While the annual Deadly Awards highlight the achievements of the Indigenous film and television community, Georgina Pearson looks at how the industry is bridging the gap between our current successes and the professionals of the future.
As Australia rapidly proceeds with the national reconciliation plan, recognition and support of Indigenous talent has hugely increased. But while the film industry has been quick to join this endeavour – the divide between entry-level Indigenous practitioners and Indigenous professionals at the top of their field is still significant – and the importance of workplace equality has never been more relevant.
Screen Australia’s head of Indigenous program, Erica Glynn told Encore that in order for the industry to truly embrace its multicultural roots it is vitally important to accurately convey an Indigenous viewpoint. “This debate has been ongoing for years. Obviously, if this country wants to recognise the diversity of the people who live in it, then we (Indigenous people) are a relatively major sector within this country and we have a right to have our points of view expressed. Everyone knows that. We think we have unique things to offer the world, and those stories can only come from us.”
To continue moving forward it is imperative for initiatives already in place to be furthered – so as to drive not just jobs; but sustainable jobs across every sector of the industry. And already ahead of the curve, Glynn explained that Screen Australia has been implementing such plans for years. “We have always run these types of initiatives where we work very closely with filmmakers – some of them are fairly new to screen – but have a very keen interest to be involved in the industry. We have been doing this for fifteen years, so that’s our input into that. Giving Indigenous people hands on practice to make their stories. Currently there are a few different plans in place. Screen Australia is part of the Media Reconciliation Ring, and the National Indigenous Documentary Fund. We also launched the Short Film initiative Flash Black.”
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A step in the right direction
The Media Reconciliation Ring is an essential port of call for screen bodies looking to partake in supporting Indigenous practitioners. Founded by Foxtel’s Malcolm Smith and Emma Hogan, the Ring, in essence, is a broad collective made up of media industry bodies with the goal of collaborating to establish reconciliation in the media sector. Smith told Encore that right from the beginning the need to produce jobs was always at the forefront. “We have never forgotten that our key focus is to create job opportunities. So right from our first brainstorming session we agreed to meet regularly, and now we meet physically three or four times a year.” Smith explained that in order to see more sustainable jobs in the future it is paramount to have a clear direction for each Indigenous practitioner. “We believe it is very important for there to be a pathway for each Indigenous person. While at school age there is an opportunity for Indigenous people to work within the media, then they need training and then they need job opportunities and then, when they have got job opportunities they need ongoing skills enhancement. So we recognise that pathway as very important.”
Tania Chambers, CEO for Screen NSW agrees and added that the government and media bodies need to work hand-in-hand to implement this plan. “I think it is very important this happens. It just means we can co-ordinate together, so we can leverage more. I think that yes, everyone could go off and do their own little thing but I think that it’s so important that we try and see how we can work together to secure more funds for jobs.”
Guiding by doing
Another fundamental initiative is the Screen Australia Flash Black program. Developed as a short film workshop it aims to further the careers of Indigenous filmmakers through an intensive week-long mentoring course. Writer/director Gillian Armstrong (Little Women, Death Defying Acts, Last Days of Chez Nous) came on board as one of the mentors for this year’s workshop. “Screen Australia has been running the Flash Black workshops for around eight years now and this one was for drama filmmakers who were all about to do a short film. The system is that we have two young filmmakers each and we act as mentors to them as they go through a set program. It’s extremely well organised. Then of the ten who participated, six films will be selected, made and screened on the ABC.” Mentoring is critically important to ensure a consistent flow of filmmakers across all levels in the industry. Glynn told Encore that it is crucial to harness the senior talent we as a country already have. “I think mentoring is really important – but for more than just sustaining jobs. There are many senior filmmakers in this country who have a world of experience to offer and who genuinely are full of things to give back – so to not take advantage of their knowledge and their willingness to give would be madness. Getting them involved is a number one priority.” Armstrong added that as a director, the plans already in place have highlighted how well the industry is progressing. “I think the film industry’s affirmative action and workshops like these over the years show a wonderful affirmative support! That is probably ahead of many industries in Australia.”
It hasn’t always been so black and white. The struggle to gain an equal presence in the screen industry has been long fought and Chambers said that there has been some definite issues in the past. “I do think there has been a concern on the part of some creative people that perhaps there is a reluctancy to include Indigenous people in primetime content as representatives of the general community rather than as representatives of just the Aboriginal community.” But Glynn explained that it was more lack of knowledge than open racism. “To a degree there has been ignorance. And that’s changing very fast but what is still lacking in Australia is the presence of Indigenous faces on and behind our television screens, it’s unlike any other western country in the universe. I mean, there are a few little regulars but not much more, it’s kind of embarrassing.”
So what more can media bodies do? For Chambers the future lies in the equal representation of Indigenous people on and behind our screens. “I think that the biggest thing that will move this industry forward is we need to see more Indigenous faces on the screen, in storylines, playing characters in the whole diverse range of jobs in our society – but not in a stereotyped way. And I think that that will do two things, it will speak volumes to the people who are watching in the audience – subconsciously about being the same as everyone else, but it will also create onscreen role models for Indigenous people to actually see themselves.” Smith told Encore, that ultimately, if we as an industry are going to move forward and resolve this issue then each company needs to have solid foundations. And only then will we be able to collectively succeed. Smith adds, “I think, the key is to ask each media body if they have a reconciliation plan, do they have a policy? Do they have protocols in place? And from this we will drive all of these members to have this implemented – and to help them to do that. Because only then, are they enabled to move forward with confidence.”