Editing Cinema of Australia (section)

==History==
The Australian film critic [[David Stratton]] characterized the history of the country's film as one of "boom and bust": there have been deep troughs, during which few films were made for decades, and high peaks, during which a glut of films reached the market.<ref>David Stratton, ''The Avocado Plantation: Boom and Bust in the Australian Film Industry'', Sydney: Pan Macmillan, 1990.</ref>{{request quotation|date=March 2021}}

===Pioneer days – 1890s to 1910===
The first public screenings of films in Australia took place in October 1896, within a year of the world's first screening in Paris by [[Auguste and Louis Lumière|Lumière brothers]]. On 22 August 1896, the first films projected to a paying audience in Australia were at Harry Rickards' Melbourne Opera House (later known as the [[Tivoli Theatre, Melbourne|Tivoli Theatre]]). The film by magician Carl Hertz was screened as part of a variety show act. Australian tours with similar projection machines followed.<ref>{{cite web |title=Cinema Industry Trends Before 1900 |url=https://www.screenaustralia.gov.au/fact-finders/cinema/industry-trends/historical-admissions/before-1900 |website=Screen Australia |publisher=Screen Australia |access-date=28 April 2022}}</ref>
Australia's first cinema, the ''Salon Lumière'' at 237 Pitt Street, Sydney, was operating in October 1896, and showed the first [[Passengers Alighting from Ferry Brighton at Manly|Australian-produced short film]] on 27 October 1896.<ref>{{cite web |last1= Jackson |first1= Sally |title= Australia's first cinema |url= https://www.nfsa.gov.au/latest/salon-lumiere |website= [[Australian Screen Online]] |date= 22 November 2010 |publisher= [[National Film and Sound Archive of Australia]] |access-date= 15 October 2020}}</ref>

The [[Melbourne Athenaeum|Athenaeum Hall]] in Collins Street, [[Melbourne]], operated as a dance hall from the 1880s, and from time to time would provide alternative entertainment to patrons. In October 1896 it exhibited the first [[movie film]] shown in Australia,<ref>{{cite web |title=Athenaeum Theatre |url=https://cinematreasures.org/theaters/32327 |website=Cinema Treasures |access-date=14 March 2022}}</ref> within a year of the first public screening of a film in Paris on 28 December 1895 by the French [[Auguste and Louis Lumière|Lumière brothers]]. The Athenaeum would continue screenings, such as ''Life in Our Navy'', a 60,000 foot film of life on [[HMS Jupiter (1895)|HMS ''Jupiter'']], shown on 26 January 1901 by [[G. H. Snazelle]], who provided additional entertainment.<ref>{{cite news |url=http://nla.gov.au/nla.news-article196071404 |title=Advertising |newspaper=[[The Age]] |issue=14,313 |location=Victoria, Australia |date=19 January 1901 |accessdate=25 April 2021 |page=12 |via=National Library of Australia}}</ref>

A landmark of newsreel photography was in 1897, when films of both the [[Caulfield Cup]]<ref>{{cite news |url=http://nla.gov.au/nla.news-article145930641 |title=On and Off the Stage |newspaper=[[Table Talk (magazine)|Table Talk]] |issue=643 |location=Victoria, Australia |date=22 October 1897 |accessdate=25 April 2021 |page=13 |via=National Library of Australia}}</ref> and [[Melbourne Cup]] were screened at the [[Melbourne Opera House]] on the evenings of the race.<ref>{{cite news |url=http://nla.gov.au/nla.news-article188153721 |title=News of the Day |newspaper=[[The Age]] |issue=13,315 |location=Victoria, Australia |date=3 November 1897 |accessdate=25 April 2021 |page=4 |via=National Library of Australia}}</ref> The events had been captured on film for [[W. C. Baxter]] and [[Photographic processing|developed]] the same day by photographer Robert William Harvie (died 5 October 1922)<ref>{{cite news |url=http://nla.gov.au/nla.news-article1847518 |title=Family Notices |newspaper=[[The Argus (Melbourne)]] |issue=23,766 |location=Victoria, Australia |date=6 October 1922 |accessdate=26 April 2021 |page=1 |via=National Library of Australia}}</ref> and inventor Ernest J. Thwaites (c. 1873 – 12 July 1933).<ref>{{cite news |url=http://nla.gov.au/nla.news-article34621060 |title=Australian Inventor |newspaper=[[Western Argus]] |volume=40 |issue=2253 |location=Western Australia |date=22 August 1933 |accessdate=25 April 2021 |page=7 |via=National Library of Australia}}</ref>

