Metro Australia – July 2019

(^2) Olsberg•SPI,MeasuringtheCulturalValueof Australia’sScreen
Sector, 2016,availableat https://www.screenaustralia.gov.au/
getmedia/1dce395e-a482-42d1-b5a9-47bb6307f868/Screen
-Currency-Olsberg-SPI-Nov2016.pdf, accessed2 June 2019.
(^3) See‘LandmarkReportShowsAustralianScreenStoriesWorth
$3 Billion’,mediarelease,ScreenAustralia,15 November
2016,https://www.screenaustralia.gov.au/sa/media-centre/
news/2016/11-15-screen-currency, accessed2 June 2019.
(^4) ScreenAustralia,ScreenCurrency:ValuingOurScreen
Industry, 2016,availableat https://www.screenaustralia.gov.
au/getmedia/1b1312e5-89ad-4f02-abad-daeee601b739/
ScreenCurrency-SA-Report.pdf, accessed2 June 2019.
(^5) SeeDonGroves,‘IndustryWelcomesScreenCurrencyReport’,
ScreenAustraliawebsite,18 January2017,https://www.screen
australia.gov.au/sa/screen-news/2017/01-18-industry-welcomes
-screen-currency-report, accessed2 June 2019.
(^6) ThomasSchatz,‘FilmStudies,CulturalStudies,andMedia
IndustriesStudies’,MediaIndustries, vol. 1, no. 1, 2014,
https://quod.lib.umich.edu/m/mij/15031809.0001.108/
--film-studies-cultural-studies-and-media-industries-studies
?rgn=main;view=fulltext, accessed2 June 2019.For a
discussionof thecreative-industriesagendain theAustralian
context,seeStuartCunningham,‘FromCulturalto Creative
Industries:Theory,Industryand PolicyImplications’,Media
InternationalAustralia, vol. 102, no. 1, 2002,pp. 54–65.
(^7) BarrettHodsdon,StraightRoadsandCrossedLines:TheQuest
forFilmCulturein Australiafromthe1960s?, Bernt Porridge
Group,ShentonPark, WA, 2001,p. 168.
(^8) See,forexample,‘ScreenCulture:AustralianFestivalsand
Events’,ScreenAustraliawebsite,https://www.screenaustralia.
gov.au/funding-and-support/industry-development/screen-culture/
australian-festivals-and-events, accessed2 June 2019.
(^9) A perusalof fundingdecisionsundertheScreenNSWAudience
DevelopmentProgram(nowundertheauspicesof CreateNSW)
over the last five yearsindicatesthis emphasison screeningsand
events;seehttps://www.screen.nsw.gov.au/funding/industry
-support/audience-development-program/funding-approvals,
accessed2 June 2019.
(^10) ‘AboutSydneyCity of Film’,NSWGovernmentwebsite,
https://www.screen.nsw.gov.au/page/about-sydney-city
-of-film, accessed2 June 2019.
(^11) SydneyCityof Film,UNESCOCreativeCities:Membership
MonitoringReport2015–17, availableat https://en.unesco.
org/creative-cities/sites/creative-cities/files/monitoring_reports/
unesco_monitoring_report17_sydney.pdf, accessed 2 June
2019.
(^12) FilmVictoria,CorporatePlan2017–20, p. 8, availableat https://
[http://www.film.vic.gov.au/images/uploads/2017-2020_Corporate_](http://www.film.vic.gov.au/images/uploads/2017-2020_Corporate_)
Plan.pdf, accessed2 June 2019.
(^13) ibid., p. 8. In line with this agenda,in 2008,Arts Victoria(now
CreativeVictoria)releaseda majorreportontheroleof artsand
culturethat gave ‘liveability’equalweightto ‘competitiveness’,
explicitlynamingthe contributionof film and new mediato
producinga dynamicandsustainableculturalenvironment;see
TheRoleof ArtsandCulturein LiveabilityandCompetitiveness,
2008,availableat https://creative.vic.gov.au/__data/assets/pdf
_file/0011/56756/Role_of_ArtsnCulture_in_Liveability-submission
-precis-2.pdf, accessed2 June 2019.
(^14) Film Victoria,ibid., p. 8.
(^15) DeloitteAccessEconomics,Analysisof theVictorianScreen
Industry, 2016,availableat https://www.film.vic.gov.au/
images/uploads/FV-DAE_Analysis_of_the_Victorian_screen_
industry_Key_Findings_2016.pdf, accessed 2 June 2019.
