pathways and protocols - screen australia
TRANSCRIPT
Pathways & Protocolsa filmmaker’s guide to working with Indigenous people, culture and concepts
terri Janke
2
ContentsPreface........................................................................ .4How.to.use.this.guide..................................................... .61. Introduction............................................................ .9
1.1 IndigenousAustralians...................................................... 91.2 FilmmakingandIndigenousculture..................................... 91.3 Whatareprotocols?....................................................... 10
2. Principles.for.protocols............................................ .112.1 RespectforIndigenouscultureandheritage...................... 112.2 RespectforIndigenousindividualsandcommunities........... 15
3. Implementing.protocols.within.film.practice................. .193.1 Overview–protocolsfordocumentaryversusdrama.......... 203.2 Initialresearchandprojectdevelopment........................... 213.3 Scriptdevelopment........................................................ 253.4 Pre-productionandproduction........................................ 293.5 Editingandpost-production............................................. 383.6 Screeningandbroadcasting............................................. 433.7 Footagearchiving........................................................... 443.8 SummaryChecklist......................................................... 47
4. Communication,.consultation.&.consent...................... .514.1 Consultationandconsent................................................ 514.2 Whenconsentisrequired................................................ 524.3 Whenconsentisrecommended....................................... 554.4 Tipsforsuccessfulconsultation........................................ 56
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5..Film.&.the.law......................................................... .635.1 Copyright...................................................................... 635.2 Performers’rights........................................................... 695.3 Moralrights................................................................... 725.4 Indigenouscommunalmoralrights................................... 725.5 Contracts...................................................................... 735.6 Defamation................................................................... 745.7 Tradepractices............................................................... 755.8 Environmentallegislationandnationalparks...................... 765.9 WesternAustralianHeritageRegulations1974................... 765.10 Wheretogoformorelegalinformation............................. 77
6.Contacts.&.appendices.............................................. .796.1 Directories.................................................................... 796.2 Indigenousmediaassociationsandbroadcasters................ 816.3 RemoteIndigenousMediaOrganisations(RIMOs).............. 856.4 IndustryagencieswithIndigenouscomponents..................886.5 Indigenousculturaladvisorsandscriptconsultants.............926.6 LandCouncils................................................................936.7 Permitoffices.................................................................966.8 NationalParks................................................................996.9 Librariesandarchivalsources......................................... 1016.10 Medialawandcopyright............................................... 1056.11 Regulation................................................................... 1106.12 IndustrialAgreements................................................... 112Appendix1:Sampleclauses................................................... 114
ForICMRinadirector’scontract................................... 114 ScreenAustraliaICIPClauseinProduction andInvestmentAgreements......................................... 115
Appendix2:Backgroundresearchonotherprotocols................ 117
4 Pathways&Protocols
PrefaceIndigenousAustralians–AboriginalandTorresStraitIslanderpeople–aretheoriginalownersandinhabitantsofAustralia.ForIndigenouspeopleart,life,knowledgeandidentityareimportantaspectsofacontinuingtradition.Thecarryingonofknowledge,throughthepracticeofart,isalegacythatIndigenousAustraliansmustmaintainforthebenefitoffuturegenerations.
FilmmakingthatinvolvesIndigenouscontentorIndigenouspeoplecancutacrossmanylevelsoftheculturalheritagespectrum.Itcaninvolvemanydifferentartforms,regionsandIndigenousgroups,andvaryinitsformfromethnographicfilmsanddocumentariestotelevisionseries,featurefilms,shortfilms,interactivemediaandonlinecontent.
ThereisnodoubtthatfilmandTVofferIndigenouspeopleopportunitiestousepopularmediumstopromotetheirperspectivesandadvanceunderstanding.Inthepast,however,Indigenouspeoplehavealsoseenfilmmakingasexploitative.Theyareconcerned,forexample,thattheirculturalheritagemayhavebeenappropriatedwithoutproperconsultationorsufficientacknowledgment,andthatsomeproductionsmadefromastereotypicalperspectivemaydemeanIndigenousculturalbeliefs.
ThisguidehasbeenproducedtoprovideadviceabouttheethicalandlegalissuesinvolvedintransferringIndigenousculturalmaterialtothescreen.WehopethatthoseworkingwithIndigenouscommunitiesorIndigenouscontentwillbeinspiredtouseitasaframeworkfordevelopingprotocolsfortheirownfilm,televisionandinteractivemediaprojects.
Wealsoacknowledgetheimportantroleplayedbyarangeofearlierprotocoldocuments,particularly:
Lester.Bostock• ’sThe Greater Perspective: Protocol and Guidelines for the Production of Film and Television on Aboriginal and Torres Strait Islander CommunitiespublishedbySBSin19901
Darlene.Johnson• ’sprotocolcommissionedin2001bySBSIndependent2
The.Northern.Land.Council• ’sprotocolGuess Who’s Coming to Dinner in Arnhem Land,producedin1987byChipsMacInoltyandMichaelDuffyforfilmmakerscomingontoAboriginalland.
Accessible,practicalandtransparentprotocolsarethekeytofacilitatingrespectfulfilmmakinginvolvingIndigenousculturalheritage.Andprotocolsthatenhancethepositiveexperiencesoffilmmakingencouragefurthercollaborativeopportunitiesbetweencultures.
1 LesterBostock,The Greater Perspective: Protocol and Guidelines for the Production of Film and Television on Aboriginal and Torres Strait Islander Communities,2nded,SBS,Sydney,1997.
2 DarleneJohnson,Indigenous Protocol,2001.
Preface 5
IspoketoseveralAustralianfilmmakersinthecourseofthisproject.ManyspokeoftheirexperienceswithIndigenousprotocolsintheirfilmprojectswithIndigenouscontent.TheoverwhelmingmajoritysaidthatconsultationwithIndigenouscommunitieshadenrichedtheirprojects.Theysaidfollowingprotocolsmadebetterfilms.
Wealsohopethattheguideencouragesdebates,whichenhancestheproductionofmanygreatfilmsinthefuture.Commentsandideasshouldbeforwardedto:
TheManagerIndigenousBranchScreenAustraliaGPOBox3984SydneyNSW2001
AcknowledgementsManypeopleassistedintheprocessofputtingthisguidetogether.ThankyoutoallattheAustralianFilmCommission’sIndigenousBranch(nowIndigenousBranch,ScreenAustralia):SallyRiley,NicoleStevens,EricaGlynn,GillianMoodyandJulianeT’oa.
Ialsothankthefilmmakersandorganisationswhorespondedtotheissuespaperandmetwithme,orspoketoToniJankeormyselfoverthephone.Iamgratefultoallthosewhoprovidedtheirsubmissionsbyphone,fax,letterormadecommentsbyothermeans.
SpecialthanksfortheguidanceandexpertiseoftheProjectSteeringCommitteecomprisingSallyRiley,CathyGrayandRosemaryCurtis.ThanksalsoforsupportfromtheteamatTerriJankeandCompany,SoniaCooper,AnastasiaCharles,AndrewPittandToniJanke.
Thankseverybody!
TerriJankeApril2009
Important.legal.notice
Thelawsandpoliciescitedinthisguidearecurrentasof24April2008.Theyarediscussedgenerallyforthepurposesofthisdocument.Nopersonshouldrelyonthecontentsofthisguideforaspecificlegalmatterbutshouldobtainprofessionallegaladvicefromaqualifiedlegalpractitioner.
This.guide.was.researched.and.written.by.Terri.Janke.of.Terri.Janke.and.Company.Pty.Ltd..It.was.commissioned.by.the.Indigenous.Branch.of.the.Australian.Film.Commission,.which.became.Screen.Australia.in.2008.
6 Pathways&Protocols
How.to.use.this.guideThisdocumentisdesignedtoencouragerecognitionandrespectforIndigenouspeople’simages,knowledgeandstoriesintheproductionofaudiovisualmaterialinbothdocumentaryanddramaform.
Itshouldbeseenasastartingpointandgeneralguideonly.WhenyouneedspecificadviceontheculturalissuesofaparticularIndigenousgroup,werecommendyoueitherspeaktoapersoninauthority,orengageanIndigenousculturalconsultantwithrelevantknowledgeandexperience.(Thereisinformationonselectingaculturalconsultantonpages24–25.)
Theframeworksetoutinthisguidecanhelpyoudevelopyourownprotocolswhen:
• workingwithIndigenouscontent,afilmorprogrambasedonanIndigenousstory,withIndigenouscharactersorfeaturingIndigenouscultureinanyform
• workingwithIndigenouspeople,whetherascast,extras,crew,ordocumentarysubjects
• workinginIndigenouscommunities,eitherasthesubjectofafilmorthroughtheuseofthecommunityasalocation
• workingonIndigenouslands.
Theguidewillalsoberelevantto:
• FederalandStateGovernmentdepartments• industryagenciesandfilmorganisations• broadcasters• educationalandtraininginstitutions• Indigenouspeoplewhoareapproachedbyfilmmakerswhowishtoinclude
themortheirculturalmaterialinafilmproject,orfilmintheircommunityorontheirland.
Wehaveattemptedtoprovideaframeworkthatcanbeusedforbothdramaanddocumentary.However,specificguidanceisalsogiventhattakesaccountofthedifferencesbetweenthesetwoformsoffilmmaking.
Howtousethisguide 7
Thedocumenthasfivemainsections:
1...TheIntroductiondefines‘protocols’asusedinthisguide,introducesIndigenousAustralians,andlooksatthespecialnatureoffilmmakingwithIndigenouscontent.
2...Principles.for.protocolsbrieflysetsouttheprincipleswhichshouldunderpinfilmmakingprotocols,includingrespectforIndigenouscultureandheritage,andIndigenousindividualsandcommunities.
3...Implementing.protocols.within.film.practiceprovidespracticalguidanceondevelopingandapplyingprotocolsatthevariousstagesoffilmandTVproduction.Checklistsareincluded,alongwithcasestudiesandcommentariesfromIndigenousandnon-Indigenousfilmmakerswhichidentifychallengestheyhaveencounteredintheirownpractice.
4...Communication,.consultation.and.consent.offerstipsforeffectiveconsultation,andexplainswhenconsentisrequired,asopposedtojustconsultation.
5...Film.and.the.lawcontainsgeneralinformationandadviceonthemainlawsinAustraliagoverningtheuseandreproductionofsongs,stories,dance,artisticworks,soundrecordingsandfilms.
6...Contacts.and.appendicesincludesalistofcontactstobeusedasstartingpointsforaccessingrelevantpeopleandinformation,.samplecontractclauses,plusprintandonlineresources.
8 Pathways&Protocols
APPLICATIONS.OF.THE.GUIDEAlthoughthisguideisintendedspecificallyforusebyfilmpractitioners,itwillalsobeusefultoarangeoforganisations.
Film.funding.agenciesWeencouragefilmfundingagenciestosupporttheadoptionofprotocolsbyadvisingfundingrecipientstofollowthisguide,perhapsreferringtoitinfundinginvestmentguidelinesandrequiringthatthecostofresearchandcommunityconsultationbeincludedinprojectbudgetswhererelevant.Theaimistomakethedevelopmentandadoptionofprotocolsapartofacceptablefilmpractice.
FilmagenciescanalsorefertotheguideindevelopingtheirownprotocolsandIndigenouspolicydocuments,incollaborationwithIndigenousfilmprofessionalsandIndigenouscommunities.
A.clause.which.deals.with.Indigenous.cultural.and.intellectual.property.rights.in.Screen.Australia’s.development.and.production.investment.agreements.is.provided.in.Appendix.1.as.an.example.
Training.institutionsProtocolsforworkingwithIndigenouscontentandIndigenouscommunitiesshouldbecoveredinallfilmandtelevisionproductiontraining.Thisguideprovidesanexcellentframeworkforintroducingstudentstotheissues.
Industry.and.professional.organisationsOrganisationssuchastheAustralianDirectorsGuild(ADG),theAustralianWriters’Guild(AWG),theMediaEntertainmentandArtsAlliance(MEAA)andtheScreenProducersAssociationofAustralia(SPAA)canencouragetheirmemberstodevelopandadoptprotocolsfordealingwithIndigenouspeopleandIndigenouscontent,usingthisguideasareference.
BroadcastersBroadcastersareencouragedtoadoptpoliciesandcodesontheappropriatehandlingofIndigenousmaterial,coveringboththeproductionandbroadcastofprograms.
TheABCandSBSalreadypromotetheuseofprotocolswhenworkingwithIndigenouscommunitiesandIndigenouscontent.Thisguidedrawsfromtheseprotocolsandalsoincludesareasnotspecificallycoveredbythem.
TheTVIndustryCodeofPracticecoveringthecommercialbroadcastersdoescontainsomeIndigenousissues.Althoughvoluntary,itisregisteredwiththeAustralianCommunicationsandMediaAuthority(ACMA),andbroadcastersdohavearesponsibilitytoadoptethicalpractices.
National.Indigenous.TelevisionTheNITV,establishedin2007,acquiresandcommissionsarangeofprogrammingwhichreflectsthediversityofAboriginalandTorresStraitIslanderculturesandcommunities.TheNITVencouragesitscommissionedfilmmakerstorefertothisguide.
Introduction 9
1..Introduction.1.1. Indigenous.Australians
TheIndigenouspeopleofAustraliaaretheAboriginalandTorresStraitIslanderpeoples.TherearehundredsofdifferentAboriginalclangroupsinAustralia,allwiththeirtraditionalcountryboundaries.Foramapofdifferent‘language’areasseeDavidHorton’sAboriginal Australia,publishedbytheAustralianInstituteofAboriginalandTorresStraitIslanderStudies(AIATSIS).
1.2. Filmmaking.and.Indigenous.culture
FilmmakingforIndigenouscommunitieshasbecomeanimportanttoolforculturalexpression.Filmhasbeenusedforarangeofpurposesandinarangeofways,suchas:
• tellingIndigenouscreationstoriesandlifestoriesbywayofdrama• conveyingpoliticalmessagesandhistoricalperspectivesindocumentary• recordingIndigenousceremoniesandcelebrations• educatingpeopleaboutIndigenouscultures• maintainingandteachingIndigenouslanguages• entertainingIndigenouspeopleandwideraudiencesnationallyand
internationally.
FilmssuchasLousy Little Sixpence[directorAlecMorgan,producerMarthaAnsara,co-producerGerryBostock,1983]weregroundbreakinginraisingtheprofileofIndigenousissuesinthewiderAustralianpoliticalcontext.Frances Peters-Little3
Indigenouspeoplewanttotellstories–historical,socialandpolitical.Indigenousfilmcontentcancoverissuesasdiverseasdomesticviolence,stolengenerations,racerelations,loveandreturntohomelands.Afilmcanalsodrawtogethermanydifferentartisticelementsincludingmusic,story(script),danceandgraphicworks.
FilmmakingisusedbyIndigenouspeopletogetourpointofviewacross.Whenyouentertain,youeducate.Justine Saunders4
3 WriterandfilmmakerFrancesPeters-Little,forumatSydneyFilmFestival.4 TelephoneinterviewwithactorJustineSaunders.
10 Pathways&Protocols
1.3. What.are.protocols?
Protocolsareappropriatewaysofcommunicatingandworkingwithothers.Indigenousculturesplaceimportanceontheobservationofculturalprotocols.AcrossthespectrumofIndigenousAustralia,therearemanydifferentprotocolsforcommunicatingandworkingwithIndigenousmaterial,andinteractingwithIndigenouspeopleandtheircommunities.
Aprotocolcannotspecificallyaddressalltheissuesthatmayariseinaparticularfilmproject,buttheframeworkitprovidescanbeadaptedandappliedtospecificsituations.Thisguideofferssuchaframework.Itisintendedtogivedirectionbutstillallowenoughflexibilitytodealwithsituationsastheyarise.
Protocolsarenotinthemselveslegallybinding,butovertimetheyestablishpracticesthatcanbereliedonasindustrystandards.Protocolsmayalsobeincorporatedintofilmmakingcontracts,andendorsedbyfundingagenciesandprofessionalassociations.
Principlesforprotocols 11
2..Principles.for.protocolsTwofundamentalprinciplesshouldunderpinprotocolsforfilmmakersworkingwithIndigenouscontentandIndigenouscommunities:
• respectforIndigenouscultureandheritage,includingrecognitionofIndigenousculturalandintellectualpropertyrights,maintenanceofculturalintegrityandrespectforculturalbeliefs;and
• respectforIndigenousindividualsandcommunities.
2.1. Respect.for.Indigenous.culture.and.heritage
UseofIndigenousculturalheritageinfilmisbecomingincreasinglypopular.Oralstories,traditionalknowledge,images,photographs,language,wordsandhistoriesarejustsomeoftheIndigenousheritagematerialsthatfindtheirwayintoAustralianandinternationalfilms.Filmmakersshouldbeawarethatinsomecircumstances,thisculturalmaterialmayneverhavebeen‘published’tothewidercommunitybefore.
RespectforthisculturalheritageisafundamentalprincipleforIndigenousfilmmakingprotocols.FilmmakersshouldrecogniseandrespectIndigenouspeople’srighttoownandcontroltheirculture.
Indigenous.cultural.and.intellectual.property.rightsIndigenousculturalandintellectualpropertyrightsrefertoIndigenouspeople’sculturalheritage.Heritagecomprisesallobjects,sitesandknowledge,thenatureoruseofwhichhasbeentransmittedorcontinuestobetransmittedfromgenerationtogeneration,andwhichisregardedaspertainingtoaparticularIndigenousgrouporitsterritory.
Indigenouspeople’sheritageisalivingheritageandincludesobjects,knowledge,storiesandimages,creatednoworinthefuture,basedonthatheritage.
AlistofIndigenousculturalandintellectualpropertyrightswascompiledforOur Culture: Our Future,5basedonextensiveconsultationswithIndigenousAustralians.Basedonthislist,Indigenouspeoplehavetherightto:
• ownandcontrolIndigenousculturalandintellectualproperty• ensurethatanymeansofprotectingIndigenousculturalandintellectual
propertyisbasedontheprincipleofself-determination• berecognisedastheprimaryguardiansandinterpretersoftheircultures• authoriseorrefusetoauthorisethecommercialuseofIndigenousculturaland
intellectualpropertyaccordingtoIndigenouscustomarylaws
5 TerriJanke,Our Culture: Our Future – Report on Australian Indigenous Cultural and Intellectual Property Rights,writtenandresearchedbyTerriJanke,MichaelFrankel&Company,Solicitors,fortheAustralianInstituteofAboriginalandTorresStraitIslanderStudies,andtheAboriginalandTorresStraitIslanderCommission,1998,pp.47–48.
12 Pathways&Protocols
• maintainthesecrecyofIndigenousknowledgeandotherculturalpractices• begivenfullandproperattributionforsharingtheirheritage• controltherecordingofculturalcustomsandexpressions,andtheparticular
languagewhichmaybeintrinsictoculturalidentity,knowledge,skillandteachingofculture.
Manygenerationsmaycontributetothedevelopmentofanitemofknowledgeortradition.Inthisway,Indigenousculturalheritageiscommunallyowned.Currently,intellectualpropertylawsdonotrecognisethiselement,focusingonmaterialformandindividualownership,andonlyprotectingforalimitedperiod(seealsoSection5,pages63–77).6
Use.of.traditional.dance.in.drama
Erica Glynn, Indigenous writer/director, talks about her film MyBedYourBed (1998, produced by Chili Films)
InmakingMy Bed Your Bed,IsetouttotellafictionalstorythatreflectedcontemporaryAboriginallifeincentralAustralianbushcommunities.LifeinbushcommunitiesissooftenoverromanticisedinAustralianfilmandtelevision.Inthefilm,ayounggirlispromisedtoayoungmaninatraditionalceremonythathastakenplaceforthousandsofyearsinthebush.Whenthetimecomesforthemtolivetogether,theymoveintoamodernhouse.Intraditionalcommunities,usuallythepeoplewouldbeolder,butforthisstoryIwantedtoshowhowpeopleadoptvaluesfrombothcontemporaryandtraditionalworlds.
Iwantedtoputatraditionaldanceaspartofthepromiseceremonyattheopeningofthefilm.Theoverallfilmranforapproximately17minutes,andthedancesegmentintheopeningceremonywastobeapproximately2minutes.Atfirst,IwantedtousedancefrommyownIndigenouscommunity.Togetpermission,theproducerandmyselfapproachedseniorAboriginalpeoplewhowereconnectedtomeandwerelivinginAliceSpringsandworkingthereasartists.Wetalkedthemthroughthestory,lettingthemknowitwasa‘pretendone’.Theywentawayanddiscusseditamongthemselvesandtalkedtoothersinthecommunity.Theycamebacktotellmethatalthoughitwasagoodstory,theythoughtthatreallytheycouldn’tgiveconsentatthistime.
WerespectedtheirdecisionandconsultedwitheldersfromanotherIndigenouscommunity.Theproducerofthefilmwaspersonallyknowntothesepeople.Theywerehappytoallowpartsoftheirtraditionaldancetobeincludedinthefilm.Thisgroup,however,hadmoreexperiencewiththeartisticuseoftheirdances,havingperformedfortourists,andsomehadworkedasextrasonfilmsbefore.
6 Ibid.
Principlesforprotocols 13
Use.of.the.Wandjina.image.in.the.2000.Olympics
In2000,theSydneyOrganisingCommitteefortheOlympicGames(SOCOG)negotiatedtheuseoftheWandjinafigureusedintheopeningceremonyoftheOlympics.ThehugeWandjinawaspaintedbyAboriginalartistDonnyWoolagoodja,ChairmanoftheMowanjumArtistsSpiritAboriginalCorporation.
TheWandjinaimagecomesfromtheKimberleyregionandrepresentsthreeclangroupsinthecommunity:Ngarinyin,WorroraandWanambul.TheWandjinaisanancestralspiritandcustodiansofthisregionbelievetheWandjinascreatedeverythingonandintheearthandmadetherulesbywhichtheylive.
Aftermeetingscommenced,thetraditionalownersraisedconcernsaboutthefilmingoftheWandjinaintheopeningceremonyandtheuseoftheimageaftertheOlympics.Rightstobroadcasttheimagefortheopeningceremonywereagreedto,andSOCOGandtheOlympicCommitteeagreedtoconsultwiththetraditionalownersforuseoftheimagesinothercontextsaftertheOlympics.
AwrittenagreementbetweenthepartiesgavetheInternationalOlympicCommitteetherightstofilmtheWandjinaandtousethefilmaspartofitspromotionsforthegames.However,therewasalsoanotherconditionthatifthirdpartieswantedtousethefootageforotherpurposes,theyhadtogettheconsentoftheOlympicCommitteeandthetraditionalowners.7
Cultural.integrityForIndigenouspeople,keepingtheculturalintegrity.ofanevent,storyorartworkisofutmostimportance.Integrityreferstothetreatmentgiventotheworkorfilm.UndertheCopyright Act 1968(Cth),themoralrightofintegritygivesindividualstherighttoprotectagainstthe‘derogatory’treatmentoftheirworksandfilms.Thetestforderogatorytreatmentismaterialalteringanddoinganyotheracttotheworkoffilmthatisprejudicialtotheauthor’shonourorreputation.Forexample,alteringtheworkorfilmbyadapting,cutting,editingand/orenhancingmaymateriallyaltertheworkorfilmandcauseharmtotheauthor’sreputation.
WithIndigenousculturalmaterial,maintainingtheintegrityoftheworkisimportanttothesourcecommunitiesaswellastheindividual.AlthoughcommunalmoralrightsarenotcurrentlycoveredunderAustraliancopyrightlaw,theCommonwealthGovernmentproposestointroducethemasanamendmenttotheCopyright Act 1968(Cth).Ifpassedbyparliament,IndigenouscommunitiesmayobtainIndigenouscommunalmoralrightsbyenteringintoanagreementwiththecopyrightowner,providedtheconditionsofthenewprovisionsaremet.
7 RhodaRoberts,formerDirectoroftheIndigenousProgram,SydneyOrganisingCommitteefortheOlympicGames.
14 Pathways&Protocols
ItisalsoimportanttorecognisethatIndigenousculturesarelivingandevolvingcultures,notsimplyhistoricalphenomenatobepreservedas‘primitive’.ContemporaryIndigenousartformsthatmayberepresentedinfilmmayincluderesponsestonewstimuliusingtraditionalmethodsofartisticexpression,suchasatraditionaldancebasedonaeroplanes,ornewformsofcommunalexpressionsuchascommunalsongssunginEnglishandplayedontheguitar,orchoreographyfusingnewdancestepswithcommunallyownedIndigenousdance.
Giventhenatureoffilm,andtheeditingprocess,thepresentationofIndigenousculturalmaterialinamannerthatpromotesintegrityrequirescarefulconsideration.Culturalintegrityandtherelatedissuesofrepresentation,authenticityandrespectforculturalbeliefs,needtobeconsideredthroughoutthefilmmakingprocess–duringthewritingstages,includingtheadaptationofexistingmaterial;duringshooting,editingandpost-production;aswellasinmarketingandarrangementsforthefutureuseoffootage(seeSection3,pages19–42).
Cultural.beliefsSacred.sites.and.material:.UnderIndigenouslawssomesites,andimagesandknowledgerelatingtosites,aresacred.Objects,whethercreatedornatural,mayalsobeconsideredsacredorsecret.‘Sacredandsecret’referstoinformationandmaterialthatisrestrictedundercustomarylaw.Forinstance,someculturalinformationmayonlybelearnedorviewedbymenorbywomen,oronlyafterinitiation.Itisnotappropriateforsuchsitesandmaterialtobereferredtoforotherpurposesortobewidelycirculated.Insomecases,itmightnotbeappropriatetoevenspeakaboutsacredandsecretmaterial.
DorisPilkingtonGarimaraspeaksofdirectorPhillipNoyce’s(Rabbit-Proof Fence,2001)observationofculturalprotocolssaying:
PhillipNoycewassensitivetoIndigenousculturalissuesandrecognisedtheimportanceoffollowingIndigenousprotocols.Hewantedtomakesurenocustomswereviolated,andthatnosecretritualsorsacredsitesweredepictedinthefilm.HehiredanadviserfromJigalongcommunitywhichwasgoodbecausethecommunitykeepsastrongcheckonwhatstoriesandknowledgecanbemadepublic.Healsoconsultedwithmebybringingdraftscriptsformetocheck.8
FilmmakersshouldrespecttherightofIndigenouspeopletokeepsecretandsacredtheirculturalsites,beliefs,knowledgeandimages.
Representing.deceased.people:.InanumberofIndigenouscommunities,particularlythosethatstillliveundercustomarylawstoasignificantdegree,thereproductionofnamesandimagesofdeceasedpeopleisoffensivetomourningpractices.Thisapplies,forexample,toYirrkalaandmanyotherArnhemLand
8 TerriJanke,telephoneconversationwithDorisPilkington,author,Follow the Rabbit-Proof Fence,16May2005.
Principlesforprotocols 15
communities,andtoEasternandWesternDesertcommunitiesforrecentlydeceasedpeople.Inthesecasesitisimportanttonotethattherestrictionsmaylastseveralyears.
Forothercommunitiesinmoreurbanareassuchpracticesmaynotexist.ItisbesttoasktherelevantIndigenousgroupwhetherthisisapracticeintheirparticularfamilyandgroup.TheadviceonapplyingprotocolstofilmpracticeinSection3doesnotassumethatthesameprotocolwouldapplyacrossallcommunities:inthecourseofourconsultationsforthisproject,weheardofsomeIndigenouspeoplewhowantedtonotifythefilmmakerthattheywishedtocontinuetobenamedandrepresentedinthefilmaftertheirdeath.
Death.protocols.and.news.reporting..(submittedbytheABCIndigenousProgramsUnit)
Inearly2003,thedeathofaprominentAboriginalartisthighlightedthedifficultiesforbroadcastersofrespectingtheculturaldeathprotocolwhenreportingondeathsinthenews.
Underthecustomarylawofthisparticularartist,itisrespectfulnottomentionthedeceased’snameuntilthefamilyhasnotifiedtheendofthemourningperiod.Earlyreportsoftheartist’sdeathdidnotmentionhisname.However,laterreportsdidso,withoutauthority.Anapologywasgivenbytheprogrambutthiswasafterthenamingwenttoair.
Beingabletocontactfamilyandtherelevantcommunitytoascertaintheappropriateprotocolandpermissionsforuseofnameandimageisanissueforbroadcasters.Wherepossible,filmmakersshouldincorporatethesedetailsintowrittenreleasesobtainedatthetimetheimageiscapturedonfilm(seepage29).
2.2. Respect.for.Indigenous.individuals... and.communities
FilmmakersenterintorelationshipswithIndigenouspeoplewhentheyworktogetheronfilmprojects.Asuccessfulpartnershipshouldbebasedonmutualrespectandtrust.
Anon-IndigenouspersonseekingtouseIndigenousmaterialinadramafilmshouldtreatthematerialwiththerespecttheywouldexpectthemselves.Sue Milliken9
ForfilmprojectsinvolvinglifestoriesoflivingordeceasedIndigenouspeople,thefilmmakershouldconsiderhowsheorhewillinvolvetheindividualorfamilymembers,andthecommunity.Filmmakershaveanethicalobligationtodealappropriatelyandsensitivelywiththelifeexperiencesofindividuals.Evenwherecharactersaretotallyfictitious,theirrepresentationcanhaveanimpactonanIndigenouscommunitythatneedstobeconsidered.
