03040304200304Australian Centre for the Moving ImageFederation Square Flinders Street Melbourne VIC 3000 AUSTRALIA

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AN INTERNATIONAL HUB OF FILM, TELEVISION AND DIGITAL MEDIATHE NEW YORK TIMES

THE PREMIER ENGINE FOR DIGITAL CREATIVITY IN AUSTRALIACONTEMPORARY MAGAZINE

> > AUSTRALIAN CENTRE FOR THE MOVING IMAGE ANNUAL REPORT 2003–2004

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> >>PO Box 14 Flinders Lane VIC 8009 AUSTRALIAPhone +61 3 8663 2200 Fax +61 3 8663 2211 Email info@acmi.net.auwww.acmi.net.au

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SCINTILLATING! ACMI MAKES ME PROUD TO LIVE IN MELBOURNE… >> > >

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ACM

IMary Delahunty MPMinister for the ArtsParliament HouseMelbourne VIC 3000

Dear Minister

I am pleased to present the 2003–2004 Annual Report of the Australian Centre for the Moving Image. Copies of the report will be submitted for tabling in each House of Parliament in accordance with the provisions of the Financial Management Act 1994.

Yours faithfully,

October 2004October 2004

Yours faithfully,Yours faithfully,

Dr Terry CutlerDr Terry CutlerPresident

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ContentsPresident’s Report 04

Chief Executive Offi cer’s Report 06

Financial Results in Brief 07

Organisational Chart 08

Objectives & Performance 10

Exhibition Programs 12

Cinema Programs 16

Public Programs 22

International Visitors 24

Education Programs 28

Communications & Partnerships 30

Program Services 34

Film Act 37

Financial Statements 40

NGARINYIN PATHWAYS DUL-WAN

REMEMBERANCE AND THE MOVING IMAGE: REVER-BERATION

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The past year has been one of transition and consolidation for ACMI.

In last year’s Annual Report I noted that, as an incoming chairman, ACMI struck me as being a lot like a technology start-up venture. This analogy has proved useful as we have found ourselves in the transition from the start-up phase of building and opening new operations and facilities at Federation Square into the consolidation phase of bedding down these ongoing operations and planning for the next phase of development.

This process of consolidation and re-focusing has not been without its growing pains. The attendant publicity can often muddy the waters around the basic proposition that change management must be judged against the test of how well an organisation marshals its resources around its core mission.

ACMI’s core mission is to promote and present the moving image – the content on the ubiquitous screens content on the ubiquitous screens contentwhich shape our contemporary culture like nothing else – in ways that are exciting, challenging, and innovative.

The most notable measure of progress has been the way ACMI has begun to attract large audiences and to reach into

increasingly diverse communities with innovative programs and exciting content. Some of the highlights over the year were:

> the acclaimed Transfi gureexhibition, arguably the best new media art exhibition ever mounted in Australia, in which Stelarc’s “talking head” captured the attention and interest of people of all ages;

> the sheer diversity of our cinema programs, ranging from Matthew Barney’s ground-breaking epic The Cremaster Cycle, special festivals, Kids Flicks, to the extraordinarily successful retrospective of the late Leslie Cheung, the charismatic Hong Kong movie star; and

> the continuing development and presentation of our Digital Storytelling program, one truly moving segment of which was Racconti: La Voce del Popolo(The Voice of the People), in which Italian migrants cel-ebrate their life experiences in Australia.

During the year in review the Board and the organisation addressed three priorities:

> To consolidate ACMI’s operations and programs on a sustainable basis;

> To strengthen ACMI’s management and governance structures; and

> To build the foundations for growth and new initiatives.

The fi rst priority of consolidation has involved stabilising ACMI’s operations around a sustainable set of core services funded under the Government’s recurrent budget appropriation.

We were pleased that in 2003–04 the Victorian Budget confirmed ACMI’s recurrent funding pro-viding certainty for our plan-ning into the future. We are also pleased to present fi nancial results which show that ACMI reversed a carry forward operating deficit at the start of the fi nancial year into a break even result by the end of the year, before providing for depreciation. I must concede, however, that some complex unbundling of the format of public sector accounts is required to present an under-standable picture of actual fi nancial performance, and we attempt to set this out in accompanying sections of this report.

The second priority has been to strengthen the management and planning of the organisation around clear service delivery units focussed on the audiences they address, with support functions more

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explicitly tied to the programs they underpin. We are pleased to report that this has enabled better resource allocation and priority setting, and higher quality manage-ment reporting to the Board and our stakeholders.

Our fi nal priority has been to build for the future, by actively seeking new sources of support for ACMI to allow it to grow, to pursue new initiatives and to keep itself relevant and at the forefront of this fast changing world of the moving image. The focal point in this area has been the planning for the establishment of an ancillary Foundation to support the work of ACMI, and I am pleased to report that this has now culminated in the establishment of the Foundation for the Moving Image as an independent trust under the leadership of Dr Patricia Edgar AM as chair of the trustees. Dr Edgar is the legendary founder and former CEO of the Australian Children’s Television Foundation. The Foundation will work with the ACMI Board to develop industry and community partnerships to promote and fund new projects and initiatives to extend ACMI’s footprint into a wider domain and an exciting future.

At the end of 2003 ACMI’s visionary founding CEO, John Smithies, took a break for long service leave and,

shortly after his return, tendered his resignation. This has marked a major transition point for the organisation.

ACMI would not exist but for John Smithies’ entrepreneurial vision and hard work over many years in ACMI’s antecedent organisations. His contribution to the sector, past and future, is fittingly acknowl-edged and captured by his becoming one of the inaugural trustees of the new Foundation for the Moving Image.

Following John’s resignation in April 2004 the Board initiated a rigorous international search for a CEO to take the organisation to the next stage. In September 2004 the Minister approved the Board’s nomination of Mr Tony Sweeney, from the National Museum of Photography, Film and Television in the UK, as our new CEO, and he is expected to take up the position at the beginning of December 2004.

In the interim ACMI has relied heavily on the tireless and capable services fi rst of Mr Shane Hewitt as acting CEO for the seven months from January to July 2004 and, subsequently, of Mr Tony Chamberlain who has now moved into the position after working with us for some time on operational planning. These arrangements have enabled

ACMI to keep moving forward in this transitional period.

Periods of transition and major organisational development put a spotlight on the role of a Board, and create exceptional workloads for Board members who, in this sector alone, are asked to take on responsibilities and who give unreservedly of their talents and time in a wholly honorary capacity. As chairman of the Board, I want to acknowledge and thank my Board colleagues for their exem-plary team effort and especially the crucial contribution over this particular period from the Budget Committee chaired by Ms Tracey Ellery and from the CEO Recruit-ment Panel. During the year in review we welcomed Dion Appel, Tracey Ellery, Carolyn Kirby, and Tony Phillips to the Board team.

Finally, the Board appreciates the confi dence shown in it and the work of the organisation by the Government and the Minister for the Arts, Ms Mary Delahunty MP, and their support. We also acknowledge the wise counsel of Ms Penny Hutchinson and the support from Arts Victoria.

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support from Arts Victoria.

Dr Terry Cutler

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In its second year of operation the Australian Centre for the Moving Image continued to build its reputation as one of the nation’s most active and dynamic cultural institutions. Almost two million visitors have now passed through the doors, discovering what an extraordinary place it is for experiencing and exploring the moving image in all its forms.

Over the year ACMI participated in some 80 partnerships. These included national touring initiatives, such as Real: life on fi lm and the National Cinematheque, and inspiring Digital Storytelling programs with the Heart Foundation, Alzheimers Australia and the Federation of Italian Migrants.

Other highlights included national and international attention for ACMI’s superb Screen Gallery exhibitions; the brilliance and energy of student work in the Atari Diegesis Festival and Top Screen: Season Of Excellence; the smiles and imagination of children doing production workshops with Fairytales & Fantasies; the passion and zeal of fans at Lounge Criticevents; and, the marvellous creativity of participants in the Game Loadingsessions, designed to give young game developers an insight into the future of this globally signifi cant industry.

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One of the most important parts of ACMI came to fruition with the opening of the Memory Grid, which has subsequently been expanded to meet an overwhelming demand. And through A’dam Elliott’s generosity, his Oscar and Harvie Krumpet model went on display in the foyer, quickly becoming a beacon for visitors. These were just some of the many noteworthy aspects of a very busy year.

As the President has outlined in his report, it was also a period of transition and review. ACMI began the year with an operating defi cit of $1,724,187 carried forward from 2002/03. When it became clear that it would not be possible to put in place a cash facility to underpin a fi nancial plan for break even over a two-year period, a Budget Management Committee was established by the Board to oversee a revised operational

plan which targeted a break even result for 2003–04. This was achieved, and more.

The actual outcome is shown in the summary below, which calculates a line equivalent to the EBITA result that appears in private sector accounts (that is, operating results before depreciation, interest and tax). It is pleasing to note the turnaround from a negative result to a higher than forecast operating surplus of $779,340 for 2003–04. Two extraordinary items affect the level of this surplus, namely a refund on land tax from which ACMI is now exempted, and a change in forward employee leave provisions as a consequence of staff turnover during the year. Without these two factors the result would have been a modest surplus of $91,000.

In a year that challenged the organisation to balance enthusi-asm and ambition with available

resources, ACMI staff are to be commended for their passionate commitment to delivering a diverse and innovative range of programs. Their talents and skills, artistic and operational, make it possible.

I extend our sincere appreciation to all the sponsors and partners – government, commercial, educational and cultural – who participated in and supported ACMI’s activities throughout the year.

In particular, I acknowledge the unswerving support of our President and Board. With their help, and the invaluable assistance of Tony Chamberlain on budgeting and planning, ACMI enters the next phase of its development with renewed focus.

Shane HewittActing Chief Executive Offi cer

Financial performance results in briefFor the year ended 30 June 2004 2004 2003

Income

Government output funding 15,843,228 15,911,051

Generated revenue 2,974,517 2,473,078

Total Income 18,817,745 18,384,129

Less operating costs (see note 1) 18,038,405 20,108,316

Net operating surplus 779,340 -1,724,187

Note 1: Excludes depreciation (not included in output funding) and capital charge (funded separately)

renewed focus.

Shane Hewitt

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OBJECTIVE MEASURE TARGET PERFORMANCETo further establish the identity of ACMI Cinemas and screening programs

Number of attendancesOccupationPaid tickets

135,00035%85%

Further establish and build ACMI’s exhibitions program

Number of exhibitions 5

Achieve appropriate hire ratio for ACMI venues

Screen culture: Corporate 90:10

Provide excellent customer service Number of volunteersLevel of customer satisfaction

100very good or excellent >90%

Establish an ongoing strategic sponsorship and partnership program

Number of sponsorsSponsorship revenue

1 major, 15 minor$250,000

Onsite visitation Number of visitors 800,000

Online visitation Number of visitors 854,000

Lending collection audience Number of users 1,500,000

ACMI’s focus in 2003–2004 was to continue to build on the successes of the centre’s fi rst eight months at Federation Square in the previous reporting period.

Four strategic objectives operate across the organisation and inform all activities:1 Promote access to and encourage

participation with the moving image.2 Excel in the collection, creation,

exhibition and interpretation of the moving image in all its forms.

3 Foster knowledgeable, passionate and critically aware audiences and practitioners of the moving image.

4 Stimulate innovation and mutually benefi cial activity with cultural and industry partners.

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OBJECTIVE MEASURE TARGET PERFORMANCECinema In 2003–2004 total cinema attendance were 149,842 exceeding ACMI’s targets

and attracting national and international attention to the centre. The cinema occupancy rate was 47.5% (compared with an industry standard of 35%). Paid admissions constituted 85% of total admissions.

Exhibitions Three major exhibitions were held in the Screen Gallery in 2003–2004 and another two exhibitions were held in other ACMI spaces.

Venue hire Screen culture hire 92%, corporate hire 8%.

Customer services As at 30 June 2004, there are 174 active volunteers at ACMI. Substantial evidence including ad hoc customer surveys and feedback via the ACMI website, indicate a level of customer satisfaction greater than 90% during 2003–2004.

Sponsorship ACMI continues to attract modest but promising levels of sponsorship. Total sponsorship revenue in 2003–2004 is valued at $402,654. Discussions with a number of prospective major sponsors are ongoing as of 30 June 2004.

