program including: Information is available to staff primarily reduction of workplace related accidents, Men’s health; holiday safety; thrombosis through email, noticeboards, the intranet illnesses and injuries. AFTRS is committed Workers are represented on the Committee and deep vein thrombosis; diabetes; and website and ‘all School’ meetings. to the implementation of, and adherence by Health and Safety Representatives from mindfulness; meditation; preventing to, all relevant government WHS policy specific work groups within the School. All illness during winter, and domestic/family and legislation. Health and Safety Representatives have The Modern Award violence and support mechanisms. undergone training as required by statute and Agreement Making During 2015–16, several policies and before they can exercise their full functions. procedures were developed or reviewed, Minimum staff terms and conditions of A member of the Executive team attends Personnel including the following. employment are currently established Committee meetings and reports directly As part of AFTRS’ commitment to health by the AFTRS Award 2000, an Enterprise • Hazard checklists for offsite course venues back to the Executive team on health and and safety, the School currently has the Award. In December 2013 AFTRS lodged (including remote and regional areas) safety related issues. following trained personnel: an application under the provisions of • Testing and tagging procedures Minutes of the meetings and other health the Fair Work Act 2009 to modernise the • 5 Health and Safety Representatives • New emergency services access and safety information is made available AFTRS Award. Since then the Fair Work • 18 Senior First Aid Officers route established to workers on noticeboards, via email and Commission has agreed to a proposal to on the School intranet. • 22 Emergency Wardens consider making an industry award for non- • Safe Work Method Statements • 3 Rehabilitation Case Managers. Australian Public Service Commonwealth • Free staff flu vaccinations. Public Sector organisations. Following Training undertaken included: An ongoing program of review continued extensive discussion and input from the Incident Reports including: induction of students and • Due Diligence for Officers Commission, the Australian Government contractors; risk assessment processes; During 2015–16, there were 14 incidents Industry Award 2016, which contains • Attendance at Commonwealth ergonomic assessments; identification reported, three less than the previous provisions specific to the School, was Safety Managers Forum and review of high risk activities; emergency financial year. None were reportable agreed and is expected to take effect in • Attendance at Comcare’s Health evacuation drills; hazardous chemicals; and according to legislation and all are closed. August 2016. Once in operation the original and Safety Representative Forum workplace inspections. Measures were taken application to modernise the AFTRS There were two new compensation claims to address identified risks as required. • Attendance at Comcare’s Best Enterprise award will be discontinued. Practice Forum lodged during 2015–16. Absences were The School is a member of the Cultural minimal and both staff have returned to full • Workplace Health and Safety Institutions Health and Safety network, the time duties. Minor adjustments to process Law Conference Commonwealth Safety Managers Forum, have been made and the incidents are and the Comcare Health and Safety Forum. • Ergonomic Workplace Assessment considered closed. • First Aid and Recertification
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DISABILITY REPORTING on its website that shows what information MINISTERIAL FRAUD CONTROL it publishes in accordance with the IPS AFTRS is developing a school-wide diversity AFTRS maintained its Fraud Control requirements. This information includes DIRECTIONS AND strategy which will include initiatives for Policy and continued its 2014–16 Fraud details of AFTRS’ structure, functions, people with a disability and make reference GOVERNMENT POLICIES Control Plan. The Policy and Plan reflected appointments, annual reports, consultation to the recommendations of the National Ministerial directions may be issued under the fraud risk assessment prepared arrangements and FOI officer. Disability Strategy 2010–2020. Within the certain provisions of the School’s enabling by AFTRS’ internal auditors, complied AFTRS workplace and study environment, AFTRS also publishes information resulting Act or under other Commonwealth with the Commonwealth Fraud Control employees and students impacted by from FOI access requests, information legislation. No ministerial directions that Framework, and were consistent with the disability are provided with support. which AFTRS routinely gives access to applied to the School were issued under Commonwealth’s Resource Management in response to FOI access requests, and the enabling or other Commonwealth Guide No.201 (Preventing, detecting and Students who have a disability or medical information routinely provided to Parliament. legislation during the reporting period. dealing with fraud). condition can access support through the AFTRS’ website provides details of the Student Centre where a Learning Access No government policy orders under AFTRS progressively undertook actions information published in accordance with Plan is developed to provide for reasonable section 22 of the PGPA Act applied to to enhance its fraud control measures, the IPS requirements at www.aftrs.edu.au/ adjustment to their physical requirements the School during the reporting period. including continuing online training for about/governance/foi/information- and/or study programs. A free counselling staff, and these actions were reported to publication-scheme . service for all students is also available. meetings of the Finance, Audit and Risk Formal requests may also be made for Management Committee. AFTRS also The School has successfully employed information about AFTRS and its operations participated in the annual Fraud Against an individual with an intellectual disability JUDICIAL DECISIONS under the FOI Act. These requests are the Commonwealth Survey, administered in an identified position for over 20 years. referred to AFTRS’ FOI officer. AFTRS AND REVIEWS BY by the Australian Institute of Criminology. In relation to staff that are affected by did not receive any FOI requests during disability through their family members, OUTSIDE BODIES The Chief Executive Officer is satisfied that the reporting period. support is provided through flexible work There were no judicial decisions or AFTRS has appropriate fraud prevention, practices and generous leave provisions. decisions of administrative tribunals detection, investigation, reporting and that have had, or may have, a significant data collection procedures and processes In 2016, as part of its new outreach program, effect on the operations of AFTRS. No that meet AFTRS’ specific needs, and that AFTRS provided access to the School’s PRIVACY reports about AFTRS were made by the he has taken all reasonable measures to campus and equipment to assist the Bus AFTRS has five broad categories of Auditor-General (other than a report on minimise the incidence of fraud at AFTRS. Stop Films program. This program provides personnel information: personal records; the financial statements), a Parliamentary film production courses for people with contractor records; student records; Committee, the Commonwealth a disability. volunteer records; and mailing lists. Ombudsman or the Office of the Australian Information Commissioner. AFTRS continued to comply with its INDEMNITIES AND obligations under the Privacy Act 1988 in INSURANCE PREMIUMS FREEDOM OF relation to the collection, use, disclosure, quality, security, access to and correction FOR OFFICERS INFORMATION of, personal information. AFTRS also Professional Indemnity insurance and AFTRS is subject to the Freedom of continued to take relevant Privacy Directors and Officers Liability insurance Information Act 1982 (FOI Act) and, under Commissioner Guidelines into account for the year ending 30 June 2016 was Part II of the FOI Act, is required to publish in dealing with personal information. provided by Comcover. a broad range of information to the public No complaints under the Privacy Act as part of the Information Publication 1988 were received by AFTRS during Scheme (IPS). AFTRS displays a plan the reporting period.
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ENVIRONMENTAL PROTECTION Activity Alignment with ESD principles Advancement of ESD principles AND BIODIVERSITY CONSERVATION Managing Tenders and contracts for potential Procurement decisions and contracts suppliers contain environmental contracting integrates long- AFTRS continues to identify aspects of its • Continued environmentally friendly evaluation and conditions term environmental aims operations that impact on the environment. disposal of all obsolete computer and Environmental Review and modify Provides the basis of AFTRS The School is committed to developing a production equipment Management Plan environmental policies environmental management program continual improvement process to control • Increased awareness of our commitment implementation and management plans its environmental impacts in relation to to sustainability by briefing all new staff Maintain initiatives from plan Provides a plan and target energy, water and waste management. and students during induction through for initiatives and energy use the Environmental Management Plan. Theme Steps taken to reduce effect Measures to review and Ecologically Sustainable Development improve reducing the effect AFTRS has the following Collection and review of The AFTRS program of environmental Environmental Performance Reporting Energy efficiency initiatives in place to reduce consumption data manually on activities aims for: Section 516A of the Environment Protection energy consumption: site and periodical energy audits • Reporting systems that identify and Biodiversity Conservation Act 1999 (the – Switchable lighting so unused energy efficiency opportunities EPBC Act) requires Commonwealth entities areas can be switched off such as AFTRS to report on their activities • Low-landfill output due to recycling – Signage to inform staff and in relation to ecologically sustainable students to switch off lights programs and reuse of materials development (ESD). and equipment • Lower water usage through – Motion sensors for lighting and preventive maintenance programs mechanical services to reduce over running in unused areas – Routine maintenance of the air- conditioning systems to ensure they run efficiently and as designed Waste AFTRS continues to implement Ensuring engagement with recycling programs which separate staff on environmental matters waste at source, aims to reduce waste and maintaining the program by providing crockery, utensils and kitchen areas, and reducing waste to landfill by encouraging recycling Water AFTRS makes use of water efficient Monitoring water consumption devices including shower heads, and encouraging efficient use. dual flush toilets, water-saving washers on taps and low-water usage dishwashers.
There has been a slight increase in electricity usage (2%). This increase has been minimal in proportion to the significant increased use of AFTRS facilities by staff, students and industry.
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12 Appendices 2. FINANCIAL RESOURCE SUMMARY Financial Performance Internal Audit AFTRS generated a small surplus of $8,167 Deloitte Touche Tohmatsu provides an for the 2015–16 financial year. independent internal audit service to the School. Internal Audit is administratively The total revenue received was $29,109,000, responsible to the Chief Operations Officer with revenue from Government accounting and is accountable to the Finance, Audit for $23,697,000 of this amount. The balance and Risk Management (FARM) Committee. was generated through AFTRS activities 1. ENABLING LEGISLATION Representatives from the internal auditors such as student fees. Revenue from other The Australian Film, Television and Radio e) for purposes in connection with the attend FARM meetings, together with a sources totalled $5,412,000. The Award School (AFTRS) was established by the production of programs or the provision representative of the Australian National programs produced $2,988,000 of this Australian Film, Television and Radio School of education or training of the kind referred Audit Office. revenue with $2,148,000 being generated Act 1973 (the Act). It is the leading institution to in paragraph (a), to provide facilities for, by AFTRS Open which provides industry, Internal Auditors submit an annual audit for education and training in Australia’s and to offer the services of the staff of the public and schools short courses. Other plan and regular quarterly operational screen arts and broadcast industries. AFTRS’ School to, such other institutions or persons sources such as interest, royalties and plans to FARM. functions as laid out in section 5(1) of the as are approved by the Council; gain on sale of assets produced the Act are: During the 2015–16 period, the following f) to make grants of financial assistance remaining $276,000. audits were undertaken: a) to provide advanced education and to persons to enable or assist those persons AFTRS’ operating expenditure totalled training by way of the development of the to receive education or undergo training • A Fraud Control audit covering $29,101,000. This included $16,271,000 for knowledge and skills required in connection of the kind referred to in paragraph (a); operationalisation of the AFTRS Fraud employee benefits, $10,943,000 for supplier with the production of programs; Control Plan, staff procedural awareness g) to award such degrees, diplomas and expenses, $1,882,000 for depreciation and and controls was delivered to FARM b) to conduct and encourage research in certificates in relation to the passing of amortisation and $5,000 for write-down Committee reporting as ‘well controlled connection with the production of programs; examinations or otherwise in relation to of assets. with only low risks identified’ the education and training provided by the c) to conduct such seminars and courses of A review of asset fair values as at 30 June School as are specified in a determination • A Follow-Up audit providing independent education or training for persons engaged, 2016 was performed. There were no material under section 6A; and confirmation that previous Audit or to be engaged, directly or indirectly, in differences between fair value and book value recommendations from Student connection with the production of programs h) to do anything incidental or conducive to and therefore no revaluation was performed. Management Cycle (2013), Course Award as are approved by the Council; the performance of the foregoing functions. The average full-time equivalent staff and Graduation (June 2014), Recruitment d) to co-operate and make arrangements number for the period was 135, compared and Payroll (January 2014), Fixed Assets with other institutions and persons for Section 5(2) provides that the School: to 138 for the previous financial year. and Attractive Items (February 2015) and purposes in connection with the production Physical Security (June 2015) had been shall exercise its functions with a view to of programs or the provision of education implemented. Of the 19 action points enabling and encouraging the production External Audit or training of the kind referred to in 18 had been implemented/closed, with of programs of a high degree of creativeness paragraph (a); The Australian National Audit Office one recommendation still being effected and of high technical and artistic standards. performs the external audit of AFTRS. • A Human Resources audit was A number of regulations and other undertaken to include HR function legislative instruments have been made mapping to organisational objectives under the Act since it commenced. As a in the Corporate Plan and the support Commonwealth statutory authority, AFTRS of staff. It was reported that an ‘Adequate also operated under the Public Governance, level of controls’ were in place with ‘some Performance and Accountability Act 2013. high or moderate risks identified’.