9 ProducerSueMilliken,email.
16 Pathways&Protocols
Thisprincipleofrespectforindividualsandcommunitiesextendsto:
Recognition.of.people’s.rights.to.privacy:Priorconsentneedstobesoughtforwritingscriptsaboutindividualsandcommunities,andwhenfilmingIndigenouspeople(seeConsents and clearances,page34).Itisinappropriatetodiscloseconfidentialpersonalinformationwithoutpermissionfromtherelevantpersonorgroupaffectedbythedisclosure.Thiswillalsoincludeinformationaboutpeoplewhoaredeceased.
The.way.sensitive.issues.are.handled:FilmprojectsdealingwithcontemporaryIndigenouslife,particularlythosethatincludesensitivecontentsuchashealthissues,orsocialproblemslikepetrolsniffing,mayrequirespecialistconsultationwithrelevantIndigenousprofessionalandcommunitygroups.Initialresearchforafilmprojectshouldconsiderwhethersensitivematerialistobeincludedandhowitistobehandled.
Appropriate.attribution:Attribution.meansacknowledgingownershipofmaterialbyanamedpersonand/orcommunity.Undermoralrightslaw,theindividualcreatorsofacopyrightworkorfilmareentitledtoattributionasauthorsoftheworkorfilmifanyattributableactisdoneinrelationtotheworkorfilm.Inthecaseofcinematographfilms,thismeansthecopying,exhibitioninpublicandcommunicationtothepublicoffilms.10Attributionmustbeinareasonableform11oriftheauthorhasmadeknownthattheauthorwishestobeidentifiedinaparticularway,identificationistobemadeinthiswayifthisisreasonableinthecircumstances.12Itisalsorequiredtobeaclearandreasonablyprominentidentification.13Anidentificationwillbetakentobereasonablyprominentinthecaseofreproductionandadaptationsofworksandcopiesoffilmswherethepersonacquiringthereproductionorcopywillhavenoticeoftheauthor’sidentity.Inpractice,thismeansthattheidentificationshouldbegivenatthestartandendoftheworkorfilmandbereasonablydistinct.14
Pendingnewlegislation,werecommendthattheprinciplesofmoralrightsshouldbeextendedwhereverpossibletotheusesofIndigenousculturalandintellectualproperty.Indigenouspeopleshouldbegivenpropercreditorappropriateacknowledgement,includingcopyrightandroyalties,fortheirroleinthedevelopmentanduseoftheirIndigenousculturalmaterial.Whereclan-ownedinformationisused,theclanorcommunityshouldalsobereferredto.
Ifthereisnoknownauthorbutratheracommunalownership,suchasinthecaseoforalstories,dancesorsongsperformedandhandeddownthroughthegenerations,thenaprocessofcommunalattributionshouldbeadopted.Thisprocesscanbeproperlydoneinconsultationwiththerelevanttraditionalowners,andthecontributorstoeachparticularfilmproject.
10 Section194(3)Copyright Act 1968(Cth)11 Section195(1)Copyright Act 1968(Cth)12 Section195(2)Copyright Act 1968(Cth)13 Section195AACopyright Act 1968(Cth)14 SRicketsonandCCreswell,The law of intellectual property: Copyright, designs & confidential
information,2nded,LawBookCo,Sydney,2002,para10.70.
Principlesforprotocols 17
Inthecaseofusesofstories,attributionshouldalsoextendtotheattributionofthestoryteller.Forexample,aparticularstory,ifthiswasapproved,couldbeattributedasatraditionalstoryoffamilyX,astoldbyMrY.
Sharing.of.benefits:IndigenouspeopleshouldbegivenopportunitiestoshareinthebenefitsthatflowfromtheuseinfilmsorTVprogramsoftheirimages,stories,dancesandknowledge.
Indigenouspeopleshouldbepaidfortheirknowledge.Theintellectualpropertyofthestories,dancesandknowledgebelongstoIndigenouspeopleandfilmmakersneedtonegotiatefilmingrightsandsharebenefits.Inmylastfilm,Whispering in Our Hearts,wesplitthecopyrightthreewaysbetweentheproducer,thedirectorandthecommunityontheunderstandingthatifwepickedupanyprofitorawards,thesewouldbesharedthreeways.Michelle Torres15
Evenwheredirectpaymentisnotmade,filmmakersshouldfindwaysofgivingbacktoIndigenouscommunitiesiftheymakeuseoftheirimages,storiesandknowledge.Therearemanywaysthatthiscanbedoneincluding:
• Skills development:Indigenouspeoplecanbeinvolvedandlearnthecraftoffilmmaking.
• Copies for cultural preservation:Copiesofthefilmcanbegiventoindividuals,familyandcommunitymembers.Somefilmmakersallowcommunityorganisationstousefootagenotincludedinthefinalfilmfortheirownpromotionalpurposes.
WheneverIworkonadocumentaryfilmIalwaysgivethecommunityorfamilyVHSdubsofalltherushesfromthefilm.Forthefamiliesandcontributorsthefilmbecomesanongoingarchivingprocessforthatgroup.Catriona McKenzie16
Notethatifmaterialisgiventoarchivalinstitutions,clearancefromthecommunitymustbeobtained(seepage44).
• Other support:Onefilmcrewwasaskedtosupportacommunity’sswimmingpoolfundasapaymentforthemallowingfilmstobemadeintheirlands,andconcerningtheircultures.17
Somefilmmakershavedevelopedmethodsofsharingprofitswhenlarge-scaleprojectsareundertaken.Suchprojectsalsoinvolvetheexchangeoftechnicalinformationandtrainingwiththecontributors,andprovisionoffreecopiesofthepublishedproducttothecontributingculturalgroups.
15 Writer/directorMichelleTorres,telephoneinterview.16 FilmmakerCatrionaMcKenzie,telephoneinterview.17 DavidJowsey,ABC.
18 Pathways&Protocols
Implementingprotocolswithinfilmpractice 19
3...Implementing.protocols.within.film.practice
Filmmakersareurgedtodevelopandimplementprotocolsforallstagesoftheirfilmproject.Thissectionprovidesabestpracticeguidetohowthiscouldbedone.
Importantpointstorememberare:
There.is.not.just.one.Indigenous.culture,.there.are.many:ProtocolsdifferfromoneIndigenouscommunitytoanother.Whiletherearemanysimilaritiesindealingwithcultures,theremayalsobemajordifferences.Whenapplyingtheseprotocols,youshouldalsotakeintoaccountanyissuesfromthespecificIndigenouscommunity.IffilmingcrossesoverclanboundariestheappropriateIndigenouspeoplefromallclansmayneedtobeconsulted.
Torres.Strait.islanders.have.their.own.distinct.identity,.history.and.cultural.traditions:.ThereisadifferencebetweenAboriginalandTorresStraitIslandercultures.ForinformationonTorresStraitIslanderculturalprotocolsseeMina Mir Lo Ailan Mun: Proper communication with Torres Strait Islander people.18
Protocols.apply.in.urban.and.contemporary.contexts.as.well.as.to.rural.and.remote.communities.AsEricaGlynnstates:
CulturalprotocolsstillexistinmajorcitieslikeSydneyorMelbourne.PeopleshouldmakecontactwiththekeyIndigenousorganisationsorcommunitymembers.Itshouldstillhappenasamatterofcourse.Infact,thebiggerproblemsarenotalwaysintraditionalcommunities.SomefilmmakersassumethatbecauseanIndigenouscommunityisnotlivingatraditionallifestyle,theydonothavetoconsultwithlocalorganisations,eldersandsoon.Thiscancauseallsortsofproblems.Whilstthereisaneedtobeawareofthedifferencesbetweentraditionalandurbancommunities,protocolsshouldstillbeappliedinurbancommunities.19
Protocols.are.ethical.standards:Protocolsaimtoencourageethicalconductandpromoteinteractionbasedongoodfaithandmutualrespect.Protocolsarenotlegallyenforceableandareonlyeffectiveifpeoplevoluntarilyadoptthestandardsorincorporatethemintocontractualarrangements(forexample,inthearrangementsforgivingfilmmakersaccesstoacommunity’slands,storiesorexpertise).
18 DepartmentofAboriginalandTorresStraitIslanderPolicyandDevelopment,Mina Mir Lo Ailan Mun: Proper communication with Torres Strait Islander people,www.atsip.qld.gov.au/resources/documents/minamir.pdf,accessed22April2008.
19 EricaGlynn,telephoneinterviewwithToniJanke.
20 Pathways&Protocols
Protocols.may.change.over.time:Likesocietiesandlaws,protocolsmaychangeovertimeanditisimportantthatyourfilmmakingprotocolsbeupdated.TheseguidelineswillalsobesubjecttoongoingreviewinordertoreflectthechangingnatureofculturalrelationshipsinAustralia.
The.best.of.intentions
OneIndigenouswriter/directorhasincludedthefollowingclauseinheragreementwiththeproductioncompanyforherfilm:
ThepartiesacknowledgethattheFilmrequiresspecificculturalpracticesandconsiderationstobemetandtheDirectoragreestoadvisetheProductionCompanytothebestofherendeavoursofanyspecificculturalissuesthatmayariseinthemakingoftheFilm.TheDirectorandtheProductionCompanyagreetoconsultandworkwitheachotherandmembersoftherelevantculturalcommunitytoensurethatallculturalresponsibilitiesandrequirementsaremet.Intheeventofadisputearisinginrelationtospecificculturalpractices,thepartieswillusetheirbestendeavourstoresolvethedispute.
3.1. .Overview.–.protocols.for..documentary.versus.drama
Thesameprinciplesofrespect–forIndigenouscultureandheritage,andforIndigenousindividualsandcommunities–applytobothdramaanddocumentaryfilmmaking,andjustasitisstandardpracticeforfilmmakerstoconsultondocumentaries,wealsorecommendthatfilmmakersconsultondramasthatinvolveIndigenousstoriesorthatincludeIndigenousculturalandintellectualpropertycontent.Theadviceinthefollowingsectionsisthereforegenerallyrelevantwhateverthegenre.
However,filmmakershaveidentifiedarangeofkeyissuesspecifictoeach.
Fordocumentary.production,keyissuesinclude:
• dealingwithsensitiveissuesinIndigenouscommunities(seeinparticularPrivate lives of individuals,page22;Real events,page23;andHow will the story be told?page23)
• whetherparticipantswillbepaid(seeRecognising the value of Indigenous cultural and intellectual property,page33)
• handlingdramatisationswithindocumentaries;whetherthisisappropriatewillrequireconsultation(seeReal events,page23)
• handlingasituationwherethesubjectofthefilmchangesduringorafter
Implementingprotocolswithinfilmpractice 21
shooting.Forexample,itisnotethicaltoopenadoorintothecommunitybysayingthedocumentaryisaboutcustomarylaw,butthenfocusonpublicdrunkenness.
Fordrama.productions,keyconsiderationsinclude:
• IfthefilmmakessignificantuseofIndigenousculturalheritage,thefilmmakerneedstobeawareofwhyandhowthisisused,includingissuesofauthenticity,representationandculturalintegrity.Ifthefilmisbasedonastoryfromaparticulararea,forinstance,whatimpactwillthisstoryhaveontheculturefromwhichitisdrawn?Arethelanguage,musicandculturalitemsusedcorrectly?
• Ifthestoryisbasedonrealeventsorthelifeofarealperson,similarconsiderationstothosefordocumentariesapply(seePrivate lives of individuals,page22;Real events,page23;andHow will the story be told? page23).
• IfthefilmhasIndigenouscharacters,evenwheretheyarenotbasedonrealpeople,issuesofrepresentationandauthenticityagainarise(seeHow will the story be told?page23).
• IftheIndigenouscharactersareleads,itisadvisablealsotoengageIndigenouswritersordirectorsorotherIndigenouskeycreativeprofessionalsandconsultwithIndigenousscriptwriters(seepage26).
• Ifthecharacterisaminorone,reasonablestepsshouldbetakentoensurethatthecharacterisnotbasedonarealperson.Ifthecharacter’sroleinvolvessomeaspectofIndigenousheritage,thereshouldbeconsultationonthatpoint.
3.2. Initial.research.and.project.development
Gettingtherightfocusandtherightpeopleinvolvedearlyisimportant.Indigenousinputorconsultationduringtheearly/conceptstagesoffilmdevelopmentwillhelpcreateauthenticworkthatisculturallyandhistoricallyaccurate,andminimisethechanceoffutureproblems.
Iftheconsultationprocessisrightfromtheverybeginning,thenmostoftheotherissuesthatrelatetoIndigenouscontent,suchascopyright,permission,culturalintegrity,authenticityandsoon,wouldbecovered.Grant Hansen, Melbourne Film Workshop conducted by Terri Janke20
InvolvingIndigenouspractitionersintheconceptionanddevelopmentoftheprojectwillalsoencourageIndigenousperspectivesonthestory.
Why.is.the.film.being.made?Beforeadvancingafilmproject,IndigenousfilmmakerDarleneJohnsonrecommendsfilmmakersconsiderthequestion:“AmIthebestpersontotellthisstory?”21Indigenouswritersanddirectorsoftenbringspecialistculturalknowledge
20 GrantHansen,SonglinesAboriginalCorporation.21 MeetingwithDarleneJohnson,Sydney.
22 Pathways&Protocols
totheirwork,andexperienceinculturalheritagemanagementandcross-culturalexchange.ScreenAustraliaalsoencouragesprojectswithIndigenouspeopleinwriterand/ordirectorroles.Inanycase,itisimportantthatallfilmmakersconsiderethicalissuesanddiscussthemwiththerelevantpeople.Otherquestionsconsideredbyfilmmakersshouldinclude:
• WhatexpertiseamIbringingtotheproject?• Whatperspective?• Whateffectmightthisfilmhaveontheindividuals,familymembersand
communityitportrays?• WillIndigenouspeoples’rightstotheirculturalknowledgeorstoriesbe
compromisedbythefilm?
WhenmakingfilmswithIndigenoussubjectmatter,somefilmmakerswritethestoryandthenlookforcustoms,sacredsitesorotherculturalfactorsthatcanbeincorporatedintothefilmstory.Theprocessshouldbetheotherwayaround.Focusonthecommunity,findtheplaceandtheculturalthemeswilldevelopfromthissource.
What.is.the.basis.of.the.film?Existing.materials:Theadaptationofnovelstofilmiscommonpracticewithinthefilmindustry.TherehavebeenanumberofIndigenousauthorswhoseworkshavebeenmadeintofilms,suchasDorisPilkington,whoseFollow the Rabbit-Proof FencebecamethefilmRabbit-Proof Fence,andArchieWeller,whoseThe Day of the DogbecamethefilmBlackfellas.Also,booksbynon-Indigenousauthorshavebeenadaptedforthescreen,suchasPhillipGwynne’sDeadly Unna,whichbecamethefilmAustralian Rules.
ItisimportantforthefilmmakertoconsultwithIndigenouspeopleeventhoughthefilmmaybebasedonanunderlyingtext.Transferringthestorytoanewmediummayintroducenewconsiderationsthatthewrittentextdidnothave.
Filmsbasedontraditionalstoriesorworkssuchasdancethataren’tinmaterialformalsorequireconsultationifadaptingthemtofilm.
Private.lives.of.individuals:Itisnotappropriatetodiscloseconfidentialpersonalinformationwithoutpermissionfromtherelevantpersonorgroupaffectedbythedisclosure.Thiswillincludeinformationaboutpeoplewhoaredeceased.
IffilmprojectsdepictthelifeofanidentifiableIndigenousindividualorcommunity,asktheindividual,communityorrelativesoftheindividualforpermissionandobservecloseconsultationandconsentthroughouttheprocess.Legally,priorpermissionisinyourbestinterest.Youmayneedtonegotiatetherightsinreturnforpaymentfordramatisedversions.Itisimportanttoavoiddisclosingsensitiveinformationwithoutdiscussionandconsent.
Beawarethatincludingpersonalmaterialmaybesensitive.Ifitisstronglyobjectedtobyfamilyorclanrepresentatives,leaveitout.
Implementingprotocolswithinfilmpractice 23
Real.events:.Filmsbasedonrealeventswillneedconsultationandpreferablyconsent.Thisisacceptedpracticeinmainstreamfilms,whethertheyinvolveIndigenoussubjectsornot.
Dramatisedsectionswithindocumentariesrequirespecialcarebecauseoftheextra‘authenticity’thatthedocumentarycontextcangivetowhatisessentiallyaninterpretation,ratherthanapresentation,ofreal-lifeevents.
How.will.the.story.be.told?Representation:.Thisreferstohowculturalmaterialisinterpretedandrepresented.Infilmmaking,therepresentationofIndigenouspeopleonfilmhasbeenmanifestintheuseofwords,language,story,plotandculturalsymbols.
Inthepast,Indigenouspeoplehaveexpressedconcernthattheirheritagematerialhasbeenappropriatedwithoutanyrespectorrecognitionthatthematerialcomesfromadistinctculturalgroup.ConcernshavealsobeenexpressedthatsomerepresentationsofIndigenousculturalheritagematerialhavecompromiseditsculturalintegrity.
Authenticity:ThisreferstotheculturalsourceofIndigenousheritagematerial.Givingproperconsiderationtoauthenticitymeansrespectingcustomarylawsorculturalobligationsandensuringthattheappropriatecontextisgiventotheculturalmaterial.Totakeculturalheritagematerialoutofcontextoruseitinappropriatelycandisplacetheculturalauthenticityofafilm.Forexample,insomecasesfilmmakershaveattemptedtopresentastoryinaparticularplacebutusedanIndigenouslanguageandculturalsymbolfromadifferentIndigenousculturalgroup.
Contactingandgettingadviceabouttheseissuesfromtherightpeopleatanearlystageiscrucial(seeSection4,pages51–62).
Avoid.stereotypes:FilmmakersshouldaimtorepresentIndigenouspeopleinappropriatewaysthatarenotstereotypicaloroffensiveanddemeaning.Filmmakersshouldundertakereasonableresearchintotheirsubjectandproposedcharacterstoavoidstereotyping.
Wrongfulandhurtfulportrayalscancausedivisionsincommunities;peopleneedtoconsiderthis.Pauline Clague22
Language:Afilmmakermustalsobesensitivetolanguageuseinfilms.Makesurethelanguagefitsthestory.Thatis,thelanguageisthatofthepeopleportrayed.Beawarethatcertainwordsusedinoneareaorbyonecommunitycanmeansomethingtotallydifferentinanothercommunity.Thelocallanguageshouldbeusedandclearedbecauseitcouldbeoffensive.CheckwithrelevantIndigenousadvisers.
22 FilmmakerPaulineClague,meeting.
24 Pathways&Protocols
Alsoconsidercarefullytheuseofderogatoryoroffensivewordssuchas‘Abo’,‘Boong’or‘Gin’.Dotheyaddtothestoryoraretheygratuitous?
Consultsensitive.issues.earlyon.Initialconsultationwillsavetime,money,frustration,painandsuffering.
Rachel.Perkins.on.authenticityNon-IndigenousfilmmakerswhowanttoportrayIndigenousstoriesmusttakeresponsibilityforfindingoutabouttheculturestheyarerepresenting.Filmmakersoftendon’trespecttheauthenticityofstoriesandculturalmaterial.YetAboriginalaudiencescanpickoutthefalseculturalreferences,forinstance,wherethenamesandlanguagesarenotfromthatparticularareaandthestoriesandthedancesarewrong.It’slikeputtingaplasticbaginanEnglishperiodfilm.
AlotoffilmrepresentationsofIndigenousculturesarepastichesfromavarietyofIndigenousnations.Filmmakersdon’tdotheproperresearchabouttheculturalcontentforIndigenousfilms,andoftentheyjustmakeitup.ButIndigenouscultureisboundbyahighlydevelopedsystemofAboriginallawandsocialorganisation,soiffilmmakerswanttomakefilmsaboutus,ourcultureandourexperience,theyshoulddotheworkandfindoutaboutourlaw.23
Checklist.for.initial.research.and.project.development
PreliminaryHaveyouconsideredwhyyouaremakingthefilmorprogram,whyyouare
usingIndigenousmaterial,andtheperspectiveyoubringtoit?Haveyousoughtadviceontheculturalissuesthatneedtobeaddressed
throughconsultation?
ConsultationHasconsultationwithrelevantIndigenousindividualsandcommunitiesbeen
initiated?
RepresentationHowwillyourworkaffecttheIndigenousgroupitisbasedon?DoesitempowerIndigenouspeople?Doesitdepictorexposeconfidential,personaland/orsensitivematerial?Doesitreinforcenegativestereotypes?Haveyouresearchedyourcharacters?Istheuseoflanguageappropriate?
23 TelephoneconversationwithfilmmakerRachelPerkins.
Implementingprotocolswithinfilmpractice 25
Cultural.integrityAreyouproposingtoadaptoraltertraditionalknowledge,communallyowned
materialorculturalheritagematerialinanyway?Ifso,haveyouexplainedtheadaptationyoupropose,givenpeopletimetocomment,andobtainedconsent?Willtheindividualorcommunitywhoisthesubjectoftheworkhavean
opportunitytoseetheworkpriortopublicdissemination?Havetheirsuggestionsbeenincorporated?
AuthenticityHaveyouestablishedthatanyIndigenousculturalandintellectualpropertyin
yourfilmisusedinthecorrectculturalcontext?Haveyouestablishedwhetherthereareanyrestrictionsonthematerialandthe
exactmeaningofanywordsinthelanguageifunsure?Doyouuseheritagematerialsuchasimagery,musicandlanguagewithproper
regardtogender,clanaffiliationsandculturalrestrictions?
Sensitive.or.sacred.materialIsthematerialculturallysensitive?Isitsecretorsacred?Isitawomen’sor
men’sarea?Arethereanythemesthatrefertosacredorsecretmaterialthatmayneed
consultationwithIndigenouspeople?Aretherecontemporarysensitiveissuesinvolved?Ifso,howshoulditbehandled?Howdoyouplantoinvolvetherelevant
Indigenousspecialistagenciesinthedevelopmentofthefilmproject?HaveyouspokentoeldersorotherrelevantIndigenouspeoplefromthe
relevantareatoidentifyanysensitivitiesandsacredorreligiousissuesthatmightpreventdepictionoftheimage,storyorevent?
3.3. Script.development
EarlyengagementwiththeIndigenouscontentofaprojectiscrucialandshouldcontinuethroughscriptdevelopment.Often,productionandthelatterstagesoffilmmakingcanbecomecontentiousbecauseofanoversightorfailuretoensureIndigenousinputtothescript.
InvolvingIndigenouspeopleinthescriptwritingprocesscaninclude:
Using.Indigenous.writers:AgrowingnumberofAboriginalandTorresStraitIslanderpeoplearewritingforthescreen.ProductioncompaniescouldengageIndigenouswriterstowritethescript.
26 Pathways&Protocols
Using.Indigenous.script.consultants:Itmaybeusefultoengagetheservicesofaconsultanttoworkandadvisewritersatthetimethescriptisbeingwritten.Oftenconsultationoccursafterthescriptisfinalisedbutconsultationduringthewritingphasecanfocuscontentandenhancethestory.
Using.Indigenous.script.assessors:.ForfilmswithIndigenouscontent,thescriptshouldbeassessedbyanappropriateIndigenouspersonaspartofthedevelopmentprocess.
TheBlack BookisanexcellentwayoffindingIndigenouspractitioners(seeDirectories,page79).
Development.of.Whale.Rider.and.the.close.involvement..of.Indigenous.people
InthedevelopmentoftheNewZealandfilmWhale Rider,non-Indigenouswriter/directorNikiCaroworkedcloselywiththeMaoriwriterWitiIhimaerainadaptinghisnovellaforthescreen,aswellaswithlocalcommunities.
ThefilmdepictsthelegendoftheWhaleRider,KahutiaTeRangi,ancestorofthepeopleofTeTaiRawhiti,whotravelledfromHawaiki,theplaceoftheAncients,totheeastcoastofNewZealand.HisdescendantsaretheWhangarapeople,orWhangaraiwi.
ThefilmfeaturedawhollyMaoricast,someofwhomcomefromthetinyvillageontheeastcoastoftheNorthIslandwherethefilmwasshot.Thefilmmakersalsodevelopedculturalprotocolsforworkingwithculturalheritageandpresentingitinthefilm.
Choosing.an.Indigenous.script.adviserChoosingtherightIndigenousconsultantcanbedifficult.Itmightbethegenreofthefilm,orthegeographicareawheretheassessorcomesfromthatdrawsthefilmmakertochoosethatparticularconsultant.Thefollowingcriteriashouldbeconsidered:
• relevanttechnicalareaofexpertiseandabilitytodeliverandprovidenecessaryservices
• culturalknowledge,backgroundandrelevancytotheparticularfilm• experienceintheindustry.
Implementingprotocolswithinfilmpractice 27
Funding.agency.encourages.use.of.script.consultants
TheNSWFilmandTelevisionOfficesupportstheengagementofscriptconsultantsatanearlystageandemploysIndigenousreaderstoreportonprojectswithIndigenouscontentatthescriptdevelopmentstage.Thescriptisassessedforrepresentationandauthenticity.AstheFTOnotes:
Wespecificallyaskreaderstoidentifyareasofthescript,characters,plot,dialoguethatmaybeoffensiveand/orinaccurate.Wherethereadertellsustheydonothaveknowledgeofthatcommunity,wereferittoanotherreaderwiththeappropriateculturalbackground.24
Questions.for.Indigenous.script.assessorsBelowisalistofquestionsthatmaybeusefulforscriptassessorstoconsiderduringanassessment:
• Whatistheidentityofthewriter/filmmaker?• Whichcommunityisheorshefrom?• HaveIndigenouscommunitiesbeenconsulted?• Arethereanyculturalaspectsrelatingtoheritage,language,location,
or‘sacred’/sensitiveissuesthatneedtobeauthenticatedoraffirmedbyIndigenouspeopleortheirfamilies?
• Doesthewriter/filmmakerhavepermissionfromthecommunitiestomakethefilm?
• Isthestorybasedonfactorfiction?• HowareIndigenouspeopleportrayed?• Isthere‘negativestereotyping’ofIndigenouspeopleorcommunities?If
so,isitlikelytooffendIndigenouspeopleorcommunities?• Isit‘necessary’toincludespecificscenesinthefilm?• Istheculturalvalueoftheunderlyingstoryenhancedorunderminedby
thefilm?• Doesthefilmaccuratelyreflectthehistoricalorculturalfacts?
24 NSWFTOsubmission.
28 Pathways&Protocols
Checklist.for.script.developmentHaveyouconsideredusingIndigenouswritersorscriptconsultants?HasthescriptbeenassessedbyanIndigenousscriptassessorandtheir
suggestionstakenonboard?Hasthefinaldraftscriptbeenendorsedbytherepresentativeorganisations
portrayedinthefilm,ortherepresentatives/descendantsofindividualsportrayedinthefilm?
Remote.Area.Nurse.–.script.adviserForthetelevisionseriesRemote Area Nurse,theproducer,PennyChapman,engagedthreescriptwriters–JohnAlsop,SueSmithandAliceAddison.Incomingupwiththeplot,Pennywasinspiredbytheexperienceofhersister,whoworkedasanurseonMasigIsland.Sheconsideredthatthefilmshouldgenerallybeaboutanon-Indigenouswoman.“Sheisanoutsider,whodesperatelywantstobelonginaTorresStraitIslandcommunity.Attheend,shefeelsshecan’tsosheleaves,”saidPenny.
Atthestartoftheproject,PennyvisitedPhillipMills,aTorresStraitIslanderhealthmanagerintheTorresStrait.Sheaskedhimifhehadanysuggestionsaboutwhosheshouldengageasaculturaladvisertoreadthetreatmentsandscriptsandchecktheculturalcontent.PhillipMillsreferredhertoGeorgeMyewhoagreedtobetheconsultant.ShesentabriefsynopsisoftheseriestoGeorge,whichheliked.Shethengotthewriterstoworkonthefirstdraftsforeachepisode.
“WehadawrittencontractwithGeorgesettingoutwhatwewantedhimtodo–toadviseusonthestrengthsandweaknessesoftheportrayalofTorresStraitIslanderculture.Theagreementalsosettermsforpayment.Everytimewedidanewtreatment–whichwasseveraltimes–wesentittohim.Wealsosenthimdraftscripts.WhenGeorgegotthefirstepisodescript,helikeitsomuchhecouldn’twaitforthenextepisode.Hegaveusadviceonculturalissuesandsensitivities.Forinstance,hesuggestedthatwechangethenameofacharacter,becausesomeoneofthatnamehadjustdiedonMasig.”
Pennysaysthatoncethedraftwasfinalisedconsultationcontinuedwithevenmorepeople.“Eventhoughyouhaveaculturalscriptconsultantyoucan’tassumethatwhattheconsultantsaidisgoingtobeagreeduponbyeveryoneinthecommunity.”
ThescriptwasgiventopotentialTorresStraitIslanderactorstoread.OneactorraisedconcernsandPennyorganisedthewriterstomeetanddiscusstheconcernswiththeactor.“Theylistenedtothedifferentconcerns,someofwhichconflictedwithcommentsfromIslanderstheyhadalreadyworkedwith.Theytookonboardthethingsthatwereuseful.”
Implementingprotocolswithinfilmpractice 29
Thereadingofthescriptbythecastalsogaveanopportunityforconsultation.
“BeforefilmingwereadthroughthescriptonMasigIslandwithallthecast.Wegotlotsoffeedback.ThiswasusefulbecausemanyofthecastwerelocalpeopleandrepresenteddailylifeintheTorresStrait.Oneofthewriters,AliceAddison,wasthereandabletomeetwiththecastandtheadviser,RockyGela.Alicewouldlistenandthenmakechangestothescript.Evenduringfilmingwecontinuedtogetfeedback.Ittakestimeforpeopletounfoldsotheyfeeltheycansaywhattheythink.Asthecommentsflowed,wewereabletosendcommentsbacktotheotherwritersinSydney,whocouldmakethenecessarychanges.”