Onsite visitation ACMI exceeded its annual attendance at Federation Square of 800,000 in 2003–2004 with 1,003,006 visitors.

Online visitation Online visitation during 2003–2004 was 1,274,465.

Lending collection The 2003–2004 management of the NFVLS was transferred to the Australian Film Commission and ScreenSound Australia. The lending collection was viewed by 1,222,690 users in 2003–2004.

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1213“THIS IS ONE OF THE BEST DISPLAYS THAT I HAVE SEEN ANYWHERE IN THE WORLD. IT IS A REAL ASSET TO VICTORIA AND THE AUSTRALIAN PEOPLE… THIS IS MY FIRST TRIP TO MELBOURNE AND THIS GALLERY ALONE IS A REASON TO RETURN.” CUSTOMER FEEDBACK FORM

David R

osetzky, Maniac de Luxe, 2004

Ngarinyin Pathways Dulwan

Screen Gallery, until Sun 31.08.03This ambitious multi-screen audiovisual installation was an unprecedented insight into the art and culture of the Ngarinyin Aboriginal people in north-west Australia. The exhibition was the result of a 10-year collaboration between Ngarinyin Aboriginal Corporation principal elders Ngarjno, Banggal, Nyawarra and Ungudman and artist-fi lmmaker Jeff Doring.

Rememberance and the Moving Image: ReverberationScreen Gallery, until Sun 31.08.03The second instalment of this major exhibition, Rememberance and the Moving Image: Reverberationrevealed how deeply memories can move us. Featuring works by Ivan Sen, Steve Reinke (USA), BIG hart, Sadie Benning (USA), Mona Hatoum (UK), Kate Murphy, Dennis Del Favero, Bill Seaman (USA), Mary Lucier (USA), Chris Marker (France), Debra Petrovich, Tehching Hseih (Taiwan/USA) and Anthony Discenza (USA). Curated by Ross Gibson.

Transfi gureScreen Gallery, Mon 08.12.03 – Sun 9.05.04Perception, body, space and landscape were transformed by the moving image in this acclaimed exhibition. As well as the eminent Char Davies’ immersive virtual environments and Stelarc’s uncanny Prosthetic Head, Transfi gure featured works by Ian Andrews, Paul Brown (UK), Justine Cooper, Gina Czarnecki (UK), Char Davies (Canada), Robert Gligorov (Macedonia), Mike Stubbs (UK), Steina (Iceland), Tamas Waliczky (Hungary), Vikki Wilson, Drew Berry, Chris Cunning-ham (UK) and selectparks. Curated by Alessio Cavallaro.

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throughout our public arcades. Two exhibition catalogues were produced, and along with artist and curatorial talks, we presented in-depth panel discussions and online forums that gave audiences further insight into our major exhibitions.

As well as presenting exhibitions as part of the Next Wave Festival and the Australian Innovation Festival, ACMI collaborated for

the fi rst time with the Melbourne International Arts Festival for Plasticine Park. Featuring com-missioned screen-based works by Patricia Piccinini, David Rosetzky, Stephen Honegger and Laresa Kosloff, this acclaimed multimedia performance event was the fi rst performance held in the Screen Gallery, and has ensured future collaborations with the festival.

> “…ARGUABLY ONE OF THE MOST AMBITIOUS – AND SUCCESSFUL – NEW MEDIA EXHIBITIONS AUSTRALIA HAS EVER HOSTED.” REALTIME ON TRANSFIGURE

Fugitive II, Simon PennyStudio, Thu 08.01.04 – Sun 14.03.04Commissioned by ACMI in 2001, this nine-metre circular interactive digital video installation encouraged the audience to use their body to explore its extraordinary virtual realms.

Web of Life, Jeffrey ShawShowcase, Sat 03.04.04– Sun 16.05.04The user’s hand was the interactive medium in this networked install-ation, simultaneously presented at the Queensland University of Technology’s new Creative Industries precinct in Brisbane.

2004: Australian Culture NowScreen Gallery, from Tue 08.06.04This spectacular national survey of contemporary Australian practice across seven venues was a major and first-time collaboration between ACMI and the National Gallery of Victoria. ACMI showed works by 64 artists and collectives, including 33 commissioned works – exemplify-ing our commitment to providing opportunities for practitioners to create new and innovative content especially for ACMI’s unrivalled exhibition spaces.

2004 also included ARTV, a collaboration with SBS Independent of 30 second artworks seen by millions of viewers on SBS TV.

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> >“…ONE OF THE MOST EXCITING AND FORMATIVE SHOWS OF THE DECADE”. THE AUSTRALIAN ON 2004: AUSTRALIAN CULTURE NOW

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“WE LOVED THE FILM AND YOUR STAFF LOOKED AFTER US WONDERFULLY… WE GIVE YOU AN 11 OUT OF 10!” CUSTOMER FEEDBACK FORM

1047 SHORT FILMS SCREENED AT ACMI

IN 2003–2004

420 FEATURE FILMS SCREENED AT ACMI

2003–2004

ACMI Cinemas have become the centre of Melbourne’s fi lm community, offering a range of cinema never before available in Australia every week of the year.

Central to creating such a diverse and relevant ACMI Cinema experience are our strong partnerships with a wide range of cinema presenters. We have worked closely with major fi lm festivals, including the Melbourne International Film Festival, Melbourne International Animation Festival, Festival of German Cinema, Festival of Jewish Cinema, the Melbourne Latin

American Film Festival and the Melbourne Queer Film Festival. We have also worked with smaller local cinema presenters such as Melbourne Filmoteca and Japan Information and Cultural Centre in developing and screening vibrant programs featuring fi lm from over 35 countries around the world.

ACMI Cinemas truly cater to all ages. In 2003–2004 we have presented over 40 sessions of free and low-cost movies for kids during the school holidays. The Seniors’ Film Festival and ongoing Seniors’ Cinema pro-gram (with 78 sessions through-

out the year) attracted excellent audiences, with the warm support of patrons Bud Tingwell and Gavin Jennings, Minister for Aged Care and Aboriginal Affairs, who both addressed audiences at screen-ings in early 2004.

In 2003–2004, our major curated cinema programs attained the same world-class standards as the international touring programs we brought to Australia, such as RESFEST and The Cremaster Cycle. By facilitating the touring of these international programs, and our own documentary festival REAL: life on fi lm, to cinemas in

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Cinema HighlightsMoments of Truth: The Films of Albert and David MayslesThu 11.09.03 – Sat 20.09.03Rare prints of fi lms by renowned New York-based documentary fi lmmakers, Albert and David Maysles, were imported especially for this program.

Days of Being Wild: the Screen Life of Leslie CheungThu 30.10.03 – Sun 09.11.03 A retrospective of one of the most versatile and adored actors in world cinema included the Mel-bourne premiere of his fi nal fi lm

Inner Senses (2002). Supported by the Hong Kong Economic and Trade Offi ce, the season (October/November 2003) also generated an 82 page commemorative book, edited by co-curators Philippa Hawker and Clare Stewart, featuring contributions by leading Asian fi lmmakers including Tsui Hark and Chen Kaige.

RESFESTThu 04.12.03 – Mon 08.12.03 RESFEST, one of the world’s most respected celebrations of innovative digital fi lmmaking, had its Australian premiere at the ACMI as part of an 18-city international circuit, following

a successful taster program in 2002. ACMI toured highlights of the program to the Mercury Cinema, Adelaide (February 2004) and Dendy Opera Quays and Dendy Newtown, Sydney (February 2004).

Resistance: A Screen History of Australian Counter Culture MovementsThu 29.01.04 – Tue 03.02.04 Programmed to correspond with Australia Day celebrations, and presented with the support of ScreenSound Australia, Resistanceincluded a program of rarely screened Australian titles as well as specially commissioned contemporary works.

Sydney, Brisbane, Adelaide and Perth, ACMI demonstrates its ability to reach national audiences. Cinémathèque is Australia’s only on-going, year-long forum for serious engagement with fi lm, reaching a national audience of nearly 30,000, touring Sydney, Adelaide, Perth and Hobart. Melbourne Cinémathèque also works in partnership with Senses Of Cinema to publish CTEQ Annotations on Film, providing a critical context for Cinémathèque screenings nationally. Articles are commissioned from fi lm critics and reviewers nationally and internationally, providing a

valuable educational resource. This year, ACMI was also proud to publish Pandora’s Box – a volume of fi lm theory by leading writer and academic Barbara Creed.

ACMI celebrated a range of great achievements in Australian fi lm in 2003–2004. Coinciding with the opening night of the 4th Melbourne International Anima-tion Festival, the Acting Premier, The Hon John Thwaites, joined Australia’s two winners of Academy Awards for animation, Adam Elliot and Bruce Petty (Oscar winner 1977), to unveil a new public display on the ground fl oor of

ACMI of Elliot’s Oscar and the ‘plasticine star’ of his fi lm Harvie Krumpet. In October 2003, ACMI hosted the prestigious Longford Lyell Lecture, with Tim Burstall speaking about his extraordinary career in Australian fi lmmaking. It was with some sadness that we heard his achievements described again, this time from his family and industry colleagues, in a moving memorial service that was held at ACMI Cinemas following his death in early 2004. Tim will be missed, and we look forward to hosting a retrospective of his work with the Australian Writers’ Guild soon.

The Cremaster CycleSun 08.02.04 – Sun 22.02.04 Coinciding with the Transfi gureexhibition, ACMI Cinemas in partnership with Accent Film Entertainment and the Art Gallery of New South Wales, presented the Australian premiere season of Matthew Barney’s internationally celebrated The Cremaster Cycle(February 2004). Following its successful run at the Guggenheim in New York, this fi ve fi lm cinematic event screened at ACMI to sold-out houses.

Real: life on fi lmThu 29.04.04 – Wed 05.05.04 The only festival in Australia dedi-cated to screening documentary fi lms presented a record number of Australian and international documentaries to audiences in Melbourne, Sydney, Brisbane, Adelaide and Perth. The festival included an Australian awards program and the fi rst interactive documentary exhibition ever presented in Australia.

Masters of AnimationThis series of screenings in early 2004 presented the work of six key international animators: Bill Plympton (UK), Yuri Norstein

(Russia), Faith and John Hubley (USA), William Kentridge (South Africa) and Phil Mulloy (UK).

Popcorn TaxiMore than twenty Popcorn Taxi events have been held in Taxi events have been held in TaxiMelbourne in 2003–2004, includ-ing discussions with Australian cinema great Bruce Beresford, Oscar-winner Pamela Wallace (Witness), Oscar-nominee Jan Sardi (Shine) and the team behind Japanese Story. ACMI also hosted pre-release Popcorn Taxi preview screenings of Taxi preview screenings of Taxi Battle-star Galactica, Chasing God, One Perfect Day and Besieged: The Ned Kelly Story.

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Arts, fi lm and technology festivals came to ACMI in 2003–2004Melbourne Fringe >> Midsumma Festival >> Next Wave Festival >> Melbourne International Comedy Festival >> Experimenta >> Noise >> Melbourne International Film Festival >> Festival of German Cinema 2003 >> Festival of German Cinema 2004 >> RESFEST >> 10th Atari Diegesis Festival >> Festival of Jewish Cinema >> Hip Hop Film Festival >> Melbourne Latin American Film Festival >>Seniors Film Festival >> Melbourne Queer Film Festival >> Comedy Short Film Festival >> REAL: life on fi lm documentary festival >> Tropfest >> Melbourne International Animation Festival >> Melbourne International Arts Festival >> Innovation Festival

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Special feature programs at ACMI Cinemas in 2003–2004Beyond Bollywood: Discoveries from India >> Watching Privacy >> Moments of Truth: The fi lms of Albert and David Maysles >> Director Spotlight: Jean Renoir >> Melbourne On Screen >> Body on Screen >> Days of Being Wild: The Screen Life of Leslie Cheung >> Director Spotlight: F.W. Murnau >> Hazing the Hays Code: Hollywood’s Pre Code Era >> Resistance: a screen history of Australian counter culture movements >> Director Spotlight: Luis Garcia Berlanga >> Matthew Barney’s The Cremaster Cycle >> John Ford: Other Directions >> Food on Film >> Border Crossings: The Cinema of Agnes Varda

“AFTER DROPPING BY WITH HALF AN HOUR TO SPEND IN YOUR MEMORY GRID, I LEFT MOVED TO TEARS. THANK YOU FOR CREATING A PLACE FOR ALL THESE STORIES – I’LL BE BACK, BUT WITH TISSUES NEXT TIME”. VISITOR FEEDBACK FORM

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than simply add to the experience of our exhibition and cinema programs. Our unparalleled range of talks, forums and hands-on production workshops give ACMI visitors of all ages the opportunity to truly absorb themselves in both the theory and the practice of the moving image in all its forms.

