Submission to the Australian Government's 2010 Review of The

Total Page:16

File Type:pdf, Size:1020Kb

Submission to the Australian Government's 2010 Review of The Submission to the Australian Government’s 2010 Review of the Independent Screen Production Sector ISSUED JULY 2010 REVISED AUGUST 2010 • Page 50, amended Producer Offset Summary Statistics SCREEN AUSTRALIA – 2010 REVIEW SUBMISSION CONTENTS 1. INTRODUCTION ..................................................................................................5 2. KEY ISSUES ........................................................................................................6 3. SOURCES AND DEFINITIONS ............................................................................9 3.1 Definitions and scope ...................................................................................... 9 3.2 Sources and methodology............................................................................... 9 3.2.1 Screen Australia’s consultation with industry.........................................10 3.2.2 Screen Australia database analysis ......................................................10 3.2.3 Survey of Australian screen production businesses (2010 Business Survey) ..........................................................................................................11 3.2.4 Database analysis and 2010 Business Survey combined .....................11 3.3 Information limitations ................................................................................... 12 3.3.1 The ABS Service Industry Survey .........................................................12 4. BACKGROUND .................................................................................................14 4.1 Government’s role in screen production ........................................................ 14 4.2 Screen Australia............................................................................................ 14 4.3 Screen Australia and the Producer Offset ..................................................... 16 4.4 Screen Australia and co-productions ............................................................. 18 5. INDUSTRY CONTEXT .......................................................................................19 5.1 The ‘creative industries’................................................................................. 19 5.1.1 Size of the creative industries ...............................................................19 5.2 The industry .................................................................................................. 20 5.2.1 All film and video production .................................................................20 5.2.2 Drama and documentary production .....................................................20 5.3 Production activity ......................................................................................... 22 5.3.1 Television, film and video production activity, including broadcasters ...23 5.3.2 Independent documentary and drama production activity .....................24 5.4 Challenges to sustainability ........................................................................... 26 6. INDIVIDUAL PRODUCTION BUSINESSES.......................................................27 6.1 Towards an understanding of business sustainability .................................... 27 6.2 Feature film, TV drama and documentary: specialisation or crossover? ........ 27 6.3 Characteristics of surveyed businesses......................................................... 28 6.3.1 Business structure ................................................................................28 6.3.2 Size of business, employment...............................................................29 6.3.3 Location ................................................................................................30 6.3.4 Type of business activity .......................................................................31 6.3.5 Level and sources of income ................................................................32 6.4 Indicators of sustainability ............................................................................. 36 6.4.1 Characteristics of consistent and profitable businesses ........................37 6.4.2 Profitability, budgets and income ..........................................................40 2 SCREEN AUSTRALIA – 2010 REVIEW SUBMISSION 6.5 Strategies for business viability ..................................................................... 42 6.5.1 Ownership of creative assets ................................................................42 6.5.2 Diversity of content ...............................................................................42 6.5.3 Diversity of business activity .................................................................44 6.5.4 Collaboration.........................................................................................45 6.6 Observations of survey respondents ............................................................. 47 6.6.1 Factors important to growth ..................................................................47 6.6.2 Significant barriers to growth.................................................................48 7. PRODUCER OFFSET ........................................................................................50 7.1 Summary statistics ........................................................................................ 50 7.1.1 Number of certificates issued by month ................................................51 7.1.2 Number of final certificate applications received by month ....................51 7.2 Impact of the Producer Offset on feature films............................................... 