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Minister Paul Fletcher keeps the mystery about the government's decisions on regulation, but sets out to prove he understands what the sector is about at SF 2019.
Deaner focused on moving the lobbying into new territory, to talk the talk of opportunistic globalism. It works.
As Christmas creeps into the box office, we take a look at whether audiences are feeling the festive spirit.
The initial information about the new Self-Regulatory Code for the Subscription Video on Demand Industry in ASEAN did not have the actual wording. Here are the relevant passages.
Opinions & Analysis
Filmmaker Markus Stone looks at how to film without a crew by assembling a mobile travel kit of cameras, lights and sound equipment.
Rachel Perkins will unveil her work on the Boyer Lectures from Friday. In the meantime, we explore the ABC's editorial process to turn ideas into story.
Spoiler alert: it's more than just heavy lifting.
Emu Runner is a quiet film of a child dealing with grief and her bond with the emu, nguri told with the Ngemba girl from Brewarrina in NSW.
Screenhub is on a mission at Screen Forever. What do we want to know about, from our unique industry perspective?
NBCUniversal signs onto a self-regulatory approach to streaming in ASEAN countries, highlighting the rise of local control over values.
Rose d'Or Awards hopes are up, fired by very hot vegetable.
Designed to target gender-based violence and discrimination in the screen and games industries, the ScreenMATE Bystander Program runs in Melbourne in November.
Very different visions of Australia pile onto our screens, though you may have to search to find them. Plus festivals like a chocolate box of surprises.
You’ve got to be doing something right to keep a comedy series going on Australian television for almost 20 years.
Mirrah Foulkes' delightfully dark feature film debut gives a feminist twist twist to the squabbling sideshow couple.
As SPA focuses on SVODs in Screen Forever next week, an RMIT report lays out the realities of Australian content. And the need for family friendly creativity.
With Samantha Lang as head of development, Garth Davis and See-Saw are formally joined at the business hip.
Parasite has sucked the arthouse world dry and hasn't finished. Ride Like a Girl is still out in a mad counter. Little Monsters is being unfairly dismissed.
Ahead of the NFSA's Digital Directions conference, screenhub talks to Jon-Paul Dyson of The Strong National Museum of Play.
The bestselling novelist and screenwriter of 'Clickbait', Netflix's first Melbourne project, talks story structure, terrible first drafts and the myth of overnight success.
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