Described by participants as “emotional”, “empowering” and even “life-changing”, over 100 individuals have made an auto-biographical fi lm in our intensive three-day Digital Storytelling workshops this year. Accreditation as Australia’s only offi cial Interna-tional Centre for Digital Storytelling and receipt of the 2003 Victorian Government Arts Portfolio Award for Community recognised the excellence of this program.

Launch of Racconti: La Voce del Popolo – The Hon Giovanni Sgro, Dr Terry Cutler (above); Gael McIndoe, Mary Delahunty MP (below).

“RACCONTI: LA VOCE DEL POPOLO IS THE FIRST EVER DIGITAL PRODUCTION OF ITS TYPE AND MARKS THE INITIATION OF A NEW COLLABORATIVE RELATIONSHIP BETWEEN VICTORIA’S MULTICULTURAL COMMUNITIES AND ACMI… VICTORIANS HAVE EVERY REASON TO BE PROUD OF THE AUSTRALIAN CENTRE FOR THE MOVING IMAGE AND ITS INTERRELATIONSHIPS WITH THE VICTORIAN COMMUNITY THROUGH THE DIGITAL STORIES PROGRAM. AS THE HONOURABLE GIOVANNI SGRO SAID, ACMI SHOULD ALSO BE KNOWN AS THE PEOPLE’S PLACE. ” VICTORIAN PARLIAMENTARY HANSARD, PARLIAMENT OF VICTORIA, LEGISLATIVE ASSEMBLY, 25 MAY 2004, PP. 1363 -1364

In 2003–2004, ACMI worked with VicHealth to welcome Digital Storytelling groups from diverse community groups including the National Heart Foundation of Australia, Alzheimer’s Australia, Kensington Storytellers Festival, YWCA (Melbourne), Stonnington Youth Services, Minus 18 and Monash Youth Services. With the Victorian Multicultural commission, the Community Support Fund Victoria and the Federation of Italian Migrants ACMI facilitated the production of a fascinating collection of digital stories from Melbourne’s Italian community. Involving Lily D’Ambrosio MP and retired MP the Hon Giovanni Sgro as project producers, Racconti: La Voce Del Popolo was offi cially launched by Mary Delahunty MP, Minister for the Arts.

Along with many of these Digital Storytelling works, visitors can explore works made by students and community producers in our unique interactive exhibition space, the Memory Grid. From personal fi lms made by passionate amateurs to exemplary student projects and works by indepen-dent professionals, the range of compelling stories from everyday people and places cannot be seen anywhere else. The Memory Grid was opened to the public on the Monday 22 March by Dr Charles Lane, at the time between his roles as CEO of The Myer Foundation and Executive Director of Victorian Department of Communities. His inspiring speech reminded guests, from community fi lmmakers to senior fi gures in the arts industry, that

the potential for active community engagement across generations offered by the Memory Grid sets it and ACMI apart from other museums, galleries and cinemas.

Our Game Loading seminars, and the popular exhibition of major gaming commission acmipark in the Screen Gallery, have both drawn on the massive popularity of computer games as a contem-porary moving image form. ACMI is developing more programs, building new partnerships and opening an exciting new space focusing on games in the coming twelve months, positioning us at the heart of this massive growth industry.

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Public Program highlightsEmpires, Networks + Ruins: Art in Real Time CultureFri 02.04.04 – Sun 04.04.04Over 600 artists, writers and curators attended this major international conference exploring how cultural difference is represented in new media and contemporary art. It was presented in partnership with the University

of Melbourne and the Australia Council for the Arts.

Screen AdventuresThis fun blue-screen special effects experience, where kids discover the movie making process from behind the scenes, has secured signifi cant media attention and sold out each school holidays. Extra sessions have been programmed to meet public demand.

Lounge CriticAlready a Melbourne institution, Thirteen Lounge Critic events added critical context and social analysis to television programs ranging from Twin Peaks to Queer Eye for the Straight Guy. Speakers included academics from the University of Melbourne, Griffi th University, La Trobe Uni-versity and wide range of cultural commentators and journalists.

2424252525“FIRST IT WAS YOUR FACILITIES THAT MADE US JEALOUS IN LONDON. NOW IT’S YOUR PROGRAMS.” VISITOR FEEDBACK FORM

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ACMI welcomed the following international visitors in 2003–2004Eija-Liisa Ahtila visual artist and fi lmmaker (Finland)

Doug Aitken artist (USA)

Paco Alvarez Cinema Vault (Canada)

Linda Aronson Writer and Script Consultant (UK)

Thomas Augsberger Eden Rock Media (USA)

John Barrett Managing Director, South Pacifi c Pictures (NZ)

Chris Bartleman Executive Producer, Studio B (Canada)

Klaus Bisenbach Chief Curator, P.S.1 and Artistic Director, Kunst-werke, Institute for Contemporary Art (Germany)

Mary Booth Business Development Manager Ingenious Films (UK)

Eddie Berg Executive Director, FACT (UK)

Jeremy Boxer European Operations, RES Media Group (UK)

Carlos Capelan artist (Spain)

Niki Caro Writer/Director, Hysteric Pictures (UK)

Roger Corman Director, Producer and Writer (USA)

Amanda McDonald CrowleyExecutive Producer, ISEA 2004 (Finland)

Char Davies artist and founder Immersense Inc (Canada)

Donna Denize-CrowhurstEducator, Auckland Art Gallery (New Zealand)

Michael Donovan Executive Producer, Salter Street Films (USA)

Wendy Earle Resources Editor, British Film Institute (UK)

Okwui Enwezor curator (USA)

Gabriel Fehervari General Manager, ALFACAM (Belgium)

Hannah Fisher Programmer, The World Film Festival, Quebec (Canada)

Marina Fokidis curator (Athens)

Kathie Fong Yoneda script consultant (USA)

Julia Fraser Producer, LeBrocquy Fraser Productions (Singapore)

Flavia de la Fuente Programmer Festival Internacional de Cine Independiente (Buenos Aires)

Dave Gibson Producer, Gibson Group (NZ)

Kendall Geers artist (South Africa)

Dr Ingrid Geretschlaeger Medienpadagogisches Institut (Germany)

Goh Ching Lee Director of Programming, National Arts Council and Director of International Arts Festival (Singapore)

Joseph Grima Multiplicity (Italy)

Debbie Horsfi eld Playwright and Scriptwriter (UK)

Ken Kaier Vice President, AAC Kids Entertainment (Canada)

Gekidan Kaitaisha (Japan)

Magda Kardasz curator National Gallery of Art Warsaw (Poland)

Martin Katz President, Prospero Pictures (Canada)

Richard W C Kan Managing Director, In Yam Development Ltd (Hong Kong)

Stephanie Kirchmeyer Producer, Anakao Ltd (UK)

John Kirk Technical Operations John Kirk Technical Operations John KirkWorldwide Distribution Services, MGM (Santa Monica)

Deborah Lawler-Dormer Director, Moving Image Centre (New Zealand)

Laura Mackie Head of Drama Serials, BBC (UK)

Geoffrey Malone Chairman, Singapore International Film Festival (Singapore)

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San Fu Maltha A-Film/Indie Circle (France)

Sam McBride Project Director, City University of Hong Kong (Hong Kong)

Rosee McElwee documentary fi lmmaker (USA)

Richard Miller Managing Director, Olsberg SPI (UK)

Ray Muller Director/Screenwriter (Germany)

Rayelle Niemann Curator and Academic (Egypt)

Khyentse Norbu fi lmmaker (Tibet)

Simon Penny Professor of Engineering & Arts, University of California (Australian)

Virginia Perez-Ratton Director, TEOR/eTica (Costa Rica)

Mark Pesce Director, Playful World Consulting (USA)

Lisa Reihana artist, (New Zealand)

Peter Ride CE, DA2 (UK)

S Santhanam Deputy Director, Directorate of Film Festivals, Ministry of Information & Broadcasting (India)

Shuddhabrahta Sengupta Sarai Collective (India)

Harry Shearer Actor and voice of Mr Burns, The Simpsons (USA)

Kahli Small Vice-President, Focus Features (UK)

Sukwon Chang Artistic Director, Gwangju Biennale 2004 (South Korea)

Lara Thompson Momentum Pictures (UK)

Tadasu Takamine artist (Japan)

Mr John Tsang Secretary for Trade, Industry and Technology (Hong Kong)

Johnnie Walker Director, Artist Residency Tokyo (Japan)

Pamela Wallace Screenwriter (USA)

Tom Van Waveran Head of Co-productions, Telescreen (Netherlands)

Jonathan Wells Festival Director, Resfest (USA)

Michael Wrenn Creative and Marketing, New Zealand Film Commission (New Zealand)

John Yorke Head of Drama, Channel 4 (UK)

Yu Yeon Kim curator, (South Korea/USA)

Madame Zhao Vice-Minister for Film, Radio and Television (China)

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A central focus for our public programs team is the delivery of unique education programs that encourage dynamic thinking, interaction and activity. In a world increasingly mediated by the moving image, central to understanding and navigating our world is screen literacy – the ability to read, understand, analyse, explain, create and appreciate the ways in which screen texts make meaning. In 2003–2004, 17,440 participants in education programs at ACMI were involved in inspirational learning experiences across a wide variety of curriculum areas that nurture screen literacy.

In education programs at ACMI, our hands-on production experi-ences sit alongside traditional screening, lecture and seminar programs. As well as these in-depth and multifaceted programs that inspire students, ACMI has quickly developed a national reputation for teacher development programs that are signifi cantly responsible for making the moving image an integral part of contem-porary curriculum at all levels.

Further, ACMI ensures an even wider education reach and an ongoing in-class presence through the three Study Guides we published in 2003–2004: Gattaca: Is the Sky the Limit by

Gary Simmons, Bite Me: Nar-rative Structures and Buffy the Vampire Slayer by Sue Turnbull and Vyvyan Stranieri and Breaker Morant: Breaking the Breaker by Gary Simmons. Each publication has already become a central VCE text. We continue our strong involvement in Australian Screen Education magazine, with ACMI staff regularly contributing articles and study guides, and sitting on its national Editorial Committee.

By hosting Diegesis as well as graduate screenings from the Victorian College of the Arts, RMIT, Swinburne and the Australian Film, Television and Radio School, ACMI showcases

“THE CAREER FORUMS WERE A REAL EYE-OPENER, I DIDN’T REALISE THAT I COULD GET A JOB MAKING THIS STUFF!” ZACH, 16.

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Education Highlights9th Atari Diegesis FestivalWed 03.09.03 – Sat 06.09.03As well as screenings, career forums, industry seminars, master classes and awards for excellence, this year Australia’s premiere national student show-case of fi lm, video, photography and digital media included a special focus on animation supported by the City of Melbourne, teaming high-achieving students with leading Australian animators including Adam Elliot and Nathan Jurevicius.

Hands-On Production WorkshopsDeveloped exclusively by ACMI and only possible in our world-class production spaces the Digital Studio and Screen Pit, our hands-on production workshops offer students an intensive and motivat-ing chance to make high quality moving image work using the latest technology. Over 1000 students have participated in programs such as Fairytales and Fantasies, Shorter Cuts, Digital Diaries and Screen Battle Royale, making them so successful that they now require six months advance booking.