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As a part of the Internal Audit Plan, Deloitte AFTRS understands that in order to achieve Claims and Losses Competitive Tendering Touche Tohmatsu provides a quarterly its objectives it must be willing to take and Expressions of Interest There were no major losses during review of the School’s risk environment. and accept risk. A series of risk appetite the year ending 30 June 2016. The Administrative Orders requires Strengthening the maturation of risk statements communicates the expectations purchases over $100,000 to be obtained assessment review within the School, of the Council and the Chief Executive through formal processes that may Deloitte Touche Tohmatsu worked with Officer in terms of how much risk AFTRS Purchasing involve either public or selected tender AFTRS over 2015–16 in the development is willing to accept. The purchasing functions and procedures (RFQ/RFP/RFT) and could include an of risk mitigation strategies and documents One of the tools used is the Business and the standard terms of accounts expression of interest phase. Purchases supporting the transition of the Business Risk Assessment, which identifies all key payment are consistent with, or guided by, greater than $400,000 require public Risk Assessment Review and Update to be risks across the business in a number of the Commonwealth Procurement Guidelines. tender, which may also include an taken over by the School’s management. categories. Using a risk map and rating Through the Administrative Orders, Council expression of interest process. system, it identifies different levels of delegates certain powers and functions, In general, consideration is given to the Risk Management risks and rates them as high, significant, including purchasing levels, to occupants following factors to determine the method In 2015–16, AFTRS has improved its risk moderate and low. The Business Risk of specific management positions. This is of approach to market: management framework, practices and Assessment is supported through the subject to the limits prescribed under the systems and improved the extent to which definition of risk criteria, risk matrix, Australian Film, Television and Radio School • Urgency of the requirement; risk management is embedded in AFTRS’ and risk appetite statements. Act 1973 and the Council-approved policies, • Limited number of known culture of management. programs and procedures of AFTRS. In terms of risk tolerance, AFTRS has a potential suppliers; The effective management of risk is central low appetite for risks relating to workplace To the best of the School’s knowledge, • Competitiveness of the marketplace; to AFTRS achieving its purpose and enables health, safety and wellbeing of our students, all properly rendered invoices were paid • A supplier’s prior knowledge or the School to improve its ability to capitalise staff and the community; administration of within the agreed trading terms. AFTRS experience with a particular activity on opportunities, mitigate negative finances and assets; regulatory compliance; participates in some whole-of-government that other suppliers could not build outcomes and achieve better performance and academic integrity. AFTRS has a higher contracts where appropriate, including up unless extensive additional costs for all its stakeholders. appetite for risk where the benefit outweighs the Travel Services contract, and contracts and time delays were incurred; the risk and the activity relates to innovative for the provision of stationery and office AFTRS has adopted a structured and • Compatibility with existing equipment. initiatives, emerging technologies and supplies. Information technology equipment consistent approach to assess and treat creative practice. and general goods purchases utilised all types of risk, at all levels, and for all In 2015–16, AFTRS sought written quotes both state and federal contracts where activities. This approach complements AFTRS’ risk tolerance is defined within each and/or tenders for the following services appropriate. The School buys capital and improves strategic, operational and level of risk. Any risk at a high or significant (over $100,000): items in accordance with the annual business planning. The Risk Management level must be escalated to the CEO in the capital program. • Security Services Framework demonstrates how governance, first instance, and reported to the Finance policies, processes, review and consultation Audit and Risk Management Committee. • Cleaning Services work together to support risk management The Administrative Orders, and the Financial • Electricity Supply outcomes as well as meeting the and Human Resources Delegations inform • PABX replacement (currently requirements imposed by the PGPA AFTRS’ risk tolerance. under evaluation) Act 2013 in relation to systems of risk The Business Risk Assessment is reviewed • Refurbishment of Lecture Room oversight and management. quarterly to take into account changes 2.2 Fit-out January 2016 – Building to the Schools’ risk environment, and is Works Component. refreshed annually to reflect the Corporate Plan’s strategies, goals, and activities.
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Consultancy Services 3. 2015 AFTRS GRADUATES AFTRS engages consultants with specialist skills to help with defined projects. During the reporting period the School entered into 24 specialist consultancies, involving expenditure Foundation Diploma Annette Krause Nicole Paterson of $467,000. Eight consultancies had a value exceeding $15,000. Cara Roe Katerina Lonergan Jake Perdue Theresa Moran Robert Raguse Consultancy Service provided Amount Maria Erica Tamayo Diploma in Camera Tamara Voninski Totem Network YouTube broadcast strategy $105,000 Fundamentals Diploma in Digital Hannah Walker Arul Britto Raj Arokiasamy Content (Radio) Hourigan International Pty Ltd Executive search $55,650 Andrew Walsh Kit Baker Amanda Burgess VCD Pty Ltd Branding and marketing $35,850 Matthew White Sage Barreda-Pitcairn Robert James Lauren Woolley Olsberg SPI Diversity research $32,090 Adam Chantler Teresa McFadden Communicorp Pty Ltd Cultural survey $28,075 Michellene Chebat Dallas Rogers VCD Pty Ltd Strategic planning facilitation $23,800 Shuk-Wah Chung Michael Schubert Advanced Diploma Stewart Hollenstein Pty Ltd Architect fees $17,600 Abby Dunn Kylie Sturgess in Music Scoring Marie-Chanel Dwyer Kate Tiggelman for the Screen Strategies and Solutions Group Pty Ltd Mentoring $17,550 Paul Fennell Holly Young Nicholas Ciccarelli Total $315,615 Thomas Gallagher Stephanie Zillman Scott Gillespie Charles Alexander Gray Daniel Imbert In addition, the School engaged other consultants to provide regular, ongoing services. Shannon Hurst Caleb Jacobs Diploma in Editing Scott Irwin Declan McDermott Fundamentals Soumya Iyengar Babak Navak Tess Anstee Konstantin Kovalenko Jeffrey Ryan Samantha Baker Jessica Long Miguel Silva Santisteban Palma Contractors Property Use Dominic Barlow Joel Lumbroso Shana Tiang Michellene Chebat Each year AFTRS engages a range of AFTRS headquarters is located at the Paul McGuire Charles White Issei Chimura independent contractors. Most are industry Entertainment Quarter, Moore Park, NSW Lucia Pang James Yan Iain Cooper practitioners that support the School’s in the heart of Sydney’s screen precinct. Danielle Payne Abby Dunn core activities of teaching and learning. Connor Rancan The building (12,964m2) features Matthew Farncomb Advanced Diploma Stevie Ray specialist screen and radio teaching Stephen Gamba in Producing: Story, Jeff Ritchie and production facilities. Dominique Gaultier Audience, Finance David Thomas Ross Charles Hicks Kiren Ahluwalia The cost of leasing, car parking and Hannah Walker Nicole Kaplan Sebastian Antoniou outgoings for 2015–16 totalled $4,643,000. Barnaby Wilshier Kate Le Dan Scarlet Barnett Rachel Lee Bonnie Carter Diploma in Design Monty Letho Alexandra Chadwick for the Screen Peter Lightowler Sebastian Chan Christina Bouzios Joel Lumbroso Phillipa Francis Emma Chaplin Stephanie Magiros Hanna Habazin Chelsea Collin Kunal Mirchandani Kasper Kane Kate Englefield Samuel Page Madeleine Levins Winnie Ho Simon Sean Parker Samuel McSweeney Valentina Iastrebova Levi Parsons Katharyn Michael
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Philippa Northeast Marie Foyle Graduate Diploma 4. 2015 GRADUATION PRIZES Michael O’Neill Patrick George in Screen Business Felicia Pettersson Oliver Heath Simon Ashby AV Myer Indigenous Selwyn Speight Award Sarah Hope Arvind Baswan Awards for Exceptional Talent for Radio Reporting Richard Irvine Matthew Carter Advanced Diploma The recipients of the 2015 AV Myer The recipients of the 2015 Selwyn Shane Jones Joseph Couch in Radio Indigenous Awards for Exceptional Speight Award were Eliot Barham and Danielle Matheson Susan Hammill Megan Alexander Talent were Bernard Namok Jnr and Kate Drinkwater. The award is presented Sarah Alexandra McCarthy Samantha Rudd Eliot Barham Kodie Bedford. The awards were presented to radio students who show outstanding Anna McGahan Angus Brennan by Aaron Fa’Aoso, Indigenous filmmaker ability in news and current affairs. The Karen Mooney Joel Brown Master of Screen and performer and Kyas Sherriff, Head Selwyn Speight Award was presented by Daniel Oates Mark Daniel Arts and Business of the Indigenous Unit. Lisa Sweeney, Program Leader Radio and Samuel O’Donnell Christopher Dengate Imogen Banks Martin Brown, Director of Award Courses. Rose Perkins Kate Drinkwater Bridget Callow Keaton Stewart Foxtel Award for Hugh Edgar Peter Drinkwater Nicholas Webb New Media Innovation Prizes for Academic Merit Rohan Edwards Ester Harding Georgia White Paige Faigaa Duncan Imberger The recipients of the 2015 Foxtel Award Prizes for Academic Merit were awarded David Willis Oscar Foong Anne Parnell for New Media Innovation were Master of to the consistently highest performer in Ellecia Gentle Chloe Rickard Screen Arts and Business graduates Bridget each Advanced Diploma course. Neil Patrick Hutley Advanced Diploma John Simpson Callow, Chloe Rickard and Peter Drinkwater Peplow, CEO, and Martin Brown, Director Edmund Kirkwood in Screenwriting: Abigail Tabone for project Greenlight. The award was of Award Courses presented the prizes for Nicholas Kutnjak Series Television Paul Wiegard presented by Brooke Pettit, Community Academic Merit to the following graduates: Benjamin Lucas Emily Blatchford and Corporate Social Responsibility • James Yan: Advanced Diploma Cei Saunders Nicole Conway Manager at Foxtel. in Music Scoring for the Screen Luke Shepley Justin Corbett Julie Street Hannah Fitzpatrick • Madeleine Levins: Advanced Diploma Ruby Teys Derek Foster in Producing: Story, Audience, Finance Juliet Williamson Daniel Giles • Hannah Fitzpatrick: Advanced Diploma Michael Gupta in Screenwriting: Feature Film Britnie Jasmine Johnston Advanced Diploma • Angela McDonald: Advanced Diploma Kristen Mair in Screenwriting: in Screenwriting: Series TV Angela McDonald Feature Film • Ruby Teys: Advanced Diploma in Radio. Daniel McKenzie Erin Bingham Julia Moriarty Jack Books Nathan Moss James Brettell Jordan Knox David Brown Hannah Pembroke Jennifer Couttas Amy Stewart Lucus Danbsy-Scott Nicholas Webb Hannah Fitzpatrick Peter Young
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5. PUBLIC PROGRAM • Watch How You Feel: MIFF • Producer of The Dressmaker: Sue Maslin Artistic Director Michelle Carey October 30 2015 July 10 2015 Guest: Sue Maslin Friday On My Mind • Fresh Blood: Meet the Hottest Guest: Michelle Carey New Talent in Australian Television • Laugh Out Loud: Marc Gracie Sydney September 25 2015 • Genre Bending: Downriver November 6 2015 • Traversing the Backlots of Guests: Ben Matthews, Claire Phillips, Writer/Director Grant Scicluna Guest: Marc Gracie Hollywood, Sundance & Sydney Adele Vuko, Sarah Bishop, Greta Lee August 14 2015 • The Actor-Director Tilt Shift: July 17 2015 Jackson, Sylvia Warmer and Tanya Phegan Guest: Grant Scicluna Victoria Thaine Guest: Nash Edgerton • New Screen Frontiers: • Life, Love & Filmmaking with Paul Cox November 13 2015 • Embellishing the Truth Lynette Wallworth & John Maynard August 21 2015 Guest: Victoria Thaine July 24 2015 October 2 2015 Guest: Paul Cox • A Cut Above: Jill Bilcock & Guest: Brendan Cowell Guests: Lynette Wallworth and • Bentley Dean: Making Tanna Enhancing the Director’s Vision John Maynard • Women He’s Undressed August 28 2015 November 20 2015 July 31 2015 • Writing New Australian Drama: Guest: Bentley Dean Guest: Jill Bilcock Guest: Gillian Armstrong The Principal’s Kristen Dunphy • Joel Pearlman: An Acquisitive Mind • The Tale of Arrowhead: From & Alison Addison • Filmmaker Catriona McKenzie September 4 2015 Short Film to Feature Debut October 9 2015 August 7 2015 Guest: Joel Pearlman to International Distribution Guests: Kristen Dunphy and Alison Addison Guest: Catriona McKenzie March 18 2016 • Mark Hartley & Garry Richards: The • Holding the Man: Adapting Stage to Screen Guest: Jesse O’Brien • The Age of the Entrepreneur: Director/DP Creative Relationship with Tommy Murphy & Kylie du Fresne Producer Andrew Mason September 11 2015 • Carver Films: Adaptations with October 16 2015 August 14 2015 Guests: Mark Hartley and Garry Richards Nick Cave & Kurzel Brothers Guests: Tommy Murphy and Kylie du Fresne Guest: Andrew Mason April 1 2016 • Into the Tardis with Gary Russell: • The Critics Picks: Best of 2015 and Guests: Anna McLeish and Sarah Shaw • Evolving & Adapting to Stay in the Game Doctor Who Writer/Producer/ Last Friday on My Mind for the Year August 21 2015 Director/Script Editor/Author • Making Pawno: An Independent October 23 2015 Guest: Kriv Stenders September 18 2015 Love Letter to Footscray Guests: Luke Buckmaster, Maddie Guest: Gary Russell April 15 2016 • From Shark Bait to Arachnid Palmer and Blake Howard Guest: Damian Hill Fodder Creature Features • Amiel Courtin-Wilson: • Sherpa Trouble on Everest: August 28 2015 Distinctive & Innovative • Is 2016 the Best or the Worst Jennifer Peedom Guest: Kimble Rendall September 25 2015 Time to be a Filmmaker? April 29 2016 Guest: Amiel Courtin-Wilson April 29 2016 • Tony Ayres: Showrunner/Writer/Director Guest: Jennifer Peedom Guest: Paul Goldman September 4 2015 • The Versatile Director: Matthew Saville • Music & Obsession Guest: Tony Ayres October 9 2015 • Five Friends & Five Weeks May 27 2016 Guest: Matthew Saville May 27 2016 • Damian Wyvill ACS: Framing the Shot Guest: Scott Hicks Guest: Clayton Jacobsen September 11 2015 • Michael Ward and the Holy Grail Guest: Damian Wyvill Melbourne of Parody, Irony & TV Comedy • Secrets of Secret City • Clayographies, Ernie October 16 2015 June 10 2016 • The Actor’s Director Biscuit and Adam Elliot Guest: Michael Ward Guest: Matt Cameron September 18 2015 July 3 2015 Guest: Peter Andrikidis • Glendyn Ivin: Power & the Passion • Monster Fest Guest: Adam Elliot October 23 2015 June 24 2016 Guest: Glendyn Ivin Guests: Kier-La Janisse and Neil Foley