Some of the earliest movie film shot in Australia consisted of films of [[Aboriginal Australian|Aboriginal]] dancers in [[Central Australia]], shot by anthropologists [[Walter Baldwin Spencer|Baldwin Spencer]] and [[F. J. Gillen]] between 1900 and 1903. They pioneered [[sound recording]] on [[wax cylinder]]s and shot their films under very difficult conditions.<ref>{{cite encyclopedia | title = Spencer, Sir Walter Baldwin (1860–1929) | dictionary = Australian Dictionary of Biography | publisher = National Centre of Biography, Australian National University | url = http://adbonline.anu.edu.au/biogs/A120043b.htm | date = 14 July 1929 | access-date = 8 January 2020 | quote = First published in hardcopy in Australian Dictionary of Biography, Volume 12, (MUP), 1990 | first = D. J. | last = Mulvaney | archive-url = https://web.archive.org/web/20110221102919/http://adbonline.anu.edu.au/biogs/A120043b.htm | archive-date = 21 February 2011 | url-status = live }}</ref>

The earliest [[feature-length]] [[narrative film]] in the world was the Australian-produced ''[[The Story of the Kelly Gang]]'' (1906), shown at the Athenaeum. The film, written and directed by [[Charles Tait (film director)|Charles Tait]], included several of his family members.<ref>{{cite web |title=World's first feature film |url=https://www.nma.gov.au/defining-moments/resources/world-first-film |website=National Museum of Australia |access-date=18 September 2021}}</ref> The film was also exhibited in the United Kingdom in January 1908.<ref>{{cite book |last1=Rabaté |first1=Jean-Michel |title=1913: The Cradle of Modernism |date=2008 |publisher=Wiley |isbn=9780470691472 |page=20 |url=https://books.google.com/books?id=WY8vGO2lHtEC}}</ref>

Melbourne also hosted one of the world's first [[film studio]]s, the [[Limelight Department]], operated by [[the Salvation Army in Australia]] between 1897 and 1910.<ref>{{Cite web |url= http://www.abc.net.au/limelight/docs/lime/default.htm |title=Limelight |website= [[Australian Broadcasting Corporation]] |access-date= |archive-url= https://web.archive.org/web/20140903014817/http://www.abc.net.au/limelight/docs/lime/default.htm |archive-date= 3 September 2014 |url-status= dead }}</ref> The Limelight Department produced evangelical material for use by the Salvation Army, as well as carrying out private and government contracts. In its 19 years of operation the Limelight Department produced about 300 films of various lengths, making it the largest [[film producer|film-producer]] of its time. The major innovation of the Limelight Department came in 1899 when [[Herbert Booth]] and [[Joseph Perry (cinematographer)|Joseph Perry]] began work on [[Soldiers of the Cross (film)|''Soldiers of the Cross'']], described by some as the first feature-length film ever produced. ''Soldiers of the Cross'' fortified the Limelight Department as a major player in the early [[Film industry |film-industry]]. The Limelight Department also produced a film recording of the [[Inauguration of the Commonwealth|Federation of Australia]].<ref>{{cite web |title= Inauguration of the Commonwealth |url= https://aso.gov.au/titles/documentaries/inauguration-commonwealth/ |website= [[Australian Screen Online]]|publisher= [[National Film and Sound Archive]] of Australia |date= 1 January 1901}}</ref>