Top Screen: Season of Excellence

Tue 27.04.04 – Tue 11.05.04Presented in partnership with the Victorian Curriculum and Assessment Authority, who are also responsible for the popular Top Arts at NGV, Victoria’s most talented Year 12 VCE students experience the thrill of seeing their creation on the big screen in ACMI Cinemas.

the work of the young practitioner who are the future of the Australian fi lm and television industries. By allowing these filmmakers to submit their work for public exhibition in the Memory Grid, we give all visitors to ACMI the opportunity to see their outstand-ing works. As we have with Adam Elliot (VCA graduate, Harvie Krumpet) and Robert Luketic (VCA graduate, Legally Blonde) – whose student works can be seen in the Memory Grid – we look forward to tracking their future success.

> “IT’S GREAT TO SEE WHAT OTHER STUDENTS ARE MAKING – I’VE GOT HEAPS OF NEW IDEAS FOR MY OWN WORK TOO” KARLI, 17.

“DIEGESIS GIVES MY STUDENTS SOMETHING TO WORK TOWARDS, AND RECOGNISES THEIR ACHIEVEMENTS IN A WAY THAT A REPORT CARD NEVER COULD” BRENDAN, TEACHER.

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Queeries: Bent on Film FestivalFri 19.03.04 – Sat 21.03.04Queeries gives queer youth an opportunity to explore gender and sexuality issues as repre-sented on screen. Presented in collaboration with the Melbourne Queer Film Festival, this ‘festival within a festival’ included sell-out sessions this year.

An integral part of our presentation of cinema programs, exhibitions and public programs is building a strong community of interest around ACMI: developing audiences, strengthening the ACMI brand and driving growing support. The communications and partnerships team strives to always improve the ACMI visitor experience – working closely with program managers and our customer services team on the fl oor.

Highly successful media relations and a strategic approach to advertising and promotions have contributed to our strong on-site and online attendance results. ACMI continued to gain particular recognition for the design excel-lence of our marketing collateral: we were awarded the Museums Australia Publications Design Award 2004 for Transfi gure, and have been selected for exhibition in the inaugural lab.3000 Digital Design Biennale at the Melbourne Museum 2004.

This year we have worked towards the establishment of the Foundation for the Moving Image, which will be responsible for commissioning and acquiring new moving image works, sponsoring education programs, conducting events to promote the moving image, build capital assets to support ACMI and conduct research in the development of the moving image. The foundation is to be launched early in the next fi nancial year.

In 2003–2004, ACMI sealed its place at the very centre of Australia’s screen and digital culture industries by developing a strong network of partners from government, commercial and cultural sectors. We thank these organisations for their valued partnerships this year, as funders, sponsors and presenting partners, without whom we would not be able to deliver programs.

In presenting programs in ACMI Cinemas we also work with a wide variety of fi lm distributors from Australia and overseas. We would especially like to thank Accent Film Entertainment, Artifi cial Eye, British Film Institute, Buena Vista International, Chapel Distribution, Columbia TriStar, Dendy Films, Filmko Films, Fortune Star, Gil Scrine Films, Hoover Cinema, Hopscotch Films, Icon Film Distribution, Luna Pictures, Media Asia, Palace Films, Potential Film, United International Pictures and Village Roadshow.

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Government PartnersArts Victoria >> Australia Council >> Australian Film Commission >> City of Melbourne >> Community Sup-port Fund Victoria >> Department of Education and Training >> Department of Human Services >> Film Australia >> Neuroscience Victoria >> Pacifi c Film and Television Commission >> Screen West >> Screen-Sound Australia >> Tourism Victoria >> VicHealth >> Victorian Multicultural Commission >> Offi ce of the Victorian Privacy Commissioner

Commercial PartnersM-one-11 >> Alex Catering >> Atari >> Australia Post >> Beringer Blass >> Bond Imaging >> Cathay Pacifi c >> Crumpler >> Digital Pictures >> Ernst and Young >> FedEx >> Hudson TMP >> IF Magazine >> James Boags Premium >> Maddocks >> Metlink >> National Geographic >> Panasonic >> SCHEMA Furniture and Design >> Sofi tel Melbourne >> Spinach7 >> Taylor Made Signs >> Tribal >> V/Line >> Yering Station >>Xenon

Educational PartnersAcademy of Interactive Entertainment >> Australian Teachers of Media >> La Trobe University >> Monash University >> Photography Studies College >> RMIT >> Swinburne University >> University of Melbourne >>Victorian College of the Arts >> Victorian Association of Teachers of English >> Victorian Curriculum Assessment Authority

Cultural PartnersAustralian Writers’ Guild >> Alliance Francaise >> Art Gallery of New South Wales >> Australia India Council >> British Council >> Dendy Opera Quays >> Experimenta >> Federation Square Management >> Goethe Institut >> Hong Kong Economic and Trade Offi ce >> Interact 2003 Asia Pacifi c Multimedia Festival >>Japan Information and Cultural Centre >> Melbourne Filmoteca >> Melbourne International Arts Festival >> Melbourne International Animation Festival >> Melbourne International Comedy Festival >> Melbourne International Film Festival >> Melbourne International Food and Wine Festival >> Melbourne International Queer Film Festival >> Mercury Cinema >> Midsumma Festival >> National Gallery of Victoria >> Next Wave Festival >> Open Channel >> Palace Centro >> RESFEST >> Screen Play >> Screen Producers Association of Australia >> Tropfest >> US Offi ce of Public Affairs

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95144 LOANS FROM THE ACMI LENDING COLLECTION MADE DURING 2003–2004

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39054 TITLES IN THE ACMI LENDING COLLECTION

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CollectionsOur collections are a central resource in developing and presenting exhibitions, cinema programs and public programs at ACMI. Building on a tradition begun in 1946 by the State Film Centre, ACMI’s collection encom-passes a diverse range of moving image work in all media, and is a major state asset. The ACMI Lending Collection is Australia’s largest public lending collection of video, 16mm fi lm, CD-Rom and DVD. ACMI also holds over 1000 16mm and 35mm feature fi lms in the collection, including material formerly held by the Russian Embassy and the Chinese Consulate.

ACMI processed almost 100,000 loans this year. As well as loaning fi lms to over 250 fi lm societies from around Australia, in 2003–2004 titles were borrowed for high-profi le screenings by major national and international festivals and institutions including the Film Society of the Lincoln Center, New York, the National Gallery of Australia, the Singapore Fiesta and the Hong Kong International Film Festival.

This year, ACMI worked towards a smooth transition in the transfer of the management of the National Film and Video Lending

Service (NFVLS) to the Australian Film Commission. After seven years of servicing loans from this collection, it is to be managed by ScreenSound Australia from Thursday 1 July 2004.

Venues and TechnologyThe facilities and technology at the Australian Centre for the Moving Image continue to be admired and emulated, both in Australia and overseas. In using these venues and equipment to present our range of innovative programs, ACMI strives for tech-nical and operational excellence.

A central focus for operational activities for 2003–2004 was the completion of more ACMI spaces, including the Memory Grid, Screen Pit and the Digital Studio – now all fully operational and outstanding examples of ACMI’s world-leading facilities. In 2003–2004, we installed a new head on our Digital Cinema projector, placing us at the forefront of cinema technology and giving audiences clear, crisp, sharp and incredibly bright images. ACMI also regained Lucasfilm THX accreditation for both ACMI Cinemas, including new double glazed projection ports designed by ATLAB Pty Ltd. By staying at

the forefront of technology, movies at ACMI continue to look and sound better than anywhere else in Australia.

Other technological achievements included the implementation of new HR management system, Chris21 and the successful development of live encoding and webcasting from the Screen Pit. Live and on demand stream-ing was introduced to the ACMI website. With MIFEST as our fi rst MIFEST as our fi rst MIFESTlive webcast, on demand stream-ing is now available for of Digital Storytelling, ARTV and 2004: Australian Culture Now via www.acmi.net.au

Human ResourcesDuring the period of this report ACMI has experienced organ-isational changes to its staffi ng structure in order to continue to refi ne and focus the delivery of our programs. There has been a decrease in core staff in a number of areas which have been achieved through a voluntary departure program and targeted separations as well as through normal staff turnover.

Negotiations between ACMI, the Community and Public Sector Union and the Media, Entertain-ment and Arts Alliance continued throughout the reporting period

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with parties reaching in principle agreement to the draft Australian Centre for the Moving Image Enterprise Agreement 2004–2007 in June 2004. The ACMI Consulta-tive Committee, established under the current enterprise agreement, continued to meet throughout the period of this report. There were no days lost as a result of indus-trial disputes and there were no formal grievances lodged during the reporting period.

27 programs were offered to staff during the year with a total atten-dance of 728 training hours. All staff were also trained in our new Human Resources Management System, which enables employ-ees to manage their own personal human resources information and apply for leave and training programs via an online kiosk.

ACMI applies the Code of Conduct for the Victorian Public Sector to its staff. The Code provides guidance for addressing ethical issues such as confl ict of interest. In accordance with the Code, relevant staff completed dec-larations of interest applicable to 2003–04. ACMI has in place policies aimed at avoiding all forms of discrimination and harassment in the workplace. ACMI employs people from a diverse range of cultural and linguistic back-grounds, with women comprising

54% of its workforce. The ACMI Employee Assistance Program, which provides a range of options to meet the diverse needs of employees in various stages of their professional and personal lives and is available to all employees, continued throughout the year.

The Occupational Health and Safety Committee has continued to meet regularly during the year and there has been on-going training in manual handling, fi rst aid and CPR. There were 3 new workcover claims and 103 days lost as a result of industrial accidents during the reporting period. The percentage of sick leave days taken versus ordinary hours worked fell from 1.8% to 0.02% during the reporting period.

Cultural DiversityACMI aims to represent and cater for diverse audiences, communities and stakeholders, representing myriad cultural backgrounds, including women, indigenous people and youth.

Throughout 2003–2004, ACMI presented screenings, exhibitions, other events and programs representing and mirroring Victoria’s culturally and linguistical-ly diverse population and markets. During the year ACMI partnered, supported and enabled numerous

selected community organisations to utilise it resources and facilities as a venue and hub for special events and festivals.

A brief sample of these events and programs include: Filmoteca(monthly event in Portuguese and Spanish) and the Latin American Film Festival (annual event); Beyond Bollywood Discoveries from India (cinema program); Festival of German Cinema (annual); Seniors Film Festival; Days of Being Wild: The Screen Life of Leslie Cheung (cinema season); Festival of Jewish Cinema; Britasia: A New Eng-land: The Cultural Explosion on Our Screen (seminar); Japan Information & Cultural Centre Japanese Film Nights (monthly events); Golden Shadows (regular screenings of classic Hong Kong Chinese cinema); Gameloading (youth computer game design events); Melbourne International Animation Festival – focus program on Estonia; Masters of Animation focus on Russian animator Yuri Norstein; Hip Hop Film Festival; Melbourne Queer Film Festival; and Real: life on fi lm (annual national documentary festival with a focus on globalisation and cultural difference).

The Empires, Ruins + Networksconference held in April at ACMI and exploring cultural diversity in a digital age was organised with the Australia Council – Arts in a Multicultural Australia and the University of Melbourne, Australian Centre. This interna-tional conference with delegates attending from more than fi fteen countries was a key event during the year and is indicative of ACMI’s commitment to becoming a leader in addressing and embracing cultural diversity.

An ongoing project, ‘mapping world cinema’, is guided by the lending service curatorial panel. As a result, the Lending Collection offers thousands of fi lms for loan in many different community languages. ACMI will continue to evolve, ensuring the acquisition of works important to the varied cultural heritage of Victoria and Australia. ACMI is the custodian for signifi cant embassy fi lm collections, in French, Chinese and German languages. Many other works in the collection refl ect local and global cultural diversity.

ACMI’s education programs are designed for primary, middle years, secondary, university and TAFE students and are committed to providing continuing

educational initiatives in lifelong learning. Key screen education activities during the year included Digital Diaries, a program introduced to juvenile justice centres. Screen Education programs also included lectures at metropolitan and regional universities and centres.

ACMI continues its involvement in a major student fi lm and digital media event, the Diegesisfestival and the highly successful Top Screen festival as part of the VCE Season of Excellence. The Atari Diegesis Festival attracted works from more than 70 Victorian secondary schools and included forums, seminars and screenings aimed to extend knowledge and understanding of the new media and creative industries.

ACMI’s position as a young cultural institution at the forefront of cutting-edge developments in immersive, digital environments makes it ideally placed to attract a youth audience. New media art, games and innovative public and education programs attract a diverse range of patrons – and ACMI works hard to ensure it is perceived and enjoyed by a wide range of audiences as a relaxed informal learning, cultural and entertainment environment.