52 7.2.1 The importance of diversity across budget ranges ................................52 7.2.2 Innovative and entrepreneurial filmmaking............................................54 7.2.3 Theatrical distribution and QAPE thresholds .........................................54 7.2.4 Direct support for Australian content on emerging media platforms ......56 7.3 Impact of the Producer Offset on TV drama .................................................. 58 7.3.1 The 65-episode cap ..............................................................................59 7.4 Impact of the Producer Offset on documentary ............................................. 60 7.4.1 Difficulties for documentary makers ......................................................62 7.5 Direct and indirect support of production businesses..................................... 65 7.5.1 Producer Offset.....................................................................................65 7.5.2 Screen Australia funding .......................................................................65 7.5.3 Producer Offset and Screen Australia funding ......................................66 7.6 Certainty and the Producer Offset ................................................................. 67 7.6.1 Timing of the acquittal...........................................................................67 7.6.2 Significant Australian Content ...............................................................68 7.6.3 Qualifying Australian Production Expenditure .......................................70 7.6.4 Co-production access to the Producer Offset........................................76 8. SUPPLEMENTARY INFORMATION..................................................................77 8.1 Location Offset .............................................................................................. 77 8.1.1 Foreign drama production: PDV with location shoot..............................78 8.2 PDV Offset .................................................................................................... 80 8.2.1 Levels of PDV-only production ..............................................................80 8.2.2 Cost to government...............................................................................81 8.2.3 Type of services provided .....................................................................81 8.2.4 Impact on PDV businesses ...................................................................82 8.3 State support................................................................................................. 83 8.4 Co-production................................................................................................ 86 8.4.1 Points test.............................................................................................87 8.4.2 Non-credited writers..............................................................................87 8.4.3 Indicative approval ................................................................................87 8.5 The games sector.......................................................................................... 88 3 SCREEN AUSTRALIA – 2010 REVIEW SUBMISSION 8.5.1 Challenges to sustainability...................................................................88 9. ATTACHMENTS ................................................................................................91 A: Issues raised as part of Screen Australia’s industry consultation .................... 92 B: 2010 Business Survey .................................................................................... 94 C: Audience engagement: a snapshot from the 2010 Business Survey............. 104 D: Currently active businesses by slate composition: a snapshot from the 2010 Business Survey ............................................................................................... 106 E:
Recommended publications
  • Game Developers' Association of Australia
    \t-~c~)~(- c~r~-~ 1 Submission No, GAME DEVELOPERS~ ASSOCIATION OF AUSTRALIA /1 HOUSE OF REPRESENTATIVES STANDING COMMITTEE ON COMMUNICATIONS, INFORMATION TECHNOLOGY AND THE ARTS INQUIRY INTO THE FUTURE OPPORTUNITIES FOR AUSTRALIA’S FILM, ANIMATION, SPECIAL EFFECTS AND ELECTRONIC GAMES INDUSTRIES Submission Prepared by the GDAA JUNE 2003 GAME DEVELOPERS’ ASSOCIATION OF AUSTRALIA SUBMISSION TO HOUSE OF REPRESENTATIVES INQUIRY JUNE2003 Table of Contents OVERVIEW .3 1. Background to the GDAA 4 2. Industry Context 5 2.1 Global 5 2.2 Key Global Developments and Drivers of Change 6 2.3 Australia 7 2.4 The Game Industry Value Chain 8 3. Economic, Cultural and Social Benefits 9 4. Opportunities for Growth 10 5. Barriers to Growth 10 6. Infrastructure Needs 11 7. Skill Requirements 12 7.1 Skills Gap 12 7.2 Business and Project ManagementSkills 13 8. Linkages Between Sectors 13 9. Leveraging Future Growth to Maximise Exports 14 How Federal Government Can Assist the Game Industry 15 9.1 Investment 15 9.2 Raising Profile 18 9.2.1 Global Profile Raising 18 9.2.2 Local IndustryDatabase 18 9.3 Skills and Training 19 10. Contact 20 Attachments 21 GAME DEVELOPERS’ ASSOCIATION OF AUSTRALIA 2 SUBMISSION TO HOUSE OF REPRESENTATIVES INQUIRY JUNE 2003 OVERVIEW The House of Representatives Standing Committee on Communications, Information Technology and the Arts is undertaking an inquiry into future opportunities for the Australian film, animation, special effects and electronic game industries. This submission focuses specifically on the Australian electronic game industry. The Game Developers’ Association ofAustralia (GDAA) is the peak body and voice for local game developers.
