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Sbs Independent: Productive Diversity and Counter-Memory

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Sbs Independent: Productive Diversity and Counter-Memory SBS INDEPENDENT: PRODUCTIVE DIVERSITY AND COUNTER-MEMORY Amanda Malel Trevisanut, BA (Hons) Submitted in total fulfilment of the requirements of the degree of Doctor of Philosophy December 2013 School of Culture and Communication The University of Melbourne Printed on archival quality paper ii iii ABSTRACT This thesis examines SBSi as cultural institution from its establishment in 1994 through to its merger with SBS-TV in 2007. As a cultural institution SBSi functioned governmentally to effect neo-liberal reform, significantly reshaping labour processes within the independent film and public service sectors. This thesis argues that SBSi carefully manoeuvred within this neo-liberal regime allowing non-assimilative cultural practices to manifest. Using a creative labour approach this thesis demonstrates how SBSi cultivated the resource of productive diversity to shape new creative labour practices, allowing new filmmaking milieux to form, and new counter-memorial filmmaking strategies to flourish. It analyses SBSi in relation to cultural policy developments, linking its activities as a commissioning house for SBS, to productive diversity; a State policy for harnessing the cultural and linguistic diversity (CALD) of Australian citizens as a national economic resource. Drawing on original interviews and archival sources it elaborates creative management processes developed by SBSi to foster productive diversity, and demonstrates how these shaped labour processes to inaugurate mentorship and early career opportunities for Indigenous, regional and CALD filmmakers. It also demonstrates how SBSi rejuvenated an ailing independent production sector by developing new niche audiences for innovative local content. Finally, this thesis adopts a critical race and whiteness approach to analyse the SBSi catalogue, and demonstrate how SBSi manoeuvred within a governmental logic to give rise to a new counter-memorial genre. Consistent with the tradition of counter-memory, SBSi productions evidence innovations in formal, aesthetic and narrative techniques that de- naturalise white hegemony, and created representational spaces for non-white subjectivities. It argues that the content generated under the aegis of SBSi constitutes a coherent counter-memorial cycle, and its analysis in this thesis provides a template elucidating new possibilities for subversion within neo-liberal modes of governance. iv v DECLARATION This is to certify that: i. the thesis comprises only my original work towards the PhD except where indicated in the Preface, ii. due acknowledgement has been made in the text to all other material used, iii. the thesis is fewer than 100 000 words in length, exclusive of tables, maps, bibliographies and appendices as approved by the Research Higher Degrees Committee. Amanda Malel Trevisanut vi vii ACKNOWLEDGEMENTS As many will attest, undertaking a PhD is a most challenging and rewarding experience that demands a considerable commitment. The unpredictable rhythms of life continue unabated, and without the immense generosity, support and love of family, friends, colleagues and mentors, such an undertaking would be impossible. First and foremost I express my deepest gratitude for the unwavering mentorship, and considered feedback provided by Audrey Yue throughout the supervision of this thesis. I am also deeply grateful for the support of Wendy Haslem, who not only helped to supervise this research, but also has remained a constant and invaluable teacher from my early years as an undergraduate student, and through the supervision of my honours thesis. I would also like to extend my thanks to Rowan Wilken, who also supervised the first twelve months of research, and to Chris Healy and Fran Martin who provided valuable insights shaping the direction of this project. I am indebted to the generous support of the Melbourne University School of Culture and Communication, including former and current administrative staff, particularly Annemarie Levin, Sarah Mathers, Evan Lloyd, Sharon Tribe and Ishara Wishart, and teaching staff Polona Petek, Angela Ndalianis, Mark Nicholls and Felicity Colman. I am also thankful for fellow postgraduates and tutors, Stuart Richards, Patricia Di Risio, Daniel Golding and Jessica Lake, for their friendship and advice. This project was also made possible by the enthusiastic contribution of research participants. I would like to extend a special thank you to Andy Lloyd James, Bridget Ikin and Andrew Pike who generously volunteered time, expertise and research materials that helped to fill the considerable gaps in the public record, making this project possible. I would also like to thank Tony Ayres, Shaun Brown, Julie Cottrell- Dormer, Trevor Graham, John Hughes, Barbara Masel, Michael McMahon, Glenys Rowe, Rodd Webb and Tom Zubrycki for their insightful contributions. Last but not least is my beautiful family; to my daughter Emma, my husband Alvaro, my mum Rosalia, and to Anahy, Rodrigo, Flynn and Fabian, you have all been there with me through the ups and downs, indeed to give me a boost and revitalise me when everything just feels too hard. I could not have done it without you. Thank you all. viii ix TABLE OF CONTENTS List of Figures…………………………………………………...