Pathways & Protocols - Screen Australia...6 Pathways & Protocols How.to.use.this.guide This document...

Pathways & Protocolsa filmmaker’s guide to working with Indigenous people, culture and concepts

terri Janke

ContentsPreface........................................................................ .4How.to.use.this.guide..................................................... .61. Introduction............................................................ .9

1.1 IndigenousAustralians...................................................... 91.2 FilmmakingandIndigenousculture..................................... 91.3 Whatareprotocols?....................................................... 10

2. Principles.for.protocols............................................ .112.1 RespectforIndigenouscultureandheritage...................... 112.2 RespectforIndigenousindividualsandcommunities........... 15

3. Implementing.protocols.within.film.practice................. .193.1 Overview–protocolsfordocumentaryversusdrama.......... 203.2 Initialresearchandprojectdevelopment........................... 213.3 Scriptdevelopment........................................................ 253.4 Pre-productionandproduction........................................ 293.5 Editingandpost-production............................................. 383.6 Screeningandbroadcasting............................................. 433.7 Footagearchiving........................................................... 443.8 SummaryChecklist......................................................... 47

4. Communication,.consultation.&.consent...................... .514.1 Consultationandconsent................................................ 514.2 Whenconsentisrequired................................................ 524.3 Whenconsentisrecommended....................................... 554.4 Tipsforsuccessfulconsultation........................................ 56

5..Film.&.the.law......................................................... .635.1 Copyright...................................................................... 635.2 Performers’rights........................................................... 695.3 Moralrights................................................................... 725.4 Indigenouscommunalmoralrights................................... 725.5 Contracts...................................................................... 735.6 Defamation................................................................... 745.7 Tradepractices............................................................... 755.8 Environmentallegislationandnationalparks...................... 765.9 WesternAustralianHeritageRegulations1974................... 765.10 Wheretogoformorelegalinformation............................. 77

6.Contacts.&.appendices.............................................. .796.1 Directories.................................................................... 796.2 Indigenousmediaassociationsandbroadcasters................ 816.3 RemoteIndigenousMediaOrganisations(RIMOs).............. 856.4 IndustryagencieswithIndigenouscomponents..................886.5 Indigenousculturaladvisorsandscriptconsultants.............926.6 LandCouncils................................................................936.7 Permitoffices.................................................................966.8 NationalParks................................................................996.9 Librariesandarchivalsources......................................... 1016.10 Medialawandcopyright............................................... 1056.11 Regulation................................................................... 1106.12 IndustrialAgreements................................................... 112Appendix1:Sampleclauses................................................... 114

ForICMRinadirector’scontract................................... 114 ScreenAustraliaICIPClauseinProduction andInvestmentAgreements......................................... 115

Appendix2:Backgroundresearchonotherprotocols................ 117

4 Pathways&Protocols

PrefaceIndigenousAustralians–AboriginalandTorresStraitIslanderpeople–aretheoriginalownersandinhabitantsofAustralia.ForIndigenouspeopleart,life,knowledgeandidentityareimportantaspectsofacontinuingtradition.Thecarryingonofknowledge,throughthepracticeofart,isalegacythatIndigenousAustraliansmustmaintainforthebenefitoffuturegenerations.

FilmmakingthatinvolvesIndigenouscontentorIndigenouspeoplecancutacrossmanylevelsoftheculturalheritagespectrum.Itcaninvolvemanydifferentartforms,regionsandIndigenousgroups,andvaryinitsformfromethnographicfilmsanddocumentariestotelevisionseries,featurefilms,shortfilms,interactivemediaandonlinecontent.

ThereisnodoubtthatfilmandTVofferIndigenouspeopleopportunitiestousepopularmediumstopromotetheirperspectivesandadvanceunderstanding.Inthepast,however,Indigenouspeoplehavealsoseenfilmmakingasexploitative.Theyareconcerned,forexample,thattheirculturalheritagemayhavebeenappropriatedwithoutproperconsultationorsufficientacknowledgment,andthatsomeproductionsmadefromastereotypicalperspectivemaydemeanIndigenousculturalbeliefs.

ThisguidehasbeenproducedtoprovideadviceabouttheethicalandlegalissuesinvolvedintransferringIndigenousculturalmaterialtothescreen.WehopethatthoseworkingwithIndigenouscommunitiesorIndigenouscontentwillbeinspiredtouseitasaframeworkfordevelopingprotocolsfortheirownfilm,televisionandinteractivemediaprojects.

Wealsoacknowledgetheimportantroleplayedbyarangeofearlierprotocoldocuments,particularly:

Lester.Bostock• ’sThe Greater Perspective: Protocol and Guidelines for the Production of Film and Television on Aboriginal and Torres Strait Islander CommunitiespublishedbySBSin19901

Darlene.Johnson• ’sprotocolcommissionedin2001bySBSIndependent2

The.Northern.Land.Council• ’sprotocolGuess Who’s Coming to Dinner in Arnhem Land,producedin1987byChipsMacInoltyandMichaelDuffyforfilmmakerscomingontoAboriginalland.

Accessible,practicalandtransparentprotocolsarethekeytofacilitatingrespectfulfilmmakinginvolvingIndigenousculturalheritage.Andprotocolsthatenhancethepositiveexperiencesoffilmmakingencouragefurthercollaborativeopportunitiesbetweencultures.

1 LesterBostock,The Greater Perspective: Protocol and Guidelines for the Production of Film and Television on Aboriginal and Torres Strait Islander Communities,2nded,SBS,Sydney,1997.

2 DarleneJohnson,Indigenous Protocol,2001.

Preface 5

IspoketoseveralAustralianfilmmakersinthecourseofthisproject.ManyspokeoftheirexperienceswithIndigenousprotocolsintheirfilmprojectswithIndigenouscontent.TheoverwhelmingmajoritysaidthatconsultationwithIndigenouscommunitieshadenrichedtheirprojects.Theysaidfollowingprotocolsmadebetterfilms.

Wealsohopethattheguideencouragesdebates,whichenhancestheproductionofmanygreatfilmsinthefuture.Commentsandideasshouldbeforwardedto:

TheManagerIndigenousBranchScreenAustraliaGPOBox3984SydneyNSW2001

AcknowledgementsManypeopleassistedintheprocessofputtingthisguidetogether.ThankyoutoallattheAustralianFilmCommission’sIndigenousBranch(nowIndigenousBranch,ScreenAustralia):SallyRiley,NicoleStevens,EricaGlynn,GillianMoodyandJulianeT’oa.

Ialsothankthefilmmakersandorganisationswhorespondedtotheissuespaperandmetwithme,orspoketoToniJankeormyselfoverthephone.Iamgratefultoallthosewhoprovidedtheirsubmissionsbyphone,fax,letterormadecommentsbyothermeans.

SpecialthanksfortheguidanceandexpertiseoftheProjectSteeringCommitteecomprisingSallyRiley,CathyGrayandRosemaryCurtis.ThanksalsoforsupportfromtheteamatTerriJankeandCompany,SoniaCooper,AnastasiaCharles,AndrewPittandToniJanke.

Thankseverybody!

TerriJankeApril2009

Important.legal.notice

Thelawsandpoliciescitedinthisguidearecurrentasof24April2008.Theyarediscussedgenerallyforthepurposesofthisdocument.Nopersonshouldrelyonthecontentsofthisguideforaspecificlegalmatterbutshouldobtainprofessionallegaladvicefromaqualifiedlegalpractitioner.

This.guide.was.researched.and.written.by.Terri.Janke.of.Terri.Janke.and.Company.Pty.Ltd..It.was.commissioned.by.the.Indigenous.Branch.of.the.Australian.Film.Commission,.which.became.Screen.Australia.in.2008.

How.to.use.this.guideThisdocumentisdesignedtoencouragerecognitionandrespectforIndigenouspeople’simages,knowledgeandstoriesintheproductionofaudiovisualmaterialinbothdocumentaryanddramaform.

Itshouldbeseenasastartingpointandgeneralguideonly.WhenyouneedspecificadviceontheculturalissuesofaparticularIndigenousgroup,werecommendyoueitherspeaktoapersoninauthority,orengageanIndigenousculturalconsultantwithrelevantknowledgeandexperience.(Thereisinformationonselectingaculturalconsultantonpages24–25.)

Theframeworksetoutinthisguidecanhelpyoudevelopyourownprotocolswhen:

• workingwithIndigenouscontent,afilmorprogrambasedonanIndigenousstory,withIndigenouscharactersorfeaturingIndigenouscultureinanyform

• workingwithIndigenouspeople,whetherascast,extras,crew,ordocumentarysubjects

• workinginIndigenouscommunities,eitherasthesubjectofafilmorthroughtheuseofthecommunityasalocation

• workingonIndigenouslands.

Theguidewillalsoberelevantto:

• FederalandStateGovernmentdepartments• industryagenciesandfilmorganisations• broadcasters• educationalandtraininginstitutions• Indigenouspeoplewhoareapproachedbyfilmmakerswhowishtoinclude

themortheirculturalmaterialinafilmproject,orfilmintheircommunityorontheirland.

Wehaveattemptedtoprovideaframeworkthatcanbeusedforbothdramaanddocumentary.However,specificguidanceisalsogiventhattakesaccountofthedifferencesbetweenthesetwoformsoffilmmaking.

Howtousethisguide 7

Thedocumenthasfivemainsections:

1...TheIntroductiondefines‘protocols’asusedinthisguide,introducesIndigenousAustralians,andlooksatthespecialnatureoffilmmakingwithIndigenouscontent.

2...Principles.for.protocolsbrieflysetsouttheprincipleswhichshouldunderpinfilmmakingprotocols,includingrespectforIndigenouscultureandheritage,andIndigenousindividualsandcommunities.

3...Implementing.protocols.within.film.practiceprovidespracticalguidanceondevelopingandapplyingprotocolsatthevariousstagesoffilmandTVproduction.Checklistsareincluded,alongwithcasestudiesandcommentariesfromIndigenousandnon-Indigenousfilmmakerswhichidentifychallengestheyhaveencounteredintheirownpractice.

4...Communication,.consultation.and.consent.offerstipsforeffectiveconsultation,andexplainswhenconsentisrequired,asopposedtojustconsultation.

5...Film.and.the.lawcontainsgeneralinformationandadviceonthemainlawsinAustraliagoverningtheuseandreproductionofsongs,stories,dance,artisticworks,soundrecordingsandfilms.

6...Contacts.and.appendicesincludesalistofcontactstobeusedasstartingpointsforaccessingrelevantpeopleandinformation,.samplecontractclauses,plusprintandonlineresources.

APPLICATIONS.OF.THE.GUIDEAlthoughthisguideisintendedspecificallyforusebyfilmpractitioners,itwillalsobeusefultoarangeoforganisations.

Film.funding.agenciesWeencouragefilmfundingagenciestosupporttheadoptionofprotocolsbyadvisingfundingrecipientstofollowthisguide,perhapsreferringtoitinfundinginvestmentguidelinesandrequiringthatthecostofresearchandcommunityconsultationbeincludedinprojectbudgetswhererelevant.Theaimistomakethedevelopmentandadoptionofprotocolsapartofacceptablefilmpractice.

FilmagenciescanalsorefertotheguideindevelopingtheirownprotocolsandIndigenouspolicydocuments,incollaborationwithIndigenousfilmprofessionalsandIndigenouscommunities.

A.clause.which.deals.with.Indigenous.cultural.and.intellectual.property.rights.in.Screen.Australia’s.development.and.production.investment.agreements.is.provided.in.Appendix.1.as.an.example.

Training.institutionsProtocolsforworkingwithIndigenouscontentandIndigenouscommunitiesshouldbecoveredinallfilmandtelevisionproductiontraining.Thisguideprovidesanexcellentframeworkforintroducingstudentstotheissues.

Industry.and.professional.organisationsOrganisationssuchastheAustralianDirectorsGuild(ADG),theAustralianWriters’Guild(AWG),theMediaEntertainmentandArtsAlliance(MEAA)andtheScreenProducersAssociationofAustralia(SPAA)canencouragetheirmemberstodevelopandadoptprotocolsfordealingwithIndigenouspeopleandIndigenouscontent,usingthisguideasareference.

BroadcastersBroadcastersareencouragedtoadoptpoliciesandcodesontheappropriatehandlingofIndigenousmaterial,coveringboththeproductionandbroadcastofprograms.

TheABCandSBSalreadypromotetheuseofprotocolswhenworkingwithIndigenouscommunitiesandIndigenouscontent.Thisguidedrawsfromtheseprotocolsandalsoincludesareasnotspecificallycoveredbythem.

TheTVIndustryCodeofPracticecoveringthecommercialbroadcastersdoescontainsomeIndigenousissues.Althoughvoluntary,itisregisteredwiththeAustralianCommunicationsandMediaAuthority(ACMA),andbroadcastersdohavearesponsibilitytoadoptethicalpractices.

National.Indigenous.TelevisionTheNITV,establishedin2007,acquiresandcommissionsarangeofprogrammingwhichreflectsthediversityofAboriginalandTorresStraitIslanderculturesandcommunities.TheNITVencouragesitscommissionedfilmmakerstorefertothisguide.

Introduction 9

1..Introduction.1.1. Indigenous.Australians

TheIndigenouspeopleofAustraliaaretheAboriginalandTorresStraitIslanderpeoples.TherearehundredsofdifferentAboriginalclangroupsinAustralia,allwiththeirtraditionalcountryboundaries.Foramapofdifferent‘language’areasseeDavidHorton’sAboriginal Australia,publishedbytheAustralianInstituteofAboriginalandTorresStraitIslanderStudies(AIATSIS).

1.2. Filmmaking.and.Indigenous.culture

FilmmakingforIndigenouscommunitieshasbecomeanimportanttoolforculturalexpression.Filmhasbeenusedforarangeofpurposesandinarangeofways,suchas:

• tellingIndigenouscreationstoriesandlifestoriesbywayofdrama• conveyingpoliticalmessagesandhistoricalperspectivesindocumentary• recordingIndigenousceremoniesandcelebrations• educatingpeopleaboutIndigenouscultures• maintainingandteachingIndigenouslanguages• entertainingIndigenouspeopleandwideraudiencesnationallyand

internationally.

FilmssuchasLousy Little Sixpence[directorAlecMorgan,producerMarthaAnsara,co-producerGerryBostock,1983]weregroundbreakinginraisingtheprofileofIndigenousissuesinthewiderAustralianpoliticalcontext.Frances Peters-Little3

Indigenouspeoplewanttotellstories–historical,socialandpolitical.Indigenousfilmcontentcancoverissuesasdiverseasdomesticviolence,stolengenerations,racerelations,loveandreturntohomelands.Afilmcanalsodrawtogethermanydifferentartisticelementsincludingmusic,story(script),danceandgraphicworks.

FilmmakingisusedbyIndigenouspeopletogetourpointofviewacross.Whenyouentertain,youeducate.Justine Saunders4

3 WriterandfilmmakerFrancesPeters-Little,forumatSydneyFilmFestival.4 TelephoneinterviewwithactorJustineSaunders.

1.3. What.are.protocols?

Protocolsareappropriatewaysofcommunicatingandworkingwithothers.Indigenousculturesplaceimportanceontheobservationofculturalprotocols.AcrossthespectrumofIndigenousAustralia,therearemanydifferentprotocolsforcommunicatingandworkingwithIndigenousmaterial,andinteractingwithIndigenouspeopleandtheircommunities.

Aprotocolcannotspecificallyaddressalltheissuesthatmayariseinaparticularfilmproject,buttheframeworkitprovidescanbeadaptedandappliedtospecificsituations.Thisguideofferssuchaframework.Itisintendedtogivedirectionbutstillallowenoughflexibilitytodealwithsituationsastheyarise.

Protocolsarenotinthemselveslegallybinding,butovertimetheyestablishpracticesthatcanbereliedonasindustrystandards.Protocolsmayalsobeincorporatedintofilmmakingcontracts,andendorsedbyfundingagenciesandprofessionalassociations.

Principlesforprotocols 11

2..Principles.for.protocolsTwofundamentalprinciplesshouldunderpinprotocolsforfilmmakersworkingwithIndigenouscontentandIndigenouscommunities:

• respectforIndigenouscultureandheritage,includingrecognitionofIndigenousculturalandintellectualpropertyrights,maintenanceofculturalintegrityandrespectforculturalbeliefs;and

• respectforIndigenousindividualsandcommunities.

2.1. Respect.for.Indigenous.culture.and.heritage

UseofIndigenousculturalheritageinfilmisbecomingincreasinglypopular.Oralstories,traditionalknowledge,images,photographs,language,wordsandhistoriesarejustsomeoftheIndigenousheritagematerialsthatfindtheirwayintoAustralianandinternationalfilms.Filmmakersshouldbeawarethatinsomecircumstances,thisculturalmaterialmayneverhavebeen‘published’tothewidercommunitybefore.

RespectforthisculturalheritageisafundamentalprincipleforIndigenousfilmmakingprotocols.FilmmakersshouldrecogniseandrespectIndigenouspeople’srighttoownandcontroltheirculture.

Indigenous.cultural.and.intellectual.property.rightsIndigenousculturalandintellectualpropertyrightsrefertoIndigenouspeople’sculturalheritage.Heritagecomprisesallobjects,sitesandknowledge,thenatureoruseofwhichhasbeentransmittedorcontinuestobetransmittedfromgenerationtogeneration,andwhichisregardedaspertainingtoaparticularIndigenousgrouporitsterritory.

Indigenouspeople’sheritageisalivingheritageandincludesobjects,knowledge,storiesandimages,creatednoworinthefuture,basedonthatheritage.

AlistofIndigenousculturalandintellectualpropertyrightswascompiledforOur Culture: Our Future,5basedonextensiveconsultationswithIndigenousAustralians.Basedonthislist,Indigenouspeoplehavetherightto:

• ownandcontrolIndigenousculturalandintellectualproperty• ensurethatanymeansofprotectingIndigenousculturalandintellectual

propertyisbasedontheprincipleofself-determination• berecognisedastheprimaryguardiansandinterpretersoftheircultures• authoriseorrefusetoauthorisethecommercialuseofIndigenousculturaland

intellectualpropertyaccordingtoIndigenouscustomarylaws

5 TerriJanke,Our Culture: Our Future – Report on Australian Indigenous Cultural and Intellectual Property Rights,writtenandresearchedbyTerriJanke,MichaelFrankel&Company,Solicitors,fortheAustralianInstituteofAboriginalandTorresStraitIslanderStudies,andtheAboriginalandTorresStraitIslanderCommission,1998,pp.47–48.

• maintainthesecrecyofIndigenousknowledgeandotherculturalpractices• begivenfullandproperattributionforsharingtheirheritage• controltherecordingofculturalcustomsandexpressions,andtheparticular

languagewhichmaybeintrinsictoculturalidentity,knowledge,skillandteachingofculture.

Manygenerationsmaycontributetothedevelopmentofanitemofknowledgeortradition.Inthisway,Indigenousculturalheritageiscommunallyowned.Currently,intellectualpropertylawsdonotrecognisethiselement,focusingonmaterialformandindividualownership,andonlyprotectingforalimitedperiod(seealsoSection5,pages63–77).6

Use.of.traditional.dance.in.drama

Erica Glynn, Indigenous writer/director, talks about her film MyBedYourBed (1998, produced by Chili Films)

InmakingMy Bed Your Bed,IsetouttotellafictionalstorythatreflectedcontemporaryAboriginallifeincentralAustralianbushcommunities.LifeinbushcommunitiesissooftenoverromanticisedinAustralianfilmandtelevision.Inthefilm,ayounggirlispromisedtoayoungmaninatraditionalceremonythathastakenplaceforthousandsofyearsinthebush.Whenthetimecomesforthemtolivetogether,theymoveintoamodernhouse.Intraditionalcommunities,usuallythepeoplewouldbeolder,butforthisstoryIwantedtoshowhowpeopleadoptvaluesfrombothcontemporaryandtraditionalworlds.

Iwantedtoputatraditionaldanceaspartofthepromiseceremonyattheopeningofthefilm.Theoverallfilmranforapproximately17minutes,andthedancesegmentintheopeningceremonywastobeapproximately2minutes.Atfirst,IwantedtousedancefrommyownIndigenouscommunity.Togetpermission,theproducerandmyselfapproachedseniorAboriginalpeoplewhowereconnectedtomeandwerelivinginAliceSpringsandworkingthereasartists.Wetalkedthemthroughthestory,lettingthemknowitwasa‘pretendone’.Theywentawayanddiscusseditamongthemselvesandtalkedtoothersinthecommunity.Theycamebacktotellmethatalthoughitwasagoodstory,theythoughtthatreallytheycouldn’tgiveconsentatthistime.

WerespectedtheirdecisionandconsultedwitheldersfromanotherIndigenouscommunity.Theproducerofthefilmwaspersonallyknowntothesepeople.Theywerehappytoallowpartsoftheirtraditionaldancetobeincludedinthefilm.Thisgroup,however,hadmoreexperiencewiththeartisticuseoftheirdances,havingperformedfortourists,andsomehadworkedasextrasonfilmsbefore.

6 Ibid.

Use.of.the.Wandjina.image.in.the.2000.Olympics

In2000,theSydneyOrganisingCommitteefortheOlympicGames(SOCOG)negotiatedtheuseoftheWandjinafigureusedintheopeningceremonyoftheOlympics.ThehugeWandjinawaspaintedbyAboriginalartistDonnyWoolagoodja,ChairmanoftheMowanjumArtistsSpiritAboriginalCorporation.

TheWandjinaimagecomesfromtheKimberleyregionandrepresentsthreeclangroupsinthecommunity:Ngarinyin,WorroraandWanambul.TheWandjinaisanancestralspiritandcustodiansofthisregionbelievetheWandjinascreatedeverythingonandintheearthandmadetherulesbywhichtheylive.

Aftermeetingscommenced,thetraditionalownersraisedconcernsaboutthefilmingoftheWandjinaintheopeningceremonyandtheuseoftheimageaftertheOlympics.Rightstobroadcasttheimagefortheopeningceremonywereagreedto,andSOCOGandtheOlympicCommitteeagreedtoconsultwiththetraditionalownersforuseoftheimagesinothercontextsaftertheOlympics.

AwrittenagreementbetweenthepartiesgavetheInternationalOlympicCommitteetherightstofilmtheWandjinaandtousethefilmaspartofitspromotionsforthegames.However,therewasalsoanotherconditionthatifthirdpartieswantedtousethefootageforotherpurposes,theyhadtogettheconsentoftheOlympicCommitteeandthetraditionalowners.7

Cultural.integrityForIndigenouspeople,keepingtheculturalintegrity.ofanevent,storyorartworkisofutmostimportance.Integrityreferstothetreatmentgiventotheworkorfilm.UndertheCopyright Act 1968(Cth),themoralrightofintegritygivesindividualstherighttoprotectagainstthe‘derogatory’treatmentoftheirworksandfilms.Thetestforderogatorytreatmentismaterialalteringanddoinganyotheracttotheworkoffilmthatisprejudicialtotheauthor’shonourorreputation.Forexample,alteringtheworkorfilmbyadapting,cutting,editingand/orenhancingmaymateriallyaltertheworkorfilmandcauseharmtotheauthor’sreputation.

WithIndigenousculturalmaterial,maintainingtheintegrityoftheworkisimportanttothesourcecommunitiesaswellastheindividual.AlthoughcommunalmoralrightsarenotcurrentlycoveredunderAustraliancopyrightlaw,theCommonwealthGovernmentproposestointroducethemasanamendmenttotheCopyright Act 1968(Cth).Ifpassedbyparliament,IndigenouscommunitiesmayobtainIndigenouscommunalmoralrightsbyenteringintoanagreementwiththecopyrightowner,providedtheconditionsofthenewprovisionsaremet.

7 RhodaRoberts,formerDirectoroftheIndigenousProgram,SydneyOrganisingCommitteefortheOlympicGames.

ItisalsoimportanttorecognisethatIndigenousculturesarelivingandevolvingcultures,notsimplyhistoricalphenomenatobepreservedas‘primitive’.ContemporaryIndigenousartformsthatmayberepresentedinfilmmayincluderesponsestonewstimuliusingtraditionalmethodsofartisticexpression,suchasatraditionaldancebasedonaeroplanes,ornewformsofcommunalexpressionsuchascommunalsongssunginEnglishandplayedontheguitar,orchoreographyfusingnewdancestepswithcommunallyownedIndigenousdance.

Giventhenatureoffilm,andtheeditingprocess,thepresentationofIndigenousculturalmaterialinamannerthatpromotesintegrityrequirescarefulconsideration.Culturalintegrityandtherelatedissuesofrepresentation,authenticityandrespectforculturalbeliefs,needtobeconsideredthroughoutthefilmmakingprocess–duringthewritingstages,includingtheadaptationofexistingmaterial;duringshooting,editingandpost-production;aswellasinmarketingandarrangementsforthefutureuseoffootage(seeSection3,pages19–42).

Cultural.beliefsSacred.sites.and.material:.UnderIndigenouslawssomesites,andimagesandknowledgerelatingtosites,aresacred.Objects,whethercreatedornatural,mayalsobeconsideredsacredorsecret.‘Sacredandsecret’referstoinformationandmaterialthatisrestrictedundercustomarylaw.Forinstance,someculturalinformationmayonlybelearnedorviewedbymenorbywomen,oronlyafterinitiation.Itisnotappropriateforsuchsitesandmaterialtobereferredtoforotherpurposesortobewidelycirculated.Insomecases,itmightnotbeappropriatetoevenspeakaboutsacredandsecretmaterial.

DorisPilkingtonGarimaraspeaksofdirectorPhillipNoyce’s(Rabbit-Proof Fence,2001)observationofculturalprotocolssaying:

PhillipNoycewassensitivetoIndigenousculturalissuesandrecognisedtheimportanceoffollowingIndigenousprotocols.Hewantedtomakesurenocustomswereviolated,andthatnosecretritualsorsacredsitesweredepictedinthefilm.HehiredanadviserfromJigalongcommunitywhichwasgoodbecausethecommunitykeepsastrongcheckonwhatstoriesandknowledgecanbemadepublic.Healsoconsultedwithmebybringingdraftscriptsformetocheck.8

FilmmakersshouldrespecttherightofIndigenouspeopletokeepsecretandsacredtheirculturalsites,beliefs,knowledgeandimages.

Representing.deceased.people:.InanumberofIndigenouscommunities,particularlythosethatstillliveundercustomarylawstoasignificantdegree,thereproductionofnamesandimagesofdeceasedpeopleisoffensivetomourningpractices.Thisapplies,forexample,toYirrkalaandmanyotherArnhemLand

8 TerriJanke,telephoneconversationwithDorisPilkington,author,Follow the Rabbit-Proof Fence,16May2005.

communities,andtoEasternandWesternDesertcommunitiesforrecentlydeceasedpeople.Inthesecasesitisimportanttonotethattherestrictionsmaylastseveralyears.

Forothercommunitiesinmoreurbanareassuchpracticesmaynotexist.ItisbesttoasktherelevantIndigenousgroupwhetherthisisapracticeintheirparticularfamilyandgroup.TheadviceonapplyingprotocolstofilmpracticeinSection3doesnotassumethatthesameprotocolwouldapplyacrossallcommunities:inthecourseofourconsultationsforthisproject,weheardofsomeIndigenouspeoplewhowantedtonotifythefilmmakerthattheywishedtocontinuetobenamedandrepresentedinthefilmaftertheirdeath.

Death.protocols.and.news.reporting..(submittedbytheABCIndigenousProgramsUnit)

Inearly2003,thedeathofaprominentAboriginalartisthighlightedthedifficultiesforbroadcastersofrespectingtheculturaldeathprotocolwhenreportingondeathsinthenews.

Underthecustomarylawofthisparticularartist,itisrespectfulnottomentionthedeceased’snameuntilthefamilyhasnotifiedtheendofthemourningperiod.Earlyreportsoftheartist’sdeathdidnotmentionhisname.However,laterreportsdidso,withoutauthority.Anapologywasgivenbytheprogrambutthiswasafterthenamingwenttoair.

Beingabletocontactfamilyandtherelevantcommunitytoascertaintheappropriateprotocolandpermissionsforuseofnameandimageisanissueforbroadcasters.Wherepossible,filmmakersshouldincorporatethesedetailsintowrittenreleasesobtainedatthetimetheimageiscapturedonfilm(seepage29).

2.2. Respect.for.Indigenous.individuals... and.communities

FilmmakersenterintorelationshipswithIndigenouspeoplewhentheyworktogetheronfilmprojects.Asuccessfulpartnershipshouldbebasedonmutualrespectandtrust.

Anon-IndigenouspersonseekingtouseIndigenousmaterialinadramafilmshouldtreatthematerialwiththerespecttheywouldexpectthemselves.Sue Milliken9

ForfilmprojectsinvolvinglifestoriesoflivingordeceasedIndigenouspeople,thefilmmakershouldconsiderhowsheorhewillinvolvetheindividualorfamilymembers,andthecommunity.Filmmakershaveanethicalobligationtodealappropriatelyandsensitivelywiththelifeexperiencesofindividuals.Evenwherecharactersaretotallyfictitious,theirrepresentationcanhaveanimpactonanIndigenouscommunitythatneedstobeconsidered.

9 ProducerSueMilliken,email.

Thisprincipleofrespectforindividualsandcommunitiesextendsto:

Recognition.of.people’s.rights.to.privacy:Priorconsentneedstobesoughtforwritingscriptsaboutindividualsandcommunities,andwhenfilmingIndigenouspeople(seeConsents and clearances,page34).Itisinappropriatetodiscloseconfidentialpersonalinformationwithoutpermissionfromtherelevantpersonorgroupaffectedbythedisclosure.Thiswillalsoincludeinformationaboutpeoplewhoaredeceased.