Thescriptchangedforthebetterasaresultoftheconsultation.Pennyhighlightedsomeexamples:
“Wechangedtheadoptionstory.Originallyitwasportrayedasasourceofsadnessandgrieving.ButforTorresStraitIslanderculture,adoptionisagift.TorresStraitIslandershaveaculturalpracticeofadoptionswherechildrenaregiventofamilymemberswhocan’thavechildren,orwhoarelonely,tolookafter.Thereiscontinuedinteractionbetweenthebirthmotherandtheadoptedfamily.Adoptionisnotseenassomethingthatcomesoutofatoughnecessity.Thescriptwaschangedtoreflectthis.”
“Therewasadeathontheislandwhenwewerefilmingandthisrequiredfurthersensitivitytofilmingandportrayingthescript’sdeathscene.”
Theweddingscene’sportrayalinvolvedlivelydebateaboutTorresStraitIslanderweddingceremonies.“CeremoniesintheWesternIslandsweredifferentfromtheEasternislands.Therewasmuchdiscussionabouthowtheweddingsceneshouldbefilmed,whichleadtoacompetitionaboutwhichceremonywasbetter.”25
3.4. Pre-production.and.production
Inpre-production,issuesarisewhenchoosinglocations,engagingcastandcrew,developingcostingsandbudgets,raisingfinance,andensuringalltherelevantconsentsandcontractsareinplace.
LocationsRespect.for.sacred.areas.and.objects:Pickingtherightplacetofilmwillrequireconsultationandoftenwrittenconsent.Itisimportantnottofilmsacredsitesorparkheavyvehiclesonsacredland.Youshouldalsoaskpermissiontofilmobjects,orpiecesofartisticworks.(SeeSection4,pages51–62;andalsoSection5,pages63–77forinformationonfilmingcopyrightworks.)
Filming.in.Indigenous.communities:IfyouwanttofilminanIndigenouscommunityyoushouldcontacttherelevantcommunity,organisationorcouncilfor
25 PennyChapman,telephoneinterview,17April2008.
30 Pathways&Protocols
permissiontofilm,andprovidethemwithdetailsofyourfilmproject(seeSection4).Itisagoodideatoestablishformallinesofcommunicationbetweenthecrewandthecommunityby,forexample,hiringsomeonefromthecommunitytoactasliaison.Thisappliestoremote,ruralandurbancommunities.
Getting.permission:WhenvisitingIndigenouscommunitiesforthepurposeoffilming,itisimportanttogettheconsentofthecommunity.
SomefilmmakersdonotgetthenecessaryconsentsandfindtheyarenotallowedonIndigenousland.Ortheyturnupatanorganisationreadytofilm,andhavenotbriefedpeopleadequatelyaboutthefilmproject.Insomeinstances,Indigenouspeoplemaynotallowfilmingunlessprotocolsarefollowed.Thiscanhaveanimpactontheproject,particularlythebudget.
SeeLocation permits(page54)formoredetailsonwhenapermitisneededandhowtogetone.
Permit.too.lateOnefilmcrewtravelledtotheTorresStraittofilmonMurrayIsland,butwerenotallowedtofilmbecausetheyhadnotappliedforandreceivedapermitbeforetravelling.
Filming.UluruAdocumentarymakerhadincludedpartsofUluruinadocumentarybuthadnotappliedfororreceivedapermitforfilminganddidnotconsultthefilmingguidelines.Afterbeingtoldbythebroadcasteroftherequirementsforapermit,thefilmmakerappliedforonebutwasrejected.Thefilmincludedsacredsitesinthefinalcut,deviatingfromtheshootingscript,andpromotedtheclimbingofUluru,whichisagainstthefilmandphotographyguidelines.Intheend,thefilmmakershadtotakethefootagefromthefinalcutbeforescreening.ItsfocuswaslargelyonmainstreamtourismanditdidnotpromoteAnanguculture.
Filming.on.location.in.the.Torres.Strait:.Remote.Area.Nurse.
Intheprocessofselectingasuitablelocationtofilmthemini-seriesRemote Area Nurse,producerPennyChapmanandco-producerHelenPanckhurstmadeseveraltripsincludingthosetoaCapeYorkcommunityandtheTorresStraitislandsofMasig,Mabuiag,ErubandYam.“Intheend,wechosetheTorresStraitasafilmlocationbecauseofitsexoticlocation,”saidPenny.
Atthescriptingstageofthefilmproject,theyengagedaTorresStraitIslanderfilmconsultant,GeorgeMye,toprovidefeedbackandadviceoneverystageofthescriptingwithregardtoculturalmatters.Oncetheyprogressedfurther,onGeorge’sadvice,theywrotetoandconsultedwiththechairmenofthevariousislandcouncils.
Implementingprotocolswithinfilmpractice 31
“Atthatstageitwashardtomakecontactbecausethechairmenhadnoideawhowewere.We’dwriteorleavemessages,andnoonewouldcallback.Thehardestthingforuswastounderstandwasthatwehadtokeepcallingback.Ikeptcallingandeventuallygottotalktopeople,”saidHelenPanckhurst.
Thefilmmakersspoketorelevantcouncilsaboutwhatfilmingonlocationwouldinvolve.Someofthechairmenthoughtthatthefilmingwouldbetoodisruptivetotheirisland’ssociety,anddidnotwantthefilmingontheirisland.
Aftermuchdiscussion,MasigandYamIslandswereshort-listedasthetwomostappropriate.ThetwochairmenmetonThursdayIslandandtheydecidedthatMasigwouldbethemostappropriateislandtofilm.Asitturnedout,MasigIslandhadbeentheislandPennyChapman’ssisterhadworkedonasaremoteareanurse.Herexperiencehadbeenaninspirationfortheseries.
Oncetheygotthepermissiontofilmontheisland,MasigIsland’sChairman,DonMosby,selectedRockyGelaasthekeyliaisonperson.RockywasfromErub,butmarriedtoaMasigIslander.Asanin-law,culturallypeoplehadtolistentohim.Pennysaid,“Rockywasthepersonwhowemetwitheveryday.Hewouldaskwhat’shappeningandwouldtalktotheelders.Hewasincrediblypatient.”
Thereweremanyissuesforfilmingonlocationthatthefilmcrewhadtorespect.AsPennyrecalls:
“TheMasigIslandersdidn’twantustofilminthecemetery.Theyconsideredthatitwasverybadspirittodigaholeinthegroundandnotputanythinginit.Rockywentaroundtotheelders.Shootingasceneinthecemeterywherethescriptcontainedaburialscenewasnotacceptable.Theydidn’twanttohaveanemptycoffin.Sowehadtotakeitapart.Weaskedifwecouldhavetheburialonanuninhabitedisland.Thiswasdiscussedandoneseniorman,DanMosby,saiditwasokaytofilmthesceneonhislandonanearbyuninhabitedisland.”
Filmingonlocationtookoverthreemonths.Thefilmcrewhadtobemindfuloftheirimpactonislandlife.ThecrewgaveupalcoholbecauseMasigisadryisland.Also,whilsttheywerethere,anislanderpassedaway,andfilmingwasshutdownforadaytorespectthefamily.26
Actors.and.consultants.should.be.paidIfIndigenouspeopleareusedasconsultantsforculturaladvice,theyshouldbepaidanagreedfeeinlinewithotherconsultantssuchasascripteditor.
Further,ifanactoronaprojectisalsotheconsultantonculturalmaterialtheyshouldbepaidanadditionalfeetotheiractingfee.Thisshouldbeinlinewithfeespaidtootherconsultantssuchasascripteditor.
26 PennyChapmanandHelenPanckhurst,telephoneinterview,17April2008.
32 Pathways&Protocols
Allactorsworkinginfeaturefilms,televisionseriesorserialsanddramatisationswithindocumentariesshouldbepaidaccordingtotherelevantawardoragreement(seeIndustrial Agreements,page112forSPAAandMEAAcontactdetails).
ActorswhohavequestionsaboutthefeestheyshouldbepaidshouldcontacttheMedia,Entertainment&ArtsAllianceAward(seeIndustrial Agreements,page112forMEAAcontactdetails).
Thequestionofwhetherparticipantsindocumentariesshouldbepaidisnotsoclearcut.Somepeoplethoughtthatparticipants(subjectswhoareinterviewed)areentitledtoafee,dependingonwhethertheperson’scontributionisakeycomponentofthefilmandtheexpertisethatparticipantbrings.Otherpeopleconsultedthoughtthatpayinginformantsandparticipantscouldbeseenaspayingforastory.
Thisaspectshouldbefullynegotiatedwiththeparticipantswellbeforefilming.Suchcostswouldobviouslyneedtobetakenintoaccountinthefilm’sbudget.
Cast.and.Crew
Itisappropriateforperformersandcrewtoaskifconsultationhasbeenundertakenandifneeded,consenthasbeengivenbytherelevantIndigenouscommunitiesorindividual/s.
ItisnotappropriatetoassumethatanIndigenousactororcrewmemberberesponsiblefortheculturalintegrityoftheproject.Thisistheresponsibilityoftheproductioncompany.
Indigenousactorsandcrewmaybehappytotakeonthisrole,butthisneedstobediscussedearlyinthecastingandcrewingprocess,wellbeforetheytakeuppositionsorfilmingbegins.IftheyaretotakeontheroleofIndigenousconsultanttheyshouldberemuneratedinlinewithfeespaidtootherconsultants.
Implementingprotocolswithinfilmpractice 33
Submission.from.the.Media,.Entertainment.&.Arts.AllianceIndigenousperformerstoooftenfindthemselvesininvidiouspositionswhenappropriateconsultationhasnotbeenundertakenorrelevantconsentshavenotbeensecured.
Asemployees,theycanfindthemselvesbeingdirectedtoundertakeaperformanceintheabsenceofappropriateconsentoraskedtogiveaperformancethatmightbeculturallyoffensiveinsomerespect.Insuchcircumstances,theiroptionsarethenreducedtorefusingtowork,thusjeopardisingfilming(andpotentiallyputtingthemembersinbreachoftheiremploymentcontract)orundertakingworkintheknowledgethatappropriateprocedureshavenotbeenfollowed.
TheramificationforIndigenousperformerscanbeveryserious.TheAllianceisawareofatleastoneinstance–intheearly1990s–whereanIndigenousperformerwas,inthisway,exposedtotheriskoftriggeringphysicalpunishmentinaccordancewiththecommunitylawthatwasoffended.
Theissuesaremostacuteforperformersasundertakingaperformancethatmightbeculturallyoffensivewillbeclearlylinkedtothemindividually–theiractionsarerecordedonscreen.Ontheotherhand,crewmembersundertakingorparticipatinginanactivitywhereappropriateconsultationhasnotbeenundertakenorappropriateconsentsecuredarenotsoreadilyidentifiable.However,theiroptionsareaslimitedasthoseofperformersinthesamecircumstances.
Itisimportantthatcastandcrewbeconfidentthatdueprocesshasbeenfollowedandthattheynotbeinthepositionwheretheyareaskedtoparticipateinactivitiesthatothers(andthemselves)mayfindoffensive.
Recognising.the.value.of.Indigenous.cultural.and.intellectual.propertyIntheartsandfilmindustryitiscommonplaceforusersofintellectualpropertytopayfeesto,orshareprofitswith,theownersofcopyrightworks.Forexample,ifabookisadaptedintoafilm,theauthorhastherighttoaskforandbepaidafeeand/orroyalties.
Inthesameway,thevalueofIndigenousculturalandintellectualpropertyshouldberecognised.Iftheculturalmaterialsuchassongs,dancesandartisticworkaretobeusedforcommercialpurposes,makecertainthattheIndigenousownersofthematerialreceiveappropriatefinancialcompensation.Insomecasesthismightinvolveaone-offpayment,butiftheimageistobeusedwidely,itmaybebettertonegotiatearoyaltypayment.
Itisimportanttonotethattheabilityoffilmproducerstopayroyaltiesandfees
34 Pathways&Protocols
willdependontheirfilm’sbudget,andwhetherthefilmmakesanyprofit.Alotofdocumentaryproduction,forinstance,doesnotrecoupprofits.ItmightbeunrealisticforanIndigenouscommunitytoexpecthighfeesandpaymentsforadocumentaryproductionthathasalowbudget.However,foralargerfeaturefilm,thiswouldbedifferent.
Theissueofcopyrightownershipofculturalexpressionsthathavebeenfilmedorrecordedinsomeotherwayshouldbediscussedupfront.ThecopyrightoftherecordingandfilmingofIndigenouspeople’sculturalexpressionwillnot,undergenerallaw,belongtotheIndigenouscommunitiesbutwiththerecordistsandfilmmakers.However,asnotedinOur Culture: Our Future,itisanimportantIndigenousculturalrightforIndigenouspeopletocontrolcommercialexploitationoftheirIndigenousculturalandintellectualproperty.InsomecaseswherefilmmakershaverecordedasubstantialamountofIndigenousculturalandintellectualproperty,suchastherecordingof‘traditionalcreation’stories,theyhavesharedthecopyrightandroyaltieswiththerelevantIndigenousgroup,torecogniseIndigenousownershipofculturalstoriesandthevalueofIndigenousculturalandintellectualproperty.27
An.Anangu.StoryUluru – An Anangu Story wasaFilmAustraliaNationalInterestProjecttitleproducedin1986inconjunctionwiththeMutitjuluCommunityfromUluru-KataTjutaNationalPark.Itisforsaleonvideoonly.ThematerialisnottobesoldasstockfootagewithoutthepermissionoftheMutitjuluCommunityIncorporated,anIndigenouscommunityorganisationwhichrepresentsAnangupeoplelivingatMutitjuluinUKTNP.Apercentageoftheprofitsfromthesaleofthevideoisdistributedtothecommunity.Thefilmhasgrossedover$167,000.Approximately$34,000ofthishasbeendistributedtothecommunity.
Consents.and.clearancesAfterproperinformationaboutthefilmprojecthasbeenprovidedtoIndigenousparticipantsorsubjectcommunities,consentsshouldbeobtained,preferablyinwriting.Itisstandardpracticeinthefilmindustryforfilmmakerstorequireparticipantstoprovideastandardrelease,ornegotiatetherightsunderwrittencontract.WrittencontractsshoulddealwithIndigenousculturalandintellectualpropertyrights(seeWhen consent is required,page52;andSection5,pages63–77).
Thisreleaseorcontractcanalsoincludeaprotocoltobefollowedintheeventoftheperson’sdeath:forexample,whethertheywishtheirnameand/orimagetoberepresented,orwhethertheywouldprefertobeknownbyanothernameaftertheirdeath.
27 TerriJanke,Our Culture: Our Future,pp.47–48.
Implementingprotocolswithinfilmpractice 35
ShootingBythetimethefilmstartsshooting,castandcrewshouldallbeawareoftheprotocolsdevelopedfortheproject,includingwhatisappropriatebehaviourandanysensitivitiesinvolved.
Duringtheshoot,it’simportanttomonitortherelationshipbetweenthecrewandthecommunity,andthisisakeyroleforaliaisonperson.Communicatinganychangesthatoccurisespeciallyimportant;theseareinevitableonafilmshootbuthavethepotentialtodestroyagoodworkingrelationship.
Appropriate.language..(providedbyBeckColeandWarwickThornton)
WhilstworkingwithinanIndigenouscommunity,itisimportanttogivetheappropriatelevelofrespecttoeldersandthoseinpositionsofauthority.WarwickThorntonhadanexperienceafewyearsagowhileshootingadocumentaryonanAboriginalcommunitywithalargelynon-Indigenouscrew.
Withoutmeaningtooffend,thedirector(non-Indigenous)calledagroupoftraditionalmen‘boys’.Themenwerefuriousandcompletelyinsultedastheywereseniorlawmenwithintheircommunity.Theydecidedthattheydidnotwanttoworkwiththedirectorandtheentireshootcametoagrindinghalt.
Everyonewasconfusedandupsetbyanexperiencethatcouldhavebeenavoidedhadthedirectoraskedafewsimplequestionsregardingprotocolwithinthatparticularcommunity.EveryIndigenouscommunityisdifferentandprotocolswillvary.28
28 Emailresponsetoquestionnaire,BeckColeandWarwickThornton.
36 Pathways&Protocols
Checklist.for.pre-production.and.production
LocationsHavelocationsbeenchosenwithdueregardandrespectforculturalbeliefs?Havetherequiredpermitsbeenobtained?Havetherelevantcontactsbeenidentifiedandaliaisonpersonappointed?
Cast.and.crewHastheuseofIndigenouspeopleascastandcrewmembersbeenconsidered?
Aretheybeingpaidappropriately?
ConsentsHavetherequiredconsentsbeenobtained,egfortheuseofIndigenous
culturalandintellectualproperty,ortofilmAboriginalorTorresStraitIslanderpeople?Haveprotocolsbeendiscussedfordealingwiththedeathofanyactorsor
intervieweescapturedonfilm,andclearancesbeenobtained?
Budgets.and.financial.returnsHavefeesorotherbenefitsbeennegotiatedwiththecontributorsand
traditionalcustodians?Istheculturalvalueoftheworkrecognisedinfinancialreturns?Whenapplyingforfunding,havefeesorfinancialreturnsforallcreative
contributorsbeenincorporatedintotheprojectbudget?
ShootingArecastandcrewbriefedabouttheprotocolsdevelopedfortheproject,
appropriatebehaviourandanysensitivitiesinvolved?Isthereaprocedureinplaceformonitoringrelationshipswiththecommunity
andcommunicatingchanges?
Ten.CanoesTen Canoes(d:RolfdeHeerandPeterDjigirr,2006)isacollaborativefilmproducedwiththepeopleofRamingining.TheentirecastofthefilmisIndigenousfromGanalbinguandrelatedclans.Theywereinvolvedinthescript,andmadetheculturalobjectswhichareusedasprops.
RolfdeHeermetDavidGulpilil,theAboriginalactor,whilstworkingonthefilmThe Trackerin2000.DavidinvitedRolftospendtimewithhiminhiscommunity.RolftravelledtotheArafuraSwamp,spendingtimewithDavid,andthetwodiscussedthepotentialofmakingafilminthislocationwithafocusonYolnguculture.WhenRolfwasleaving,Davidshowedhimablackandwhitephotographtakenbytheanthropologist
Implementingprotocolswithinfilmpractice 37
DonaldThomsoninthe1930swhichdepictedtencanoeistsembarkingonagooseegghunt.“Weneedtencanoes,”saidDavid.Rolfagreedandthephotographbecametheinspirationforthefilm.
AccordingtoRolf,thedevelopmentofastoryaboutthegooseegghuntcreatedaprobleminthatthehuntwasnolongeracommonculturalpractice.Thefilmmakerdiscussedthisissuewiththecommunityatlength,andthecommunityagreedtorevitalisethecraftofmakingthecanoeswithreferencetotheThomsonphotographs.
Anotherstorylineissuewashowtoaddthedrama,whichwasanecessarycomponenttoentertainaWesternaudience.Shouldthestorybeaboutconflictbetweennon-IndigenousandIndigenouspeople?ThecommunityvaluedthetimeDonaldThomsonlivedintheircommunitiesanddidnotwantitportrayedasaperiodofconflict.Hence,theydecidedtosetthefilminthelongagopre-contactperiod.Toemphasisethehistoricaltimesetting,thefilmmakersandthecommunitydiscussedwhetherthestorycouldberepresentedinblackandwhite.Underthetermsoftheinvestmentagreement,thefilmhadtobeincolour.RolfdeHeernotes:“Intheend,thoseandotherproblemsweresolvedbyintroducingonedeviceintothefilm,whichwastohavethemaindramaticpartofthestorysetinmythicaltimes,whenfortheYolnguanythingwasallowedtohappen,andshootthatpartincolour…Thatdramaticstorycouldthenbetoldasacautionarytaleduringagooseegghuntingexpedition,whichwouldbeshotinblackandwhitetoreflecttheThomsonphotographs.Ascriptwhichpleasedbothcultureswasthenpossible.”29
ThefilmisthefirstfeaturefilmedinAboriginal(Yolngu)language(predominantlyGanalbingu),althoughDavidGulpilil,thenarrator,speaksinEnglish,andthereareEnglishsubtitles.Thereare16clansintheRaminginingcommunitywhospeakuptoeightIndigenouslanguages.Theactorscamefromdifferentclans,andspokedifferentlanguagesbuttheycouldallunderstandeachother.SeveralcastmembersspokefluentEnglishandasfilmingcommencedtheywereabletotranslateproblemsbetweenthefilmmakersandtheothers.
ThreedifferentlanguageversionsofthefilmhavebeenproducedincludingtheversiontheatricallyreleasedwithYolngulanguage,Englishnarrationandsubtitles,andanotherversionmadesolelyinYolngulanguagewithoutanysubtitles.
Theprocessforcastingthefilmrequiredthefilmmakerstoconsiderculturalaffiliationsandkinshipissues.ThetencanoeistsinThomson’sphotographhavebeenidentifiedandhavemanydescendantsandrelativeslivinginRamingining.Themenwiththestrongestclaimstoheritagechosetoplaytheirancestors.30Thewomenwerechosenbecauseoftheirkinshiprelationshipstothemainmen.
29 LibbyTudballandRobertLewis,Ten Canoes: A Study Guide,p.11, www.tencanoes.com.au,accessed24April2008.
30 Ibid.
38 Pathways&Protocols
Theselectionoftheactorsalsoinformedthestory.Forexample,onecastmemberwasoverweightinawaythatnoonewouldhavebeenintraditionaltimes.Hence,acomicalrolewaswrittenintothestorylineaboutthischaracter’sloveoffood,especiallyhoney.
ThroughconstantconsultationwiththerelevantIndigenouspeopleoncasting,storylineandfilmingprocesses,thefilmmakerswereabletoresolveconflicts.Althoughthiswasnotalwayseasy,thefilmdirectorhadtobepatientandlearntoreadthesubtletiesofculturalinterchange.31
Thefilm’sfirstpublicscreeningwasinRaminginginginDecember2005,whichgavethecommunitythechancetoseeitbeforeitwaswidelyreleased.
ThelocalAboriginalartscentre,Bula’bulaArts,playedafacilitatingroleandalsoworkedwithartistsandcommunitymemberstomakethecostumesandpropssuchasmosquitohuts,wovenbags,waiststringbags,spearsandwoomeras.ThecommunityandthefilmproductioncompanyagreedthattheseitemsandthecanoescouldformpartofanexhibitionatBula’bulaArts, 13 Canoes,whichthentouredtotheSouthAustralianMuseumin2006.
3.5. Editing.and.post-production
ThereshouldbeIndigenousconsultationandinvolvementinthepost-productionstagestomakesurethatprotocolshavebeenadheredto.Filmmakersneedtoallowenoughtimeforthis.Itoftentakesalongtime,andisequallyasimportantasotherproductionstages.Erica Glynn32
Indigenouspeopleshouldbeconsultedatthepost-productionstagebeforethepicturelock-offandsoundeditingperiod.Anychangesrequiredafterthefilm’spicturelock-offmaybeextremelyexpensive.Consultationandcheckingbeyondthisperiodwouldrequirefurthernegotiation.Initialcontactandnegotiationsshouldestablishtheextentofthisconsultation.
Attheveryleast,Indigenouscommunitiesandparticipantsshouldbegiventheopportunitytoviewthefilmattherough-cutstage,andgivenareasonableturnaroundperiodtoprovidecomments(atleastsevendaysorotherwisenegotiated).Thefilmmakersshouldtakereasonablestepstoensuretheyareawareofanypotentialculturalissues,sotheycanaddressanyconcernsthatariseatthisstage.Itispreferabletodothisinperson.
SomeIndigenouscommunitieshavewantedtobeinvolvedinthefilmeditingprocess,andtoviewafinalcutofthefilm.Thismaybeadvisableifthefilminvolvesverysensitivematerialoralargeamountofculturalheritagematerialwhereitisextremely
31 Making Ten Canoes,SBSIndependent,2006.32 EricaGlynn,telephoneinterviewwithToniJanke.
Implementingprotocolswithinfilmpractice 39
importantforthecontexttobecorrect.Ifafilmmakerisunabletoprovidethisduetotimeandbudgetconstraints,thisshouldbediscussedwiththeIndigenouscommunitiesbefore filming starts.
IfyouwanttoensurethatafilmrespectsIndigenousbeliefsrelatingtosacredsitesandmaterial,bepreparedtoeditorcutoutanysecretorsacredmaterial,particularlyforfeaturefilms.Thisshouldbegivenpriority.
Indocumentarymaking,aprojectmaysometimeschangesubstantiallyduringtheeditingprocess.Beawareoftheimplicationsthishasfortheconsentsyouhavereceivedfromthesubjectsofthefilm.Tradepracticeslawisalsorelevanthere(seeSection5,page75).
Representations.of.deceased.peopleSpecialattentionneedstobepaidatpost-productionstagetothepotentialforthefilmtonameorportrayimagesofdeceasedpeople,asthisisoffensivetomourningpracticesinmanycommunities(seeCultural beliefs,page14).Althoughfamiliesorcommunitiesareincreasinglyallowingaperson’simageand/ornametoremaininafilmaftertheirdeath,theappropriateprotocolshouldalwaysbediscussedonacase-by-casebasis.
Ifyouareawarethatanactororintervieweehasdiedandtheyhavesignedareleaseformindicatingthattheydonotwishtheirnameand/orimagetobeincluded,thenamewillneedtoberemovedand/ortheimageeitherremovedorpixelatedsothepersonisnotidentifiable.Thiswouldalsoapplytothevoiceoftheperson,irrespectiveofwhetherthevoicewasaccompaniedbyanimageofthedeceased.
Apost-productionculturalclearanceshouldalsobeobtainedfromtherelevantcommunities,andthisshouldaskwhetheranydeceasedpeoplearenamedand/orrepresentedandhowtheiridentitiesshouldbehandled.Theproposeddistributionofthefilmandanybroadcastinglicencesgrantedshouldbestated.Theclearanceshouldalsomakeclearifthebudgetwillnotallowremovalorpixilationoftheimageafterthefilmiscompleted.
Evenifaparticularindividualorcommunityhasgivenpermissionforaperson’snameorimagetoremaininthefilmaftertheirdeath,itmaystillbeoffensivetosomeIndigenouspeople,soinallcasesawarningshouldbeplacedatthebeginningofthefilm.
Avisualwarningsymbolsuchasalogoordevicecanalsobeincorporated,withaudiodubbedovertheimageinthelanguageofthecommunitydepictedinthefilm.
40 Pathways&Protocols
Use.of.archival.footageFilmmakersaccessingfilmfromarchivesshould:
• respecttheintegrityofthefilmmaterialobtainedingoodfaith• onlyusethefilmmaterialinawayapprovedofbytheindividualorcommunity
filmed• contacttherelevantcommunityforconsultationiftheproposeduseisnot
consistentwithanydetailsstatedonthedepositforms• respecttheconfidentialityofsecret/sacredandotherrestrictedmaterial• whenusingfilmmaterials,properattributionshouldbegiventothe
individuals,communityandtheoriginalfilmmaker.
Filmmakersshouldalsoconsidersensitivitiesaboutrepresentationofdeceasedpeoplewhenusingarchivalfootage:
• Ifoldfilmfootageistobeincludedinnewfilms(andtheoldfootagewasshotinthelast50years)reasonableattemptsshouldbemadetofindoutwhetherpeoplehavedied,andwhetherthefootageissuitableforuseintheproposednewfilm.
• Ifthefilmfootageisveryold(ieitismorethan50yearssinceitwasshot)thecontextshouldbecheckedbyanIndigenousadvisor,orrepresentativefromthefamily,orculturalgroup(ifidentifiable).
• Ifthereisnoidentifiablegroup,ornogrouptospeakforthefootage,refertotheIndigenousCollectionsBranchoftheNationalFilmandSoundArchive(NFSA)orAIATSISforadvice.(Seeboxnextpage).
• Ifindoubt,leaveitout.
Australian.Institute.for.Aboriginal.and.Torres.Strait.Islander.Studies.(AIATSIS)
IfyouwishtoaccessarchivalfootagefromtheAIATSISAudiovisualArchives,youwillberequiredtocomplywiththeCodeofEthics,Collections Management Policy Manual.33TheCodeaddressespersonalconductrelatingtoarchivedmaterials,careofcollectionsandaccesstosecretandsacredmaterials.ItalsorecognisestherightsofIndigenouscommunitiesandindividualsbyrequiringthattheyconsenttothepublicationofarchivalmaterial.AIATSIS’sAudiovisualCodeofEthicsstatesthat“copiesofmaterialwillonlybeprovidedforpublicationpurposesiftherequestorhasconsultedwiththerelevantIndigenouscommunityorindividual(s)andhasreceivedwrittenpermissiontoproceed,eveninsuchcaseswherethecopyrightownerhasapprovedpublication.”34
33 TheAustralianInstituteofAboriginalandTorresStraitIslanderStudiesAudiovisualArchive’sCodeofEthicswasexaminedandendorsedbytheAIATSISCouncilinAugust2005.
34 AustralianInstituteofAboriginalandTorresStraitIslanderStudiesAudiovisualArchive’sCodeofEthics, Collections Management Policy Manual,Canberra.EndorsedbyAIATSISAugust2005.Clause10.3.2Accesstothecollections.
Implementingprotocolswithinfilmpractice 41
Indigenous.materials.in.the.National.Film.and.Sound.Archive
TheNationalFilmandSoundArchive(NFSA)holdsanestimated16,000titles,or3percentofthenationalcollectionoffilms,recordingsandprograms,whichincludesdepictionsofIndigenouspeoples,cultureandexperience,presentedfromavarietyofperspectivesandhistoricalattitudes.