…………......…….xiii CHAPTER ONE: A CULTURAL INSTITUTION…………………………..……….. 1 1. State Multiculturalism from the 1990s……………….……….…….…...…... 8 2. Approaches to the Study of SBSi………..………………………………..... 14 3. Neo-Liberal Governmentality, Productive Diversity and Counter- Memory………….………………………………………………………… 28 4. Research Design…….…………………………………………….........…... 49 5. Methodology………………………………….……………………..……... 55 6. Chapter Outline…………………………………………….…….……....... 61 CHAPTER TWO: NEO-LIBERALISM AND PRODUCTIVE DIVERSITY……….... 66 1. 1980-1996: A New Cultural Policy Rationale ……………………………. 69 1.1. From Access and Equity to Economic Efficiency……….…………….. 70 1.2. Designing a Relevant Cultural Institution…………...………………... 75 2. 1996-2003: The Expediency of SBSi……………………..…….…………... 83 2.1. Creative Nation, Cultural Diversity and the Global Economy…..…….. 84 2.2. Strange Bedfellows? SBSi and the Coalition Government ………........ 89 2.3. Productive Diversity as Practice…………………………...................... 94 3. 2003-2007: Merger and Mainstreaming…………………………...……….103 3.1. Rationalising Financial and Labour Resources…………...……..……. 104 3.2. The Abdication of Productive Diversity…………………...…….…... 109 Conclusion……………………………………………………….…….…. 115 CHAPTER THREE: MANAGING CREATIVITY AND COMMERCE…….…….... 118 1. 1994-1996: Facilitating Innovation, Producing Diversity……….....……..... 124 1.1. Project-Based Labour in the New Creative Industries………............. 125 1.2. Fresh Talent and New Voices……………………………………….. 132 2. 1996-2003: Seeding an Innovative and Diverse Production Ecology........... 139 2.1. Brokering Inter-Firm Alliances…………...……………….................... 140 2.2. The Themed Strand…………………………….…………………… 145 Hybrid Life (2001)………………...……………..………………… 147 Australia By Numbers (2001-2)………………………….………… 148 x National Indigenous Documentary Fund and the Indigenous Drama Initiative…………………………...……..………………………... 150 Unfinished Business (2000)………………………………………... 153 2.3. Drama Enterprises……………………….……………..………….... 158 Development Pathways………………………….……….….….... 161 Development Pathway 1: Million Dollar Movies………..……….… 161 Development Pathway 2: Swimming Outside the Flags and Home Movies………………………………………………………….…. 165 Development Pathway 3: The Short Feature Scheme………...…. 168 Distributor Alliances……………………………………...……..... 171 Distributor Alliance 1: 2002 Adelaide Film Festival….....……..…. 171 Distributor Alliance 2: First Look Feature Alliance with Premier Movie Partnership….………………………………………………...…... 172 3. 2003-2007: Ratings and Reflexive Capitalism………………….….…….... 175 3.1. Commissioning for Exhibition on Television………………..……...... 176 3.2. Some Implications of Mainstreaming for Independent Producers………………...………..….…..…………… 187 Conclusion…………………………………………………..…..………... 194 CHAPTER FOUR: COUNTER-MEMORIES OF WHITE AUSTRALIA….....……. 197 1. Re-membering White Australia and His Others………………................. 200 1.1. Theorising Counter-Memory………………………………..…….... 201 1.2. Theorising White Hegemony………………………………..…..….. 207 2. Strategies of Counter-memory……………………………...……..…….. 222 2.1. Counter-Memorial Re-membering…………………..……….……... 222 “Beach Pizza, part one” (2007)………………………..…..……... 226 2.2. Counter-Memorial (Re-) Appropriation…………………...………... 233 Jewboy (2005)…………………..………………………………….236 2.3. Counter-Memorial Polyphony……………………..………………... 248 Call Me Mum (2005)…………………..…………………............... 251 Conclusion…………………………………………..………………..…... 262 CHAPTER FIVE: CONCLUSION………………………….………………........... 265 BIBLIOGRAPHY…………………………………………….…………………… 274 FILM & TELEVISION REFERENCES…………………………………...………… 288 INTERVIEWS…………………………………………………………………….. 295 xi APPENDIX 1: Quantitative Data……………………………………………...…. 296 APPENDIX 2: Interview Questions………………………………………….…... 298 APPENDIX 4: Staff Timeline…………………………………….….……….......... 302 APPENDIX 5: SBSi Condensed Database………………………….……….…… 304 xii xiii LIST OF FIGURES Figure 1. The SBS Independent logo. [Print] SBS Independent. Figure 2. The 1998 celebrity endorsement brochure. [Print] SBS Independent. Figure 3. Close up of hands cleaning the dead body. Jewboy, 2005, Tony Krawtiz, [DVD] Porchlight Films. Figure 4. Rivka offers Minnie her condolences. Jewboy, 2005, Tony Krawtiz, [DVD] Porchlight Films. Figure 5. Yuri traces the outline of Rivka's hand. Jewboy, 2005, Tony Krawtiz, [DVD] Porchlight Films.
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