The.way.sensitive.issues.are.handled:FilmprojectsdealingwithcontemporaryIndigenouslife,particularlythosethatincludesensitivecontentsuchashealthissues,orsocialproblemslikepetrolsniffing,mayrequirespecialistconsultationwithrelevantIndigenousprofessionalandcommunitygroups.Initialresearchforafilmprojectshouldconsiderwhethersensitivematerialistobeincludedandhowitistobehandled.

Appropriate.attribution:Attribution.meansacknowledgingownershipofmaterialbyanamedpersonand/orcommunity.Undermoralrightslaw,theindividualcreatorsofacopyrightworkorfilmareentitledtoattributionasauthorsoftheworkorfilmifanyattributableactisdoneinrelationtotheworkorfilm.Inthecaseofcinematographfilms,thismeansthecopying,exhibitioninpublicandcommunicationtothepublicoffilms.10Attributionmustbeinareasonableform11oriftheauthorhasmadeknownthattheauthorwishestobeidentifiedinaparticularway,identificationistobemadeinthiswayifthisisreasonableinthecircumstances.12Itisalsorequiredtobeaclearandreasonablyprominentidentification.13Anidentificationwillbetakentobereasonablyprominentinthecaseofreproductionandadaptationsofworksandcopiesoffilmswherethepersonacquiringthereproductionorcopywillhavenoticeoftheauthor’sidentity.Inpractice,thismeansthattheidentificationshouldbegivenatthestartandendoftheworkorfilmandbereasonablydistinct.14

Pendingnewlegislation,werecommendthattheprinciplesofmoralrightsshouldbeextendedwhereverpossibletotheusesofIndigenousculturalandintellectualproperty.Indigenouspeopleshouldbegivenpropercreditorappropriateacknowledgement,includingcopyrightandroyalties,fortheirroleinthedevelopmentanduseoftheirIndigenousculturalmaterial.Whereclan-ownedinformationisused,theclanorcommunityshouldalsobereferredto.

Ifthereisnoknownauthorbutratheracommunalownership,suchasinthecaseoforalstories,dancesorsongsperformedandhandeddownthroughthegenerations,thenaprocessofcommunalattributionshouldbeadopted.Thisprocesscanbeproperlydoneinconsultationwiththerelevanttraditionalowners,andthecontributorstoeachparticularfilmproject.

10 Section194(3)Copyright Act 1968(Cth)11 Section195(1)Copyright Act 1968(Cth)12 Section195(2)Copyright Act 1968(Cth)13 Section195AACopyright Act 1968(Cth)14 SRicketsonandCCreswell,The law of intellectual property: Copyright, designs & confidential

information,2nded,LawBookCo,Sydney,2002,para10.70.

Inthecaseofusesofstories,attributionshouldalsoextendtotheattributionofthestoryteller.Forexample,aparticularstory,ifthiswasapproved,couldbeattributedasatraditionalstoryoffamilyX,astoldbyMrY.

Sharing.of.benefits:IndigenouspeopleshouldbegivenopportunitiestoshareinthebenefitsthatflowfromtheuseinfilmsorTVprogramsoftheirimages,stories,dancesandknowledge.

Indigenouspeopleshouldbepaidfortheirknowledge.Theintellectualpropertyofthestories,dancesandknowledgebelongstoIndigenouspeopleandfilmmakersneedtonegotiatefilmingrightsandsharebenefits.Inmylastfilm,Whispering in Our Hearts,wesplitthecopyrightthreewaysbetweentheproducer,thedirectorandthecommunityontheunderstandingthatifwepickedupanyprofitorawards,thesewouldbesharedthreeways.Michelle Torres15

Evenwheredirectpaymentisnotmade,filmmakersshouldfindwaysofgivingbacktoIndigenouscommunitiesiftheymakeuseoftheirimages,storiesandknowledge.Therearemanywaysthatthiscanbedoneincluding:

• Skills development:Indigenouspeoplecanbeinvolvedandlearnthecraftoffilmmaking.

• Copies for cultural preservation:Copiesofthefilmcanbegiventoindividuals,familyandcommunitymembers.Somefilmmakersallowcommunityorganisationstousefootagenotincludedinthefinalfilmfortheirownpromotionalpurposes.

WheneverIworkonadocumentaryfilmIalwaysgivethecommunityorfamilyVHSdubsofalltherushesfromthefilm.Forthefamiliesandcontributorsthefilmbecomesanongoingarchivingprocessforthatgroup.Catriona McKenzie16

Notethatifmaterialisgiventoarchivalinstitutions,clearancefromthecommunitymustbeobtained(seepage44).

• Other support:Onefilmcrewwasaskedtosupportacommunity’sswimmingpoolfundasapaymentforthemallowingfilmstobemadeintheirlands,andconcerningtheircultures.17

Somefilmmakershavedevelopedmethodsofsharingprofitswhenlarge-scaleprojectsareundertaken.Suchprojectsalsoinvolvetheexchangeoftechnicalinformationandtrainingwiththecontributors,andprovisionoffreecopiesofthepublishedproducttothecontributingculturalgroups.

15 Writer/directorMichelleTorres,telephoneinterview.16 FilmmakerCatrionaMcKenzie,telephoneinterview.17 DavidJowsey,ABC.

Implementingprotocolswithinfilmpractice 19

3...Implementing.protocols.within.film.practice

Filmmakersareurgedtodevelopandimplementprotocolsforallstagesoftheirfilmproject.Thissectionprovidesabestpracticeguidetohowthiscouldbedone.

Importantpointstorememberare:

There.is.not.just.one.Indigenous.culture,.there.are.many:ProtocolsdifferfromoneIndigenouscommunitytoanother.Whiletherearemanysimilaritiesindealingwithcultures,theremayalsobemajordifferences.Whenapplyingtheseprotocols,youshouldalsotakeintoaccountanyissuesfromthespecificIndigenouscommunity.IffilmingcrossesoverclanboundariestheappropriateIndigenouspeoplefromallclansmayneedtobeconsulted.

Torres.Strait.islanders.have.their.own.distinct.identity,.history.and.cultural.traditions:.ThereisadifferencebetweenAboriginalandTorresStraitIslandercultures.ForinformationonTorresStraitIslanderculturalprotocolsseeMina Mir Lo Ailan Mun: Proper communication with Torres Strait Islander people.18

Protocols.apply.in.urban.and.contemporary.contexts.as.well.as.to.rural.and.remote.communities.AsEricaGlynnstates:

CulturalprotocolsstillexistinmajorcitieslikeSydneyorMelbourne.PeopleshouldmakecontactwiththekeyIndigenousorganisationsorcommunitymembers.Itshouldstillhappenasamatterofcourse.Infact,thebiggerproblemsarenotalwaysintraditionalcommunities.SomefilmmakersassumethatbecauseanIndigenouscommunityisnotlivingatraditionallifestyle,theydonothavetoconsultwithlocalorganisations,eldersandsoon.Thiscancauseallsortsofproblems.Whilstthereisaneedtobeawareofthedifferencesbetweentraditionalandurbancommunities,protocolsshouldstillbeappliedinurbancommunities.19

Protocols.are.ethical.standards:Protocolsaimtoencourageethicalconductandpromoteinteractionbasedongoodfaithandmutualrespect.Protocolsarenotlegallyenforceableandareonlyeffectiveifpeoplevoluntarilyadoptthestandardsorincorporatethemintocontractualarrangements(forexample,inthearrangementsforgivingfilmmakersaccesstoacommunity’slands,storiesorexpertise).

18 DepartmentofAboriginalandTorresStraitIslanderPolicyandDevelopment,Mina Mir Lo Ailan Mun: Proper communication with Torres Strait Islander people,www.atsip.qld.gov.au/resources/documents/minamir.pdf,accessed22April2008.

19 EricaGlynn,telephoneinterviewwithToniJanke.

Protocols.may.change.over.time:Likesocietiesandlaws,protocolsmaychangeovertimeanditisimportantthatyourfilmmakingprotocolsbeupdated.TheseguidelineswillalsobesubjecttoongoingreviewinordertoreflectthechangingnatureofculturalrelationshipsinAustralia.

The.best.of.intentions

OneIndigenouswriter/directorhasincludedthefollowingclauseinheragreementwiththeproductioncompanyforherfilm:

ThepartiesacknowledgethattheFilmrequiresspecificculturalpracticesandconsiderationstobemetandtheDirectoragreestoadvisetheProductionCompanytothebestofherendeavoursofanyspecificculturalissuesthatmayariseinthemakingoftheFilm.TheDirectorandtheProductionCompanyagreetoconsultandworkwitheachotherandmembersoftherelevantculturalcommunitytoensurethatallculturalresponsibilitiesandrequirementsaremet.Intheeventofadisputearisinginrelationtospecificculturalpractices,thepartieswillusetheirbestendeavourstoresolvethedispute.

3.1. .Overview.–.protocols.for..documentary.versus.drama

Thesameprinciplesofrespect–forIndigenouscultureandheritage,andforIndigenousindividualsandcommunities–applytobothdramaanddocumentaryfilmmaking,andjustasitisstandardpracticeforfilmmakerstoconsultondocumentaries,wealsorecommendthatfilmmakersconsultondramasthatinvolveIndigenousstoriesorthatincludeIndigenousculturalandintellectualpropertycontent.Theadviceinthefollowingsectionsisthereforegenerallyrelevantwhateverthegenre.

However,filmmakershaveidentifiedarangeofkeyissuesspecifictoeach.

Fordocumentary.production,keyissuesinclude:

• dealingwithsensitiveissuesinIndigenouscommunities(seeinparticularPrivate lives of individuals,page22;Real events,page23;andHow will the story be told?page23)

• whetherparticipantswillbepaid(seeRecognising the value of Indigenous cultural and intellectual property,page33)

• handlingdramatisationswithindocumentaries;whetherthisisappropriatewillrequireconsultation(seeReal events,page23)

• handlingasituationwherethesubjectofthefilmchangesduringorafter

shooting.Forexample,itisnotethicaltoopenadoorintothecommunitybysayingthedocumentaryisaboutcustomarylaw,butthenfocusonpublicdrunkenness.

Fordrama.productions,keyconsiderationsinclude:

• IfthefilmmakessignificantuseofIndigenousculturalheritage,thefilmmakerneedstobeawareofwhyandhowthisisused,includingissuesofauthenticity,representationandculturalintegrity.Ifthefilmisbasedonastoryfromaparticulararea,forinstance,whatimpactwillthisstoryhaveontheculturefromwhichitisdrawn?Arethelanguage,musicandculturalitemsusedcorrectly?

• Ifthestoryisbasedonrealeventsorthelifeofarealperson,similarconsiderationstothosefordocumentariesapply(seePrivate lives of individuals,page22;Real events,page23;andHow will the story be told? page23).

• IfthefilmhasIndigenouscharacters,evenwheretheyarenotbasedonrealpeople,issuesofrepresentationandauthenticityagainarise(seeHow will the story be told?page23).

• IftheIndigenouscharactersareleads,itisadvisablealsotoengageIndigenouswritersordirectorsorotherIndigenouskeycreativeprofessionalsandconsultwithIndigenousscriptwriters(seepage26).

• Ifthecharacterisaminorone,reasonablestepsshouldbetakentoensurethatthecharacterisnotbasedonarealperson.Ifthecharacter’sroleinvolvessomeaspectofIndigenousheritage,thereshouldbeconsultationonthatpoint.

3.2. Initial.research.and.project.development

Gettingtherightfocusandtherightpeopleinvolvedearlyisimportant.Indigenousinputorconsultationduringtheearly/conceptstagesoffilmdevelopmentwillhelpcreateauthenticworkthatisculturallyandhistoricallyaccurate,andminimisethechanceoffutureproblems.

Iftheconsultationprocessisrightfromtheverybeginning,thenmostoftheotherissuesthatrelatetoIndigenouscontent,suchascopyright,permission,culturalintegrity,authenticityandsoon,wouldbecovered.Grant Hansen, Melbourne Film Workshop conducted by Terri Janke20

InvolvingIndigenouspractitionersintheconceptionanddevelopmentoftheprojectwillalsoencourageIndigenousperspectivesonthestory.

Why.is.the.film.being.made?Beforeadvancingafilmproject,IndigenousfilmmakerDarleneJohnsonrecommendsfilmmakersconsiderthequestion:“AmIthebestpersontotellthisstory?”21Indigenouswritersanddirectorsoftenbringspecialistculturalknowledge

20 GrantHansen,SonglinesAboriginalCorporation.21 MeetingwithDarleneJohnson,Sydney.

totheirwork,andexperienceinculturalheritagemanagementandcross-culturalexchange.ScreenAustraliaalsoencouragesprojectswithIndigenouspeopleinwriterand/ordirectorroles.Inanycase,itisimportantthatallfilmmakersconsiderethicalissuesanddiscussthemwiththerelevantpeople.Otherquestionsconsideredbyfilmmakersshouldinclude:

• WhatexpertiseamIbringingtotheproject?• Whatperspective?• Whateffectmightthisfilmhaveontheindividuals,familymembersand

communityitportrays?• WillIndigenouspeoples’rightstotheirculturalknowledgeorstoriesbe

compromisedbythefilm?

WhenmakingfilmswithIndigenoussubjectmatter,somefilmmakerswritethestoryandthenlookforcustoms,sacredsitesorotherculturalfactorsthatcanbeincorporatedintothefilmstory.Theprocessshouldbetheotherwayaround.Focusonthecommunity,findtheplaceandtheculturalthemeswilldevelopfromthissource.

What.is.the.basis.of.the.film?Existing.materials:Theadaptationofnovelstofilmiscommonpracticewithinthefilmindustry.TherehavebeenanumberofIndigenousauthorswhoseworkshavebeenmadeintofilms,suchasDorisPilkington,whoseFollow the Rabbit-Proof FencebecamethefilmRabbit-Proof Fence,andArchieWeller,whoseThe Day of the DogbecamethefilmBlackfellas.Also,booksbynon-Indigenousauthorshavebeenadaptedforthescreen,suchasPhillipGwynne’sDeadly Unna,whichbecamethefilmAustralian Rules.

ItisimportantforthefilmmakertoconsultwithIndigenouspeopleeventhoughthefilmmaybebasedonanunderlyingtext.Transferringthestorytoanewmediummayintroducenewconsiderationsthatthewrittentextdidnothave.

Filmsbasedontraditionalstoriesorworkssuchasdancethataren’tinmaterialformalsorequireconsultationifadaptingthemtofilm.

Private.lives.of.individuals:Itisnotappropriatetodiscloseconfidentialpersonalinformationwithoutpermissionfromtherelevantpersonorgroupaffectedbythedisclosure.Thiswillincludeinformationaboutpeoplewhoaredeceased.

IffilmprojectsdepictthelifeofanidentifiableIndigenousindividualorcommunity,asktheindividual,communityorrelativesoftheindividualforpermissionandobservecloseconsultationandconsentthroughouttheprocess.Legally,priorpermissionisinyourbestinterest.Youmayneedtonegotiatetherightsinreturnforpaymentfordramatisedversions.Itisimportanttoavoiddisclosingsensitiveinformationwithoutdiscussionandconsent.

Beawarethatincludingpersonalmaterialmaybesensitive.Ifitisstronglyobjectedtobyfamilyorclanrepresentatives,leaveitout.

Real.events:.Filmsbasedonrealeventswillneedconsultationandpreferablyconsent.Thisisacceptedpracticeinmainstreamfilms,whethertheyinvolveIndigenoussubjectsornot.

Dramatisedsectionswithindocumentariesrequirespecialcarebecauseoftheextra‘authenticity’thatthedocumentarycontextcangivetowhatisessentiallyaninterpretation,ratherthanapresentation,ofreal-lifeevents.

How.will.the.story.be.told?Representation:.Thisreferstohowculturalmaterialisinterpretedandrepresented.Infilmmaking,therepresentationofIndigenouspeopleonfilmhasbeenmanifestintheuseofwords,language,story,plotandculturalsymbols.

Inthepast,Indigenouspeoplehaveexpressedconcernthattheirheritagematerialhasbeenappropriatedwithoutanyrespectorrecognitionthatthematerialcomesfromadistinctculturalgroup.ConcernshavealsobeenexpressedthatsomerepresentationsofIndigenousculturalheritagematerialhavecompromiseditsculturalintegrity.

Authenticity:ThisreferstotheculturalsourceofIndigenousheritagematerial.Givingproperconsiderationtoauthenticitymeansrespectingcustomarylawsorculturalobligationsandensuringthattheappropriatecontextisgiventotheculturalmaterial.Totakeculturalheritagematerialoutofcontextoruseitinappropriatelycandisplacetheculturalauthenticityofafilm.Forexample,insomecasesfilmmakershaveattemptedtopresentastoryinaparticularplacebutusedanIndigenouslanguageandculturalsymbolfromadifferentIndigenousculturalgroup.

Contactingandgettingadviceabouttheseissuesfromtherightpeopleatanearlystageiscrucial(seeSection4,pages51–62).

Avoid.stereotypes:FilmmakersshouldaimtorepresentIndigenouspeopleinappropriatewaysthatarenotstereotypicaloroffensiveanddemeaning.Filmmakersshouldundertakereasonableresearchintotheirsubjectandproposedcharacterstoavoidstereotyping.

Wrongfulandhurtfulportrayalscancausedivisionsincommunities;peopleneedtoconsiderthis.Pauline Clague22

Language:Afilmmakermustalsobesensitivetolanguageuseinfilms.Makesurethelanguagefitsthestory.Thatis,thelanguageisthatofthepeopleportrayed.Beawarethatcertainwordsusedinoneareaorbyonecommunitycanmeansomethingtotallydifferentinanothercommunity.Thelocallanguageshouldbeusedandclearedbecauseitcouldbeoffensive.CheckwithrelevantIndigenousadvisers.

22 FilmmakerPaulineClague,meeting.

Alsoconsidercarefullytheuseofderogatoryoroffensivewordssuchas‘Abo’,‘Boong’or‘Gin’.Dotheyaddtothestoryoraretheygratuitous?

Consultsensitive.issues.earlyon.Initialconsultationwillsavetime,money,frustration,painandsuffering.

Rachel.Perkins.on.authenticityNon-IndigenousfilmmakerswhowanttoportrayIndigenousstoriesmusttakeresponsibilityforfindingoutabouttheculturestheyarerepresenting.Filmmakersoftendon’trespecttheauthenticityofstoriesandculturalmaterial.YetAboriginalaudiencescanpickoutthefalseculturalreferences,forinstance,wherethenamesandlanguagesarenotfromthatparticularareaandthestoriesandthedancesarewrong.It’slikeputtingaplasticbaginanEnglishperiodfilm.

AlotoffilmrepresentationsofIndigenousculturesarepastichesfromavarietyofIndigenousnations.Filmmakersdon’tdotheproperresearchabouttheculturalcontentforIndigenousfilms,andoftentheyjustmakeitup.ButIndigenouscultureisboundbyahighlydevelopedsystemofAboriginallawandsocialorganisation,soiffilmmakerswanttomakefilmsaboutus,ourcultureandourexperience,theyshoulddotheworkandfindoutaboutourlaw.23

Checklist.for.initial.research.and.project.development

PreliminaryHaveyouconsideredwhyyouaremakingthefilmorprogram,whyyouare

usingIndigenousmaterial,andtheperspectiveyoubringtoit?Haveyousoughtadviceontheculturalissuesthatneedtobeaddressed

throughconsultation?

ConsultationHasconsultationwithrelevantIndigenousindividualsandcommunitiesbeen

initiated?

RepresentationHowwillyourworkaffecttheIndigenousgroupitisbasedon?DoesitempowerIndigenouspeople?Doesitdepictorexposeconfidential,personaland/orsensitivematerial?Doesitreinforcenegativestereotypes?Haveyouresearchedyourcharacters?Istheuseoflanguageappropriate?

23 TelephoneconversationwithfilmmakerRachelPerkins.

Cultural.integrityAreyouproposingtoadaptoraltertraditionalknowledge,communallyowned

materialorculturalheritagematerialinanyway?Ifso,haveyouexplainedtheadaptationyoupropose,givenpeopletimetocomment,andobtainedconsent?Willtheindividualorcommunitywhoisthesubjectoftheworkhavean

opportunitytoseetheworkpriortopublicdissemination?Havetheirsuggestionsbeenincorporated?

AuthenticityHaveyouestablishedthatanyIndigenousculturalandintellectualpropertyin

yourfilmisusedinthecorrectculturalcontext?Haveyouestablishedwhetherthereareanyrestrictionsonthematerialandthe

exactmeaningofanywordsinthelanguageifunsure?Doyouuseheritagematerialsuchasimagery,musicandlanguagewithproper

regardtogender,clanaffiliationsandculturalrestrictions?

Sensitive.or.sacred.materialIsthematerialculturallysensitive?Isitsecretorsacred?Isitawomen’sor

men’sarea?Arethereanythemesthatrefertosacredorsecretmaterialthatmayneed

consultationwithIndigenouspeople?Aretherecontemporarysensitiveissuesinvolved?Ifso,howshoulditbehandled?Howdoyouplantoinvolvetherelevant

Indigenousspecialistagenciesinthedevelopmentofthefilmproject?HaveyouspokentoeldersorotherrelevantIndigenouspeoplefromthe

relevantareatoidentifyanysensitivitiesandsacredorreligiousissuesthatmightpreventdepictionoftheimage,storyorevent?

3.3. Script.development

EarlyengagementwiththeIndigenouscontentofaprojectiscrucialandshouldcontinuethroughscriptdevelopment.Often,productionandthelatterstagesoffilmmakingcanbecomecontentiousbecauseofanoversightorfailuretoensureIndigenousinputtothescript.

InvolvingIndigenouspeopleinthescriptwritingprocesscaninclude:

Using.Indigenous.writers:AgrowingnumberofAboriginalandTorresStraitIslanderpeoplearewritingforthescreen.ProductioncompaniescouldengageIndigenouswriterstowritethescript.

Using.Indigenous.script.consultants:Itmaybeusefultoengagetheservicesofaconsultanttoworkandadvisewritersatthetimethescriptisbeingwritten.Oftenconsultationoccursafterthescriptisfinalisedbutconsultationduringthewritingphasecanfocuscontentandenhancethestory.

Using.Indigenous.script.assessors:.ForfilmswithIndigenouscontent,thescriptshouldbeassessedbyanappropriateIndigenouspersonaspartofthedevelopmentprocess.

TheBlack BookisanexcellentwayoffindingIndigenouspractitioners(seeDirectories,page79).

Development.of.Whale.Rider.and.the.close.involvement..of.Indigenous.people

InthedevelopmentoftheNewZealandfilmWhale Rider,non-Indigenouswriter/directorNikiCaroworkedcloselywiththeMaoriwriterWitiIhimaerainadaptinghisnovellaforthescreen,aswellaswithlocalcommunities.

ThefilmdepictsthelegendoftheWhaleRider,KahutiaTeRangi,ancestorofthepeopleofTeTaiRawhiti,whotravelledfromHawaiki,theplaceoftheAncients,totheeastcoastofNewZealand.HisdescendantsaretheWhangarapeople,orWhangaraiwi.

ThefilmfeaturedawhollyMaoricast,someofwhomcomefromthetinyvillageontheeastcoastoftheNorthIslandwherethefilmwasshot.Thefilmmakersalsodevelopedculturalprotocolsforworkingwithculturalheritageandpresentingitinthefilm.

Choosing.an.Indigenous.script.adviserChoosingtherightIndigenousconsultantcanbedifficult.Itmightbethegenreofthefilm,orthegeographicareawheretheassessorcomesfromthatdrawsthefilmmakertochoosethatparticularconsultant.Thefollowingcriteriashouldbeconsidered:

• relevanttechnicalareaofexpertiseandabilitytodeliverandprovidenecessaryservices

• culturalknowledge,backgroundandrelevancytotheparticularfilm• experienceintheindustry.

Funding.agency.encourages.use.of.script.consultants

TheNSWFilmandTelevisionOfficesupportstheengagementofscriptconsultantsatanearlystageandemploysIndigenousreaderstoreportonprojectswithIndigenouscontentatthescriptdevelopmentstage.Thescriptisassessedforrepresentationandauthenticity.AstheFTOnotes:

Wespecificallyaskreaderstoidentifyareasofthescript,characters,plot,dialoguethatmaybeoffensiveand/orinaccurate.Wherethereadertellsustheydonothaveknowledgeofthatcommunity,wereferittoanotherreaderwiththeappropriateculturalbackground.24

Questions.for.Indigenous.script.assessorsBelowisalistofquestionsthatmaybeusefulforscriptassessorstoconsiderduringanassessment:

• Whatistheidentityofthewriter/filmmaker?• Whichcommunityisheorshefrom?• HaveIndigenouscommunitiesbeenconsulted?• Arethereanyculturalaspectsrelatingtoheritage,language,location,

or‘sacred’/sensitiveissuesthatneedtobeauthenticatedoraffirmedbyIndigenouspeopleortheirfamilies?

• Doesthewriter/filmmakerhavepermissionfromthecommunitiestomakethefilm?

• Isthestorybasedonfactorfiction?• HowareIndigenouspeopleportrayed?• Isthere‘negativestereotyping’ofIndigenouspeopleorcommunities?If

so,isitlikelytooffendIndigenouspeopleorcommunities?• Isit‘necessary’toincludespecificscenesinthefilm?• Istheculturalvalueoftheunderlyingstoryenhancedorunderminedby

thefilm?• Doesthefilmaccuratelyreflectthehistoricalorculturalfacts?

24 NSWFTOsubmission.

Checklist.for.script.developmentHaveyouconsideredusingIndigenouswritersorscriptconsultants?HasthescriptbeenassessedbyanIndigenousscriptassessorandtheir

suggestionstakenonboard?Hasthefinaldraftscriptbeenendorsedbytherepresentativeorganisations

portrayedinthefilm,ortherepresentatives/descendantsofindividualsportrayedinthefilm?

Remote.Area.Nurse.–.script.adviserForthetelevisionseriesRemote Area Nurse,theproducer,PennyChapman,engagedthreescriptwriters–JohnAlsop,SueSmithandAliceAddison.Incomingupwiththeplot,Pennywasinspiredbytheexperienceofhersister,whoworkedasanurseonMasigIsland.Sheconsideredthatthefilmshouldgenerallybeaboutanon-Indigenouswoman.“Sheisanoutsider,whodesperatelywantstobelonginaTorresStraitIslandcommunity.Attheend,shefeelsshecan’tsosheleaves,”saidPenny.

Atthestartoftheproject,PennyvisitedPhillipMills,aTorresStraitIslanderhealthmanagerintheTorresStrait.Sheaskedhimifhehadanysuggestionsaboutwhosheshouldengageasaculturaladvisertoreadthetreatmentsandscriptsandchecktheculturalcontent.PhillipMillsreferredhertoGeorgeMyewhoagreedtobetheconsultant.ShesentabriefsynopsisoftheseriestoGeorge,whichheliked.Shethengotthewriterstoworkonthefirstdraftsforeachepisode.

“WehadawrittencontractwithGeorgesettingoutwhatwewantedhimtodo–toadviseusonthestrengthsandweaknessesoftheportrayalofTorresStraitIslanderculture.Theagreementalsosettermsforpayment.Everytimewedidanewtreatment–whichwasseveraltimes–wesentittohim.Wealsosenthimdraftscripts.WhenGeorgegotthefirstepisodescript,helikeitsomuchhecouldn’twaitforthenextepisode.Hegaveusadviceonculturalissuesandsensitivities.Forinstance,hesuggestedthatwechangethenameofacharacter,becausesomeoneofthatnamehadjustdiedonMasig.”

Pennysaysthatoncethedraftwasfinalisedconsultationcontinuedwithevenmorepeople.“Eventhoughyouhaveaculturalscriptconsultantyoucan’tassumethatwhattheconsultantsaidisgoingtobeagreeduponbyeveryoneinthecommunity.”

ThescriptwasgiventopotentialTorresStraitIslanderactorstoread.OneactorraisedconcernsandPennyorganisedthewriterstomeetanddiscusstheconcernswiththeactor.“Theylistenedtothedifferentconcerns,someofwhichconflictedwithcommentsfromIslanderstheyhadalreadyworkedwith.Theytookonboardthethingsthatwereuseful.”

Thereadingofthescriptbythecastalsogaveanopportunityforconsultation.

“BeforefilmingwereadthroughthescriptonMasigIslandwithallthecast.Wegotlotsoffeedback.ThiswasusefulbecausemanyofthecastwerelocalpeopleandrepresenteddailylifeintheTorresStrait.Oneofthewriters,AliceAddison,wasthereandabletomeetwiththecastandtheadviser,RockyGela.Alicewouldlistenandthenmakechangestothescript.Evenduringfilmingwecontinuedtogetfeedback.Ittakestimeforpeopletounfoldsotheyfeeltheycansaywhattheythink.Asthecommentsflowed,wewereabletosendcommentsbacktotheotherwritersinSydney,whocouldmakethenecessarychanges.”

Thescriptchangedforthebetterasaresultoftheconsultation.Pennyhighlightedsomeexamples:

“Wechangedtheadoptionstory.Originallyitwasportrayedasasourceofsadnessandgrieving.ButforTorresStraitIslanderculture,adoptionisagift.TorresStraitIslandershaveaculturalpracticeofadoptionswherechildrenaregiventofamilymemberswhocan’thavechildren,orwhoarelonely,tolookafter.Thereiscontinuedinteractionbetweenthebirthmotherandtheadoptedfamily.Adoptionisnotseenassomethingthatcomesoutofatoughnecessity.Thescriptwaschangedtoreflectthis.”