TheNFSAhasdraftedanIndigenousCollectionsPolicywhichincludesprovisionsforthemanagement,accessandpreservationoftheIndigenousfilmarchivesitholdsincluding:
Access to secret sacred material: 5.4.2‘InrelationtoIndigenoussubjectmatter,sensitivitieshavegreatestforcewhentheworksandothermaterialaccessedincluderecordingand/ordepictionsofsecretand/orsacredeventsrecordedwithorwithoutpermission.Inthepast,someAboriginalpeopleshavegivensecretinformationtorespectedresearchers,notrealisingthattheinformationwouldbepublishedandmadeavailabletothegeneralpublic.Insuchcircumstances,anitemneednotbereadilyavailabletoeveryonesimplybyvirtueofitspriorpublication,andmayrequirespecificpermissionfromtherelevantpeoplesofassociation.’
Access by Indigenous community: 5.4.4(f)‘RespondappropriatelytoanyrequestfromanIndigenouscommunityforcopiesofmaterialofspecificrelevancetothecommunityforitsuseandretention.’
ThefullpolicycanbefoundontheNFSAwebsiteatwww.nfsa.gov.au
Appropriate.attribution.and.film.creditsTheownersofIndigenousculturalandintellectualpropertyshouldbeaskedforinstructionsonhowtheywishtobeacknowledged.Itmaybeparticularlyimportanttoidentifythenamesandclansofpeoplewhoappearinimages.ThefailuretoattributeperpetuatestheanonymityofIndigenousfacesandcontinuestosilenceIndigenousvoices.
Indigenousculturaladvisorssuchasscripteditorsandculturalliaisonofficersshouldalsobecreditedfortheirprofessionalknowledgeinfilmcredits,justasothercastandcrewarerecognised.Andwhereactorsareconsultedforculturaladviceonaproductiontheyhavebeencastin,theyshouldbecreditedforthisseparateroleandexpertise,aswellasfortheirperformance.
Itisimportantnotjustforownershipandacknowledgement,butoftenotherIndigenouspeoplewanttoknowwhenthecreditsrollwhowasconsultedonthisorthatfilm.Tony Briggs,actor35
35 TonyBriggs,MelbourneIndigenousFilmmakersCulturalProtocolsWorkshop,IlbijerriTheatreCompany,29July2003.
42 Pathways&Protocols
AcknowledgingtheuseofIndigenousculturaladvicethroughtheinputofindividualsandviacommunitynetworkscanalsoenhancethecredibilityofthefilm.
Checklist.for.editing.and.post-production
ConsultationHavetheIndigenouspeopleinvolvedbeenconsultedbeforethepicturelock-
offandsoundediting,preferablyatrough-cutandfine-cutstages?HavetheIndigenouscommunitiesandparticipantsbeenmadeawareofany
potentialculturalissuesandbeengiventheopportunitytoviewtheroughcut?Haveparticipants,actorsetc,theirfamiliesandcommunitybeenadvisedthat
thefilmwillbewidelycirculated?
Representations.of.deceased.peopleIfreproducingdeceasedpeople’simages,haspermissionbeensoughtfrom
thefamilyorclanrepresentativesfortheproposeduse,andhavetheybeenadvisedofproposeddistributionandanybroadcastinglicencesgranted?Hasawarningbeenplacedinaprominentpositionatthebeginningofthe
film,afterdiscussingtheproperwordingwithrelevantfamilyandcommunitymembers?Ifreferringtodeceasedpeople’snamesinyourfilm,haveyoucheckedwith
therelevantfamilyandcommunitywhetheritisappropriatetomentionthatperson’sname,orwhethertheywouldprefertobereferredtobyanothername?
AttributionHaveIndigenouscontributors,writers,creators,communitiesandcustodians
whocontributedtotheworkinanyimportantwaybeennamed?Hasproperrecognitionbeengiventothewriterandthesourcecommunity,
orotherrelevantIndigenouspeople,inaformagreeduponwiththosetobeattributed?HavetheclanaffiliationsofIndigenouscreatorsbeenincludedaftertheirown
namesifthishasbeenrequested?HaveIndigenouscustodians,contributorsandIndigenousorganisations
contributingresourcesandknowledgebeengivenasignificantcreditascollaboratorsontheprojectwhererelevant?
Implementingprotocolswithinfilmpractice 43
3.6. Screening.and.broadcasting
Asageneralrule,thefilmmakershouldensurethata‘deceasedpersons’warningisscreenedbeforethefilmwheneveritisshown.Iffilmsarescreenedinremoteareaswherethedeathprotocolisstrictlyadheredto,warningsignscouldbeplacedoutsidethetheatre.
‘Deceased.persons’.protocols
TheABC.and.SBShaveadoptedapracticeofbroadcastingawarningbeforeaprogramthatfeaturesIndigenouspeople.
Forexample,theABCscreens:‘AboriginalandTorresStraitIslanderviewersarewarnedthatthisprogrammaycontainimagesandsoundsthatmayrelatetodeceasedpersons.’36
TheABChasalsogivensomewarnings,whererelevant,inIndigenouslanguage.Forexample,thedocumentaryVis A VisonNingaliLawford-Wolf,producedbyNickTorrensFilms,containedawarninginlanguagefordomesticbroadcasts.
SBSreferstothecommunitywhenrepeatingthefilmsmadeundertheNationalIndigenousDocumentaryFund,amonthbeforethefilmgoestoair.Underthetermsofthebroadcastinglicenceagreement,SBSgetsthreerunsoftheprogramoverfiveyears.
Anotherexampleofawarningis:WARNING:AboriginalandTorresStraitIslanderviewersshouldexercisecautionwhenwatchingthisprogramasitmaycontainimagesofdeceasedpersons.
Marketing.strategies.and.opening.nights.Marketingstrategiesmayrequiresomeconsultation,particularlyinrelationtotheuseofIndigenousculturalmaterialorfootagefromthefilminamarketingcontext.Ifthereareanymarketingissuesthatmightinvolvechangestotheoriginalcontext,theseshouldbediscussedwiththerelevantIndigenouspeople.
Openingnights,launchesandceremoniesassociatedwithlaunchesareagoodfocusforrecognisingthecontributionofIndigenouspeopletothefilm.DonotforgettoinvitetheIndigenousparticipantstosuchoccasionswherepossible.IfthefilmhassignificantIndigenouscontent,it’sagoodideatoinvolveanIndigenouspersonintheoccasionitself;forexample,awelcometocountrycouldbeconducted.
AssomeIndigenouscommunitiesmaynotaccessmainstreampressregularly,itisrecommendedasacourtesythatyounotifyIndigenousparticipantsofthebroadcastdates.
36 MeetingwithDavidJowsey,PaulineClagueandPaulBrandt,ABC.
44 Pathways&Protocols
Checklist.for.screening.and.broadcastingHavetherelevantIndigenouspeoplebeenconsultedabouttheuseofa
‘deceasedpersons’warning?HavetherelevantIndigenouspeoplebeenconsultedabouttheuseof
Indigenousculturalmaterialorfootagefromthefilminamarketingcontext?HaveIndigenousparticipantsbeeninvitedtoparticipateinanylaunchor
openingnightcelebrations?HaveyounotifiedIndigenousparticipantsofthelaunchand/orbroadcast
dates?
3.7. Footage.archiving
FilmsbyandaboutIndigenouspeopleareimportantrecordsofcultureandprovidesourcesofinformationforfuturegenerations.Therearetwomainissuesforfilmmakerstoconsider:
• theneedforfilmsaboutIndigenouspeopleorculturalmaterialstobearchivedwithenoughinformationtoidentifyparticipantsandcontentinfuture,includingclearanceformsobtainedatthetimeofshooting
• theneedtobalancefutureaccesswiththeneedtopreservetheculturalandphysicalintegrityoftheoriginalfootage.
AllpotentialandproposedusesofthefilmshouldbeclearedwiththeIndigenouspeopleinvolved,beforebeginningtofilmwiththem.
Depositing.film.in.archivesIndigenouspeoplerepresentedinafilmorwhoseculturalheritageisusedinafilmshouldbeadvisedwhenthefilmisdepositedinarchivesandlibraries.Ifdepositingmaterialthatwasnotincludedinthefinalcut,suchasrushes,itisimportanttoclearthisextramaterialtoo.
It’simportantfortheIndigenouspeopleinvolvedtofullyunderstandtheimplicationsofdepositingthefilm–itcouldbemadeavailabletofilmmakersinthefutureandusedinnewfilms,forexample–andtobegiventheopportunitytobeconsultedaboutfutureuses.
ThismaybeparticularlyrelevantforIndigenousfilmmakers,whooftengetinformationontapethatmightnotbetoldtoanon-Indigenousfilmcrew,preciselybecausetheyareIndigenousormightbeinafamilyorcommunityrelationshiporconnectionwiththeinterviewee.
Anotherissueiswhethertheparticipantsconsentedtosecondaryusesoftheirfilmbeyondthemakingofthefirstfilm.Forexample,anIndigenousfilmparticipantmightconsenttotheirimageandinterviewbeingusedforadocumentaryabouttheir
Implementingprotocolswithinfilmpractice 45
particularculture,butitwouldnotbeappropriatetothenusethatimageasstockfootagefornewsitemsinanotherIndigenouscommunity.
Footageshouldbearchivedwiththefollowinginformationasaminimum:
• thenamesoftheproducer,writeranddirector• thenamesofpeoplefilmed,includinglanguagegroupandclangroup,andthe
relevantcontactdetails• thenamesandcontactdetailsofanycommunityorganisationsinvolvedinthe
project• detailsofwherethefilmingtookplace• dateoffilming(importantwhereaccessarrangementsdependondate)• ifapplicable,theAboriginalorTorresStraitIslandernationdepicted• theindividual,groupororganisationtocontactforfutureclearance(egaland
councilorcommunitycouncilcouldbenamedasafirstpointofcontact)• anyclearanceandconsentdocumentationobtained• whetherthefilmincludessensitiveinformation• whetherrelatedmaterialssuchasscripts,rushes,productionfilesetcgiving
contexttothefilmareincludedinthedeposit• formatormediuminformation,includingtype,suchas16mmblackandwhite
film• statusofthefilm,egmaster,duplicationorreferencecopy.
Custodianship.of.ethnographic.films.at.Film.Australia..(now.Screen.Australia)
Inordertodealwithcustodyandfutureuseissuesofasignificantethnographicfilmcollection,FilmAustraliaandthefilmmakerIanDunlopsignedaMemorandum of Understanding on a Policy for the future custody and use of the ethnographic film collection produced by Ian Dunlop for Film Australia between 1962–1996.Thedocumentisdetailedandreferstomaterialforfivemajorprojects,fourofwhichareIndigenousAustralian:AurukunProject,WesternDesertProject,YayayiProjectandYirrkalaProject.
Thegeneralprincipleofthememorandumisthat:“allthematerial…wascollectedunderanexplicitorimplicitmoralcontractbetweenthecommunitybeingfilmedandthefilmmaker.Thiscontractconferscertainobligationsandresponsibilitiesuponthefilmmaker(IanDunlop)andtheproductioncompany(FilmAustraliaLtd).”
“Inparticularthefilmmakerandtheproductioncompanyhaveanobligationtohonourthetrustplaceduponthefilmmakerbythecommunitiesbeingfilmedby:(a)respectingtheintegrityofthematerialobtainedingoodfaith;(b)onlyusingthematerialinawayapprovedofbythecommunityfilmed,includinganysecondaryusesofthematerialand;(c)respectingtheconfidentialityofsecret/sacredandotherrestrictedmaterial.”
46 Pathways&Protocols
Thememorandumprovidesguidelinesasfollows:
• FilmAustraliaisboundbyobligationsofconfidenceenteredintobythefilmmakerregardingfilmworkcontainingsacredandpersonalmaterials(Clause1.3).
• PrintsindistributioncancontinuetobemarketedbyFilmAustralia.• Futureuseofmaterial,includingsecondaryuseofmaterialalreadyin
distribution,mustonlybeallowedunderstrictconditions.Anynewusemusthavetheapprovalofthecommunityfilmed;nomaterialmaybeusedasstraightstock-shotfootage(Clause1.4.4).Therearespecificguidelinesforsecondaryuseapprovals,whichrequirerequeststobemadeinwritingtotheChiefExecutiveofFilmAustralia.Materialmustnotbeusedinawaythatcontravenesthespiritorintentofitsoriginaluse,asapprovedbythecommunityportrayed.Eachrequestforfootageisassessedindividually.Appropriateusemightbein(Clause2.1.3iv):–arelevantFilmAustraliaproduction–productionofhistoryoffilm–seriousanthropological,historicalandscientificproduction–aproductionmadebyorforthecommunityportrayed–aproductionendorsedbythecommunityportrayed–partofadisplayinareputablemuseumorgallery.
• Inrelationtorestrictedmaterialthedocumentrecognisedthat“conditionsofrestrictionareultimatelythepreserveofcommunitiesdepictedinthematerial.”Whilstthedocumentprovidesguidelinesitisnotedthat“theattitudetowardsrestrictedmaterialbycommunitieswhichmaintaintraditionalvaluesisashiftingoneorsectionsoffilmswhicharecurrentlynotrestrictedcouldbecomesointhefutureandviceversa.”(Clause1.4.3)
Checklist.for.footage.archivingHaveIndigenousparticipantsbeenadvisediffootageistobearchivedand
consentsobtainedforthisifrequired?HaveIndigenousparticipantsbeenadvisedwherethefootageistobe
archived?Hastherequiredinformationbeenincludedwiththefilmandanyotherfootage
thathasbeenarchived?
Implementingprotocolswithinfilmpractice 47
3.8. SUMMARY.CHECKLIST
Initial.research.and.project.development
PreliminaryHaveyouconsideredwhyyouaremakingthefilmorprogram,whyyouare
usingIndigenousmaterial,andtheperspectiveyoubringtoit?Haveyousoughtadviceontheculturalissuesthatneedtobeaddressed
throughconsultation?
ConsultationHasconsultationwithrelevantIndigenousindividualsandcommunitiesbeen
initiated?
RepresentationHowwillyourworkaffecttheIndigenousgroupitisbasedon?DoesitempowerIndigenouspeople?Doesitdepictorexposeconfidential,personaland/orsensitivematerial?Doesitreinforcenegativestereotypes?Haveyouresearchedyourcharacters?Istheuseoflanguageappropriate?
Cultural.integrityAreyouproposingtoadaptoraltertraditionalknowledge,communallyowned
materialorculturalheritagematerialinanyway?Ifso,haveyouexplainedtheadaptationyoupropose,givenpeopletimetocomment,andobtainedconsent?Willtheindividualorcommunitywhoisthesubjectoftheworkhavean
opportunitytoseetheworkpriortopublicdissemination?Havetheirsuggestionsbeenincorporated?
AuthenticityHaveyouestablishedthatanyIndigenousculturalandintellectualpropertyin
yourfilmisusedinthecorrectculturalcontext?Haveyouestablishedwhetherthereareanyrestrictionsonthematerialandthe
exactmeaningofanywordsinthelanguageifunsure?Doyouuseheritagematerialsuchasimagery,musicandlanguagewithproper
regardtogender,clanaffiliationsandculturalrestrictions?
Sensitive.or.sacred.materialIsthematerialculturallysensitive?Isitsecretorsacred?Isitawomen’sor
men’sarea? Arethereanythemesthatrefertosacredorsecretmaterialthatmayneed
48 Pathways&Protocols
consultationwithIndigenouspeople?Aretherecontemporarysensitiveissuesinvolved?Ifso,howshoulditbehandled?Howdoyouplantoinvolvetherelevant
Indigenousspecialistagenciesinthedevelopmentofthefilmproject?HaveyouspokentoeldersorotherrelevantIndigenouspeoplefromthe
relevantareatoidentifyanysensitivitiesandsacredorreligiousissuesthatmightpreventdepictionoftheimage,storyorevent?
Script.developmentHaveyouconsideredusingIndigenouswritersorscriptconsultants?HasthescriptbeenassessedbyanIndigenousscriptassessorandtheir
suggestionstakenonboard?Hasthefinaldraftscriptbeenendorsedbytherepresentativeorganisations
portrayedinthefilm,ortherepresentatives/descendantsofindividualsportrayedinthefilm?
Pre-production.and.production
LocationsHavelocationsbeenchosenwithdueregardandrespectforculturalbeliefs?Havetherequiredpermitsbeenobtained?Havetherelevantcontactsbeenidentifiedandaliaisonpersonappointed?
Cast.and.crewHastheuseofIndigenouspeopleascastandcrewmembersbeenconsidered?
Aretheybeingpaidappropriately?
ConsentsHavetherequiredconsentsbeenobtained,egfortheuseofIndigenous
culturalandintellectualproperty,ortofilmAboriginalorTorresStraitIslanderpeople?Haveprotocolsbeendiscussedfordealingwiththedeathofanyactorsor
intervieweescapturedonfilm,andclearancesbeenobtained?
Budgets.and.financial.returnsHavefeesorotherbenefitsbeennegotiatedwiththecontributorsand
traditionalcustodians? Istheculturalvalueoftheworkrecognisedinfinancialreturns? Whenapplyingforfunding,havefeesorfinancialreturnsforallcreative
contributorsbeenincorporatedintotheprojectbudget?
Implementingprotocolswithinfilmpractice 49
Editing.and.post-production
ConsultationHavetheIndigenouspeopleinvolvedbeenconsultedbeforethepicturelock-
offandsoundediting,preferablyatrough-cutandfine-cutstages?HavetheIndigenouscommunitiesandparticipantsbeenmadeawareofany
potentialculturalissuesandbeengiventheopportunitytoviewtheroughcut?Haveparticipants,actorsetc,theirfamiliesandcommunitybeenadvisedthat
thefilmwillbewidelycirculated?
Representations.of.deceased.peopleIfreproducingdeceasedpeople’simages,haspermissionbeensoughtfrom
thefamilyorclanrepresentativesfortheproposeduse,andhavetheybeenadvisedofproposeddistributionandanybroadcastinglicencesgranted?Hasawarningbeenplacedinaprominentpositionatthebeginningofthe
film,afterdiscussingtheproperwordingwithrelevantfamilyandcommunitymembers?Ifreferringtodeceasedpeople’snamesinyourfilm,haveyoucheckedwith
therelevantfamilyandcommunitywhetheritisappropriatetomentionthatperson’sname,orwhethertheywouldprefertobereferredtobyanothername?
AttributionHaveIndigenouscontributors,writers,creators,communitiesandcustodians
whocontributetotheworkinanyimportantwaybeennamed?Hasproperrecognitionbeengiventothewriterandthesourcecommunity,
orotherrelevantIndigenouspeople,inaformagreeduponwiththosetobeattributed?HavetheclanaffiliationsofIndigenouscreatorsbeenincludedaftertheirown
namesifthishasbeenrequested?HaveIndigenouscustodians,contributorsandIndigenousorganisations
contributingresourcesandknowledgebeengivenasignificantcreditascollaboratorsontheprojectwhererelevant?
ShootingArecastandcrewbriefedabouttheprotocolsdevelopedfortheproject,
appropriatebehaviourandanysensitivitiesinvolved?Isthereaprocedureinplaceformonitoringrelationshipswiththecommunity
andcommunicatingchanges?
50 Pathways&Protocols
Screening.and.broadcastingHavetherelevantIndigenouspeoplebeenconsultedabouttheuseofa
‘deceasedpersons’warning?HavetherelevantIndigenouspeoplebeenconsultedaboutuseofIndigenous
culturalmaterialorfootagefromthefilminamarketingcontext?HaveIndigenousparticipantsbeeninvitedtoparticipateinanylaunchor
openingnightcelebrations?HaveyounotifiedIndigenousparticipantsofthelaunchand/orbroadcast
dates?
Footage.archivingHaveIndigenousparticipantsbeenadvisediffootageistobearchivedand
consentsobtainedforthisifrequired?HaveIndigenousparticipantsbeenadvisedofwherethefootageistobe
archived?Hastherequiredinformationbeenincludedwiththefilmandanyother
footagethathasbeenarchived?
Communication,consultation&consent 51
4...Communication,.consultation.&.consent
TheprocessofconsultationisalwaysfundamentaltofilmingwithIndigenouspeopleorusingIndigenousmaterial–fordramaordocumentary.Thedepthoftheconsultationprocesswillbereflectedinthequalityofthefinalproduct.Sometimes,however,consultationaloneisnotenough,andaprojectwillrequireconsent–usuallyinwrittenform.
4.1. Consultation.and.consent
ConsultationandconsentinIndigenouscommunitiesareinterrelated.Throughconsultationafilmmakercancometounderstandwhatrequiresconsentandthecorrectpeopletogiveit,andthepeoplegivingconsentcanmorefullyunderstandwhattheyareconsentingto.
Consultationreferstotheprocesswherebypeopleexchangeviewsandinformation.Consultationisnotjustaone-wayprocess,butaprocessofsharingknowledgeandopinions.Consultationmeansworkingtogether,listeningtowhattheotherpartyhastosayandactinguponit.
Consentisaprocesswherebypermissionisgiven,basedonarelationshipoftrust.
Consentshouldbeinformedandthismeansfilmmakersneedtoprovideaclearexplanationofthefilmmakingprocess,timeframes,contractdetails,possiblebenefits,impactsandfutureusesoffootageatthetimeofseekingconsent,toavoidmisunderstandingsatalatertime.Theconsentprocessshouldbetransparentforallparties,andinformationshouldbeexplainedinplainEnglishorwiththehelpofaninterpreter.
WhetheryouneedconsentorjustneedtoconsultwilldependonthenatureofthefilmprojectandtheroleplayedbytheIndigenouspeopleorculturalmaterialsinvolved.
Consentislegally.requiredforthefollowing:
• FilmingonlandandareasownedbythirdpartiesincludingAboriginallandundertheNorthernTerritory(NT)Land Rights Act,andlandprivatelyownedbyanIndigenousorganisation.(SpecificconsentsorpermitsarealsorequiredforfilminginnationalparksandfilmingatspecificsitessuchastheDevilsKarluKarlu(TheDevilsMarbles)intheNTmayrequireanAuthorityCertificatefromtheAboriginalAreasProtectionAuthority.)
• FilmingIndigenouspeople(notethatrelyingonimpliedconsentifapersonallowsthemselftobefilmedisriskyandwrittenconsentisrecommended;seepage56).
52 Pathways&Protocols
• Filmingcopyrightworksand/oradaptingcopyrightworksforfilmprojects.• Filmingatliveperformancesincludingatfestivalsandconcerts.(See,for
example,NT’sGarmaFestival–applicationstofilmmustbemadepriortoattending,andcopyrightapprovalformssigned.)
Consentisrecommendedforthefollowing:
• adocumentaryaboutaparticularlivingperson,grouporgeographiccommunityoraparticulargroup’sculturaltraditionsandbeliefs
• adramathatdepictsreal-lifeevents• adramaaboutanidentifiableIndigenouspersonorgroupofpeople• adramacontainingidentifiableIndigenoustraditions,beliefs,songsand
stories.
Inthesecasesrightsshouldbenegotiatedwiththerelevantpeopleororganisations,andconsentobtainedinwritingcoveringtheissuesoutlinedinthisguide.Theremaybeimplicationsintradepracticesanddefamationlawwithoutthisconsent.
Consultation.without.specific.consentisappropriateforotherfilmprojectswithIndigenouscontentorwithIndigenouscharacterswherethecontextisminimal,orgeneral,andthesituationsspecifiedabovedonotapply.
Toconsult,thefilmmakerwillneedtocontactrelevantIndigenousorganisations,professionalsandcommunitiesforadviceandguidance(seeTips for successful consultationonpage56).
4.2. When.consent.is.required
WhenseekingconsentIndigenouspeopleshouldbeinformedoftheintendedfilmprojectbeforefilmingbegins(seePre-production and production,page29).Thefollowingissuesmayneedtobecanvassed:
• WhatarethepotentialbenefitsandimpactofthefilmfortherelevantIndigenousindividualsand/orcommunity?
• Doallpartiesunderstandtheconceptofthefilmproject?HaveanyrequestsforfurtherinformationmadebytherelevantIndigenouspeoplebeenrespondedto?
• Hastheproposedprojectanddisseminationofthefilmbeenfullyexplained?Isitunderstoodthatthefilmwillbepubliclyexhibited,forsaleand/ordistributedworldwide?
• Whatfutureusesaretobemadeofthefilmand/orfilmclipstakeninthecourseofshooting?
• Dopeoplefullyunderstandwhattheyaresigning?
WrittenapprovalfromcommunitiesandindividualsisrequiredbyfilmfundingbodiessuchasScreenAustralia.Forinstance,theNSWFTOrequiresthatdocumentaries
Communication,consultation&consent 53
dealingwithIndigenouscommunitiesandindividualsprovidewrittenapprovalfromappropriaterepresentativesofthoseindividuals,familiesandcommunitiesatthetimeoftheirfundingapplication.“Thisistoensurethatthefilmmakershavemadecleartheirintentionstothecommunityandthattheywillinvolvethecommunityinconsentandconsultation.”37
Consent.to.film.Aboriginal.and.Torres.Strait.Islander.peopleTheperformer’srightsprovisionsoftheCopyright Act 1968(Cth)provideperfomerswithprotectionagainstcertainunauthoriseduseoftheirperformances(seePerformers’ rights,page69).Forthisreason,itisgoodpracticeforfilmmakerstoseekaperson’swrittenconsentbeforefilmingthem.FilmmakersshouldmakesureIndigenouspeopleunderstandwhattheyareconsentingto(seequestionsatthestartofthissection),sothattheycanmakeaninformeddecisiontoagreetobefilmedornot.Theyshouldbeadvisedthattheycanexercisetheirrightnotbefilmed.
Childrenshouldbetakenthroughanyconsentformsinthepresenceoftheirparentsorguardians,andinpracticetheformsaresignedbytheparentorguardians.Lawspertainingtotheemploymentofchildrenvarybetweendifferentstatesandterritoriesandinformationregardingtheselawsshouldberesearchedbeforeengagingchildren.
Indigenous.people.filmed.on.the.street.in.Alice.Springs..(providedbytheCentralAustralianAboriginalMediaAssociation)
WhenanoverseasproductioncompanyfilmedIndigenouspeopleonthemainstreetofAliceSpringsforadocumentary,theytoldthepeoplewhowerefilmedandinterviewednothingabouttheproject,orhowtheirimagesweretobeused.Eventhoughthepeopledidnotobjectatthetime(andsotheirconsentcouldbeimplied),thefactisthattheywerenotawareoftheirrights,andwereconcernedthattheirimageswerecapturedwithoutproperconsultationandconsent.Theindividualsnowfeelviolatedandarereluctanttotakepartinanyfuturefilmprojects.
Thisnegativeoutcomecouldhavebeenavoidedifthepeoplehadbeenconsultedproperlybeforehand.
37 NSWFTOsubmission.
54 Pathways&Protocols
Location.permitsFilming.on.Aboriginal.land:.StateAboriginalLandRightslegislationmakesitarequirementforfilmmakersworkingonAboriginallandtogetapermit.ContactlocalAboriginalLandCouncilsforinformationonpeakbodiesforIndigenouslandfilmpermits(seeLand Councils,page93).
TheAboriginalandTorresStraitIslandercommunitiesthemselves,andthetraditionalownersorcustodiansofalocationhavearighttosay‘No’toanyproposalsputtothembyothersforacceptance.Theirdecisionshouldberespected.Lester Bostock38
Filming.in.the.Torres.Strait.Islands:ForfilmingintheTorresStrait(includingonThursdayIslandandtheouterislands)consultwiththeTorresStraitRegionalCouncil.SeetheTorresStraitRegionalAuthority(TSRA)websiteforcontactdetails:www.tsra.gov.au
Filming.in.national.parks:Statelegislationrequiresthatpermitsbeobtainedforfilminginnationalparks,forexample,inTasmaniathefilmingofareasmanagedbytheParks&WildlifeServicesTasmania(seewww.parks.tas.gov.au/permit/commercial_filming.html).Commonwealthnationalparksthatpublishfilmguidelinesandpermitprocesseswillalsorequirepermitsandtherearealsofeesattached(seeEnvironmental legislation and national parks,page76).ParksownedandjointlymanagedbyIndigenouspeople,suchasUluru-KataTjutaNationalPark,haveintroducedproceduresforensuringIndigenoustraditionalownersareconsultedonusesofimagerysothattheculturalvaluesoftheparkaremaintainedandpromoted.
Filming.in.Indigenous.urban.areas:.YoushouldalsonotifypeopleofyourintendedvisitwhenyouarevisitingurbanareasfrequentedbyIndigenouspeople,orwhereyouintendfilmingwithinanIndigenousorganisation,eventorinstitution.Forexample,permissiontofilmattheSydneyYabunConcerton26Januaryeachyearshouldbeobtainedfromtheconcert’sconvenors,GadigalInformationServices.
Filming.on.private.property:Consenttoentersomeone’spropertyandfilmisrequiredfromthepropertyowner.Todootherwisecouldamounttotrespass.
ThereisanetworkofIndigenousmediaorganisationsthroughoutAustraliathathaveexpertiseinworkingonmediaandfilmissueswithinIndigenouscommunities.Theseorganisationsareausefulfirstpointofcontact(seeIndigenous media associations and broadcasters,page81).
Filming.at.festivals.and.events:.Contacttheeventorganisersandinquireaboutthenecessaryprocessesandclearances.
