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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
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.
Picture in your mind the path that 80 taxis or garbage trucks might make during a day's driving. Or a day's airplanes landing at Heathrow. Try visualising a graph of the emotions that people feel as
Highly respected producer Matt Carroll thinks that ScreenHub was too optimistic in our assessment of feature film in Australia. Here is his well informed take on the subject.
SBS keeps telling documentary filmmakers that their pitches must contain an online component. Here they are caught in the spotlight explaining what that means, how it splays out, and how it has adapte
Germaine Deagan Sweet, the Vice President of Content Syndication at National Geographic Channels International, provided an insight into the online distribution platform and business model that the Na
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
A new feature at this years Australian International Documentary Conference are the Editor Hours. These are small sessions with commissioning editors and just 30 people, allowing for specific questio
Genevieve Bell, an anthropologist fascinated by the relationship between culture and technology, delivered a torrent of words about broadband and its future implications. Fortunately, we have forensic
Can you do multiplatform without being a slave to the broadcaster? Yes, but it helps to cheep enticingly as you are being incubated.
The formal business of AIDC commenced in the hands of Sandy George, in her second career as Wicked Den Mother of Australian conferences. Aided and abetted in this case by Bob Connolly, who has never b
The South Australian Premier and Minister for the Arts kick-started the opening night party of the Australian International Documentary Conference by shattering the 1980s investment consensus with two
About five kilometres across town from the glamourous ScreenHub headquarters sits the West Melbourne home of The Creature Technology Company, centre of the $100 million live action animatronic marvel,
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