“Therewasadeathontheislandwhenwewerefilmingandthisrequiredfurthersensitivitytofilmingandportrayingthescript’sdeathscene.”

Theweddingscene’sportrayalinvolvedlivelydebateaboutTorresStraitIslanderweddingceremonies.“CeremoniesintheWesternIslandsweredifferentfromtheEasternislands.Therewasmuchdiscussionabouthowtheweddingsceneshouldbefilmed,whichleadtoacompetitionaboutwhichceremonywasbetter.”25

3.4. Pre-production.and.production

Inpre-production,issuesarisewhenchoosinglocations,engagingcastandcrew,developingcostingsandbudgets,raisingfinance,andensuringalltherelevantconsentsandcontractsareinplace.

LocationsRespect.for.sacred.areas.and.objects:Pickingtherightplacetofilmwillrequireconsultationandoftenwrittenconsent.Itisimportantnottofilmsacredsitesorparkheavyvehiclesonsacredland.Youshouldalsoaskpermissiontofilmobjects,orpiecesofartisticworks.(SeeSection4,pages51–62;andalsoSection5,pages63–77forinformationonfilmingcopyrightworks.)

Filming.in.Indigenous.communities:IfyouwanttofilminanIndigenouscommunityyoushouldcontacttherelevantcommunity,organisationorcouncilfor

25 PennyChapman,telephoneinterview,17April2008.

permissiontofilm,andprovidethemwithdetailsofyourfilmproject(seeSection4).Itisagoodideatoestablishformallinesofcommunicationbetweenthecrewandthecommunityby,forexample,hiringsomeonefromthecommunitytoactasliaison.Thisappliestoremote,ruralandurbancommunities.

Getting.permission:WhenvisitingIndigenouscommunitiesforthepurposeoffilming,itisimportanttogettheconsentofthecommunity.

SomefilmmakersdonotgetthenecessaryconsentsandfindtheyarenotallowedonIndigenousland.Ortheyturnupatanorganisationreadytofilm,andhavenotbriefedpeopleadequatelyaboutthefilmproject.Insomeinstances,Indigenouspeoplemaynotallowfilmingunlessprotocolsarefollowed.Thiscanhaveanimpactontheproject,particularlythebudget.

SeeLocation permits(page54)formoredetailsonwhenapermitisneededandhowtogetone.

Permit.too.lateOnefilmcrewtravelledtotheTorresStraittofilmonMurrayIsland,butwerenotallowedtofilmbecausetheyhadnotappliedforandreceivedapermitbeforetravelling.

Filming.UluruAdocumentarymakerhadincludedpartsofUluruinadocumentarybuthadnotappliedfororreceivedapermitforfilminganddidnotconsultthefilmingguidelines.Afterbeingtoldbythebroadcasteroftherequirementsforapermit,thefilmmakerappliedforonebutwasrejected.Thefilmincludedsacredsitesinthefinalcut,deviatingfromtheshootingscript,andpromotedtheclimbingofUluru,whichisagainstthefilmandphotographyguidelines.Intheend,thefilmmakershadtotakethefootagefromthefinalcutbeforescreening.ItsfocuswaslargelyonmainstreamtourismanditdidnotpromoteAnanguculture.

Filming.on.location.in.the.Torres.Strait:.Remote.Area.Nurse.

Intheprocessofselectingasuitablelocationtofilmthemini-seriesRemote Area Nurse,producerPennyChapmanandco-producerHelenPanckhurstmadeseveraltripsincludingthosetoaCapeYorkcommunityandtheTorresStraitislandsofMasig,Mabuiag,ErubandYam.“Intheend,wechosetheTorresStraitasafilmlocationbecauseofitsexoticlocation,”saidPenny.

Atthescriptingstageofthefilmproject,theyengagedaTorresStraitIslanderfilmconsultant,GeorgeMye,toprovidefeedbackandadviceoneverystageofthescriptingwithregardtoculturalmatters.Oncetheyprogressedfurther,onGeorge’sadvice,theywrotetoandconsultedwiththechairmenofthevariousislandcouncils.

“Atthatstageitwashardtomakecontactbecausethechairmenhadnoideawhowewere.We’dwriteorleavemessages,andnoonewouldcallback.Thehardestthingforuswastounderstandwasthatwehadtokeepcallingback.Ikeptcallingandeventuallygottotalktopeople,”saidHelenPanckhurst.

Thefilmmakersspoketorelevantcouncilsaboutwhatfilmingonlocationwouldinvolve.Someofthechairmenthoughtthatthefilmingwouldbetoodisruptivetotheirisland’ssociety,anddidnotwantthefilmingontheirisland.

Aftermuchdiscussion,MasigandYamIslandswereshort-listedasthetwomostappropriate.ThetwochairmenmetonThursdayIslandandtheydecidedthatMasigwouldbethemostappropriateislandtofilm.Asitturnedout,MasigIslandhadbeentheislandPennyChapman’ssisterhadworkedonasaremoteareanurse.Herexperiencehadbeenaninspirationfortheseries.

Oncetheygotthepermissiontofilmontheisland,MasigIsland’sChairman,DonMosby,selectedRockyGelaasthekeyliaisonperson.RockywasfromErub,butmarriedtoaMasigIslander.Asanin-law,culturallypeoplehadtolistentohim.Pennysaid,“Rockywasthepersonwhowemetwitheveryday.Hewouldaskwhat’shappeningandwouldtalktotheelders.Hewasincrediblypatient.”

Thereweremanyissuesforfilmingonlocationthatthefilmcrewhadtorespect.AsPennyrecalls:

“TheMasigIslandersdidn’twantustofilminthecemetery.Theyconsideredthatitwasverybadspirittodigaholeinthegroundandnotputanythinginit.Rockywentaroundtotheelders.Shootingasceneinthecemeterywherethescriptcontainedaburialscenewasnotacceptable.Theydidn’twanttohaveanemptycoffin.Sowehadtotakeitapart.Weaskedifwecouldhavetheburialonanuninhabitedisland.Thiswasdiscussedandoneseniorman,DanMosby,saiditwasokaytofilmthesceneonhislandonanearbyuninhabitedisland.”

Filmingonlocationtookoverthreemonths.Thefilmcrewhadtobemindfuloftheirimpactonislandlife.ThecrewgaveupalcoholbecauseMasigisadryisland.Also,whilsttheywerethere,anislanderpassedaway,andfilmingwasshutdownforadaytorespectthefamily.26

Actors.and.consultants.should.be.paidIfIndigenouspeopleareusedasconsultantsforculturaladvice,theyshouldbepaidanagreedfeeinlinewithotherconsultantssuchasascripteditor.

Further,ifanactoronaprojectisalsotheconsultantonculturalmaterialtheyshouldbepaidanadditionalfeetotheiractingfee.Thisshouldbeinlinewithfeespaidtootherconsultantssuchasascripteditor.

26 PennyChapmanandHelenPanckhurst,telephoneinterview,17April2008.

Allactorsworkinginfeaturefilms,televisionseriesorserialsanddramatisationswithindocumentariesshouldbepaidaccordingtotherelevantawardoragreement(seeIndustrial Agreements,page112forSPAAandMEAAcontactdetails).

ActorswhohavequestionsaboutthefeestheyshouldbepaidshouldcontacttheMedia,Entertainment&ArtsAllianceAward(seeIndustrial Agreements,page112forMEAAcontactdetails).

Thequestionofwhetherparticipantsindocumentariesshouldbepaidisnotsoclearcut.Somepeoplethoughtthatparticipants(subjectswhoareinterviewed)areentitledtoafee,dependingonwhethertheperson’scontributionisakeycomponentofthefilmandtheexpertisethatparticipantbrings.Otherpeopleconsultedthoughtthatpayinginformantsandparticipantscouldbeseenaspayingforastory.

Thisaspectshouldbefullynegotiatedwiththeparticipantswellbeforefilming.Suchcostswouldobviouslyneedtobetakenintoaccountinthefilm’sbudget.

Cast.and.Crew

Itisappropriateforperformersandcrewtoaskifconsultationhasbeenundertakenandifneeded,consenthasbeengivenbytherelevantIndigenouscommunitiesorindividual/s.

ItisnotappropriatetoassumethatanIndigenousactororcrewmemberberesponsiblefortheculturalintegrityoftheproject.Thisistheresponsibilityoftheproductioncompany.

Indigenousactorsandcrewmaybehappytotakeonthisrole,butthisneedstobediscussedearlyinthecastingandcrewingprocess,wellbeforetheytakeuppositionsorfilmingbegins.IftheyaretotakeontheroleofIndigenousconsultanttheyshouldberemuneratedinlinewithfeespaidtootherconsultants.

Submission.from.the.Media,.Entertainment.&.Arts.AllianceIndigenousperformerstoooftenfindthemselvesininvidiouspositionswhenappropriateconsultationhasnotbeenundertakenorrelevantconsentshavenotbeensecured.

Asemployees,theycanfindthemselvesbeingdirectedtoundertakeaperformanceintheabsenceofappropriateconsentoraskedtogiveaperformancethatmightbeculturallyoffensiveinsomerespect.Insuchcircumstances,theiroptionsarethenreducedtorefusingtowork,thusjeopardisingfilming(andpotentiallyputtingthemembersinbreachoftheiremploymentcontract)orundertakingworkintheknowledgethatappropriateprocedureshavenotbeenfollowed.

TheramificationforIndigenousperformerscanbeveryserious.TheAllianceisawareofatleastoneinstance–intheearly1990s–whereanIndigenousperformerwas,inthisway,exposedtotheriskoftriggeringphysicalpunishmentinaccordancewiththecommunitylawthatwasoffended.

Theissuesaremostacuteforperformersasundertakingaperformancethatmightbeculturallyoffensivewillbeclearlylinkedtothemindividually–theiractionsarerecordedonscreen.Ontheotherhand,crewmembersundertakingorparticipatinginanactivitywhereappropriateconsultationhasnotbeenundertakenorappropriateconsentsecuredarenotsoreadilyidentifiable.However,theiroptionsareaslimitedasthoseofperformersinthesamecircumstances.

Itisimportantthatcastandcrewbeconfidentthatdueprocesshasbeenfollowedandthattheynotbeinthepositionwheretheyareaskedtoparticipateinactivitiesthatothers(andthemselves)mayfindoffensive.

Recognising.the.value.of.Indigenous.cultural.and.intellectual.propertyIntheartsandfilmindustryitiscommonplaceforusersofintellectualpropertytopayfeesto,orshareprofitswith,theownersofcopyrightworks.Forexample,ifabookisadaptedintoafilm,theauthorhastherighttoaskforandbepaidafeeand/orroyalties.

Inthesameway,thevalueofIndigenousculturalandintellectualpropertyshouldberecognised.Iftheculturalmaterialsuchassongs,dancesandartisticworkaretobeusedforcommercialpurposes,makecertainthattheIndigenousownersofthematerialreceiveappropriatefinancialcompensation.Insomecasesthismightinvolveaone-offpayment,butiftheimageistobeusedwidely,itmaybebettertonegotiatearoyaltypayment.

Itisimportanttonotethattheabilityoffilmproducerstopayroyaltiesandfees

willdependontheirfilm’sbudget,andwhetherthefilmmakesanyprofit.Alotofdocumentaryproduction,forinstance,doesnotrecoupprofits.ItmightbeunrealisticforanIndigenouscommunitytoexpecthighfeesandpaymentsforadocumentaryproductionthathasalowbudget.However,foralargerfeaturefilm,thiswouldbedifferent.

Theissueofcopyrightownershipofculturalexpressionsthathavebeenfilmedorrecordedinsomeotherwayshouldbediscussedupfront.ThecopyrightoftherecordingandfilmingofIndigenouspeople’sculturalexpressionwillnot,undergenerallaw,belongtotheIndigenouscommunitiesbutwiththerecordistsandfilmmakers.However,asnotedinOur Culture: Our Future,itisanimportantIndigenousculturalrightforIndigenouspeopletocontrolcommercialexploitationoftheirIndigenousculturalandintellectualproperty.InsomecaseswherefilmmakershaverecordedasubstantialamountofIndigenousculturalandintellectualproperty,suchastherecordingof‘traditionalcreation’stories,theyhavesharedthecopyrightandroyaltieswiththerelevantIndigenousgroup,torecogniseIndigenousownershipofculturalstoriesandthevalueofIndigenousculturalandintellectualproperty.27

An.Anangu.StoryUluru – An Anangu Story wasaFilmAustraliaNationalInterestProjecttitleproducedin1986inconjunctionwiththeMutitjuluCommunityfromUluru-KataTjutaNationalPark.Itisforsaleonvideoonly.ThematerialisnottobesoldasstockfootagewithoutthepermissionoftheMutitjuluCommunityIncorporated,anIndigenouscommunityorganisationwhichrepresentsAnangupeoplelivingatMutitjuluinUKTNP.Apercentageoftheprofitsfromthesaleofthevideoisdistributedtothecommunity.Thefilmhasgrossedover$167,000.Approximately$34,000ofthishasbeendistributedtothecommunity.

Consents.and.clearancesAfterproperinformationaboutthefilmprojecthasbeenprovidedtoIndigenousparticipantsorsubjectcommunities,consentsshouldbeobtained,preferablyinwriting.Itisstandardpracticeinthefilmindustryforfilmmakerstorequireparticipantstoprovideastandardrelease,ornegotiatetherightsunderwrittencontract.WrittencontractsshoulddealwithIndigenousculturalandintellectualpropertyrights(seeWhen consent is required,page52;andSection5,pages63–77).

Thisreleaseorcontractcanalsoincludeaprotocoltobefollowedintheeventoftheperson’sdeath:forexample,whethertheywishtheirnameand/orimagetoberepresented,orwhethertheywouldprefertobeknownbyanothernameaftertheirdeath.

27 TerriJanke,Our Culture: Our Future,pp.47–48.

ShootingBythetimethefilmstartsshooting,castandcrewshouldallbeawareoftheprotocolsdevelopedfortheproject,includingwhatisappropriatebehaviourandanysensitivitiesinvolved.

Duringtheshoot,it’simportanttomonitortherelationshipbetweenthecrewandthecommunity,andthisisakeyroleforaliaisonperson.Communicatinganychangesthatoccurisespeciallyimportant;theseareinevitableonafilmshootbuthavethepotentialtodestroyagoodworkingrelationship.

Appropriate.language..(providedbyBeckColeandWarwickThornton)

WhilstworkingwithinanIndigenouscommunity,itisimportanttogivetheappropriatelevelofrespecttoeldersandthoseinpositionsofauthority.WarwickThorntonhadanexperienceafewyearsagowhileshootingadocumentaryonanAboriginalcommunitywithalargelynon-Indigenouscrew.

Withoutmeaningtooffend,thedirector(non-Indigenous)calledagroupoftraditionalmen‘boys’.Themenwerefuriousandcompletelyinsultedastheywereseniorlawmenwithintheircommunity.Theydecidedthattheydidnotwanttoworkwiththedirectorandtheentireshootcametoagrindinghalt.

Everyonewasconfusedandupsetbyanexperiencethatcouldhavebeenavoidedhadthedirectoraskedafewsimplequestionsregardingprotocolwithinthatparticularcommunity.EveryIndigenouscommunityisdifferentandprotocolswillvary.28

28 Emailresponsetoquestionnaire,BeckColeandWarwickThornton.

Checklist.for.pre-production.and.production

LocationsHavelocationsbeenchosenwithdueregardandrespectforculturalbeliefs?Havetherequiredpermitsbeenobtained?Havetherelevantcontactsbeenidentifiedandaliaisonpersonappointed?

Cast.and.crewHastheuseofIndigenouspeopleascastandcrewmembersbeenconsidered?

Aretheybeingpaidappropriately?

ConsentsHavetherequiredconsentsbeenobtained,egfortheuseofIndigenous

culturalandintellectualproperty,ortofilmAboriginalorTorresStraitIslanderpeople?Haveprotocolsbeendiscussedfordealingwiththedeathofanyactorsor

intervieweescapturedonfilm,andclearancesbeenobtained?

Budgets.and.financial.returnsHavefeesorotherbenefitsbeennegotiatedwiththecontributorsand

traditionalcustodians?Istheculturalvalueoftheworkrecognisedinfinancialreturns?Whenapplyingforfunding,havefeesorfinancialreturnsforallcreative

contributorsbeenincorporatedintotheprojectbudget?

ShootingArecastandcrewbriefedabouttheprotocolsdevelopedfortheproject,

appropriatebehaviourandanysensitivitiesinvolved?Isthereaprocedureinplaceformonitoringrelationshipswiththecommunity

andcommunicatingchanges?

Ten.CanoesTen Canoes(d:RolfdeHeerandPeterDjigirr,2006)isacollaborativefilmproducedwiththepeopleofRamingining.TheentirecastofthefilmisIndigenousfromGanalbinguandrelatedclans.Theywereinvolvedinthescript,andmadetheculturalobjectswhichareusedasprops.

RolfdeHeermetDavidGulpilil,theAboriginalactor,whilstworkingonthefilmThe Trackerin2000.DavidinvitedRolftospendtimewithhiminhiscommunity.RolftravelledtotheArafuraSwamp,spendingtimewithDavid,andthetwodiscussedthepotentialofmakingafilminthislocationwithafocusonYolnguculture.WhenRolfwasleaving,Davidshowedhimablackandwhitephotographtakenbytheanthropologist

DonaldThomsoninthe1930swhichdepictedtencanoeistsembarkingonagooseegghunt.“Weneedtencanoes,”saidDavid.Rolfagreedandthephotographbecametheinspirationforthefilm.

AccordingtoRolf,thedevelopmentofastoryaboutthegooseegghuntcreatedaprobleminthatthehuntwasnolongeracommonculturalpractice.Thefilmmakerdiscussedthisissuewiththecommunityatlength,andthecommunityagreedtorevitalisethecraftofmakingthecanoeswithreferencetotheThomsonphotographs.

Anotherstorylineissuewashowtoaddthedrama,whichwasanecessarycomponenttoentertainaWesternaudience.Shouldthestorybeaboutconflictbetweennon-IndigenousandIndigenouspeople?ThecommunityvaluedthetimeDonaldThomsonlivedintheircommunitiesanddidnotwantitportrayedasaperiodofconflict.Hence,theydecidedtosetthefilminthelongagopre-contactperiod.Toemphasisethehistoricaltimesetting,thefilmmakersandthecommunitydiscussedwhetherthestorycouldberepresentedinblackandwhite.Underthetermsoftheinvestmentagreement,thefilmhadtobeincolour.RolfdeHeernotes:“Intheend,thoseandotherproblemsweresolvedbyintroducingonedeviceintothefilm,whichwastohavethemaindramaticpartofthestorysetinmythicaltimes,whenfortheYolnguanythingwasallowedtohappen,andshootthatpartincolour…Thatdramaticstorycouldthenbetoldasacautionarytaleduringagooseegghuntingexpedition,whichwouldbeshotinblackandwhitetoreflecttheThomsonphotographs.Ascriptwhichpleasedbothcultureswasthenpossible.”29

ThefilmisthefirstfeaturefilmedinAboriginal(Yolngu)language(predominantlyGanalbingu),althoughDavidGulpilil,thenarrator,speaksinEnglish,andthereareEnglishsubtitles.Thereare16clansintheRaminginingcommunitywhospeakuptoeightIndigenouslanguages.Theactorscamefromdifferentclans,andspokedifferentlanguagesbuttheycouldallunderstandeachother.SeveralcastmembersspokefluentEnglishandasfilmingcommencedtheywereabletotranslateproblemsbetweenthefilmmakersandtheothers.

ThreedifferentlanguageversionsofthefilmhavebeenproducedincludingtheversiontheatricallyreleasedwithYolngulanguage,Englishnarrationandsubtitles,andanotherversionmadesolelyinYolngulanguagewithoutanysubtitles.

Theprocessforcastingthefilmrequiredthefilmmakerstoconsiderculturalaffiliationsandkinshipissues.ThetencanoeistsinThomson’sphotographhavebeenidentifiedandhavemanydescendantsandrelativeslivinginRamingining.Themenwiththestrongestclaimstoheritagechosetoplaytheirancestors.30Thewomenwerechosenbecauseoftheirkinshiprelationshipstothemainmen.

29 LibbyTudballandRobertLewis,Ten Canoes: A Study Guide,p.11, www.tencanoes.com.au,accessed24April2008.

30 Ibid.

Theselectionoftheactorsalsoinformedthestory.Forexample,onecastmemberwasoverweightinawaythatnoonewouldhavebeenintraditionaltimes.Hence,acomicalrolewaswrittenintothestorylineaboutthischaracter’sloveoffood,especiallyhoney.

ThroughconstantconsultationwiththerelevantIndigenouspeopleoncasting,storylineandfilmingprocesses,thefilmmakerswereabletoresolveconflicts.Althoughthiswasnotalwayseasy,thefilmdirectorhadtobepatientandlearntoreadthesubtletiesofculturalinterchange.31

Thefilm’sfirstpublicscreeningwasinRaminginginginDecember2005,whichgavethecommunitythechancetoseeitbeforeitwaswidelyreleased.

ThelocalAboriginalartscentre,Bula’bulaArts,playedafacilitatingroleandalsoworkedwithartistsandcommunitymemberstomakethecostumesandpropssuchasmosquitohuts,wovenbags,waiststringbags,spearsandwoomeras.ThecommunityandthefilmproductioncompanyagreedthattheseitemsandthecanoescouldformpartofanexhibitionatBula’bulaArts, 13 Canoes,whichthentouredtotheSouthAustralianMuseumin2006.

3.5. Editing.and.post-production

ThereshouldbeIndigenousconsultationandinvolvementinthepost-productionstagestomakesurethatprotocolshavebeenadheredto.Filmmakersneedtoallowenoughtimeforthis.Itoftentakesalongtime,andisequallyasimportantasotherproductionstages.Erica Glynn32

Indigenouspeopleshouldbeconsultedatthepost-productionstagebeforethepicturelock-offandsoundeditingperiod.Anychangesrequiredafterthefilm’spicturelock-offmaybeextremelyexpensive.Consultationandcheckingbeyondthisperiodwouldrequirefurthernegotiation.Initialcontactandnegotiationsshouldestablishtheextentofthisconsultation.

Attheveryleast,Indigenouscommunitiesandparticipantsshouldbegiventheopportunitytoviewthefilmattherough-cutstage,andgivenareasonableturnaroundperiodtoprovidecomments(atleastsevendaysorotherwisenegotiated).Thefilmmakersshouldtakereasonablestepstoensuretheyareawareofanypotentialculturalissues,sotheycanaddressanyconcernsthatariseatthisstage.Itispreferabletodothisinperson.

SomeIndigenouscommunitieshavewantedtobeinvolvedinthefilmeditingprocess,andtoviewafinalcutofthefilm.Thismaybeadvisableifthefilminvolvesverysensitivematerialoralargeamountofculturalheritagematerialwhereitisextremely

31 Making Ten Canoes,SBSIndependent,2006.32 EricaGlynn,telephoneinterviewwithToniJanke.

importantforthecontexttobecorrect.Ifafilmmakerisunabletoprovidethisduetotimeandbudgetconstraints,thisshouldbediscussedwiththeIndigenouscommunitiesbefore filming starts.

IfyouwanttoensurethatafilmrespectsIndigenousbeliefsrelatingtosacredsitesandmaterial,bepreparedtoeditorcutoutanysecretorsacredmaterial,particularlyforfeaturefilms.Thisshouldbegivenpriority.

Indocumentarymaking,aprojectmaysometimeschangesubstantiallyduringtheeditingprocess.Beawareoftheimplicationsthishasfortheconsentsyouhavereceivedfromthesubjectsofthefilm.Tradepracticeslawisalsorelevanthere(seeSection5,page75).

Representations.of.deceased.peopleSpecialattentionneedstobepaidatpost-productionstagetothepotentialforthefilmtonameorportrayimagesofdeceasedpeople,asthisisoffensivetomourningpracticesinmanycommunities(seeCultural beliefs,page14).Althoughfamiliesorcommunitiesareincreasinglyallowingaperson’simageand/ornametoremaininafilmaftertheirdeath,theappropriateprotocolshouldalwaysbediscussedonacase-by-casebasis.

Ifyouareawarethatanactororintervieweehasdiedandtheyhavesignedareleaseformindicatingthattheydonotwishtheirnameand/orimagetobeincluded,thenamewillneedtoberemovedand/ortheimageeitherremovedorpixelatedsothepersonisnotidentifiable.Thiswouldalsoapplytothevoiceoftheperson,irrespectiveofwhetherthevoicewasaccompaniedbyanimageofthedeceased.

Apost-productionculturalclearanceshouldalsobeobtainedfromtherelevantcommunities,andthisshouldaskwhetheranydeceasedpeoplearenamedand/orrepresentedandhowtheiridentitiesshouldbehandled.Theproposeddistributionofthefilmandanybroadcastinglicencesgrantedshouldbestated.Theclearanceshouldalsomakeclearifthebudgetwillnotallowremovalorpixilationoftheimageafterthefilmiscompleted.

Evenifaparticularindividualorcommunityhasgivenpermissionforaperson’snameorimagetoremaininthefilmaftertheirdeath,itmaystillbeoffensivetosomeIndigenouspeople,soinallcasesawarningshouldbeplacedatthebeginningofthefilm.

Avisualwarningsymbolsuchasalogoordevicecanalsobeincorporated,withaudiodubbedovertheimageinthelanguageofthecommunitydepictedinthefilm.

Use.of.archival.footageFilmmakersaccessingfilmfromarchivesshould:

• respecttheintegrityofthefilmmaterialobtainedingoodfaith• onlyusethefilmmaterialinawayapprovedofbytheindividualorcommunity

filmed• contacttherelevantcommunityforconsultationiftheproposeduseisnot

consistentwithanydetailsstatedonthedepositforms• respecttheconfidentialityofsecret/sacredandotherrestrictedmaterial• whenusingfilmmaterials,properattributionshouldbegiventothe

individuals,communityandtheoriginalfilmmaker.

Filmmakersshouldalsoconsidersensitivitiesaboutrepresentationofdeceasedpeoplewhenusingarchivalfootage:

• Ifoldfilmfootageistobeincludedinnewfilms(andtheoldfootagewasshotinthelast50years)reasonableattemptsshouldbemadetofindoutwhetherpeoplehavedied,andwhetherthefootageissuitableforuseintheproposednewfilm.

• Ifthefilmfootageisveryold(ieitismorethan50yearssinceitwasshot)thecontextshouldbecheckedbyanIndigenousadvisor,orrepresentativefromthefamily,orculturalgroup(ifidentifiable).

• Ifthereisnoidentifiablegroup,ornogrouptospeakforthefootage,refertotheIndigenousCollectionsBranchoftheNationalFilmandSoundArchive(NFSA)orAIATSISforadvice.(Seeboxnextpage).

• Ifindoubt,leaveitout.

Australian.Institute.for.Aboriginal.and.Torres.Strait.Islander.Studies.(AIATSIS)

IfyouwishtoaccessarchivalfootagefromtheAIATSISAudiovisualArchives,youwillberequiredtocomplywiththeCodeofEthics,Collections Management Policy Manual.33TheCodeaddressespersonalconductrelatingtoarchivedmaterials,careofcollectionsandaccesstosecretandsacredmaterials.ItalsorecognisestherightsofIndigenouscommunitiesandindividualsbyrequiringthattheyconsenttothepublicationofarchivalmaterial.AIATSIS’sAudiovisualCodeofEthicsstatesthat“copiesofmaterialwillonlybeprovidedforpublicationpurposesiftherequestorhasconsultedwiththerelevantIndigenouscommunityorindividual(s)andhasreceivedwrittenpermissiontoproceed,eveninsuchcaseswherethecopyrightownerhasapprovedpublication.”34

33 TheAustralianInstituteofAboriginalandTorresStraitIslanderStudiesAudiovisualArchive’sCodeofEthicswasexaminedandendorsedbytheAIATSISCouncilinAugust2005.

34 AustralianInstituteofAboriginalandTorresStraitIslanderStudiesAudiovisualArchive’sCodeofEthics, Collections Management Policy Manual,Canberra.EndorsedbyAIATSISAugust2005.Clause10.3.2Accesstothecollections.

Indigenous.materials.in.the.National.Film.and.Sound.Archive

TheNationalFilmandSoundArchive(NFSA)holdsanestimated16,000titles,or3percentofthenationalcollectionoffilms,recordingsandprograms,whichincludesdepictionsofIndigenouspeoples,cultureandexperience,presentedfromavarietyofperspectivesandhistoricalattitudes.

TheNFSAhasdraftedanIndigenousCollectionsPolicywhichincludesprovisionsforthemanagement,accessandpreservationoftheIndigenousfilmarchivesitholdsincluding:

Access to secret sacred material: 5.4.2‘InrelationtoIndigenoussubjectmatter,sensitivitieshavegreatestforcewhentheworksandothermaterialaccessedincluderecordingand/ordepictionsofsecretand/orsacredeventsrecordedwithorwithoutpermission.Inthepast,someAboriginalpeopleshavegivensecretinformationtorespectedresearchers,notrealisingthattheinformationwouldbepublishedandmadeavailabletothegeneralpublic.Insuchcircumstances,anitemneednotbereadilyavailabletoeveryonesimplybyvirtueofitspriorpublication,andmayrequirespecificpermissionfromtherelevantpeoplesofassociation.’