38 LesterBostock,The Greater Perspective,p.25.
Communication,consultation&consent 55
4.3. When.consent.is.recommended
Consent.for.the.use.of.Indigenous.cultural.and..intellectual.property.DoyouneedcommunityconsentforallIndigenousstories,dancesandotherculturalexpression?Itdependsonthenatureofthematerial.Iftraditionalstoriesaretobedepictedonfilm,filmmakersshouldgetspecialpermissionfrompeopleinpositionsofauthorityintherelevantcommunity.However,ifthestoryisacontemporary‘new’story,permissionmaynotberequired.Forexample,thestoryofanAboriginaldiscodancermaynotneedanyspecialconsentsfromacommunity(althoughifitisbasedcloselyonanindividualperson,youmightwanttogetthatperson’sconsent;seepage51).
ItisimportanttorecognisethatsomeIndigenousknowledgeiscollectivelyownedandthatinordertoobtaininformedconsentitmaybenecessarytoconsultandobtainpermissionfromanumberoflevelsofauthority.Thatpermission,ifgiven,mayalsobesubjecttoconditionsandongoingreassessment.
ManyIndigenousfilmmakersusetheirownheritage,andwouldthereforediscusstheuseofthematerialwiththeirownfamilyandcommunity.However,IndigenouspeopleusingotherIndigenouspeople’sheritagewouldstillneedtogetpermission;theytoomustworkwiththerelevantcommunitiesandhaveprocessesinplaceforgettingconsent.
Andrew.McLeod.and.Lleyton.Hewitt.–.film.permit.issuesIn2005,AndrewMcLeodfiledatradepracticesclaimagainstLleytonHewittarguinginfringementrelatingtoaccesstoAboriginalland,andwhatusescanbemadeoffilmtakenwhenentrytoAboriginallandissubjecttopermit.McLeodallegedthatHewittdidnotobtainpermissionfromthetraditionallandownersoftheNorthernLandCounciltousethefootageinhisDVD.Hewittdefendedhimselfsayingthathewasunawarefurtherpermissionwasrequiredtousethefootagecommercially.Thematterwassettledbeforethecourtsetdatefortrial.
56 Pathways&Protocols
4.4. Tips.for.successful.consultation
Theconsultationprocessshouldbeginattheconceptualstageofanyfilmortelevisionproject(seeSection3,pages19–50).
Identify.the.right.peopleTheterm‘Indigenous’isseenasbeingapan-definition.Non-Indigenousfilmmakersshouldmakesuretheyareconsultingwiththeappropriatepeopleinthecommunityorfromthespecificareaorregioninvolved…it’sabouteducatingpeopleaboutthediversitywithinIndigenousculturesandcommunities.John Harding39
Indigenouspeoplecomefromspecificareas,andtheirculturalheritagealsohasoriginsinaspecificgeographicgroup.Whenidentifyingtherightpeopletospeaktoitisimportanttogotothesourcecommunityforrepresentation.Forexample,ifyouareworkingonafilmbasedinYirrkala,youshoulddealwithAboriginalpeoplewhocomefromYirrkala.
Inmostcasesmorethanonepersonwillneedtobeconsultedandthismayinvolveanentirecommunity.Rememberthatconsultationwithselectmembersofacommunitydoesnotnecessarilymeanthatthecommunityasawholesupportsthefilmproject.Therecanoftenbedivisionwithinthecommunityaboutissues.Consultwidelysoastogaintheperspectivesofthecommunityasawhole.Decisionsaboutthefilmshouldbebasedonthewiderperspectives.
Insituationswherethemostappropriatecommunityorindividualswithinthatcommunityarenoteasilyidentifiable,filmmakersmaycontactlocal,regionalorstateAboriginalLandandCommunityCouncils,Indigenousmediaassociationsormedicalandeducationalcentresforassistance.TheAustralianBroadcastingCorporation(ABC)websitehasausefulreferencelistoftheseorganisations.40
Whenreportingorincludingsensitivesubjectmattersuchasdrugsandalcoholabuse,werecommendconsultationwithspecialistIndigenousagencies.AdocumentaryonsensitiveissuessuchasalcoholabuseorpetrolsniffinginIndigenouscommunitiesmayrequiremorespecificconsultationwithIndigenousadvisorygroupsthanadramaticfilm.(SeeContacts and appendices, page59formoredetails.)
Extremecareshouldbetakenwhenfilmingindividualsandconsiderationgiventowhetherthefootageexposesanylegalrisksofdefamingpeople(seeDefamation,page74).
39 JohnHarding,playwrightandChairperson,IlbijerriTheatreCompany,MelbournefilmworkshopconductedbyTerriJanke.
40 www.abc.net.au/indigenous/education/cultural_protocol/contact_community.htm
Communication,consultation&consent 57
Allow.enough.timeFilmmakersneedtounderstandthelengthoftimethatisrequiredforconsultationtotakeplacebeforeanydevelopmentofthestoryandagainbeforeanyfilming.Consultationmaytakesixmonthsortwoyears.Kim Mavromatis, filmmaker
PlanningtimeforconsultationwithIndigenouscommunitiesisimportant.ManyIndigenouscommunitiescontactedinthedevelopmentofthisguidenotedthatfilmmakersoftencomelatewithenquiriesrelatingtoIndigenousculturalissues.
Filmmakersmustweighupthetimefactorsastimeisoftenoftheessenceinfilmfundingagreements.Filmproductions,bytheirnature,runonverytighttimelines,particularlywhenitcomestoeditingandpost-production,whereaneditsuiteisoftenbookedforonlyacertainnumberofdaysatalargecostperday.ThesecriticaltimelinesshouldbeexplainedtoIndigenouspeopleinvolvedwiththefilmattheoutsetsotheydonothaveunrealisticexpectationsaboutconsultationduringtheeditingstage.
AneffectiveprotocolforworkingwithIndigenouscommunitiesandwithIndigenouscontentwouldreflectthepracticalschedulingrequirementsoffilmproduction.Boththecommunityandthefilmmakerneedtoadviseeachotheroftherelevanttimefactors.
Forge.trusting.relationshipsItisimportantforthefilmmakertogettoknowthecommunityandforthecommunitytogettoknowthefilmmaker.FormingabondmakesforabetterunderstandingofIndigenousissues.41ConsultationwithIndigenouspeopleinvolvesdevelopingahighleveloftrust.The Greater Perspective42encouragesfilmmakerstoensurethatallobligationsinvolvedinmaintainingtrustwithIndigenouspeoplebeobserved.Thisisafundamentalpremiseforfilmmakingprotocols.
Provide.informationInorderforanyconsentorconsultationprocesstobemeaningfulandtohelpbuildtrust,Indigenouspeopleshouldbeprovidedwithinformationaboutthefilmprojectfromthestart,andbeforetheyortheirculturalmaterialarefilmedorrecordedinanywrittenform.Indigenouspeopleshouldbeadvisedof:
• thenatureoftheproject• theirproposedroleortheproposedroleoftheirmaterialinthefilm• theextentoftheuseoftheimage• whetheropportunitieswillbegiventoreviewthematerialpriortobroadcast• commercialissues,suchaswhethertheywillbepaidafeefortheir
involvement• productionissues,includingkeycreativeteam,timeframeandproposed
broadcast,viewinganddistribution.
41 KimMavromatis,submission.42 LesterBostok,The Greater Perspective.
58 Pathways&Protocols
Filmmakersneedtobeupfrontaboutwhattheyareproposing.Inthisway,theexpectationsoftheIndigenouscommunitycanbemanaged.Awrittenproposalthataddressestheissuesintheabovelistshouldbeprovidedandaface-to-facemeetingheldwiththeappropriatepeoplefromthecommunity.
DarleneJohnson’sSBSprotocolsoutlineaprocessforinformingIndigenoussubjectswhoagreetotakepartinadocumentary.Thefirststepforthefilmmakeristobesatisfiedthatthesubject(s)fullyunderstandsthetermsoftheagreementandthatthisagreementisdocumentedinclearplainEnglish.
ItisalsoimportanttoacknowledgethatmanyIndigenouspeoplesmaynothaveEnglishasafirstlanguage.AsAliBakernotes,“intheseinstancesthefilmmakerneedstoaccommodatethis,andprovideinterpreters.”43EricaGlynnagrees:
Thereshouldbetranslatorsinnegotiations.Thisshouldbeallowedforinthebudget,egtranslationallowancesandtimetomakesurethateveryoneknowswhatisgoingonandhasbeenconsultedproperly.44
FilmmakersshouldconsidersittingdownwiththeIndigenouscommunityorpersonsinvolvedandreadingthroughthescriptindetail,explainingissuesastheyarise.Theadvantageofthisprocessisthatthefilmmakersseefirst-handthereactiontotheirstoryfromthepeoplewhosestorytheyaretelling.
Invite.feedbackAskIndigenouspeopleforfeedbackonthefilmprojectintheinitialstages,duringthewritingprocessandatcertainstagesofproduction.Thisistoensurethatcommunitiesarerepresentedinanappropriateway.
WealwaysinvolvemembersoftheIndigenouscommunityinwhichweintendtowork.ThisofteninvolvesgettingfeedbackandadvicefromotherIndigenousfilmmakers,and/ororganisationssuchasCAAMA[CentralAustralianAboriginalMediaAssociation]whohavevastexperienceinworkingwithIndigenouscommunitiesonmanylevels.Beck Cole and Warwick Thornton45
43 AliBaker,emailsubmission.44 EricaGlynn,telephoneinterviewbyToniJanke.45 Emailsubmissiontoquestionnaire.
Communication,consultation&consent 59
Visualising.Mimi.(providedbyEricaGlynnandRachelPerkins)
RachelPerkinsandWarwickThorntonwereworkingonthedramaMimi.TheyhadavisualconceptforaMimifigure,likeacartooncharacter.Earlyinthedevelopmentofthefilmproject,theymetwiththemenresponsiblefortheMimistorytodiscusstheirfilmandtheplanstouseaMimicartooncharacter.Afterthemeeting,themeninformedthefilmmakersthatthecartoonrepresentationwasn’tappropriate.ThemenandthefilmmakersconsideredthestorylineandcameupwiththeideaofusingananimatedwoodenMimicarvingasthe‘Mimi’figureinthedrama.Itwasmuchbettertofindthisoutearlyintheproject,ratherthanspendingtimeandmoneydevelopingacartooncharacterandmakingthefilm.
Involve.Indigenous.peopleItisgoodpracticetoactivelyinvolveIndigenouspeopleinfilmprojectsthatuseIndigenouscontent.Thiswouldneedtobeallowedforinthefilm’sbudget.
SomewaysthatIndigenouspeoplecouldbeinvolvedinprojectsinclude:
As.film.professionals:.Indigenouspeoplecouldbeemployedatallstagesofpre-production,productionandpost-production–frombestboytodirectorandproducer.
As.local.support.people:.SomeIndigenousfilmmakerscontacttheclosestIndigenousmediaorganisationorRemoteIndigenousMediaOrganisation(RIMO)andinvolvethemintheproduction.FindoutwhetherthereareanyIndigenouscommunitymemberswhoareinterestedinworkingontheshootwiththecrew.FilmprojectshaveanimportantroleinprovidingprofessionaldevelopmentopportunitiesforIndigenouspeoplewithaninterestinfilmandtelevisionproduction.
Involving.locals
IndigenousfilmmakersBeckColeandWarwickThorntoninvolvelocalIndigenouscommunitymembersinworkingcollaborativelywiththefilmcrewthroughouttheshoot:
“Indoingso,thecommunitybecomesapartofthefilmingprocess,theyhaverealinput.Theywillalsohaveastrongerunderstandingofwhatthefilmmakersaretryingtoachieve.
Also,ifanIndigenouscommunitymemberisworkingonthefilm,thereisalwayssomeonenearbywhocananswerquestionsandpointthecrewintherightdirection.”46
46 BeckColeandWarwickThornton,emailsubmissiontoquestionnaire.
60 Pathways&Protocols
Use.Indigenous.cultural.advisersThereisagrowingforceofIndigenousconsultantsorculturaladvisersworkingonIndigenousfilmprojects(seeIndigenous cultural advisors and script consultants,page92).TheirroleistoensurethatthefilmreflectsIndigenousviews,respectsculturalheritageorportraysIndigenouspeopleaccurately.
ManyoftherecentslateoffeaturefilmswhichdealwithIndigenousissueshavehiredIndigenousculturalliaisonadviserstoworkwiththefilmproductionteam.ExamplesincludeRemote Area Nurse andRabbit-Proof Fence.
Forlarge-scalefilmprojectsitisagoodideatoemployanIndigenouspersontotakeonthepositionfull-timeduringthecourseoftheproject.Inthisroletheycan:
• providesupporttoIndigenouscastandcrew• advisetheproductionteamofculturalintegrityissuesandsensitivities• actasanintermediarywiththeIndigenouscommunitywhenraisingconcerns.
First.Australians.(Blackfella.Films)SBSapproachedBlackfellaFilmsin2001tomakeadocumentaryseriesaboutthehistoryofIndigenousAustralians,similartothe1995UShistoryseriesonAmericanIndiantribes,500 nations(directedbyJackLeustig).
BlackfellaFilmsadvisedthatahistoryseriesofthisnaturewouldneedextensiveconsultationwithIndigenousAustraliancommunities.Toundertaketheproject,theywouldrequireconsiderablefundingtoembedthenecessaryconsultativeprocesseswithinthefilmproject’sschedule.SBSagreedandgaveamplefundingtoallowconsultation.
“SBSappreciatedandacknowledgedthatconsultationwasthekeytothesuccessoftheseriesandsupportedthisprocessbyprovidingthebudget,”saidDarrenDale.47
Initialconsultationswithstakeholders–community,elders,academics,historiansanddescendants–commencedatthestartoftheproject.Membersoftheteamtravelledtoeverystate,fromAliceSprings,Tasmania,theKimberleyandtheTorresStrait.Oneyearintotheprocess,thefilmmakerswerereadytoconsultonthefirstdraftofthescripts.Theacademicswereabletoreadthescriptsforreviewbutthecommunitiesandfamiliesneededface-to-faceconsultation.Insomeinstances,thewriters,whichincludedRachelPerkins,LouisNowraandBeckCole,spenttimereadingthescripttogroupsandindividuals.
47 TerriJankeinterviewwithDarrenDale,ExecutiveProducer,First Australians,11April2008.
Communication,consultation&consent 61
“Wehadideasofhowtomaketheprogramandadvanceaconceptthroughphotographs,paintingsorinterviews.Manystakeholderswerenotfamiliarwiththis,sowehadtospendtimeexplaininghowwecouldpresentthisinformation.Inthefirstconsultationphase,wereinforcedthatthiswasadraft,aroadmap.Thiswastimeforthemtogivefeedback.Wediscussedhowwemightunfoldthestory,forinstance,bytellingthestorybyfollowingacharacter,”saidDarrenDale.
Afterthescriptconsultation,thewriterscommencedanotherdraftofthescript.Theymadethedecisionnottofilmrecreationsbutusepaintingsforearlycontacthistory.Theyalsodiscussedwiththecommunitywhowastheappropriatepersontointerviewortotellanancestor’sstory.
AsDarrenDalerecalls,“itwasn’talwayspossibletogetconsensusbutwelistenedtopeople’scomments.Wewerehonestandclearthatitwasafilmprojectandourinterpretationwasbasedonextensiveconsultationandresearch.Wehadtobeimpartialandfair.Wewerenottakingsidesinanydisputesonnativetitle.”
Afterthescriptre-draft,thefilmmakersconsultedagainwithstakeholders.Thistimetheyshowedpeopletheimagesselectedfromcollectionstoillustratethestory.Theuseoftheseimagesinvolvednotonlyclearancesfromcollections,butalsoIndigenousCulturalandIntellectualProperty(ICIP)Rightsclearances.Todealwiththecomplexity,BlackfellaFilmscreatedacomprehensivedatabasewithdetailsofeachimage,whereitwasheld,thelanguagegroup,theplaceandwherepossible,thepeople.AnICIPRightscategorywasincludedtorecordclearancesandconsultations.
Theconsultationinvolvedhostingmeetings,andasthistookuppeople’stimetheypaidanICIPconsultationfeetoacommunityorganisationthatrepresentsthecommunity,orwheredirectedbythecommunity,tocertainpersonswhowererecognisedassolerightsholders.
Permissiontofilmlandscapeswasalsopartoftheprocess,andinsomeinstance,culturalconsultantswerehiredtoassistthefilmcrew.“Wegotculturalclearancestofilmatspecificsites,andinsomeareas,suchastheKimberley,wehadaculturalconsultantaccompanyusandpaidfeesforthisservice,”notesDarrenDale.
Feeswerenotpaidtothepeopletheyinterviewedbecausetheydidnotwanttobeseenaspayingapersontotakeaparticularview.Theywantedtomakeitclearthattheviewsexpressedwerenotmanipulated.
Archivalissueswerealsodiscussedduringconsultations.ThefilmmakershadselectedtheAustralianInstituteofAboriginalandTorresStraitIslanderStudiestostorethematerialforlong-termsafekeeping.Somepeoplealsowantedcopieskeptatlocalculturalcentres.
Theintervieweeswereaskedtosignreleasesclearingrightstousetheirinterviews.Thefilmmakersdiscussedtheissueofbroadcastingtheirinterviewaftertheypass
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awayinordertorespectIndigenousculturalmourningpractices,whichrestrictthedisseminationofadeceasedperson’srepresentation.RachelPerkinsnotedthatmanyparticipantswantedtheirimagetocontinuetobeshown:“Therehasbeenaculturalchangewherepeoplewillallowtheimagetobeviewedforfilmandtelevision.Anumberoftraditionalintervieweesagreedthattheirrepresentationcouldbeusedafterhisdeath,andanothersaidthattherestrictionshouldonlylastoneyearafterhisdeath.”
Intervieweesweregivencopiesoftheirinterviewsfortheirpersonalrecords.Nocopiesoftheroughcutweredistributedtoprotecttheinvestors’interests.
Theprojectreachedroughcutstagearoundeightto10weeksintotheedit.Thefilmschedulewasstructuredwithagaptoallowtimeforconsultation.Atthistime,thefilmmakersre-consultedwithstakeholdersandshowedthemtheroughcut.Itwasachanceforpeopletoseehowtheideasandscriptwereputtogetherbuttoalsohavetheopportunitytosaysomething,andmakecomments.Mostlytherewasapositiveresponse,however,onegroupdidnotlikeit,andcommunicationstoppedbecausetheyrefusedtohaveanythingtodowiththeproject.Ittooktimetore-connectwiththisgroup.
Thefilmmakersalsohadtomanagetheirobligationstothevariousinvestors.TheykeptSBSinformedatBoardlevelabouttheprogressofconsultations.
Innegotiatingtherightsagreements,thefilmmakersquarantinedtheICIPRights.
AccordingtoRachelPerkins,“Oneoftheinvestorswantedtherightstore-versionandre-editthefilm,withouttheneedtore-consult.Wehadobligationstothestakeholders.Weexplainedtheimportanceoftheserightstothecommunitiesandusedanexampletoillustratethis.Wesaiditwouldn’tbeappropriatetouseasongfromtheKimberleywithfilmfootagewithVictoriancontent.Itwasintheirinterestsalsotoensureauthenticity.Theyagreedtocomebacktothefilmmakersforre-approvalandcheckingoftheICIPRights.TheICIPRightsclausewasincludedinthecontractandasetperiodforthefilmmakerstorespondwasalsoincluded.”48
Thefinecutstagewasshowntothekeypeople.TheserieswenttoaironSBSinOctober2008.
48 TerriJankeinterviewwithRachelPerkins,Writer/Director,First Australians,11April2008.
Film&thelaw 63
5.. Film.&.the.lawAnunderstandingofkeylegislationisessentialforfilmmakersworkingwithIndigenouspeopleinAustralia.
Anunderstandingofthelegalissuesthatariseinfilmmakingisessentialforfilmmakers.AgoodguideispublishedbytheAustralianCopyrightCouncil(ACC),entitledFilm & Copyright – a practical guide.49ItcanbepurchasedfromtheACConlineatwww.copyright.org.au
Inthissection,weaimtoprovidesomegenerallegaladviceforfilmmakersworkingwithIndigenouspeopleinAustraliatoassisttheminidentifyingwherelegalissuesmightarise.Forparticularlegalmatters,werecommendobtaininglegaladvicefromafullyqualifiedlawyer.
5.1. Copyright
What.is.copyright?Copyrightisabundleofspecificrightsgrantedtotheauthorsofliterary,dramatic,artisticormusicalworksandthemakersofsoundrecordingsandfilms,‘publishededitions’andbroadcastsundertheCopyright Act 1968 (Cth).CopyrightcurrentlyprotectstheworksofIndigenousartistsandcreatorsinthesamewayitdoesforotherAustralians.
InAustraliathereisnoneedtoregistercopyrightforaworktobeprotected.Awork,filmorrecordingisprotectedassoonasitiscreated.Othercountries,suchastheUnitedStatesofAmerica,dohavecopyrightsystemsthatallowcopyrightregistrationforprotection(registrationisnowoptionalratherthanmandatoryintheUSbecauseofthecountry’smembershipoftheBerneConvention(from1989)whichdoesnotrequirememberstatestofollowformalitiessuchasregistrationforthesubsistenceofcopyright).Forthisreason,filmmakerswhoareseekingtodistributetheirfilmsinternationallyshouldseeklegaladviceaboutwhetherregistrationisnecessaryinothercountries.
Requirements.of.copyright.Copyrightexistsinanoriginalworkassoonasitiscreatedinamaterialformorinasoundrecordingorfilmassoonasitismade,providedthatcertainstatutoryrequirementsaremet.ForallcopyrightmaterialitisnecessarythattherebesomeconnectionwithAustralianlaw.Forexample,iftheworkisfirstpublishedinAustraliaor
49 AustralianCopyrightCouncil,Film & Copyright – a practical guide(B71v6),AustralianCopyrightCouncil,Sydney,November2003.
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madebyanAustralianresidentorcitizen,itwillbeprotected.Australiancopyrightlawalsoprotectsworks,filmsandrecordingsthathavetherequiredconnectiontoanothercountrythatisasignatorytothemajorintellectualpropertyinternationalconvention.
Forpublishedworks,thefollowingrequirementsmustalsobemet:
• Original work:Thenewworkmustnotbecopied,andtheauthormusthaveusedthenecessarydegreeofskill,labourandefforttocreateanewwork.
• Material form:Aworkmustbewrittendownorrecordedinsomefixedform.• Qualified person:Thattheauthoroftheworkwasaqualifiedperson
immediatelybeforehisorherdeath.50
Forfilmsandrecordings:• Material form:Afilmmustbe‘embodiedinanarticleorthing’51suchastape,
adiscorCD.Arecordingmustbe‘embodiedinarecord’suchasadisc,tape,paperorotherdeviceinwhichsoundsareembodied.52
Definition.of.‘cinematograph.films’.TheCopyright Actdefinesa‘cinematographfilm’as‘theaggregateofthevisualimagesembodiedinanarticleorthingsoastobecapablebytheuseofthatarticleorthing
• ofbeingshownasamovingpicture;or• ofbeingembodiedinanotherarticleorthingbytheuseofwhichitcanbeso
shown
andincludestheaggregateofsoundsembodiedinasound-trackassociatedwithsuchvisualimages.’53
Sofilmcopyrightprotectsthemovingpicturestogetherwithanyassociatedsounds,includingthesoundtrack.
Copyright.ownershipThegeneralruleforcopyrightownershipis:
(a)Forworks,theowneristheauthororcreatorofthework.
(b)Forcinematographfilms,theowneristhepersonwhoundertookthearrangementsformakingthefilm(egthefilmproducer).
(c)Forsoundrecordings,theowneristhepersonwhoownedtheequipmentonwhichthesoundrecordingwasfirstmade(ie.themasterrecording).
50 Section32(2)(d)Copyright Act 1968.51 Section10(1)Copyright Act 1968,seedefinitionof‘cinematographfilm’.52 Section10(1)Copyright Act 1968,seedefinitionof‘soundrecording’and‘record’.53 Section10(1)Copyright Act 1968,definitionof‘cinematographfilm’.
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Therearesomesignificantexceptions:
• Wheretheworkisproducedunderacontractofemployment,copyrightwillbelongtotheemployer.54
• Apersoncommissioningmusical,artistic,literaryanddramaticworksdoesnotnecessarilyownthecopyrightinthecommissionedwork.
• Whereapersonmakes,forvaluableconsideration,anagreementwithanotherpersonforthetakingofaphotographforprivateordomesticpurposes,thepaintingordrawingofaportraitorthemakingofanengravingbythatperson,andtheworkismadeunderthisagreement,thecommissioneristhecopyrightowner.55
• Whereawork,recordingorfilmisproducedunderthedirectionorcontroloftheCommonwealthorStategovernment,theCommonwealthorStatemaybetheownerofthecopyright(Section177and178[2]).Theseprovisionsmaybemodifiedbyagreementwhereitisagreedthatthecopyrightinthatwork,recordingorfilmistoremainwiththeauthorormaker,oranyotherspecifiedperson(Section179).
• Thecommissionerofafilmwillowncopyrightinthatfilm.• Directorsofnon-commissionedfilmshaveaninterestinthecopyrightofthat
film.• Artistsandfilmmakersretainmoralrightsintheircommissionedworks.• Thegeneralrulesofcopyrightownershipmaybemodifiedorexcludedby
agreement(Section35[3]).• AnIndigenouscommunitymayhaveaninterestinequitywhichmayrequire
themtogivepermissionincertaincases:BulunBulunvR&TTextiles(1998)41IPR513.
How.long.does.copyright.last?ThedurationofcopyrighthaschangedsincetheAustralia–USFreeTradeAgreement.Tofindoutwhethercopyrightinaparticularitemstillsubsists,youneedtofirstconsiderifthematerialwascreatedbefore1January2005,andworkoutwhethercopyrightexpiredundertheoldrules.Ifcopyrightwasstillsubsistingon1January2005,thenthenewrulesapply.
Theperiodforprotectionofcopyrightisnowgenerally:
• Forartistic(otherthanphotographs),literary,musicalanddramaticworks–70yearsfromthedeathofthecreator(attheendofthatcalendaryear)(Section33[2]).
• Forliterary,musicalanddramaticworksthatatthedeathofthecreatorareunpublished,notpreviouslybroadcastorperformedinpublicorrecords
54 Undersection35(6)Copyright Act 1968,whereworksaremadebyauthorsinthetermsoftheiremploymentbyanotherpersonunderacontractofservice,thecopyrightisownedbytheemployer.
55 Section35(5)Copyright Act 1968.
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offeredforsaletothepublic(ieworkspublished,performedorbroadcastposthumously)–70yearsfromthedateoffirstpublication,performanceorbroadcast(whicheveroccursfirst)(Section33[2]).Protectedindefinitelyifnotpublished.
• Forphotographs(exceptphotographsfirstpublishedanonymouslyorunderapseudonym)–70yearsfromthedeathoftheauthor(Section33[2]).
• Forworkspublishedanonymouslyorunderapseudonym–70yearsfrompublication,ifauthor’sidentitynotgenerallyknownorreasonablyascertainablebeforethen.
• Forsoundrecordings–70yearsfromfirstpublication;indefiniteifunpublished(Section93).
• Filmsmadebefore1May1969arenotprotectedbyfilmcopyright,butcouldbeprotectedbothas:• aseriesofphotographs(includingactualityfootageinvolvingthefilming
ofliveevents)–theseareprotectedfor70yearsafterthedeathofthecinematographer;and
• adramaticworkifthefootagewas‘original’inthesensethatthe‘arrangement,theactingformorthecombinationofincidentsrepresentedgivestheworkanoriginalcharacter’56–protectedforthelifeofthecreatoroffilmasadramaticwork.Thiscouldbethelifeofthecinematographerordirectordependingonthefacts,plus70years(Section222).
• Forfilmsmadeafter1May1969–70yearsafterfirstpublication,indefiniteifunpublished(Sections99,94and223).
ItisimportanttonotethatthecopyrightdurationrulesforGovernmentcopyrightdidnotchangeafter1January2005.MaterialmadeunderthedirectionandcontroloftheGovernmentisgenerally50yearsfromthedateofpublication.(SeetheACC’scopy-rightdurationsheetG23availablefromwww.copyright.org.au)
Oncecopyrightexpires,thematerialentersthepublicdomainandcanbefreelyusedbyothers.
However,.Indigenous.people.express.the.view.that.copyright.belongs.to.their.cultural.material.in.perpetuity..To.maintain.this.cultural.connection,.Indigenous.people.argue.the.right.to.be.consulted.on.uses.beyond.the.copyright.period.
If.releasing.the.film.internationally,.be.aware.that.the.copyright.in.material.might.have.expired.in.Australia.but.still.be.on.foot.in.other.countries.where.periods.of.copyright.protection.are.longer..This.could.especially.be.the.case.for.photographs.
56 Section204,Copyright Act 1968.
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The.rights.of.the.copyright.holderUndertheCopyright Act 1968 (Cth)rightsgrantedtocopyrightownersare:
For.literary,.dramatic.or.musical.works.(such.as.reports,.novels,.screenplays/scripts,.plays.or.songs)
Theexclusiverightto:
• reproduceinmaterialform• publishthework• performtheworkinpublic• communicatetheworktothepublic• makeanadaptationofthework(Section31[1][a]).
For.artistic.works.(such.as.paintings,.photographs,.sculptures.or.engravings)Theexclusiverightto:
• reproduceinmaterialform• publishthework• communicatetheworktothepublic(Section31[1][b]).
