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| Screen Tasmania | |
|---|---|
| Name | Screen Tasmania |
| Type | Government agency |
| Founded | 1999 |
| Headquarters | Hobart, Tasmania |
| Jurisdiction | Tasmania, Australia |
| Parent agency | Tasmanian Government |
Screen Tasmania Screen Tasmania is the Tasmanian screen agency that supports film, television, interactive media and digital content production within Tasmania. It provides funding, incentives, location facilitation and industry development to attract projects, nurture talent and promote Tasmanian culture and landscapes. The agency interacts with national and international bodies to position Tasmania within Australasian and global screen markets.
Screen Tasmania traces its origins to state initiatives in the late 20th century to attract audiovisual production to Tasmania, building on precedents such as the establishment of film offices in other Australian states like Screen NSW, Film Victoria, and Screen Queensland. Early Tasmanian screen activity referenced cultural institutions such as the Museum of Old and New Art, the Tasmanian Museum and Art Gallery, and civic events like the Ten Days on the Island festival. In the 2000s, legislative and policy shifts reflected models used by the Australian Film Commission and later Screen Australia, aligning state support with national strategies exemplified by productions like Mad Max: Fury Road (Queensland) and The Lord of the Rings (New Zealand). Prominent Tasmanian shoots invoked locations associated with Port Arthur Historic Site, Cradle Mountain-Lake St Clair National Park, and the cityscapes of Hobart and Launceston to attract interstate and international producers. The agency’s evolution was influenced by collaborations with institutions such as the University of Tasmania and cultural funding bodies like the Australia Council for the Arts.
Screen Tasmania operates within the portfolio of Tasmanian state ministries and coordinates with departments including the Tasmanian Department of State Growth and tourism bodies like Tourism Tasmania. Its governance model echoes structures found in agencies such as Screen NSW and Film Victoria, with oversight from ministers paralleling portfolios held by figures connected to state arts policy. The agency liaises with statutory entities including the Tasmanian Museum and Art Gallery and local government councils in municipalities such as City of Hobart and Launceston City Council. Strategic direction has been informed by reports and reviews similar to analyses commissioned by the Productivity Commission and industry advice from organisations like the Australian Directors Guild and the Media, Entertainment & Arts Alliance. Screen Tasmania coordinates with higher education institutions such as the Australian Film Television and Radio School and the University of Tasmania for curriculum alignment and workforce planning.
The mandate emphasizes attracting screen production to Tasmania, supporting Tasmanian practitioners, and promoting Tasmanian stories and locations. Functions include funding assessment similar to processes employed by Screen Australia and administering incentives comparable to schemes at Screenwest and South Australian Film Corporation. The agency supports development, production, post-production and marketing for projects ranging from independent features like those backed by Sundance Institute partners to television series comparable to commissions by ABC Television and SBS. It provides location services akin to those offered by the Film Commission (New Zealand), logistical support used by crews on productions such as The Pacific and facilitates access to regional assets like the Tasman Peninsula, Bruny Island and the west coast towns featured in works linked to Australian regional cinema.
Funding mechanisms include production investment, development grants, and travel and post-production rebates structured similarly to incentives offered by Screen NSW, Screen Queensland and Film Victoria. Screen Tasmania administers incentive agreements for feature films, television drama, documentaries and short-form projects with eligibility criteria informed by precedents set by Screen Australia and tax frameworks like the Australian Screen Production Incentive. Co-investments and gap financing have paralleled arrangements seen in collaborations with entities such as the Australian Film Finance Corporation and private financiers active in projects with distributors including Roadshow Films and Bleecker Street. Provisions to attract international co-productions mirror treaties and models exemplified by the Australia–UK co-production treaty and principles used by the New Zealand Film Commission.
Tasmania has hosted a range of notable productions spanning documentary, drama and feature film. Projects have capitalised on Tasmanian settings seen in films and series associated with producers and directors common to Australian production networks, including collaborations with companies like Goalpost Pictures, Punchline Films, Parragraph, and international firms such as BBC Studios and Netflix. Productions have worked with talent linked to the Australian Academy of Cinema and Television Arts and actors who have appeared in works for FOXTEL and ABC Television. Noteworthy screen projects shot in Tasmania have utilised sites like Port Arthur Historic Site, Mount Field National Park, and Hobart precincts including Salamanca Place and Battery Point, supporting local crews and post facilities comparable to those used in other state hubs.
Screen Tasmania invests in skills development, mentoring and training initiatives in partnership with education providers such as the University of Tasmania, the Australian Film Television and Radio School, and regionally focused institutions. Programs reflect capacity-building approaches similar to those run by organisations like the Australian Directors Guild, the Screen Producers Australia and the Media, Entertainment & Arts Alliance. The agency has supported festivals and markets including MONA FOMA, Ten Days on the Island, and industry events that attract delegates from entities such as Sundance Institute, Tribeca Film Festival, and the Australian International Documentary Conference. Workforce development targets roles across production, post-production and VFX, aligning with training frameworks used by companies like Animal Logic and post houses prominent in Australian production ecosystems.
Screen Tasmania collaborates with national bodies such as Screen Australia, state agencies like Screen NSW and Film Victoria, and local partners including the University of Tasmania, Tasmanian Museum and Art Gallery, and Tourism Tasmania. It engages with industry organisations including the Australian Directors Guild, Screen Producers Australia, and the Australian Writers' Guild to shape policy and co-fund initiatives. International collaboration draws on relationships with institutions like the New Zealand Film Commission, broadcasters such as BBC Studios and streaming platforms like Netflix, as well as film festivals and markets exemplified by Sundance Film Festival and Cannes Film Festival to promote Tasmanian projects and talent.
Category:Film organisations in Australia