Australian Film Commission
| Company type | Government agency |
|---|---|
| Industry | Film and television |
| Founded | July 7, 1975 |
| Defunct | July 1, 2008 |
| Fate | Merged into Screen Australia |
| Headquarters | Australia |
Area served | Australia |
Key people | Kim Dalton (CEO until 2006) |
| Products | Film production, distribution, funding, promotion |
The Australian Film Commission (AFC) was an Australian government entity established in 1975 with the purpose of fostering the production, distribution, and preservation of films originating from Australia. It also managed a production division tasked with creating government-commissioned films. On 1 July 2008, the AFC was replaced by Screen Australia.
History
Formed by the Whitlam government on 7 July 1975, the AFC took over from the Australian Film Development Corporation, which had been set up under the Gorton government. Its starting budget was $6.5 million. Initially serving as a funding and development body for the Australian film industry, the AFC shifted its emphasis following the Australian Film Commission Amendment Acts of 1980 and 2003, focusing more on financing and promoting Australian cinema both domestically and abroad.
The AFC’s funding was derived partly from federal government allocations and partly from returns on film investments as well as interest earned on development loans. Supporting both film and television projects, its production branch, Film Australia—previously known as the Commonwealth Film Unit—produced government-commissioned works including the 1976 children’s feature Let the Balloon Go. The Commission prioritized showcasing Australian national identity and Indigenous culture through film and documentary projects, launching the Documentary Development Fellowship program in 1984 to support this goal.
By the 1979–80 period, its budget had increased to $10 million, with $2.5 million generated from investment returns.
In 1998–99, the establishment of the Film Finance Corporation Australia allowed for dedicated financing of feature films and television productions, enabling the AFC to concentrate on development activities, marketing initiatives, and funding research. Concurrently, Film Australia Limited became an independent company.
Following the Australian Film Commission Amendment Act on 1 July 2003, the AFC acquired contractual rights and responsibilities associated with the National Film and Sound Archive (NFSA). It launched a "Directions" plan to guide ScreenSound Australia's operations; however, this plan was revised in 2006 after a governmental change. The intended merger between ScreenSound and AFC was ultimately abandoned in 2008 with the passage of the Screen Australia Bill.
The AFC maintained office locations in Sydney, Melbourne, Canberra, and Brisbane.
The Screen Australia Bill of 2008 unified key federal film organizations—the Film Finance Corporation Australia, Film Australia Limited, and the Australian Film Commission—into one consolidated body with redefined functions and funding structures. Screen Australia commenced operations in July 2008, inheriting the AFC’s role in supporting and investing in Australian film and media projects.
Amalgamations
From its inception in 1975 until its dissolution in 2008, the Commission underwent several mergers with other federal Australian film agencies.
2003: ScreenSound
In 2003, under the Howard government, the Australian Film Commission (AFC) merged with ScreenSound Australia (the National Film and Sound Archive of Australia, NFSA). This restructuring was viewed by some critics as detrimental to Australia's cultural sector and led to the "Save ScreenSound Australia" campaign.
The Australian Film Commission Amendment Act 2003 legally formalized the transfer of contractual obligations from ScreenSound to AFC effective from 1 July 2003. Later that year in December, AFC released its Directions plan detailing future intentions for managing the NFSA.
This merger resulted in the creation of the National Film and Sound Archive Advisory Committee at the end of 2004, replacing the previous NFSA Advisory Council. The committee included significant stakeholders to enhance communication but did not possess governance authority over the AFC Board. Events traditionally associated with NFSA branding—such as the premiere of ‘The Sentimental Bloke’ at the 2004 Sydney Film Festival—were rebranded under AFC’s name.
On 12 January 2006, CEO Kim Dalton departed to assume a television leadership role at the Australian Broadcasting Corporation. This transition prompted improved dialogue between the NFSA Advisory Committee and AFC Board amid concerns regarding AFC’s control over the Archive. Receiving approximately 120 submissions from stakeholders—with around 90% expressing criticism—the Directions plan was revised. A new proposal issued on 10 July 2006 recommended granting independent statutory status to NFSA.