For.sound.recordings.(such.as.tapes.and.CDs)Theexclusiverightto:
• makeacopyofthesoundrecording• causetherecordingtobeheardinpublic• communicatetheworktothepublic• enterintoacommercialrentalarrangement(Section85).
Cinematograph.films.(such.as.videos.and.movies)Theexclusiverightto:
• makeacopyofthefilm• causethefilmtobeseenorheardinpublic• communicatetheworktothepublic(Section86).
Infringement.of.copyrightItisaninfringementofcopyrighttocopyordealwithacopyrightworkwithouttheconsentofthecopyrightowner.Apersonwillinfringecopyrightinamusical,dramatic,artisticorliterarywork,soundrecordingorfilmifheorshedoesanyoftheactsoutlinedabove.Forexample,ifafilmmakerincludesacopyrightworkinthefilmwithouttheconsentoftheowner,thefilmmakerisinfringingthecopyrightowner’sexclusiverights.
Itisnotnecessaryforanentireworktobecopied,communicated,publiclyperformedetcinfullforaninfringementoftheexclusiverightsofacopyrightownertooccur.Ifasubstantialpartofthematerialprotectedbycopyrightisreproducedwithoutauthorityfromthecopyrightowner–suchaspartofasongreproducedinafilmorpartofan
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artisticworkfilmed–thismayconstituteaninfringementofthecopyright.Butitwillalwaysbeaquestionofdegree.Itisnotsomuchthequantityofwhatiscopiedorreproducedthatisrelevant,butthequality,iethe‘nature’ofwhatiscopiedratherthantheamountofthematerialusedrelativetotheoriginalwork.Indecidingontheissue,thecourtwillconsiderthecircumstancesofeachparticularcase.
Ifyouareusinglessthana‘substantialpart’youmaynotbeinfringingawork.However,asnotedabove,whetherwhatisusedis‘substantial’isaquestionoffactordegree.Itisrecommendedthatyougetlegaladviceonthispoint,andingeneralseekpermissionforusesofcopyrightworksevenifasmallamountofanoverallworkistobeusedinthefilm.
Fair.dealing.provisionsTheCopyright Act 1968 (Cth)recognisesthatsomeusesofcopyrightworksandmaterialscanbemadeforcertainpurposesiftheuseis‘fair’,withouttheuserhavingtogetcopyrightpermission.Thesefairdealingprovisionsinclude:
• forresearchorstudypurposes(Section40forworksandSection103Cfortheuseofaudio–visualitems)
• forcriticismorreview,whetherofthatworkorofanotherwork,providedsufficientacknowledgmentoftheworkismade(Section41forworksandSection103Afortheuseofaudio–visualitems)
• forthepurposeof,orassociatedwiththereportingofnewsinanewspaperormagazineprovidedasufficientacknowledgementoftheworkismade,orforthepurposeof,orassociatedwithreportingofnewsbymeansofacommunicationorinacinematographfilm(Section42forworksandSection103Bfortheuseofaudio–visualitems)
• aspartofjudicialproceedingsorareportofjudicialproceedings,or,forthepurposeofgivingprofessionallegaladvicebyalegalpractitioner(Section43forworksandSection104fortheuseofaudio–visualitems)
• iftheworkisusedforthepurposesofparodyorsatire(Section44AandSection103AAfortheuseofaudio–visualitems).
Youdonotneedtogetpermissionfromthecopyrightownerforafairdealinguseofacopyrightworkorpayafeeforuse.However,ifyouwanttorelyononeoftheaboveexceptions,pleasenotethatyoumustbegenuinelyusingthecopyrightmaterialforoneofthefairdealingpurposesandtheusemustbe‘fair’,otherwiseyoumayinfringecopyright.Againyoushouldseeklegaladviceifyouthinkyoumaybeabletousematerialbasedon‘fairdealing’.FormoreinformationontheseseetheAustralianCopyrightCouncil’sinformationsheet:FairDealing(G079v04)availableatwww.copyright.org.au
Filmmakersshouldalsobeawarethatifthefilmisbeingdistributedoverseas,thesamefairdealingprovisionsmaynotapplyinothercountries.
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Clearing.copyright.for.use.in.films.Assetoutabove,copyrightprotectsparticularcategoriesofcreationsuchasartisticandliteraryworks.Afilmwillthereforeusuallycontainanumberofcopyrightworks(eachofwhichmayhaveseparatecopyrightowners)andmayincludecopyrightonthe:
• script• music• choreography• video/existingfilmfootage• animation• sounds• photographs• artworks.
Copyrightclearancesmustbeobtainedforallworks,fromeachandeverycopyrightownerinrespectofeachelementofthefilm.
Youwillalsoneedtogetpermissionfromthecopyrightownerofthefilmtoreproduceanduseexistingfilmsandincorporatethemintoanewwork.
5.2. Performers’.rights
SinceOctober1989,performers’rightshavebeengivenlimitedrightsundertheCopyright Act 1968(Cth)totheirperformances.From1January2005,performers’rightswereextendedtorecogniseperformersas‘makers’ofsoundrecordingsoftheirliveperformances.Performers’moralrightscameintoforceinAustraliaon26July2007.
What.performances.do.the.rights.apply.to?Performers’rightsapplytoperformancesandimprovisationsofdramatic,literaryandmusicalworks;readings,recitals,danceperformances,circusorvarietyactsandexpressionsoffolklore(Section248A(1)defines‘performance’).AnexpressionoffolklorecouldincludeanIndigenousculturalexpressionsuchasdance,astoryorceremony.
What.rights.are.given.to.performers?Performers’rightsallowperformerstopreventcertainunauthorisedusesoftheirperformances(Section248J),suchasdirectorindirectrecordings,abroadcastorcommunicationoftheperformance,andanunauthorisedinclusionofanaudiorecordingoftheperformanceinafilmsoundtrack(Section248G)withouttheauthorityoftheperformer.Itisalsoanoffencetocopyarecordingknowingthatitisanunauthorisedrecording.
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ExceptionsTherearesomeexceptionstotheserightsincludingnewsreading,recitalordelivery(Section248A[2][b]);sportsactivities(Section248A[2][c]);andperformancebyanaudiencemember(Section248A[2][d]).
Permissionisalsonotrequiredforexemptrecordingssuchasrecordingsfordomesticuse,scientificresearchandeducationalpurposes.
Obtaining.permissionTheselawsprovidethatconsentmustbeobtainedbyfilmmakersforfilmingperformancesofdanceandstories.Suchconsentmaybeimpliedororal,buttoavoidconfusionoverwhathasbeenconsentedto,westronglyrecommendthatrightsbeclearedinwritingsothatthetermscanbeclearlyunderstood.Onceconsentisgiven,thefilmmakercandealwiththefilmfortheagreedpurposesasauthorisedbytheperformer.
Authorising.recordingsAperformer’srightisnotthesameascopyright.57Onceaperformerhasgivenpermissionforarecordingorbroadcastoftheirperformance,theperformergenerallyhasnofurtherrightsandcannotpreventitsuseunlesstheyexpresslylimitedtheusethatcouldbemadeoftheirperformance.
AnIndigenousperformermaythinktheyareconsentingtobefilmedforonepurposeonlyalthoughthefilmmakerintendstheusetobemuchwider.Thefilmmaybecirculatedtoamuchwideraudiencethantheoriginalperformance.
ThereareindustryagreementsbetweentheScreenProducers’AssociationofAustralia(SPAA)andtheMediaEntertainmentandArtsAlliance(MEAA)thatdeterminetherightsoftheperformerandfilmmaker.
Duration.of.performers’.rightsPerformers’rightstocontroltherecordingoftheirperformance,andsubsequentcopyinganduseoftherecordings,lastfor50yearsfromthedateofthe‘performance’.58
ThestoryordanceperformancetoldonthefilmisinthiswaycontrolledbythefilmmakerwithouttheabilityoftherelevantIndigenouscommunitytoensurethattheculturalmaterialisportrayedinarespectfulway.Therearealsoculturalissuesinsomecommunitieswhereitisagainstcustomarypracticesforimagesofdeceasedpersonstobecirculated.ThistypeofculturalpracticeisnotrecognisedundertheCopyright Act.However,thereisadevelopingpracticewithintheAustralianfilmindustrytoincludeawarningandnoticebeforebroadcastingimagesofIndigenouspeoplethatmayhavediedsincethefilmingoccurred(seeSection3,page40).
57 TerriJanke,Our Culture: Our Future,p.56.58 Section248CA,Copyright Act 1968(Cth).
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Performers’.rights.to.sound.recordingsInresponsetotheAustralia–USFreeTradeAgreement,newperformers’rightshavebeengiventoperformersinrelationtoaudioaspectsofliveperformances.From1January2005,the‘maker’ofasoundrecordingofaliveperformancewillbetherecordcompany/producerofthesoundrecordingandtheperformerorperformerswhocontributedtothesoundsfixedinthesoundrecording.Thereareexceptionstothisnewextensionandaperformerwillnotbeamakerorco-ownerofcopyrightinasoundrecordinginthefollowinginstances:
• Iftheperformerwasperformingunderacontractofemployment.Inthiscase,theemployerwillowntheshareofcopyrighttheperformerwasentitledto.
• Thesoundrecordingwascommissioned.Here,thecommissionerwillownthecopyrightinthesoundrecording.
• Awrittenagreementsignedbytheperformerstatesotherwise.Forinstance,whereareleaseorrecordingagreementassignstheperformer’srightstotherecordingcompanyorthemakeroftherecording.
Performers’.moral.rightsSince26July2007,performershavemoralrightsintheirliveperformancesandperformancescapturedinsoundrecordings.Therights,whichapplytoaperformanceconsistingofsounds,are:
•therightofattributionofperformership•therightnottohaveperformershipfalselyattributed;and•therightofintegrityofperformership.
Moralrightswillvestineachperformerwhocontributedtothesoundsofaperformance,andtheconductoroftheperformance.
For.more.information.Seethefollowingfactsheets:
ArtsLawCentreofAustralia,Performers’Rightswww.artslaw.com.au/LegalInformation/PerformersRights.asp
AustralianCopyrightCouncil,Performers’rightswww.copyright.org.au/pdf/acc/infosheets_pdf/G022.pdf
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5.3. Moral.rights
TheCopyright Act 1968 (Cth)providesindividualauthorsofliterary,dramatic,musicalorartisticworksandfilmswithmoralrights.Theseare:
• therightforanauthortobeattributed• therightofanauthornottobefalselyattributed• therightofanauthortohaveaworktreatedwithintegrity.
Theauthorofaworkhasarighttobeidentifiedastheauthorofaworkwherehisorherworkisreproducedinmaterialform,published,performedin,orcommunicatedto,thepublic;oradapted(Section194[1]).Identificationoftheauthorofaworkmustbeclearandreasonablyprominent(Section195AA).
Therightofintegrityallowsanauthortobringalegalactioniftheworkorfilmissubjectedtoderogatorytreatmentsothattheauthor’shonourorreputationisprejudiced(Sections195AJ,195AKand195AL).Thismaybe,forinstance,whereaworkiseditedoralteredinawaythatisderogatorytotheauthor.Butifthepersonwhosubjectedtheworktoderogatorytreatmentcanshowthatthetreatmentwasreasonableinallthecircumstances,thenthiswillnotbeaninfringementofmoralrights(Section195AS).Filmmakersmustensurethattheyrespectthemoralrightsofanyauthorswhoseworkstheyincorporateintotheirfilms.
Oftenfilmcontractswillrequireindividualauthorssuchaswriterstoagreetowaivemoralrightsorgiveawideconsenttotheuseoftheirmaterialinawaywhichmayotherwiseinfringetheirmoralrights.SeetheAWG/SPAAmoralrightsscheduleasaguide.AnissueremainsastowhethertheseIndigenouscommunalmoralrightstoguardtheintegrityofaworkcanbewaivedbytheindividual(seefurtherdiscussionbelow).Thereareproposednewlawsrelatingtothis.
5.4. Indigenous.communal.moral.rights
Moralrightsareindividualrightsonly.Iftheworkorfilmisderogatorilytreated,onlytheindividualauthorwouldhavearemedyundermoralrights.However,anIndigenouscommunitywhichisthesourceofculturalmaterialincorporatedinafilmorworkdoesnothaveanymoralrightsundertheCopyright Acteventhoughundertheircustomarylawstheclan,orapersononbehalfoftheclan,mayhaveresponsibilitytosafeguardtheculturalintegrityofthesong,danceorstoryembodiedinthefilm.ThemoralrightsframeworkundertheCopyright Act 1968(Cth)alsoexcludesIndigenouspersonswithauthorityotherthantheauthor(creator)fromlegallyexercisingmoralrightsoverworksembodyingtraditionalritualknowledge.59
59 TerriJanke,‘AMoralIssue:MoralRightsandIndigenousPeople’sCulturalRights’,NIAAA Newsletter,Autumn,2001,pp.2–3.
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Apracticeofincludingatraditionalcustodian’snoticeinpublicationsthatreproducetraditionalritualknowledgehasdevelopedintheartsandpublishingsector.TheArtsLawCentrerecommendsthatfollowingtraditionalcustodiannoticeinartworkswithtraditionalknowledge:
‘The images in this artwork embody traditional ritual knowledge of the (name) community. It was created with the consent of the custodians of the community. Dealing with any part of the images for any purpose that has not been authorized by the custodians is a serious breach of the customary law of the (name) community, and may also breach the CopyrightAct1968 (Cth).
For enquiries about permitted reproduction of these images contact (community name).’
A.proposed.new.regimeInDecember2003,theAustralianGovernmentdraftedproposedamendmentstotheCopyright Act 1968(Cth)forIndigenousCommunalMoralRights.Thegovernment’sstatedaiminreleasingthedraftbillwastogiveeffecttoits2001electionpolicycommitmentandtoacommitmentmadetoSenatorAdenRidgewayinParliamentduringthepassingoftheMoralRightsBillinDecember2000.60TheExposureDraftoftheCopyrightAmendment(IndigenousCommunalMoralRights)Bill2003(theBill)wassenttoapproximately20Indigenousorganisationsforcomment.TheBillhasyettobepresentedinparliament.TheextentoftheprotectionaffordedinthisproposedIndigenousCommunalMoralRightsBillisunknownandfurtherlegaladviceshouldbesoughtbyfilmmakersoncethislegislationisinforce.61
Inthemeantime,thisguiderecommendsthattheprinciplesofintegrityandattributionshouldbeextendedwhereverpossibletoallusesofIndigenousculturalandintellectualproperty,andwhereappropriate,therightsofthecommunityshouldbediscussed.
5.5. Contracts
Acontractisanenforceableagreementbetweenparties,settingoutthetermsoftherelationshipbetweentheparties,conferringrightsandimposingobligationsontheparties.
Contractsplayalargeroleinthefilmindustrywithmanyrelationshipsdefinedunderwrittencontract.Herearejustafewtypesofagreementsrelevanttofilmpractice:
60 IntellectualPropertyBranch,DepartmentofCommunications,InformationTechnologyandtheArtsandtheCopyrightLawBranch,Attorney-General’sDepartment,‘IndigenousCommunalRightsPaper’,December2003.
61 RobynAyres,ExecutiveDirector,ArtsLawCentreofAustralia,SubmissiononthirddraftofA Guide to Protocols for Filmmakers Working with Indigenous consent and Indigenous Communities;seealsoArtsLawCentre’sexecutivesummaryontheIndigenousCommunalMoralRightsBill,accessed13December2006,www.artslaw.com.au/_documents/files/ICMRLetterAndExecutiveSummary2006.pdf.
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• Actor’s employment agreementAgreementbetweentheactorandproductioncompanywheretheactorgrantstherightstousehisorherperformance,nameandlikenessforthefilm.
• Production and investment agreementAgreementbetweentheinvestorsandtheproductioncompanyfortheproductionanddeliveryofthefilm;includesprovisionsrelatingtoamountoffinance,paymentsscheduleanddeliveryitems.
• Director’s agreementAgreementbetweentheproductioncompanyandthedirectorforprovisionofservices.
• Writer’s agreementAgreementbetweentheproductioncompanyandthewriterforprovisionofscriptdraftingservices.
• Distribution agreementGrantsthedistributortherightstodistributethefilminlistedterritories.
• Location agreementsWrittencontractsthatsetoutthetermsforfilmingonproperty,signedbetweentheproductioncompanyandtheownerofland.
ThereisscopeforcontractstoplayasignificantroleinensuringthatwhenthirdpartiesareauthorisedtomakeuseofIndigenousculturalandintellectualpropertyinfilms,thateconomicandotherbenefitsflowingfromthefilmaresharedwithIndigenouspeople.
SometermsincontractsforfilmprojectshaveincludedthefollowingrightstoIndigenouscommunities:
• sharingofcopyright• sharingofroyaltiesandpaymentoffees• theoptionofviewingtherushesanddraftedits• thepowertorejectsensitivefootagefromtheediteddrafts.
Toguidedirectorsandwriters,filmmakersmaywanttoincludeacontractualtermintheirserviceagreementsthatrequirethemtouseandrefertothisprotocolsguide.
5.6. Defamation
Defamationlawsprotectthereputationofindividualsandorganisationsbyprovidingtheinjuredpartytherighttosuefordamages.Defamationisthecommunicationbyonepersontoanotherofwords,pictures,orothermaterialthatadverselyaffectsthepersonalreputationofathirdperson.Toestablishdefamation,generallythefollowingmustbepresent:
• adefamatorystatement(ormaterial)orimputation• theplaintiffisabletobeidentified• thestatement(ormaterial)ispublishedtoathirdperson.
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Itisimportanttonotethatthecourtslookatthewholepublicationwhendeterminingwhetherornotmaterialisdefamatory.Inthisrespectthewholecontextisrelevant.Also,tobeliablefordefamation,thosemeaningsorimputationsdonothavetohavebeenintended.Filmmakersshouldthereforeconsiderthecontextinwhichindividualsarerepresentedandportrayed,andalsothecontextofhowstockfootageisused.
A2002defamationcaserelatedtotheinappropriateoutofcontextuseofstockfootageofabiker’swedding.62Thisisanexampleofwheredefamationlawscanbeusedbyfilmsubjectswhentheirimagesareusedoutofcontext.
Thelawofdefamationiscomplexandcostly.Itisdifficulttodefendandtherecanbesubstantialdamagesawarded.Before2006,thelawsvarieddependingonthestatelawthatapplied.In2006,uniformdefamationlawswereintroducedinallstatesandterritories.FormoreinformationondefamationseetheArtsLawCentreofAustralia’susefulinformationsheet,‘Thelawofdefamation–formaterialpublishedafter1January2006’atwww.artslaw.com.au/LegalInformation/Defamation/DefamationLawsAfterJan06.asp
5.7. Trade.practices
TheTrade Practices Act 1974 (Cth)prohibitscorporationsfromengaginginconductthatis‘misleadingordeceptiveorwhichislikelytomisleadordeceive’(Section52).Thisprovisionfocusesontheprotectionofconsumersregardingrepresentationsmadebycorporations in the course of trade and commerce.Therearealsoprovisionsthatmadeitillegalforcorporationstorepresentthatgoodsorserviceshave‘sponsorship,approval,performancecharacteristics,accessories,usesorbenefitstheydonothave’(Section53).
In2003,tradepracticesclaimswerearguedinrelationtorepresentationsmadebyafilmmakertointerviewees.ThecaseofHearn v O’RourkeinvolvedanallegationundertheTrade Practices Actthatthefilmmakermisledtwoyounggirlsintobeinginterviewedforadocumentary,whichthefilmmakertoldthemwasabout“racisminCunnamulla”;however,whenthefinalfilmscreened,itfocusedonthesexlivesoftheyounggirls.63TheFederalCourtwasoftheopinionthattradepracticescouldapplytothefilmmakerinthiscasebecausefilmmakingwas‘inthecourseoftradeandcommerce’.Thecasewasduefortrialbutin2007itwasdismissedafterthefilmmakerwassuccessfulindefamationproceedings:O’Rourke v Hagan.64
62 Jackson & 9 Others v TCN Channel 9 Pty Ltd [2002]NSWSC1229(20December2002).SeealsoEllenConnolly,‘Ninetakesbikiebrideforaride,andpays$1.6m’,The Sydney Morning Herald,21December2002.ThefootagewasoriginallyshotfortheshowWeddingsandthenusedfourmonthslaterforastoryonorganisedcrimeinbikergangs.
63 Hearn v O’Rourke [2003]FCAFC78(2May2003).64 O’Rourke v Hagan and Anors[2007]ACTSC61.
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In2008,TCN Channel Nine Pty Ltd v Ilvariy Pty Ltdrevisitedtheissue.65TheNSWCourtofAppealappearedtoreaddowntheFederalCourtofappealdecisioninHearn v O’Rourketosuggestthatitwillbeunlikelyforfilmmakers’interviewstobedeemedtobedone‘inthecourseoftradeorcommerce’–unlesstheymakeamisleadingrepresentationinthecourseoftheinterviewee’sbusiness–asinthiscase,wheretheintervieweewasabuilder,andtheinterviewpertainedtohisbusiness,CraftsmanHomes.
5.8. Environmental.legislation.and... national.parks
UndertheEnvironment Protection Biodiversity Conservation Act 1999 and associated Regulations (Cth),apermitisrequiredfromtheDirectorofaNationalParktofilmandphotographfeaturesofanationalpark,wheretheDirectorhaspublishedguidelines.
Regulation12.24providesthatapersonmustnotcaptureanimageinorofaCommonwealthReservewithoutapermitfromtheDirectoroftheNationalPark.
Regulation12.38providesthatapersonmustnotuseacapturedimageofaCommonwealthReservetoderivecommercialgain.Thepenaltyis30penaltyunits($3,300).A‘capturedimage’includesimagesthatwerenotcapturedforacommercialpurposeorincontraventionofthe Actortheregulations(egamateurphotography).
TheUluru-KataTjutaNationalParkhasFilmingandPhotographyguidelinesthatadviseonwhereappropriatefilmingcanoccur.Nofilmingofsacredsites,forinstance,isallowable.ForinformationontheguidelinescontactthePublicCommunicationsOfficerat:
Uluru-KataTjutaNationalParkPOBox119YULARANT0872Ph:(08)89562299Fax:(08)89562360
5.9. Western.Australian.Heritage... Regulations.1974
TheAboriginalHeritageRegulations1974(WA)apply‘inrelationtoanyAboriginalsiteorprotectedareaorlandheldsubjecttoacovenantinfavouroftheministerinrelationtowhichtheministerhasadutyundertheAct’.66Regulation10(h)statesthat‘writtenpermissionisrequiredbeforephotographsorrecordingsofAboriginalsitescanbe
65 TCN Channel Nine Pty Ltd v Ilvariy Pty Ltd[2008]NSWCA9.66 AboriginalHeritageRegulations1974(WA)s3(a).
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publishedorusedforcommercialreproduction’.TheseregulationsrequirepeopletogetpermitsforcommercialfilmingofAboriginalsites.ThewrittenpermissionoftheMinisterofAboriginalAffairsortheRegistrarisrequiredtophotographortorecordanyAboriginalsiteorprotectedareaforcommercialreproductionorpublication.Afineof$50occursforbreaches.67TheDepartmentofAboriginalAffairsinformationsheetadvisespeopletospeaktothelocalIndigenouscommunitywithassociationswiththesiteandexplainwhyyouwanttophotographorfilmthesite,priortoapplyingtotheRegistrarforformalconsent.FormoreinformationcontacttheDepartmentofIndigenousAffairs(DIA),WA(forcontactdetailsseetheAboriginalLandsTrustonpage98).
5.10. Where.to.go.for.more.legal.information
• AustralianCopyrightCouncil• ArtsLawCentreofAustralia• CommunicationsLawCentre• Solicitorspractisinginthisarea:informationcanbeobtainedfromtheLaw
Societyinyourstateorterritory.
67 DepartmentofIndigenousAffairs,PhotographingandFilmingAboriginalSitesforCommercialPublication,FAQ.Seealsowww.dia.wa.gov.au
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Contacts&appendices 79
6.. .Contacts.&.appendices6.1. Directories
The.Black.Book.Directory.Ph:(02)93804000TollFree:1800226615Fax:(02)[email protected] PortaltoIndigenousartsandmediainAustralia.Includesadirectorywithmorethan2,700listingsofIndigenousorganisationsandindividualsworkingacross95professionsinthearts,mediaandculturalindustries.
Black.Pages.www.blackpages.com.auBlackPagesisAustralia’sfirstandonlynationalonlineIndigenousBusinessandCommunityEnterpriseDirectory.
Encore.Directory.ReedBusinessInformationTower2,475VictoriaAvenueChatswoodNSW2067Ph:(02)94222999Fax:(02)94222922encoredirectory@reedbusiness.com.auwww.reedbusiness.com.auAcomprehensivedirectoryofproducers,directors,personnel,companies,facilitiesandorganisationsinthefilm,televisionanddigitalmediaindustries.
Indigenous.Portal.www.indigenous.gov.au TheOfficeofIndigenousPolicyCoordination(OIPC)isAustralia’scentralIndigenousagency.TheOIPC’sIndigenousPortalisawindowtoresources,contacts,informationandservicesforAboriginalpeopleandTorresStraitIslanders.
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The.Production.Book..POBox55GlebeNSW2037Ph:(02)95711100Fax:(02)[email protected] Acontactandinformationproviderforpersonnel,facilitiesandservicesintheAustralianfilm,TV,advertisinganddigitalmediaindustries.
Screen.Australia.Industry.Links.www.screenaustralia.gov.auGatewaytoAustralianfilmandtelevisionontheInternet.
Showcast:.The.Australasian.Casting.Directory.POBox2001LeumeahNSW2560Ph:(02)46474166Fax:(02)46474167danelle@showcast.com.auwww.showcast.com.auAcomprehensivedirectoryofAustralianandNewZealandperformers–actors,actresses,stuntpeopleandchildren.Providestheagent’scontactforeachentry.Availableonlineandinhardcopy.
The.Writers’.Directory..AustralianWriters’Guild8/50ReservoirStreetSurryHillsNSW2010Ph:(02)92811554TollFree:1300552228Fax:(02)[email protected] OnlinedirectorywithalphabeticallistingofmanyAustralianprofessionalscriptwritersshowingcategoriesofworkundertaken,majorcreditsandexperience.Includesastateindexcombinedwithfulllistofmembers.
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6.2. Indigenous.media.associations.and.. .. broadcasters
Australian.Indigenous.Communications.Association.(AICA).POBox4235AinslieACT2602Ph:(02)62421358Fax:(02)[email protected] TheAustralianIndigenousCommunicationAssociationIncorporatedisabodythatrepresentsmembersofthenationalIndigenousmediaandcommunicationsindustry.Therepresentativeassociationadvocatesforandformulatespolicyonbehalfofthissector.
Brisbane.Indigenous.Media.Association.(BIMA).POBox6239FairfieldGardensQld4103Ph:(07)38920100Fax:(07)[email protected] BIMAholdsthelicenceforandruns4AAAMurriCountry98.9FMRadiostation,providingtrainingandopportunitiesforIndigenousbroadcasters.
Central.Australian.Aboriginal.Media.Association.(CAAMA).www.caama.com.au OwnedbytheAboriginalpeopleofCentralAustralia,CAAMAhasaclearmandatetopromoteAboriginalculture,language,danceandmusic,whilegeneratingeconomicbenefitsintheformoftraining,employmentandincomegeneration.CAAMAproducesmediaproductsthatengenderprideinAboriginalculture,andinformsandeducatesthewidercommunityabouttherichnessanddiversityoftheAboriginalpeoplesofAustralia.TheCAAMAGroupcomprises:8KINFM,aradionetwork;CAAMAShops,aretail,wholesaleanddistributionbusiness;CAAMAMusic,arecordingstudioandrecordlabelthatproducesIndigenousmusicfortheworld;CAAMAProductions,afilmandtelevisionproductioncompanythatproducesworld-classprogramsaboutAboriginalculture,lifestylesandissues;andImparjaTelevision,acommercialtelevisionstationthatbroadcastsviasatellitetooneofthelargesttelevisionserviceareasintheworld.
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Central.Queensland.Aboriginal.Corporation.for.Media..POBox663RockhamptonQld4700Ph:(07)49214648Fax:(07)49214649BroadcastRadio4USon100.7FMaroundRockhamptonarea,6.00am–6.00pmweekdays.
Gadigal.Information.Service.Aboriginal.Corporation..POBox966StrawberryHillsNSW2012Ph:(02)95645090Fax:(02)[email protected] OperatesKooriRadioinSydney.OccasionallyreleasesCDcompilationsoflocalartists.StageseventsincludingYarbunconcertheldannually.
Goolarri.Media.Enterprises.Pty.Ltd..POBox2708BroomeWA6725Ph:(08)91921325Fax:(08)[email protected]@gme.com.auwww.gme.com.au Offerstelevisionbroadcastandfilmandvideoproductionandpost-production,hasaradiostation(Goolarri99.7)andanarrowcasttelevisionlicence(GTV).Italsohasmusicrecordingstudios,aneventmanagementarmandITandgraphicfacilities.GMEisownedbytheBroomeAboriginalMediaAssociationandalsomanagestheoperationsoftheBroomeMusiciansAboriginalCorporation.
Imparja.Television..4LeichhardtTerraceAliceSpringsNT0870Ph:(02)89501411Fax:(02)89501422imparja@imparja.com.auwww.imparja.com.auThefirstAboriginal-ownedandcontrolledcommercialtelevisionserviceinAustralia.Imparja,whichmeansfootprintintraditionalCentralArrerntelanguage,isthecentralZoneRemoteCommercialTelevisionService(RCTS)licensee,whichbroadcaststhroughouttheNorthernTerritory,SouthAustralia,VictoriaandNewSouthWales.