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TV Talks • Aussie Aussie Aussie? 6. INDUSTRY USE OF AFTRS’ FACILITIES February 2 2016 • Is this the funny bit? Guests: Benjamin Law (Author, July 7 2015 July 2015 to June 2016 • AFTRS alumni: fine cut screening Series Creator/Co-writer, The Family Guests: Adrian Swift (Head of Content of feature documentary Reindeer Law), Debbie Lee (Director, Scripted • AVC Group: equipment storage and and Creative Development, ABC TV), in my Saami Heart, September 3 2015 Development, Matchbox Pictures), preparation for SMPTE, July 6 2015 Ted Robinson (Producer/Director), • Foxtel: preview screening of Legend, Nakkiah Lui (Actor, Writer and Associate • Australian Directors Guild: Ozdox Monthly Nathan Earl (TV Producer/Director) September 15 2015 Producer: Black Comedy Series 2), Presentation with Q&A, July 9 2015 • Docs that Rock Rob Shehadie (Co-creator and Actor, • Australian Directors Guild: Ozdox Monthly • AFTRS alumni: rushes screening/tech August 4 2015 Here Come the Habibs!) Presentation with Q&A, September 16 2015 check of feature documentary When Guests: Deb Masters (Executive • Pick Me! AIDC Pop-Up the Camera Stopped Rolling, July 10 2015 • AFTRS alumni: script development Producer – Australian Story), Paul March 2 2016 (at ACMI in Melbourne for feature film Brilliant Monkey, Clarke (Producer/Director/Writer, Blink • AFTRS alumni: auditions for Emerging as part of AIDC) September 17 2015 TV and Bombora Film & Music Co) Filmmakers Fund application, July 11 2015 Guests: Kirsty de Vallance (Principal, • Morning Starr Productions: tech check • Media Stockade and AFTRS alumni: • Love is on the Air A Cast of Thousands, Casting Director, screening of Australian independent post check screening, July 13 2015 September 1 2015 Screentime), Jodie Brearly (Casting feature The Quarantine Hauntings, Guests: Shaun Murphy (Head of Director, Warner Bros), Ray Ackerman • Australian Screen Editors Guild: screening September 18 2015 of Infini sci-fi film with Q&A, July 15 2015 Entertainment, Warner Brothers (Managing Director of Non-scripted • Ghastly Fun Films: script read-through International Television Production Television at Pulse Films) • AFTRS alumni: auditions (callbacks) for with audience for feature film Detour, Australia), Caroline Spencer (Director of Emerging Filmmakers Fund application, • Public Broadcasting: Who Needs It? September 22 2015 Development, Fremantle Media), Wizzy July 19 2015 April 5 2016 • AFTRS alumni: script development Evans (Casting Director, Shine Australia) Guests: Richard Finlayson (Director • Azure Productions: grade screening for feature film Brilliant Monkey, • What the Fact(ual)? of Television, ABC), Marshall Heald #1 of 3 of independent Australian September 28 2015 feature Teenage Kicks, July 23 2015 October 6 2015 (Director TV and Online Content, SBS) • Australian Writers’ Guild: screening Guests: Joseph Maxwell (Commissioning • Australian Screen Editors Guild: • Spoilt for Choice of UnIndian and Q&A with filmmakers, Editor, History and Science, SBS), Kylie screening of Reuben Guthrie and Q&A, May 3 2016 October 7 2015 Washington (Director, Unscripted August 5 2015 Guests: Mike Sneesby (CEO, STAN), • AFI/AACTA: pre-judging session for Best Matchbox Pictures), Lyndal Marks Rebecca Heap (Head of Audience • AFTRS alumni: auditions for short film Animation & VFX Award, October 12 2015 (Executive Producer, Factual and Digital, ABC TV), Leo Faber directed by Luke Marsden, August 11 2015 Programming, Seven Network) • Bluecat Pictures: industry preview (Commissioning Editor, Australian • Michelle Nagy (Producer): auditions for screening of feature film Beasts of • Drama Queens Content, Red Bull), Katy Roberts short filmBaby Boy (Metro Screen and No Nation, October 14 2015 November 10 2015 (Senior Producer, VICE Australia) Screen NSW funding), August 12 2015 • Australian Directors Guild: Ozdox Guests: Sue Masters (Executive • That’s Entertainment! • Australian Directors Guild: Ozdox Monthly Monthly Meeting, October 15 2015 Producer, SBS Drama), Jo Porter June 14 2016 Presentation with Q&A, August 19 2015 (Director of Drama, Fremantle Media), • Azure Productions: sound mix Guests: Stevie K. Murray (EP Light • Screen NSW: ‘Drone’ Workshop, Penny Win (Head of Drama, Foxtel) screening of independent Australian Entertainment, Seven Network), John August 27 2015 feature Teenage Kicks, October 19 2015 Walsh (Executive Producer, Network • Australian Directors Guild: Ozdox • AFTRS alumni: rehearsals for short Nine), Paul Clarke (Director, Bombora Committee Meeting, September 1 2015 filmPerception , October 22 2015 TV and EP, Eurovision) • AFTRS alumni: fine cut screening • Bluecat Pictures: industry preview of short filmProblem Play, screening of feature film Beasts September 3 2015 of No Nation, October 24 2015
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• British Council: team meeting, • AFTRS alumni and Storm Vision • Broken Hill Films: screening of 35 minute • Australian Directors Guild: Ozdox November 5 2015 Entertainment: audience test screenings documentary Here I Am, March 2 2016 screening, live streaming and Q&A, • AFTRS alumni: rough cut screening of rough edit of Australian science • Australian Directors Guild: Ozdox April 12 2016 of short filmThe Man Who Was for fiction filmSFv1 , December 3 2015 screening and Q&A, March 8 2016 • WOW Film Festival Events: Berlin submission, November 11 2015 • AFTRS alumni: MSAB 2015 Grads – • Jonathan Ogilvie: AFTRS alumni – studio Masterclasses, April 29–30 2016 • Actors Equity (Equity Foundation): guest speaker Producer John Edwards, for actor rehearsals, March 8 2016 • WOW Film Festival Events: screenings December 5 2015 Australian new release screening • Arenamedia: screening of Australian and panel discussions, May 1 2016 of Now Add Honey with Q&A, for • National Film and Sound Archive (NFSA) documentary, March 10 2016 • Keo Films: pre-production meeting, Equity members, November 11 2015 ‘Discovery Workshop’ (subject relaunching • Chris Squadrito: AFTRS alumni – room May 5 2016 NFSA web platforms), December 7 2015 • Australian Directors Guild: Ozdox for actor read throughs, March 14 2016 • Australian Directors Guild: OzDox Monthly Meeting with live streaming, • Australian Directors Guild: Ozdox Monthly • Black Sheep Films: rough cut screening Committee meeting, May 5 2016 November 12 2015 Meeting with rough cut screening of of feature documentary Monsieur • Taylor Litton-Strain: actor AFTRS alumni film, December 9 2015 • AFTRS alumni: rough cut/distributor Mayonnaise, March 14 2016 rehearsals, May 6 2016 screening of Australian feature project • AFTRS alumni: development meeting for • Foxtel: preview screening of • Screen ACT and ACTSIA: The Body in the Yard, November 13 2015 feature project Zelos, December 22 2015 Eye in the Sky, March 15 2016 information session, May 10 2016 • AFTRS alumni and Storm Vision • Azure Productions: test screening • Panasonic Australia: new product launch – • Becca Johnstone: script read Entertainment: audience test screenings of DCP of independent Australian Varicam cinema camera, March 15 2016 through, May 16–17 2016 of rough edit of Australian science feature Teenage Kicks, January 15 2016 • Bohena Creek Arts: screening of • ABC TV: screening and Q&A, fiction filmSFv1 , November 18 2015 • The Steve Jaggi Company: screening of Indigenous short films for funding May 20 2016 • Australian Writers’ Guild: Steven Moffat feature film Embedded, January 19 2016 agencies and industry, March 17 2016 • Australian Directors Guild: Q&A for guild members and AFTRS • Australian Directors Guild: Ozdox • Ruth Hollows: AFTRS alumni – room Committee meeting, May 26 2016 students, November 19 2015 Committee meeting, January 20 2016 for actor read throughs, March 20 2016 • Michelle Maher: screening of • Actors Equity (Equity Foundation): • Goalpost Pictures: preview screening • Storm Vision Entertainment: test Beyond the Physical, June 2 2016 casting hothouse with Australian of Cleverman, January 29 2016 and international casting directors, screening of feature film, March 29 2016 • Kerinne Jenkins: Film Fatales • Australian Directors Guild: Ozdox November 20 2015 • Yarra Bank Films: fine cut screening meeting, June 6 2016 screening, live streaming and Q&A, of feature documentary Monsieur • AFTRS alumni/Media Stockade: February 9 2016 • Felix Media: interview with Director narration record for documentary Mayonnaise, March 31 2016 Alison Maclean, June 10 2016 • Craig Foster: short film screening of feature project, November 25 2015 • Storm Vision Entertainment: test Metro Breaks Overtime, February 10 2016 • Saba Vasefi: interview with • Goalpost Pictures/ABC TV: test screening of feature film, April 7 2016 The Guardian, June 14 2016 • Arenmedia: Australian documentary screening of Australian drama • Claire Harris: AFTRS alumni – room screening for distributors, February 11 2016 • Erin Good: actor rehearsals for Cleverman for ABC TV staff conference for actor read throughs, April 7–8 2016 web series, June 18–19 2016 • Lemac: presentation on UHD at AFTRS, December 1 2015 • Foxtel: preview screening of feature workflow, February 16 2016 • Australian Screen Editors and • ABC TV: internal staff conference/ The Boss, April 11 2016 Australian Writers’ Guild: screening • ABC Arts iView: shooting two Creative Offroad, December 2 2015 • British Council: strategy meeting, of Rake series and Q&A, June 23 2016 episodes, February 18 2016 • AFTRS alumni: picture lock screening April 11 2016 of Australian feature project Hot Mess, • ABC TV: internal conference, December 3 2015 February 19 2016
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7. INDUSTRY PRACTITIONERS AT AFTRS Graduate Diploma In 2015–16, AFTRS Open Amy Longhurst, Angela Catterns, lecturers included The AFTRS campus environment Bachelor of Arts Screen Ashleigh King, Brendan Trembath, Cate attracts industry members to lecture Alan Chen, Alexander Gastrell, Alicia Alex Gabbott, Alenka Henry, Amy Madill, Chris Neave, Dave Archer, Devris as guests in Award and AFTRS Open Gleeson, Andrew Lee, Anna Broinowski, Longhurst, Andrew Garrick, Andy Day, Hasan, Gareth Tillson, George Raftopulos, short courses, and to contribute to the Anthony Skuse, Bev Dunn, Brendon Andy Watts, Anna Tow, Anne Brooksbank Isobel Kirk, Jacob Round, Jason Treuen, creation of online resources, across McDonall, Chris McKeith, Chris Rollans, Brendon McDonall, Carol Cameron, Claire Jessica Campanaro, Lorena Allam, Madeline all disciplines and specialisations. Dany Cooper, Darlene Johnson, David Phillips, Clarissa House, Daina Reid, Darren Joannou, Marea Lambart-Barker, Pat Bruggemann, David Summons, Debra Ashton, David Caesar, David Summons, Drummond, Peter Longman, Peter Wasson, Oswald, Garry Phillips, Geir Gunnarsson, David Whealy, Denise Eriksen, Devris Hasan, In 2015–16, Award course Rachel Corbett, Rod McGuinness, Tony Greg Fitgerald, Guillaume Barriere, Gwen Dylan Blowen, Elissa Down, Ellery Ryan, guest lecturers included: Rasmussen, Tony Shannon. Sputore, Helen Grimley, Hunter Page- Erika Addis, Gareth Tillson, Genevieve Ginty, Lochard, Ian David, Igor Nay, Isobel Kirk, Greg Woodland, Graeme Towner, Helen Diploma Ivan Donato, John Brawley, Julia Cotton, Master of Screen Arts Campbell, Ian David, Ian Watson, Jack Andrew Silke, Chris McKeith, Christine Katherine Milwright, Keith Saunders, Ken Adrian Wills, Anna Munster, Ari Wegner, McGrath, Jake Taylor, Janine Cooper, Janos Cheung, Dan Bethel, Deborah Peart, Healey, Kim Mordaunt, Larissa Behrendt, Blake Ayshford, Gwen Sputore, Missi Mel Jersch, Jeremy Ireland, Jess Campanaro, Greg Fitzgerald, Jason Treuen, John Gray, Les Fiddes, Lindy Davis, Louis Irving, Pesa, Peter Dunlop, Robyn Ewing, Ross Jessica Redenbach, Jill Hewitt, Jimmy Kelli Jean Drinkwater, Louis Irving, Ron Madeleine Hetherton, Marc Rosenberg, Grayson Bell, Shirley Barrett, Sophie Hyde, Foggo, Johannes Muljani, John Bisset, John Roberts, Steve Arnold, Michael Pickells, Mark Seton, Martin Connor, Martin Oswin, Tony Krawitz. Collee, John Gregory, Jonathan Ogilvie, Stuart Waller, Francesco Biffone, Guntis Sics. Megan Simpson Huberman, Melinda Doring, Jutta Goetze, Karren Gail, Kate Douglas- Michael Cordell, Michael Phillips, Missi Mel Master of Screen Arts and Business Walker, Kate McLoughlin, Kirstie Boerst, Kriv Advanced Diploma Pesa, Nick Beauman, Nico Lathouris, Pauline Adrian MacKenzie, Bob Campbell, Prof. Stenders, Lesley Holden, Liam Branagan, Alexa Wyatt, Alissa Thibault, Andrea Buck, Clague, Peter Johnson, Phillippa Harvey, Bruce Chapman, Chris Cheah, Damian Liz Cooper, Lorelle Adamson, Louis Irving, Bill Bailey, Bonnie Elliott, Brett Smith, Caitlin Pru Montin, Richard Wilmot, Ross Grayson Kassabgi, Prof. Deb Verhoeven, George Louise Smith, Lucy Gaffy, Luke Devenish, Yeo, Cathy Peters, Cherie Romano, Chris Bell, Nico Lathouris, Russell Cheek, Shane Raftopulos, Greg Smith, Helen Bowden, Lynnette Lounsbury, Lynnette Reeves, Neave, David Barber, David Bruggermann, Anthony, Shannon Murphy, Simeon Bryan, Helen O’Neil, Isobel Kirk, Prof. Jason Madeleine Hetherton, Maria Tran, Marie Deidre McClelland, Ellie Cumming, Faith Sophie Hyde, Sophie Wiesner, Sunil Desilva, Potts,John Frey, Kim Williams, Kingston Patane, Mark Stewart-Pearson, Martha McKinnon, Geir Gunnarsson, Genevieve Tegan Bennett Daylight, Tim Paillas, Toscha Anderson, Mark Kenny, Matt Hancock, Goddard, Martin Corben, Matt McGowan, Ginty, Gina Roncoli, Heather Ogilvie, Helen Irving, Vanessa Gazy, Vernon Ah Khee, Mark Rudder, Megan Brownlow, Scott Max Bourke, Mark O’Toole, Michael Philips, Grimley, Jacqui Kassulke, Jenny Lewis, Warwick Young. Dinsdale, Stuart Buchanan, Tony Shannon. Mike Jones, Monica Davidson, Miguel Jessica Campanaro, Jessica Wells, Jonathan Zaragoza, Nadia Townsend, Nicole Mather, Zwartz, Kirke Godfrey, Leon Ford, Lesley Graduate Certificate Radio Nick Robertson, Oliver Heath, Paul Hawker, Lewis, Lisa Shaunessy, Madeline Joannou, Allen Palmer, Amber McBride, Anna Program Director’s Residential Course: Paul Warren, Peter Andrikidis, Rachel Mark Blackwell, Maryann Shine, Matt de Broinowski, Annie Breslin, Bamdad Andy Milne, Andrew Very, Angus Stevens, Corbett, Ray Matsen, Rebecca Edwards, Groot, Megan Aney, Michele O’Young, Erfanian Yeganeh, Brendan Toole, Brendon Bianca Dye, Bill Bailey, Clinton Maynard, Richard Wilmot, Rob Neil, Robin Hughes, Monica Davidson, Murray Olds, Nick Kelly, McDonall, Cassandra Charlton, Danny Craig Bruce, David Rogerson, Duncan Rodney Whitham, Romina Accurso, Ross Paul Christensen, Paul Healy, Peter Laurie, Lachevre, Danny Long, Evelyn Saunders, Campbell, Glenn Daniel, Joan Warner, Linton, Sandra Alexander, Sarah Eddowes, Peter Longman, Pru Montin, Rebecca Gwen Sputore, Joanne Parker, Madeleine John Williams, Mike Byrne, Valerie Geller. Sarah Walker, Steve McDonald, Susan Edwards, Rex Goh, Richard Mills, Romina Hetherton, Martha Goddard, Matthew Bower, Tait Brady, Tim Ferguson, Tim Accurso, Sam Meikle, Sam Stove, Samantha Dabner, Megan Simpson-Huberman, Chappell, Tim Hawkins, Tim Lee, Todd Jennings, Sandra Alexander, Sandra Mike Jones, Miranda Harcourt, Paul Healy, Decker, Tom Zubrycki, Tony Murtagh, Tracey Webster, Simon Marnie, Stephanie Zalfelds, Phillippa Harvey, PJ Hogan, Raena Lea- Spicer, Trent Barfield, Tyson Donelly, Vicki Steve Wright, Stuart Bocking, Suzanne Shannon, Randall Wood, Rebecca Barry, Madden, Warren Eagles, Warwick Young. Boccalatte, Timothy Lee,Tim Wong-See, Richard Welch, Simeon Bryan, Tony Krawitz, Tony Rasmussen, Tony Shannon, Trent Vicki Hansen, Wayne Pashley. Bartfield, Vicki Hansen, Warren Clarke.