===Boom and bust – 1910s to 1920s===
The 1910s were a "boom" period in Australian cinema. Activity had begun slowly in the 1900s, and 1910 saw four narrative films released, then 51 in 1911, 30 in 1912, and 17 in 1913, and back to four in 1914, when the beginning of [[World War I]] brought a temporary pause in film-making.<ref>{{cite book|first1=Andrew|last1= Pike |first2= Ross |last2=Cooper|title=Australian Film 1900–1977: A Guide to Feature Film Production|location= Melbourne|publisher= Oxford University Press|date= 1998|pages= 1 – 49|isbn = 9780195507843}}</ref> While these numbers may seem small in the 21st century, Australia was one of the most prolific film-producing countries at the time. In all, between 1906 and 1928 Australia made 150 narrative feature films, almost 90 of them between 1910 and 1912.<ref>Albert Moran & Errol Vieth, ''Historical Dictionary of Australian and New Zealand Cinema'', Lanham, Maryland: Scarecrow Press, 2005, 32.</ref>

A general consolidation took place in the early 1910s in the production, distribution and exhibition of films in Australia. By 1912 numerous independent producers had merged into [[Greater Union|Australasian Films and Union Theaters]] (now known as [[Event Cinemas]]), which established control over film distributors and cinemas and required smaller producers to deal with the cartel. Some view the arrangement as opening the way for American distributors in the 1920s to sign exclusive deals with Australian cinemas to exhibit only their own products, thereby shutting out the local product and crippling the local film-industry.<ref>''Australian screen'', http://australianscreen.com.au/titles/picture-show-man/clip1/ {{Webarchive|url= https://web.archive.org/web/20090108092532/http://www.australianscreen.com.au/titles/picture-show-man/clip1/ |date= 8 January 2009 }}</ref>

Various other explanations attempt to account for the decline of the industry in the 1920s. Some historians point to falling audience numbers, a lack of interest in Australian product and narratives, and Australia's participation in the war. Also, an [[Bushranger ban|official ban on bushranger films]] occurred in 1912.<ref>Reade, Eric (1970) ''Australian Silent Films: A Pictorial History of Silent Films from 1896 to 1926''. Melbourne: Lansdowne Press, 59.</ref><ref>[http://archive.sensesofcinema.com/contents/01/18/oz_western.html Routt, William D. "More Australian than Aristotelian: The Australian Bushranger Film, 1904–1914". ''Senses of Cinema'' 18 (January–February), 2002] {{Webarchive|url= https://web.archive.org/web/20101224214514/http://archive.sensesofcinema.com/contents/01/18/oz_western.html |date= 24 December 2010 }}</ref><ref>[[Kathryn Heyman]]'s 2006 novel, ''Captain Starlight's Apprentice'', gives a fictionalised account of the banning of bushranger films in New South Wales.</ref> With the suspension of local film-production, Australian [[cinema chain|cinema-chain]]s sought alternative products in the United States and realised that Australian-produced films were much more expensive than the imported product, which were priced cheaply as production expenses had already been recouped in the home market. To redress this imbalance, the [[federal government of Australia]] imposed a tax on imported film in 1914, but this was removed by 1918.{{citation needed|date=March 2021}}

Whatever the explanation, by 1923 American films dominated the Australian market, with 94% of all exhibited films coming from the United States.<ref>Albert Moran & Errol Vieth, ''Historical Dictionary of Australian and New Zealand Cinema'', Lanham, Maryland: Scarecrow Press, 2005, 30.</ref>

===1930s–1960s===
[[File:Buladelah.jpg|thumb|The old Pacific Cinema at [[Bulahdelah, New South Wales]] - a classic example of an early, small, country-town cinema]]