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Indigenous.Remote.Communications.Association.(IRCA)..10aWilkinsonStreetAliceSpringsNT0871POBox2731AliceSpringsNT0871Ph:(08)89526465Fax:(08)89188100Mobile:0437798076manager@irca.net.auIRCAistherepresentativebodyofmembersofAustralia’sremoteandveryremoteIndigenousmediaorganisations.Eightleadingmediaassociationsrepresentingover120remotecommunitiesformthemembershipofIRCA.PYMedia,TEABBA,PAWMedia,RIMAQ,RICA,CAAMAandNgaanyatjaraMediaareontheIRCAboard.
Mt.Isa.Aboriginal.Media.Association..POBox1794MtIsaQld4825Ph:(07)47491338Fax:(07)47490270Mobile:0408491332miama@bigpond.comIncludestelevisionfacilitiesandproductioncompany,recordingstudios,aradiostationthatbroadcastscontinuallyandproducesanewsletter.AlsoofferstrainingforIndigenouspeople.
National.Indigenous.Television.(NITV).5ParsonsStreetAliceSpringsNT0870Ph:(08)89534763Fax:(08)89534764admin@nitv.org.auwww.nitv.org.au.NationalIndigenousTelevisionisa24-hourtelevisionserviceestablishedbyAboriginalandTorresStraitIslanderstoimprovethelivesofourpeople.NITVisfocusedonlocallyproducedcontent.
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South.Eastern.Indigenous.Media.Association.(SEIMA).48MaryStreetPrestonVic3072Ph:(03)94711305Fax:(03)[email protected] Primarilyinvolvedinbroadcastingandassistingtrainingforbroadcastingwiththemainprojectbeing3K’N’DKoolandDeadlyRadio.Alsoactsasaliaisonbetweenthecommunityandradio.Newmemberswelcome.
Torres.Strait.Islander.Media.Association.(TSIMA)..POBox385ThursdayIslandQld4875Ph:(07)40691524Fax:(07)40691844admin@tsima4mw.org.auRepresentsresidentsandculturalcommunityintheTorresStraitandNorthernPeninsulaareathroughmedia.Coversissuesrelatingtopeopleintheregionandassistsinmaintainingculturethroughvideoandradioproduction.
Townsville.Aboriginal.&.Islander.Media.Association.(TAIMA).271–279SturtStreetTownsvilleQld4810POBox5483TownsvilleQld4810Ph:(07)47725466Fax:(07)47211902mail@4k1g.orgTheTownsvilleAboriginalandIslanderMediaAssociation(TAIMA)isoneofthelargestmediaassociationsintheIndigenousbroadcastingsector.Ithasastaffof29andanannualbudgetof$1.9million.TheTownsvilleAboriginalandIslanderMediaAssociationisacommunity-ownedandcontrolledradiostation,whichis4KIGTownsville.
Uniikup.Productions.Ltd.POBox3230SouthBrisbaneQld4101Fax:(07)38643975Mobile:0407379822www.colourise.com.au..IndigenousArtsandMediaorganisation.Establishedin1986,tradingasMurriimageCommunityVideoandFilmService,UniikupProductionsLtdisanIndigenouscommunitydevelopmentorganisationwhosefunctionistocontributetothecreationofauniqueIndigenousscreenculture.
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6.3. Remote.Indigenous.Media.Organisations.(RIMOs;.formerly.BRACS.Regional..Coordination.Units)
RemoteIndigenousBroadcastingServices(RIBS)arecommunitymediaservicesthathavetheabilitytolocallycontroltelevisionsatelliteservicesintheircommunity.Thesecommunitiesarealsoabletocreateradioandtelevisionproductionsfortransmissionovera5–10kilometreradiusintheirregion.ThefacilitieswereprovidedunderapreviousgovernmentprogramcalledBRACS,whichisnolongeractive.RIBScommunitiesareregionallycoordinatedbylargerIndigenousmediaassociationscalledRemoteIndigenousMediaOrganisationsorRIMOs.ItisadvisedthatyoufirstlyliaisewiththeseassociationswhenmakingcontactordoingbusinesswithRIBScommunities.
Pleasenote,atthetimeofpublication,twooftheeightRIMOs,namelytheRemoteIndigenousCommunicationsAssociation(RICA)intheTorresStrait,andtheRemoteIndigenousMediaAssociationofQueensland(RIMAQ)werebeingre-established.FurthercontactinformationforRICAorRIMAQcommunitiesisavailablethroughIRCAon0417501700,oremail:[email protected]
Central.Australian.Aboriginal.Media.Association.(CAAMA)..POBox2608AliceSpringsNT871Ph:(08)89519777Fax:(08)[email protected] RepresentsfourBRACSCommunityorganisationsinthecentraldesertincludingLtyentyeApurte,Ntaria,AreyongaandPapunya.
Ngaanyatjarra.Media..WingellinaCommunityPMB52ViaAliceSpringsNT872Ph:(08)89567307Fax:(08)[email protected]/ngmediaServiceproviderforthe13regionalcommunitiesintheWesternDesertarea.Providestraining,operationalandadministrativesupportforIrrunytju,Papulankutja(Blackstone),Mantamaru(Jamison),Warbuton,Warakurna,Wanarn,Karilywara(Patjarr),Tjukurla,Kiwirrkura,CosmoNewberry,Coonana,TjuntjuntjaraandTjirrkarli.
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Pilbara.and.Kimberley.Aboriginal.Media.(PAKAM)..POBox2708BroomeWA6725Ph:(08)91921325Fax:(08)[email protected]://pakam.homestead.com/ CoordinatesthefollowingBRACSinthePilbaraKimberleyRegion:Ardyaloon(formerlyBardi)Balgo,Bidyadanga,Djarindjin,Jigalong,Kalumburu,Looma,Yungngora,Yandeyarra,Yiyili,Warmun,Oombulgurri,Ngalapita,WarmunandBeagleBay.AlsomanagesthePAKAMsatelliteradionetwork.
Pitjantjatjara.Yankunytjatjara.(PY.Media)..POBox4607ViaAliceSpringsNT871Ph:(08)899505444Fax:(08)89548163or89526425Mobile:[email protected] Worksinbothradioandvideoproduction.FeedsBRACSprogrammingintothe5NPYradionetwork.Providestrainingforradioandvideoproductionforthe11BRACScommunitiesintheAnanguPitjantjatjaraLandsofSA,NTandWA.Assistswithtechnicalandadministrativeadvice.
Top.End.Aboriginal.Bush.Broadcasting.Association.(TEABBA)..POBox41644CasurinaNT811Ph:(08)89390400Fax:(08)89390401teabba.radio@teabba.com.auwww.teabba.com.auServices25communitiesinthetopendofNT.Identifiestrainingneedsandprovidestechnicalmaintenance,installationandtrainingforBRACScommunities.TEABBAisthehubforthebushbroadcastingnetworkthroughTEABBARadio.
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Warlpiri.Media.Association..YuendumuCMBViaAliceSpringsNT872Ph:(08)89564024Fax:(08)89564100Mobile:0428564024info@warlpiri.com.auwww.warlpiri.com.auRegionalmediatraininginradio,videoanddigitalproduction.CommunitytelevisionandsatelliteradiothroughoutthePAW(PintubiAnmatjerreWarlpiri)network.ServicesKintore(Walungurru),AliCurang,Laramba(Napperby),PmaraJutunta,Nturiya,MtLeibig,Nyirripi,Yuelamu(MtAllen),LajamanuandWillowra.
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6.4. Industry.agencies.with.Indigenous... .. components
Australian.Broadcasting.Corporation.(ABC),.Indigenous.Program.Unit..www.abc.net.au/indigenous/Informationoncurrent,upcomingandcompletedprojectsattheABC’sIndigenousProgramUnit,includingprogramsinproductionandpreviouslyscreened,andinformationontheNationalIndigenousDocumentaryFund.
Australia.Council.for.the.Arts,.Aboriginal.and.Torres.Strait.Islander..Arts.Board.POBox788StrawberryHillsNSW2012Ph:(02)92159000mail@australiacouncil.gov.auTheAboriginalandTorresStraitIslanderArtsBoardassistsAboriginalandTorresStraitIslanderpeopletoclaim,controlandenhancetheirculturalinheritance.TheBoardsupportsthisrightthroughitsgrantcategoriesandthroughtheimplementationoftheAustraliaCouncil’sNationalAboriginalandTorresStraitIslanderArtsPolicy(NATSIAP).
Australian.Film.Television.and.Radio.School.(AFTRS),..Indigenous.Program.Initiatives.(IPI).TheEntertainmentQuarter130BentStreetMooreParkNSW2021POBox2286StawberryHillsNSW2021Ph:(02)98056611TollFree:1300131461Fax:(02)98871030www.aftrs.edu.au AnationalprogramdesignedtoupgradethecreativeandtechnicalskillsofIndigenousAustraliansalreadyworkinginthefilm,broadcastandrelatedindustries,andtoassistthemtoprogressintokeycreativepositions.AFTRS’specificobjectiveistoincreasethenumberofIndigenousAustralianproducers,directorsandscriptwriters,andthusincreasethenumberofIndigenousvoicesinourfilm,videoanddigitalindustries.
Contacts&appendices 89
Australian.Indigenous.Communications.Association.Incorporated.(AICA).POBox4235AinslieACT2602Ph:(02)62421354Fax:(02)[email protected] TheAustralianIndigenousCommunicationAssociationIncorporatedisabodythatrepresentsmembersofthenationalIndigenousmediaandcommunicationsindustry.Therepresentativeassociationadvocatesfor,andformulatespolicyonbehalfof,thissector.
Film.and.Television.Institute.WA.Inc.(FTI)..92AdelaideStreetFremantleWA6160POBox579FremantleWA6959Ph:(08)94316700Fax:(08)93351283www.fti.asn.au AdministerstheStanleyWilburTrust,whichofferssupportforIndigenousscreenartists.Foradviceonnewdevelopmentsinthisongoingprogram,pleasecontacttheFTI.
Indigenous.Screen.Australia.(ISA).POBox1714StrawberryHillsNSW2012Ph:(02)93804070www.indigenousscreenaustralia.com.au PeakorganisationforindependentIndigenousfilmmakersandIndigenousmediaorganisations.Establishedin2000,ISAiscommittedtopromotingopportunitiesandtheIndigenousscreenindustry.Keypriorityareas:distribution,productionandfinance,trainingandemployment,policyandscreenculture.FirstpubliceventwastheTudawaliAwards,presentedattheOperaHouseinJanuary2000.
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Metro.Screen,.Sydney,.NSW.SydneyFilmCentre,PaddingtonTownHallCnrOatleyRoadandOxfordStreetPaddingtonNSW2021POBox299PaddingtonNSW2021Ph:(02)93615318Fax:(02)93615320www.metroscreen.com.au/lbs.html AdministerstheLesterBostockScheme,ajointinitiativebetweenMetroScreenandtheNSWFilmandTelevisionOffice(FTO),offeringIndigenousstorytellerstheopportunitytomakeashortfilm.Participantshaveaccesstofreetraining,equipmentandfacilities,plustheyteamupwithanexperiencedindustryproducer/directorwhoactsasamentortoguidethemthroughtheproductionprocess.TheaimoftheschemeistoencouragenewIndigenousfilmmakerslivinginNSWtopresentideas,developtheirskillsandexperienceintelevisionandvideoproduction,andincreasetheirprospectsforemploymentinthefilmandtelevisionindustry.AnIndigenousmentor/producerassistseachfilmmakerthroughthedevelopment,productionandpost-productionoftheirproject.
Pacific.Film.and.Television.Commission.(PFTC).Level15,111GeorgeStreetBrisbaneQld4000POBox15094CityEastQld4002Ph:(07)32244114Fax:(07)32246717www.pftc.com.au TheIndigenousFilmmakersFundprovidesdevelopmentandproductionfinanceforIndigenousfilmmakerstotelltheirownstories.
SBS.Television,.Indigenous.Media.Unit.LockedBag028CrowsNestNSW1585Ph:(02)94303058Fax:(02)94381590http://news.sbs.com.au/livingblack ProducesIndigenousprograms,includingthecurrentaffairsprogramLivingBlack,forbroadcastonSBS.ProvidestrainingforIndigenouspeopleintelevision.
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Screen.Australia,.Indigenous.Branch.Ph:(02)81135800.TollFree:1800213099indigenous@screenaustralia.gov.auwww.screenaustralia.gov.au OffersprofessionaldevelopmenttoIndigenousfilmmakersbyprovidingdevelopmentandproductioninvestmentfundingfordrama,documentary,interactiveandanimationprojects.Theseprojectsmaybeintheshort,shortfeatureorfeature-lengthformat.Alsoprovidestravelgrantstofilmmakerswhohaveafilmscreeninginaninternationalfilmfestivalandprovidesfundingforfilmmakerstotrainonfeaturefilmsanddocumentaries.ContributestoScreenAustraliapolicydevelopmentissuesrelevanttoitsareaandassessesprojectswithIndigenouscontentthataresubmittedtotheScreenAustraliadevelopmentfundingprogramsandmarketingprograms.
ScreenWest’s.Indigenous.Filmex.initiative.(INDEX).Level7,LawChambers573HayStreetPerthWA6000POBox8349PerthBusinessCentreWA6849Ph:(08)92247340Fax:(08)[email protected] DesignedtoextendtheexperienceofIndigenousfilmmakers,particularlydirectors,writersandproducers,bysupportingtheproductionofshortfilms.
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6.5. Indigenous.cultural.advisors.and... script.consultants
Australian.Writers’.Guild.8/50ReservoirStreetSurryHillsNSW2010Ph:(02)92811554Fax(02)92814321admin@awg.com.auwww.awg.com.auScriptassessmentsandclinicsareavailabletoAustralianWriters’Guildmembers.TheAssessmentServiceisavailableforallscripts–documentary,feature,shortfilm,television,radioandstage.
The.Black.Book.Directory.Ph:(02)93804000TollFree:1800226615Fax:(02)[email protected] PortaltoIndigenousartsandmediainAustralia.Includesadirectorywithmorethan2,700listingsofIndigenousorganisationsandindividualsworkingacross95professionsinthearts,mediaandculturalindustries.
Indigenous.Film.Services.POBox972DarlinghurstNSW1300Ph:(02)93322066Fax:(02)93322166www.indigenousfilmservices.com IndigenousFilmServicesisafilm,videoandmultimediaresourcecentreofferingproductionsupporttoIndigenouscommunities.
Metro.Screen’s.Project.Development.Services.SydneyFilmCentre,PaddingtonTownHallPOBox299PaddingtonNSW2021Ph:(02)93615318Fax:(02)93615320www.metroscreen.org.au MetroScreen’sProjectDevelopmentServicesareavailabletoMetroScreenmembersandprovideassessmentsofscriptsortreatmentsofanylength.Itisanexcellentopportunityforfilmmakersandscreenpractitionerstobegivensoundadviceonwhatdoesanddoesn’twork.MetroScreenoffersaselectionofsuccessfulhigh-profileindustrypractitionerstochoosefrom,includingatleastoneconsultantwithabackgroundinIndigenousfilm.
Contacts&appendices 93
6.6. Land.Councils
Australian.Institute.of.Aboriginal.and.Torres.Strait.Islander.Studies.(AIATSIS),.Native.Title.Research.Unithttp://ntru.aiatsis.gv.au/other/links.html ContainsacomprehensivelistofNativeTitleRepresentativeBodiesaswellasgeneralNativeTitleinformation.
New.South.WalesNew.South.Wales.Aboriginal.Land.Council.(NSWALC).HeadOffice33ArgyleStreetParramattaNSW2150POBox1125ParramattaNSW2124Ph:(02)96894444Fax:(02)[email protected] ZoneOffices:NorthernZone(CoffsHarbour)Ph:(02)66591200EasternZone(Parramatta)Ph:(02)88366000SouthernZone(Queanbeyan)Ph:(02)61245333WesternZone(Dubbo)Ph:(02)68857000TheNSWALCisNewSouthWales’peakrepresentativebodyinIndigenousaffairs.Itismadeupof13regionallandcouncils,containedwithinfourzones.AmapshowingthezoneregionsisavailableontheNSWALCwebsite.
Northern.TerritoryCentral.Land.Council..HeadOffice31–33StuartHighwayAliceSpringsNT0871POBox3321AliceSpringsNT0871Ph:(08)89516211Fax:(08)[email protected] TheCentralLandCouncilregioncovers771,747squarekilometresofremote,ruggedandofteninaccessibleareasinthesouthernhalfoftheNorthernTerritory.
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Northern.Land.Council..HeadOffice45MitchellStreetDarwinNT0810GPOBox1222DarwinNT0810Ph:(08)89205100Fax:(08)89452633www.nlc.org.auTheNorthernLandCouncilrepresentstraditionalAboriginallandownersandAboriginalpeopleintheTopEndoftheNorthernTerritoryofAustralia.
South.AustraliaAnangu.Pitjantjatjara.Yankunytjatjara.(APY).Land.Council..PMBUmuwaViaAliceSpringsNT0872Ph:(08)89548111Fax:(08)89548110www.waru.orgAnanguPitjantjatjaraYankunytjatjara(APY)Councilareacoversmorethan103,000squarekilometresofaridlandinthefarnorthwestofSouthAustralia.CommunitiesontheLandsinclude:Amata,Fregon,Indulkana,Mimili,PipalyatjaraandPukatja(Ernabella).
QueenslandCape.York.Land.Council..HeadOffice32FlorenceStreetCairnsQld4870POBox2496CairnsQld4870Ph:(07)40519222TollFree:1800623548Fax:(07)[email protected] TheCapeYorkLandCouncilwasestablishedin1990toservetheAboriginalcommunitiesandtraditionalownersofCapeYorkPeninsula.
Contacts&appendices 95
Torres.Strait.Regional.Authority.(TSRA).1stFloor,TorresStraitHausVictoriaParadeThursdayIslandQld4875POBox261ThursdayIslandQld4875Ph:(07)40690700TollFree:1800079093Fax:(07)[email protected] TheTSRAregionstretches150kilometresnorthfromthetipofCapeYorkPeninsularinNorthQueenslandtojustsouthofthesouthwestcoastofPapuaNewGuinea.
Western.AustraliaKimberley.Land.Council.(KLC)..36PembrokeStreetBroomeWA6725POBox2145BroomeWA6725Ph:(08)91936199Fax:(08)[email protected] TheKimberleyLandCouncilAboriginalCorporation(KLC)isanassociationofAboriginalpeopleintheKimberleyregion.Itisapeakregionalcommunityorganisation.
Ngaanyatjarra.Council.Aboriginal.Corporation.1/58HeadStreetAliceSpringsNT0871POBox644AliceSpringsNT0871Ph:(08)89501711 Fax:(08)89531892ngcouncil@ngaanyatjarra.org.auTheNgaanyatjarraCouncilAboriginalCorporationrepresentsover2,000Pintupi,Ngaanyatjarra,NgaatatjarraandPitjantjatjarapeoplelivingintheCentralDesertregionofWesternAustralia.
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6.7. Permit.offices
Northern.TerritoryAboriginal.Areas.Protection.Authority..DarwinOffice1stFloor,T.I.I.Building74CavenaghStreetDarwinNT0801GPOBox1890DarwinNT0801Ph:(08)89814700Fax:(08)89814169AliceSpringsOfficeGroundFloor,BelvedereHouseCnrBathandParsonsStreetsAliceSpringsNT0871GPOBox3656AliceSpringsNT0871Ph:(08)89526366Fax:(08)89522824enquiries.aapa@nt.gov.auAllAboriginalsacredsitesintheNorthernTerritoryareprotectedbylaw.AnAuthorityCertificatemustbeobtainedbeforeanyfilmingisdoneinthearea.
Central.Land.Council.HeadOffice31–33StuartHighwayAliceSpringsNT0871POBox3321AliceSpringsNT0871Ph:(08)89516211Fax(08)89534343permits@clc.org.auwww.clc.org.auAliceSpringsandTennantCreekregions.
Contacts&appendices 97
Northern.Land.Council.HeadOffice45MitchellStreetDarwinNT0810GPOBox1222DarwinNT0810Ph:(08)89205100Fax:(08)[email protected],NhulunbuyandKatherineregions(includingArnhemLand).
Tiwi.Land.Council.5/3BishopStreetStuartParkNT0820POBox38545WinnellieNT0821Ph:(08)89814898Fax:(08)89814282MelvilleandBathurstIslands.
South.AustraliaAnangu.Pitjantjatjara.Yankunytjatjara.(APY).Land.Council..permit@anangu.com.auwww.waru.orgPitjanjanjaralandwithinNorthernSouthAustralia,WesternAustraliaandNorthernTerritory.
Maralinga.Lands.Council.POBox435CedunaSA5690Ph:(08)86252946AboriginallandswithinCentralSouthAustralia(viaAnneBeadellHighway).
Yalata.Community.Inc..www.yalata.org/permits.htmPermitsarenotrequiredtotravelthroughYalataAboriginallands(south-westernSouthAustralia).However,ifyouintendtostayintheareayouwillneedapermit.
98 Pathways&Protocols
Western.AustraliaAboriginal.Lands.Trust..POBox7770CloistersSquarePerthWA6850Ph:(08)92358000Fax:(08)92358093www.dia.wa.gov.au/Land/Permits TheAboriginalLandsTrusthasanonlineapplicationandprocessingsystemforissuingAboriginalreserveentrypermits.Thereisalsoanauto-approvalfeatureallowingtravellerstoentertheirdetailsandprintoutpermitsimmediately.Formoreinformation,ortoapplyforapermit,visitthewebsiteorcontacttheDIApermitsofficer.
Ngaanyatjarra.Land.Council.58HeadStreetAliceSpringsNT0871POBox644AliceSpringsNT0871Ph:(08)89501711Fax:(08)89531892ngcouncil@ngaanyatjarra.org.auLandssurroundingtheGunbarrelHighway(betweenAliceSpringsandWesternAustralia).
Contacts&appendices 99
6.8. National.Parks
ThislistincludesonlyCommonwealthNationalParks.ForinformationaboutcommercialfilmingpermitsforStateGovernment-managednationalparksandreserves,contacttherelevantstateagency.
Booderee.National.Park.VillageRoadJervisBayNSW2540Ph:(02)44421006Fax:(02)[email protected](allow24hrsforconfirmation)Permits:ContactthePermitsOfficerAllowaminimumofonemonthforprocessingofyourapplicationfromthedatethatthePermitsOfficerreceivesthepermitapplication.Newsreporters,photographicandfilmcrewsarerequiredtoundergoabriefing.
Department.of.the.Environment,.Water,.Heritage.and.the.Arts.(DEWHA).JohnGortonBuilding,KingEdwardTerraceParkesACT2600GPOBox787CanberraACT2601Ph:(02)62741111Fax:(02)62741666www.environment.gov.au ThreeofthesixCommonwealthNationalParks,namelyKakaduNationalParkandUluru-KataTjutaNationalParkintheNorthernTerritoryandBoodereeNationalParkintheJervisBayTerritory,aremanagedjointlybytheAustralianGovernment(throughDEWHA)andAboriginaltraditionalowners.
Kakadu.National.Park.POBox71JabiruNT0886Ph:(08)89381120Fax:(08)[email protected]:ContactthePermitsOfficer,ph:(08)89381100Allowaminimumof10to14workingdaysfortheprocessingofyourapplicationfromthedatethatthePermitsOfficerreceivesthepermitapplication.
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Uluru-Kata.Tjuta.National.Park.POBox119YularaNT0872Ph:(08)89561100Fax:(08)[email protected]:ContacttheSeniorMediaandInformationOfficerPhone:(08)89561113Fax:(08)89562360uluru.media@deh.gov.auPleasenoteforapplicationsrelatingtoUluru-KataTjutaNationalPark,allow56daysforprocessingifyouwishtorecordAnanguorAnanguculturalmaterial.
Contacts&appendices 101
6.9. Libraries.and.archival.sources
Australian.Institute.of.Aboriginal.and.Torres.Strait.Islander..Studies.(AIATSIS).Library.ActonPeninsular,LawsonCrescentActonACT2601GPOBox553CanberraACT2601Ph:(02)62461182Fax:(02)[email protected];[email protected];[email protected] AIATSISisanindependentFederalGovernmentstatutoryauthoritydevotedtoAboriginalandTorresStraitIslanderstudies,andisAustralia’spremierinstitutionforinformationabouttheculturesandlifestylesofAboriginalandTorresStraitIslanderpeoples.ThelibrarycontainsoneofthemostcomprehensivecollectionsofprintmaterialsonAustralianIndigenousstudiesintheworld,andhasadoptedtheAboriginalandTorresStraitIslanderProtocolsforLibraries,ArchivesandInformationServices.Specialistservicesareavailableforthosedoinggenealogicalresearchandnativetitleresearch.
Online:TheCollectionscatalogueisavailableonline.
Publications:AIATSISpublishesbooks,ajournal,films,cassettes,CDsandpapers.MostareproducedbytheAIATSISpublishinghouse,AboriginalStudiesPress.TheNativeTitleResearchUnitpublishespapersandnewsletters,someofwhichareavailableonline.
Australian.War.Memorial.TreloarCrescentCampbellACT2612GPOBox345CanberraACT2601Ph:(02)62434211Fax:(02)62434325www.awm.gov.au TheAustralianWarMemorial’sphotographicdatabasehasover470imagesofIndigenousAustraliansanditsprivaterecordsdatabaselists11relevantcollections.
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Battye.Library..AlexanderLibraryBuildingPerthCulturalCentrePerthWA6000Ph:(08)94273111Fax:(08)[email protected]/abortorres.html TheBattyeLibraryistheprimaryresearchcollectionofWesternAustraliandocumentaryheritage,containinganimpressiveamountofinformationonAboriginalandTorresStraitIslanderpeopleofWesternAustralia.
National.Archives.of.Australia.POBox7425CanberraBCACT2610Ph:(02)62123600Fax:(02)[email protected]/collection/explore/indigenous-australia/index.aspxTheNationalArchivesofAustraliaisresponsibleforpreservingandmakingavailableforpublicaccessthearchivalrecordsoftheAustralianGovernment,includingaudiovisualrecords.Thecollectionlargelydatesfrom1901andisgenerallyavailableforpublicaccessafter30years.InformationabouttheNationalArchives’holdingsofrecords,includingfilm,photographsandfilesinrelationtoIndigenousAustralians,accessarrangementsandrecordkeepingadviceforgovernmentagenciesisavailableonitswebsite(www.naa.gov.au).
National.Film.and.Sound.Archive.(NFSA).HeadOfficeMcCoyCircuitActonACT2601GPOBox2002CanberraACT2601Ph:(02)62482000TollFree:1800067274(withinAustralia)Fax:(02)[email protected] AccesstothecollectionisalsoavailableatstatelibrariesinAdelaide,Brisbane,HobartandPerth.
TheNationalFilmandSoundArchiveplaysaleadingroleinpreservingandcollectingAustralia’sfilm,televisionandsoundheritage.TheNFSAcollectionincludesbooks,journals,CD-ROMs,films,videoandsoundrecordings,aswellasphotographicstills,posters,lobbycards,publicitymaterialsandpressclippings.
Contacts&appendices 103
National.Library.of.Australia.CanberraACT2600Ph:(02)62621111Fax:(02)62571703www.nla.gov.au/muragadiTheNationalLibraryofAustralia’sresourcesonAboriginalandTorresStraitIslanderpeopleincludesanoverviewofmanuscriptandoralhistoryholdings.
New.South.Wales.State.Archives.POBox516KingswoodNSW2747Ph:(02)96731788Fax:(02)[email protected]/publications/aboriginalguide/aboriginalguidetoc.htmThewebsiteofStateRecordsNewSouthWalesincludesanextensiveanddetailedGuidetoNewSouthWalesStateArchivesrelatingtoAboriginalPeople.
State.Library.of.New.South.Wales.MacquarieStreetSydneyNSW2000Ph:(02)92731414Fax:(02)[email protected]/picmanAsearchintheStateLibraryofNewSouthWales’Picmandatabaserevealsover3,340entriesofpicturesandmanuscriptsofrelevancetoIndigenouspeople.
State.Library.of.South.Australia.CornerNorthTerraceandKintoreAvenueAdelaideSA5000GPOBox419AdelaideSA5001Ph:(08)82077250Fax:(08)[email protected]/site/page.cfm?area_id=15&nav_id=509 TheStateLibraryofSouthAustraliahasasignificantanddevelopingamountofspecialistmaterialrelatingtoAustralianAboriginalandTorresStraitIslanderculturesincludingpublishedmaterial,archivalrecords,photographs,films,soundrecordingsandartworks.
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State.Library.of.Queensland.POBox3488SouthBrisbaneQld4101Ph:(07)38407666Fax:(07)38462421www.slq.qld.gov.au/info/ind IndigenousLibraryServicesoperateswithintheStateLibraryofQueenslandtoprovideinformationservicesrelevanttoAboriginalandTorresStraitIslanderpeople.
State.Records.of.South.Australia.GPOBox1072AdelaideSA5001Ph:(08)82267750Fax:(08)82048777srsageneralenquiries@saugov.sa.gov.auwww.archives.sa.gov.au/aboriginalStateRecordsofSouthAustraliaprovidesanonlineoverviewofitsholdingsofrecordsrelatingtoAboriginalpeople.Itincludesinformationaboutguides,researchkitsanditsnameindexaswellascopiesofafewrecordsandpictures.