Access by Indigenous community: 5.4.4(f)‘RespondappropriatelytoanyrequestfromanIndigenouscommunityforcopiesofmaterialofspecificrelevancetothecommunityforitsuseandretention.’

ThefullpolicycanbefoundontheNFSAwebsiteatwww.nfsa.gov.au

Appropriate.attribution.and.film.creditsTheownersofIndigenousculturalandintellectualpropertyshouldbeaskedforinstructionsonhowtheywishtobeacknowledged.Itmaybeparticularlyimportanttoidentifythenamesandclansofpeoplewhoappearinimages.ThefailuretoattributeperpetuatestheanonymityofIndigenousfacesandcontinuestosilenceIndigenousvoices.

Indigenousculturaladvisorssuchasscripteditorsandculturalliaisonofficersshouldalsobecreditedfortheirprofessionalknowledgeinfilmcredits,justasothercastandcrewarerecognised.Andwhereactorsareconsultedforculturaladviceonaproductiontheyhavebeencastin,theyshouldbecreditedforthisseparateroleandexpertise,aswellasfortheirperformance.

Itisimportantnotjustforownershipandacknowledgement,butoftenotherIndigenouspeoplewanttoknowwhenthecreditsrollwhowasconsultedonthisorthatfilm.Tony Briggs,actor35

35 TonyBriggs,MelbourneIndigenousFilmmakersCulturalProtocolsWorkshop,IlbijerriTheatreCompany,29July2003.

AcknowledgingtheuseofIndigenousculturaladvicethroughtheinputofindividualsandviacommunitynetworkscanalsoenhancethecredibilityofthefilm.

Checklist.for.editing.and.post-production

ConsultationHavetheIndigenouspeopleinvolvedbeenconsultedbeforethepicturelock-

offandsoundediting,preferablyatrough-cutandfine-cutstages?HavetheIndigenouscommunitiesandparticipantsbeenmadeawareofany

potentialculturalissuesandbeengiventheopportunitytoviewtheroughcut?Haveparticipants,actorsetc,theirfamiliesandcommunitybeenadvisedthat

thefilmwillbewidelycirculated?

Representations.of.deceased.peopleIfreproducingdeceasedpeople’simages,haspermissionbeensoughtfrom

thefamilyorclanrepresentativesfortheproposeduse,andhavetheybeenadvisedofproposeddistributionandanybroadcastinglicencesgranted?Hasawarningbeenplacedinaprominentpositionatthebeginningofthe

film,afterdiscussingtheproperwordingwithrelevantfamilyandcommunitymembers?Ifreferringtodeceasedpeople’snamesinyourfilm,haveyoucheckedwith

therelevantfamilyandcommunitywhetheritisappropriatetomentionthatperson’sname,orwhethertheywouldprefertobereferredtobyanothername?

AttributionHaveIndigenouscontributors,writers,creators,communitiesandcustodians

whocontributedtotheworkinanyimportantwaybeennamed?Hasproperrecognitionbeengiventothewriterandthesourcecommunity,

orotherrelevantIndigenouspeople,inaformagreeduponwiththosetobeattributed?HavetheclanaffiliationsofIndigenouscreatorsbeenincludedaftertheirown

namesifthishasbeenrequested?HaveIndigenouscustodians,contributorsandIndigenousorganisations

contributingresourcesandknowledgebeengivenasignificantcreditascollaboratorsontheprojectwhererelevant?

3.6. Screening.and.broadcasting

Asageneralrule,thefilmmakershouldensurethata‘deceasedpersons’warningisscreenedbeforethefilmwheneveritisshown.Iffilmsarescreenedinremoteareaswherethedeathprotocolisstrictlyadheredto,warningsignscouldbeplacedoutsidethetheatre.

‘Deceased.persons’.protocols

TheABC.and.SBShaveadoptedapracticeofbroadcastingawarningbeforeaprogramthatfeaturesIndigenouspeople.

Forexample,theABCscreens:‘AboriginalandTorresStraitIslanderviewersarewarnedthatthisprogrammaycontainimagesandsoundsthatmayrelatetodeceasedpersons.’36

TheABChasalsogivensomewarnings,whererelevant,inIndigenouslanguage.Forexample,thedocumentaryVis A VisonNingaliLawford-Wolf,producedbyNickTorrensFilms,containedawarninginlanguagefordomesticbroadcasts.

SBSreferstothecommunitywhenrepeatingthefilmsmadeundertheNationalIndigenousDocumentaryFund,amonthbeforethefilmgoestoair.Underthetermsofthebroadcastinglicenceagreement,SBSgetsthreerunsoftheprogramoverfiveyears.

Anotherexampleofawarningis:WARNING:AboriginalandTorresStraitIslanderviewersshouldexercisecautionwhenwatchingthisprogramasitmaycontainimagesofdeceasedpersons.

Marketing.strategies.and.opening.nights.Marketingstrategiesmayrequiresomeconsultation,particularlyinrelationtotheuseofIndigenousculturalmaterialorfootagefromthefilminamarketingcontext.Ifthereareanymarketingissuesthatmightinvolvechangestotheoriginalcontext,theseshouldbediscussedwiththerelevantIndigenouspeople.

Openingnights,launchesandceremoniesassociatedwithlaunchesareagoodfocusforrecognisingthecontributionofIndigenouspeopletothefilm.DonotforgettoinvitetheIndigenousparticipantstosuchoccasionswherepossible.IfthefilmhassignificantIndigenouscontent,it’sagoodideatoinvolveanIndigenouspersonintheoccasionitself;forexample,awelcometocountrycouldbeconducted.

AssomeIndigenouscommunitiesmaynotaccessmainstreampressregularly,itisrecommendedasacourtesythatyounotifyIndigenousparticipantsofthebroadcastdates.

36 MeetingwithDavidJowsey,PaulineClagueandPaulBrandt,ABC.

Checklist.for.screening.and.broadcastingHavetherelevantIndigenouspeoplebeenconsultedabouttheuseofa

‘deceasedpersons’warning?HavetherelevantIndigenouspeoplebeenconsultedabouttheuseof

Indigenousculturalmaterialorfootagefromthefilminamarketingcontext?HaveIndigenousparticipantsbeeninvitedtoparticipateinanylaunchor

openingnightcelebrations?HaveyounotifiedIndigenousparticipantsofthelaunchand/orbroadcast

dates?

3.7. Footage.archiving

FilmsbyandaboutIndigenouspeopleareimportantrecordsofcultureandprovidesourcesofinformationforfuturegenerations.Therearetwomainissuesforfilmmakerstoconsider:

• theneedforfilmsaboutIndigenouspeopleorculturalmaterialstobearchivedwithenoughinformationtoidentifyparticipantsandcontentinfuture,includingclearanceformsobtainedatthetimeofshooting

• theneedtobalancefutureaccesswiththeneedtopreservetheculturalandphysicalintegrityoftheoriginalfootage.

AllpotentialandproposedusesofthefilmshouldbeclearedwiththeIndigenouspeopleinvolved,beforebeginningtofilmwiththem.

Depositing.film.in.archivesIndigenouspeoplerepresentedinafilmorwhoseculturalheritageisusedinafilmshouldbeadvisedwhenthefilmisdepositedinarchivesandlibraries.Ifdepositingmaterialthatwasnotincludedinthefinalcut,suchasrushes,itisimportanttoclearthisextramaterialtoo.

It’simportantfortheIndigenouspeopleinvolvedtofullyunderstandtheimplicationsofdepositingthefilm–itcouldbemadeavailabletofilmmakersinthefutureandusedinnewfilms,forexample–andtobegiventheopportunitytobeconsultedaboutfutureuses.

ThismaybeparticularlyrelevantforIndigenousfilmmakers,whooftengetinformationontapethatmightnotbetoldtoanon-Indigenousfilmcrew,preciselybecausetheyareIndigenousormightbeinafamilyorcommunityrelationshiporconnectionwiththeinterviewee.

Anotherissueiswhethertheparticipantsconsentedtosecondaryusesoftheirfilmbeyondthemakingofthefirstfilm.Forexample,anIndigenousfilmparticipantmightconsenttotheirimageandinterviewbeingusedforadocumentaryabouttheir

particularculture,butitwouldnotbeappropriatetothenusethatimageasstockfootagefornewsitemsinanotherIndigenouscommunity.

Footageshouldbearchivedwiththefollowinginformationasaminimum:

• thenamesoftheproducer,writeranddirector• thenamesofpeoplefilmed,includinglanguagegroupandclangroup,andthe

relevantcontactdetails• thenamesandcontactdetailsofanycommunityorganisationsinvolvedinthe

project• detailsofwherethefilmingtookplace• dateoffilming(importantwhereaccessarrangementsdependondate)• ifapplicable,theAboriginalorTorresStraitIslandernationdepicted• theindividual,groupororganisationtocontactforfutureclearance(egaland

councilorcommunitycouncilcouldbenamedasafirstpointofcontact)• anyclearanceandconsentdocumentationobtained• whetherthefilmincludessensitiveinformation• whetherrelatedmaterialssuchasscripts,rushes,productionfilesetcgiving

contexttothefilmareincludedinthedeposit• formatormediuminformation,includingtype,suchas16mmblackandwhite

film• statusofthefilm,egmaster,duplicationorreferencecopy.

Custodianship.of.ethnographic.films.at.Film.Australia..(now.Screen.Australia)

Inordertodealwithcustodyandfutureuseissuesofasignificantethnographicfilmcollection,FilmAustraliaandthefilmmakerIanDunlopsignedaMemorandum of Understanding on a Policy for the future custody and use of the ethnographic film collection produced by Ian Dunlop for Film Australia between 1962–1996.Thedocumentisdetailedandreferstomaterialforfivemajorprojects,fourofwhichareIndigenousAustralian:AurukunProject,WesternDesertProject,YayayiProjectandYirrkalaProject.

Thegeneralprincipleofthememorandumisthat:“allthematerial…wascollectedunderanexplicitorimplicitmoralcontractbetweenthecommunitybeingfilmedandthefilmmaker.Thiscontractconferscertainobligationsandresponsibilitiesuponthefilmmaker(IanDunlop)andtheproductioncompany(FilmAustraliaLtd).”

“Inparticularthefilmmakerandtheproductioncompanyhaveanobligationtohonourthetrustplaceduponthefilmmakerbythecommunitiesbeingfilmedby:(a)respectingtheintegrityofthematerialobtainedingoodfaith;(b)onlyusingthematerialinawayapprovedofbythecommunityfilmed,includinganysecondaryusesofthematerialand;(c)respectingtheconfidentialityofsecret/sacredandotherrestrictedmaterial.”

Thememorandumprovidesguidelinesasfollows:

• FilmAustraliaisboundbyobligationsofconfidenceenteredintobythefilmmakerregardingfilmworkcontainingsacredandpersonalmaterials(Clause1.3).

• PrintsindistributioncancontinuetobemarketedbyFilmAustralia.• Futureuseofmaterial,includingsecondaryuseofmaterialalreadyin

distribution,mustonlybeallowedunderstrictconditions.Anynewusemusthavetheapprovalofthecommunityfilmed;nomaterialmaybeusedasstraightstock-shotfootage(Clause1.4.4).Therearespecificguidelinesforsecondaryuseapprovals,whichrequirerequeststobemadeinwritingtotheChiefExecutiveofFilmAustralia.Materialmustnotbeusedinawaythatcontravenesthespiritorintentofitsoriginaluse,asapprovedbythecommunityportrayed.Eachrequestforfootageisassessedindividually.Appropriateusemightbein(Clause2.1.3iv):–arelevantFilmAustraliaproduction–productionofhistoryoffilm–seriousanthropological,historicalandscientificproduction–aproductionmadebyorforthecommunityportrayed–aproductionendorsedbythecommunityportrayed–partofadisplayinareputablemuseumorgallery.

• Inrelationtorestrictedmaterialthedocumentrecognisedthat“conditionsofrestrictionareultimatelythepreserveofcommunitiesdepictedinthematerial.”Whilstthedocumentprovidesguidelinesitisnotedthat“theattitudetowardsrestrictedmaterialbycommunitieswhichmaintaintraditionalvaluesisashiftingoneorsectionsoffilmswhicharecurrentlynotrestrictedcouldbecomesointhefutureandviceversa.”(Clause1.4.3)

Checklist.for.footage.archivingHaveIndigenousparticipantsbeenadvisediffootageistobearchivedand

consentsobtainedforthisifrequired?HaveIndigenousparticipantsbeenadvisedwherethefootageistobe

archived?Hastherequiredinformationbeenincludedwiththefilmandanyotherfootage

thathasbeenarchived?

3.8. SUMMARY.CHECKLIST

Initial.research.and.project.development

PreliminaryHaveyouconsideredwhyyouaremakingthefilmorprogram,whyyouare

usingIndigenousmaterial,andtheperspectiveyoubringtoit?Haveyousoughtadviceontheculturalissuesthatneedtobeaddressed

throughconsultation?

ConsultationHasconsultationwithrelevantIndigenousindividualsandcommunitiesbeen

initiated?

RepresentationHowwillyourworkaffecttheIndigenousgroupitisbasedon?DoesitempowerIndigenouspeople?Doesitdepictorexposeconfidential,personaland/orsensitivematerial?Doesitreinforcenegativestereotypes?Haveyouresearchedyourcharacters?Istheuseoflanguageappropriate?

Cultural.integrityAreyouproposingtoadaptoraltertraditionalknowledge,communallyowned

materialorculturalheritagematerialinanyway?Ifso,haveyouexplainedtheadaptationyoupropose,givenpeopletimetocomment,andobtainedconsent?Willtheindividualorcommunitywhoisthesubjectoftheworkhavean

opportunitytoseetheworkpriortopublicdissemination?Havetheirsuggestionsbeenincorporated?

AuthenticityHaveyouestablishedthatanyIndigenousculturalandintellectualpropertyin

yourfilmisusedinthecorrectculturalcontext?Haveyouestablishedwhetherthereareanyrestrictionsonthematerialandthe

exactmeaningofanywordsinthelanguageifunsure?Doyouuseheritagematerialsuchasimagery,musicandlanguagewithproper

regardtogender,clanaffiliationsandculturalrestrictions?

Sensitive.or.sacred.materialIsthematerialculturallysensitive?Isitsecretorsacred?Isitawomen’sor

men’sarea? Arethereanythemesthatrefertosacredorsecretmaterialthatmayneed

consultationwithIndigenouspeople?Aretherecontemporarysensitiveissuesinvolved?Ifso,howshoulditbehandled?Howdoyouplantoinvolvetherelevant

Indigenousspecialistagenciesinthedevelopmentofthefilmproject?HaveyouspokentoeldersorotherrelevantIndigenouspeoplefromthe

relevantareatoidentifyanysensitivitiesandsacredorreligiousissuesthatmightpreventdepictionoftheimage,storyorevent?

Script.developmentHaveyouconsideredusingIndigenouswritersorscriptconsultants?HasthescriptbeenassessedbyanIndigenousscriptassessorandtheir

suggestionstakenonboard?Hasthefinaldraftscriptbeenendorsedbytherepresentativeorganisations

portrayedinthefilm,ortherepresentatives/descendantsofindividualsportrayedinthefilm?

Pre-production.and.production

LocationsHavelocationsbeenchosenwithdueregardandrespectforculturalbeliefs?Havetherequiredpermitsbeenobtained?Havetherelevantcontactsbeenidentifiedandaliaisonpersonappointed?

Cast.and.crewHastheuseofIndigenouspeopleascastandcrewmembersbeenconsidered?

Aretheybeingpaidappropriately?

ConsentsHavetherequiredconsentsbeenobtained,egfortheuseofIndigenous

culturalandintellectualproperty,ortofilmAboriginalorTorresStraitIslanderpeople?Haveprotocolsbeendiscussedfordealingwiththedeathofanyactorsor

intervieweescapturedonfilm,andclearancesbeenobtained?

Budgets.and.financial.returnsHavefeesorotherbenefitsbeennegotiatedwiththecontributorsand

traditionalcustodians? Istheculturalvalueoftheworkrecognisedinfinancialreturns? Whenapplyingforfunding,havefeesorfinancialreturnsforallcreative

contributorsbeenincorporatedintotheprojectbudget?

Editing.and.post-production

ConsultationHavetheIndigenouspeopleinvolvedbeenconsultedbeforethepicturelock-

offandsoundediting,preferablyatrough-cutandfine-cutstages?HavetheIndigenouscommunitiesandparticipantsbeenmadeawareofany

potentialculturalissuesandbeengiventheopportunitytoviewtheroughcut?Haveparticipants,actorsetc,theirfamiliesandcommunitybeenadvisedthat

thefilmwillbewidelycirculated?

Representations.of.deceased.peopleIfreproducingdeceasedpeople’simages,haspermissionbeensoughtfrom

thefamilyorclanrepresentativesfortheproposeduse,andhavetheybeenadvisedofproposeddistributionandanybroadcastinglicencesgranted?Hasawarningbeenplacedinaprominentpositionatthebeginningofthe

film,afterdiscussingtheproperwordingwithrelevantfamilyandcommunitymembers?Ifreferringtodeceasedpeople’snamesinyourfilm,haveyoucheckedwith

therelevantfamilyandcommunitywhetheritisappropriatetomentionthatperson’sname,orwhethertheywouldprefertobereferredtobyanothername?

AttributionHaveIndigenouscontributors,writers,creators,communitiesandcustodians

whocontributetotheworkinanyimportantwaybeennamed?Hasproperrecognitionbeengiventothewriterandthesourcecommunity,

orotherrelevantIndigenouspeople,inaformagreeduponwiththosetobeattributed?HavetheclanaffiliationsofIndigenouscreatorsbeenincludedaftertheirown

namesifthishasbeenrequested?HaveIndigenouscustodians,contributorsandIndigenousorganisations

contributingresourcesandknowledgebeengivenasignificantcreditascollaboratorsontheprojectwhererelevant?

ShootingArecastandcrewbriefedabouttheprotocolsdevelopedfortheproject,

appropriatebehaviourandanysensitivitiesinvolved?Isthereaprocedureinplaceformonitoringrelationshipswiththecommunity

andcommunicatingchanges?

Screening.and.broadcastingHavetherelevantIndigenouspeoplebeenconsultedabouttheuseofa

‘deceasedpersons’warning?HavetherelevantIndigenouspeoplebeenconsultedaboutuseofIndigenous

culturalmaterialorfootagefromthefilminamarketingcontext?HaveIndigenousparticipantsbeeninvitedtoparticipateinanylaunchor

openingnightcelebrations?HaveyounotifiedIndigenousparticipantsofthelaunchand/orbroadcast

dates?

Footage.archivingHaveIndigenousparticipantsbeenadvisediffootageistobearchivedand

consentsobtainedforthisifrequired?HaveIndigenousparticipantsbeenadvisedofwherethefootageistobe

archived?Hastherequiredinformationbeenincludedwiththefilmandanyother

footagethathasbeenarchived?

Communication,consultation&consent 51

4...Communication,.consultation.&.consent

TheprocessofconsultationisalwaysfundamentaltofilmingwithIndigenouspeopleorusingIndigenousmaterial–fordramaordocumentary.Thedepthoftheconsultationprocesswillbereflectedinthequalityofthefinalproduct.Sometimes,however,consultationaloneisnotenough,andaprojectwillrequireconsent–usuallyinwrittenform.

4.1. Consultation.and.consent

ConsultationandconsentinIndigenouscommunitiesareinterrelated.Throughconsultationafilmmakercancometounderstandwhatrequiresconsentandthecorrectpeopletogiveit,andthepeoplegivingconsentcanmorefullyunderstandwhattheyareconsentingto.

Consultationreferstotheprocesswherebypeopleexchangeviewsandinformation.Consultationisnotjustaone-wayprocess,butaprocessofsharingknowledgeandopinions.Consultationmeansworkingtogether,listeningtowhattheotherpartyhastosayandactinguponit.

Consentisaprocesswherebypermissionisgiven,basedonarelationshipoftrust.

Consentshouldbeinformedandthismeansfilmmakersneedtoprovideaclearexplanationofthefilmmakingprocess,timeframes,contractdetails,possiblebenefits,impactsandfutureusesoffootageatthetimeofseekingconsent,toavoidmisunderstandingsatalatertime.Theconsentprocessshouldbetransparentforallparties,andinformationshouldbeexplainedinplainEnglishorwiththehelpofaninterpreter.

WhetheryouneedconsentorjustneedtoconsultwilldependonthenatureofthefilmprojectandtheroleplayedbytheIndigenouspeopleorculturalmaterialsinvolved.

Consentislegally.requiredforthefollowing:

• FilmingonlandandareasownedbythirdpartiesincludingAboriginallandundertheNorthernTerritory(NT)Land Rights Act,andlandprivatelyownedbyanIndigenousorganisation.(SpecificconsentsorpermitsarealsorequiredforfilminginnationalparksandfilmingatspecificsitessuchastheDevilsKarluKarlu(TheDevilsMarbles)intheNTmayrequireanAuthorityCertificatefromtheAboriginalAreasProtectionAuthority.)

• FilmingIndigenouspeople(notethatrelyingonimpliedconsentifapersonallowsthemselftobefilmedisriskyandwrittenconsentisrecommended;seepage56).

• Filmingcopyrightworksand/oradaptingcopyrightworksforfilmprojects.• Filmingatliveperformancesincludingatfestivalsandconcerts.(See,for

example,NT’sGarmaFestival–applicationstofilmmustbemadepriortoattending,andcopyrightapprovalformssigned.)

Consentisrecommendedforthefollowing:

• adocumentaryaboutaparticularlivingperson,grouporgeographiccommunityoraparticulargroup’sculturaltraditionsandbeliefs

• adramathatdepictsreal-lifeevents• adramaaboutanidentifiableIndigenouspersonorgroupofpeople• adramacontainingidentifiableIndigenoustraditions,beliefs,songsand

stories.

Inthesecasesrightsshouldbenegotiatedwiththerelevantpeopleororganisations,andconsentobtainedinwritingcoveringtheissuesoutlinedinthisguide.Theremaybeimplicationsintradepracticesanddefamationlawwithoutthisconsent.

Consultation.without.specific.consentisappropriateforotherfilmprojectswithIndigenouscontentorwithIndigenouscharacterswherethecontextisminimal,orgeneral,andthesituationsspecifiedabovedonotapply.

Toconsult,thefilmmakerwillneedtocontactrelevantIndigenousorganisations,professionalsandcommunitiesforadviceandguidance(seeTips for successful consultationonpage56).

4.2. When.consent.is.required

WhenseekingconsentIndigenouspeopleshouldbeinformedoftheintendedfilmprojectbeforefilmingbegins(seePre-production and production,page29).Thefollowingissuesmayneedtobecanvassed:

• WhatarethepotentialbenefitsandimpactofthefilmfortherelevantIndigenousindividualsand/orcommunity?

• Doallpartiesunderstandtheconceptofthefilmproject?HaveanyrequestsforfurtherinformationmadebytherelevantIndigenouspeoplebeenrespondedto?

• Hastheproposedprojectanddisseminationofthefilmbeenfullyexplained?Isitunderstoodthatthefilmwillbepubliclyexhibited,forsaleand/ordistributedworldwide?

• Whatfutureusesaretobemadeofthefilmand/orfilmclipstakeninthecourseofshooting?

• Dopeoplefullyunderstandwhattheyaresigning?

WrittenapprovalfromcommunitiesandindividualsisrequiredbyfilmfundingbodiessuchasScreenAustralia.Forinstance,theNSWFTOrequiresthatdocumentaries

dealingwithIndigenouscommunitiesandindividualsprovidewrittenapprovalfromappropriaterepresentativesofthoseindividuals,familiesandcommunitiesatthetimeoftheirfundingapplication.“Thisistoensurethatthefilmmakershavemadecleartheirintentionstothecommunityandthattheywillinvolvethecommunityinconsentandconsultation.”37

Consent.to.film.Aboriginal.and.Torres.Strait.Islander.peopleTheperformer’srightsprovisionsoftheCopyright Act 1968(Cth)provideperfomerswithprotectionagainstcertainunauthoriseduseoftheirperformances(seePerformers’ rights,page69).Forthisreason,itisgoodpracticeforfilmmakerstoseekaperson’swrittenconsentbeforefilmingthem.FilmmakersshouldmakesureIndigenouspeopleunderstandwhattheyareconsentingto(seequestionsatthestartofthissection),sothattheycanmakeaninformeddecisiontoagreetobefilmedornot.Theyshouldbeadvisedthattheycanexercisetheirrightnotbefilmed.

Childrenshouldbetakenthroughanyconsentformsinthepresenceoftheirparentsorguardians,andinpracticetheformsaresignedbytheparentorguardians.Lawspertainingtotheemploymentofchildrenvarybetweendifferentstatesandterritoriesandinformationregardingtheselawsshouldberesearchedbeforeengagingchildren.

Indigenous.people.filmed.on.the.street.in.Alice.Springs..(providedbytheCentralAustralianAboriginalMediaAssociation)

WhenanoverseasproductioncompanyfilmedIndigenouspeopleonthemainstreetofAliceSpringsforadocumentary,theytoldthepeoplewhowerefilmedandinterviewednothingabouttheproject,orhowtheirimagesweretobeused.Eventhoughthepeopledidnotobjectatthetime(andsotheirconsentcouldbeimplied),thefactisthattheywerenotawareoftheirrights,andwereconcernedthattheirimageswerecapturedwithoutproperconsultationandconsent.Theindividualsnowfeelviolatedandarereluctanttotakepartinanyfuturefilmprojects.

Thisnegativeoutcomecouldhavebeenavoidedifthepeoplehadbeenconsultedproperlybeforehand.

37 NSWFTOsubmission.

Location.permitsFilming.on.Aboriginal.land:.StateAboriginalLandRightslegislationmakesitarequirementforfilmmakersworkingonAboriginallandtogetapermit.ContactlocalAboriginalLandCouncilsforinformationonpeakbodiesforIndigenouslandfilmpermits(seeLand Councils,page93).

TheAboriginalandTorresStraitIslandercommunitiesthemselves,andthetraditionalownersorcustodiansofalocationhavearighttosay‘No’toanyproposalsputtothembyothersforacceptance.Theirdecisionshouldberespected.Lester Bostock38

Filming.in.the.Torres.Strait.Islands:ForfilmingintheTorresStrait(includingonThursdayIslandandtheouterislands)consultwiththeTorresStraitRegionalCouncil.SeetheTorresStraitRegionalAuthority(TSRA)websiteforcontactdetails:www.tsra.gov.au

Filming.in.national.parks:Statelegislationrequiresthatpermitsbeobtainedforfilminginnationalparks,forexample,inTasmaniathefilmingofareasmanagedbytheParks&WildlifeServicesTasmania(seewww.parks.tas.gov.au/permit/commercial_filming.html).Commonwealthnationalparksthatpublishfilmguidelinesandpermitprocesseswillalsorequirepermitsandtherearealsofeesattached(seeEnvironmental legislation and national parks,page76).ParksownedandjointlymanagedbyIndigenouspeople,suchasUluru-KataTjutaNationalPark,haveintroducedproceduresforensuringIndigenoustraditionalownersareconsultedonusesofimagerysothattheculturalvaluesoftheparkaremaintainedandpromoted.

Filming.in.Indigenous.urban.areas:.YoushouldalsonotifypeopleofyourintendedvisitwhenyouarevisitingurbanareasfrequentedbyIndigenouspeople,orwhereyouintendfilmingwithinanIndigenousorganisation,eventorinstitution.Forexample,permissiontofilmattheSydneyYabunConcerton26Januaryeachyearshouldbeobtainedfromtheconcert’sconvenors,GadigalInformationServices.

Filming.on.private.property:Consenttoentersomeone’spropertyandfilmisrequiredfromthepropertyowner.Todootherwisecouldamounttotrespass.

ThereisanetworkofIndigenousmediaorganisationsthroughoutAustraliathathaveexpertiseinworkingonmediaandfilmissueswithinIndigenouscommunities.Theseorganisationsareausefulfirstpointofcontact(seeIndigenous media associations and broadcasters,page81).

Filming.at.festivals.and.events:.Contacttheeventorganisersandinquireaboutthenecessaryprocessesandclearances.

38 LesterBostock,The Greater Perspective,p.25.

4.3. When.consent.is.recommended

Consent.for.the.use.of.Indigenous.cultural.and..intellectual.property.DoyouneedcommunityconsentforallIndigenousstories,dancesandotherculturalexpression?Itdependsonthenatureofthematerial.Iftraditionalstoriesaretobedepictedonfilm,filmmakersshouldgetspecialpermissionfrompeopleinpositionsofauthorityintherelevantcommunity.However,ifthestoryisacontemporary‘new’story,permissionmaynotberequired.Forexample,thestoryofanAboriginaldiscodancermaynotneedanyspecialconsentsfromacommunity(althoughifitisbasedcloselyonanindividualperson,youmightwanttogetthatperson’sconsent;seepage51).

ItisimportanttorecognisethatsomeIndigenousknowledgeiscollectivelyownedandthatinordertoobtaininformedconsentitmaybenecessarytoconsultandobtainpermissionfromanumberoflevelsofauthority.Thatpermission,ifgiven,mayalsobesubjecttoconditionsandongoingreassessment.

ManyIndigenousfilmmakersusetheirownheritage,andwouldthereforediscusstheuseofthematerialwiththeirownfamilyandcommunity.However,IndigenouspeopleusingotherIndigenouspeople’sheritagewouldstillneedtogetpermission;theytoomustworkwiththerelevantcommunitiesandhaveprocessesinplaceforgettingconsent.

