There was much to celebrate last week with the 50th Anniversary of the AFI Awards, yet the air was tinged with concern about the future of the Australian film industry. Over the last few days, simplistic arguments about box-office returns, audiences not connecting with Australian films, the quality of films being funded and produced, and overall questions about whether we have, or should have, a viable industry, have dominated media discussions. These same arguments have been recurring over many years, and although it is healthy to continually debate the issues, it is quite apparent that there are people with vested interests and barrows to push that dominate what is essentially a complex and very important topic for all of us: Australian film culture and identity.
Having interviewed so many Australian filmmakers and performers, and reviewed and judged Australian films for over 20 years, leads me to believe that the arguments about whether we should be criticizing Australian films in the same way as any other films, are fundamental to this discussion. I believe that we need to start from a central belief that we must have an Australian film industry and screen culture that reflects who we are. We have an identity that needs to be preserved and presented to the world, and not be subsumed into Hollywood or any other film culture. If we cannot agree with that premise then we may as well shut up shop and import everything, including films. Surely most of us would not want to see that happen, hence the Government must support the Australian film industry. Of course other funding should be available, but the industry must be underwritten by the Government to ensure that Australian identity and culture is the prime motivator for the Australian film industry’s continuing existence.
Films like The Black Balloon, The Square, The Jammed, Unfinished Sky, and many others reflect first and foremost an Australian perspective that should form the basis of our industry. Over the years we have made many films that speak to the audience about Australian culture and identity and these voices must continue. It is true that many films haven’t found their audience or haven’t been successful at the box-office, but the reasons for that are quite complex. Can we compete with the marketing budgets built into many Hollywood productions? Can we compete with countries that fully support film production through levies, subsidies and cross-funding deals, as happens in France, Germany and Israel? Can we adequately compete with the shifts in home entertainment, cable TV and other cultural opportunities? Should film critics in Australia be more cognizant of the issues related to making films in Australia, and reviewing films in that light (which raises the vexed issue of favourably reviewing or automatically panning Australian films). I am happy to put my hand up as an objective film critic and say that I will review an Australian film slightly differently, acknowledging the extra difficulties in getting films made in this country. The eagerness to make and work in Australian films (in both a paid and voluntary capacity) plus the good will and technical expertise that we have developed, often to a world standard, should be acknowledged and supported. That does not mean being soft on an Australian film, or ignoring any shortcomings, but placing that in a context that understands the issues and pressures involved in making a film in this country. Being constructive rather than destructive would be something I would suggest some critics consider carefully.
By all means, let’s debate the issues and have robust discussion. But keep in mind that unless we do this thoughtfully, by avoiding the simplistic approaches, we may see the demise of our film industry, and we cannot afford to lose an essential voice that reflects our history, society, culture and identity.
Congratulations to the AFI for 50 years of supporting the industry with these fine awards, now let’s start planning the next 50.
Peter Krausz is Chair of the Australian Film Critics Association.