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Film ActThe Film Act 2001 established the Australian Centre for the Moving Image (ACMI) to feature and exhibit fi lm, television and multi-media programs and to promote public education in relation to screen content and culture.

The functions of ACMI are stated in section 23 of the Film Act:

a) to promote and exhibit, whether in Victoria or elsewhere, the moving image to the public or to any sector of the public;

b) to develop, control, manage, operate and promote ACMI and any facilities under the control of ACMI;

c) to promote, whether in Victoria or elsewhere, ACMI as a nation-al centre for the creation and exhibition of the moving image and promotion of events or activities including festivals, conferences, publications or exhibitions, where fi lm or other screen-based programs are made, seen or discussed;

d) to establish, maintain, con-serve, develop, promote and exhibit, whether in Victoria or elsewhere, the collection of moving images;

e) to make, whether in Victoria or elsewhere, any item from the collection of moving images available for study or loan to persons or institutions, subject to any conditions that ACMI determines;

f) to promote, whether in Victoria or elsewhere, public education and discussion with reference to the moving image;

g) to develop and create, whether in Victoria or elsewhere, exhibitions of the moving image;

h) to develop and create, whether in Victoria or elsewhere, ma-terials for educational or other programs conducted by ACMI;

i) to conduct, whether in Victoria or elsewhere, research and development in relation to the moving image;

j) to develop relationships or enter into partnerships with other organisations, including government bodies, whether in Victoria or elsewhere, to promote public education in relation to the moving image.

Section 24 of the Act outlines ACMI’s powers:

1. ACMI has power to do all things necessary or convenient to be done for or in connection with, or as incidental to, the performance of its functions.

2. Without limiting sub-section (1), ACMI may, in connection with the performance of its functions,

a) enter into contracts, agree-ments or arrangements with any person or body and do everything, including the pay-ment of money, that is neces-sary or expedient for carrying the contracts, agreements or arrangements into effect;

b) subject to this Act, acquire, hold and dispose of real or personal property;

c) be a member of a body cor-porate, association, partner-ship, trust or other body;

d) form, or participate in the formation of, a body corpo-rate, association, partnership, trust or other body;

e) enter into a joint venture with another person or other persons;

f) do all things necessary or convenient to be done for, or

in connection with, a joint venture in the performance of its functions;

g) accept gifts, grants, bequests and devises made to it and act as trustee of money or other property vested in it on trust;

h) provide consultancy and project management services;

i) acquire, or enter into agree-ments or arrangements with respect to the acquisition of, the copyright, or an interest in the copyright, in any fi lm, tele-vision or multimedia program;

j) make available for public use items from the collection of moving images.

In performing its functions and exercising its powers, ACMI is subject to the direction and control of the Minister. During the period of this report, the responsible Minister was Mary Delahunty MP, Minister for the Arts.

Administrative Reporting RequirementsFreedom of InformationAccess to information under the Freedom of Information Act 1982 may be made in writing to the

Freedom of Information Offi cer, Australian Centre for the Moving Image, PO Box 14, Flinders Lane, 8009. Requests should include the statutory fee and should be as specifi c as possible regarding the information requested. ACMI did not receive any requests under the Freedom of Information Act 1982 during 2003-04.

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MembershipTerry Cutler, President

Dion Appel (from 9 September 2003)

Annette Blonski

Peter Doughty

Tracey Ellery (from 9 September 2003)

Alan Finney OAM

Stephen Found

Carolyn Kirby (from 2 June 2004)

Natalie Miller OAM

Dan Pearce

Tony Phillips (from 9 September 2003)

Audit CommitteePeter Doughty, Chair

Annette Blonski

Dan Pearce

ExecutiveJohn Smithies, Chief Executive Offi cer (to July 2004)

Shane Hewitt, Chief Operating Offi cer (from January 2004); Acting Chief Executive Offi cer from March 2004)

Victoria Lynn, Director Creative Development

Martin Mowlam, Director Program Development (to February 2004)

Tony Batt, Director Operations

Lyn Harper, Director Corporate Resources (to April 2004)

Workforce Data at 30 June 2003 at 30 June 2004

Male Female Total Male Female Total

Executive level employees 3 2 5 3 1 4

On going 62 99 161 60 67 127

Fixed term 6 10 16 8 8 16

Casual 8 6 14 8 17 25

Total 79 117 196 79 93 172

Total eft 66.71 98.07 164.78 65.31 66.93 132.24

Commencements 12 months to 30 June 2004

Male Female Total

No Eft No Eft No Eft

Executive level employees 1 0.80 0 0.00 1 0.80

On going 7 6.50 2 2.00 9 8.50

Fixed term 11 10.00 12 10.62 23 20.62

Casual 11 7 18

Total 30 18.30 56 43.76 86 62.46

Executive Offi cer Renumeration12 months to 30 June 2003 12 months to 30 June 2004

Male Female Total Male Female Total

$110,000 – $119,999 2 1 3 2 1 3

$120,000 – $129,999 – – – – – –

$130,000 – $139,999 – – – – – –

$140,000 – $149,999 1 – 1 1 – 1

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Whistleblowers Protection Act 2001This section of the report contains information that is required to be published annually under section 104 of the Whistleblowers Protec-tion Act 2001 (‘the Act’)

a) A full copy of the current procedures established by the Australian Centre for the Mov-ing Image under Part 6 of the Act can be found at ACMI’s website www.acmi.net.au

The procedures include detailed information about

> contact persons at ACMIand Department of Premier and Cabinet

> confi dentiality provisions

> roles and responsibilities of the Disclosure Offi cer and the Disclosure Coordinator

> Procedures for the conduct of investigations

> Action to be taken after an investigation

> Managing the welfare of the whistleblower

> Management of the person against whom a disclosure has been made

> Reporting requirements

b) The Australian Centre for the Moving Image has received one protected disclosure which was a public interest disclosure during the year

c) The Australian Centre for the Moving Image referred the protected disclosure to the Ombudsman

d) The Ombudsman has not referred any disclosed matters to the Australian Centre for the Moving Image during the year

e) The Australian Centre for the Moving Image has not referred any disclosed matters to the Ombudsman to investigate during the year

f) The Ombudsman has not taken over any investigation of disclosed matters from the Australian Centre for the Moving Image during the year

g) The Australian Centre for the Moving Image has made no request under section 74 of the Act to the Ombudsman to investigate disclosed matters during the year

h) The Australian Centre for the Moving Image has not declined to investigate a disclosed matter during the year

i) There have been no disclosed matters that were substantiated on investigation. There has been no action required to be undertaken arising from an investigation, since there have been no investigations and

j) The Ombudsman has not made any recommendation under the Act that relates to the Australian Centre for the Moving Image

ACMI’s Protected Disclosure Offi cer is Ms Janet Riley, who may be contacted as follows:

196 Flinders Street, Melbourne 3000PO Box 14, Flinders Lane, Melbourne 8009Phone 03 8663 2269 Fax 03 8663 2211Email jriley@acmi.net.au

National Competition PolicyACMI is committed to competitive neutrality principles, which are taken into account in all activities.

Consultancies

During the reporting period ACMI entered into 49 consultancies each costing less than $100,000. The total cost of these consultancies was $227,214. ACMI continued a consultancy arrangement with Icorp Consolidated Pty Ltd for design and implementation of production areas. An additional payment of $174,378 was made during the reporting period and there is no further commitment. A consultancy arrangement with PIVoD Technologies for design and implementation of the media platform continued during the reporting period. Additional pay-ments of $296,017 were made during the period and a further $228,684 is committed to this consultancy.

Building ActACMI does not own land or build-ings and thus has no responsibili-ties under the Building Act 1993.

Disclosure of major contractsACMI did not enter into any contracts greater than $10 million in 2003-2004

Other InformationDetails on the following matters are available upon request, subject to the provisions of the Freedom of Information Act 1982: shares held, publications, pricing, fees and charges, major external reviews, research and development activities, overseas visits, major promotional, public relations and marketing activities, and the estab-lishment, purpose and operations of committees.

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MembershipTerry Cutler, President

Dion Appel (from 9 September 2003)

Annette Blonski

Peter Doughty

Tracey Ellery (from 9 September 2003)

Alan Finney OAM

Stephen Found

Carolyn Kirby (from 2 June 2004)

Natalie Miller OAM

Dan Pearce

Tony Phillips (from 9 September 2003)

Audit CommitteePeter Doughty, Chair

Annette Blonski

Dan Pearce

ExecutiveJohn Smithies, Chief Executive Offi cer (to July 2004)

Shane Hewitt, Chief Operating Offi cer (from January 2004); Acting Chief Executive Offi cer from March 2004)

Victoria Lynn, Director Creative Development

Martin Mowlam, Director Program Development (to February 2004)

Tony Batt, Director Operations

Lyn Harper, Director Corporate Resources (to April 2004)

Workforce Data at 30 June 2003 at 30 June 2004

Male Female Total Male Female Total

Executive level employees 3 2 5 3 1 4

On going 62 99 161 60 67 127

Fixed term 6 10 16 8 8 16

Casual 8 6 14 8 17 25

Total 79 117 196 79 93 172

Total eft 66.71 98.07 164.78 65.31 66.93 132.24

Commencements 12 months to 30 June 2004

Male Female Total

No Eft No Eft No Eft

Executive level employees 1 0.80 0 0.00 1 0.80

On going 7 6.50 2 2.00 9 8.50

Fixed term 11 10.00 12 10.62 23 20.62

Casual 11 7 18

Total 30 18.30 56 43.76 86 62.46

Executive Offi cer Renumeration12 months to 30 June 2003 12 months to 30 June 2004

Male Female Total Male Female Total

$110,000 – $119,999 2 1 3 2 1 3

$120,000 – $129,999 – – – – – –

$130,000 – $139,999 – – – – – –

$140,000 – $149,999 1 – 1 1 – 1

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We certify that the attached fi nancial statements for the Australian Centre for the Moving Image have been prepared in accordance with Part 9 of the Directions of the Minister for Finance under the Financial Management Act 1994, applicable Australian accounting standards and other mandatory professional reporting requirements.

Dr Terry CutlerPresident

We further state that, in our opinion, the information set out in the statement of fi nancial performance, statement of fi nancial position, statement of cash fl ows and notes to and forming part of the fi nancial statements presents fairly the fi nancial transactions during the year ended 30 June 2004 and fi nancial position of the entity as at 30 June 2004.

Shane HewittActing Chief Executive Offi cer

We are not aware of any circum-stance which would render any particulars included in the fi nancial statements to be misleading or inaccurate.

Margaret ThompsonFinance Manager

Shane HewittActing Chief Executive Offi cer

Margaret ThompsonFinance Manager

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ACE FOR THE YEAR ENDED 30 JUNE 2004

Notes 30 June 2004 30 June 2003$ $

REVENUE FROM ORDINARY ACTIVITIESVictorian Government Grants 17,791,763 21,821,238Interest 349,033 481,489Sales 269,739 169,460Sponsorship 402,651 297,068Other Income 1,953,094 1,525,061Total Revenue from Ordinary Activities 2 20,766,279 24,294,316

EXPENSES FROM ORDINARY ACTIVITIESEmployee Benefi ts (9,644,582) (9,832,031)Rental Expense on Operating Leases 3(b) (2,409,446) (1,855,466)Operating Costs (5,797,839) (8,316,700)Cost of Goods for Resale (186,538) (71,798)

Capital Asset Charge (1,416,535) (1,344,187)Revaluation decrement 0 (32,321)Depreciation & Amortisation ofNon-Current Assets

3(a) (5,390,438) (3,760,607)

TOTAL EXPENSES (24,845,377) (25,213,110)

Result from Ordinary Activities (4,079,098) (918,794)

NET RESULT FOR THE REPORTING PERIOD (4,079,098) (918,794)

Net Increase in Asset Revaluation Reserve 12(c) 0 4,328,600

TOTAL CHANGES IN EQUITY OTHER THAN THOSE RESULTING FROM TRANSACTIONS WITH VICTORIAN STATE GOVERNMENT IN ITS CAPACITY AS OWNER ON BEHALF OF THE CROWN

12(d) (4,079,098) 3,409,806

The above statement of fi nancial performance should be read in conjunction with the accompanying notes.