The NFSA Advisory Committee remained active until May 2008.
2008: Integration of Film Finance Corporation and Film Australia
In May 2007, the newly appointed Minister for the Arts, George Brandis, set in motion plans for another organizational consolidation. After the November 2007 transition to a Labor administration, the legislation authorizing this merger was enacted on 23 March 2008. Subsequently, on 20 February 2008, Peter Garrett, who succeeded as Minister for Arts, introduced the Screen Australia Bill 2008, which facilitated the National Film and Sound Archive’s independence by separating it from the Commission.
Effective from 1 July 2008, the Australian Film Commission combined forces with the Film Finance Corporation and Film Australia Limited to establish Screen Australia. This new entity became the principal financier of Australian screen productions by uniting the functions of these three bodies. The merger broadened support for Australian content, including documentaries, as Screen Australia inherited the AFC’s role in commissioning documentary projects. For example, it continued producing documentaries under the National Interest Program initially managed by Film Australia Ltd.
The legislation maintained the essential functions of the AFC while assigning Screen Australia responsibilities to fund development, production, and distribution across film and television sectors. It also took on duties to promote Australian stories that highlight artistic merit and cultural significance. Additional mandates included supporting filmmakers, advancing Australian cinema both domestically and abroad through festivals and markets, and fostering a vibrant screen culture nationwide.
Contribution to Film and Media
The Australian Film Commission alongside the Film Finance Corporation were instrumental in preserving and promoting Australian cultural identity through cinema. The AFC served as a foremost collector and analyst of film industry data, dedicated to safeguarding and nurturing audiovisual production while influencing policy frameworks.
Emphasizing films that portrayed national and Indigenous identities was central to the Commission’s mission. It championed historical storytelling through documentary filmmaking. In 2000, Sally Riley took leadership of the Indigenous Branch (later part of Screen Australia’s Indigenous Department), playing a pivotal role in advancing Indigenous talent within the industry.
In partnership with the NFSA, the AFC funded the Archive’s inaugural major film restoration project in 1980 for For the Term of His Natural Life. The Commission also collaborated with institutions such as Australia Council for the Arts and Australian Film Television and Radio School (AFTRS) to encourage technological advancements during the late 1990s and early 2000s.
From the mid-1950s until the 1980s, federal agencies including the AFC supported documentary productions that reflected Australian life and culture. This commitment continued under the AFC until Screen Australia’s formation in 2008. Thereafter, Screen Australia assumed responsibility for backing film and television projects featuring Australian content based on criteria such as subject matter, production location, contributors’ citizenship, and cultural importance as specified in its founding legislation.
Operations in Australia
The Commission functioned as a creator, promoter, and distributor within the Australian film industry. During the early 1970s, the Australian Film Development Corporation (AFDC), which later became the Australian Film Commission (AFC), managed grants and loans to support film production, allocating $3,289,752 toward feature films between 1972 and 1975.
The AFC played a key role in backing independent documentary filmmaking, launching the Documentary Fellowship program in 1984 with pre-sales supported by ABC to encourage independent documentary creation. In 1999, the Documentary Online Initiative was introduced to foster partnerships between traditional documentary producers and interactive media creators. Between 2005 and 2006, the AFC reported an average yearly documentary production value near $62 million. Documentaries were reestablished with a quota of 10 hours annually from their initial release, which was increased to 20 hours in 2008.
In collaboration with ABC Online and Triple J radio, the AFC developed the Stuff-Art website aimed at showcasing innovative online film entertainment by engaging artists, filmmakers, and interactive producers. This platform earned the Telstra/Australian Financial Review Internet Award for best entertainment website in 1999.
By September 2001, the AFC had committed approximately $2.1 million toward broadband content development, financially supporting cultural programming on Australian broadband platforms in line with Productivity Commission priorities emphasizing Australian culture and quality content. The transfer of contractual rights from the National Sound and Film Archive in 2003 allowed the AFC to utilize its brand identity.
Starting in 2004, the AFC co-funded the Message Sticks Indigenous Film Festival alongside Screen Australia's Indigenous units from 2008 onward.
