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Presented in partnership with the Australian Film Television and Radio School 
Copyright for Filmmakers—Harnessing IP
Date: Saturday 30 July, 2pm
Chair: Michael Gordon-Smith, Head of Continuing Professional Education, Australian Film, Television and Radio School
Speakers: Professor Brian Fitzgerald - Head of Law QUT, Kate Hynes - Hynes Lawyers, Sarah-Jane Woulahan - Squareyed Films How do filmmakers ensure a viable and sustainable existence for themselves? Copyright, or intellectual property, is now recognised as one of the most valuable and important assets of their business, guaranteeing future revenue streams. Copyright law in film varies from country to country. In Australia, directors’ copyright legislation was introduced to Parliament earlier this year, with a Senate report due in August. But what about filmmakers working in the video and experimental realms where work is often re-mixed or re-used, where artists share their work with each other when they wish to? Creative Commons–licensed works can be classified as ‘some rights reserved’ or even ‘no rights reserved’. Commercial interests are put aside and the interests of the community are served. Or are they? 
East Asian Cinema and the World
Date: Sunday 31 July, 2pm
Speakers: Peggy Chiao, Geoff Gardner, Shelly Kraicer, Tony Rayns, Mike Walsh, and other festival guests The Festival has been proud to present a consistently strong Asia-Pacific programme. This year, aside from the usual strong range of contemporary cinema, the programme includes special focuses on Korean independent filmmaking and the Chinese underground scene. Festival curators and guests will discuss East Asia’s role position in world cinema today. Blacktop Dreams: Focus on Road Movies with Curator Jack Sargeant
Date: Sunday 31 July, 4pm
The Road Movie is not a new phenomenon. The need to escape, the lure of the open road or undiscovered trail, and the possibility of a new future beyond the curve of the horizon have captured the collective imagination since the days of the first American wagon trains. For the last half-century films from radically different genres have embraced the cultural mythology of the road trip and the rebellious iconoclasm of life on the move. And while the vast spaces of America have provided the backdrop to many road movies, the genre has burned itself into the cinemas of many other nations, including Australia.
Jack Sargeant is the author of critically acclaimed study of underground film Deathtripping: The Cinema of Transgression, The Naked Lens: Beat Cinema, and Lost Highways: A History of the Road Movie, all published by Creation Books. He also contributes to journals such as Headpress, Panik and World Art. An underground pop-culture theorist and commentator, he lectures on, and arranges screenings and tours of, rare and unseen films.
Diagnosing the Australian Film Industry - What are the Vital Signs?
Date: Saturday 6 August, 2pm
Chair: Jackie McKimmie - Project Manager AFC
Speakers: Bridget Ikin – AFFC, Adrian Martin - Film critic The Age and John Lonie - Co-Head of Screenwriting at AFTRS
Do we have a vibrant and gutsy film industry punching above its weight? Or at best a motley, moribund crew living off government handouts and writing politically correct scripts? Many inflammatory articles have been published lately debating the state of the industry and attempting to diagnose the perceived problems. If there is something wrong, what is it? The script? The audience? The marketing? The investors? The tax office? You decide! To vote out government funding: dial... To vote out the quirky comedy: dial...
Writing for Documentary—The Art of Losing Control Gracefully
Date: Sunday 7 August, 2pm
Chair: Bruce Redman
Speakers: Leonard Retel Helmrich (director, Shape of the Moon), Cathy Henkel (director, I told you I was Ill: Spike Milligan) and Janet Merewether (director, Jabe Babe: A Heightened Life)
If much of documentary-making is about real life, how much of it can be scripted? What kind of writing takes place when making a documentary? From writing the pitch or treatment, the commentary, and links to artfully revealing characters and plot, a documentary-maker needs to be prepared to adapt their script to changing circumstances.
How Film Critics Work
Date: Wednesday 3rd August, 5pm
Chair: Roslyn Petelin - Senior Lecturer and Convenor, Writing, Editing and Publishing Program, School of English, Media Studies and Art History, University of Queensland
Speakers: FIPRESCI Secretary Klaus Eder, Julie Rigg of ABC Radio National, Richard Kuipers - Variety and Adrian Martin - Film critic, The Age I might not know a lot about film, but I know what I like… Apologies to Monty Python. And to FIPRESCI. Too often, film writing — indeed, any writing about the arts — is perceived as simply personal opinion. Journalists are assigned the task as some kind of sideline. Perceptive and informative film writing is, of course, much, much more. Members of the FIPRESCI jury will discuss their profession with Roslyn Petelin, who convenes the Writing, Editing, and Publishing programme at The University of Queensland and teaches a course on writing about the arts.
Throughout the festival don’t miss Q&A sessions with these exciting guests! | Jeremy Peter Allen Scot Barbour David Bradbury Aaron Catling T.V. Chandran Wang Cheol-mean Pearse Elliott Vera Fogwill Sülbiye V. Günar Caveh Zahedi | Kieran Galvin Cathy Henkel Janet Merewether M.T. Vasudevan Nair Garin Nugroho Jane Shin Kriv Stenders Yutaka Tsuchiya Sarah Watt | 
All seminars are free; however, bookings are essential. To confirm venues and make bookings, please contact AFTRS on (07) 3257 7646. For up-to-date information on guests, Q&As, and ‘meet the filmmakers’ sessions, check this page or visit the Festival Box Offices. Back to Top
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