    [Show full text]
  • Binderoo a Rapid Iteration Framework That Even Scripters Can
    DConf 2017 Berlin, Germany Ethan Watson, Senior Engine Programmer 1 BINDEROOBINDEROO AA RAPIDRAPID ITERATIONITERATION FRAMEWORKFRAMEWORK THATTHAT EVENEVEN SCRIPTERSSCRIPTERS CANCAN USEUSE Before we get started, I’d like to point out that I’ll take questions during the talk via this URL. You can go on there and ask a question, and you can even upvote questions. I’ll check periodically throughout the talk and answer the most voted questions. In fact, there’s one here right now: [SWITCH] [FORWARD] 2 Ethan Watson 14.5 Years 11 Platforms So a bit about myself to begin with for those that don’t know me. As the title slide gave away, I’m Ethan Watson. [FORWARD] And I come from the fictional land of Australia. [FORWARD] I’ve been in the industry for 14 and a half years, during which time I’ve shipped games on 11 different platforms. I’ve shipped a number of titles as both an engine programmer and a game programmer, some of which include the TY the Tasmanian Tiger games; Star Wars: The Force Unleashed; Game Room. I’m currently a senior engine programmer at Remedy Entertainment, and have most recently shipped Quantum Break. [FORWARD] 3 Previously... ●Myself at DConf 2016, Manu at DConf 2013 ●GDC Europe 2016 ● Very well received talk ●Reboot Develop Croatia 2017 ● Also well received I’m no stranger here to DConf, and neither is the company I work for, Remedy Entertainment. [FORWARD] I presented here last year about how we shipped Quantum Break with D Code, and Manu Evans presented here in 2013 about the initial work to support D.
    [Show full text]
  • TITLES = (Language: EN Version: 20101018083045
    TITLES = http://wiitdb.com (language: EN version: 20101018083045) 010E01 = Wii Backup Disc DCHJAF = We Cheer: Ohasta Produce ! Gentei Collabo Game Disc DHHJ8J = Hirano Aya Premium Movie Disc from Suzumiya Haruhi no Gekidou DHKE18 = Help Wanted: 50 Wacky Jobs (DEMO) DMHE08 = Monster Hunter Tri Demo DMHJ08 = Monster Hunter Tri (Demo) DQAJK2 = Aquarius Baseball DSFE7U = Muramasa: The Demon Blade (Demo) DZDE01 = The Legend of Zelda: Twilight Princess (E3 2006 Demo) R23E52 = Barbie and the Three Musketeers R23P52 = Barbie and the Three Musketeers R24J01 = ChibiRobo! R25EWR = LEGO Harry Potter: Years 14 R25PWR = LEGO Harry Potter: Years 14 R26E5G = Data East Arcade Classics R27E54 = Dora Saves the Crystal Kingdom R27X54 = Dora Saves The Crystal Kingdom R29E52 = NPPL Championship Paintball 2009 R29P52 = Millennium Series Championship Paintball 2009 R2AE7D = Ice Age 2: The Meltdown R2AP7D = Ice Age 2: The Meltdown R2AX7D = Ice Age 2: The Meltdown R2DEEB = Dokapon Kingdom R2DJEP = Dokapon Kingdom For Wii R2DPAP = Dokapon Kingdom R2DPJW = Dokapon Kingdom R2EJ99 = Fish Eyes Wii R2FE5G = Freddi Fish: Kelp Seed Mystery R2FP70 = Freddi Fish: Kelp Seed Mystery R2GEXJ = Fragile Dreams: Farewell Ruins of the Moon R2GJAF = Fragile: Sayonara Tsuki no Haikyo R2GP99 = Fragile Dreams: Farewell Ruins of the Moon R2HE41 = Petz Horse Club R2IE69 = Madden NFL 10 R2IP69 = Madden NFL 10 R2JJAF = Taiko no Tatsujin Wii R2KE54 = Don King Boxing R2KP54 = Don King Boxing R2LJMS = Hula Wii: Hura de Hajimeru Bi to Kenkou!! R2ME20 = M&M's Adventure R2NE69 = NASCAR Kart Racing
    [Show full text]
  • Microsoft Xbox
    Microsoft Xbox Last Updated on October 1, 2021 Title Publisher Qty Box Man Comments AFL Live 2003 Acclaim Entertainment Blinx: The Time Sweeper Microsoft Game Studios Brute Force: Not for Resale Microsoft Call of Duty 3 Activision Cold Fear Ubisoft Conker: Live & Reloaded Microsoft Cricket 2005 EA Sports Doom³: Limited Collector's Edition Activision Elder Scrolls III, The: Morrowind: Game of the Year Edition Ubi Soft F1 Career Challenge Electronic Arts Fable Microsoft Fable: The Lost Chapters Microsoft Godfather, The Electronic Arts Grabbed by the Ghoulies Microsoft Halo: Combat Evolved: Classics Microsoft Game Studios Jade Empire: Limited Edition Microsoft Jade Empire Microsoft Lord of the Rings, The: The Return of the King Electronic Arts MechAssault Microsoft Game Studios MechAssault 2: Lone Wolf: Limited Edition Microsoft Game Studios Midnight Club 3: DUB Edition Remix Rockstar Games Midtown Madness 3: Not for Resale Microsoft MotoGP: Ultimate Racing Technology 2 THQ Need for Speed: Underground 2 Electronic Arts Ninja Gaiden Tecmo RalliSport Challenge Microsoft Red Dead Revolver Take 2 Interactive Return to Castle Wolfenstein: Tides of War Activision Serious Sam II 2K Games Shenmue II Microsoft Game Studios SpyHunter 2 Midway Games ToeJam & Earl III: Mission to Earth Sega ToeJam & Earl III: Mission to Earth: Sega Europe Cover Sega Torino 2006 2K Sports Total Club Manager 2005 Electronic Arts Ty the Tasmanian Tiger 2: Bush Rescue Electronic Arts Ty the Tasmanian Tiger 3: Night of the Quinkan Activision V8 Supercars Australia 2 Codemasters V8 Supercars Australia 3 Codemasters V8 Supercars Australia Race Driver: Xbox Live Support Codemasters V8 Supercars Australia Race Driver Codemasters This checklist is generated using RF Generation's Database This checklist is updated daily, and it's completeness is dependent on the completeness of the database..
    [Show full text]
  • Sony Playstation 2
    Sony PlayStation 2 Last Updated on September 28, 2021 Title Publisher Qty Box Man Comments .hack//G.U. Vol. 1//Rebirth Namco Bandai Games .hack//G.U. Vol. 1//Rebirth: Demo Namco Bandai Games .hack//G.U. Vol. 1//Rebirth: Special Edition Bandai Namco Games .hack//G.U. Vol. 2//Reminisce Namco Bandai Games .hack//G.U. Vol. 3//Redemption Namco Bandai Games .hack//Infection Part 1: Demo Bandai .hack//Infection Part 1 Bandai .hack//Mutation Part 2 Bandai .hack//Mutation Part 2: Trade Demo Bandai .hack//Mutation Part 2: Demo Bandai .hack//Outbreak Part 3: Demo Bandai .hack//Outbreak Part 3 Bandai .hack//Quarantine Part 4 Bandai .hack//Quarantine Part 4: Demo Bandai 007: Agent Under Fire Electronic Arts 007: Agent Under Fire: Greatest Hits Electronic Arts 007: Everything or Nothing Electronic Arts 007: Everything or Nothing: Greatest Hits Electronic Arts 007: Everything or Nothing: Demo Electronic Arts 007: Nightfire Electronic Arts 007: Nightfire: Greatest Hits Electronic Arts 007: Quantum of Solace Activision 18 Wheeler: American Pro Trucker Acclaim 187 Ride or Die Ubisoft 2002 FIFA World Cup Electronic Arts 2006 FIFA World Cup EA Sports 24: The Game 2K Games 25 to Life Eidos 4x4 Evolution Godgames 50 Cent: Bulletproof Vivendi Universal Games 50 Cent: Bulletproof: Greatest Hits Vivendi Universal Games 7 Wonders of the Ancient World MumboJumbo 989 Sports 2004 Disc: Demo 989 Sports 989 Sports Sampler 2003: Demo 989 Sports AC/DC Live: Rock Band Track Pack MTV Games Ace Combat 04: Shattered Skies Namco Ace Combat 04: Shattered Skies: Greatest Hits
    [Show full text]
  • Department of Communications and the Arts Australian and Children's
    Submission to Department of Communications and the Arts Subject Australian and Children’s Screen Content Review Date 21 September 2017 Table of Contents 1. Introduction ............................................................................................................................... 3 2. About IGEA ................................................................................................................................ 4 3. Executive Summary .................................................................................................................... 4 4. Responses to Questions ............................................................................................................. 5 5. State of the Interactive Games Industry ................................................................................... 17 A. Global and Australian interactive games industry ........................................................... 17 B. Australian interactive games development ..................................................................... 18 C. Impediments to the growth of Australian games development....................................... 19 6. Parliament Reports on Australian Video Game Development ................................................... 22 A. Senate – Future of Australia’s video game development industry ................................... 23 B. House of Representatives – Inquiry into innovation and creativity .................................. 24 7. Factors to Grow and Sustain Australia’s Video