Andrew.McLeod.and.Lleyton.Hewitt.–.film.permit.issuesIn2005,AndrewMcLeodfiledatradepracticesclaimagainstLleytonHewittarguinginfringementrelatingtoaccesstoAboriginalland,andwhatusescanbemadeoffilmtakenwhenentrytoAboriginallandissubjecttopermit.McLeodallegedthatHewittdidnotobtainpermissionfromthetraditionallandownersoftheNorthernLandCounciltousethefootageinhisDVD.Hewittdefendedhimselfsayingthathewasunawarefurtherpermissionwasrequiredtousethefootagecommercially.Thematterwassettledbeforethecourtsetdatefortrial.

4.4. Tips.for.successful.consultation

Theconsultationprocessshouldbeginattheconceptualstageofanyfilmortelevisionproject(seeSection3,pages19–50).

Identify.the.right.peopleTheterm‘Indigenous’isseenasbeingapan-definition.Non-Indigenousfilmmakersshouldmakesuretheyareconsultingwiththeappropriatepeopleinthecommunityorfromthespecificareaorregioninvolved…it’sabouteducatingpeopleaboutthediversitywithinIndigenousculturesandcommunities.John Harding39

Indigenouspeoplecomefromspecificareas,andtheirculturalheritagealsohasoriginsinaspecificgeographicgroup.Whenidentifyingtherightpeopletospeaktoitisimportanttogotothesourcecommunityforrepresentation.Forexample,ifyouareworkingonafilmbasedinYirrkala,youshoulddealwithAboriginalpeoplewhocomefromYirrkala.

Inmostcasesmorethanonepersonwillneedtobeconsultedandthismayinvolveanentirecommunity.Rememberthatconsultationwithselectmembersofacommunitydoesnotnecessarilymeanthatthecommunityasawholesupportsthefilmproject.Therecanoftenbedivisionwithinthecommunityaboutissues.Consultwidelysoastogaintheperspectivesofthecommunityasawhole.Decisionsaboutthefilmshouldbebasedonthewiderperspectives.

Insituationswherethemostappropriatecommunityorindividualswithinthatcommunityarenoteasilyidentifiable,filmmakersmaycontactlocal,regionalorstateAboriginalLandandCommunityCouncils,Indigenousmediaassociationsormedicalandeducationalcentresforassistance.TheAustralianBroadcastingCorporation(ABC)websitehasausefulreferencelistoftheseorganisations.40

Whenreportingorincludingsensitivesubjectmattersuchasdrugsandalcoholabuse,werecommendconsultationwithspecialistIndigenousagencies.AdocumentaryonsensitiveissuessuchasalcoholabuseorpetrolsniffinginIndigenouscommunitiesmayrequiremorespecificconsultationwithIndigenousadvisorygroupsthanadramaticfilm.(SeeContacts and appendices, page59formoredetails.)

Extremecareshouldbetakenwhenfilmingindividualsandconsiderationgiventowhetherthefootageexposesanylegalrisksofdefamingpeople(seeDefamation,page74).

39 JohnHarding,playwrightandChairperson,IlbijerriTheatreCompany,MelbournefilmworkshopconductedbyTerriJanke.

40 www.abc.net.au/indigenous/education/cultural_protocol/contact_community.htm

Allow.enough.timeFilmmakersneedtounderstandthelengthoftimethatisrequiredforconsultationtotakeplacebeforeanydevelopmentofthestoryandagainbeforeanyfilming.Consultationmaytakesixmonthsortwoyears.Kim Mavromatis, filmmaker

PlanningtimeforconsultationwithIndigenouscommunitiesisimportant.ManyIndigenouscommunitiescontactedinthedevelopmentofthisguidenotedthatfilmmakersoftencomelatewithenquiriesrelatingtoIndigenousculturalissues.

Filmmakersmustweighupthetimefactorsastimeisoftenoftheessenceinfilmfundingagreements.Filmproductions,bytheirnature,runonverytighttimelines,particularlywhenitcomestoeditingandpost-production,whereaneditsuiteisoftenbookedforonlyacertainnumberofdaysatalargecostperday.ThesecriticaltimelinesshouldbeexplainedtoIndigenouspeopleinvolvedwiththefilmattheoutsetsotheydonothaveunrealisticexpectationsaboutconsultationduringtheeditingstage.

AneffectiveprotocolforworkingwithIndigenouscommunitiesandwithIndigenouscontentwouldreflectthepracticalschedulingrequirementsoffilmproduction.Boththecommunityandthefilmmakerneedtoadviseeachotheroftherelevanttimefactors.

Forge.trusting.relationshipsItisimportantforthefilmmakertogettoknowthecommunityandforthecommunitytogettoknowthefilmmaker.FormingabondmakesforabetterunderstandingofIndigenousissues.41ConsultationwithIndigenouspeopleinvolvesdevelopingahighleveloftrust.The Greater Perspective42encouragesfilmmakerstoensurethatallobligationsinvolvedinmaintainingtrustwithIndigenouspeoplebeobserved.Thisisafundamentalpremiseforfilmmakingprotocols.

Provide.informationInorderforanyconsentorconsultationprocesstobemeaningfulandtohelpbuildtrust,Indigenouspeopleshouldbeprovidedwithinformationaboutthefilmprojectfromthestart,andbeforetheyortheirculturalmaterialarefilmedorrecordedinanywrittenform.Indigenouspeopleshouldbeadvisedof:

• thenatureoftheproject• theirproposedroleortheproposedroleoftheirmaterialinthefilm• theextentoftheuseoftheimage• whetheropportunitieswillbegiventoreviewthematerialpriortobroadcast• commercialissues,suchaswhethertheywillbepaidafeefortheir

involvement• productionissues,includingkeycreativeteam,timeframeandproposed

broadcast,viewinganddistribution.

41 KimMavromatis,submission.42 LesterBostok,The Greater Perspective.

Filmmakersneedtobeupfrontaboutwhattheyareproposing.Inthisway,theexpectationsoftheIndigenouscommunitycanbemanaged.Awrittenproposalthataddressestheissuesintheabovelistshouldbeprovidedandaface-to-facemeetingheldwiththeappropriatepeoplefromthecommunity.

DarleneJohnson’sSBSprotocolsoutlineaprocessforinformingIndigenoussubjectswhoagreetotakepartinadocumentary.Thefirststepforthefilmmakeristobesatisfiedthatthesubject(s)fullyunderstandsthetermsoftheagreementandthatthisagreementisdocumentedinclearplainEnglish.

ItisalsoimportanttoacknowledgethatmanyIndigenouspeoplesmaynothaveEnglishasafirstlanguage.AsAliBakernotes,“intheseinstancesthefilmmakerneedstoaccommodatethis,andprovideinterpreters.”43EricaGlynnagrees:

Thereshouldbetranslatorsinnegotiations.Thisshouldbeallowedforinthebudget,egtranslationallowancesandtimetomakesurethateveryoneknowswhatisgoingonandhasbeenconsultedproperly.44

FilmmakersshouldconsidersittingdownwiththeIndigenouscommunityorpersonsinvolvedandreadingthroughthescriptindetail,explainingissuesastheyarise.Theadvantageofthisprocessisthatthefilmmakersseefirst-handthereactiontotheirstoryfromthepeoplewhosestorytheyaretelling.

Invite.feedbackAskIndigenouspeopleforfeedbackonthefilmprojectintheinitialstages,duringthewritingprocessandatcertainstagesofproduction.Thisistoensurethatcommunitiesarerepresentedinanappropriateway.

WealwaysinvolvemembersoftheIndigenouscommunityinwhichweintendtowork.ThisofteninvolvesgettingfeedbackandadvicefromotherIndigenousfilmmakers,and/ororganisationssuchasCAAMA[CentralAustralianAboriginalMediaAssociation]whohavevastexperienceinworkingwithIndigenouscommunitiesonmanylevels.Beck Cole and Warwick Thornton45

43 AliBaker,emailsubmission.44 EricaGlynn,telephoneinterviewbyToniJanke.45 Emailsubmissiontoquestionnaire.

Visualising.Mimi.(providedbyEricaGlynnandRachelPerkins)

RachelPerkinsandWarwickThorntonwereworkingonthedramaMimi.TheyhadavisualconceptforaMimifigure,likeacartooncharacter.Earlyinthedevelopmentofthefilmproject,theymetwiththemenresponsiblefortheMimistorytodiscusstheirfilmandtheplanstouseaMimicartooncharacter.Afterthemeeting,themeninformedthefilmmakersthatthecartoonrepresentationwasn’tappropriate.ThemenandthefilmmakersconsideredthestorylineandcameupwiththeideaofusingananimatedwoodenMimicarvingasthe‘Mimi’figureinthedrama.Itwasmuchbettertofindthisoutearlyintheproject,ratherthanspendingtimeandmoneydevelopingacartooncharacterandmakingthefilm.

Involve.Indigenous.peopleItisgoodpracticetoactivelyinvolveIndigenouspeopleinfilmprojectsthatuseIndigenouscontent.Thiswouldneedtobeallowedforinthefilm’sbudget.

SomewaysthatIndigenouspeoplecouldbeinvolvedinprojectsinclude:

As.film.professionals:.Indigenouspeoplecouldbeemployedatallstagesofpre-production,productionandpost-production–frombestboytodirectorandproducer.

As.local.support.people:.SomeIndigenousfilmmakerscontacttheclosestIndigenousmediaorganisationorRemoteIndigenousMediaOrganisation(RIMO)andinvolvethemintheproduction.FindoutwhetherthereareanyIndigenouscommunitymemberswhoareinterestedinworkingontheshootwiththecrew.FilmprojectshaveanimportantroleinprovidingprofessionaldevelopmentopportunitiesforIndigenouspeoplewithaninterestinfilmandtelevisionproduction.

Involving.locals

IndigenousfilmmakersBeckColeandWarwickThorntoninvolvelocalIndigenouscommunitymembersinworkingcollaborativelywiththefilmcrewthroughouttheshoot:

“Indoingso,thecommunitybecomesapartofthefilmingprocess,theyhaverealinput.Theywillalsohaveastrongerunderstandingofwhatthefilmmakersaretryingtoachieve.

Also,ifanIndigenouscommunitymemberisworkingonthefilm,thereisalwayssomeonenearbywhocananswerquestionsandpointthecrewintherightdirection.”46

46 BeckColeandWarwickThornton,emailsubmissiontoquestionnaire.

Use.Indigenous.cultural.advisersThereisagrowingforceofIndigenousconsultantsorculturaladvisersworkingonIndigenousfilmprojects(seeIndigenous cultural advisors and script consultants,page92).TheirroleistoensurethatthefilmreflectsIndigenousviews,respectsculturalheritageorportraysIndigenouspeopleaccurately.

ManyoftherecentslateoffeaturefilmswhichdealwithIndigenousissueshavehiredIndigenousculturalliaisonadviserstoworkwiththefilmproductionteam.ExamplesincludeRemote Area Nurse andRabbit-Proof Fence.

Forlarge-scalefilmprojectsitisagoodideatoemployanIndigenouspersontotakeonthepositionfull-timeduringthecourseoftheproject.Inthisroletheycan:

• providesupporttoIndigenouscastandcrew• advisetheproductionteamofculturalintegrityissuesandsensitivities• actasanintermediarywiththeIndigenouscommunitywhenraisingconcerns.

First.Australians.(Blackfella.Films)SBSapproachedBlackfellaFilmsin2001tomakeadocumentaryseriesaboutthehistoryofIndigenousAustralians,similartothe1995UShistoryseriesonAmericanIndiantribes,500 nations(directedbyJackLeustig).

BlackfellaFilmsadvisedthatahistoryseriesofthisnaturewouldneedextensiveconsultationwithIndigenousAustraliancommunities.Toundertaketheproject,theywouldrequireconsiderablefundingtoembedthenecessaryconsultativeprocesseswithinthefilmproject’sschedule.SBSagreedandgaveamplefundingtoallowconsultation.

“SBSappreciatedandacknowledgedthatconsultationwasthekeytothesuccessoftheseriesandsupportedthisprocessbyprovidingthebudget,”saidDarrenDale.47

Initialconsultationswithstakeholders–community,elders,academics,historiansanddescendants–commencedatthestartoftheproject.Membersoftheteamtravelledtoeverystate,fromAliceSprings,Tasmania,theKimberleyandtheTorresStrait.Oneyearintotheprocess,thefilmmakerswerereadytoconsultonthefirstdraftofthescripts.Theacademicswereabletoreadthescriptsforreviewbutthecommunitiesandfamiliesneededface-to-faceconsultation.Insomeinstances,thewriters,whichincludedRachelPerkins,LouisNowraandBeckCole,spenttimereadingthescripttogroupsandindividuals.

47 TerriJankeinterviewwithDarrenDale,ExecutiveProducer,First Australians,11April2008.

“Wehadideasofhowtomaketheprogramandadvanceaconceptthroughphotographs,paintingsorinterviews.Manystakeholderswerenotfamiliarwiththis,sowehadtospendtimeexplaininghowwecouldpresentthisinformation.Inthefirstconsultationphase,wereinforcedthatthiswasadraft,aroadmap.Thiswastimeforthemtogivefeedback.Wediscussedhowwemightunfoldthestory,forinstance,bytellingthestorybyfollowingacharacter,”saidDarrenDale.

Afterthescriptconsultation,thewriterscommencedanotherdraftofthescript.Theymadethedecisionnottofilmrecreationsbutusepaintingsforearlycontacthistory.Theyalsodiscussedwiththecommunitywhowastheappropriatepersontointerviewortotellanancestor’sstory.

AsDarrenDalerecalls,“itwasn’talwayspossibletogetconsensusbutwelistenedtopeople’scomments.Wewerehonestandclearthatitwasafilmprojectandourinterpretationwasbasedonextensiveconsultationandresearch.Wehadtobeimpartialandfair.Wewerenottakingsidesinanydisputesonnativetitle.”

Afterthescriptre-draft,thefilmmakersconsultedagainwithstakeholders.Thistimetheyshowedpeopletheimagesselectedfromcollectionstoillustratethestory.Theuseoftheseimagesinvolvednotonlyclearancesfromcollections,butalsoIndigenousCulturalandIntellectualProperty(ICIP)Rightsclearances.Todealwiththecomplexity,BlackfellaFilmscreatedacomprehensivedatabasewithdetailsofeachimage,whereitwasheld,thelanguagegroup,theplaceandwherepossible,thepeople.AnICIPRightscategorywasincludedtorecordclearancesandconsultations.

Theconsultationinvolvedhostingmeetings,andasthistookuppeople’stimetheypaidanICIPconsultationfeetoacommunityorganisationthatrepresentsthecommunity,orwheredirectedbythecommunity,tocertainpersonswhowererecognisedassolerightsholders.

Permissiontofilmlandscapeswasalsopartoftheprocess,andinsomeinstance,culturalconsultantswerehiredtoassistthefilmcrew.“Wegotculturalclearancestofilmatspecificsites,andinsomeareas,suchastheKimberley,wehadaculturalconsultantaccompanyusandpaidfeesforthisservice,”notesDarrenDale.

Feeswerenotpaidtothepeopletheyinterviewedbecausetheydidnotwanttobeseenaspayingapersontotakeaparticularview.Theywantedtomakeitclearthattheviewsexpressedwerenotmanipulated.

Archivalissueswerealsodiscussedduringconsultations.ThefilmmakershadselectedtheAustralianInstituteofAboriginalandTorresStraitIslanderStudiestostorethematerialforlong-termsafekeeping.Somepeoplealsowantedcopieskeptatlocalculturalcentres.

Theintervieweeswereaskedtosignreleasesclearingrightstousetheirinterviews.Thefilmmakersdiscussedtheissueofbroadcastingtheirinterviewaftertheypass

awayinordertorespectIndigenousculturalmourningpractices,whichrestrictthedisseminationofadeceasedperson’srepresentation.RachelPerkinsnotedthatmanyparticipantswantedtheirimagetocontinuetobeshown:“Therehasbeenaculturalchangewherepeoplewillallowtheimagetobeviewedforfilmandtelevision.Anumberoftraditionalintervieweesagreedthattheirrepresentationcouldbeusedafterhisdeath,andanothersaidthattherestrictionshouldonlylastoneyearafterhisdeath.”

Intervieweesweregivencopiesoftheirinterviewsfortheirpersonalrecords.Nocopiesoftheroughcutweredistributedtoprotecttheinvestors’interests.

Theprojectreachedroughcutstagearoundeightto10weeksintotheedit.Thefilmschedulewasstructuredwithagaptoallowtimeforconsultation.Atthistime,thefilmmakersre-consultedwithstakeholdersandshowedthemtheroughcut.Itwasachanceforpeopletoseehowtheideasandscriptwereputtogetherbuttoalsohavetheopportunitytosaysomething,andmakecomments.Mostlytherewasapositiveresponse,however,onegroupdidnotlikeit,andcommunicationstoppedbecausetheyrefusedtohaveanythingtodowiththeproject.Ittooktimetore-connectwiththisgroup.

Thefilmmakersalsohadtomanagetheirobligationstothevariousinvestors.TheykeptSBSinformedatBoardlevelabouttheprogressofconsultations.

Innegotiatingtherightsagreements,thefilmmakersquarantinedtheICIPRights.

AccordingtoRachelPerkins,“Oneoftheinvestorswantedtherightstore-versionandre-editthefilm,withouttheneedtore-consult.Wehadobligationstothestakeholders.Weexplainedtheimportanceoftheserightstothecommunitiesandusedanexampletoillustratethis.Wesaiditwouldn’tbeappropriatetouseasongfromtheKimberleywithfilmfootagewithVictoriancontent.Itwasintheirinterestsalsotoensureauthenticity.Theyagreedtocomebacktothefilmmakersforre-approvalandcheckingoftheICIPRights.TheICIPRightsclausewasincludedinthecontractandasetperiodforthefilmmakerstorespondwasalsoincluded.”48

Thefinecutstagewasshowntothekeypeople.TheserieswenttoaironSBSinOctober2008.

48 TerriJankeinterviewwithRachelPerkins,Writer/Director,First Australians,11April2008.

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5.. Film.&.the.lawAnunderstandingofkeylegislationisessentialforfilmmakersworkingwithIndigenouspeopleinAustralia.

Anunderstandingofthelegalissuesthatariseinfilmmakingisessentialforfilmmakers.AgoodguideispublishedbytheAustralianCopyrightCouncil(ACC),entitledFilm & Copyright – a practical guide.49ItcanbepurchasedfromtheACConlineatwww.copyright.org.au

Inthissection,weaimtoprovidesomegenerallegaladviceforfilmmakersworkingwithIndigenouspeopleinAustraliatoassisttheminidentifyingwherelegalissuesmightarise.Forparticularlegalmatters,werecommendobtaininglegaladvicefromafullyqualifiedlawyer.

5.1. Copyright

What.is.copyright?Copyrightisabundleofspecificrightsgrantedtotheauthorsofliterary,dramatic,artisticormusicalworksandthemakersofsoundrecordingsandfilms,‘publishededitions’andbroadcastsundertheCopyright Act 1968 (Cth).CopyrightcurrentlyprotectstheworksofIndigenousartistsandcreatorsinthesamewayitdoesforotherAustralians.

InAustraliathereisnoneedtoregistercopyrightforaworktobeprotected.Awork,filmorrecordingisprotectedassoonasitiscreated.Othercountries,suchastheUnitedStatesofAmerica,dohavecopyrightsystemsthatallowcopyrightregistrationforprotection(registrationisnowoptionalratherthanmandatoryintheUSbecauseofthecountry’smembershipoftheBerneConvention(from1989)whichdoesnotrequirememberstatestofollowformalitiessuchasregistrationforthesubsistenceofcopyright).Forthisreason,filmmakerswhoareseekingtodistributetheirfilmsinternationallyshouldseeklegaladviceaboutwhetherregistrationisnecessaryinothercountries.

Requirements.of.copyright.Copyrightexistsinanoriginalworkassoonasitiscreatedinamaterialformorinasoundrecordingorfilmassoonasitismade,providedthatcertainstatutoryrequirementsaremet.ForallcopyrightmaterialitisnecessarythattherebesomeconnectionwithAustralianlaw.Forexample,iftheworkisfirstpublishedinAustraliaor

49 AustralianCopyrightCouncil,Film & Copyright – a practical guide(B71v6),AustralianCopyrightCouncil,Sydney,November2003.

madebyanAustralianresidentorcitizen,itwillbeprotected.Australiancopyrightlawalsoprotectsworks,filmsandrecordingsthathavetherequiredconnectiontoanothercountrythatisasignatorytothemajorintellectualpropertyinternationalconvention.

Forpublishedworks,thefollowingrequirementsmustalsobemet:

• Original work:Thenewworkmustnotbecopied,andtheauthormusthaveusedthenecessarydegreeofskill,labourandefforttocreateanewwork.

• Material form:Aworkmustbewrittendownorrecordedinsomefixedform.• Qualified person:Thattheauthoroftheworkwasaqualifiedperson

immediatelybeforehisorherdeath.50

Forfilmsandrecordings:• Material form:Afilmmustbe‘embodiedinanarticleorthing’51suchastape,

adiscorCD.Arecordingmustbe‘embodiedinarecord’suchasadisc,tape,paperorotherdeviceinwhichsoundsareembodied.52

Definition.of.‘cinematograph.films’.TheCopyright Actdefinesa‘cinematographfilm’as‘theaggregateofthevisualimagesembodiedinanarticleorthingsoastobecapablebytheuseofthatarticleorthing

• ofbeingshownasamovingpicture;or• ofbeingembodiedinanotherarticleorthingbytheuseofwhichitcanbeso

andincludestheaggregateofsoundsembodiedinasound-trackassociatedwithsuchvisualimages.’53

Sofilmcopyrightprotectsthemovingpicturestogetherwithanyassociatedsounds,includingthesoundtrack.

Copyright.ownershipThegeneralruleforcopyrightownershipis:

(a)Forworks,theowneristheauthororcreatorofthework.

(b)Forcinematographfilms,theowneristhepersonwhoundertookthearrangementsformakingthefilm(egthefilmproducer).

(c)Forsoundrecordings,theowneristhepersonwhoownedtheequipmentonwhichthesoundrecordingwasfirstmade(ie.themasterrecording).

50 Section32(2)(d)Copyright Act 1968.51 Section10(1)Copyright Act 1968,seedefinitionof‘cinematographfilm’.52 Section10(1)Copyright Act 1968,seedefinitionof‘soundrecording’and‘record’.53 Section10(1)Copyright Act 1968,definitionof‘cinematographfilm’.

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Therearesomesignificantexceptions:

• Wheretheworkisproducedunderacontractofemployment,copyrightwillbelongtotheemployer.54

• Apersoncommissioningmusical,artistic,literaryanddramaticworksdoesnotnecessarilyownthecopyrightinthecommissionedwork.

• Whereapersonmakes,forvaluableconsideration,anagreementwithanotherpersonforthetakingofaphotographforprivateordomesticpurposes,thepaintingordrawingofaportraitorthemakingofanengravingbythatperson,andtheworkismadeunderthisagreement,thecommissioneristhecopyrightowner.55

• Whereawork,recordingorfilmisproducedunderthedirectionorcontroloftheCommonwealthorStategovernment,theCommonwealthorStatemaybetheownerofthecopyright(Section177and178[2]).Theseprovisionsmaybemodifiedbyagreementwhereitisagreedthatthecopyrightinthatwork,recordingorfilmistoremainwiththeauthorormaker,oranyotherspecifiedperson(Section179).

• Thecommissionerofafilmwillowncopyrightinthatfilm.• Directorsofnon-commissionedfilmshaveaninterestinthecopyrightofthat

film.• Artistsandfilmmakersretainmoralrightsintheircommissionedworks.• Thegeneralrulesofcopyrightownershipmaybemodifiedorexcludedby

agreement(Section35[3]).• AnIndigenouscommunitymayhaveaninterestinequitywhichmayrequire

themtogivepermissionincertaincases:BulunBulunvR&TTextiles(1998)41IPR513.

How.long.does.copyright.last?ThedurationofcopyrighthaschangedsincetheAustralia–USFreeTradeAgreement.Tofindoutwhethercopyrightinaparticularitemstillsubsists,youneedtofirstconsiderifthematerialwascreatedbefore1January2005,andworkoutwhethercopyrightexpiredundertheoldrules.Ifcopyrightwasstillsubsistingon1January2005,thenthenewrulesapply.

Theperiodforprotectionofcopyrightisnowgenerally:

• Forartistic(otherthanphotographs),literary,musicalanddramaticworks–70yearsfromthedeathofthecreator(attheendofthatcalendaryear)(Section33[2]).

• Forliterary,musicalanddramaticworksthatatthedeathofthecreatorareunpublished,notpreviouslybroadcastorperformedinpublicorrecords

54 Undersection35(6)Copyright Act 1968,whereworksaremadebyauthorsinthetermsoftheiremploymentbyanotherpersonunderacontractofservice,thecopyrightisownedbytheemployer.

55 Section35(5)Copyright Act 1968.

offeredforsaletothepublic(ieworkspublished,performedorbroadcastposthumously)–70yearsfromthedateoffirstpublication,performanceorbroadcast(whicheveroccursfirst)(Section33[2]).Protectedindefinitelyifnotpublished.

• Forphotographs(exceptphotographsfirstpublishedanonymouslyorunderapseudonym)–70yearsfromthedeathoftheauthor(Section33[2]).

• Forworkspublishedanonymouslyorunderapseudonym–70yearsfrompublication,ifauthor’sidentitynotgenerallyknownorreasonablyascertainablebeforethen.

• Forsoundrecordings–70yearsfromfirstpublication;indefiniteifunpublished(Section93).

• Filmsmadebefore1May1969arenotprotectedbyfilmcopyright,butcouldbeprotectedbothas:• aseriesofphotographs(includingactualityfootageinvolvingthefilming

ofliveevents)–theseareprotectedfor70yearsafterthedeathofthecinematographer;and

• adramaticworkifthefootagewas‘original’inthesensethatthe‘arrangement,theactingformorthecombinationofincidentsrepresentedgivestheworkanoriginalcharacter’56–protectedforthelifeofthecreatoroffilmasadramaticwork.Thiscouldbethelifeofthecinematographerordirectordependingonthefacts,plus70years(Section222).

• Forfilmsmadeafter1May1969–70yearsafterfirstpublication,indefiniteifunpublished(Sections99,94and223).

ItisimportanttonotethatthecopyrightdurationrulesforGovernmentcopyrightdidnotchangeafter1January2005.MaterialmadeunderthedirectionandcontroloftheGovernmentisgenerally50yearsfromthedateofpublication.(SeetheACC’scopy-rightdurationsheetG23availablefromwww.copyright.org.au)

Oncecopyrightexpires,thematerialentersthepublicdomainandcanbefreelyusedbyothers.

However,.Indigenous.people.express.the.view.that.copyright.belongs.to.their.cultural.material.in.perpetuity..To.maintain.this.cultural.connection,.Indigenous.people.argue.the.right.to.be.consulted.on.uses.beyond.the.copyright.period.

If.releasing.the.film.internationally,.be.aware.that.the.copyright.in.material.might.have.expired.in.Australia.but.still.be.on.foot.in.other.countries.where.periods.of.copyright.protection.are.longer..This.could.especially.be.the.case.for.photographs.

56 Section204,Copyright Act 1968.

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The.rights.of.the.copyright.holderUndertheCopyright Act 1968 (Cth)rightsgrantedtocopyrightownersare:

For.literary,.dramatic.or.musical.works.(such.as.reports,.novels,.screenplays/scripts,.plays.or.songs)

Theexclusiverightto:

• reproduceinmaterialform• publishthework• performtheworkinpublic• communicatetheworktothepublic• makeanadaptationofthework(Section31[1][a]).

For.artistic.works.(such.as.paintings,.photographs,.sculptures.or.engravings)Theexclusiverightto:

• reproduceinmaterialform• publishthework• communicatetheworktothepublic(Section31[1][b]).

For.sound.recordings.(such.as.tapes.and.CDs)Theexclusiverightto:

• makeacopyofthesoundrecording• causetherecordingtobeheardinpublic• communicatetheworktothepublic• enterintoacommercialrentalarrangement(Section85).

Cinematograph.films.(such.as.videos.and.movies)Theexclusiverightto:

• makeacopyofthefilm• causethefilmtobeseenorheardinpublic• communicatetheworktothepublic(Section86).

Infringement.of.copyrightItisaninfringementofcopyrighttocopyordealwithacopyrightworkwithouttheconsentofthecopyrightowner.Apersonwillinfringecopyrightinamusical,dramatic,artisticorliterarywork,soundrecordingorfilmifheorshedoesanyoftheactsoutlinedabove.Forexample,ifafilmmakerincludesacopyrightworkinthefilmwithouttheconsentoftheowner,thefilmmakerisinfringingthecopyrightowner’sexclusiverights.

Itisnotnecessaryforanentireworktobecopied,communicated,publiclyperformedetcinfullforaninfringementoftheexclusiverightsofacopyrightownertooccur.Ifasubstantialpartofthematerialprotectedbycopyrightisreproducedwithoutauthorityfromthecopyrightowner–suchaspartofasongreproducedinafilmorpartofan

artisticworkfilmed–thismayconstituteaninfringementofthecopyright.Butitwillalwaysbeaquestionofdegree.Itisnotsomuchthequantityofwhatiscopiedorreproducedthatisrelevant,butthequality,iethe‘nature’ofwhatiscopiedratherthantheamountofthematerialusedrelativetotheoriginalwork.Indecidingontheissue,thecourtwillconsiderthecircumstancesofeachparticularcase.