(^16) ScreenAustralia,Issuesin FeatureFilmDistribution, 2015,
pp. 18, 36, 6, availableat https://www.screenaustralia.gov.
au/getmedia/1216e7e0-59a1-4e16-906a-8809b8b7be0c/
IssuesInFeatureFilmDistribution_2015-07-30.pdf, accessed
2 June 2019.
(^17) Tina Kaufman,‘AustralianScreenCulture:The Hard Yards’,
RealTime, issue96, April–May2010,http://www.realtimearts.
net/article/issue96/9810, accessed2 June 2019.
(^18) ScreenAustralia,Issuesin FeatureFilmDistribution, op. cit., p. 5.
(^19) See, for example,Don Groves,‘2019OutlookPart 1: The
Challengesand OpportunitiesFacingFeatureFilmmakers’,
IF.com.au, 7 January2019,https://www.if.com.au/2019
-outlook-part-1-the-challenges-and-opportunities-facing
-feature-filmmakers/, accessed2 June 2019.
(^20) LisaFrench& MarkPoole,Shininga Light: 50 Yearsof the
AustralianFilmInstitute, 2ndedn,TheMovingImageseries,
no. 9, ATOM,St Kilda,Vic., 2013[2009],pp. 17, 12.
(^21) Ruth Jones,paraphrasedin French& Poole,ibid., p. 12.
(^22) Rod Bishop,paraphrasedin French& Poole,ibid., p. 4.
(^23) RobinHughes,quotedin French & Poole, ibid., p. 4.
(^24) French& Poole,ibid., p. 12.
(^25) Olsberg•SPI,op. cit., p. 15.
(^26) ibid., pp. 2–3, 6. For Holden’sfull study,seeCapturingCultural
Value:HowCultureHasBecomea Toolof GovernmentPolicy,
Demos,London,2004,availableat https://www.demos.co.
uk/files/CapturingCulturalValue.pdf, accessed2 June 2019.
(^27) LaurenCarrollHarris,‘WhatAreOurStoriesWorth?Value,the
CultureWarsandtheScreen Currency Report’,Metro, no. 192,
2017,pp. 120–3.
(^28) JulianMeyrick,RobertPhiddian& Tully Barnett,WhatMatters?
TalkingValuein AustralianCulture, MonashUniversityPublishing,
Clayton,Vic.,2018,ebookversion,emphasisremoved.
(^29) GeoffreyCrossick& PatrycjaKaszynska,Understandingthe
Valueof Arts& Culture:TheAHRCCulturalValueProject,
2016,availableat https://ahrc.ukri.org/documents/
publications/cultural-value-project-final-report/, accessed
2 June 2019.
(^30) GeoffreyCrossick& PatrycjaKaszynska,‘UnderConstruction:
Towardsa Frameworkfor CulturalValue’,CulturalTrends,
vol. 23, no. 2, 2014,pp. 120–31.The Olsbergreportcites
this article(op. cit., p. 6), but overlooksits critiqueof the
fundamentalassumptionsreliedonbyOlsberg.
(^31) Crossick& Kaszynska,UnderstandingtheValueof Arts& Culture,
op. cit., p. 17; here, they are citing EleonoraBelfiore,‘“Defensive
Instrumentalism”and the Legacyof New Labour’sCultural
Policies’,CulturalTrends, vol. 21, no. 2, 2002,pp. 103–11.
(^32) Crossick& Kaszynska,UnderstandingtheValueof Arts &
Culture, ibid., pp. 21–2,emphasisremoved.
(^33) ibid., p. 97. Here,they are citingJohn Holden’s 2015 The
Ecologyof Culture, alsocommissionedbytheAHRC;see
https://ahrc.ukri.org/documents/project-reports-and-reviews/
the-ecology-of-culture/, accessed2 June 2019.
(^34) Crossick& Kaszynska,Understanding the Value of Arts &
Culture, ibid., p. 95.
(^35) Holden,TheEcologyof Culture,op. cit., pp. 2, 12.
(^36) ibid., pp. 3, 11–2, 19, 29.
(^37) ibid., p. 32.
(^38) AdrianMartin,‘Retyingthe Threads’,inMysteriesof Cinema:
Reflectionson Film Theory,Historyand Culture1982–2016,
AmsterdamUniversityPress,Amsterdam,2018,pp. 13–28.
(^39) Fora substantial,recentcritique of this agenda, see Meyrick,
Phiddian& Barnett,op.cit.
(^40) Peter Thompson, quoted in French & Poole, op. cit., p. 8.
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