The Broadband Production Initiative (BPI) launched in 2006 was backed by federal government funding combined with contributions from ABC New Media, Digital Services, and the AFC totaling roughly $4 million. This initiative encouraged pioneering educational and technological media projects.
By July 2008, the AFC had introduced an online film database searchable by producer or director name, film title, themes, location, production year, and educational references. Following its integration into Screen Australia later that year, this tool evolved into the Find a Film Search Database, subsequently renamed The Screen Guide, allowing users to access Australian-made feature films, documentaries, television dramas, and interactive content curated by Australians.
Federal Government support
During the 1970s, government assistance for the film industry was primarily indirect through tax exemptions and write-offs aimed at private investors. Film organizations such as the Australian Film Commission (AFC) were encouraged to enhance international sales by leveraging tax incentives tied to increased production budgets.
The AFC Amendment Bill of 1980 expanded the Commission’s capacity to finance films under both the rational program and Film Australia. It also permitted funding allocations for promotion, distribution, or broadcasting of Australian productions.
The Commission was responsible for managing expenditures that often resulted in limited returns for both public funds and private investors. It gained authority to appoint its own personnel; members served on a part-time basis while a general manager handled day-to-day operations.
Following enactment of the Australian Film Commission Amendment Act 2003, the AFC took on legal responsibility for overseeing the National Film and Sound Archive (NFSA). In 2008, a merger combined the AFC with Film Finance Australia and Film Australia Ltd to establish Screen Australia; however, under the Screen Australia Bill of 2008, responsibility for NFSA was separated once again.
International Engagement
The Commission played a pivotal role in distributing Australian cinema worldwide, particularly targeting markets in the United States and Europe. Independent Australian documentary filmmakers found opportunities to sell their work to broadcasters such as the BBC and American PBS, as domestic networks were initially reluctant to air these productions. The AFC’s 1984 Documentary Fellowship initiative was instrumental in securing broadcast slots for Australian documentaries on national television.
Activities in the United States
During the late 1970s, the depreciation of the Australian dollar attracted American investors to the country's film industry. The AFC, along with state film bodies, leveraged this advantage by promoting Australian films in the U.S., often highlighting themes like the outback and historical narratives. In 1978, the AFC shifted its North American office from New York City to Los Angeles to better engage with the American market.
Activities in Europe
Starting in 1975, supported by federal funding, the AFC began presenting Australian films and talent at the Cannes Film Festival, which continues to serve as a vital international platform. However, in 1978, the Commission’s promotional efforts at Cannes faced criticism from film critic David Stratton over a slogan that was considered unsuitable.
Former Chairs
- Ken Watts (1975–1981)
- Sir James Cruthers (1981–1984)
- Phillip Adams (1984–1988)
- Patrick Condon (1975–1977)
- Sue Milliken (1994–1997)
Filmography
The Australian Film Commission has been involved with 16 titles featured in Screen Australia's Screen Guide, spanning both national and international projects.
| Year | Title | Type | Role |
|---|---|---|---|
| 1976 | Promised Woman | Feature | International Sales Contact |
| 1976 | Summer of Secrets | Feature | International Sales Contact |
| 1982 | Duet for Four | Feature | International Sales Contact |
| 1984 | One Night Stand | Feature | International Sales Contact |
| 1985 | The Boy Who Had Everything | Feature | International Sales Contact |
| 1991 | Uranus | Short film | Australian Sales Contact |
| 1993 | Australian Women's Archival project | Documentary | International Sales Contact |
| 1994 | Microdocs | Documentary | International Sales Contact |
| 1995 | Eat My Shorts | TV drama | International Sales Contact |
| 1995 | Smile A Ton | Short film | Australian and International Sales Contact |
| 1995 | Tapeworm | Short film | Australian and International Sales Contact |
| 1995 | Trapped | Short film | Australian and International Sales Contact |
| 1995 | Why | Short film | International Sales Contact |
| 1997 | Capillary Action | Short film | Production Company |
| 2007 | Punch | Short film | Executive Producer |
| 2007 | The Visitor | Short film | Executive Producer |