In 1930, [[F. W. Thring]] (1883–1936) established the [[Efftee Studios]] based in [[Melbourne]] to make [[talking film]]s using optical sound equipment imported from the United States. The first Australian sound films appeared  in 1931: the company produced [[Diggers (1931 film)|''Diggers'']] (1931), ''[[A Co-respondent's Course]]'' (1931), ''[[The Haunted Barn]]'' (1931) and [[The Sentimental Bloke (1932 film)|''The Sentimental Bloke'']] (1932). During the five years of its existence, Efftee produced nine features, over 80 [[short film|short]]s and several stage-productions. Notable collaborators included [[C. J. Dennis]], [[George Wallace (Australian comedian)|George Wallace]] and [[Frank Harvey (Australian screenwriter)|Frank Harvey]]. Film production continued only until 1934, when it ceased as a protest over the refusal of the Australian government to set Australian film-quotas, followed soon by Thring's death in 1936. It was estimated{{by whom|date=March 2021}} that Thring lost over £75,000 of his own money on his filmmaking and theatrical ventures.<ref>Graham Shirley and Brian Adams, ''Australian Cinema: The First Eighty Years'', Currency Press, p125.</ref>{{request quotation|date=March 2021}}

[[Ken G. Hall]] became a driving force in establishing [[Cinesound Productions]] in 1931.<ref name=SMPTE37>[http://www.smpte.org.au/industrynews37.asp UNESCO Honours Cinesound Movietone Productions] {{Webarchive|url= https://web.archive.org/web/20040102171428/http://www.smpte.org.au/industrynews37.asp |date= 2 January 2004 }} – Society of Motion Picture and Television Engineers (Australia Section)</ref><ref name=AFC263>[http://www.afc.gov.au/newsandevents/mediarelease/2003/release_263.aspx Ken G. Hall Award goes to the late Tom Nurse] {{Webarchive|url= https://archive.today/20031222221617/http://www.afc.gov.au/newsandevents/mediarelease/2003/release_263.aspx |date= 22 December 2003 }} – Australian Film Commission ''News & Events''. 27 November 2003.</ref> The company became one of Australia's first feature-film production companies and operated into the early 1940s, becoming Australia's leading domestic studio based on the [[Hollywood (film industry)|Hollywood]] model. The company also used the Hollywood model for the promotion of its films and attempted to promote a [[Star system (filmmaking)|star system]]. It was particularly successful with the [[On Our Selection (1932 film)|''On Our Selection'']] (1932) series of comedies, based on the popular writings of author [[Steele Rudd]], which featured the adventures of a fictional Australian farming family, the Rudds, and the perennial father-and-son duo, "[[Dad and Dave]]". Despite its ambitions, Cinesound produced only 17 feature-films, all but one of them directed by Ken Hall. Though financially successful, the company ceased making feature films following the 1939 outbreak of [[World War II]].
[[File:Errol Flynn1.jpg|thumb|upright|[[Errol Flynn]] had his debut in ''[[In the Wake of the Bounty]]'' (1933)]]
[[File:Diane Cilento with Peter Finch.jpg|thumb|upright| [[Peter Finch]] with fellow Australian [[Diane Cilento]] during the making of British film ''[[Passage Home]]'' (1955)]]
''[[In the Wake of the Bounty]]'' (1933), directed by [[Charles Chauvel (filmmaker)|Charles Chauvel]], starred Tasmanian-born [[Errol Flynn]]. The film was not a success.<ref>{{Cite web |url= http://aso.gov.au/titles/features/wake-bounty/ |title= In the Wake of the Bounty (1933) on ASO – Australia's audio and visual heritage online |access-date= 1 December 2010 |archive-url= https://web.archive.org/web/20110314084533/http://aso.gov.au/titles/features/wake-bounty/ |archive-date= 14 March 2011 |url-status= live }}</ref> Flynn then travelled to Britain to pursue a career in acting and later went to America and became a celebrated Hollywood star. Chauvel directed a number of successful Australian films, including 1944's World War II classic [[The Rats of Tobruk (1944 film)|''The Rats of Tobruk'']] (which starred [[Peter Finch]] and [[Chips Rafferty]]) and 1955's ''[[Jedda]]'', which was notable as the first Australian film shot in colour, and as the first to feature Aboriginal actors in lead roles and to enter the [[Cannes Film Festival]].<ref>[http://www.festival-cannes.com/en/archives/ficheFilm/id/3702/year/1955.html Festival de Cannes – 11–22 May 2011] {{webarchive |url= https://web.archive.org/web/20120118215228/http://www.festival-cannes.com/en/archives/ficheFilm/id/3702/year/1955.html |date= 18 January 2012}}</ref>

