This inconsistency is evident from the box office results which showed that since 1995, the local box offices taken by homegrown has rarely gone beyond five percent. Ginnane (2009) suggests that the key to a successful film industry and ample percentage of the Australian box office (minimum of 10%) is the number of titles totaling to more than five million dollars box office every year. To attain this, it is fundamental for domestic filmmakers to uphold a trend of stable growth to bring about some measure of economic self sufficiency in the domestic film industry. Various issues are associated with developing, supporting and sustaining a national film industry. This essay will focus on these issues in the context of the Australian film industry. In order to develop a large scale national film production, a country needs to secure a secure domestic distribution base that has well developed exhibition circuits. Litwak (2003) suggested that the major impediment facing most filmmakers is how to secure distribution for their motion pictures. Without a secure distribution, the likelihood of a profitable return on investment in film production is nonexistent. O’Reagan (1996) argued that Australian cinema needs to interest different agents such as cinema marketers, producers and critics so as to translate the purposes and ends of the Australian films. Distributing films is one of the challenges that most filmmakers face once a film has been completed. Finding an audience locally and internationally can be resolved by a secure distribution. The objectives of the federal regulatory and financial support in Australia have always been strengthened by a cultural as well as a commercial mandate. Cones (2010) points out that in case a film successfully acquires a distributor, the producers makes every efforst to cooperate with the distributor to come up with the most favorable release pattern in all pertinent constraints. The scope of distribution progressively expands, adding theaters and cities to meet demand as the film meets is audience base. This means that a country needs to secure a domestic distribution base for developing, supporting and sustaining a national film industry. The second most important aspect in developing, supporting and sustaining a national film industry is to understand people viewing habits, the kind of movies that they want to view. The Marketing Branch of the Australian Film Commission (1999) highlighted that it did not find as much support for alternative films or specialist as it did few years ago. According to the commission, the younger generation who were used to start off being involved with those alternative films at the university level no longer frequented foreign movies any longer and they also preferred the bigger films. A survey conducted by Roy Morgan Research (2010) on Australian films, documentaries and fictional television revealed that fiction television viewership is driven by strong existing personal preferences and passive factors showing dependable repeat viewership. Most of the Australians experienced high levels of satisfaction with the Australian screen content nonetheless they did not enjoy screen content because of aspects related with badly written and unbelievable writing and also slow, boring and non entertainment across documentary formats, feature films and television fiction. O’ Reagan (1996) argued that Australian cinema- like those of other countries- is more effectively understood as a set of processes rather than as a fundamental
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Developing, Supporting, and Sustaining a National Film Industry [Name] [Institution] Developing, Supporting, and Sustaining a National Film Industry Australian national cinema is primarily government-supported, with limited infrastructure, and with a small population…
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