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In 2015–16, AFTRS Open guest In 2015–16, guest lecturers on 8. STUDENT FILM ACHIEVEMENTS lecturers/speakers included: Indigenous courses included: • A Boy Called Su (Vedrana Musić, • Beneath Land and Sea (Jacob Schiotz, Adam Scott, AJ Johnson, Alan Dukes, Allan Collins, Andrew Belletty, Brendan Graduate Diploma in Directing 2014) Graduate Diploma in Documentary Ana Kokkinos, Andrew Cooke, Andrew Blacklock, Bryn Whitie, Cornel Ozies, Denise won the Special Jury Award for Fiction 2014) screened at the Dungog Film McClymont, Andy Ryan, Azar Marashian, Eriksen, Devris Hasan, Mark Bin Bakar, in the International Gold Panda Award Festival, NSW Ben Shirley, Bevan Lee, Brendan Shaw, Pauline Clague. for Students as part of the Sichuan • Beyond the Father’s Shadow (Saba Vasefi, Carolyn Brown, Catherine Flannery, Chris TV Festival in China and also won an Graduate Diploma in Documentary 2014) McHardy, Christine James, Claire Evans, Award of Excellence at the Best Shorts In 2015–16, the following industry screened at the International Exile Film Claire Tonkin, Colleen Clarke, Courtney Wise, Competition USA. It was selected for practitioners participated in recorded Festival in Gothenburg, Sweden Daniel Ardiley, Danny Lachevre, Danny Tait, Encounters Film Festival UK, Flickerfest interviews to create resources for Dan Read, Dave Cole, David Caesar, David International Short Film Festival in Sydney, • Blanca (Jamieson Pearce, Graduate AFTRS online courses: Westgate, Edwina Waddy, Ella Carey, Erin Uppsala International Short Film Festival Diploma in Directing 2014) screened at the Goode, Esther Coleman-Hawkins, Frank in Sweden, Newport Beach Film Festival Aussie Film Festival in the Czech Republic Advanced Diploma in Rodi, Gavin Romanis, Genevieve Ginty, Greg in the USA, Guanajuato International Film Screenwriting: Series TV • Bo Mi (Andrew Lee, Graduate Diploma Fitzgerald, Gwendalina Sputore, Hattie Festival in Mexico, St. Kilda Film Festival Alexandra Mills, Charlie Clausen, Christopher in Directing 2013) screened at Down Archibald, Heather Ogilvie, Jaime Hunt, in Melbourne, and Flickers: Roving Eye Lee, Derek Foster, Faith McKinnon, Gary Under Berlin in Germany Janine Cooper, Jason Owen, Jennie Milward- International Film Festival in the USA Sewell, Hannah Carroll Chapman, Joel Slack Olive, Jing Han, Jon Casimir, Jonathan Tyler, • Clan (Larissa Behrendt, Graduate Smith, Justine Gillmer, Luke Jurevicius, Nick • All God’s Creatures (Brendon McDonall, Jonathan Zwartz, Joe Lo Surdo, John Martin, Diploma in Documentary 2013) won King, Phil Lloyd, Robin Lyons, Ric Foster, Graduate Diploma in Directing 2012) Jules Munro, Julian Munro, Kacie Anning, Best Documentary at the Canberra Romina Accurso, Sam Atwell, Sarah Walker, was the winner of the Best Short Film Katherine Fry, Keely Sonntag, Kim Farrant, Short Film Festival and won Outstanding Vicki Madden. (Nicholas Baudin Prize) at Recontres Kit McDee, Lauren Miller Cilento, Leigh Achievement at both Best Shorts Internationales du Cinéma des Antipodes Tierney, Lesley Lewis, Lou Collins, Marion Competition USA and Global Film Advanced Diploma in in Saint-Tropez, and screened at the Farelly, Martin Oswin, Matt Scully, Micah Awards USA for the Humanitarian Award. Screenwriting: Feature Film Aussie Film Festival in the Czech Hewson, Michaela Samsom, Mickey Maher, It received Best Sound Design and Best Meg La Fauve. Republic, Krtki Na Brzinu in Croatia, Nick Cole, Dr. Nick Herd, Nicki Gardiner, Editing at the World of Women’s Cinema and at Australian Short Film Today Nicole La Macchia, Paul Leadon, Peter Film Festival in Sydney, and screened at Advanced Diploma in Producing: at the Asia Society in New York Dunlop, Peter Fragar, Peter Yiamarelos, the Canberra International Film Festival, Story, Audience and Finance Philippe Luzy, Randall Churchill, Rebecca • At Midnight (Amber McBride, Graduate the Athens International Film + Video Ester Harding. Barry, Rick Kalowski, Rob Spencer, Ross Diploma in Documentary 2014) took Festival USA, Down Under Berlin in Emery, Ross Turley, Sam Doust, Shoshana out the Critic’s Award at the Sebastopol Germany, and Sebastopol Documentary Faire, Sonja Simec, Sue Hore, Tim Walsh, Documentary Film Festival in the USA, Film Festival in the USA Tony MacDonald, Tony Murtagh, Tyrone and screened at Antenna Documentary • Deszcz (Malina Maria Mackiewicz, Estephan, Veronica Milsom. Film Festival in Sydney, Flickers: Roving Graduate Diploma in Directing 2014) Eye International Film Festival in Rhode premiered at Toronto International Film Island, Hot Docs Canadian International Festival in Canada and was selected Documentary Film Festival in Toronto for Chicago International Film Festival, and at St Kilda Film Festival in Melbourne Dreux Film Festival Regards d’Ailleurs • Back to Earth (Thomas Wilson, Graduate Filmer la Polone in France, Nashville Diploma in Directing 2014) screened at Film Festival, Newport Beach Film Festival, Cinequest Film Festival in California and and WorldFest-Houston International Flickers: Vortex Sci-Fi, Fantasy & Horror Film and Video Festival in the USA Film Festival in Rhode Island
112 113 Section 12 Appendices AFTRS Annual Report 2015–16
• Driftwood Dustmites (Malina Maria Achievement in Editing and Best Young • I Am Emmanuel (Genevieve Clay-Smith, • Life After Death (Sean Capel, Graduate Mackiewicz, Graduate Diploma in Actor (Lola Bennett) at the St. Kilda Master of Screen Arts 2013) was awarded Certificate in Directing 2014) screened Directing 2014) won Best Cinematography Film Festival in Melbourne and was Best Cinematography at the Canberra at Raindance Film Festival in the UK at the St. Kilda Film Festival, Melbourne, nominated for an Australian Writer’s Short Film Festival, and screened at the • Like Breathing (Liz Cooper, Graduate where it was also nominated for Best Guild Award. It screened at CineClass Ojai Film Festival, the Chicago International Diploma in Directing 2013, screened at Achievement in Sound Post Production. Festival International du Film Scolaire Social Change Film Festival in the USA, Down Under Berlin in Germany, Flickers: It won Best Direction at the World of et Universitaire and the Poitiers Film and Down Under Berlin in Germany Rhode Island International Film Festival Women’s (WOW) Cinema Film Festival Festival in France, Flickerfest International • Inanimate (George-Alex Nagle, Master of in the USA, the International LGBT ‘Mix’ in Sydney and was selected for Seattle Short Film Festival in Sydney (as well as Screen Arts 2014) screened at Fresh Wave Milano’ Film Festival in Italy and Lesbians International Film Festival, New York being part of Flickerfest’s Canberra Tour), International Short Film Festival in Hong Outhall Festival, also in Italy City International Film Festival, Kratki WorldFest-Houston International Film + Kong and the New York City International Na Brzinu in Croatia, Aussie Film Video Festival in the USA, and at Kratki • Midnight Poetry (Emilie Boyard, Master Film Festival in the USA Festival Czech Republic and Recontres Na Brzinu in Croatia of Screen Arts 2014) was selected for the Internationales du Cinéma des Antipodes • Just Hit Snooze (Malina Maria Mackiewicz, Montreal World Film Festival in Canada • Freak (Siobhán Costigan, Graduate in Saint-Tropez Graduate Certificate in Directing Diploma in Documentary 2013) screened • Opal (Josh Mawer, Graduate Diploma Fundamentals 2013) screened at Kratki • Embrace (George-Alex Nagle, Graduate at Fester: The Mindfuck Festival LA and in Directing 2014) screened at New Na Brzinu in Croatia Diploma in Directing 2013) screened the World of Women’s (WOW) Cinema Film Makers New York and was an at Aussie Film Festival in the Czech Festival in Sydney • Kharisma (Shannon Murphy, Graduate official selection of the Canberra Republic, Down Under Berlin in Germany, Diploma in Directing 2013) screened at Short Film Festival • Ghillie (Nic McRobbie, Graduate Diploma and the UK Film Festival in London the Breath of Fresh Air (BOFA) Festival in Directing 2013) screened at Hollywood • Pre-Loved (Shaylee Gomes, Graduate in Tasmania, the Boston International • Eric (Andrew Lee, Graduate Diploma Shorts Film Festival, USA Diploma in Documentary 2014) screened Kids Film Festival and the Citizen Jane in Directing 2013) screened at Recontres at World of Women’s (WOW) Cinema • Gödel, Incomplete (Martha Goddard, Film Festival in the USA Internationales du Cinéma des Antipodes Festival in Sydney Master of Screen Arts 2012) screened in Saint-Tropez, Aussie Film Festival in the • Legacy (Josh Mawer, Graduate Diploma in at Montenegro International Fantastic • Schemata (Nic McRobbie, Graduate Czech Republic, Festival International du Directing 2014) was the winner of the Best Film Festival Diploma in Directing 2013) screened Film Indépendant de Bordeaux in France, Director, Best Cinematography, and Best at Fester: The Mindfuck Festival in and the Made in the West Film Festival • Happy (Laura Dudgeon, Master of Supporting Actor Awards at the North Los Angeles in Sydney Screen Arts 2014) screened at Palm Wales International Film Festival in the UK. Springs International Shortsfest and It won an Award of Excellence (Film Short, • Silent Night (Nastassja Djalog, Graduate • Eternal Return (Vedrana Musić, Graduate Provincetown International Film Festival Student) at the Best Shorts Competition in Diploma in Directing 2014) screened Diploma in Directing 2014) won an the USA and the Bronze Prize at the ACS at Flickers: Rhode Island International Award of Excellence at the Best Shorts • Heck (Tanya Goldberg, Graduate Diploma Awards (ACT/NSW). It was also an official Film Festival, Telluride Horror Show – Competition USA and screened at in Producing and Screen Business 2011) selection at Fantasia International Film Horror Film Festival, and the WorldFest- Aesthetica Short Film Festival in the screened at Recontres Internationales Festival in Montreal, Other Worlds Austin Houston International Film + Video UK and Kratki Na Brzinu in Croatia du Cinéma des Antipodes in Saint-Tropez SciFi Film Festival, the International New Festival in the USA and the Aussie Film Festival in the • Foal (Vanessa Gazy, Master of Screen York Film Festival, Festival South Film Czech Republic • Stuffed (Warwick Young, Master of Screen Arts 2014) received the Festival Honours Expo, The Phillip K Dick Science Fiction Arts 2013) was awarded Best Foreign Award for Outstanding Achievement • Horrie (Lucas Li, Graduate Diploma Film Festival, the Phoenix Film Festival, Film at the Beverly Hills Film Festival in Filmmaking (Best Foreign Short) at in Documentary 2013) screened at and the Boston Science Fiction Festival in the USA, the Audience Award (New Newport Beach Film Festival. It was Canberra Short Film Festival in Australia in the USA; the Oxford International Film Talent Showcase) at Down Under Berlin in nominated for the Craft Award, Best and Down Under Berlin in Germany Festival, the Shock & Gore Festival in Germany, and was runner-up for the Best the UK; the Zinema Zombie Festival in Short Film (Nicholas Baudin Prize) Columbia; and the Kiwi International at Recontres Internationales du Cinéma Film Festival in New Zealand des Antipodes in Saint-Tropez. It also
114 115 Section 12 Appendices AFTRS Annual Report 2015–16
screened at the Aussie Film Festival in • The Heart Thief (Ella Rubeli, Graduate 9. FINANCIAL STATEMENTS the Czech Republic, the Dungog Film Diploma in Documentary 2014) won Festival in NSW, the New Filmmakers: Best Film (Australian Factual) at the Contents LA in the USA and the Landscape Film World of Women’s (WOW) Cinema Festival in Spain Film Festival in Sydney, and screened Certification at the Canberra Short Film Festival, • Symphony of Strange Waters (Saba Vasefi, the Big Sky Documentary Film Festival Primary financial statements Graduate Diploma in Documentary 2014) in Montana, and the Heartland Film Statement of Comprehensive Income screened at the Dungog Film Festival in Festival in Indianapolis Statement of Financial Position NSW and the Human Rights Arts and Film Festival in Melbourne • The Kangaroo Guy (Joel Loxton, Statement of Changes in Equity Master of Screen Arts 2014) won the Cash Flow Statement • The Drover’s Boy (2014) screened at Jury Award (International Student the Adelaide Film Festival, the Antenna Overview (Summary of significant accounting policies) Category) at the Montreal World Film Documentary Film Festival and Flickerfest Festival, and screened at Flickerfest Notes to the financial statements International Short Film Festival in Sydney, International Short Film Festival in Departmental financial performance Breath of Fresh Air (BOFA) Festival in Sydney and the Australian Short Film 1 Expenses Tasmania, the Canberra Short Film Festival, Today at the Asia Society, New York 2 Income the Canberra International Film Festival, the St. Kilda International Film Festival • The Wonderful (Erin Good, Graduate Departmental financial position in Melbourne, the Mansfield Youth Film Diploma in Directing 2013) was the 3 Financial assets Festival in Victoria, and the WorldFest- winner of the Best Short Film category 4 Non-financial assets Houston International Film + Video at the Breath of Fresh Air (BOFA) Festival 5 Suppliers Festival, USA in Tasmania, and screened at California 6 Other payables International Shorts Film Festival in the • The Ern Malley Affair (Rowena Potts, USA, and Young at Heart Short Film Funding Graduate Diploma in Documentary Awards in Sydney 2014) screened at the St. Kilda 7 Cash flow reconciliation International Film Festival in Melbourne • Viral (Sam Van Grinsven, Foundation People and relationships Diploma 2014) screened at CineQuest • The Fruity (Jamieson Pearce, Graduate 8 Employee provisions Film Festival in California. Diploma in Directing 2014) screened 9 Senior management personnel remuneration at Flickerfest International Short Film 10 Council-related party disclosures Festival in Sydney, the Melbourne Queer Film Festival and Bendigo Managing uncertainties Queer Film Festival 11 Contingent liabilities and assets 12 Fair value measurements 13 Financial instruments
Other information 14 Assets held in trust 15 Remuneration of auditors 16 Reporting of outcomes 17 Commitments
Budgetary reporting 18 Reporting of variances from Portfolio Budget Statements
116 117 Section 12 Appendices AFTRS Annual Report 2015–16
118 119 Section 12 Appendices AFTRS Annual Report 2015–16
STATEMENT OF COMPREHENSIVE INCOME FOR THE YEAR ENDED 30 JUNE 2016 Original 2016 2015 Budget Notes $000 $000 $000
NET COST OF SERVICES EXPENSES Employee benefits 1A 16,271 16,508 17,403 Suppliers 1B 10,943 11,501 10,757 Depreciation and amortisation 4A 1,882 1,849 1,950 Write-down and impairment of assets 1C 5 46 – TOTAL EXPENSES 29,101 29,904 30,110
Less: OWN-SOURCE INCOME Own-source revenue Sale of goods and rendering of services 2A 5,192 5,351 5,852 Interest on deposits 199 215 200 Total own-source revenue 5,391 5,566 6,052
Gains Net gains from sale of assets 1D 21 5 – TOTAL OWN-SOURCE INCOME 5,412 5,571 6,052
Net cost of services 23,689 24,333 24,058 Revenue from government 2B 23,697 24,335 24,058 Surplus on continuing operations 8 2 –
OTHER COMPREHENSIVE INCOME Items not subject to subsequent reclassification to net cost of services Changes in asset revaluation surplus 5E – 48 – Total other comprehensive income – 48 –
The above statement should be read in conjunction with the accompanying notes.
