Tasmanian film and TV have had a stellar decade. So why is the state gutting its local screen body?
With huge successes such as The Nightingale and Deadloch, Tasmania’s creatives have built a screen industry worth protecting.
In April, the Tasmanian Premier announced that three state institutions - Brand Tasmania, Screen Tasmania, and the Tasmanian Museum and Art Gallery - would be merged into one division. This decision aimed to streamline the state's public service. However, a recent revelation is that Screen Tasmania, the state's funding body for film, television, and digital media, has significantly reduced in size.
It is now left with a skeleton staff, comprising just less than two full-time employees. This change has raised concerns among local screen creatives. Shaun Wilson, a council member of the Tasmanian Filmmakers Alliance, expressed fear that such a small screen body would only be a passive entity, focusing on grant application assessments.
The restructuring has been described as "brutal and shortsighted" by local producer David Gurney, especially considering the success of recent Tasmanian screen productions. The state's unique landscape and cultural identity have attracted producers and directors for various productions, including The Kettering Incident, The Nightingale, The Gloaming, Rosehaven, Deadloch, and Little J & Big Cuz.
These productions have not only contributed to the state's economy but also provided cultural and educational benefits. However, with the reduced Screen Tasmania, the future of these productions may be at risk. The state government's restructuring could hinder the growth of Tasmania's unique cultural voices and industry development.
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