    [Show full text]
  • Activison and Krome Studios
    Activison and Krome Studios 'Rang in the Fall Video Game Season with TY the Tasmanian Tiger 3: Night of the Quinkan; Third Installment in Best-Selling, Family-Friendly Character Action Series Available Now BRISBANE, Australia, Oct 12, 2005 (BUSINESS WIRE) -- Activision, Inc. (Nasdaq:ATVI) and Krome Studios, Australia's largest game company and a leading worldwide independent developer, announce the release of TY the Tasmanian Tiger(TM) 3: Night of the Quinkan. The game follows on the heels of its award-winning, uniquely Australian game predecessors, which have sold upward of two million units to date. TY the Tasmanian Tiger 3: Night of the Quinkan is available for the PlayStation(R)2 computer entertainment system, Xbox(R) video game system from Microsoft and the Nintendo GameCube(TM). The GameBoy (TM) Advance version will release on November 1. In this next chapter, TY faces his biggest challenge yet as an otherworldly invasion by an ancient evil known as the Quinkan threatens to destroy the planet. The game picks up with TY realizing that he must find and regroup with his Bush Rescue mates and lead the fight against the dark oppressors. With the help of his friends, TY is determined to rid the world of evil but they must first set out on a journey filled with new missions and action packed challenges to find a magical boomerang that has the ability to vanquish the Quinkan once and for all. Key features include: -- More than 30 areas; all set in a colorful 3-D open world Australian environment. -- Over 100 characters, 50 which are new, including bigger and badder enemies.
    [Show full text]
  • Thylacine Dreams: the Vernacular Resurrection of an Extinct Marsupial
    Utah State University DigitalCommons@USU All Graduate Theses and Dissertations Graduate Studies 8-2019 Thylacine Dreams: The Vernacular Resurrection of an Extinct Marsupial Daisy M. Ahlstone Utah State University Follow this and additional works at: https://digitalcommons.usu.edu/etd Part of the English Language and Literature Commons Recommended Citation Ahlstone, Daisy M., "Thylacine Dreams: The Vernacular Resurrection of an Extinct Marsupial" (2019). All Graduate Theses and Dissertations. 7563. https://digitalcommons.usu.edu/etd/7563 This Thesis is brought to you for free and open access by the Graduate Studies at DigitalCommons@USU. It has been accepted for inclusion in All Graduate Theses and Dissertations by an authorized administrator of DigitalCommons@USU. For more information, please contact [email protected]. THYLACINE DREAMS: THE VERNACULAR RESURRECTION OF AN EXTINCT MARSUPIAL by Daisy M. Ahlstone A thesis submitted in partial fulfillment of the requirements for the degree of MASTER OF ARTS in English Approved: ______________________ ___________________ Lynne S. McNeill, Ph.D. Christine Cooper-Rompato, Ph.D. Major Professor Committee Member ______________________ ____________________ John McLaughlin, Ph.D. Richard S. Inouye, Ph.D. Committee Member Vice Provost for Graduate Studies UTAH STATE UNIVERSITY Logan, Utah 2019 ii Copyright © Daisy Ahlstone 2019 All Rights ReserveD iii ABSTRACT Thylacine Dreams: The Vernacular Resurrection of an Extinct Marsupial by Daisy M. Ahlstone, Master of Arts Utah State University, 2019 Major Professor: Dr. Lynne S. McNeill Department: English This thesis explores the vernacular resurrection of the thylacine through folk art and ostension. The thylacine, better known as the Tasmanian tiger, is a marsupial that suffered a government-sanctioned massacre leading to its extinction in 1936.