Ifyouareusinglessthana‘substantialpart’youmaynotbeinfringingawork.However,asnotedabove,whetherwhatisusedis‘substantial’isaquestionoffactordegree.Itisrecommendedthatyougetlegaladviceonthispoint,andingeneralseekpermissionforusesofcopyrightworksevenifasmallamountofanoverallworkistobeusedinthefilm.

Fair.dealing.provisionsTheCopyright Act 1968 (Cth)recognisesthatsomeusesofcopyrightworksandmaterialscanbemadeforcertainpurposesiftheuseis‘fair’,withouttheuserhavingtogetcopyrightpermission.Thesefairdealingprovisionsinclude:

• forresearchorstudypurposes(Section40forworksandSection103Cfortheuseofaudio–visualitems)

• forcriticismorreview,whetherofthatworkorofanotherwork,providedsufficientacknowledgmentoftheworkismade(Section41forworksandSection103Afortheuseofaudio–visualitems)

• forthepurposeof,orassociatedwiththereportingofnewsinanewspaperormagazineprovidedasufficientacknowledgementoftheworkismade,orforthepurposeof,orassociatedwithreportingofnewsbymeansofacommunicationorinacinematographfilm(Section42forworksandSection103Bfortheuseofaudio–visualitems)

• aspartofjudicialproceedingsorareportofjudicialproceedings,or,forthepurposeofgivingprofessionallegaladvicebyalegalpractitioner(Section43forworksandSection104fortheuseofaudio–visualitems)

• iftheworkisusedforthepurposesofparodyorsatire(Section44AandSection103AAfortheuseofaudio–visualitems).

Youdonotneedtogetpermissionfromthecopyrightownerforafairdealinguseofacopyrightworkorpayafeeforuse.However,ifyouwanttorelyononeoftheaboveexceptions,pleasenotethatyoumustbegenuinelyusingthecopyrightmaterialforoneofthefairdealingpurposesandtheusemustbe‘fair’,otherwiseyoumayinfringecopyright.Againyoushouldseeklegaladviceifyouthinkyoumaybeabletousematerialbasedon‘fairdealing’.FormoreinformationontheseseetheAustralianCopyrightCouncil’sinformationsheet:FairDealing(G079v04)availableatwww.copyright.org.au

Filmmakersshouldalsobeawarethatifthefilmisbeingdistributedoverseas,thesamefairdealingprovisionsmaynotapplyinothercountries.

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Clearing.copyright.for.use.in.films.Assetoutabove,copyrightprotectsparticularcategoriesofcreationsuchasartisticandliteraryworks.Afilmwillthereforeusuallycontainanumberofcopyrightworks(eachofwhichmayhaveseparatecopyrightowners)andmayincludecopyrightonthe:

• script• music• choreography• video/existingfilmfootage• animation• sounds• photographs• artworks.

Copyrightclearancesmustbeobtainedforallworks,fromeachandeverycopyrightownerinrespectofeachelementofthefilm.

Youwillalsoneedtogetpermissionfromthecopyrightownerofthefilmtoreproduceanduseexistingfilmsandincorporatethemintoanewwork.

5.2. Performers’.rights

SinceOctober1989,performers’rightshavebeengivenlimitedrightsundertheCopyright Act 1968(Cth)totheirperformances.From1January2005,performers’rightswereextendedtorecogniseperformersas‘makers’ofsoundrecordingsoftheirliveperformances.Performers’moralrightscameintoforceinAustraliaon26July2007.

What.performances.do.the.rights.apply.to?Performers’rightsapplytoperformancesandimprovisationsofdramatic,literaryandmusicalworks;readings,recitals,danceperformances,circusorvarietyactsandexpressionsoffolklore(Section248A(1)defines‘performance’).AnexpressionoffolklorecouldincludeanIndigenousculturalexpressionsuchasdance,astoryorceremony.

What.rights.are.given.to.performers?Performers’rightsallowperformerstopreventcertainunauthorisedusesoftheirperformances(Section248J),suchasdirectorindirectrecordings,abroadcastorcommunicationoftheperformance,andanunauthorisedinclusionofanaudiorecordingoftheperformanceinafilmsoundtrack(Section248G)withouttheauthorityoftheperformer.Itisalsoanoffencetocopyarecordingknowingthatitisanunauthorisedrecording.

ExceptionsTherearesomeexceptionstotheserightsincludingnewsreading,recitalordelivery(Section248A[2][b]);sportsactivities(Section248A[2][c]);andperformancebyanaudiencemember(Section248A[2][d]).

Permissionisalsonotrequiredforexemptrecordingssuchasrecordingsfordomesticuse,scientificresearchandeducationalpurposes.

Obtaining.permissionTheselawsprovidethatconsentmustbeobtainedbyfilmmakersforfilmingperformancesofdanceandstories.Suchconsentmaybeimpliedororal,buttoavoidconfusionoverwhathasbeenconsentedto,westronglyrecommendthatrightsbeclearedinwritingsothatthetermscanbeclearlyunderstood.Onceconsentisgiven,thefilmmakercandealwiththefilmfortheagreedpurposesasauthorisedbytheperformer.

Authorising.recordingsAperformer’srightisnotthesameascopyright.57Onceaperformerhasgivenpermissionforarecordingorbroadcastoftheirperformance,theperformergenerallyhasnofurtherrightsandcannotpreventitsuseunlesstheyexpresslylimitedtheusethatcouldbemadeoftheirperformance.

AnIndigenousperformermaythinktheyareconsentingtobefilmedforonepurposeonlyalthoughthefilmmakerintendstheusetobemuchwider.Thefilmmaybecirculatedtoamuchwideraudiencethantheoriginalperformance.

ThereareindustryagreementsbetweentheScreenProducers’AssociationofAustralia(SPAA)andtheMediaEntertainmentandArtsAlliance(MEAA)thatdeterminetherightsoftheperformerandfilmmaker.

Duration.of.performers’.rightsPerformers’rightstocontroltherecordingoftheirperformance,andsubsequentcopyinganduseoftherecordings,lastfor50yearsfromthedateofthe‘performance’.58

ThestoryordanceperformancetoldonthefilmisinthiswaycontrolledbythefilmmakerwithouttheabilityoftherelevantIndigenouscommunitytoensurethattheculturalmaterialisportrayedinarespectfulway.Therearealsoculturalissuesinsomecommunitieswhereitisagainstcustomarypracticesforimagesofdeceasedpersonstobecirculated.ThistypeofculturalpracticeisnotrecognisedundertheCopyright Act.However,thereisadevelopingpracticewithintheAustralianfilmindustrytoincludeawarningandnoticebeforebroadcastingimagesofIndigenouspeoplethatmayhavediedsincethefilmingoccurred(seeSection3,page40).

57 TerriJanke,Our Culture: Our Future,p.56.58 Section248CA,Copyright Act 1968(Cth).

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Performers’.rights.to.sound.recordingsInresponsetotheAustralia–USFreeTradeAgreement,newperformers’rightshavebeengiventoperformersinrelationtoaudioaspectsofliveperformances.From1January2005,the‘maker’ofasoundrecordingofaliveperformancewillbetherecordcompany/producerofthesoundrecordingandtheperformerorperformerswhocontributedtothesoundsfixedinthesoundrecording.Thereareexceptionstothisnewextensionandaperformerwillnotbeamakerorco-ownerofcopyrightinasoundrecordinginthefollowinginstances:

• Iftheperformerwasperformingunderacontractofemployment.Inthiscase,theemployerwillowntheshareofcopyrighttheperformerwasentitledto.

• Thesoundrecordingwascommissioned.Here,thecommissionerwillownthecopyrightinthesoundrecording.

• Awrittenagreementsignedbytheperformerstatesotherwise.Forinstance,whereareleaseorrecordingagreementassignstheperformer’srightstotherecordingcompanyorthemakeroftherecording.

Performers’.moral.rightsSince26July2007,performershavemoralrightsintheirliveperformancesandperformancescapturedinsoundrecordings.Therights,whichapplytoaperformanceconsistingofsounds,are:

•therightofattributionofperformership•therightnottohaveperformershipfalselyattributed;and•therightofintegrityofperformership.

Moralrightswillvestineachperformerwhocontributedtothesoundsofaperformance,andtheconductoroftheperformance.

For.more.information.Seethefollowingfactsheets:

ArtsLawCentreofAustralia,Performers’Rightswww.artslaw.com.au/LegalInformation/PerformersRights.asp

AustralianCopyrightCouncil,Performers’rightswww.copyright.org.au/pdf/acc/infosheets_pdf/G022.pdf

5.3. Moral.rights

TheCopyright Act 1968 (Cth)providesindividualauthorsofliterary,dramatic,musicalorartisticworksandfilmswithmoralrights.Theseare:

• therightforanauthortobeattributed• therightofanauthornottobefalselyattributed• therightofanauthortohaveaworktreatedwithintegrity.

Theauthorofaworkhasarighttobeidentifiedastheauthorofaworkwherehisorherworkisreproducedinmaterialform,published,performedin,orcommunicatedto,thepublic;oradapted(Section194[1]).Identificationoftheauthorofaworkmustbeclearandreasonablyprominent(Section195AA).

Therightofintegrityallowsanauthortobringalegalactioniftheworkorfilmissubjectedtoderogatorytreatmentsothattheauthor’shonourorreputationisprejudiced(Sections195AJ,195AKand195AL).Thismaybe,forinstance,whereaworkiseditedoralteredinawaythatisderogatorytotheauthor.Butifthepersonwhosubjectedtheworktoderogatorytreatmentcanshowthatthetreatmentwasreasonableinallthecircumstances,thenthiswillnotbeaninfringementofmoralrights(Section195AS).Filmmakersmustensurethattheyrespectthemoralrightsofanyauthorswhoseworkstheyincorporateintotheirfilms.

Oftenfilmcontractswillrequireindividualauthorssuchaswriterstoagreetowaivemoralrightsorgiveawideconsenttotheuseoftheirmaterialinawaywhichmayotherwiseinfringetheirmoralrights.SeetheAWG/SPAAmoralrightsscheduleasaguide.AnissueremainsastowhethertheseIndigenouscommunalmoralrightstoguardtheintegrityofaworkcanbewaivedbytheindividual(seefurtherdiscussionbelow).Thereareproposednewlawsrelatingtothis.

5.4. Indigenous.communal.moral.rights

Moralrightsareindividualrightsonly.Iftheworkorfilmisderogatorilytreated,onlytheindividualauthorwouldhavearemedyundermoralrights.However,anIndigenouscommunitywhichisthesourceofculturalmaterialincorporatedinafilmorworkdoesnothaveanymoralrightsundertheCopyright Acteventhoughundertheircustomarylawstheclan,orapersononbehalfoftheclan,mayhaveresponsibilitytosafeguardtheculturalintegrityofthesong,danceorstoryembodiedinthefilm.ThemoralrightsframeworkundertheCopyright Act 1968(Cth)alsoexcludesIndigenouspersonswithauthorityotherthantheauthor(creator)fromlegallyexercisingmoralrightsoverworksembodyingtraditionalritualknowledge.59

59 TerriJanke,‘AMoralIssue:MoralRightsandIndigenousPeople’sCulturalRights’,NIAAA Newsletter,Autumn,2001,pp.2–3.

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Apracticeofincludingatraditionalcustodian’snoticeinpublicationsthatreproducetraditionalritualknowledgehasdevelopedintheartsandpublishingsector.TheArtsLawCentrerecommendsthatfollowingtraditionalcustodiannoticeinartworkswithtraditionalknowledge:

‘The images in this artwork embody traditional ritual knowledge of the (name) community. It was created with the consent of the custodians of the community. Dealing with any part of the images for any purpose that has not been authorized by the custodians is a serious breach of the customary law of the (name) community, and may also breach the CopyrightAct1968 (Cth).

For enquiries about permitted reproduction of these images contact (community name).’

A.proposed.new.regimeInDecember2003,theAustralianGovernmentdraftedproposedamendmentstotheCopyright Act 1968(Cth)forIndigenousCommunalMoralRights.Thegovernment’sstatedaiminreleasingthedraftbillwastogiveeffecttoits2001electionpolicycommitmentandtoacommitmentmadetoSenatorAdenRidgewayinParliamentduringthepassingoftheMoralRightsBillinDecember2000.60TheExposureDraftoftheCopyrightAmendment(IndigenousCommunalMoralRights)Bill2003(theBill)wassenttoapproximately20Indigenousorganisationsforcomment.TheBillhasyettobepresentedinparliament.TheextentoftheprotectionaffordedinthisproposedIndigenousCommunalMoralRightsBillisunknownandfurtherlegaladviceshouldbesoughtbyfilmmakersoncethislegislationisinforce.61

Inthemeantime,thisguiderecommendsthattheprinciplesofintegrityandattributionshouldbeextendedwhereverpossibletoallusesofIndigenousculturalandintellectualproperty,andwhereappropriate,therightsofthecommunityshouldbediscussed.

5.5. Contracts

Acontractisanenforceableagreementbetweenparties,settingoutthetermsoftherelationshipbetweentheparties,conferringrightsandimposingobligationsontheparties.

Contractsplayalargeroleinthefilmindustrywithmanyrelationshipsdefinedunderwrittencontract.Herearejustafewtypesofagreementsrelevanttofilmpractice:

60 IntellectualPropertyBranch,DepartmentofCommunications,InformationTechnologyandtheArtsandtheCopyrightLawBranch,Attorney-General’sDepartment,‘IndigenousCommunalRightsPaper’,December2003.

61 RobynAyres,ExecutiveDirector,ArtsLawCentreofAustralia,SubmissiononthirddraftofA Guide to Protocols for Filmmakers Working with Indigenous consent and Indigenous Communities;seealsoArtsLawCentre’sexecutivesummaryontheIndigenousCommunalMoralRightsBill,accessed13December2006,www.artslaw.com.au/_documents/files/ICMRLetterAndExecutiveSummary2006.pdf.

• Actor’s employment agreementAgreementbetweentheactorandproductioncompanywheretheactorgrantstherightstousehisorherperformance,nameandlikenessforthefilm.

• Production and investment agreementAgreementbetweentheinvestorsandtheproductioncompanyfortheproductionanddeliveryofthefilm;includesprovisionsrelatingtoamountoffinance,paymentsscheduleanddeliveryitems.

• Director’s agreementAgreementbetweentheproductioncompanyandthedirectorforprovisionofservices.

• Writer’s agreementAgreementbetweentheproductioncompanyandthewriterforprovisionofscriptdraftingservices.

• Distribution agreementGrantsthedistributortherightstodistributethefilminlistedterritories.

• Location agreementsWrittencontractsthatsetoutthetermsforfilmingonproperty,signedbetweentheproductioncompanyandtheownerofland.

ThereisscopeforcontractstoplayasignificantroleinensuringthatwhenthirdpartiesareauthorisedtomakeuseofIndigenousculturalandintellectualpropertyinfilms,thateconomicandotherbenefitsflowingfromthefilmaresharedwithIndigenouspeople.

SometermsincontractsforfilmprojectshaveincludedthefollowingrightstoIndigenouscommunities:

• sharingofcopyright• sharingofroyaltiesandpaymentoffees• theoptionofviewingtherushesanddraftedits• thepowertorejectsensitivefootagefromtheediteddrafts.

Toguidedirectorsandwriters,filmmakersmaywanttoincludeacontractualtermintheirserviceagreementsthatrequirethemtouseandrefertothisprotocolsguide.

5.6. Defamation

Defamationlawsprotectthereputationofindividualsandorganisationsbyprovidingtheinjuredpartytherighttosuefordamages.Defamationisthecommunicationbyonepersontoanotherofwords,pictures,orothermaterialthatadverselyaffectsthepersonalreputationofathirdperson.Toestablishdefamation,generallythefollowingmustbepresent:

• adefamatorystatement(ormaterial)orimputation• theplaintiffisabletobeidentified• thestatement(ormaterial)ispublishedtoathirdperson.

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Itisimportanttonotethatthecourtslookatthewholepublicationwhendeterminingwhetherornotmaterialisdefamatory.Inthisrespectthewholecontextisrelevant.Also,tobeliablefordefamation,thosemeaningsorimputationsdonothavetohavebeenintended.Filmmakersshouldthereforeconsiderthecontextinwhichindividualsarerepresentedandportrayed,andalsothecontextofhowstockfootageisused.

A2002defamationcaserelatedtotheinappropriateoutofcontextuseofstockfootageofabiker’swedding.62Thisisanexampleofwheredefamationlawscanbeusedbyfilmsubjectswhentheirimagesareusedoutofcontext.

Thelawofdefamationiscomplexandcostly.Itisdifficulttodefendandtherecanbesubstantialdamagesawarded.Before2006,thelawsvarieddependingonthestatelawthatapplied.In2006,uniformdefamationlawswereintroducedinallstatesandterritories.FormoreinformationondefamationseetheArtsLawCentreofAustralia’susefulinformationsheet,‘Thelawofdefamation–formaterialpublishedafter1January2006’atwww.artslaw.com.au/LegalInformation/Defamation/DefamationLawsAfterJan06.asp

5.7. Trade.practices

TheTrade Practices Act 1974 (Cth)prohibitscorporationsfromengaginginconductthatis‘misleadingordeceptiveorwhichislikelytomisleadordeceive’(Section52).Thisprovisionfocusesontheprotectionofconsumersregardingrepresentationsmadebycorporations in the course of trade and commerce.Therearealsoprovisionsthatmadeitillegalforcorporationstorepresentthatgoodsorserviceshave‘sponsorship,approval,performancecharacteristics,accessories,usesorbenefitstheydonothave’(Section53).

In2003,tradepracticesclaimswerearguedinrelationtorepresentationsmadebyafilmmakertointerviewees.ThecaseofHearn v O’RourkeinvolvedanallegationundertheTrade Practices Actthatthefilmmakermisledtwoyounggirlsintobeinginterviewedforadocumentary,whichthefilmmakertoldthemwasabout“racisminCunnamulla”;however,whenthefinalfilmscreened,itfocusedonthesexlivesoftheyounggirls.63TheFederalCourtwasoftheopinionthattradepracticescouldapplytothefilmmakerinthiscasebecausefilmmakingwas‘inthecourseoftradeandcommerce’.Thecasewasduefortrialbutin2007itwasdismissedafterthefilmmakerwassuccessfulindefamationproceedings:O’Rourke v Hagan.64

62 Jackson & 9 Others v TCN Channel 9 Pty Ltd [2002]NSWSC1229(20December2002).SeealsoEllenConnolly,‘Ninetakesbikiebrideforaride,andpays$1.6m’,The Sydney Morning Herald,21December2002.ThefootagewasoriginallyshotfortheshowWeddingsandthenusedfourmonthslaterforastoryonorganisedcrimeinbikergangs.

63 Hearn v O’Rourke [2003]FCAFC78(2May2003).64 O’Rourke v Hagan and Anors[2007]ACTSC61.

In2008,TCN Channel Nine Pty Ltd v Ilvariy Pty Ltdrevisitedtheissue.65TheNSWCourtofAppealappearedtoreaddowntheFederalCourtofappealdecisioninHearn v O’Rourketosuggestthatitwillbeunlikelyforfilmmakers’interviewstobedeemedtobedone‘inthecourseoftradeorcommerce’–unlesstheymakeamisleadingrepresentationinthecourseoftheinterviewee’sbusiness–asinthiscase,wheretheintervieweewasabuilder,andtheinterviewpertainedtohisbusiness,CraftsmanHomes.

5.8. Environmental.legislation.and... national.parks

UndertheEnvironment Protection Biodiversity Conservation Act 1999 and associated Regulations (Cth),apermitisrequiredfromtheDirectorofaNationalParktofilmandphotographfeaturesofanationalpark,wheretheDirectorhaspublishedguidelines.

Regulation12.24providesthatapersonmustnotcaptureanimageinorofaCommonwealthReservewithoutapermitfromtheDirectoroftheNationalPark.

Regulation12.38providesthatapersonmustnotuseacapturedimageofaCommonwealthReservetoderivecommercialgain.Thepenaltyis30penaltyunits($3,300).A‘capturedimage’includesimagesthatwerenotcapturedforacommercialpurposeorincontraventionofthe Actortheregulations(egamateurphotography).

TheUluru-KataTjutaNationalParkhasFilmingandPhotographyguidelinesthatadviseonwhereappropriatefilmingcanoccur.Nofilmingofsacredsites,forinstance,isallowable.ForinformationontheguidelinescontactthePublicCommunicationsOfficerat:

Uluru-KataTjutaNationalParkPOBox119YULARANT0872Ph:(08)89562299Fax:(08)89562360

5.9. Western.Australian.Heritage... Regulations.1974

TheAboriginalHeritageRegulations1974(WA)apply‘inrelationtoanyAboriginalsiteorprotectedareaorlandheldsubjecttoacovenantinfavouroftheministerinrelationtowhichtheministerhasadutyundertheAct’.66Regulation10(h)statesthat‘writtenpermissionisrequiredbeforephotographsorrecordingsofAboriginalsitescanbe

65 TCN Channel Nine Pty Ltd v Ilvariy Pty Ltd[2008]NSWCA9.66 AboriginalHeritageRegulations1974(WA)s3(a).

Film&thelaw 77

publishedorusedforcommercialreproduction’.TheseregulationsrequirepeopletogetpermitsforcommercialfilmingofAboriginalsites.ThewrittenpermissionoftheMinisterofAboriginalAffairsortheRegistrarisrequiredtophotographortorecordanyAboriginalsiteorprotectedareaforcommercialreproductionorpublication.Afineof$50occursforbreaches.67TheDepartmentofAboriginalAffairsinformationsheetadvisespeopletospeaktothelocalIndigenouscommunitywithassociationswiththesiteandexplainwhyyouwanttophotographorfilmthesite,priortoapplyingtotheRegistrarforformalconsent.FormoreinformationcontacttheDepartmentofIndigenousAffairs(DIA),WA(forcontactdetailsseetheAboriginalLandsTrustonpage98).

5.10. Where.to.go.for.more.legal.information

• AustralianCopyrightCouncil• ArtsLawCentreofAustralia• CommunicationsLawCentre• Solicitorspractisinginthisarea:informationcanbeobtainedfromtheLaw

Societyinyourstateorterritory.

67 DepartmentofIndigenousAffairs,PhotographingandFilmingAboriginalSitesforCommercialPublication,FAQ.Seealsowww.dia.wa.gov.au

Contacts&appendices 79

6.. .Contacts.&.appendices6.1. Directories

The.Black.Book.Directory.Ph:(02)93804000TollFree:1800226615Fax:(02)93195030mail@theblackbook.com.auwww.theblackbook.com.au PortaltoIndigenousartsandmediainAustralia.Includesadirectorywithmorethan2,700listingsofIndigenousorganisationsandindividualsworkingacross95professionsinthearts,mediaandculturalindustries.

Black.Pages.www.blackpages.com.auBlackPagesisAustralia’sfirstandonlynationalonlineIndigenousBusinessandCommunityEnterpriseDirectory.

Encore.Directory.ReedBusinessInformationTower2,475VictoriaAvenueChatswoodNSW2067Ph:(02)94222999Fax:(02)94222922encoredirectory@reedbusiness.com.auwww.reedbusiness.com.auAcomprehensivedirectoryofproducers,directors,personnel,companies,facilitiesandorganisationsinthefilm,televisionanddigitalmediaindustries.

Indigenous.Portal.www.indigenous.gov.au TheOfficeofIndigenousPolicyCoordination(OIPC)isAustralia’scentralIndigenousagency.TheOIPC’sIndigenousPortalisawindowtoresources,contacts,informationandservicesforAboriginalpeopleandTorresStraitIslanders.

The.Production.Book..POBox55GlebeNSW2037Ph:(02)95711100Fax:(02)96600885info@productionbook.com.auwww.filmtvbiz.com.au Acontactandinformationproviderforpersonnel,facilitiesandservicesintheAustralianfilm,TV,advertisinganddigitalmediaindustries.

Screen.Australia.Industry.Links.www.screenaustralia.gov.auGatewaytoAustralianfilmandtelevisionontheInternet.

Showcast:.The.Australasian.Casting.Directory.POBox2001LeumeahNSW2560Ph:(02)46474166Fax:(02)46474167danelle@showcast.com.auwww.showcast.com.auAcomprehensivedirectoryofAustralianandNewZealandperformers–actors,actresses,stuntpeopleandchildren.Providestheagent’scontactforeachentry.Availableonlineandinhardcopy.

The.Writers’.Directory..AustralianWriters’Guild8/50ReservoirStreetSurryHillsNSW2010Ph:(02)92811554TollFree:1300552228Fax:(02)92814321admin@awg.com.auwww.awg.com.au OnlinedirectorywithalphabeticallistingofmanyAustralianprofessionalscriptwritersshowingcategoriesofworkundertaken,majorcreditsandexperience.Includesastateindexcombinedwithfulllistofmembers.

6.2. Indigenous.media.associations.and.. .. broadcasters

Australian.Indigenous.Communications.Association.(AICA).POBox4235AinslieACT2602Ph:(02)62421358Fax:(02)62557932aica.org@bigpond.net.auwww.aica.asn.au TheAustralianIndigenousCommunicationAssociationIncorporatedisabodythatrepresentsmembersofthenationalIndigenousmediaandcommunicationsindustry.Therepresentativeassociationadvocatesforandformulatespolicyonbehalfofthissector.

Brisbane.Indigenous.Media.Association.(BIMA).POBox6239FairfieldGardensQld4103Ph:(07)38920100Fax:(07)38920101info@4aaa.org.auwww.4aaa.org.au BIMAholdsthelicenceforandruns4AAAMurriCountry98.9FMRadiostation,providingtrainingandopportunitiesforIndigenousbroadcasters.

Central.Australian.Aboriginal.Media.Association.(CAAMA).www.caama.com.au OwnedbytheAboriginalpeopleofCentralAustralia,CAAMAhasaclearmandatetopromoteAboriginalculture,language,danceandmusic,whilegeneratingeconomicbenefitsintheformoftraining,employmentandincomegeneration.CAAMAproducesmediaproductsthatengenderprideinAboriginalculture,andinformsandeducatesthewidercommunityabouttherichnessanddiversityoftheAboriginalpeoplesofAustralia.TheCAAMAGroupcomprises:8KINFM,aradionetwork;CAAMAShops,aretail,wholesaleanddistributionbusiness;CAAMAMusic,arecordingstudioandrecordlabelthatproducesIndigenousmusicfortheworld;CAAMAProductions,afilmandtelevisionproductioncompanythatproducesworld-classprogramsaboutAboriginalculture,lifestylesandissues;andImparjaTelevision,acommercialtelevisionstationthatbroadcastsviasatellitetooneofthelargesttelevisionserviceareasintheworld.

Central.Queensland.Aboriginal.Corporation.for.Media..POBox663RockhamptonQld4700Ph:(07)49214648Fax:(07)49214649BroadcastRadio4USon100.7FMaroundRockhamptonarea,6.00am–6.00pmweekdays.

Gadigal.Information.Service.Aboriginal.Corporation..POBox966StrawberryHillsNSW2012Ph:(02)95645090Fax:(02)95645450info@gadigal.org.auwww.gadigal.org.au OperatesKooriRadioinSydney.OccasionallyreleasesCDcompilationsoflocalartists.StageseventsincludingYarbunconcertheldannually.

Goolarri.Media.Enterprises.Pty.Ltd..POBox2708BroomeWA6725Ph:(08)91921325Fax:(08)91936407goolarri@gme.com.auorreception@gme.com.auwww.gme.com.au Offerstelevisionbroadcastandfilmandvideoproductionandpost-production,hasaradiostation(Goolarri99.7)andanarrowcasttelevisionlicence(GTV).Italsohasmusicrecordingstudios,aneventmanagementarmandITandgraphicfacilities.GMEisownedbytheBroomeAboriginalMediaAssociationandalsomanagestheoperationsoftheBroomeMusiciansAboriginalCorporation.

Imparja.Television..4LeichhardtTerraceAliceSpringsNT0870Ph:(02)89501411Fax:(02)89501422imparja@imparja.com.auwww.imparja.com.auThefirstAboriginal-ownedandcontrolledcommercialtelevisionserviceinAustralia.Imparja,whichmeansfootprintintraditionalCentralArrerntelanguage,isthecentralZoneRemoteCommercialTelevisionService(RCTS)licensee,whichbroadcaststhroughouttheNorthernTerritory,SouthAustralia,VictoriaandNewSouthWales.

Indigenous.Remote.Communications.Association.(IRCA)..10aWilkinsonStreetAliceSpringsNT0871POBox2731AliceSpringsNT0871Ph:(08)89526465Fax:(08)89188100Mobile:0437798076manager@irca.net.auIRCAistherepresentativebodyofmembersofAustralia’sremoteandveryremoteIndigenousmediaorganisations.Eightleadingmediaassociationsrepresentingover120remotecommunitiesformthemembershipofIRCA.PYMedia,TEABBA,PAWMedia,RIMAQ,RICA,CAAMAandNgaanyatjaraMediaareontheIRCAboard.

Mt.Isa.Aboriginal.Media.Association..POBox1794MtIsaQld4825Ph:(07)47491338Fax:(07)47490270Mobile:0408491332miama@bigpond.comIncludestelevisionfacilitiesandproductioncompany,recordingstudios,aradiostationthatbroadcastscontinuallyandproducesanewsletter.AlsoofferstrainingforIndigenouspeople.

