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Showing all news in Features
A cute rant from a peripatetic and conscience riddled Python, proving that he can keep a straight face without screaming at the camera or objecting to the new fangled technology.
Beyond the common adjectives - quality! groundbreaking! heartwarming! fresh! - the world's commissioning editors reveal a huge amount by their subtle contradictions and flexibility. It is all about co
On the final day of AIDC 2009, conference director Joost den Hartog scheduled five sessions in a row about the implications of gaming for documentary makers. We detailed our youngest and strongest rep
Both the ABC and SBS were at the AIDC in force, as a palpable presence, which signalled an increased level of confidence and assumptions about leadership of the sector.
Kevin Schaff, CEO of Thought Equity Motion, provides a glimpse of the morphing world of archives, digitisation, metadata and the internet, all propelled by our collective fear of feral American lawyer
A quick introduction of the attending Commissioning Editors, Acquisition Managers, Executive Producers and other investors at the Australian International Documentary Conference in Adelaide.
After three months as CEO of Screen Australia, Ruth Harley faced seasoned English producer and journalist, Steve Hewlett, who had prowled the conference in search of pertinent questions. It was a key
One almost feels sorry for post-production houses. Too often filmmakers come to them too late in the process, too late in their thinking, and too late in their budget. Plus, the best post companies
Invigorated by digital technology and interested exhibitors, the long form documentary is The Form That Will Not Die. For the best of reasons: all documentary makers secretly want to make them. This s
In simmering summer, when most of the industry are on holidays, determined filmmakers on low budgets venture out to make the most of the lull in production. Bookings are easier to get, discounts are e
EDNA, the Emerging Doco-makers Network of Australia, is a new version of an old challenge – to support filmmakers. How does it fit with the lessons of the documentary community's own history?
Imagine trying to pitch a documentary that was going to take five or seven years to cover the story. In an age where productions need to get done and out there as fast as possible, that kind of timef
The glory may be on the teev, but the money comes from teachers, at least if the policy settings allow it to happen. And filmmakers are smart about the needs of the education sector.
What really goes on behind the glazed patient stare of the pitched out commissioning editor? Know these rules, and you start to play the relationship game which underlies everything in the documentary
Moderated by Trevor Graham, Rachel Perkins and Roshelle Oshlack revisited the long, torturous journey to a documentary classic - a journey which would have been worth an observational doucmentary in i
When it comes to digital services, the BBC just gets it. The British broadcaster has for several years been charging headlong into the unfamiliar territory of the internet and digital delivery, armed
While so much policy is about creating sustainable businesses with reliable filmmakers and grown up producers in control, the ABC has been harvesting the excitement of youth with Triple j TV docs.
Some AIDC sessions take delegates to the psychological process at the heart of the craft. Chester Dent, Producer/Director, from Ploughstar* in the UK is a master of the very peculiar relationship at t
What will be the influence of the Global Financial Crisis on the factual content production community? Nervously, we waited to find out, and see hope beyond the financial apocalypse.
Kim Dalton, head of television at the ABC, was interviewed one to one by Sandy George. He is good value for journalists, and Sandy plotted her approach to him with the care. She had even given him hom
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