120 121 Section 12 Appendices AFTRS Annual Report 2015–16
STATEMENT OF FINANCIAL POSITION STATEMENT OF CHANGES IN EQUITY AS AT 30 JUNE 2016 FOR THE YEAR ENDED 30 JUNE 2016 Original 2016 2015 Budget Asset Notes $000 $000 $000 Retained revaluation earnings reserve TOTAL EQUITY ASSETS Financial assets Original 2016 2015 2016 2015 2016 2015 Budget Cash and cash equivalents 3A 8,009 8,054 8,490 $000 $000 $000 $000 $000 $000 $000 Trade and other receivables 3B 1,792 660 1,495 Opening balance 10,839 10,837 48 – 10,887 10,837 10,837 Total financial assets 9,801 8,714 9,985 Comprehensive Non-financial assets income Leasehold improvements 4A 4,119 4,531 4,422 Surplus for the period 8 2 – – 8 2 – Plant and equipment 4A 3,511 3,731 3,700 Other comprehensive Motor vehicles 4A 69 83 35 income – – – 48 - 48 –
Computer software 4A 319 448 656 Total comprehensive Other non-financial assets 4B 511 272 300 income 8 2 – 48 8 50 – Total non-financial assets 8,529 9,065 9,113 Closing balance as at 30 June 10,847 10,839 48 48 10,895 10,887 10,837 TOTAL ASSETS 18,330 17,779 19,098
The above statement should be read in conjunction with the accompanying notes. LIABILITIES Payables Suppliers 5 1,199 1,112 1,111 Other payables 6 3,365 3,023 4,040 Total payables 4,564 4,135 5,151
Provisions Employees 8 2,871 2,757 3,110 Total Provisions 2,871 2,757 3,110
TOTAL LIABILITIES 7,435 6,892 8,261
NET ASSETS 10,895 10,887 10,837
EQUITY Reserves 48 48 – Retained surplus 10,847 10,839 10,837
TOTAL EQUITY 10,895 10,887 10,837
The above statement should be read in conjunction with the accompanying notes.
122 123 Section 12 Appendices AFTRS Annual Report 2015–16
CASH FLOW STATEMENT FOR THE YEAR ENDED 30 JUNE 2016 Overview The financial statement has been prepared Original 2016 2015 Budget on an accrual basis and is in accordance Notes $000 $000 $000 A Objective of AFTRS with historical cost convention, except for AFTRS is an Australian Government certain assets and liabilities at fair value. OPERATING ACTIVITIES controlled entity. It is a corporate entity Except where stated, no allowance is made Cash received under the PGPA Act. The objective of for the effect of changing prices on the Appropriations 23,697 24,335 24,058 AFTRS is to provide advanced education results or the financial position. and training to advance the skills and Sale of goods and rendering of services 5,093 5,643 5,956 The financial statement is presented in knowledge of talented individuals to meet Australian dollars and values are rounded Interest on deposits 201 201 200 the evolving needs of Australia’s screen to the nearest thousand dollars unless Net GST received 1,120 1,133 1,312 and broadcast industries. otherwise specified. Other 16 14 100 It is structured to meet one outcome: Unless an alternative treatment is Total cash received 30,125 31,328 31,626 To support the development of a specifically required by an accounting professional screen arts and broadcast Cash used standard or the FRR, assets and liabilities industry culture in Australia including are recognised in the statement of financial Employees 17,537 17,417 17,174 through the provision of specialist industry- position when and only when it is probable Suppliers 11,532 11,441 11,902 focused education, training and research. that future economic benefits will flow to 28,858 Total cash used 29,069 29,076 The continued existence of AFTRS in its AFTRS or a future sacrifice of economic Net cash from operating activities 7 1,056 2,470 2,550 present form and with its present programs benefits will be required and the amounts is dependent on Government policy and of the assets or liabilities can be reliably INVESTING ACTIVITIES on continuing funding by Parliament for measured. However, assets and liabilities Cash received its administration and programs. arising under executory contracts are not recognised unless required by an Proceeds from sales of property, plant and equipment 28 28 – B Basis of preparation accounting standard. Liabilities and assets Total cash received 28 28 – of the financial statements that are unrecognised are reported in the Cash used The financial statements are general purpose schedule of commitments or the schedule financial statements and are required by of contingencies. Purchase of plant, equipment and computer software (1,129) (1,762) (1,914) section 42 of the Public Governance, Unless alternative treatment is specifically Total cash used (1,129) (1,762) (1,914) Performance and Accountability Act 2013. required by an accounting standard, Net cash used by investing activities (1,101) (1,734) (1,914) The financial statements have been revenues and expenses are recognised prepared in accordance with: in the statement of comprehensive 736 Net increase in cash held (45) 636 income when, and only when, the flow, a) Public Governance, Performance Cash at the beginning of the reporting period 8,054 7,318 7,854 consumption or loss of economic benefits and Accountability (Financial Reporting) Cash at the end of the reporting period 8,009 8,054 8,490 has occurred and can be reliably measured. Rule 2015 (FRR) for reporting periods The above statement should be read in conjunction with the accompanying notes. ending on or after 1 July 2015; and C Significant accounting b) Australian Accounting Standards and judgements and estimates Interpretations issued by the Australian No accounting assumptions or estimates Accounting Standards Board (AASB) have been identified that have a significant that apply for the reporting period. risk of causing a material adjustment to the carrying amounts of assets and liabilities within the next accounting period.
124 125 Section 12 Appendices AFTRS Annual Report 2015–16
D New Australian Accounting Standards Revenue from rendering of services is Leave The liability for defined benefits is recognised recognised proportionately over the lives The liability for employee benefits includes in the financial statements of the Australian Adoption of new Australian of the contracts and is recognised when: provisions for annual leave and long service Government and is settled by the Australian Accounting Standards requirements leave. No provision has been made for sick Government in due course. This liability is AFTRS has chosen to early adopt a) the amount of revenue, stage of leave as it is non-vesting and the average reported in the Department of Finance’s AASB 2015-7 Amendments to Australian completion and transaction costs incurred sick leave to be taken in future years by administered schedules and notes. Accounting Standards – Fair Value can be reliably measured; and employees is estimated to be less than Disclosures of Not-for-Profit Public Sector AFTRS makes employer contributions b) the probable economic benefits associated the annual entitlement. Entities at 30 June 2016. The future to the employees’ superannuation scheme with the transaction will flow to AFTRS. economic benefits of AFTRS’ non-financial The leave liabilities are calculated on the at rates determined by an actuary to be assets are not primarily dependent on their Receivables for goods and services, which basis of employees’ remuneration at the sufficient to meet the current cost of the ability to generate cash flows. AFTRS has have 30 day terms, are recognised at the estimated salary rates that will be applied superannuation entitlements. These are not disclosed qualitative information about nominal amounts due less any impairment at the time the leave is taken, including accounted for as if they were contributions the significant unobservable inputs or a allowance account. Collectibility of debts is employer superannuation contribution to defined contribution plans. narrative description of the sensitivities reviewed at the end of the reporting period. rates to the extent that the leave is likely The liability for superannuation recognised of the fair value measurements to Allowances are made when collectibility to be taken during service rather than as at 30 June represents outstanding changes in the unobservable inputs. of the debt is no longer probable. paid out on termination. contributions accrued to that date. Interest revenue, all from short term bank The liability for long service leave has been Future Australian Accounting deposits, is recognised on an accrual basis determined internally as at 30 June 2016. H Leases Standard requirements at applicable interest rates. The estimate of the present value of the A distinction is made between finance All other standard amendments and liability takes into account attrition rates leases and operating leases. Finance leases interpretations that were issued prior to Revenues from Government and pay increases. effectively transfer from the lessor to the the sign-off date and are applicable to the Funding appropriated to AFTRS as a lessee substantially all the risks and benefits current reporting period did not have a PGPA Act body payment for Departmental Separation and Redundancy incidental to ownership of leased assets. material effect, and are not expected to outputs for the year is recognised as Provision is made for separation and An operating lease is a lease that is not a have a future material effect, on AFTRS’ Revenue from Government. redundancy benefit payments. AFTRS finance lease. In operating leases, the lessor financial statements. recognises a provision for termination when effectively retains substantially all such risks F Gains it has developed a detailed formal plan for and benefits. AFTRS has no finance leases. E Revenue Gains from disposal of assets are recognised the terminations and, where appropriate, Revenue from the sale of goods Operating lease payments are expensed on when control of the asset has passed to has informed those employees affected is recognised when: a straight line basis which is representative the buyer. that it will carry out the terminations. of the pattern of benefits derived from the a) the risks and rewards of ownership leased assets. have been transferred to the buyers; G Employee benefits Superannuation Liabilities for short-term employee benefits Most staff are members of the b) AFTRS retains no managerial involvement I Cash (as defined in AASB 119) and termination Commonwealth Superannuation Scheme nor effective control over the goods; Cash is recognised at its nominal amount. benefits due within twelve months of the (CSS), the Public Sector Superannuation Cash and cash equivalents include: c) the revenue and transaction costs reporting period are measured at their Scheme (PSS) or the PSS accumulation incurred can be reliably measured; and nominal amounts calculated with regard to plan (PSSap). Staff who are not members a) cash on hand; the rates expected to be paid on settlement of these schemes are covered by other d) it is probable that the economic benefits b) demand deposits in bank accounts of the liability. superannuation schemes of their choice. associated with the transaction will flow with an original maturity of 3 months or to AFTRS. Other long-term employee benefit liabilities The CSS and PSS are defined benefit less that are readily convertible to known are measured at the present value of schemes. The PSSap is a defined amounts of cash and subject to insignificant estimated future cash outflows to be contribution scheme. risk of changes in value. made in respect of services provided by employees up to the reporting date.