Please note that this statement refl ects all gains and losses for the reporting period, recognised and displayed in accordance with Australian

Accounting Standards and the Directions of the Minister for Finance, irrespective of the amounts and timing of cash fl ows which are set out

on Page 3.

AS AT 30 JUNE 2004Notes 30 June 2004 30 June 2003

$ $CURRENT ASSETSCash Assets 4 3,933,002 7,110,804Receivables 5 402,120 721,229Inventories 6 72,194 115,372Other 7(a) 16,327 4,840TOTAL CURRENT ASSETS 4,423,643 7,952,245

NON-CURRENT ASSETSProperty, Plant and Equipment 8 16,342,784 18,904,216Collections 9 10,705,745 10,635,525Other 7(b) 0 10,000TOTAL NON-CURRENT ASSETS 27,048,529 29,549,741

TOTAL ASSETS 31,472,172 37,501,986

CURRENT LIABILITIESPayables 10 1,103,001 2,615,786Provisions 11(a) 322,730 733,152TOTAL CURRENT LIABILITIES 1,425,731 3,348,938

NON-CURRENT LIABILITIESProvisions 11(b) 109,003 136,512

TOTAL NON-CURRENT LIABILITIES 109,003 136,512

TOTAL LIABILITIES 1,534,734 3,485,450

NET ASSETS 29,937,438 34,016,536

EQUITYContributed Capital 12(a) 28,241,185 28,241,185Accumulated Surplus 12(b) (2,632,347) 1,446,751Asset Revaluation Reserve 12(c) 4,328,600 4,328,600TOTAL EQUITY 29,937,438 34,016,536

The above statement of fi nancial position should be read in conjunction with the accompanying notes.ST

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FOR THE YEAR ENDED 30 JUNE 2004Notes 30 June 2004 30 June 2003

$ $CASH FLOWS FROM OPERATING ACTIVITIES

RECEIPTSGovernment Funding 16,451,279 20,477,051Interest Received 349,033 481,489Memberships & Venue Hire 374,913 378,313GST Received 900,266 2,045,200Operations 2,472,805 1,615,219

20,548,296 24,997,272PAYMENTSSalaries and Associated Costs (10,278,795) (9,862,481)Operations (10,551,544) (15,771,165)

(20,830,339) (25,633,646)

Net Cash Flows used in Operating Activities 14(b) (282,043) (636,374)

CASH FLOWS FROM INVESTING ACTIVITIES

PAYMENTSPayments for Property, Plant Equipment and Collection Acquisitions

(2,895,759) (14,137,406)

Net Cash Flows used in Investment Activities (2,895,759) (14,137,406)

CASH FLOWS FROM FINANCING ACTIVITIES

RECEIPTSGovernment Capital Funding 0 8,859,277

Net Cash Flows provided by Financing Activities 0 8,859,277

Net Increase/(Decrease) in Cash Held (3,177,802) (5,914,503)Cash at Beginning of the Year 7,110,804 13,025,307Cash at the End of the Year 14(a) 3,933,002 7,110,804

The above statement of cash fl ows should be read in conjunction with the accompanying notes.

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FOR THE YEAR ENDED 30 JUNE 2004

NOTE 1: SUMMARY OF SIGNIFICANT ACCOUNTING POLICIESThis general purpose fi nancial report has been prepared on an accrual basis in accordance with the Financial Management Act 1994, Australian Account-ing Standards, Statements of Accounting Concepts and other authoritative pronouncements of the Australian Accounting Standards Board and Urgent Issues Group Consensus Views.

It is prepared in accordance with the historical cost convention, except for certain assets and liabilities which, as noted are at valuation.The accounting policies adopted, and the classifi cation and presentation of items, are consistent with those of the previ-ous year, except where a change is required to comply with an Australian Accounting Standard or Urgent Issues Group Consensus View, or an alternative accounting policy permitted by an Australian Accounting Standard adopted to improve the relevance and reliability of the fi nancial report. Where prac-ticable, comparative amounts are presented and classifi ed on a basis consistent with the current year.

(a) Reporting entityACMI was established under the Film Act 2001. The objectives of ACMI are to promote, educate, and exhibit the moving image in

all its forms. The Foundation for the Moving Image (‘the Foundation’) was established on 18 June 2004 as a trust administered by eleven trustees. The Foundation is an entity controlled by ACMI but it neither held any assets or assumed or incurred liabilities, nor did it operate during the reporting period. No amounts have been included in this fi nancial report with respect to the Foundation.

(b) InventoriesInventories are valued at the lower of cost or net realisable value. Cost is based on the fi rst-in fi rst-out principle, and includes expenditure in acquiring the inventory.

(c) Property, Plant and EquipmentSubsequent to the initial recognition as assets, non-current physical assets, other than plant and equip-ment, are measured at fair value. Plant and equipment are measured at cost. Revaluations are made suffi ciently often to ensure that the carrying amount of each asset does not differ materially from its fair value at the reporting date. Valuations are assessed annually and supplemented by indepen-dent assessments, at least every three years. Revaluations are conducted inaccordance with the Victorian Government’s Policy – Revaluation of Non-Current Physical Assets.

Revaluation increments are credited directly to the asset revaluation

reserve, except that, to the extent that an increment reverses a revalu-ation decrement in respect of that class of asset previously recognised as an expense in the net result, the increment is recog-nised immediately as revenue in the net result.

Revaluation decrements are recog-nised immediately as expenses in the net result, except that, to the extent that a credit balance exists in the asset revaluation reserve in respect of the same class of assets, they are debited directly to the asset revaluation reserve.

Revaluation increments and decrements are offset against one another within a class of non current assets.

Leasehold improvements The cost of improvements to leasehold properties is amortised over the unexpired period of the lease or the estimated useful life of the improvement to ACMI whichever is shorter. Leasehold improvements are amortised over the period of the lease. Leasehold improvements held at the reporting date are being amortised over 10 years.

Depreciation Depreciation is calculated on a straight line basis over the assets’ expected useful lives, from the time they are held ready for use. The depreciation rates used for each class of assets are:

30 June 2004 30 June 2003

Class of Fixed Asset Depreciation Rate Depreciation Rate

Audio Visual Equipment 25.00% 25.00%

Computers 33.33% 33.33%

Furniture and Fittings 20.00% 20.00%

Offi ce Equipment 20.00% 20.00%

Software 40.00% 40.00%

Leasehold Improvements 10.00% 10.00%

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(d) Collections

(i) Lending CollectionThe Lending Collection is brought to account at historical cost less, where applicable, any accumulated depreciation.

ACMI depreciates the Lending Collection in recognition that these assets are in continual public use and have limited useful lives.

30 June 2004 30 June 2003

Class ofFixed Asset

Depreciation Rate

Depreciation Rate

Lending Collection

20.00% 20.00%

(ii) Film CollectionThis collection was valued during the previous reporting period by an independent valuer, John Turner, Registered Valuer under the Federal Government’s Cultural Gifts Scheme.

The value of this collection was based on its estimated replacement value. Periodic, formal revaluations of the Collection will be undertaken at intervals not greater than three years.

Given the unique nature of the Film Collection, depreciation is not recognised as the service potential of these cultural assets cannot be estimated reliably. As such, the valuation of the Film Collection is deemed to be valued at fair value at the reporting date.

(iii) Exhibition CollectionDigital video tapes of the moving im-age have been acquired, for which ACMI has obtained rights to display this content in the Screen Gallery at Federation Square. This collection has been brought to account based on an internally

developed valuation methodology, which was developed in consulta-tion with Graeme Addicott (FAPI, MPIA) of the Australian Valuation Offi ce in May 2003.

Given the unique nature of the Exhibition Collection, depreciation is not recognised as the service potential of these cultural assets cannot be estimated reliably. As such, the valuation of the Exhibition Collection is deemed to be valued at fair value at the reporting date.

(e) LeasesLease payments for operating leases, where substantially all the risks and benefi ts of ownership re-main with the lessor, are charged as expenses in the periods in which they are incurred.

(f) Employee Benefi ts

Wages and SalariesLiabilities for wages and salaries are recognised and measured as the amount unpaid at the report-ing date at current pay rates in respect of employees’ services up to that date.

Annual Leave and Long Service LeaveProvision has been made in the financial statements for benefi ts accruing to employees in relation to Annual Leave and Long Service Leave.

Employee benefi ts expected to be settled within one year have been measured at the amounts expected to be paid when the liabilities are settled. Liabilities are determined after taking into consideration estimated future increases in wages and salaries and past experience regarding staff departures.

Employee benefi ts payable later than one year have been

measured at the present value of the estimated future cash outfl ows to be made for those entitlements. Related on-costs [Superannuation Guarantee Charge, Workcover etc] calculated at 16.5%, have been included in the determination of the liability.

(g) Contributed CapitalConsistent with UIG Abstract 38 Contributions by Owners Made to Wholly-Owned Public Sector Entities appropriations for additions to net assets have been designated as Contributed Capital. Other transfers that are in the nature of contributions or distributions have also been designated as Contributed Capital.

(h) SuperannuationAll superannuation contributions are recognised as expenses in the Statement of Financial Performance. A total of $697,022 was contributed to a number of superannuation funds during the reporting period.

(i) RevenueInterest revenue is recognised on an accrual basis taking into account the interest rates applicable to the fi nancial assets.

Government grants are recognised as they are received. Operations and other income is recognised when services are delivered.

(j) ReceivablesAll debtors are recognised at the amounts receivable as they are due for settlement at no more than 30 days from the date of recognition. Collectability of debts is reviewed on an ongoing basis. Debts which are known to be uncollectible are written off. A provision for doubtful debts is raised when some doubt as to the collections exists.

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NOTE 1: SUMMARY OF SIGNIFICANT ACCOUNTING POLICIES (Continued)

(k) Capital Asset ChargeThe capital asset charge is imposed by the Department of Treasury and Finance and rep-resents the opportunity cost of capital invested in the non-cur-rent physical assets used in the provision of outputs. The charge is calculated on the carrying amount of non-current physical assets (excluding cultural assets).

(l) Goods and Services TaxRevenues, expenses and assets are recognised net of GST except where the amount of GST incurred is not recoverable, in which case it is recognised as part of the cost of acquisition of an asset or part of an item of expense. The net amount of GST recoverable from, or payable to, the Australian Taxation Offi ce (ATO) is included as part of receivables or payables in the Statement of Financial Posi-tion. The GST component of a receipt or payment is recognised on a gross basis in the Statement of Cash Flows in accordance with Accounting Standard AAS 28 Statement of Cash Flows.

(m) PayablesThese amounts represent liabilities for goods and services provided to ACMI prior to the end of the fi nancial year and which are un-paid. The amounts are unsecured and are usually paid within 30 days of recognition.

(n) Resources provided and received free of charge or for nominal considerationContributions of resources and resources provided free of charge or for nominal consideration are recognised at their fair value.

Contributions in the form of services are only recognised when a fair value can be reliably determined and the services would have been purchased if not donated.

(o) Rounding amountsAmounts in the fi nancial report have been rounded to the nearest dollar.

(p) The impact of adopting Australian Accounting Standards Board (AASB) equivalents to International Accounting Standards Board (IASB) standardsFor reporting periods begin-ning on or after 1 January 2005, all Australian reporting enti-ties are required to adopt the fi nancial reporting requirements of the of the Australian equiva-lents to International Financial Reporting Standards (IFRS). This requirement also extends to any comparative financial informa-tion included within the report. The fi rst day of the comparative period, 1 July 2004, effectively becomes the transition date for ACMI. Any adjustments arising from changes in the recognition or measurement of assets and liabilities at the transition date arising from the adoption of IFRS will be made against accumulated funds at the transition date.

ACMI has taken the following steps in managing the transition to Australian equivalents to IFRS:

> Commenced an education and training process for all stake-holders to raise awareness of the changes in reporting re-quirements and the processes to be undertaken; and

> Commenced a review of ACMI’s current accounting policies and the proposed new stan-

dards to identify key issues and the likely impacts resulting from the adoption of Australian equivalents to IFRS.

