| Reference Type |
book
|
| Title |
Don't Shoot Darling! Women's Independent Filmmaking in Australia |
| Chapter/Web article title |
At the Government's Pleasure: Independent Cinema |
| Author(s) | Freda Freiberg,Annette Blonski,Barbara Creed |
| Editor(s) | Annette Blonski,Barbara Creed,Freda Freiberg |
| State |
Unknown |
| Country |
Unknown |
| Publication Date |
00-00-1987 |
| Citation Date |
|
| Site URL |
http://books.google.com.au/books?id=4Obq66VX1LcC&pg=PA55&dq=Don't+Shoot+Darling!+Women's+Independent+Filmmaking+in+Australia-+Natalie+Miller&hl=en&sa=X&ei=UCemT77-ENOhiQeD7oWxAw&ved=0CDYQ6AEwAA#v=onepage&q&f=false |
| Page Number |
40-59 |
| Comments |
This chapter is relevant to those looking to explore the difference between independent and mainstream cinema. Itâs relevance in relation to Natalie Miller lies in the discussion of the functions of distribution companies in allowing art-house and smaller budget films onto cinema screens. In addition this section of the book talks about the difficulties Australian exhibitors and distributors face when competing with major international companies. It contends that Australia is a very profitable market for foreign companies, which is why cinema chains and film distribution companies are largely under their control. This explains why there are so many American films flooding our cinema screens, it all comes down to control and profit.
Blonski deems the governmentâs efforts to address this problem as minimal. Aside from the Australian states providing small amounts of funding to organisations such as the Australian Film institute, little support has been shown towards local distributors and filmmakers. The writer identifies Sharmill Films as an independent distribution company, labeling their function as crucial. According to Blonski they provide people access to films that otherwise would not be circulated, however due to market demands they are unable to venture out as much as they would like to. Although Miller is seen to support art house and local films, pressures within the industry are compromising their future screening. Blonski shows that while Sharmill Films used to and occasionally still does program short films, majority of the time they cannot afford to. She suggests that the reason for this is little market aside from a rental market.
Furthermore this chapter provides a thorough distinction between mainstream and independent films, which is useful when considering the type of films Natalie Miller is passionate about. The writer talks about these films being directed at art-house or non-commercial cinemas such as the Cinema Nova for a rather specific target audience.
This book is a great resource however because it was published in 1987 it may be a little outdated. |
| Synopsis |
A comprehensive record of women in independent filmmaking from the beginnings of Australian cinema to 1987. This chapter looks at the problems faced by independent filmmakers and the significant role that smaller distribution companies, like Sharmill Films play in helping art-house or independent films reach the cinema screen. |
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