126 127 Section 12 Appendices AFTRS Annual Report 2015–16
J Financial assets N Acquisition of assets After review by the Council of AFTRS 2016 2015 AFTRS has only one class of financial assets Assets are recorded at cost on acquisition. and after taking into account vehicles (other than cash detailed above), being The cost of acquisition includes the fair were revalued only 12 months ago, these Equipment 3 to 10 years 3 to 10 years trade receivables and other receivables. value of assets transferred in exchange variations are deemed to be within the Trade receivables and other receivables and liabilities undertaken. Financial assets reasonable range of indicative values. Motor vehicles 8 to 25 years 8 to 25 years have fixed or determinable payments and are initially measured at their fair value Hence adjustments to book values were Computer are not quoted in an active market, with plus transaction costs where appropriate. considered not necessary. software 3 to 5 years 3 to 5 years maturities of less than 12 months after Revaluation adjustments are made on a the reporting date. O Leasehold improvements, plant Leasehold class basis. Any revaluation increment is and equipment, computer software improvements Lease terms Lease terms credited to equity under the heading of K Impairment of financial assets Asset recognition threshold asset revaluation reserve, except to the Financial assets are assessed for impairment Purchases of fixed assets are recognised extent that it reversed a previous revaluation Impairment at the end of each reporting period. No initially at cost in the statement of financial decrement of the same asset class that was All assets are assessed for impairment as impairments are reported. position, except for items costing less than previously recognised in the surplus/deficit. at 30 June. Where indications of impairment Receivables are recognised at the amounts $2,000 which are expensed in the year exist, the asset’s recoverable amount is Revaluation decrements for a class of assets due. Impairment adjustment is made when of acquisition (other than where they are estimated and an impairment adjustment are recognised directly in the surplus/deficit collection of the receivable or part thereof parts of a group and have to be acquired made if the asset’s recoverable amount except to the extent that they reversed a is judged to be unlikely. as such and exceed that amount in total). is less than its carrying amount. previous revaluation increment for that class. The recoverable amount of an asset is its L Payables Revaluations Depreciation and amortisation depreciated replacement cost. Assets are Trade creditors and accruals are recognised Following initial recognition at cost, fixed Depreciable plant, equipment, motor carried at cost less accumulated amortisation at their amortised amounts, being the assets are carried at fair value, measured vehicles, and computer software are and accumulated impairment losses. amounts at which the liabilities will be at depreciated replacement cost, revalued written-off over their estimated useful lives settled. Liabilities are recognised to the with sufficient frequency by external valuer to AFTRS using, in all cases, the straight P Taxation extent that the goods or services have and then reviewed by internal staff with line method of depreciation. Leasehold AFTRS is exempt from all forms of been received. appropriate technical knowledge to ensure improvements are amortised on a straight- taxation except for fringe benefits tax (FBT) that the carrying amount of each asset class line basis over the lesser of the estimated and the goods and services tax (GST). M Contingent assets and liabilities is not materially different, at reporting date, useful life of the improvements or the Contingent assets and liabilities are not from its fair value. A revaluation review Receivables and payables stated unexpired period of the lease. recognised in the statement of financial was carried out as of February 2016 and are inclusive of GST where applicable. position but are reported in the relevant updated for June 2016 after a limited review Depreciation/amortisation rates (useful Revenues, expenses and assets are schedules and notes. They may arise from by external valuer, covering all fixed assets lives) and methods are reviewed at each recognised net of GST except where uncertainty as to their existence or situation except for computer software. Modification reporting date and necessary adjustments the GST incurred is not recoverable where the amount cannot be reliably costs are included where appropriate. are recognised in the current, or current and from the Australian Taxation Office. measured. Contingent liabilities are Potential surplus of fair values over book future reporting periods, as appropriate. disclosed when settlement is greater than balances are: Q Foreign currency Depreciation rates applying to each class remote. Contingent assets are disclosed Transactions denominated in a foreign • Equipment 3.7% of depreciable asset are based on the when settlement is probable but not currency are converted at the exchange following useful lives: virtually certain. • Leasehold improvements 3.3% rate at the date of settlement. Associated • Motor vehicles 5.7% currency gains and losses on foreign currency receivables and payables at balance date are not material.
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Financial Performance This section analyses the financial performance for the year ending 30 June. R Events After the Balance Sheet Date 2016 2015 There is no event since financial year end $000 $000 to the date of this report which has the potential to significantly affect the ongoing 1. EXPENSES structure and financial activities of AFTRS. 1A. Employee benefits There are no known matters that have Wages and salaries 12,163 12,494 arisen subsequent to the reporting date Superannuation that would require these financial statements Defined benefit plans 514 to be amended. 507 Defined contribution plans 1,496 1,514 S Comparative figures Leave and other benefits 1,888 1,754 Comparative figures have been adjusted Separation and redundancy 217 232 to conform to changes in presentation in Total employee benefits 16,271 16,508 these financial statements where required. 1B. Suppliers T Rounding Goods and services Amounts have been rounded to the nearest Consultants 467 317 $1,000 except in relation to the following: Contractors 656 790 • Remuneration of council members; Stationery 156 231 • Remuneration of officers (other than Repairs and maintenance (non IT related) 1,043 744 council members); and Utilities 348 430 • Remuneration of auditors. Building services 374 534 Travel 307 255 Marketing 741 900 IT related expenses 927 874 Others 1,092 1,556 Total goods and services 6,111 6,631
Goods and services are made up of: Goods supplied by external entities 3,196 3,172 Services rendered by federal government entities 150 185 Services rendered by external entities 2,765 3,274 Total goods and services 6,111 6,631
Other supplier expenses Operating lease rentals to external entities in connection with Minimum lease payments 3,962 3,962 Contingent rentals 681 640 Workers compensation premiums to federal government entities 189 268 Total other supplier expenses 4,832 4,870
Total supplier expenses 10,943 11,501
130 131 Section 12 Appendices AFTRS Annual Report 2015–16
Leasing Commitments 2016 2015 AFTRS in its capacity as lessee has 3 types of operating leases covering its school $000 $000 premises, certain motor vehicles and photocopiers. 2. INCOME The building lease commenced in 2008 for an initial term of 15 years with renewable 2A. Sale of goods and rendering of services extensions of 5 years each, terminating on 20 April 2036. Rent, consisting of two Sale of goods components, is payable monthly. Base rent, subject to annual CPI review applicable Federal government entities – 3 from February each year, is currently $367,191 (2015 $362,545) plus GST per month at June 30. Additional special rent, currently at $29,080 per month plus GST. External entities 25 9 25 12 2016 2015 Rendering of services $000 $000 Federal government entities 9 23 Commitments for minimum lease payments in relation to non-cancellable operating leases are payable as follows: External entities 5,158 5,316 Within 1 year 5,347 5,266 5,167 5,339 Between 1 to 5 years 21,457 21,152 Total sale of goods and rendering of services 5,192 5,351
More than 5 years 8,529 13,739 2B. Revenue from Government Total operating lease commitments 35,333 40,157 Attorney-General’s Department
1C. Write-down of assets Departmental appropriations* 10,024 24,335 Impairment of receivable/(allowance written back) – (1) Department of Communications and the Arts Fixed assets written off 5 47 Departmental appropriations* 13,673 – Total write-down of assets 5 46 23,697 24,335 * For ordinary annual services 1D. Gains and losses from asset disposals Equipment Proceeds from sale 27 – Carrying value of assets sold (6) – Gains from sale of equipment 21 – Motor vehicles Proceeds from sale – 25 Carrying value of assets sold – (20) Gains (losses) from sale of motor vehicles – 5
Total proceeds from sale 27 25 Total carrying value of assets sold (6) (20) Total net gains (losses) from sale of assets 21 5
132 133 Section 12 Appendices AFTRS Annual Report 2015–16
Financial Position 4. NON-FINANCIAL ASSETS This section analyses the assets and liabilities as at 30 June. Employee 4A. Analysis of Leasehold Improvements, Plant, Equipment and Intangibles related information is disclosed in the People and Relationship section. Leasehold Plant and Motor Computer 2016 2015 Improvements Equipment Vehicles Software Total $000 $000 $000 $000 $000 $000 $000 3. FINANCIAL ASSETS Reconciliation of the opening and closing balances (2015–16) 3A. Cash and cash equivalents Cash at bank 8,006 8,051 As at 1 July 2015 Cash on hand 3 3 Gross book value 7,547 14,161 89 1,322 23,119 Total cash 8,009 8,054 Accumulated depreciation/ amortisation (3,016) (10,430) (6) (874) (14,326) 3B. Trade and other receivables Net book value 1 July 2015 4,531 3,731 83 448 8,793 Goods and services receivables 1,645 529 Additions by purchase 217 886 – 15 1,118 Other receivables Revaluations recognised in Interest receivable 30 32 other comprehensive income – – – – – GST receivable 125 120 Depreciation/amortisation expense (625) (1,099) (14) (144) (1,882) Other receivable/(payable) (8) (2) Disposals Total other receivables 147 150 Written off (4) (1) – – (5) Total trade and other receivables (gross) 1,792 679 Other disposals – (6) – – (6) Less: Impairment allowance for other receivables/(payables) – (19) Net movements during the year (412) (220) (14) (129) (775) Total trade and other receivables (net) 1,792 660 Net book value 30 June 2016 4,119 3,511 69 319 8,018 All receivables are expected to be recovered in no more than 12 months Net book value as of 30 June 2016 represented by Trade and other receivables (gross) are aged as follows Gross book value 7,757 14,051 89 1,337 23,234 Not overdue 1,792 660 Accumulated depreciation/ Overdue by: amortisation (3,638) (10,540) (20) (1,018) (15,216) more than 90 days – 19 4,119 3,511 69 319 8,018 Total trade and other receivables (gross) 1,792 679
Impairment allowance is aged as follows: Overdue by: more than 90 days – (19) Total impairment allowance – (19)
Reconciliation of the impairment allowance for goods and services receivables Opening balance (19) (20) Amounts written off 19 – Increase/(Decrease) recognised in net cost of services – 1 Closing balance – (19)
Trade and other receivables (net) expected to be recovered No more than 12 months 1,792 660 Trade and other receivables (net) 1,792 660
134 135 Section 12 Appendices AFTRS Annual Report 2015–16
Leasehold Plant and Motor Computer 2016 2015 Improvements Equipment Vehicles Software Total $000 $000 $000 $000 $000 $000 $000 4B. Other non-financial assets Reconciliation of the opening and closing balances (2014–15) Prepayments 511 272 All prepayments are expected to be recovered within 12 months As at 1 July 2014 No indicators of impairment were found for other non-financial assets Gross book value 7,007 13,622 169 1,593 22,391 5. SUPPLIERS Accumulated depreciation/ amortisation (2,442) (9,806) (146) (960) (13,354) Trade creditors and accruals 1,199 1,112 Net book value 1 July 2014 4,565 3,816 23 633 9,037 Operating lease rentals – external entities – – 1,199 1,112 Additions by purchase 540 993 38 53 1,624 All supplier payables are current. Settlement is usually made within 30 days Revaluations recognised in other comprehensive income – – 48 – 48 6. OTHER PAYABLES Depreciation/amortisation expense (574) (1,076) (6) (193) (1,849) Deferred income 2,011 1,011 Disposals Accruals and sundry payables 2 2 Written off – (2) – (45) (47) Lease incentive – current 185 185 Other disposals – – (20) – (20) Lease incentive – non current 1,032 1,217 Net movements during the year (34) (85) 60 (185) (244) Salaries, wages, and superannuation 135 608
Net book value 30 June 2015 4,531 3,731 83 448 8,793 3,365 3,023 All other payables (except for portion of lease incentive) are current Net book value as of 30 June 2015 represented by Gross book value 7,547 14,161 89 1,322 23,119 7. CASH FLOW RECONCILIATION Accumulated depreciation/ Reconciliation of cash per Statement of Financial Position to Cash Flow Statement amortisation (3,016) (10,430) (6) (874) (14,326) Cash as per cash flow statement 8,009 8,054 4,531 3,731 83 448 8,793 Cash as per statement of financial position 8,009 8,054 Difference – – No indicators of impairment were found for leasehold improvements, plant, equipment and intangibles. Reconciliation of net cost of services to net cash from operating activities AFTRS expects to sell or dispose of some equipment, principally technical, IT and media Net cost of services 8 2 production equipment, within the next 12 months due to obsolescence or as part of a Adjustment for non-cash items general refresh program. Depreciation and amortisation 1,882 1,849 Write-down of assets 5 47 Revaluations of non-financial assets Losses (gains) on disposal of assets (21) (5) All revaluations were conducted in accordance with the revaluation policy stated at Note 12. Increase/(decrease) in doubtful debt provision – (1) Contractual commitments for the acquisition of leasehold improvements, plant, Lease incentive liability discharged (185) (185) equipment and intangibles Changes in assets and liabilities No significant contractual commitments for the acquisition of leasehold improvements, (Increase)/decrease in receivables (1,132) 1,035 plant, equipment and intangibles existed at 30 June 2016. (Increase)/decrease in other assets (239) 33 Increase/(decrease) in employee provisions 114 225 Increase/(decrease) in supplier payables (41) 168 Increase/(decrease) in other payables 665 (698) Net cash from operating activities 1,056 2,470
136 137 Section 12 Appendices AFTRS Annual Report 2015–16
2016 2015 11. CONTINGENT LIABILITIES AND ASSETS $000 $000 AFTRS is not aware of the existence of any potential claim which might impact on its financial affairs. 8. EMPLOYEES PROVISIONS Annual leave 1,080 1,085 12. FAIR VALUE MEASUREMENTS Following tables provide an analysis of assets and liabilities that are measured at fair value. Remaining Long service leave 1,697 1,642 assets and liabilities disclosed in the statement of financial position do not apply the fair value hierarchy. Redundancy 94 30 Different levels of the fair value hierarchy are defined below Aggregate employee provisions 2,871 2,757 – Level 1: Quoted prices (unadjusted) in active markets for identical assets or liabilities that AFTRS can access at measurement date Employee provisions expected to be settled in – Level 2: Inputs other than quoted prices included within Level 1 that are observable for the asset No more than 12 months 1,428 1,417 or liability, either directly or indirectly More than 12 months 1,443 1,340 – Level 3: Unobservable inputs for the asset or liability 2,871 2,757 Accounting Policy 9. SENIOR MANAGEMENT PERSONNEL REMUNERATION $ $ AFTRS engaged the service of the Australian Valuation Solutions (AVS) to conduct a valuation of all non- financial assets at 30 June 2016 and has relied upon those outcomes to establish carrying amounts. An Short-term employee benefits annual assessment is undertaken to determine whether the carrying amount of the assets is materially Salary 1,451,442 1,687,793 different from the fair value. Comprehensive valuations are carried out at least once every three years. Performance Bonus 22,837 45,675 AVS has provided written assurance to AFTRS that the models developed are in compliance with AASB 13. The methods utilised to determine and substantiate the unobservable inputs are derived and evaluated Other (Fringe Benefits) 88,239 110,980 as follows: Total short-term employee benefits 1,844,448 1,562,518 Leasehold improvements, Buildings, Property, plant and equipment Post-employment benefits – Physical depreciation and obsolescence Superannuation 179,669 221,349 Assets that do not transact with enough frequency or transparency to develop objective opinions of value from observable market evidence have been measured utilising the Depreciated Replacement Cost Other long-term employee benefits approach. Under the Depreciated Replacement Cost approach the estimated cost to replace the asset Annual leave accrued 87,663 71,810 is calculated and then adjusted to take into account physical depreciation and obsolescence. Physical depreciation and obsolescence has been determined based on professional judgement regarding physical, Long-service leave 26,977 30,012 economic and external obsolescence factors relevant to the asset under consideration. For all Leasehold Total other long-term employee benefits 114,640 101,822 Improvement assets, the consumed economic benefit / asset obsolescence deduction is determined based on the term of the associated lease. Termination benefits Equipment and motor vehicles- Adjusted Market Transaction Separation Payments 130,617 155,000 The fair value of this asset class has been determined using the market approach. Total senior management remuneration expenses 1,987,444 2,322,619 AFTRS has chosen to early adopt AASB 2015-7 Amendments to Australian Accounting Standards – Fair Value Disclosures of Not-for-Profit Public Sector Entities at 30 June 2016. The future economic benefits The total number of senior management personnel of AFTRS’ non-financial assets are not primarily dependent on their ability to generate cash flows. included in the above table is 17 individuals (2015: 16) AFTRS has not disclosed qualitative information about the significant unobservable inputs or a narrative description of the sensitivities of the fair value measurements to changes in the unobservable inputs. 10. COUNCIL-RELATED PARTY DISCLOSURES The AFTRS’ policy is to recognise transfers into and transfers out of fair value hierarchy levels as at the There was no related party transaction nor benefit during 2015–16 and 2014–15 end of the reporting period.