ACMI has identifi ed a number of changes to the existing accounting policies that may have a material impact on ACMI’s future fi nancial position and performance following the adoption of the requirements of Australian equivalent to IFRS (the new standards). These include:

Valuation of Assets

In accordance with the Victorian Government Policy – revalua-tions of Non-Current Physical Assets, ACMI currently mea-sures its non-current physical assets, other than plant andequipment and the Lending Collection, at fair value sub-sequent to initial recognition. Plant and equipment and the Lending Collection are measured on a cost basis. Revaluations are assessed annually and supplemented by independent assessments at least every three years.

The new standard continues to offer a choice for measuring each class of non-current physical assets either at cost or at fair value. However, non-current assets measured at fair value will only be required to be revalued at least every three to fi ve years and all assets in a class must be revalued at the same time. The Victorian Government has not yet concluded whether it will make any changes to the valuation basis of any class of assets or the methodology or frequency at which revaluations are performed. The fi nancial effects of any such changes are unknown.

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Impairment of Assets

Under the new standards, an asset will be required to be assessed for impairment each year. If indicators of impairment exist, the carrying value of an asset will need to be assessed to ensure that the carrying value does not exceed its recoverable amount, which is the higher of its value-in-use and fair value less costs to sell. For ACMI, value-in-use of an asset is it depreciated replacement cost. Other than inventories and fi nan-cial assets, impairment testing will apply to all assets regardless of whether they are measured on a cost or fair value basis. Where the carrying value of an asset exceeds its recoverable amount, the difference will be written-off as an impairment loss to the state-ment of fi nancial performance except to the extent that the write-down can be debited to an asset revaluation reserve amount applicable to that asset. Any impair-ment losses at transition date will be adjusted against the accumu-lated funds.

Other changes

In addition, a number of other changes in requirements have been identifi ed which are expected to lead to changes in methodology or processes, increased disclosures and possible changes in measure-ment of assets or liabilities. These changes are not expected to have a material impact on ACMI’s fi nancial report.

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AS AT 30 JUNE 2004Notes 30 June 2004 30 June 2003

$ $

NOTE 2: REVENUE

REVENUE FROM GOVERNMENTState Output Funding – Department of Premier and Cabinet 15,843,228 15,911,051State – Depreciation Equivalent 532,000 4,566,000State – Capital Asset Charge 1,416,535 1,344,187

17,791,762 21,821,238

SELF GENERATED REVENUEInterest from Financial Institutions 349,033 481,489

Memberships 217,509 199,184

Venue Hire 162,627 179,129Programming – Screenings, Lectures & Events 651,532 406,299

ACMI Shop 242,417 127,796

Lounge Bar 27,323 41,664

Library Collection Management 202,332 384,263

Sponsorship Income 402,651 297,068

Other Income 2(a) 719,093 356,186

2,974,517 2,473,078

TOTAL REVENUE 20,766,279 24,294,316

NOTE 2(A): OTHER INCOME

This amount for the reporting period includes $239,240 for Events and Functions. This is due to twelve month trading compared to seven months trading in the prior reporting period.

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NOTE 3: RESULT FROM ORDINARY ACTIVITIES

Result from ordinary activities includes the following specifi c net gains and expenses:

(A) DEPRECIATION & AMORTISATION OF NON-CURRENT ASSETSDEPRECIATIONAudio Visual Equipment (1,649,458) (1,366,410)

Computer Equipment (2,309,071) (1,415,345)

Offi ce Equipment (57,380) (52,930)

Furniture and Fittings (44,631) (41,685)

Software (72,448) (45,235)

Lending Collection (199,587) (179,089)

TOTAL DEPRECIATION (4,332,575) (3,100,694)

AMORTISATION Leasehold Improvements (1,057,863) (659,913)

TOTAL AMORTISATION (1,057,863) (659,913)

TOTAL DEPRECIATION & AMORTISATION (5,390,439) (3,760,607)

(B) RENTAL EXPENSE ON OPERATING LEASEMinimum lease payments (2,360,885) (1,744,379)

Equipment Rental (48,561) (111,087)

TOTAL RENTAL EXPENSE (2,409,446) (1,855,466)

NOTE 4: CASH ASSETS

Cash on Hand 5,460 4,500

Cash at Bank 930,029 1,617,965

ACMI Gift Fund 4(a) 9,423 8,968

Money Market Instruments 2,988,090 5,479,371

3,933,002 7,110,804

NOTE 4(A): ACMI GIFT FUND

A portion of the money held in the ACMI Gift Fund is restricted to acquisitions for the documentary section of the Lending Collection, under the theme “fostering community”.

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$ $

NOTE 5: RECEIVABLES

CURRENT:Trade Debtors 335,454 408,610

Less Provision for Doubtful Debts (48,664) 0

286,790 408,610

GST Receivable 110,737 303,040

Interest Receivable 4,593 9,579

402,120 721,229

NOTE 6: INVENTORIES

CURRENT:Catalogues on Hand 0 8,097

ACMI Shop Stock on Hand 65,793 92,317

ACMI Lounge Bar Stock on Hand 1,287 2,585

Publications on Hand 5,114 12,373

72,194 115,372

NOTE 7: OTHER ASSETS

(A) CURRENTOther Receivables 16,327 4,840

16,327 4,840

(B) NON-CURRENTSecurity Deposit – Leasehold 0 10,000

0 10,000

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$ $

NOTE 8: PROPERTY, PLANT AND EQUIPMENT

AUDIO VISUAL EQUIPMENTAt Cost 7,346,549 7,189,368

Less Accumulated Depreciation (3,469,177) (1,820,676)

3,877,372 5,368,692

COMPUTER EQUIPMENTAt Cost 7,433,141 6,673,004

Less Accumulated Depreciation (4,192,369) (1,885,601)

3,240,773 4,787,403

FURNITURE AND FITTINGSAt Cost 244,344 182,369

Less Accumulated Depreciation (105,385) (60,753)

138,959 121,617

OFFICE EQUIPMENTAt Cost 350,853 199,174

Less Accumulated Depreciation (167,825) (110,653)

183,028 88,521

LEASEHOLD IMPROVEMENTSAt Cost 10,735,382 9,359,538

Less Accumulated Amortisation (2,011,803) (953,939)

8,723,579 8,405,599

SOFTWAREAt Cost 316,748 197,612

Less Accumulated Depreciation (137,675) (65,227)

179,073 132,385

TOTAL PROPERTY, PLANT AND EQUIPMENT 16,342,784 18,904,216

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NOTE 8: PROPERTY, PLANT AND EQUIPMENT (continued)

RECONCILIATIONSMovements in the carrying amounts of each class of property, plant and equipment at the beginning and end of the current fi nancial year are set out below.

2004 Audio Visual

Equipment

Computer Equipment

Furniture & Fittings

Offi ce Equipment

Leasehold Improve-

ments

Software Total

Carrying amount at start of year

5,368,692 4,787,403 121,617 88,521 8,405,599 132,385 18,904,216

Additions 162,621 768,234 61,974 152,390 1,375,843 119,136 2,640,198

Disposals (4,483) (5,793) 0 (503) 0 0 (10,779)

Adjustments 0 0 0 0 0 0 0

Depreciation/amortisation expense

(1,649,458) (2,309,071) (44,631) (57,380) (1,057,863) (72,448) (5,190,851)

Carrying amount at end of year

3,877,372 3,240,773 138,959 183,028 8,723,579 179,073 16,342,784

2003 Audio Visual

Equipment

Computer Equipment

Furniture and

Fittings

Offi ce Equipment

Leasehold Improve-

ments

Leasehold Improve-

ments

(Work in Progress)

Software Total

Carrying amount at start of year

4,464,316 1,438,424 16,232 119,640 164,859 2,244,939 10,794 8,459,204

Additions 2,288,056 4,769,498 147,069 21,936 8,900,653 0 166,826 16,294,038

Disposals (17,270) (5,174) 0 (125) 0 0 0 (22,569)

Adjustments 0 0 0 0 0 (2,244,939) 1 0 (2,244,938)

Depreciation/amortisation expense

(1,366,410) (1,415,345) (41,685) (52,930) (659,913) 0 (45,235) (3,581,518)

Carrying amount at end of year

5,368,692 4,787,403 121,616 88,521 8,405,599 0 132,385 18,904,216

1 Leasehold Improvements (Work in Progress) transferred to Leasehold Improvements Additions

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NOTE 9: COLLECTIONS

FILM COLLECTIONAt Fair Value (2003 Independent Valuation) 8,828,600 8,828,600

LENDING COLLECTIONAt Cost 997,921 972,348

Less Accumulated Depreciation (947,651) (748,063)

50,270 224,285

EXHIBITION COLLECTIONAt Fair Value 1,826,875 1,582,640

TOTAL COLLECTIONS 10,705,745 10,635,525

RECONCILIATIONSMovements in the carrying amounts of each class of Collections at the beginning and end of the current fi nancial year are set out below.

2004 Lending Collection

Film Collection

Exhibition Collection

Total

Carrying amount at start of year 224,285 8,828,600 1,582,640 10,635,525

Additions 25,572 0 244,235 269,807

Disposals 0 0 0 0

Adjustments 0 0 0 0

Depreciation/amortisation expense (199,587) 0 0 (199,587)

Carrying amount at end of year 50,270 8,828,600 1,826,875 10,705,745

2003 Lending Collection

Film Collection

Exhibition Collection

Total

Carrying amount at start of year 258,656 4,500,000 1,358,857 6,117,513

Additions 144,718 0 256,104 400,822

Disposals 0 0 0 0

Adjustments 0 4,328,600 (32,321) 4,296,281

Depreciation/amortisation expense (179,089) 0 0 (179,089)

Carrying amount at end of year 224,285 8,828,600 1,582,640 10,635,525

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$ $

NOTE 10: PAYABLES

Trade Creditors 493,024 596,021

Sundry Creditors 156,863 216,468

Unearned Revenue 41,927 22,468

Accrued Expenses 332,191 1,771,866

Customer Deposits 78,996 8,963

1,103,001 2,615,786

NOTE 11: PROVISIONS

(A) CURRENTEmployee Benefi ts (Note 18) 322,730 733,152

322,730 733,152

(B) NON-CURRENT Employee Benefi ts (Note 18) 109,003 136,512

109,003 136,512

AGGREGATE CARRYING AMOUNT OF PROVISIONSCurrent – Employee Benefi ts 322,730 733,152Non-Current – Employee Benefi ts 109,003 136,512

431,733 869,664

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$ $

NOTE 12: EQUITY AND MOVEMENTS IN EQUITY

(A) CONTRIBUTED CAPITALBalance 1 July 28,241,185 19,381,908Capital contribution during the year by Victorian State Government 0 8,859,277

Balance 30 June 28,241,185 28,241,185

(B) ACCUMULATED SURPLUSAccumulated surplus at the beginning of the fi nancial year 1,446,751 2,365,545Net result for the reporting period (4,079,098) (918,794)Accumulated surplus at the end of the fi nancial year (2,632,347) 1,446,751

(C) ASSET REVALUATION RESERVEBalance 1 July 4,328,600 0Revaluation increment of Film Collection during the year 0 4,328,600

Balance 30 June 4,328,600 4,328,600

(D) TOTAL MOVEMENT IN EQUITYNet Result for the Reporting Period (4,079,098) (918,794)

Asset Revaluation Reserve 0 4,328,600

(4,079,098) 3,409,806

NOTE 13: COMMITMENTS

The balance of ACMI’s commitments which were not expended in this fi nancial year amounted to $20,831,055 (2003: $20,094,851). These commitments become payable when contracts are executed and upon contractors satisfying certain conditions.

CAPITAL COMMITMENTSNot later than one year 652,970 1,721,361Later than one year but not later than fi ve years 96,383 1,286,469

Later than fi ve years 0 0

749,353 3,007,830

OPERATING LEASE AND OTHER COMMITMENTS

13(a)

Not later than one year 3,088,666 2,312,216

Later than one year but not later than fi ve years 12,283,483 9,486,310

Later than fi ve years 4,709,553 5,288,495

20,081,702 17,087,021

5657

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13(A) OPERATING LEASE AND OTHER COMMITMENTSACMI’s ability to meet these future contractual commitments depends on future Parliamentary appropriations. These commitments predominately relate to leasing premises across three sites: Federation Square Flinders Street Melbourne, 196 Flinders Street Melbourne and 222 Park Street South Melbourne.

