We acknowledge and respect the Traditional Owners of lands across Australia, their Elders, Ancestors, cultures and heritage, and recognise the continuing sovereignties of all Aboriginal and Torres Strait Islander Nations.

We respectfully acknowledge the Wurundjeri People of the Kulin Nation, who are the Traditional Owners of the land on which the ACTF is based and pay our respect to their Elders past and present.

We are honoured to have the opportunity to learn from the oldest cultural storytellers in the world and seek to support Aboriginal and Torres Strait Islander practitioners to share their rich culture and perspectives with children in Australia and around the world via stories on screen.

Aboriginal and Torres Strait Islander people should be aware that this website may contain images, voices or names of deceased persons in photographs, film, audio recordings or text.

ACTF Annual Report

The ACTF Annual Report was released today.

During the 2014/15 financial year, the ACTF provided script development investment of $134,662 to seven projects, which brings the total script development investment over the last three-year period to $459,766.

The ACTF invested $598,000 in four productions, which brings the total production investment over the last three-year period to $2,998,000.

Highlights of the year included the theatrical release of Robert Connolly’s Paper Planes, and the completion of production of the third series of Mint Pictures’ Bushwhacked!, and two new series: Gristmill’s Little Lunch and the Blackfella Films/Werner Film Productions series Ready For This.

The ACTF education team supported the use of Australian children’s programs in series in schools with the release of the You’re Skitting Me Sketch-O-Matic online comedy writing tool, the MY:24 App (enabling viewers to make their own mini documentary in the spirit of the series) and with a range of webinars and virtual excursions for teachers and students.

Releasing the report, ACTF Chairman, Janet Holmes à Court highlighted the importance of live action drama to children and its difficult financing environment:

“There is immense public value in creating film and television for children that reflects their lives, their country, their voices and experiences back to them…it is an investment in our culture, a statement about the type of country we want our children to grow up in and a means to inspire children to dream Australian dreams. But in television, in particular, it’s getting harder and harder to do that…if the status quo is retained, children’s live action drama, with its unique cultural values, is in danger of disappearing off our screens altogether.”