138 139 Section 12 Appendices AFTRS Annual Report 2015–16
12A. Fair value measurements, valuation techniques and inputs used 13. FINANCIAL INSTRUMENTS (a) Categories of financial assets and liabilities Fair value measurements at For Levels 2 and 3 fair the end of the reporting period value measurements Fixed Interest Floating Rate Maturing Non-Interest Category Interest Rate in 1 Year or Less Bearing Total 2016 2015 (Level 1, Valuation technique (s) $000 $000 2 or 3) and inputs used 2016 2015 2016 2015 2016 2015 2016 2015 Notes $000 $000 $000 $000 $000 $000 $000 $000 Non-financial assets (NFAs) Depreciated Replacement Financial Assets Leasehold Improvements 4,119 4,531 3 Cost (DRC) Cash at bank 3A 2,006 2,051 6,000 6,000 – – 8,006 8,051 Market Approach – Cash on hand 3A – – – – 3 3 3 3 Plant and Equipment 2,803 2,400 2 Adjusted market transaction Loans and receivables Depreciated Replacement Plant and Equipment 708 1,331 3 Cost (DRC) Receivables for goods and Market Approach – services 3B* – – – – 1,645 529 1,645 529 Motor Vehicles 69 83 2 Adjusted market transaction Other receivables 3B* – – – – 22 30 22 30 Total non-financial assets subject to regular fair value assessment 7,699 8,345 Total 2,006 2,051 6,000 6,000 1,670 562 9,676 8,613 Carrying amount 1. No non-financial assets were measured at fair value on a non-recurring basis as at 30 June 2016 (2015: Nil). of financial assets 2,006 2,051 6,000 6,000 1,670 562 9,676 8,613 2. AFTRS’ assets are held for operational purposes and not held for the purposes of deriving a profit. Financial Liabilities The current use of all non-financial assets is considered their highest and best use. At amortised cost: 3. There were no transfers between levels 1 and 2 for recurring fair value measurements during the year. Trade creditors 5 – – – – 1,199 1,112 1,199 1,112 Other payables 6 – – – – 2 2 2 2 Total – – – – 1,201 1,114 1,201 1,114 Carrying amount 12B. Reconciliation for recurring Level 3 fair value measurements of financial liabilities – – – – 1,201 1,114 1,201 1,114 Leasehold improvements Equipment Motor vehicles Total * After excluding GST and impairment allowance
2016 2015 2016 2015 2016 2015 2016 2015 $000 $000 $000 $000 $000 $000 $000 $000
Opening balance 4,531 4,565 1,331 3,816 – 23 5,862 8,404 Transfers out of Level 3 – – (641) (2,400) – – (641) (2,400) Transfers into Level 3 – – 31 – – – 31 – Disposal (4) – – – – (20) (4) (20) Impairment – – – (2) – – – (2) Depreciation (625) (574) (177) (1,076) – (3) (802) (1,653) Purchases 217 540 164 993 – – 381 1,533 Closing balance 4,119 4,531 708 1,331 – – 4,827 5,862
There have been 1,407 asset items transferred out of level 3 into level 2 (2015 : 1,061) and 6 items from level 2 to level 3.
140 141 Section 12 Appendices AFTRS Annual Report 2015–16
(b) Net fair values of financial assets and liabilities 14. ASSETS HELD IN TRUST Financial assets Purpose – Monies provided by AFTRS and Kenneth and Andrew Myer to fund study activities including The net fair values of cash, deposits on call and non-interest bearing monetary financial assets annual Indigenous scholarship and advancement of the role of the creative producer. approximate their carrying amounts Apart from the operating cash kept in a bank account, the remaining trust funds are in unit trusts managed Financial liabilities by The Myer Family Company, with investment management undertaken by Airlie Funds Management at The net fair values of trade creditors, all of which are short term in nature, approximate their the discretion of the AFTRS Council. carrying amounts 2016 2015 2016 2015 $000 $000 $000 $000 Trust funds (c) Net income from financial assets / liabilities Fund opening balance 1,834 1,813 Interest income from bank deposits 199 215 Distributions received 87 57 Net income from financial assets and liabilities 199 215 Interest received 1 1 (d) Fee income and expense Increase/(decrease) in value of investment (132) 45 There was no fee income or expense arising from financial instruments in the year ending 30 June 2016 Imputation refund received 28 26
(e) Credit risk exposures Scholarships paid (118) (108) AFTRS has no past due nor impaired financial assets. Exposure to credit risk is minimal as the majority Fund closing balance 1,700 1,834 of financial assets are receivable from the Australian Government and bank deposits where potential of default is unlikely. Receivables consists of student fees and trade receivable with adequate provision Represented by: for foreseeable uncollectibility. The maximum exposure to such minor assets is their total values (2016: Cash 21 24 $1,645,000; 2015: $529,000). MF Charities Equities Fund 1,679 1,810 (f) Liquidity risk Total funds 1,700 1,834 AFTRS’ liabilities are mostly trade payables and provisions for employees benefits. The exposure to liquidity risk is based on the probability that AFTRS will encounter difficulty in meeting its financial 15. REMUNERATION OF AUDITORS $ $ obligations which is highly unlikely due to appropriations funding, internal policies and procedures Remuneration (net of GST) to the Australian National Audit in place to ensure there are appropriate resources to meet its financial obligations. Office for auditing financial statements for the reporting periods 47,000 47,000 No other services were provided by the Australian (g) Market risk exposures National Audit Office during the reporting periods Market risks include those from interest rate, currency and other price risks which might cause the fair value of future cash flows to fluctuate because of changes in market prices. AFTRS’ exposures to currency and other price risks are minimal. Basic bank deposits held are subject to the usual interest rate risk associated with short term investments with floating rates.
142 143 Section 12 Appendices AFTRS Annual Report 2015–16
2016 2015 16. REPORTING OF OUTCOMES $000 $000 16A. Outcomes of AFTRS 17. COMMITMENTS AFTRS is structured for the delivery of one outcome which is detailed in Overview note A. As at June 30 Outcome 1 2016 2015 BY TYPE $000 $000 Commitments receivable 16B. Net cost of outcome delivery Net GST recoverable on commitments 3,298 3,687 Expenses 29,080 29,899 Total commitments receivable 3,298 3,687 Income from non government sector Commitments payable Activities subject to cost recovery (5,192) (5,351) Capital commitments Other Leasehold improvements 28 6 Interest on deposits (199) (215) Plant and equipment 93 – Total (5,391) (5,566) Total capital commitments 121 6 Net cost 23,689 24,333 Other commitments 16C. Major classes of expenses, income, assets, and liabilities by outcome Operating leases 1 35,333 40,157 Operating expenses Other commitments 2 827 395 Employee benefits 16,271 16,508 Total other commitments payable 36,160 40,552 Suppliers 10,943 11,501 Total commitments payable 36,281 40,558 Depreciation and amortisation 1,882 1,849 Net commitments payable by type 32,983 36,871 Write-down and impairment of assets and disposals (16) 41 Total operating expenses 29,080 29,899 Commitments are GST inclusive where relevant. Funded by: 1 Operating leases included are non-cancellable and comprise of leases for office accommodation, Revenue from government 23,697 24,335 motor vehicles, and office equipment 2 Other commitments primarily comprise of contracts for security and cleaning services Sale of goods and rendering of services 5,192 5,351 Interest on deposits 199 215 Total operating revenues 29,088 29,901
Assets Cash and cash equivalents 8,009 8,054 Trade and other receivables 1,792 660 Leasehold improvements 4,119 4,531 Plant and equipment 3,511 3,731 Motor vehicles 69 83 Computer software 319 448 Total non-financial assets 511 272 TOTAL ASSETS 18,330 17,779
Liabilities Suppliers 1,199 1,112 Other payables 3,365 3,023 Provisions 2,871 2,757
144 TOTAL LIABILITIES 7,435 6,892 145 Section 12 Appendices AFTRS Annual Report 2015–16
2016 2015 18. REPORTING OF VARIANCES FROM PORTFOLIO BUDGET STATEMENTS (PBS) $000 $000 Variance BY MATURITY Actual Budget from budget Var % Note Commitments receivable $000 $000 $000 Net GST recoverable on commitments STATEMENT OF COMPREHENSIVE INCOME Within 1 year 541 509 Expenses Between 1 to 5 years 1,982 1,929 Employee benefits 16,271 17,403 (1,132) (6.5%) (a) More than 5 years 775 1,249 Suppliers 10,943 10,757 186 1.7% (a) Total commitments receivable 3,298 3,687 Depreciation and amortisation 1,882 1,950 (68) (3.5%) (b) Commitments payable Write-down and Operating leases commitments impairment of assets 5 – 5 (b) Within 1 year 5,347 5,266 Total Expenses 29,101 30,110 (1,009) (3.4%) Between 1 to 5 years 21,457 21,152 Revenue More than 5 years 8,529 13,739 Sale of goods and Total operating leases commitments 35,333 40,157 rendering of services 5,192 5,852 (660) (11.3%) (c) Interest on deposits 199 200 (1) (0.5%) Capital commitments Revenue from government 23,697 24,058 (361) (1.5%) (d) Within 1 year 121 6 Income 29,088 30,110 (1,022) (3.4%) Total capital commitments 121 6 Gains Other commitments Net gains from sale of assets 21 – 21 Within 1 year 329 483 Total Income 29,109 30,110 (1,001) Between 1 to 5 years 344 66 Operating Surplus 8 – 8 Total other commitments 827 395 Total commitments payable 36,281 40,558 Net commitments payable by maturity 32,983 36,871
Commitments are GST inclusive where relevant.