National.Indigenous.Television.(NITV).5ParsonsStreetAliceSpringsNT0870Ph:(08)89534763Fax:(08)89534764admin@nitv.org.auwww.nitv.org.au.NationalIndigenousTelevisionisa24-hourtelevisionserviceestablishedbyAboriginalandTorresStraitIslanderstoimprovethelivesofourpeople.NITVisfocusedonlocallyproducedcontent.

South.Eastern.Indigenous.Media.Association.(SEIMA).48MaryStreetPrestonVic3072Ph:(03)94711305Fax:(03)94711054info@3knd.org.auwww.3knd.org.au Primarilyinvolvedinbroadcastingandassistingtrainingforbroadcastingwiththemainprojectbeing3K’N’DKoolandDeadlyRadio.Alsoactsasaliaisonbetweenthecommunityandradio.Newmemberswelcome.

Torres.Strait.Islander.Media.Association.(TSIMA)..POBox385ThursdayIslandQld4875Ph:(07)40691524Fax:(07)40691844admin@tsima4mw.org.auRepresentsresidentsandculturalcommunityintheTorresStraitandNorthernPeninsulaareathroughmedia.Coversissuesrelatingtopeopleintheregionandassistsinmaintainingculturethroughvideoandradioproduction.

Townsville.Aboriginal.&.Islander.Media.Association.(TAIMA).271–279SturtStreetTownsvilleQld4810POBox5483TownsvilleQld4810Ph:(07)47725466Fax:(07)47211902mail@4k1g.orgTheTownsvilleAboriginalandIslanderMediaAssociation(TAIMA)isoneofthelargestmediaassociationsintheIndigenousbroadcastingsector.Ithasastaffof29andanannualbudgetof$1.9million.TheTownsvilleAboriginalandIslanderMediaAssociationisacommunity-ownedandcontrolledradiostation,whichis4KIGTownsville.

Uniikup.Productions.Ltd.POBox3230SouthBrisbaneQld4101Fax:(07)38643975Mobile:0407379822www.colourise.com.au..IndigenousArtsandMediaorganisation.Establishedin1986,tradingasMurriimageCommunityVideoandFilmService,UniikupProductionsLtdisanIndigenouscommunitydevelopmentorganisationwhosefunctionistocontributetothecreationofauniqueIndigenousscreenculture.

6.3. Remote.Indigenous.Media.Organisations.(RIMOs;.formerly.BRACS.Regional..Coordination.Units)

RemoteIndigenousBroadcastingServices(RIBS)arecommunitymediaservicesthathavetheabilitytolocallycontroltelevisionsatelliteservicesintheircommunity.Thesecommunitiesarealsoabletocreateradioandtelevisionproductionsfortransmissionovera5–10kilometreradiusintheirregion.ThefacilitieswereprovidedunderapreviousgovernmentprogramcalledBRACS,whichisnolongeractive.RIBScommunitiesareregionallycoordinatedbylargerIndigenousmediaassociationscalledRemoteIndigenousMediaOrganisationsorRIMOs.ItisadvisedthatyoufirstlyliaisewiththeseassociationswhenmakingcontactordoingbusinesswithRIBScommunities.

Pleasenote,atthetimeofpublication,twooftheeightRIMOs,namelytheRemoteIndigenousCommunicationsAssociation(RICA)intheTorresStrait,andtheRemoteIndigenousMediaAssociationofQueensland(RIMAQ)werebeingre-established.FurthercontactinformationforRICAorRIMAQcommunitiesisavailablethroughIRCAon0417501700,oremail:irca@waru.org

Central.Australian.Aboriginal.Media.Association.(CAAMA)..POBox2608AliceSpringsNT871Ph:(08)89519777Fax:(08)89519717reception@caama.com.auwww.caama.com.au RepresentsfourBRACSCommunityorganisationsinthecentraldesertincludingLtyentyeApurte,Ntaria,AreyongaandPapunya.

Ngaanyatjarra.Media..WingellinaCommunityPMB52ViaAliceSpringsNT872Ph:(08)89567307Fax:(08)89567182media@ngaanyatjarra.org.auwww.waru.org/ngmediaServiceproviderforthe13regionalcommunitiesintheWesternDesertarea.Providestraining,operationalandadministrativesupportforIrrunytju,Papulankutja(Blackstone),Mantamaru(Jamison),Warbuton,Warakurna,Wanarn,Karilywara(Patjarr),Tjukurla,Kiwirrkura,CosmoNewberry,Coonana,TjuntjuntjaraandTjirrkarli.

Pilbara.and.Kimberley.Aboriginal.Media.(PAKAM)..POBox2708BroomeWA6725Ph:(08)91921325Fax:(08)91936407neil@gme.com.auhttp://pakam.homestead.com/ CoordinatesthefollowingBRACSinthePilbaraKimberleyRegion:Ardyaloon(formerlyBardi)Balgo,Bidyadanga,Djarindjin,Jigalong,Kalumburu,Looma,Yungngora,Yandeyarra,Yiyili,Warmun,Oombulgurri,Ngalapita,WarmunandBeagleBay.AlsomanagesthePAKAMsatelliteradionetwork.

Pitjantjatjara.Yankunytjatjara.(PY.Media)..POBox4607ViaAliceSpringsNT871Ph:(08)899505444Fax:(08)89548163or89526425Mobile:0438501575will@waru.orgwww.waru.org Worksinbothradioandvideoproduction.FeedsBRACSprogrammingintothe5NPYradionetwork.Providestrainingforradioandvideoproductionforthe11BRACScommunitiesintheAnanguPitjantjatjaraLandsofSA,NTandWA.Assistswithtechnicalandadministrativeadvice.

Top.End.Aboriginal.Bush.Broadcasting.Association.(TEABBA)..POBox41644CasurinaNT811Ph:(08)89390400Fax:(08)89390401teabba.radio@teabba.com.auwww.teabba.com.auServices25communitiesinthetopendofNT.Identifiestrainingneedsandprovidestechnicalmaintenance,installationandtrainingforBRACScommunities.TEABBAisthehubforthebushbroadcastingnetworkthroughTEABBARadio.

Warlpiri.Media.Association..YuendumuCMBViaAliceSpringsNT872Ph:(08)89564024Fax:(08)89564100Mobile:0428564024info@warlpiri.com.auwww.warlpiri.com.auRegionalmediatraininginradio,videoanddigitalproduction.CommunitytelevisionandsatelliteradiothroughoutthePAW(PintubiAnmatjerreWarlpiri)network.ServicesKintore(Walungurru),AliCurang,Laramba(Napperby),PmaraJutunta,Nturiya,MtLeibig,Nyirripi,Yuelamu(MtAllen),LajamanuandWillowra.

6.4. Industry.agencies.with.Indigenous... .. components

Australian.Broadcasting.Corporation.(ABC),.Indigenous.Program.Unit..www.abc.net.au/indigenous/Informationoncurrent,upcomingandcompletedprojectsattheABC’sIndigenousProgramUnit,includingprogramsinproductionandpreviouslyscreened,andinformationontheNationalIndigenousDocumentaryFund.

Australia.Council.for.the.Arts,.Aboriginal.and.Torres.Strait.Islander..Arts.Board.POBox788StrawberryHillsNSW2012Ph:(02)92159000mail@australiacouncil.gov.auTheAboriginalandTorresStraitIslanderArtsBoardassistsAboriginalandTorresStraitIslanderpeopletoclaim,controlandenhancetheirculturalinheritance.TheBoardsupportsthisrightthroughitsgrantcategoriesandthroughtheimplementationoftheAustraliaCouncil’sNationalAboriginalandTorresStraitIslanderArtsPolicy(NATSIAP).

Australian.Film.Television.and.Radio.School.(AFTRS),..Indigenous.Program.Initiatives.(IPI).TheEntertainmentQuarter130BentStreetMooreParkNSW2021POBox2286StawberryHillsNSW2021Ph:(02)98056611TollFree:1300131461Fax:(02)98871030www.aftrs.edu.au AnationalprogramdesignedtoupgradethecreativeandtechnicalskillsofIndigenousAustraliansalreadyworkinginthefilm,broadcastandrelatedindustries,andtoassistthemtoprogressintokeycreativepositions.AFTRS’specificobjectiveistoincreasethenumberofIndigenousAustralianproducers,directorsandscriptwriters,andthusincreasethenumberofIndigenousvoicesinourfilm,videoanddigitalindustries.

Australian.Indigenous.Communications.Association.Incorporated.(AICA).POBox4235AinslieACT2602Ph:(02)62421354Fax:(02)62557932aica.org@bigpond.net.auwww.aica.asn.au TheAustralianIndigenousCommunicationAssociationIncorporatedisabodythatrepresentsmembersofthenationalIndigenousmediaandcommunicationsindustry.Therepresentativeassociationadvocatesfor,andformulatespolicyonbehalfof,thissector.

Film.and.Television.Institute.WA.Inc.(FTI)..92AdelaideStreetFremantleWA6160POBox579FremantleWA6959Ph:(08)94316700Fax:(08)93351283www.fti.asn.au AdministerstheStanleyWilburTrust,whichofferssupportforIndigenousscreenartists.Foradviceonnewdevelopmentsinthisongoingprogram,pleasecontacttheFTI.

Indigenous.Screen.Australia.(ISA).POBox1714StrawberryHillsNSW2012Ph:(02)93804070www.indigenousscreenaustralia.com.au PeakorganisationforindependentIndigenousfilmmakersandIndigenousmediaorganisations.Establishedin2000,ISAiscommittedtopromotingopportunitiesandtheIndigenousscreenindustry.Keypriorityareas:distribution,productionandfinance,trainingandemployment,policyandscreenculture.FirstpubliceventwastheTudawaliAwards,presentedattheOperaHouseinJanuary2000.

Metro.Screen,.Sydney,.NSW.SydneyFilmCentre,PaddingtonTownHallCnrOatleyRoadandOxfordStreetPaddingtonNSW2021POBox299PaddingtonNSW2021Ph:(02)93615318Fax:(02)93615320www.metroscreen.com.au/lbs.html AdministerstheLesterBostockScheme,ajointinitiativebetweenMetroScreenandtheNSWFilmandTelevisionOffice(FTO),offeringIndigenousstorytellerstheopportunitytomakeashortfilm.Participantshaveaccesstofreetraining,equipmentandfacilities,plustheyteamupwithanexperiencedindustryproducer/directorwhoactsasamentortoguidethemthroughtheproductionprocess.TheaimoftheschemeistoencouragenewIndigenousfilmmakerslivinginNSWtopresentideas,developtheirskillsandexperienceintelevisionandvideoproduction,andincreasetheirprospectsforemploymentinthefilmandtelevisionindustry.AnIndigenousmentor/producerassistseachfilmmakerthroughthedevelopment,productionandpost-productionoftheirproject.

Pacific.Film.and.Television.Commission.(PFTC).Level15,111GeorgeStreetBrisbaneQld4000POBox15094CityEastQld4002Ph:(07)32244114Fax:(07)32246717www.pftc.com.au TheIndigenousFilmmakersFundprovidesdevelopmentandproductionfinanceforIndigenousfilmmakerstotelltheirownstories.

SBS.Television,.Indigenous.Media.Unit.LockedBag028CrowsNestNSW1585Ph:(02)94303058Fax:(02)94381590http://news.sbs.com.au/livingblack ProducesIndigenousprograms,includingthecurrentaffairsprogramLivingBlack,forbroadcastonSBS.ProvidestrainingforIndigenouspeopleintelevision.

Screen.Australia,.Indigenous.Branch.Ph:(02)81135800.TollFree:1800213099indigenous@screenaustralia.gov.auwww.screenaustralia.gov.au OffersprofessionaldevelopmenttoIndigenousfilmmakersbyprovidingdevelopmentandproductioninvestmentfundingfordrama,documentary,interactiveandanimationprojects.Theseprojectsmaybeintheshort,shortfeatureorfeature-lengthformat.Alsoprovidestravelgrantstofilmmakerswhohaveafilmscreeninginaninternationalfilmfestivalandprovidesfundingforfilmmakerstotrainonfeaturefilmsanddocumentaries.ContributestoScreenAustraliapolicydevelopmentissuesrelevanttoitsareaandassessesprojectswithIndigenouscontentthataresubmittedtotheScreenAustraliadevelopmentfundingprogramsandmarketingprograms.

ScreenWest’s.Indigenous.Filmex.initiative.(INDEX).Level7,LawChambers573HayStreetPerthWA6000POBox8349PerthBusinessCentreWA6849Ph:(08)92247340Fax:(08)92247341info@screenwest.com.auwww.screenwest.com.au DesignedtoextendtheexperienceofIndigenousfilmmakers,particularlydirectors,writersandproducers,bysupportingtheproductionofshortfilms.

6.5. Indigenous.cultural.advisors.and... script.consultants

Australian.Writers’.Guild.8/50ReservoirStreetSurryHillsNSW2010Ph:(02)92811554Fax(02)92814321admin@awg.com.auwww.awg.com.auScriptassessmentsandclinicsareavailabletoAustralianWriters’Guildmembers.TheAssessmentServiceisavailableforallscripts–documentary,feature,shortfilm,television,radioandstage.

The.Black.Book.Directory.Ph:(02)93804000TollFree:1800226615Fax:(02)93195030mail@theblackbook.com.auwww.theblackbook.com.au PortaltoIndigenousartsandmediainAustralia.Includesadirectorywithmorethan2,700listingsofIndigenousorganisationsandindividualsworkingacross95professionsinthearts,mediaandculturalindustries.

Indigenous.Film.Services.POBox972DarlinghurstNSW1300Ph:(02)93322066Fax:(02)93322166www.indigenousfilmservices.com IndigenousFilmServicesisafilm,videoandmultimediaresourcecentreofferingproductionsupporttoIndigenouscommunities.

Metro.Screen’s.Project.Development.Services.SydneyFilmCentre,PaddingtonTownHallPOBox299PaddingtonNSW2021Ph:(02)93615318Fax:(02)93615320www.metroscreen.org.au MetroScreen’sProjectDevelopmentServicesareavailabletoMetroScreenmembersandprovideassessmentsofscriptsortreatmentsofanylength.Itisanexcellentopportunityforfilmmakersandscreenpractitionerstobegivensoundadviceonwhatdoesanddoesn’twork.MetroScreenoffersaselectionofsuccessfulhigh-profileindustrypractitionerstochoosefrom,includingatleastoneconsultantwithabackgroundinIndigenousfilm.

6.6. Land.Councils

Australian.Institute.of.Aboriginal.and.Torres.Strait.Islander.Studies.(AIATSIS),.Native.Title.Research.Unithttp://ntru.aiatsis.gv.au/other/links.html ContainsacomprehensivelistofNativeTitleRepresentativeBodiesaswellasgeneralNativeTitleinformation.

New.South.WalesNew.South.Wales.Aboriginal.Land.Council.(NSWALC).HeadOffice33ArgyleStreetParramattaNSW2150POBox1125ParramattaNSW2124Ph:(02)96894444Fax:(02)96871234penwurru@alc.org.auwww.alc.org.au ZoneOffices:NorthernZone(CoffsHarbour)Ph:(02)66591200EasternZone(Parramatta)Ph:(02)88366000SouthernZone(Queanbeyan)Ph:(02)61245333WesternZone(Dubbo)Ph:(02)68857000TheNSWALCisNewSouthWales’peakrepresentativebodyinIndigenousaffairs.Itismadeupof13regionallandcouncils,containedwithinfourzones.AmapshowingthezoneregionsisavailableontheNSWALCwebsite.

Northern.TerritoryCentral.Land.Council..HeadOffice31–33StuartHighwayAliceSpringsNT0871POBox3321AliceSpringsNT0871Ph:(08)89516211Fax:(08)89534343media@clc.org.auwww.clc.org.au TheCentralLandCouncilregioncovers771,747squarekilometresofremote,ruggedandofteninaccessibleareasinthesouthernhalfoftheNorthernTerritory.

Northern.Land.Council..HeadOffice45MitchellStreetDarwinNT0810GPOBox1222DarwinNT0810Ph:(08)89205100Fax:(08)89452633www.nlc.org.auTheNorthernLandCouncilrepresentstraditionalAboriginallandownersandAboriginalpeopleintheTopEndoftheNorthernTerritoryofAustralia.

South.AustraliaAnangu.Pitjantjatjara.Yankunytjatjara.(APY).Land.Council..PMBUmuwaViaAliceSpringsNT0872Ph:(08)89548111Fax:(08)89548110www.waru.orgAnanguPitjantjatjaraYankunytjatjara(APY)Councilareacoversmorethan103,000squarekilometresofaridlandinthefarnorthwestofSouthAustralia.CommunitiesontheLandsinclude:Amata,Fregon,Indulkana,Mimili,PipalyatjaraandPukatja(Ernabella).

QueenslandCape.York.Land.Council..HeadOffice32FlorenceStreetCairnsQld4870POBox2496CairnsQld4870Ph:(07)40519222TollFree:1800623548Fax:(07)40510097reception@cylc.org.auwww.cylc.org.au TheCapeYorkLandCouncilwasestablishedin1990toservetheAboriginalcommunitiesandtraditionalownersofCapeYorkPeninsula.

Torres.Strait.Regional.Authority.(TSRA).1stFloor,TorresStraitHausVictoriaParadeThursdayIslandQld4875POBox261ThursdayIslandQld4875Ph:(07)40690700TollFree:1800079093Fax:(07)40691879info@tsra.gov.auwww.tsra.gov.au TheTSRAregionstretches150kilometresnorthfromthetipofCapeYorkPeninsularinNorthQueenslandtojustsouthofthesouthwestcoastofPapuaNewGuinea.

Western.AustraliaKimberley.Land.Council.(KLC)..36PembrokeStreetBroomeWA6725POBox2145BroomeWA6725Ph:(08)91936199Fax:(08)91936279klc@klc.org.auwww.klc.org.au TheKimberleyLandCouncilAboriginalCorporation(KLC)isanassociationofAboriginalpeopleintheKimberleyregion.Itisapeakregionalcommunityorganisation.

Ngaanyatjarra.Council.Aboriginal.Corporation.1/58HeadStreetAliceSpringsNT0871POBox644AliceSpringsNT0871Ph:(08)89501711 Fax:(08)89531892ngcouncil@ngaanyatjarra.org.auTheNgaanyatjarraCouncilAboriginalCorporationrepresentsover2,000Pintupi,Ngaanyatjarra,NgaatatjarraandPitjantjatjarapeoplelivingintheCentralDesertregionofWesternAustralia.

6.7. Permit.offices

Northern.TerritoryAboriginal.Areas.Protection.Authority..DarwinOffice1stFloor,T.I.I.Building74CavenaghStreetDarwinNT0801GPOBox1890DarwinNT0801Ph:(08)89814700Fax:(08)89814169AliceSpringsOfficeGroundFloor,BelvedereHouseCnrBathandParsonsStreetsAliceSpringsNT0871GPOBox3656AliceSpringsNT0871Ph:(08)89526366Fax:(08)89522824enquiries.aapa@nt.gov.auAllAboriginalsacredsitesintheNorthernTerritoryareprotectedbylaw.AnAuthorityCertificatemustbeobtainedbeforeanyfilmingisdoneinthearea.

Central.Land.Council.HeadOffice31–33StuartHighwayAliceSpringsNT0871POBox3321AliceSpringsNT0871Ph:(08)89516211Fax(08)89534343permits@clc.org.auwww.clc.org.auAliceSpringsandTennantCreekregions.

Northern.Land.Council.HeadOffice45MitchellStreetDarwinNT0810GPOBox1222DarwinNT0810Ph:(08)89205100Fax:(08)89452633permits@nlc.org.auwww.nlc.org.auDarwin,NhulunbuyandKatherineregions(includingArnhemLand).

Tiwi.Land.Council.5/3BishopStreetStuartParkNT0820POBox38545WinnellieNT0821Ph:(08)89814898Fax:(08)89814282MelvilleandBathurstIslands.

South.AustraliaAnangu.Pitjantjatjara.Yankunytjatjara.(APY).Land.Council..permit@anangu.com.auwww.waru.orgPitjanjanjaralandwithinNorthernSouthAustralia,WesternAustraliaandNorthernTerritory.

Maralinga.Lands.Council.POBox435CedunaSA5690Ph:(08)86252946AboriginallandswithinCentralSouthAustralia(viaAnneBeadellHighway).

Yalata.Community.Inc..www.yalata.org/permits.htmPermitsarenotrequiredtotravelthroughYalataAboriginallands(south-westernSouthAustralia).However,ifyouintendtostayintheareayouwillneedapermit.

Western.AustraliaAboriginal.Lands.Trust..POBox7770CloistersSquarePerthWA6850Ph:(08)92358000Fax:(08)92358093www.dia.wa.gov.au/Land/Permits TheAboriginalLandsTrusthasanonlineapplicationandprocessingsystemforissuingAboriginalreserveentrypermits.Thereisalsoanauto-approvalfeatureallowingtravellerstoentertheirdetailsandprintoutpermitsimmediately.Formoreinformation,ortoapplyforapermit,visitthewebsiteorcontacttheDIApermitsofficer.

Ngaanyatjarra.Land.Council.58HeadStreetAliceSpringsNT0871POBox644AliceSpringsNT0871Ph:(08)89501711Fax:(08)89531892ngcouncil@ngaanyatjarra.org.auLandssurroundingtheGunbarrelHighway(betweenAliceSpringsandWesternAustralia).

6.8. National.Parks

ThislistincludesonlyCommonwealthNationalParks.ForinformationaboutcommercialfilmingpermitsforStateGovernment-managednationalparksandreserves,contacttherelevantstateagency.

Booderee.National.Park.VillageRoadJervisBayNSW2540Ph:(02)44421006Fax:(02)44421063booderee.mail@deh.gov.au(allow24hrsforconfirmation)Permits:ContactthePermitsOfficerAllowaminimumofonemonthforprocessingofyourapplicationfromthedatethatthePermitsOfficerreceivesthepermitapplication.Newsreporters,photographicandfilmcrewsarerequiredtoundergoabriefing.

Department.of.the.Environment,.Water,.Heritage.and.the.Arts.(DEWHA).JohnGortonBuilding,KingEdwardTerraceParkesACT2600GPOBox787CanberraACT2601Ph:(02)62741111Fax:(02)62741666www.environment.gov.au ThreeofthesixCommonwealthNationalParks,namelyKakaduNationalParkandUluru-KataTjutaNationalParkintheNorthernTerritoryandBoodereeNationalParkintheJervisBayTerritory,aremanagedjointlybytheAustralianGovernment(throughDEWHA)andAboriginaltraditionalowners.

Kakadu.National.Park.POBox71JabiruNT0886Ph:(08)89381120Fax:(08)89381115kakadunationalpark@deh.gov.auPermits:ContactthePermitsOfficer,ph:(08)89381100Allowaminimumof10to14workingdaysfortheprocessingofyourapplicationfromthedatethatthePermitsOfficerreceivesthepermitapplication.

Uluru-Kata.Tjuta.National.Park.POBox119YularaNT0872Ph:(08)89561100Fax:(08)89562064uluru.admin@deh.gov.auPermits:ContacttheSeniorMediaandInformationOfficerPhone:(08)89561113Fax:(08)89562360uluru.media@deh.gov.auPleasenoteforapplicationsrelatingtoUluru-KataTjutaNationalPark,allow56daysforprocessingifyouwishtorecordAnanguorAnanguculturalmaterial.

6.9. Libraries.and.archival.sources

Australian.Institute.of.Aboriginal.and.Torres.Strait.Islander..Studies.(AIATSIS).Library.ActonPeninsular,LawsonCrescentActonACT2601GPOBox553CanberraACT2601Ph:(02)62461182Fax:(02)62614287sales@aiatsis.gov.au;library@aiatsis.gov.au;research@aiatsis.gov.auwww.aiatsis.gov.au AIATSISisanindependentFederalGovernmentstatutoryauthoritydevotedtoAboriginalandTorresStraitIslanderstudies,andisAustralia’spremierinstitutionforinformationabouttheculturesandlifestylesofAboriginalandTorresStraitIslanderpeoples.ThelibrarycontainsoneofthemostcomprehensivecollectionsofprintmaterialsonAustralianIndigenousstudiesintheworld,andhasadoptedtheAboriginalandTorresStraitIslanderProtocolsforLibraries,ArchivesandInformationServices.Specialistservicesareavailableforthosedoinggenealogicalresearchandnativetitleresearch.

Online:TheCollectionscatalogueisavailableonline.

Publications:AIATSISpublishesbooks,ajournal,films,cassettes,CDsandpapers.MostareproducedbytheAIATSISpublishinghouse,AboriginalStudiesPress.TheNativeTitleResearchUnitpublishespapersandnewsletters,someofwhichareavailableonline.

Australian.War.Memorial.TreloarCrescentCampbellACT2612GPOBox345CanberraACT2601Ph:(02)62434211Fax:(02)62434325www.awm.gov.au TheAustralianWarMemorial’sphotographicdatabasehasover470imagesofIndigenousAustraliansanditsprivaterecordsdatabaselists11relevantcollections.

Battye.Library..AlexanderLibraryBuildingPerthCulturalCentrePerthWA6000Ph:(08)94273111Fax:(08)94273256info@slwa.wa.gov.auwww.liswa.wa.gov.au/abortorres.html TheBattyeLibraryistheprimaryresearchcollectionofWesternAustraliandocumentaryheritage,containinganimpressiveamountofinformationonAboriginalandTorresStraitIslanderpeopleofWesternAustralia.

National.Archives.of.Australia.POBox7425CanberraBCACT2610Ph:(02)62123600Fax:(02)62123699archives@naa.gov.auwww.naa.gov.au/collection/explore/indigenous-australia/index.aspxTheNationalArchivesofAustraliaisresponsibleforpreservingandmakingavailableforpublicaccessthearchivalrecordsoftheAustralianGovernment,includingaudiovisualrecords.Thecollectionlargelydatesfrom1901andisgenerallyavailableforpublicaccessafter30years.InformationabouttheNationalArchives’holdingsofrecords,includingfilm,photographsandfilesinrelationtoIndigenousAustralians,accessarrangementsandrecordkeepingadviceforgovernmentagenciesisavailableonitswebsite(www.naa.gov.au).

National.Film.and.Sound.Archive.(NFSA).HeadOfficeMcCoyCircuitActonACT2601GPOBox2002CanberraACT2601Ph:(02)62482000TollFree:1800067274(withinAustralia)Fax:(02)62482222enquiries@nfsa.gov.auwww.nfsa.gov.au AccesstothecollectionisalsoavailableatstatelibrariesinAdelaide,Brisbane,HobartandPerth.

TheNationalFilmandSoundArchiveplaysaleadingroleinpreservingandcollectingAustralia’sfilm,televisionandsoundheritage.TheNFSAcollectionincludesbooks,journals,CD-ROMs,films,videoandsoundrecordings,aswellasphotographicstills,posters,lobbycards,publicitymaterialsandpressclippings.

National.Library.of.Australia.CanberraACT2600Ph:(02)62621111Fax:(02)62571703www.nla.gov.au/muragadiTheNationalLibraryofAustralia’sresourcesonAboriginalandTorresStraitIslanderpeopleincludesanoverviewofmanuscriptandoralhistoryholdings.

New.South.Wales.State.Archives.POBox516KingswoodNSW2747Ph:(02)96731788Fax:(02)98334518srecords@records.nsw.gov.auwww.records.nsw.gov.au/publications/aboriginalguide/aboriginalguidetoc.htmThewebsiteofStateRecordsNewSouthWalesincludesanextensiveanddetailedGuidetoNewSouthWalesStateArchivesrelatingtoAboriginalPeople.

State.Library.of.New.South.Wales.MacquarieStreetSydneyNSW2000Ph:(02)92731414Fax:(02)92731255library@sl.nsw.gov.auwww.sl.nsw.gov.au/picmanAsearchintheStateLibraryofNewSouthWales’Picmandatabaserevealsover3,340entriesofpicturesandmanuscriptsofrelevancetoIndigenouspeople.

State.Library.of.South.Australia.CornerNorthTerraceandKintoreAvenueAdelaideSA5000GPOBox419AdelaideSA5001Ph:(08)82077250Fax:(08)82077247info@slsa.sa.gov.auwww.slsa.sa.gov.au/site/page.cfm?area_id=15&nav_id=509 TheStateLibraryofSouthAustraliahasasignificantanddevelopingamountofspecialistmaterialrelatingtoAustralianAboriginalandTorresStraitIslanderculturesincludingpublishedmaterial,archivalrecords,photographs,films,soundrecordingsandartworks.

State.Library.of.Queensland.POBox3488SouthBrisbaneQld4101Ph:(07)38407666Fax:(07)38462421www.slq.qld.gov.au/info/ind IndigenousLibraryServicesoperateswithintheStateLibraryofQueenslandtoprovideinformationservicesrelevanttoAboriginalandTorresStraitIslanderpeople.

State.Records.of.South.Australia.GPOBox1072AdelaideSA5001Ph:(08)82267750Fax:(08)82048777srsageneralenquiries@saugov.sa.gov.auwww.archives.sa.gov.au/aboriginalStateRecordsofSouthAustraliaprovidesanonlineoverviewofitsholdingsofrecordsrelatingtoAboriginalpeople.Itincludesinformationaboutguides,researchkitsanditsnameindexaswellascopiesofafewrecordsandpictures.

