Occasional Papers

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These papers were all commissioned and edited by David Court, Subject Leader, Screen Business for AFTRS.

About the Authors:

  • Paper #1 Embracing Innovation - A new Methodology for Feature Film Distribution in Australia (2008) Authored by AFTRS alumnus Robert Connolly

Robert Connolly knows Australian cinema inside and out with feature film directing credits The Bank, Three Dollars and Balibo; producing credits The Monkey's Mask, Romulus, My Father; telemovie credits Underground: The Julian Assange Story; TV credits The Slap and most recently a collection of 17 short stories for the screen in the form of The Turning to his name. After Balibo, Connolly has said, "[I was in] this headspace of trying to work out how to push the boundaries of my work and to explore new ideas ..."

  • Paper #2: Mitigating Risk. The Case for More Adaptations in the Australian Film Industry. (2010) Authored by AFTRS alumnus Matthew Hancock
Matthew has researched, written and presented on media trends for more than a decade for a range of public and private organisations. As 'Manager, Strategy and Insights' at the Screen Producers Association of Australia he contributes to policy objectives by identifying, pursuing and communicating strategic insights on issues affecting independent producers and the broader screen sector. He has also worked for Screen Australia, The AFC and Mediascape.
  • Paper #3 Getting in the Digital Frame.  A Screen Producer's Guide to the Digital Landscape (2009) Authored by Jennifer Wilson
With more than 20 years experience in interactive media Jennifer Wilson is passionate about storytelling across multiple platforms and mobile. Jennifer has worked been the Managing Director of HWW, Head of Innovation for ninemsn and principle of boutique consultancy, Lean Forward. She is the author of many papers on digital screen content issues.
  • Paper #4
    Why Australian Producers Should Think More Like Distributors.
    Authored by Vincent Sheehan
Vincent Sheehan is an independent, Sydney based film producer and co-founder of Porchlight Films. His feature film credits include the low budget independent hit Mullet and the critically acclaimed Little Fish starring Cate Blanchett (nominated for 13 AFI awards winning 5).  Vincent also produced Prime Mover with writer/director David Caesar, was an executive producer on the TV series Laid and the debut feature film by David Michod Animal Kingdom, which won the World Cinema Jury Prize at the Sundance Film Festival 2010 and won 10 AFI awards including best film and The Hunter, starring Willem Dafoe.
  • Paper #5 The Case for Creating an Australian Copyright Registry.
    Michael Fraser & David Court Call for a 21st Centruy Copyright Register.

    Authored by Professor Michael Fraser and AFTRS Head of Screen Business, David Court

Professor Michael Fraser AM is a Professor of Law at the University of Technology, Sydney and Director of the Communications Law Centre, UTS, Australia's independent, non-profit, public interest centre specialising in communications, media and online law and policy. He was a founder and CEO of Copyright Agency Limited (CAL) for twenty one years and a founding director of Australian, foreign and international copyright management organisations. Professor Fraser is Chairman of the Australian Copyright Council, Chairman of the Stolen Generations Testimonies Foundation and President of International PEN - Sydney Centre and a director of the Australian Communications Consumer Action Network (ACCAN).

David Court is the founding Head of  Screen Business at AFTRS and is an experienced industry practitioner who has been involved in the financing of more than a dozen film and television productions  (Strictly Ballroom,The Bank and the IMAX film Antarctica). David was the publisher of the authoritative industry newsletter Entertainment Business Review and with KPMG,  conducted the feasibility study that led to the development of Fox Studios in Sydney. As author of Film Assistance: Future Options (Allen & Unwin, Sydney, 1986), he was the policy architect of the Film Finance Corporation, established by the Australian Government in 1988.


The Australian Film Television and Radio School would like to acknowledge the Traditional Owners, the Bidjigal people and Gadigal people of the Eora Nation, on whose land we meet, work, study and teach. We pay our respects to Elders past and present, and extend our respect to Aboriginal and Torres Strait Islander people from all nations of this land.