    [Show full text]
  • Viewing the Critics
    REVIEWING THE CRITICS: EXAMINING POPULAR VIDEO GAME REVIEWS THROUGH A COMPARATIVE CONTENT ANALYSIS BEN GIFFORD Bachelor of Arts in Journalism Cleveland State University, Cleveland, OH May, 2009 submitted in partial fulfillment of requirements for the degree MASTER OF APPLIED COMMUNICATION THEORY AND METHODOLOGY at the CLEVELAND STATE UNIVERSITY May, 2013 THESIS APPROVAL SCHOOL OF COMMUNICATION This thesis has been approved for the School of Communication and the College of Graduate Studies by: ________________________________________________________________________ Thesis Committee Chairperson – print name ________________________________________________________________________ Signature School of Communication ________________________________________________________________________ (Date) ________________________________________________________________________ Committee Member – print name ________________________________________________________________________ Signature School of Communication ________________________________________________________________________ (Date) ________________________________________________________________________ Committee Member – print name ________________________________________________________________________ Signature School of Communication ________________________________________________________________________ (Date) ii In memory of Dr. Paul Skalski, You made friends wherever you went, and you are missed by all of them. iii ACKNOWLEDGEMENTS First, I would like to acknowledge to efforts of my original
    [Show full text]
  • Printell 80Pp HORNET
    EXPO 2004 3 E www.gdaa.com.au WE’LL GIVE YOU A PIECE OF OUR MIND E3 EXPO 2004 WE’LL AYOU GIVE PIECE OF OUR MIND E3 LOCATION AT WEST HALL, BOOTH #2100 CONTENTS AUSTRALIA’S STRENGTHS 2 AUSTRALIAN CAPABILITIES 3 GAME DEVELOPERS 9 SERVICE COMPANIES 50 GAMES HARDWARE 66 GAME DEVELOPERS’ ASSOCIATION OF AUSTRALIA 68 AUSTRALIAN GAME DEVELOPERS’ CONFERENCE 69 SKILLS AND TRAINING 70 GOVERNMENT SUPPORT 74 USEFUL LINKS 79 NOTES 80 AUSTRALIA’S STRENGTHS The game development industry in Australia is second to none. Dynamic and sophisticated, Australian companies are already developing and marketing titles for the largest game publishers in the world. Australia offers world-class creative talent, advanced technology and exceptional management experience. Australia’s key strengths in the game industry are: OVER 40 GAME DEVELOPMENT COMPANIES DEVELOPING GAMES FOR OVER 20 YEARS MORE THAN 200 TITLES FRESH CREATIVE TALENT HUGE SKILLS BASE WORLD CLASS EDUCATION AND TRAINING COURSES ENSURE CONTINUED TALENT SUPPLY NOW AND IN THE FUTURE GREAT INFRASTRUCTURE AND ADVANCED TECHNOLOGY CRITICAL MASS OF COMPLEMENTARY CREATIVE INDUSTRIES, INCLUDING FILM AND TELEVISION, DESIGN, ADVERTISING AND NEW MEDIA GLOBAL COMPANIES IN AUSTRALIA INCLUDING ACCLAIM ENTERTAINMENT, ACTIVISION, ATARI, EIDOS INTERACTIVE, ELECTRONIC ARTS, MICROSOFT, NINTENDO, SONY, TAKE TWO INTERACTIVE, THQ, UBISOFT ENTERTAINMENT AND VIVENDI UNIVERSAL OPEN FOR BUSINESS 24/7 WORLD CLASS GAMES DOWNUNDER! 2 AUSTRALIAN CAPABILITIES Company Location Platforms Titles Contact Atari Melbourne PS2, Xbox, NGC, GBA,
    [Show full text]
  • Microsoft Xbox