6.10. .Media.law.and.copyright

Arts.Law.Centre.of.Australia.TheGunnery43–51CowperWharfRoadWoolloomoolooNSW2011Ph:(02)93562566TollFree:1800221457Fax:(02)93586475artslaw@artslaw.com.auwww.artslaw.com.au Nationalcommunitylegalcentreforthearts.EstablishedwiththesupportoftheAustraliaCouncilin1983toprovidespecialisedlegalandbusinessadviceandreferralservices,professionaldevelopmentresourcesandadvocacyforartistsandartsorganisations.Adviceandinformationoncontracts,copyright,businessnamesandstructures,defamation,insuranceandemployment.AlsorunsaspecialistIndigenousartslawservicewhichfocusesonadvisingallIndigenousartists,communitiesandartsorganisationsaroundAustraliaonarts-relatedlegalproblems.

TelephonelegaladvicefromMondaytoFriday:9.30am–12:30pmand2pm–5pmEST.ArrangementscanbemadeforArtsLawsubscriberstohaveaface-to-faceortelephoneLegalAdviceNight(LAN)consultationwithavolunteerlawyerfromprivatepractice.

Specialist library:Appointmentonly.

Publications:ART + Lawnewsletter;samplecontracts;informationsheets;seminarandconferencepapers;andhandbooks.

Australasian.Mechanical.Copyright.Owners.Society.(AMCOS).NewSouthWalesHeadOffice6–12AtchisonStreetStLeonardsNSW2065LockedBag3665StLeonardsNSW1590Ph:(02)99357900TollFree:1800642634Fax:(02)99357999apra@apra.com.auwww.amcos.com.au AMCOSrepresentstheinterestsofmusicpublishersandtheirwritersinAustraliaandNewZealand.Weadministeranumberofreproductionrightsforourmembersandcollectroyaltiesfortheuseoftheirmusic.

Australasian.Performing.Rights.Association.(APRA).NewSouthWalesHeadOffice6–12AtchisonStreetStLeonardsNSW2065LockedBag3665StLeonardsNSW1590Ph:(02)99357900TollFree:1800642634Fax:(02)99357999apra@apra.com.auwww.apra.com.au Asmorgasbordofinformationforcomposersandmusicpublishersincludingdetailedarticlesoncopyright,thequarterlymagazineAPRAP andthelatestnewsonmusiccompetitionsandawards.

Australian.Communications.and.Media.Authority.(ACMA).CanberraHeadOfficePurpleBuilding,BenjaminOfficesChanStreetBelconnenACT2617POBox78BelconnenACT2616Ph:(02)62195555Fax:(02)62195200MelbourneHeadOfficeLevel44,MelbourneCentralTower360ElizabethStreetMelbourneVic3000POBox13112LawCourtsMelbourneVic8010Ph:(03)99636800Fax:(03)99636899TTY:(03)99636948SydneyHeadOfficeLevel15,Tower1DarlingPark201SussexStreetSydneyNSW2000POBoxQ500QueenVictoriaBuildingNSW1230Ph:(02)93347700Fax:(02)93347799www.acma.gov.au

TheAustralianCommunicationsandMediaAuthority(ACMA)istheindependentfederalstatutoryauthorityresponsiblefortheregulationofbroadcasting,radiocommunications,telecommunicationsandonlinecontent.ACMA’sresponsibilitiesinclude:promotingself-regulationandcompetitioninthetelecommunicationsindustrywhileprotectingconsumersandotherusers;fosteringanenvironmentinwhichelectronicmediarespectcommunitystandardsandrespondstoaudienceanduserneeds;managingaccesstotheradiofrequencyspectrum,includingthebroadcastingservicesbandsandrepresentingAustralia’scommunicationsandbroadcastinginterestsinternationally.

Australian.Copyright.Council.245ChalmersStreetRedfernNSW2016POBox1986StrawberryHillsNSW2012Fax:(02)88159799www.copyright.org.auInformationabouttheAustralianCopyrightCouncilanditsservicesandpublications.Informationsheetsandnewslettersavailablefordownload.Theyalsooperatealimitedlegaladviceserviceforcreators.Forinformationseetheirwebsite.

Communications.Law.Centre.Level1,283QueenStreet(entranceviaLittleLonsdaleStreet)MelbourneVic3000Ph:(03)96003841Fax:(03)96707902melbourne@comslaw.org.auwww.comslaw.org.au

Independent,non-profit,publicinterestorganisationspecialisinginmediaandcommunicationslawandpolicy.ProvidesprofessionaltrainingtoAustralia’sleadingmediaorganisationsaswellascoursesinmediaandcommunicationslawatUNSWandVictoriaUniversity.OzNetLawistheInternetlegalpracticeoftheCLCandisacommunity-basedpracticethatprovidesfreelegalinformationaboutInternet-ande-commerce-relatedlaw.

Findlaw.Australia..www.findlaw.com.au FindlawAustraliaisasearchableonlinedatabaseofAustralianlawyers,withlinkstoEntertainment,IntellectualPropertyandCommunicationslawspecialiststhroughoutAustralia.

Phonographic.Performance.Company.of.Australia.(PPCA).POBoxQ20QueenVictoriaBuildingNSW1230Ph:(02)85691100Fax:(02)85691183www.ppca.com.au PPCAisanational,non-government,non-profitorganisationrepresentingrecordcompaniesandrecordingartists.

Screenrights.(formerly.Audio–Visual.Copyright.Society).Level3,156MilitaryRoadNeutralBayNSW2089POBox1248NeutralBayNSW2089Ph:(02)99040133Fax(02)99040498www.screen.org Screenrightsisanon-profitcopyrightcollectingsocietythatcollectsroyaltiesfromvariouslicensingschemesonbehalfofcopyrightowners.Thewebsitecontainsinformationontheirservices,howtobenefitfromthese,andhowtoclaimroyalties.Italsoexplainshowtogetalicenceandwhatcanandcan’tbedoneundertheirlicenceagreements.

United.States.Copyright.Office.101IndependenceAve.S.E.Washington,D.C.20559–6000USAPh:+1(202)7075959www.copyright.gov CopyrightregistrationfortheUSA.

Viscopy.45CrownStreetWoolloomoolooNSW2011Ph:(02)93680933Fax:(02)93680899www.viscopy.com ViscopyisthecopyrightcollectingsocietyforvisualartistsinAustraliaandNewZealand.

World.Intellectual.Property.Organization.(WIPO).POBox18CH–1211Geneva20Switzerlandwww.wipo.org TheWorldIntellectualPropertyOrganization(WIPO)isaninternationalorganisationdedicatedtohelpingtoensurethattherightsofcreatorsandownersofintellectualpropertyareprotectedworldwide.

6.11. .Regulation

Organisationsresponsibleforclassificationoffilm,televisionandrelatedmedia.

Australian.Communications.and.Media.Authority.(ACMA).CanberraHeadOfficePurpleBuilding,BenjaminOffices,ChanStreet,BelconnenACT2617POBox78BelconnenACT2616Ph:(02)62195555Fax:(02)62195200

MelbourneHeadOfficeLevel44,MelbourneCentralTower360ElizabethStreetMelbourneVic3000POBox13112LawCourtsMelbourneVic8010Ph:(03)99636800Fax:(03)99636899TTY:(03)99636948

SydneyHeadOfficeLevel15,Tower1DarlingPark201SussexStreetSydneyNSW2000POBoxQ500QueenVictoriaBuildingNSW1230Ph:(02)93347700Fax:(02)93347799www.acma.gov.au

TheAustralianCommunicationsandMediaAuthority(ACMA)istheindependentfederalstatutoryauthorityresponsiblefortheregulationofbroadcasting,radiocommunications,telecommunicationsandonlinecontent.ACMA’sresponsibilitiesinclude:promotingself-regulationandcompetitioninthetelecommunicationsindustrywhileprotectingconsumersandotherusers;fosteringanenvironmentinwhichelectronicmediarespectcommunitystandardsandrespondstoaudienceanduserneeds;managingaccesstotheradiofrequencyspectrum,includingthebroadcastingservicesbandsandrepresentingAustralia’scommunicationsandbroadcastinginterestsinternationally.

The.National.Classification.Scheme.www.classification.gov.au InformationontheactivitiesofTheNationalClassificationScheme,aCommonwealthAgencyintheAttorney-General’sportfolio.Itisresponsibleforclassifyingfilmsandvideos,computergamesandpublicationsinaccordancewithCommonwealth,StateandTerritorylegislationregardingclassificationmatters.

6.12. .Industrial.Agreements

The.Media,.Entertainment.&.Arts.Alliance.(MEAA)..245ChalmersStreetRedfernNSW2016Ph:(02)93330999TollFree:1300656512Fax:(02)93330933federal@alliance.org.comwww.alliance.org.auTheMEAAistherelevantunionforallperformingartistsandentertainmentindustrytechniciansandproductionpersonal.Theawardsandenterpriseagreementswhichspecificallycoverproductionpersonnelare:

• Actors Feature Film Agreement 2003• Actors Television Programs Agreement 2004• Australian Television Repeats and Residuals Agreement 2004• Actors Etc (Television) Award 1998• ABC Actors Agreement 2003–2006• Australian Film, TV and Radio School Agreement 2000• Entertainment and Broadcasting Industry – Motion Picture Production Award 1998• Motion Picture Production Agreement 2007–2009

Theseagreementscovermostaspectsofemploymentforcastandcrewinfilmandtelevisionproduction.TheyarebindingbetweentheScreenProducersAssociationofAustralia(SPAA)andwiththeMediaEntertainment&ArtsAlliance(MEAA).TheMEAAhasseparateagreementswithVillageRoadshowProductionServices(locatedontheGoldCoast,Queensland)andwithFoxStudiosinSydney,NewSouthWales.ForinformationonanyoftheseagreementscontacteithertherelevantorganisationortheFederalofficeoftheMEAA.

The.Screen.Producers.Association.of.Australia.(SPAA)..34FitzroyStreetSurryHillsNSW2010Tel:(02)93608988Fax:(02)93608977spaa@spaa.org.auwww.spaa.org.au SPAAisthepeakbodyrepresentingandadvisingproducersandproductioncompaniesonallaspectsoftheirindustrialandcommercialaffairs.Itadvisesonandservicesallofthemajorindustrialagreementsandawardspertainingtothescreenproductionindustry.Theseinclude:

• Actors Feature Film Agreement 2003• Actors Television Programs Agreement 2004• Actors Television Repeats and Residuals Agreement 2004• Actors Etc (Television) Award 1998• Entertainment and Broadcasting Industry – Motion Picture Production Award 1998• Motion Picture Production Agreement 2007–2009

TheseagreementsarebindingandcanonlybeusedbymembersofSPAAandcopyrightinthoseagreementsisheldbySPAAandtheMEAA.IfyouarenotamemberofSPAA,youwillneedtonegotiateyourowncontractswiththeMEAA,whichrepresentsperformingartists(seecontactdetails,page112).

Appendix.1:...Sample.clauses

BackgroundclausessuchasthefollowingcouldbeusedinfilmcontractstocoverissuesrelatingtoIndigenousCulturalIntellectualProperty(ICIP).

For.Indigenous.Communal.Moral.Rights.(ICMR).in.a.director’s.contract

1.. Indigenous.communal.moral.rights1.1 InrespectofanyIndigenousCommunallyOwnedWorksthattheDirector

incorporatesintoherorhiscontributionoftheFilm,theDirectorshall:

1.1.1 advisetheProductionCompanyoftheappropriateattributiontobegiventotheIndigenouscommunitybeforetheroughcutstageoftheFilm,sothattheProductionCompanycanincludesuchattributionintheCredits;

1.1.2 priortoincorporatingtheIndigenousCommunallyOwnedWorksintotheFilm,contactandconsultwiththerelevantIndigenouscommunityontheproposeduseoftheIndigenousCommunallyOwnedWorksintheFilmandobtainitsagreementforuseoftheIndigenousCommunallyOwnedWorksintheFilm,andforthepurposesofthisAgreement;and

1.1.3 providewrittendetailsofthenameandaddressoftherelevantIndigenousCommunityrepresentativetotheProductionCompanypriortopicturelockoffstageoftheFilm.

1.2 TheDirectorandtheProductionCompanyagreetoconsultandworkwitheachotherandmembersoftherelevantIndigenousCommunitytoensurethatanyIndigenousculturalprotocolsareobserved.Intheeventofadisputearisinginrelationtospecificculturalprotocols,thepartieswillusetheirbestendeavourstoresolvethedispute.

Screen.Australia.ICIP.Clause.in.Production.and.Investment.Agreements.

ThisisanexampleofanICIPclauseusedinaProductionandInvestmentAgreementwhereScreenAustraliaandSBSareparties,alongwiththeProductionCompany.

. DEFINITIONS “ICIPRights”meansIndigenousCulturalandIntellectualPropertyRights,

beingareferencetoIndigenouspeople’srightstotheirheritage.Heritagecomprisesallobjects,sitesandknowledge,thenatureoruseofwhichhasbeentransmittedorcontinuestobetransmittedfromgenerationtogeneration,andwhichisregardedaspertainingtoaparticularIndigenousgrouporitsterritory.TheheritageofanIndigenouspeopleisalivingoneandincludesobjects,knowledgeandliteraryandartisticworkswhichmaybecreatedinthefuturebasedonthatheritage.Heritageincludes:

(a) literary,performingandartisticworks(includingsongs,music,dances,stories,ceremonies,symbols,languagesanddesigns);

(b) Scientific,agricultural,technicalandecologicalknowledge(includingcultigens,medicinesandthephenotypesoffloraandfauna);

(c) Allitemsofmovableculturalproperty;

(d) Humanremainsandtissues;

(e) Immovableculturalproperty(includingsacredandhistoricallysignificantsitesandburialgrounds);

(f) DocumentationofIndigenouspeoples’heritageinarchives,film,photographs,videotapeoraudiotapeandallformsofmedia.

. ICIP.RIGHTS.(Documentary)1. YouandScreenAustraliaandSBSacknowledgetheexistenceofICIPRights

ofIndigenousparticipantsintheFilm.YouagreeandundertaketoendeavourtoensurethattheICIPRightsoftheIndigenousparticipantsarerespectedandupheldintheproductionandallaspectsofdistributionoftheFilm.

2. IntheeventthatyouwishtoincludeICIPRightsmaterialintheFilm,youshallobtainanon-exclusivelicencefromtheICIPRightsholder/sorcustodian/stoincludesuchICIPRightsmaterialintheFilm.

3. IntheeventofadisputeregardingtheICIPRightsofanyIndigenousparticipantintheFilm,allpartiestothedisputeshallusebestendeavourstoresolvethedispute.

. ICIP.RIGHTS.(Drama)

1. YouandScreenAustraliaandSBSacknowledgetheexistenceofICIPRightsinIndigenousculturalheritagematerial.YouagreeandundertaketoendeavourtoensurethattheICIPRightsoftherelevantIndigenouspeoplesarerespectedandupheldintheproductionandallaspectsofdistributionoftheFilm.

2. IntheeventthatyouwishtoincludeICIPmaterialintheFilm,youshallconsultwithandobtainanon-exclusivelicencefromtherelevantICIPRightsholder/sorcustodian/stoincludesuchICIPmaterialintheFilmandshalladviseuson:

(a) attributiontobegiventoIndigenousgroups;

(b) anyculturalprotocolstobespecificallyaddressedwhenusingthismaterial(CulturalProtocols).

3. ThepartiesagreeandundertaketoendeavourtoensurethattheICIPRightsoftheIndigenousgroupsrepresentedintheProjectarerespectedandupheldintheProject,andagreetocomplywiththeculturalprotocols.

4. IntheeventofadisputeregardingtheICIPRightsofanyIndigenousparticipantintheFilm,allpartiestothedisputeshallusebestendeavourstoresolvethedispute.

Appendix.2:.. Background.research.on.other.. .. protocols

Australian.sources

WebsitesABCIndigenous–Cultural ProtocolThisdocumenthasbeenwrittenasaguidetohelpbridgethegapbetweentheneedsoftelevisionandfilmmakersandtheIndigenouspeopleandtheircustoms.UsingasearchengineconfiguredforAustralianpages,searchwiththesequence:ABCIndigenousCulturalProtocol

Aboriginal and Torres Strait Islander Protocols for Libraries, Archives and Information Services FromCharlesDarwinUniversity(CDU)UsingasearchengineconfiguredforAustralianpages,searchtheexactname.ofthewebsite

All Media Guide to Fair and Cross-Cultural Reporting Chapter14ofthepublicationcoversIndigenousAustralia.FromGriffithUniversityUsingasearchengineconfiguredforAustralianpages,searchtheexacttitle.ofthepublication

AustralianCopyrightCouncil–Protecting Indigenous Intellectual PropertyUsingasearchengineconfiguredforAustralianpages,searchtheexactname.ofthewebsite

AustraliaCouncil–Indigenous protocol guidesSeriesoffiveIndigenousprotocolguidespublishedbytheAboriginalandTorresStraitIslanderArtsBoard:Performingarts,Mediaarts,Music,VisualArts,Writing.UsingasearchengineconfiguredforAustralianpages,searchtheexactname.ofthewebsite

CommercialRadioAustralia–Guidelines on the Portrayal of Indigenous Australians on Commercial Radio (partofthe Commercial Radio Codes of Practice and Guidelines)PublishedintheRadioCodesandStandardssectionoftheAustralianCommunicationsandMediaAuthority(ACMA)website.UsingasearchengineconfiguredforAustralianpages,searchwiththesequence:CommercialRadioAustraliaGuidelinesonthePortrayalofIndigenousAustraliansonCommercialRadio

DepartmentofAboriginalandTorresStraitIslanderPolicyandDevelopment–Proper Communication with Torres Strait Islander Peoples UsingasearchengineconfiguredforAustralianpages,searchwiththesequence:ProperCommunicationwithTorresStraitIslanderPeoples

DepartmentofAboriginalandTorresStraitIslanderPolicyandDevelopment–Protocols for Consultation and Negotiation with Aboriginal People UsingasearchengineconfiguredforAustralianpages,searchwiththesequence:ProtocolsforConsultationandNegotiationwithAboriginalPeople

FreeTVAustralia–Advisory Note: The portrayal of Aboriginal and Torres Strait Islander Peoples (partoftheCommercial Television Industry Code of Practice)RegisteredbyACMAandpublishedintheTelevisionCodesandStandardssectionoftheirwebsite.UsingasearchengineconfiguredforAustralianpages,searchwiththesequence:ACMACommercialTelevisionIndustryCodeofPractice

Janke,Terri,Our Culture: Our Future – Report on Australian Indigenous Cultural and Intellectual Property Rights,MichaelFrankelandCompany,Sydney,producedundercommissionoftheAboriginalandTorresStraitIslanderCommissionandtheAustralianInstituteofAboriginalandTorresStraitIslanderStudies,1998UsingasearchengineconfiguredforAustralianpages,searchwiththesequence:FrankelLawyersOurCultureOurFuture

NSWMinistryfortheArts–Doing It Our Way: Contemporary Indigenous Cultural Expressions in New South WalesUsingasearchengineconfiguredforAustralianpages,searchwiththesequence:NSWMinistryfortheArtsDoingItOurWay

NSWMinistryfortheArts–Indigenous Arts Protocol, A GuideUsingasearchengineconfiguredforAustralianpages,searchwiththesequence:NSWMinistryfortheArtsIndigenousArtsProtocol

Print.publicationsAustralianNationalMaritimeMuseum,Connections: Indigenous Cultures and the Australian National Maritime Museum,AustralianNationalMaritimeMuseum,Sydney,2005

Bostock,Lester,The Greater Perspective: Protocol and Guidelines for the Production of Film and Television on Aboriginal and Torres Strait Islander Communities,2nded,SBS,Sydney,1997

Everett,Jimetal,Respecting Cultures: Working with the Tasmanian Aboriginal Community and Aboriginal Artists,ArtsTasmania,2004UsingasearchengineconfiguredforAustralianpages,searchwiththesequence:ArtsTasmaniaRespectingCulturespdf

Janke,TerriandGuivarra,Nancia,Listen, learn and respect: Indigenous cultural protocols and radio,writtenundercommissionfortheAustralianFilmTelevisionandRadioSchool(AFTRS),Sydney,2006

Johnson,Darlene,Indigenous Protocol,SBS,2001

Mellor,DoreenandJanke,Terri,Valuing Art: Respecting Culture – Protocols for Working with the Australian Indigenous Visual Arts and Craft Sector,writtenundercommissionfortheNationalAssociationfortheVisualArts(NAVA),2001

MuseumsAustralia–Taking the Time – Museums and galleries, cultural protocols and communities,1998–Previous Possessions, New Obligations – A plain English summary of policies for museums in Australia and Aboriginal & Torres Strait Islander peoples,1994UsingasearchengineconfiguredforAustralianpages,search:MuseumsAustralia

Other.relevant.publicationsAboriginalandTorresStraitIslanderCommission, Digital Dreaming: A National Review of Indigenous Media and Communications(ExecutiveSummary),ATSIC,Woden,ACT,1999ReviewtoassessstatusofIndigenousmediaandcommunicationsandidentifyfurtherdevelopments.

Aboriginal Intellectual and Cultural Property: Definitions, Ownership and Strategies for Protection,RainforestAboriginalNetwork,Cairns,25–27November1993TheconferencefollowedaWorldHeritagelistingofNEQld’swettropicalforests.Astrictcolonialmanagementregimewassetupinthearea,whichissurroundedbylargepopulationofAboriginalpeoples,richinhistory,traditionandheritage.TheconferenceaimedtofindworkablestrategiesforprotectingIndigenousintellectualandculturalproperty.

Daes,MrsErica-Irene,Protection of the heritage of indigenous people – Final Report of the Special Rapporteur,UnitedNations,1995IncludesrevisedprinciplesandguidelinesfortheprotectionoftheheritageofIndigenouspeople.

DepartmentofHomeAffairsandEnvironmentCanberra,Report of the Working Party on the Protection of Aboriginal Folklore,1981.WorkingParty(Attorney-General’sDept;AustraliaCouncil;CopyrightCouncil;DeptofAboriginalAffairs;DeptofHomeAffairsandEnvironment;DeptofPrimeMinisterandCabinet)recommendationthatanAboriginalFolkloreActbeintroducedtoenabletraditionalownerstocontroltheuseofitemsofAboriginalfolklore.

Eggerking,KittyandPlater, Diana(comps),Signposts, A Guide for Journalists: A guide to reporting Aboriginal, Torres Strait Islander and ethnic affairs,1992,AustralianCentreforIndependentJournalism.Includesagooddirectoryandbibliography.

Hodge,Robert,‘AboriginalTruthandWhiteMedia:EricMichaelsmeetstheSpiritofAboriginalism’,Continuum3:2(1990)ThereisalsoaguidetoEricMichaels’writtenwork.

Ifould,DonnaMarie,Compilation of Indigenous Aboriginal and Torres Strait Islander Publishing Related Papers, Indigenous Aboriginal and Torres Strait Islander traditional cultural property and copyright issues, 1992–93,papertableatNationalAboriginal&TorresStraitIslandermediaconferencefortheYearofIndigenousPeople,Brisbane,1993

Jacobsen,Rhonda,Cultural Heritage: A Reflection on Images, The camera as a tool of the colonisation of Indigenous Australian Culture,writtenfortheAustralianFilmCommission,1996ConcernsthereturnofallfilmfootagecontainingIndigenousAustralianculturebacktothepeoplewhoarethesubjectsofsuchfootage.Includestableofcasesandtableoflegislation.

Jennings,Karen, Aboriginality in Australian Cinema: representations of Aborigines in selected features and documentaries, 1955–1987,unpublishedthesis,Perth,MurdochUniversity,1988.AlsopublishedasSites of Difference: Cinematic Representations of Aboriginality and Gender,SouthMelbourne,AustralianFilmInstitute,1993ExaminessevenfeaturesandfourdocumentariesallofwhichhaveasubstantialfocusonAboriginalwomenorracerelationsbetweenwhitewomenandAborigines.

Langton,Marcia,Well I heard it on the radio and saw it on the television: an essay for the Australian Film Commission on the politics and aesthetics of filmmaking by and about Aboriginal people and things,AustralianFilmCommission,NorthSydney,NSW,1993

Malone,Peter,In Black and White and Colour: Aborigines in Australian feature films – a survey,NelenYubuMissiologicalUnitSeriesno.4,Leura,NSW,1987Fromthesilenterato1986.

May,Harvey,Broadcast in Colour: Cultural Diversity and Television Programming in Four Countries,writtenfortheAustralianFilmCommission,2002TheUS,UK,NewZealandandAustraliaareexamined.

McPherson,ShirleyandPope,Michael,Promoting Aboriginal and Torres Strait Islander Involvement in the Film and Video Industry,writtenfortheAustralianFilmCommission,1992Reportandrecommendations.

Michaels,Eric,Bad Aboriginal Art: Tradition, Media and Technological Horizons,UniversityofMinnesotaPress,Minneapolis,1994MichaelsstudiedtheimpactoftelevisiononremoteAboriginalcommunities.

Moran,Albert(ed),Film Policy: An Australian Reader,InstituteforCulturalPolicyStudies,GriffithUniversity,Brisbane,1994

‘Part3–Aborigines’includeschaptersonAustralian,NewZealandandCanadianpolicy.

Nugent,Stephen,Loncar,MilicaandAisbett,Kate,ThePeople We See on TV: Cultural Diversity on Television(Monograph3),AustralianBroadcastingAuthority,NorthSydney,1993IncludeschaptersonlevelandnatureofrepresentationofAboriginalpeople.

Plater,Diana(ed),Going for Red, Black and Gold: Hints on how to handle the media for Aboriginal and Torres Strait Islander organizations and communities,JumbunnaCentreforAustralianIndigenousStudies,EducationandResearch,UTS,Sydney,1994

International.sources

WebsitesAboriginalPeople’sTelevisionNetwork(Canada)– Aboriginal Language Broadcasting in CanadaCanadianbroadcaster’ssitewithinformationforAboriginalproducersandotherproducersofAboriginalcontentmaterial.Thisrelatesdirectlytothebroadcaster’sownprogramming.Usingasearchengineconfiguredforwebpages,searchwiththesequence:aptn.caAboriginalLanguageBroadcastinginCanada

BlackFilmResearchOnline(BFRO)AresourceguideforthestudyofBlackfilmculture,producedandmaintainedbytheUniversityofChicago.Thesitestates:“WedefineBlackfilmculturequitebroadlytoincludetheworksofBlackfilmmakersfromacrosstheAfricanDiaspora;theproduction,distribution,andexhibitionoffilmsby,forandaboutBlacks;issuesofBlackspectatorshipandreception;andimagesofBlackpeopleinfilmfromtheinventionofthemediuminthelate19thcenturytothepresent.”Usingasearchengineconfiguredforwebpages,searchwiththesequence:BlackFilmResearchOnline(BFRO)

NativeNetworksNativeNetworksWebsite–NativemediathroughouttheAmericas.Extensivesiteincludesfilm/video/radiocatalogue,festivals,mediaresources,film/videoorganisations,etc.Usingasearchengineconfiguredforwebpages,searchtheexactname.ofthewebsite

Ngai Tahu Filming Guidelines (South Island) GuidelinesforscreenproductioncompanieswishingtofilmonlandsofimportancetoNgaiTahu,whichincludeslandadministeredbytheDepartmentofConservation,havebeendrawnupbyNgaiTahuandSPADA.NgaiTahuandSPADAhavedrawnuptheguidelines,partlyasaresultofaneedhighlightedbytherecentdraftAorakiNationalParkManagementPlan,tohelpintheplanningoffilmproductionswithNgaiTahuonlands.TheguidelinespointoutintellectualpropertyandlocationissuesthatmaybeofconcerntotheIwisothatproductioncompaniescaneitheravoidproblemsorplanamitigationstrategy.Theguidelinesincludeadviceandassistancewhichwillhelpwiththenecessaryconsultationwithlocaltribalcouncils.Thesearethefirstsuchguidelinesproduced,intendedtoenhancerelationshipswithIwi.Usingasearchengineconfiguredforwebpages,searchwiththesequence:NgaiTahuFilmingGuidelines

NZOnAir’sRautakiMaoriThestrategyhasthreeobjectivesasfollows:–NZOnAiraimstoenhancetheon-screenoutcomesofmainstreamMaoriprogrammingfortelevision.–NZOnAiraimstoimprovethebroadcastexperienceforMaoripractitionersthroughbetterconsultationandcommunication.–NZOnAiralsoaimstoimproveitsinternalcapabilitiestodevelopandmaintainunderstandingofrelevantMaoriissues,aswellasrelationshipswithMaori.Usingasearchengineconfiguredforwebpages,searchwiththesequence:NZonAirRautakiMaori

Other.relevant.publications.Browne,DonaldR,Electronic Media and Indigenous Peoples: A Voice of Our Own?IowaStateUniversityPress,Ames,Iowa,1996AddressestheeffortsofIndigenouspeoplestopresentthemselvesonradioandTV,documentsprogram-makingoftheWelshinWales,Irish-speakersinIreland,NativeAmericansinUS/Canada,SamiinScandinavia,AboriginalsinAustralia,andMaorisinNewZealand.

NgaAhoWhakaari,Nga Rarangi Korero: Working with Maori in Film & Television,ReneeMark,Auckland,NewZealand,2007PreparedinresponsetoheightenedinterestinMaoristoriesandimagesfromlocalandinternationalfilmmakingsectors.Focusesonavarietyofsectorsintheindustry,identifiesareasofconcernandemphasisestheimportanceofethicalbehaviourwhenworkingwithMaori.

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