Contacts&appendices 105
6.10. .Media.law.and.copyright
Arts.Law.Centre.of.Australia.TheGunnery43–51CowperWharfRoadWoolloomoolooNSW2011Ph:(02)93562566TollFree:1800221457Fax:(02)[email protected] Nationalcommunitylegalcentreforthearts.EstablishedwiththesupportoftheAustraliaCouncilin1983toprovidespecialisedlegalandbusinessadviceandreferralservices,professionaldevelopmentresourcesandadvocacyforartistsandartsorganisations.Adviceandinformationoncontracts,copyright,businessnamesandstructures,defamation,insuranceandemployment.AlsorunsaspecialistIndigenousartslawservicewhichfocusesonadvisingallIndigenousartists,communitiesandartsorganisationsaroundAustraliaonarts-relatedlegalproblems.
TelephonelegaladvicefromMondaytoFriday:9.30am–12:30pmand2pm–5pmEST.ArrangementscanbemadeforArtsLawsubscriberstohaveaface-to-faceortelephoneLegalAdviceNight(LAN)consultationwithavolunteerlawyerfromprivatepractice.
Specialist library:Appointmentonly.
Publications:ART + Lawnewsletter;samplecontracts;informationsheets;seminarandconferencepapers;andhandbooks.
Australasian.Mechanical.Copyright.Owners.Society.(AMCOS).NewSouthWalesHeadOffice6–12AtchisonStreetStLeonardsNSW2065LockedBag3665StLeonardsNSW1590Ph:(02)99357900TollFree:1800642634Fax:(02)[email protected] AMCOSrepresentstheinterestsofmusicpublishersandtheirwritersinAustraliaandNewZealand.Weadministeranumberofreproductionrightsforourmembersandcollectroyaltiesfortheuseoftheirmusic.
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Australasian.Performing.Rights.Association.(APRA).NewSouthWalesHeadOffice6–12AtchisonStreetStLeonardsNSW2065LockedBag3665StLeonardsNSW1590Ph:(02)99357900TollFree:1800642634Fax:(02)[email protected] Asmorgasbordofinformationforcomposersandmusicpublishersincludingdetailedarticlesoncopyright,thequarterlymagazineAPRAP andthelatestnewsonmusiccompetitionsandawards.
Australian.Communications.and.Media.Authority.(ACMA).CanberraHeadOfficePurpleBuilding,BenjaminOfficesChanStreetBelconnenACT2617POBox78BelconnenACT2616Ph:(02)62195555Fax:(02)62195200MelbourneHeadOfficeLevel44,MelbourneCentralTower360ElizabethStreetMelbourneVic3000POBox13112LawCourtsMelbourneVic8010Ph:(03)99636800Fax:(03)99636899TTY:(03)99636948SydneyHeadOfficeLevel15,Tower1DarlingPark201SussexStreetSydneyNSW2000POBoxQ500QueenVictoriaBuildingNSW1230Ph:(02)93347700Fax:(02)93347799www.acma.gov.au
Contacts&appendices 107
TheAustralianCommunicationsandMediaAuthority(ACMA)istheindependentfederalstatutoryauthorityresponsiblefortheregulationofbroadcasting,radiocommunications,telecommunicationsandonlinecontent.ACMA’sresponsibilitiesinclude:promotingself-regulationandcompetitioninthetelecommunicationsindustrywhileprotectingconsumersandotherusers;fosteringanenvironmentinwhichelectronicmediarespectcommunitystandardsandrespondstoaudienceanduserneeds;managingaccesstotheradiofrequencyspectrum,includingthebroadcastingservicesbandsandrepresentingAustralia’scommunicationsandbroadcastinginterestsinternationally.
Australian.Copyright.Council.245ChalmersStreetRedfernNSW2016POBox1986StrawberryHillsNSW2012Fax:(02)88159799www.copyright.org.auInformationabouttheAustralianCopyrightCouncilanditsservicesandpublications.Informationsheetsandnewslettersavailablefordownload.Theyalsooperatealimitedlegaladviceserviceforcreators.Forinformationseetheirwebsite.
Communications.Law.Centre.Level1,283QueenStreet(entranceviaLittleLonsdaleStreet)MelbourneVic3000Ph:(03)96003841Fax:(03)[email protected]
Independent,non-profit,publicinterestorganisationspecialisinginmediaandcommunicationslawandpolicy.ProvidesprofessionaltrainingtoAustralia’sleadingmediaorganisationsaswellascoursesinmediaandcommunicationslawatUNSWandVictoriaUniversity.OzNetLawistheInternetlegalpracticeoftheCLCandisacommunity-basedpracticethatprovidesfreelegalinformationaboutInternet-ande-commerce-relatedlaw.
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Findlaw.Australia..www.findlaw.com.au FindlawAustraliaisasearchableonlinedatabaseofAustralianlawyers,withlinkstoEntertainment,IntellectualPropertyandCommunicationslawspecialiststhroughoutAustralia.
Phonographic.Performance.Company.of.Australia.(PPCA).POBoxQ20QueenVictoriaBuildingNSW1230Ph:(02)85691100Fax:(02)85691183www.ppca.com.au PPCAisanational,non-government,non-profitorganisationrepresentingrecordcompaniesandrecordingartists.
Screenrights.(formerly.Audio–Visual.Copyright.Society).Level3,156MilitaryRoadNeutralBayNSW2089POBox1248NeutralBayNSW2089Ph:(02)99040133Fax(02)99040498www.screen.org Screenrightsisanon-profitcopyrightcollectingsocietythatcollectsroyaltiesfromvariouslicensingschemesonbehalfofcopyrightowners.Thewebsitecontainsinformationontheirservices,howtobenefitfromthese,andhowtoclaimroyalties.Italsoexplainshowtogetalicenceandwhatcanandcan’tbedoneundertheirlicenceagreements.
United.States.Copyright.Office.101IndependenceAve.S.E.Washington,D.C.20559–6000USAPh:+1(202)7075959www.copyright.gov CopyrightregistrationfortheUSA.
Viscopy.45CrownStreetWoolloomoolooNSW2011Ph:(02)93680933Fax:(02)93680899www.viscopy.com ViscopyisthecopyrightcollectingsocietyforvisualartistsinAustraliaandNewZealand.
Contacts&appendices 109
World.Intellectual.Property.Organization.(WIPO).POBox18CH–1211Geneva20Switzerlandwww.wipo.org TheWorldIntellectualPropertyOrganization(WIPO)isaninternationalorganisationdedicatedtohelpingtoensurethattherightsofcreatorsandownersofintellectualpropertyareprotectedworldwide.
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6.11. .Regulation
Organisationsresponsibleforclassificationoffilm,televisionandrelatedmedia.
Australian.Communications.and.Media.Authority.(ACMA).CanberraHeadOfficePurpleBuilding,BenjaminOffices,ChanStreet,BelconnenACT2617POBox78BelconnenACT2616Ph:(02)62195555Fax:(02)62195200
MelbourneHeadOfficeLevel44,MelbourneCentralTower360ElizabethStreetMelbourneVic3000POBox13112LawCourtsMelbourneVic8010Ph:(03)99636800Fax:(03)99636899TTY:(03)99636948
SydneyHeadOfficeLevel15,Tower1DarlingPark201SussexStreetSydneyNSW2000POBoxQ500QueenVictoriaBuildingNSW1230Ph:(02)93347700Fax:(02)93347799www.acma.gov.au
TheAustralianCommunicationsandMediaAuthority(ACMA)istheindependentfederalstatutoryauthorityresponsiblefortheregulationofbroadcasting,radiocommunications,telecommunicationsandonlinecontent.ACMA’sresponsibilitiesinclude:promotingself-regulationandcompetitioninthetelecommunicationsindustrywhileprotectingconsumersandotherusers;fosteringanenvironmentinwhichelectronicmediarespectcommunitystandardsandrespondstoaudienceanduserneeds;managingaccesstotheradiofrequencyspectrum,includingthebroadcastingservicesbandsandrepresentingAustralia’scommunicationsandbroadcastinginterestsinternationally.
Contacts&appendices 111
The.National.Classification.Scheme.www.classification.gov.au InformationontheactivitiesofTheNationalClassificationScheme,aCommonwealthAgencyintheAttorney-General’sportfolio.Itisresponsibleforclassifyingfilmsandvideos,computergamesandpublicationsinaccordancewithCommonwealth,StateandTerritorylegislationregardingclassificationmatters.
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6.12. .Industrial.Agreements
The.Media,.Entertainment.&.Arts.Alliance.(MEAA)..245ChalmersStreetRedfernNSW2016Ph:(02)93330999TollFree:1300656512Fax:(02)93330933federal@alliance.org.comwww.alliance.org.auTheMEAAistherelevantunionforallperformingartistsandentertainmentindustrytechniciansandproductionpersonal.Theawardsandenterpriseagreementswhichspecificallycoverproductionpersonnelare:
• Actors Feature Film Agreement 2003• Actors Television Programs Agreement 2004• Australian Television Repeats and Residuals Agreement 2004• Actors Etc (Television) Award 1998• ABC Actors Agreement 2003–2006• Australian Film, TV and Radio School Agreement 2000• Entertainment and Broadcasting Industry – Motion Picture Production Award 1998• Motion Picture Production Agreement 2007–2009
Theseagreementscovermostaspectsofemploymentforcastandcrewinfilmandtelevisionproduction.TheyarebindingbetweentheScreenProducersAssociationofAustralia(SPAA)andwiththeMediaEntertainment&ArtsAlliance(MEAA).TheMEAAhasseparateagreementswithVillageRoadshowProductionServices(locatedontheGoldCoast,Queensland)andwithFoxStudiosinSydney,NewSouthWales.ForinformationonanyoftheseagreementscontacteithertherelevantorganisationortheFederalofficeoftheMEAA.
Contacts&appendices 113
The.Screen.Producers.Association.of.Australia.(SPAA)..34FitzroyStreetSurryHillsNSW2010Tel:(02)93608988Fax:(02)[email protected] SPAAisthepeakbodyrepresentingandadvisingproducersandproductioncompaniesonallaspectsoftheirindustrialandcommercialaffairs.Itadvisesonandservicesallofthemajorindustrialagreementsandawardspertainingtothescreenproductionindustry.Theseinclude:
• Actors Feature Film Agreement 2003• Actors Television Programs Agreement 2004• Actors Television Repeats and Residuals Agreement 2004• Actors Etc (Television) Award 1998• Entertainment and Broadcasting Industry – Motion Picture Production Award 1998• Motion Picture Production Agreement 2007–2009
TheseagreementsarebindingandcanonlybeusedbymembersofSPAAandcopyrightinthoseagreementsisheldbySPAAandtheMEAA.IfyouarenotamemberofSPAA,youwillneedtonegotiateyourowncontractswiththeMEAA,whichrepresentsperformingartists(seecontactdetails,page112).
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Appendix.1:...Sample.clauses
BackgroundclausessuchasthefollowingcouldbeusedinfilmcontractstocoverissuesrelatingtoIndigenousCulturalIntellectualProperty(ICIP).
For.Indigenous.Communal.Moral.Rights.(ICMR).in.a.director’s.contract
1.. Indigenous.communal.moral.rights1.1 InrespectofanyIndigenousCommunallyOwnedWorksthattheDirector
incorporatesintoherorhiscontributionoftheFilm,theDirectorshall:
1.1.1 advisetheProductionCompanyoftheappropriateattributiontobegiventotheIndigenouscommunitybeforetheroughcutstageoftheFilm,sothattheProductionCompanycanincludesuchattributionintheCredits;
1.1.2 priortoincorporatingtheIndigenousCommunallyOwnedWorksintotheFilm,contactandconsultwiththerelevantIndigenouscommunityontheproposeduseoftheIndigenousCommunallyOwnedWorksintheFilmandobtainitsagreementforuseoftheIndigenousCommunallyOwnedWorksintheFilm,andforthepurposesofthisAgreement;and
1.1.3 providewrittendetailsofthenameandaddressoftherelevantIndigenousCommunityrepresentativetotheProductionCompanypriortopicturelockoffstageoftheFilm.
1.2 TheDirectorandtheProductionCompanyagreetoconsultandworkwitheachotherandmembersoftherelevantIndigenousCommunitytoensurethatanyIndigenousculturalprotocolsareobserved.Intheeventofadisputearisinginrelationtospecificculturalprotocols,thepartieswillusetheirbestendeavourstoresolvethedispute.
Contacts&appendices 115
Screen.Australia.ICIP.Clause.in.Production.and.Investment.Agreements.
ThisisanexampleofanICIPclauseusedinaProductionandInvestmentAgreementwhereScreenAustraliaandSBSareparties,alongwiththeProductionCompany.
. DEFINITIONS “ICIPRights”meansIndigenousCulturalandIntellectualPropertyRights,
beingareferencetoIndigenouspeople’srightstotheirheritage.Heritagecomprisesallobjects,sitesandknowledge,thenatureoruseofwhichhasbeentransmittedorcontinuestobetransmittedfromgenerationtogeneration,andwhichisregardedaspertainingtoaparticularIndigenousgrouporitsterritory.TheheritageofanIndigenouspeopleisalivingoneandincludesobjects,knowledgeandliteraryandartisticworkswhichmaybecreatedinthefuturebasedonthatheritage.Heritageincludes:
(a) literary,performingandartisticworks(includingsongs,music,dances,stories,ceremonies,symbols,languagesanddesigns);
(b) Scientific,agricultural,technicalandecologicalknowledge(includingcultigens,medicinesandthephenotypesoffloraandfauna);
(c) Allitemsofmovableculturalproperty;
(d) Humanremainsandtissues;
(e) Immovableculturalproperty(includingsacredandhistoricallysignificantsitesandburialgrounds);
(f) DocumentationofIndigenouspeoples’heritageinarchives,film,photographs,videotapeoraudiotapeandallformsofmedia.
. ICIP.RIGHTS.(Documentary)1. YouandScreenAustraliaandSBSacknowledgetheexistenceofICIPRights
ofIndigenousparticipantsintheFilm.YouagreeandundertaketoendeavourtoensurethattheICIPRightsoftheIndigenousparticipantsarerespectedandupheldintheproductionandallaspectsofdistributionoftheFilm.
2. IntheeventthatyouwishtoincludeICIPRightsmaterialintheFilm,youshallobtainanon-exclusivelicencefromtheICIPRightsholder/sorcustodian/stoincludesuchICIPRightsmaterialintheFilm.
3. IntheeventofadisputeregardingtheICIPRightsofanyIndigenousparticipantintheFilm,allpartiestothedisputeshallusebestendeavourstoresolvethedispute.
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. ICIP.RIGHTS.(Drama)
1. YouandScreenAustraliaandSBSacknowledgetheexistenceofICIPRightsinIndigenousculturalheritagematerial.YouagreeandundertaketoendeavourtoensurethattheICIPRightsoftherelevantIndigenouspeoplesarerespectedandupheldintheproductionandallaspectsofdistributionoftheFilm.
2. IntheeventthatyouwishtoincludeICIPmaterialintheFilm,youshallconsultwithandobtainanon-exclusivelicencefromtherelevantICIPRightsholder/sorcustodian/stoincludesuchICIPmaterialintheFilmandshalladviseuson:
(a) attributiontobegiventoIndigenousgroups;
(b) anyculturalprotocolstobespecificallyaddressedwhenusingthismaterial(CulturalProtocols).
3. ThepartiesagreeandundertaketoendeavourtoensurethattheICIPRightsoftheIndigenousgroupsrepresentedintheProjectarerespectedandupheldintheProject,andagreetocomplywiththeculturalprotocols.
4. IntheeventofadisputeregardingtheICIPRightsofanyIndigenousparticipantintheFilm,allpartiestothedisputeshallusebestendeavourstoresolvethedispute.
Contacts&appendices 117
Appendix.2:.. Background.research.on.other.. .. protocols
Australian.sources
WebsitesABCIndigenous–Cultural ProtocolThisdocumenthasbeenwrittenasaguidetohelpbridgethegapbetweentheneedsoftelevisionandfilmmakersandtheIndigenouspeopleandtheircustoms.UsingasearchengineconfiguredforAustralianpages,searchwiththesequence:ABCIndigenousCulturalProtocol
Aboriginal and Torres Strait Islander Protocols for Libraries, Archives and Information Services FromCharlesDarwinUniversity(CDU)UsingasearchengineconfiguredforAustralianpages,searchtheexactname.ofthewebsite
All Media Guide to Fair and Cross-Cultural Reporting Chapter14ofthepublicationcoversIndigenousAustralia.FromGriffithUniversityUsingasearchengineconfiguredforAustralianpages,searchtheexacttitle.ofthepublication
AustralianCopyrightCouncil–Protecting Indigenous Intellectual PropertyUsingasearchengineconfiguredforAustralianpages,searchtheexactname.ofthewebsite
AustraliaCouncil–Indigenous protocol guidesSeriesoffiveIndigenousprotocolguidespublishedbytheAboriginalandTorresStraitIslanderArtsBoard:Performingarts,Mediaarts,Music,VisualArts,Writing.UsingasearchengineconfiguredforAustralianpages,searchtheexactname.ofthewebsite
CommercialRadioAustralia–Guidelines on the Portrayal of Indigenous Australians on Commercial Radio (partofthe Commercial Radio Codes of Practice and Guidelines)PublishedintheRadioCodesandStandardssectionoftheAustralianCommunicationsandMediaAuthority(ACMA)website.UsingasearchengineconfiguredforAustralianpages,searchwiththesequence:CommercialRadioAustraliaGuidelinesonthePortrayalofIndigenousAustraliansonCommercialRadio
118 Pathways&Protocols
DepartmentofAboriginalandTorresStraitIslanderPolicyandDevelopment–Proper Communication with Torres Strait Islander Peoples UsingasearchengineconfiguredforAustralianpages,searchwiththesequence:ProperCommunicationwithTorresStraitIslanderPeoples
DepartmentofAboriginalandTorresStraitIslanderPolicyandDevelopment–Protocols for Consultation and Negotiation with Aboriginal People UsingasearchengineconfiguredforAustralianpages,searchwiththesequence:ProtocolsforConsultationandNegotiationwithAboriginalPeople
FreeTVAustralia–Advisory Note: The portrayal of Aboriginal and Torres Strait Islander Peoples (partoftheCommercial Television Industry Code of Practice)RegisteredbyACMAandpublishedintheTelevisionCodesandStandardssectionoftheirwebsite.UsingasearchengineconfiguredforAustralianpages,searchwiththesequence:ACMACommercialTelevisionIndustryCodeofPractice
Janke,Terri,Our Culture: Our Future – Report on Australian Indigenous Cultural and Intellectual Property Rights,MichaelFrankelandCompany,Sydney,producedundercommissionoftheAboriginalandTorresStraitIslanderCommissionandtheAustralianInstituteofAboriginalandTorresStraitIslanderStudies,1998UsingasearchengineconfiguredforAustralianpages,searchwiththesequence:FrankelLawyersOurCultureOurFuture
NSWMinistryfortheArts–Doing It Our Way: Contemporary Indigenous Cultural Expressions in New South WalesUsingasearchengineconfiguredforAustralianpages,searchwiththesequence:NSWMinistryfortheArtsDoingItOurWay
NSWMinistryfortheArts–Indigenous Arts Protocol, A GuideUsingasearchengineconfiguredforAustralianpages,searchwiththesequence:NSWMinistryfortheArtsIndigenousArtsProtocol
Print.publicationsAustralianNationalMaritimeMuseum,Connections: Indigenous Cultures and the Australian National Maritime Museum,AustralianNationalMaritimeMuseum,Sydney,2005
Bostock,Lester,The Greater Perspective: Protocol and Guidelines for the Production of Film and Television on Aboriginal and Torres Strait Islander Communities,2nded,SBS,Sydney,1997
Everett,Jimetal,Respecting Cultures: Working with the Tasmanian Aboriginal Community and Aboriginal Artists,ArtsTasmania,2004UsingasearchengineconfiguredforAustralianpages,searchwiththesequence:ArtsTasmaniaRespectingCulturespdf
Contacts&appendices 119
Janke,TerriandGuivarra,Nancia,Listen, learn and respect: Indigenous cultural protocols and radio,writtenundercommissionfortheAustralianFilmTelevisionandRadioSchool(AFTRS),Sydney,2006
Johnson,Darlene,Indigenous Protocol,SBS,2001
Mellor,DoreenandJanke,Terri,Valuing Art: Respecting Culture – Protocols for Working with the Australian Indigenous Visual Arts and Craft Sector,writtenundercommissionfortheNationalAssociationfortheVisualArts(NAVA),2001
MuseumsAustralia–Taking the Time – Museums and galleries, cultural protocols and communities,1998–Previous Possessions, New Obligations – A plain English summary of policies for museums in Australia and Aboriginal & Torres Strait Islander peoples,1994UsingasearchengineconfiguredforAustralianpages,search:MuseumsAustralia
Other.relevant.publicationsAboriginalandTorresStraitIslanderCommission, Digital Dreaming: A National Review of Indigenous Media and Communications(ExecutiveSummary),ATSIC,Woden,ACT,1999ReviewtoassessstatusofIndigenousmediaandcommunicationsandidentifyfurtherdevelopments.
Aboriginal Intellectual and Cultural Property: Definitions, Ownership and Strategies for Protection,RainforestAboriginalNetwork,Cairns,25–27November1993TheconferencefollowedaWorldHeritagelistingofNEQld’swettropicalforests.Astrictcolonialmanagementregimewassetupinthearea,whichissurroundedbylargepopulationofAboriginalpeoples,richinhistory,traditionandheritage.TheconferenceaimedtofindworkablestrategiesforprotectingIndigenousintellectualandculturalproperty.
Daes,MrsErica-Irene,Protection of the heritage of indigenous people – Final Report of the Special Rapporteur,UnitedNations,1995IncludesrevisedprinciplesandguidelinesfortheprotectionoftheheritageofIndigenouspeople.
DepartmentofHomeAffairsandEnvironmentCanberra,Report of the Working Party on the Protection of Aboriginal Folklore,1981.WorkingParty(Attorney-General’sDept;AustraliaCouncil;CopyrightCouncil;DeptofAboriginalAffairs;DeptofHomeAffairsandEnvironment;DeptofPrimeMinisterandCabinet)recommendationthatanAboriginalFolkloreActbeintroducedtoenabletraditionalownerstocontroltheuseofitemsofAboriginalfolklore.
Eggerking,KittyandPlater, Diana(comps),Signposts, A Guide for Journalists: A guide to reporting Aboriginal, Torres Strait Islander and ethnic affairs,1992,AustralianCentreforIndependentJournalism.Includesagooddirectoryandbibliography.
120 Pathways&Protocols
Hodge,Robert,‘AboriginalTruthandWhiteMedia:EricMichaelsmeetstheSpiritofAboriginalism’,Continuum3:2(1990)ThereisalsoaguidetoEricMichaels’writtenwork.
Ifould,DonnaMarie,Compilation of Indigenous Aboriginal and Torres Strait Islander Publishing Related Papers, Indigenous Aboriginal and Torres Strait Islander traditional cultural property and copyright issues, 1992–93,papertableatNationalAboriginal&TorresStraitIslandermediaconferencefortheYearofIndigenousPeople,Brisbane,1993
Jacobsen,Rhonda,Cultural Heritage: A Reflection on Images, The camera as a tool of the colonisation of Indigenous Australian Culture,writtenfortheAustralianFilmCommission,1996ConcernsthereturnofallfilmfootagecontainingIndigenousAustralianculturebacktothepeoplewhoarethesubjectsofsuchfootage.Includestableofcasesandtableoflegislation.
Jennings,Karen, Aboriginality in Australian Cinema: representations of Aborigines in selected features and documentaries, 1955–1987,unpublishedthesis,Perth,MurdochUniversity,1988.AlsopublishedasSites of Difference: Cinematic Representations of Aboriginality and Gender,SouthMelbourne,AustralianFilmInstitute,1993ExaminessevenfeaturesandfourdocumentariesallofwhichhaveasubstantialfocusonAboriginalwomenorracerelationsbetweenwhitewomenandAborigines.
Langton,Marcia,Well I heard it on the radio and saw it on the television: an essay for the Australian Film Commission on the politics and aesthetics of filmmaking by and about Aboriginal people and things,AustralianFilmCommission,NorthSydney,NSW,1993
Malone,Peter,In Black and White and Colour: Aborigines in Australian feature films – a survey,NelenYubuMissiologicalUnitSeriesno.4,Leura,NSW,1987Fromthesilenterato1986.
May,Harvey,Broadcast in Colour: Cultural Diversity and Television Programming in Four Countries,writtenfortheAustralianFilmCommission,2002TheUS,UK,NewZealandandAustraliaareexamined.
McPherson,ShirleyandPope,Michael,Promoting Aboriginal and Torres Strait Islander Involvement in the Film and Video Industry,writtenfortheAustralianFilmCommission,1992Reportandrecommendations.
Michaels,Eric,Bad Aboriginal Art: Tradition, Media and Technological Horizons,UniversityofMinnesotaPress,Minneapolis,1994MichaelsstudiedtheimpactoftelevisiononremoteAboriginalcommunities.
Moran,Albert(ed),Film Policy: An Australian Reader,InstituteforCulturalPolicyStudies,GriffithUniversity,Brisbane,1994
Contacts&appendices 121
‘Part3–Aborigines’includeschaptersonAustralian,NewZealandandCanadianpolicy.
Nugent,Stephen,Loncar,MilicaandAisbett,Kate,ThePeople We See on TV: Cultural Diversity on Television(Monograph3),AustralianBroadcastingAuthority,NorthSydney,1993IncludeschaptersonlevelandnatureofrepresentationofAboriginalpeople.
Plater,Diana(ed),Going for Red, Black and Gold: Hints on how to handle the media for Aboriginal and Torres Strait Islander organizations and communities,JumbunnaCentreforAustralianIndigenousStudies,EducationandResearch,UTS,Sydney,1994
122 Pathways&Protocols
International.sources
WebsitesAboriginalPeople’sTelevisionNetwork(Canada)– Aboriginal Language Broadcasting in CanadaCanadianbroadcaster’ssitewithinformationforAboriginalproducersandotherproducersofAboriginalcontentmaterial.Thisrelatesdirectlytothebroadcaster’sownprogramming.Usingasearchengineconfiguredforwebpages,searchwiththesequence:aptn.caAboriginalLanguageBroadcastinginCanada
BlackFilmResearchOnline(BFRO)AresourceguideforthestudyofBlackfilmculture,producedandmaintainedbytheUniversityofChicago.Thesitestates:“WedefineBlackfilmculturequitebroadlytoincludetheworksofBlackfilmmakersfromacrosstheAfricanDiaspora;theproduction,distribution,andexhibitionoffilmsby,forandaboutBlacks;issuesofBlackspectatorshipandreception;andimagesofBlackpeopleinfilmfromtheinventionofthemediuminthelate19thcenturytothepresent.”Usingasearchengineconfiguredforwebpages,searchwiththesequence:BlackFilmResearchOnline(BFRO)
NativeNetworksNativeNetworksWebsite–NativemediathroughouttheAmericas.Extensivesiteincludesfilm/video/radiocatalogue,festivals,mediaresources,film/videoorganisations,etc.Usingasearchengineconfiguredforwebpages,searchtheexactname.ofthewebsite
Ngai Tahu Filming Guidelines (South Island) GuidelinesforscreenproductioncompanieswishingtofilmonlandsofimportancetoNgaiTahu,whichincludeslandadministeredbytheDepartmentofConservation,havebeendrawnupbyNgaiTahuandSPADA.NgaiTahuandSPADAhavedrawnuptheguidelines,partlyasaresultofaneedhighlightedbytherecentdraftAorakiNationalParkManagementPlan,tohelpintheplanningoffilmproductionswithNgaiTahuonlands.TheguidelinespointoutintellectualpropertyandlocationissuesthatmaybeofconcerntotheIwisothatproductioncompaniescaneitheravoidproblemsorplanamitigationstrategy.Theguidelinesincludeadviceandassistancewhichwillhelpwiththenecessaryconsultationwithlocaltribalcouncils.Thesearethefirstsuchguidelinesproduced,intendedtoenhancerelationshipswithIwi.Usingasearchengineconfiguredforwebpages,searchwiththesequence:NgaiTahuFilmingGuidelines
Contacts&appendices 123
NZOnAir’sRautakiMaoriThestrategyhasthreeobjectivesasfollows:–NZOnAiraimstoenhancetheon-screenoutcomesofmainstreamMaoriprogrammingfortelevision.–NZOnAiraimstoimprovethebroadcastexperienceforMaoripractitionersthroughbetterconsultationandcommunication.–NZOnAiralsoaimstoimproveitsinternalcapabilitiestodevelopandmaintainunderstandingofrelevantMaoriissues,aswellasrelationshipswithMaori.Usingasearchengineconfiguredforwebpages,searchwiththesequence:NZonAirRautakiMaori
Other.relevant.publications.Browne,DonaldR,Electronic Media and Indigenous Peoples: A Voice of Our Own?IowaStateUniversityPress,Ames,Iowa,1996AddressestheeffortsofIndigenouspeoplestopresentthemselvesonradioandTV,documentsprogram-makingoftheWelshinWales,Irish-speakersinIreland,NativeAmericansinUS/Canada,SamiinScandinavia,AboriginalsinAustralia,andMaorisinNewZealand.
NgaAhoWhakaari,Nga Rarangi Korero: Working with Maori in Film & Television,ReneeMark,Auckland,NewZealand,2007PreparedinresponsetoheightenedinterestinMaoristoriesandimagesfromlocalandinternationalfilmmakingsectors.Focusesonavarietyofsectorsintheindustry,identifiesareasofconcernandemphasisestheimportanceofethicalbehaviourwhenworkingwithMaori.