146 147 Section 12 Appendices AFTRS Annual Report 2015–16
Variance Variance Actual Budget from budget Var % Note Actual Budget from budget Var % Note $000 $000 $000 $000 $000 $000
STATEMENT OF FINANCIAL POSITION STATEMENT OF CHANGES IN EQUITY Assets Opening balance 10,887 10,837 50 Cash and cash equivalents 8,009 8,490 (481) (5.7%) Comprehensive income Trade and other receivables 1,792 1,495 297 19.9% (e) Surplus for the period 8 – 8 Financial Assets 9,801 9,985 (184) Other comprehensive income – – – Leasehold improvements 4,119 4,422 (303) (6.9%) (f) Total comprehensive income 8 – 8 – Plant and equipment 3,511 3,700 (189) (5.1%) (f) Closing balance as at 30 June 10,895 10,837 58 – Motor vehicles 69 35 34 97.1% (g) CASH FLOW STATEMENT Computer software 319 656 (337) (51.4%) (f) Appropriations 23,697 24,058 (361) (1.5%) (d) Other Non-Financial Assets 511 300 211 70.3% (h) Sale of goods and Non Financial Assets 8,529 9,113 (584) rendering of services 5,093 5,956 (863) (14.5%) (c), (e) Total Assets 18,330 19,098 (768) Interest 201 200 1 0.5% Net GST Received 1,120 1,312 (192) (14.6%) (l) Liabilities Other 14 100 (86) (86.0%) (m) Suppliers 1,199 1,111 88 7.9% (i) Total cash received 30,125 31,626 (1,501) Other payables 3,365 4,040 (675) (16.7%) (j) Employees 17,537 17,174 363 2.1% (k) Total payables 4,564 5,151 (587) (11.4%) Suppliers 11,532 11,902 (370) (3.1%) (a), (i) Employees Provisions 2,871 3,110 (239) (7.7%) (k) Total cash used 29,069 29,076 (7) – Total Liability 7,435 8,261 (826) Net cash from Net Assets 10,895 10,837 58 operating activities 1,056 2,550 (1,494) Equity Proceeds from sales of PP&E 28 – 28 Retained surplus 10,847 10,837 10 Purchase of PP&E and intangibles 1,129 1,914 (785) (41.0%) (f) Other Reserves 48 – 48 Net cash (used by) investing activities (1,101) (1,914) 813 Total Equity 10,895 10,837 58 Net (decrease)/increase in cash held (45) 636 (681) Cash at beginning of year 8,054 7,854 200 Cash at end of year 8,009 8,490 (481)
148 149 Section 12 Appendices AFTRS Annual Report 2015–16
Explanation of major budget variances (e) Receivables are $297K above budget, Index Variances exceeding 10% of each Portfolio Budget’s reflecting impacts of above-budget fees income line item or 2% of the relevant class totals are (see note (c)) in the March to June period and considered to be major. Where actuals have been below-budget payments from debtors. categorised differently from the PBS, their impacts (f) Actual capital expenditure has been cut back are also included in the explanations below. and deferred as part of a savings review. (a) The classification between labour and (g) Motor vehicles were revalued upward in June suppliers is determined by forms of services 2015 after completion of 2016 PBS. engagement (i.e. employees vs contractors) (h) Due to particular suppliers terms, more which would only be known when the activities expenditure than anticipated was required actually happen. In total, actuals are 3.4% below to be paid in advance, resulting in an increase # ASPIRE 6, 13, 38 budget due to fewer courses held (see note in deferred expenditure as well as an increase 360 Vision 48 ATOM 12 (c) below) hence less manpower required, plus in suppliers or a decrease in cash. savings from expense cut-backs to cope with Audio Network 12 loss of own-source revenue and reduction in (i) Supplier payable balance was higher than audit 97–98 budget due to the timing of receipt of invoices. A government appropriations. AACTA Awards 7, 53 Australian Ballet School 50 (j) Award course students are invoiced for the (b) A high concentration of assets purchases Australian Centre for the Moving Image full amounts at the beginning of each semester. Aboriginal and Torres Strait Islanders occurred in January to March 2016 and therefore 14, 42–45, 50, 59, 85. See also Indigenous (ACMI) 51 those assets incurred depreciation expense for a Before these amounts are gradually recognised policy 45 Australian Commercial Radio Awards 32 small portion of the year. Assets were budgeted as income over the months as courses are run, to be purchased more evenly throughout the year they are carried on the balance sheet as other A Boy Called Su 33, 34 Australian Film, Television and Radio School resulting in a higher budget figure. payables (deferred income), reflecting the fact academic Act 1973 65, 75, 86, 96, 99 that they are not yet earned. The below-budget board 30–31, 70–71 Australian International Documentary Conference (c) Revenue is $660K below budget almost all position of these other payables is consistent (AIDC) 52 due to fees income shortfall. Award courses with fewer courses and fewer students than governance 30–31, 62 were $404K under budget. The figures in the budgeted (see note (c)). support 28, 58 Australian National Academy of Music 50 PBS assumed 398 Award course students over Academic Standards and Quality Australian National Audit Office (ANAO) 97 19 courses in July to October at an average fee (k) Included in budget’s $3,110K was an estimate Committee (ASQC) 30–31 Australian Qualifications Framework (AQF) 62 per head of $3,553 and 515 students over 23 of $500K for wages payable at year end. Actual accessibility 17 courses in March to June at an average fee of was $135K but always classified as other payable. Australian Roundtable for Arts Training $3,839. Actuals achieved were 272 students After allowing for this difference, employee Acting Chief Executive Officer 9, 15 Excellence 12, 50 provisions were marginally less than budget over 12 courses averaging $3,377 for the first Adams, Phillip 31 Australian Youth Orchestra 50 due to having fewer staff members than budget. period. After strategy review and alterations, Admissions Committee 30–31, 59 AV Myer Indigenous Awards for the second period improved to 482 students However, employee expenses were higher than AFTRS Act. See Australian Film, Television Exceptional Talent 32, 44, 103 averaging $4,293 which exceeded budget and budget due to redundancy payouts. Award Course program 20–36 still reached the 23 courses target. Income from (l) Less GST claimed back from the ATO as and Radio School Act 1973 that segment in that period was $92K above a result of reduced capital expenditure and AFTRS Future Vision 2021 15 budget. Open Program revenue was $252K below supplier expenses. AFTRS Industrial Strength: Skills and B budget, largely due to the decline in revenue (m) Other receipts have been irregular over Training Audit of the Australian Screen, Bachelor of Arts Screen, also BA Screen from corporate clients compared to revenue from previous years so determining a budget is difficult. Digital and Broadcast Industries 11–12 6, 14, 21–24, 28, 30, 57-59, 63, 77, 79 individuals, whilst maintaining the number of For the 2015–16 financial year the budget was AFTRS Open 14–15, 37–41 Bedford, Kodie 32, 44, 103 courses and the number of students. over-stated. Head of 38 BedHead 7 (d) Government appropriations were cut back lecturers 111–112 by $361K as a consequence of the imposed biodiversity conservation 94 All God’s Creatures 36 savings decision in December 2015 as part Black Shot 14, 43 of MYEFO review. alumni 7, 32, 51, 52, 54, 57, 59 Black Talk 14, 44 An Evening with Jamie Brewer 49 Brandis, George, Senator the Hon. See Minister annual performance statement 76–83 for the Arts applications 59–60 Brewer, Jamie. See An Evening with Jamie Brewer END OF AUDITED appointments. See staff; academic board Browne, Ann 9, 15, 71 FINANCIAL STATEMENTS ARN 40 Brown, Martin 14, 71 ARTS8 Community of Practice 50
150 151 Index AFTRS Annual Report 2015–16
building services 63 creativity 17, 19 festivals 53 Indigenous business skills 11 cultural Fifield, Mitch, Senator the Hon. See Minister culture 45 Bus Stop Films 6, 13, 49, 92 awareness 45 for the Arts [17BE(c)] Head of 13, 43 forum 15, 56 Film Victoria 51 scholarships 6, 13, 43, 59 C survey 15 Finance, Audit and Risk Management storytelling 43, 44 (FARM) Committee 68–70 students 13, 43 CAAMA 44 Unit 6, 42–45 D financial performance 97 Campora, Matthew 9, 29, 66 industrial relations 90 Dale, Darren. See Deputy Chair The Flying Adventures of Amelia 36 Cannes Film Festival 36 industry 10–12, 38, 49 Deductible Gift Recipient (DGR) 56 Flying Fruit Fly Circus 50 careers expos 58 guilds and associations 53 Deputy Chair 9, 66, 69 Foal 33, 35, 36 Chair 15. See also Schultz, Julianne Pathway program 43 introduction 4–9 Destination NSW 48 Foxtel 12 placements 43 letter to Minister 1 Deszcz 33, 34, 36 Award for New Media Innovation 32, 103 practitioners at AFTRS 54, 110–112 Chief Executive Officer (CEO) 4, 65, 66. See diploma program 22–23. See also fraud control 93 programs 38, 40 also Peplow, Neil; Acting Chief Executive Officer graduate diplomas freedom of information 92 skills survey 14, 22 perspective 10–15 disability 13, 49, 85 Friday On My Mind 51, 104 training 8 Chief Operations Officer 15 reporting 92 FSM 12, 48 use of AFTRS facilities 54, 107–109 Cinema des Antipodes 36 diversity 6, 13, 17, 92 functions 68, 70, 96 Information and Cultural Exchange 6, 39 claims 99 Division of Education 21 Information Publication Scheme (IPS) 92 Clay-Smith, Genevieve 13, 49 Downie, Kirsten 15, 71 G infrastructure 63 Clickview 57 The Dressmaker 7, 32 government policy orders 93 insurance premiums 93 collaboration 17, 46–54 Dundas, Kate 9, 31, 66 graduate certificates 24–25 internship 39 Collins, Allan 14, 43 graduate diplomas 24, 26 Comcare 90 E graduates 2015 101–102 J Comcover 93 ecologically sustainable development 94 graduation 31 Jerzy Toeplitz Library 57 Commonwealth Fraud Control Framework 93 Educational Support Services 21 graduation prizes 103 judicial decisions 93 communication 8 enrolment 59–60 Grant Broadcasters 40 complaints 85, 92 Entertainment Quarter 4, 31, 100 guest lecturers 54, 110–112 K compliance 68–69 environmental performance reporting 94 The Kangaroo Guy 33, 36 educational 62 equal employment opportunity (EEO) 85 H Kenneth Myer Fellowship Trust 6, 58 conferences 53 establishment 85 Head of Indigenous 13 key performance indicators (KPIs) 73–74 consultancy service 100 Event Cinemas 48 Health and Safety Committee 91 contractors 100 Ewing, Robyn 9, 66, 71 Heath, Oliver 9, 66, 102 L Convocation 65 excellence 12, 17, 19 Higher Education Standards Framework leadership 4, 10, 13 corporate governance 64–83 executive 71, 85 (Threshold Standards) 2015 62 learning 23, 28 handbook 66 executive director 66 Higher Education Support Act 2011 62 Learning Management System. See Moodle Corporate Plan 7, 12, 19, 97 expressions of interest 63, 99 Hollywood Reporter 7 legislation 93, 96 2015-16 11 honorary degree 5, 31 Levy, Sandra 6, 66 2016-17 to 2020-21 15 F The Horizon 7 library 57 Council 9, 65–67 facilities 63 Hughes, Liz 14, 71 Lone Star 44 Course Committee 30–31 faculty 28–30 losses 99 courses. See also Award Course Program; LUMINA 6 Bachelor of Arts Screen; diploma program; Fair Work Act 2009 90 I graduate certificates; graduate diplomas; FARM Committee. See Finance, Audit incident reports 91 masters program; Open Program and Risk Management Committee inclusion 8, 13, 49 M introductory 22–23 FEE-HELP 62 indemnities 93 Mad Max: Fury Road 7 short 38
152 153 Index AFTRS Annual Report 2015–16
marketing 15, 58, 85 people living with a disability 13 school holiday program 41 talent lab 58 Maslin, Sue 7, 32, 51 Peplow, Neil 4, 66, 71 Schools Advisory Committee 41 teaching and learning 28–30 Mason, Andrew 9, 66, 69 PGPA Act. See Public Governance, Performance schools and youth programs 41 technical and tutorial support 57 Master of Arts Screen 6, 14, 77, 78 and Accountability Act 2013 Schultz, Julianne 15, 66 technical systems provision 63 Master of Screen Arts (MSA) 14, 21, 26, philanthropy 14, 19 Screen Audience Research Australia 11 technology 19, 63 Master of Screen Arts and Business (MSAB) portfolio budget statements (PBS) 73 Screen Australia 7, 12, 48 TedXSydney 12 27, 59, 79, 103 privacy 92 ScreenFutures 52 Television Unit 41 masters program 6, 26–27 Privacy Act 1988 92 screenings 107–109 tendering 99 Media Resource Centre 12 procurement 63 Screen NSW 6, 12, 39, 48, 49, 51 Tertiary Education Quality and Standards Melbourne International Film Festival 12 production delivery 57 Screen Queensland 12, 51 Agency (TEQSA) 62 merit selection 59 professional development 28 Screen Territory 12, 39, 40 Torres Strait Islanders. See Aboriginal Metro Screen 51 programs Selwyn Speight Award for Radio Reporting and Torres Strait Islanders Midnight Poetry 36 customised 38 32, 103 Tropfest 12 Mid-West Regional Council 40 national 40 Sherriff, Kyas 13, 32, 43, 103 TV Talks 52, 106 public 51, 104 Minister for Education and Training 62 She Shoots 6, 39 specialist 59 Minister for the Arts 1, 9, 65 Sixel, Margaret 7 U property use 100 ministerial directions 93 skills training 22 UNSW. See ASPIRE Public Governance, Performance and Moodle 23, 89 South Australian Film Corporation (SAFC) 40 Accountability Act 2013 1, 65, 68, 96 staff Public Interest Disclosure Act 2013 85 V appointments 85 values, AFTRS’ 17 N purchasing 99 NAISDA 44 merit selection 85 video post 57 purpose, AFTRS’ 7, 16–17 teaching 54 Namok, Bernard (Jnr.) 44, 103 virtual reality (VR) 12, 48 training and development 89 National Disability Strategy 2010–2020 92 vision, AFTRS’ 7, 16–17 Q women 85 National Institute of Circus Art 50 Vivid Sydney 12, 51 quality assurance. See Tertiary Education Quality Start VR 12, 48 VR Noir: A Day Before the Night 12, 48 National Institute of Dramatic Art (NIDA) 12, 50 and Standards Agency (TEQSA) state film agencies 39, 40 networking initatives 51 Queensland Touring Film Festival 40 storytelling 19 non-executive director/s 66 strategic direction 18–19, 83 W NOVA 40 R student achievements whistleblowing hotline service 85 radio film 33 Wide Angle Tasmania 12 O Advanced Diploma of Radio Essentials 26 radio 32 Women in Film: Does Gender Matter? 6 occupational health and safety (OH&S). Core Radio Skills 25 Student Centre 58, 92 Women NSW 6, 39 See work health and safety (WHS) diploma 25 Student Representative Committee (SRC) work and private commitments 88 online 22, 57 Graduate Diploma in Radio 26, 32, 53, 59 30–31 work health and safety (WHS) 90–91 online course delivery 40 Radio Talent Pathway 25 students, disadvantaged 49, 59 workplace online learning 23 regional 41, 58 Student Services 58–59 communication 56–57 Open program. See AFTRS Open research 11–13, 52 Student Support Program 58 culture 56 operations 8, 55–63 research and development 8 Stuffed 33, 35 diversity 85 Operations Division 56 Research and Ethics Committee 30–31 sustainability 17 WOW Film 54 organisation chart 72 risk management 68, 98–99 Sydney Film Festival 12, 44, 52 outreach 8 Sydney Writers’ Festival 12, 52 S P Sadler, Tim 15, 71 T partnership 12–13, 19 scholarships 6, 58–59. TAFE 44 See also Indigenous scholarships pathways 15 talent development 8 Equity 6, 58
154 155 Public Governance, Performance and Accountability Rule 2014 Reference Index
PGPA Rule Reference Description Page number
17BE 17BE(a) details of the legislation establishing the body 65, 75, 86, 96, 99 17BE(b) (i) summary of the objects and functions 93, 96 (ii) purposes of the entity as included in the corporate plan 7, 16-17 17BE(c) the names of the persons holding the position of responsible Minister or Ministers and the titles of those responsible Ministers 1, 9 , 65 17BE(d) any directions given by a Minister under an Act or instrument 93 17BE(e) any government policy orders that applied 93 17BE(f) If entity has not complied with a direction or order referred to in (d) or (e) n/a 17BE(g) the annual performance statements 76-83 17BE(h) a statement of any significant issue reported to the responsible Minister n/a 17BE(i) outline of action taken that has been taken to remedy the non-compliance referred to in (h) n/a 17BE(j) information on the accountable authority, or each member of the accountable authority 9, 65-67 17BE(k) an outline of the organisational structure 72 17BE(l) an outline of the location 4, 31, 100 17BE(m) information in relation to the main corporate governance practices 64-83, 66 17BE(n)/17BE(o) decision-making process undertaken by the accountable authority for making decisions under certain conditions n/a 17BE(p) any significant activities and changes that affected the operations or structure n/a 17BE(q) particulars of judicial decision or decisions of administrative tribunals that have had, or may have a significant effect on the operations 93 17BE(r) particular of any report on the entity given during the period n/a 17BE(s) information from a subsidiary of the entity that is required to be included in the annual report n/a 17BE(t) details of any indemnity that applied to the accountable authority, any member of the accountable authority or officer of the entity against a liability 93 17BE(u) an index identifying where the requirements of this section and 17BF are to be found 156 17BF n/a
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