NOTE 14: NOTES TO STATEMENT OF CASH FLOWS

(A) RECONCILIATION OF CASHFor the purposes of the Statement of Cash Flows, cash includes cash on hand and in the banks, at call deposits, net of bank overdrafts and investments in money market instruments, with less than 90 days to mature. Cash at the end of the fi nancial year, as shown in the Statement of Cash Flows, is reconciled to the related items in the Statement of Financial Position as follows:

30 June 2004 30 June 2003

$ $

Cash on Hand 5,460 4,500

Cash at Bank 930,029 1,617,965

ACMI Gift Fund 9,423 8,968

Money Market Instruments 2,988,090 5,479,371

3,933,002 7,110,804

(B) RECONCILIATION OF NET CASH FLOWS FROM OPERATING ACTIVITIES TO NET SURPLUS:Net Surplus/(Defi cit) (4,079,098) (918,794)

Add (Less) Non-Cash Flows in Operating SurplusDepreciation of Property, Plant and Equipment & Lending Collection 4,332,575 3,100,694Amortisation of Leasehold Improvements 1,057,863 659,913

Revaluation decrement 0 (32,321)

Write-off of Property, Plant and Equipment (3,467) (22,569)

CHANGES IN ASSETS AND LIABILITIES

(Increase) / Decrease in Receivables 319,109 233,001(Increase) / Decrease in Inventories 43,178 (101,890)(Increase) / Decrease in Other Current Assets (11,487) 0(Increase) / Decrease in Other Receivables 0 86,041

Increase / (Decrease) in Payables (1,512,785) (3,919,322)

Increase / (Decrease) in Provisions (437,931) 278,873(Increase) / Decrease in Other Non-Current Assets 10,000 0

NET CASH FLOWS USED IN OPERATING ACTIVITIES (282,043) (636,374)

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NOTE 15: FINANCIAL INSTRUMENTS

(A) TERMS, CONDITIONS AND ACCOUNTING POLICIES ACMI’s accounting policies including the terms and conditions of each class of fi nancial asset and fi nancial liability, both recognised and unrecognised at balance date, are as follows:

Recognised FinancialInstrument

Statementof FinancialPosition Notes

Accounting Policies Terms and Conditions

(i) Financial AssetsCash 4 Cash is stated at net fair value. The interest rate achieved on

cash holdings varied between 4.48% and 5.27%.

Investments 4 Short term money market investments and deposits at call are stated at net fair value.

Invested at varying interest rates between 4.60% and 5.49% during the reporting period.

Receivables 5 Receivables are carried at nominal amounts due, less any provision for doubtful debts. A provision for doubtful debts is recognised when collection of the full nominal amount is no longer probable.

Settlement terms are 30 days.

(II) FINANCIAL LIABILITIES

Creditors 10 Liabilities are recognised for amounts to be paid in the future, for goods and services received prior to year end.

Trade liabilities are normally settled on 30 day terms.

Unless otherwise stated, each class of fi nancial asset and fi nancial liability is recognised in the Statement of Financial Position as net fair value.The aggregate net fair value of fi nancial assets and fi nancial liabilities, both recognised and unrecognised, at balance date, are as follows:

Financial Instruments At the Floating Interest Rate 30 June 2004

Non-Interest Bearing

30 June 2004

Total carrying amount as per

Statement of Financial Position

30 June 2004(I) FINANCIAL ASSETS

Cash 939,452 5,460 944,912

Debtors 0 397,527 397,527

Investments 2,988,090 4,593 2,992,683

Total Financial Assets 3,927,542 407,580 4,335,122

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(II) FINANCIAL LIABILITIES

Creditors 0 691,814 691,814

Total Financial Liabilities 0 691,814 691,814

Financial Instruments At the Floating Interest Rate 30 June 2003

Non-InterestBearing

30 June 2003

Total carrying amount as per

Statement of Financial Position

30 June 2003(I) FINANCIAL ASSETS

Cash 1,626,933 4,500 1,631,433

Debtors 0 711,650 711,650

Investments 5,479,371 9,579 5,488,950

Total Financial assets 7,106,304 725,729 7,832,033

(II) FINANCIAL LIABILITIES

Creditors 0 834,957 834,957

Total Financial liabilities 0 834,957 834,957

(B) INTEREST RATE RISKACMI’s exposure to interest rate risks and the effective interest rate risks of fi nancial assets and fi nancial liabilities, both recognised and unrecognised at balance date, are as follows:

(C) NET FAIR VALUES

Total carrying amount and aggregate net fair value as recognised in

the Statement of Financial Position 30 June 2004

Total carrying amount and aggregate net fair value as recognised in

the Statement of Financial Position 30 June 2003

(I) FINANCIAL ASSETS

Cash 944,912 1,631,433

Receivables 397,527 711,650

Investments 2,992,683 5,488,950

Total Financial Assets 4,335,122 7,832,033

(II) FINANCIAL LIABILITIES

Creditors 691,814 834,957

Total Financial Liabilities 691,814 834,957

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NOTE 15: FINANCIAL INSTRUMENTS (continued)

The following methods and assumptions are used to determine the net fair values of fi nancial assetsand fi nancial liabilities:

RECOGNISED FINANCIAL INSTRUMENTS

Cash and Investments: The carrying amount approximates fair valuebecause of their short term maturity.

Receivables and Payables: The carrying amount approximates fair value.

(D) CREDIT RISK EXPOSURESThe Board’s maximum exposure to credit risk at balance date in relation to each class of recognisedfi nancial asset is the carrying amount of those assets as indicated in the Statement of Financial Position.

Credit risk in trade receivables is managed in the following ways:– By advancing credit under payment terms of 30 days,– Debt collection policies and procedures.

(E) CREDIT CARD FACILITYACMI uses Westpac Visa Card facilities.Amount of Facility $200,000Currency: AUDAmount of Facility unused as at 30 June 2004 was $200,000

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NOTE 16: RELATED PARTIES

RESPONSIBLE PERSONSDuring the reporting period there were a maximum of thirteen Responsible Persons.The names of Responsible Persons at any time during the reporting period are as follows:

Minister for ArtsThe Hon. Mary Delahunty MLA

Governing BoardDr Terry Cutler (President) Ms Natalie Miller OAMMr Peter Doughty Mr Dion Appel – appointed September 2003Mr Stephen Found Mr Tony Phillips – appointed September 2003Mr Alan Finney OAM Ms Tracey Ellery – appointed September 2003Mr Dan Pearce Ms Carolyn Kirby – appointed June 2004

ResignationsMr Rod Bennett – August 2003

In accordance with government policy no members of ACMI’s governing board were remunerated during the reporting period.

OTHER RESPONSIBLE PERSONS Mr John Smithies (Chief Executive Offi cer) – resigned March 2004Mr Shane Hewitt (Acting Chief Executive Offi cer) – appointed March 2004

RELATED PARTY TRANSACTIONSTransactions during the fi nancial year with Responsible Persons and Responsible Person-related Entities are as follows:

PAYMENTS TO RELATED PARTIES30 June 2004 30 June 2003

Entity Transaction details $ $

BDO Consulting Pty Ltd(Peter Doughty)

Budget Review Services 0 5,478

Buena Vista International(Alan Finney)

Film Hire

4,393 46,358

Bytecraft Entertainment Pty Ltd(Stephen Found)

Electrical supplies 16,376 2,119

Holding Redlich(Dan Pearce)

Legal Fees 36,114 37,912

Lifelounge Pty Ltd(Dion Appel)

Event Development 15,069 0

Melbourne International Film Festival(Dan Pearce)

Tickets & promotional items 7,337 0

Sharmill Films(Natalie Miller)

Film Hire & Licence Fees 3,938 0

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PAYMENTS FROM RELATED PARTIES

Entity Transaction details

Australasian CRC for Interaction Design(Terry Cutler)

4,538 0

George Patterson Partners(Tony Phillips)

Venue Hire 1,045 0

Buena Vista International (Alan Finney)

Venue HireGuest Speaker Expenses reimbursement

4,895 2,933

Melbourne International Film Festival(Dan Pearce)

Venue Hire 15,770 0

The above transactions with related parties were carried on under normal commercial terms with full disclosure of any confl icts of interest

following due process.

RELATED PARTY TRANSACTIONS – FOUNDATION FOR THE MOVING IMAGE

A trustee of the Foundation is a partner in a fi rm which was a party to transactions with ACMI in the ordi-nary course of business and on normal commercial terms.

PAYMENTS FROM RELATED PARTIES – FOUNDATION FOR THE MOVING IMAGE

Entity Transaction details 30 June 2004 30 June 2003

Highland Partners / Hudson Global Resources

Sponsorship funding 5,500 0

PAYMENTS TO RELATED PARTIES – FOUNDATION FOR THE MOVING IMAGE

ENTITY TRANSACTION DETAILSHighland Partners / Hudson Global Resources

Professional services rendered 94,490 0

REMUNERATION OF RESPONSIBLE PERSONS

Remuneration and benefi ts received, or due and receivable during the reporting period was in the range:$150,000 – $159,999 (2003: $140,000 – $149,999)

The remuneration of the Minister is reported separately in the fi nancial statements of the Department of Premier and Cabinet.

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NOTE 17: REMUNERATION OF EXECUTIVES

The numbers or executive offi cers, other than Ministers and Accountable offi cers, and their total remuneration during the reporting period are shown in the fi rst two columns in the table below in their relevant income bands. The base remuneration of executive offi cers is shown in the third and fourth columns. Base remuneration is exclusive of bonus payments, long-service leave payments and retirement benefi ts.

A number of executive offi cers retired, resigned or were retrenched in the past year. This has had a signifi cant impact on total remuneration fi gures due to the inclusion of annual leave, long-service leave and retrenchment payments.

INCOME BAND Total Remuneration Base Remuneration2003-04 2002-03 2003-04 2002-03

No. No. No. No.$100,000 – 109,999 3 2 2 2$110,000 – $119,999 – 1 – 1$130,000 – $139,999 1 – – –

TOTAL NUMBERS 4 3 2 3

TOTAL AMOUNT $452,757 $333,080 $211,834 $333,080

NOTE 18: REMUNERATION OF AUDITORS30 June 2004 30 June 2003

$ $

The Offi ce of the Auditor-General of Victoria audits the fi nancial statements of ACMI.Amounts received or due and receivable by the Auditor for: 22,770 18,370 – Auditing the accounts 22,770 18,370

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NOTE 19: EMPLOYEE BENEFITS

PROVISION FOR EMPLOYEE BENEFITS

Current (Note 11) 310,618 565,730

Annual Leave 12,112 167,422

Long Service Leave 322,730 733,152

Non-current (Note 11) 109,003 136,512

Long Service Leave 109,003 136,512

431,733 869,664

Aggregate Employee Benefi t Liability

GOVERNMENT EMPLOYEES’ SUPERANNUATION FUND

No liability is recognised in the Statement of Financial Position for ACMI’s share of the State’s unfunded superannuation liability. The State’s unfunded superannuation liability has been refl ected in the fi nancial statements of the Department of Treasury and Finance.

SUPERANNUATION CONTRIBUTIONS

Superannuation contributions for the reporting period are included as part of salaries and associated costs in the Statement of Financial Performance of ACMI. Contributions for the Year represent cash contributed, whereas Contributions Outstanding at Year End represent contributions unpaid.

The names and details of the major employee superannuation funds and contributions made by ACMI are as follows:

Contribution for the Year

Contribution for the Year

ContributionOutstandingat Year End

ContributionOutstandingat Year End

Fund 30 June 2004 30 June 2003 30 June 2004 30 June 2003

$ $ $ $

AMP Superleader Plan 25,260 30,481 0 3,016

Government Superannuation Fund 41,596 54,125 0 –

Superannuation Trust of Australia 26,152 15,760 0 2,235

Victorian Superannuation Fund 566,545 458,674 0 53,971

Various other 37,470 99,585 0 10,148

Total 697,022 658,625 0 69,370

Superannuation contributions to these funds include the statutory 9% contribution and salary sacrifi ce amounts, except contributions to the Government Superannuation Fund are determined by that Fund.

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