    Microsoft Xbox Last Updated on October 2, 2021 Title Publisher Qty Box Man Comments 007: Agent Under Fire Electronic Arts 007: Agent Under Fire: Platinum Hits Electronic Arts 007: Everything or Nothing Electronic Arts 007: Everything or Nothing: Platinum Hits Electronic Arts 007: NightFire Electronic Arts 007: NightFire: Platinum Hits Electronic Arts 187 Ride or Die Ubisoft 2002 FIFA World Cup Electronic Arts 2006 FIFA World Cup Electronic Arts 25 to Life Eidos 25 to Life: Bonus CD Eidos 4x4 EVO 2 GodGames 50 Cent: Bulletproof Vivendi Universal Games 50 Cent: Bulletproof: Platinum Hits Vivendi Universal Games Advent Rising Majesco Aeon Flux Majesco Aggressive Inline Acclaim Airforce Delta Storm Konami Alias Acclaim Aliens Versus Predator: Extinction Electronic Arts All-Star Baseball 2003 Acclaim All-Star Baseball 2004 Acclaim All-Star Baseball 2005 Acclaim Alter Echo THQ America's Army: Rise of a Soldier: Special Edition Ubisoft America's Army: Rise of a Soldier Ubisoft American Chopper Activision American Chopper 2: Full Throttle Activision American McGee Presents Scrapland Enlight Interactive AMF Bowling 2004 Mud Duck Productions AMF Xtreme Bowling Mud Duck Productions Amped 2 Microsoft Amped: Freestyle Snowboarding Microsoft Game Studios Amped: Freestyle Snowboarding: Platinum Hits Microsoft Amped: Freestyle Snowboarding: Limited Edition Microsoft Amped: Freestyle Snowboarding: Not for Resale Microsoft Game Studios AND 1 Streetball UbiSoft Antz Extreme Racing Empire Interactive / Light... APEX Atari Aquaman: Battle For Atlantis TDK
    [Show full text]
  • Future of Australia's Video Game Development Industry Submission
    30 September 2015 Christopher Dunn Senate Standing Committees on Environment and Communications PO Box 6100 Parliament House Canberra ACT 2600 Re: Inquiry into the future of Australia’s video game development industry To the Committee Secretary, Thank you for the opportunity to respond to this inquiry. I apologise for the tardiness of my submission. I have responded to the terms of reference as an independent game developer recently returned to Australia. I know little of tax or business practice and merely wish that the Australian video games industry become self-sustaining. I humbly request that my submission be tabled amongst its peers and hope that the suggestions enclosed within are of some use to the Committee. Kind regards, Christopher Dunn Summary of recommendations: The future of Australia's video game development industry, with particular reference to: a ­ how Australia can best set regulatory and taxation frameworks that will allow the local video game development industry to grow and fully meet its potential as a substantial employer Consider an amalgamation of the Film and Video game industries. Consider tax incentives for Australian-owned game companies that employ Australian staff within Australia. Consider tax incentives for foreign owned game-development companies or publishers that employ Australian staff, operate within Australia, and represent Australian developers. b ­ how Australia can attract video game companies to set up development operations in Australia and employ local staff Initiate Australian Government funding of game developers and publishers. Financial incentives for Australian-owned industry to invest in or sponsor video games or incubator studios. Financial incentives for foreign game publishers to distribute Australian Indie Games within Australia and overseas.
    [Show full text]