In Britain, the [[Cinematograph Films Act 1927]] established a [[screen quota|quota]] of films that had to be shown in British cinemas.  One could shoot compliant films in the British Empire as well as in Great Britain;  this stimulated Australian film-production. However the Cinematograph Films Act 1938 mollified the British film industry by including only films made by and shot in Great Britain in the quota - this removed Australian films from the film quota in the UK, and saw the loss of a guaranteed market for Australian films.<ref>[http://nla.gov.au/nla.news-article17560049?searchTerm=cinesound%20feature%20rydge&searchLimits=l-category=Article%7Ccategory%3AArticle 'Greater Union Group Half-year's Profit', ''The Sydney Morning Herald'', Wednesday 4 January 1939 p 10]</ref>

''[[Kokoda Front Line!]]'' (1942), directed by Ken G. Hall, won Australia's first [[Academy Award|Oscar]].<ref>{{Cite web |url= http://aso.gov.au/titles/newsreels/kokoda-front-line/ |title= Kokoda Front Line! (1942) on ASO – Australia's audio and visual heritage online |access-date= 1 December 2010 |archive-url= https://web.archive.org/web/20110226115110/http://aso.gov.au/titles/newsreels/kokoda-front-line/ |archive-date= 26 February 2011 |url-status= live }}</ref> Chips Rafferty and Peter Finch became prominent international stars of the period. Rafferty's onscreen image as a lanky, laconic bushman struck a chord with Australian filmgoers, and he appeared in iconic early Australian films such as ''[[Forty Thousand Horsemen]]'' (1940), [[The Rats of Tobruk (1944 film)|''The Rats of Tobruk'']] (1944), [[The Overlanders (film)|''The Overlanders'']] (1946) and [[Eureka Stockade (1949 film)|''Eureka Stockade'']] (1949) (''Overlanders'' and ''Eureka'' were part of a series of Australian-themed films produced by Britain's iconic [[Ealing Studios]]). In Hollywood, Rafferty also appeared in Australian-themed films, including [[The Desert Rats (film)|''The Desert Rats'']] (1953), [[The Sundowners (1960 film)|''The Sundowners'']] (1960) and [[Mutiny on the Bounty (1962 film)|''Mutiny on the Bounty'']] (1962). Similarly, Peter Finch starred in quintessentially Australian roles (such as "[[Digger (soldier)|digger]]" and [[stockman (Australia)|stockman]]) through a series of popular films and had a successful and diverse screen career in Britain and the United States.

Both [[Ron Randell]] and [[Rod Taylor]] began their acting careers in Australia - initially in radio and on stage before appearing in such Australian films as [[Smithy (1946 film)|''Smithy'']] (1946) for the former and [[Long John Silver (film)|''Long John Silver'']] (1954) for the latter. They each transferred to the United States to become Hollywood [[leading man|leading men]] in a number of films of the late 1940s (Randell) and both from the 1950s onwards. Taylor had starring roles in [[The Time Machine (1960 film)|''The Time Machine'']] (1960) and [[The Birds (film)|''The Birds'']] (1963) as well as in several American television-series such as [[Hong Kong (TV series)|''Hong Kong'']] (1960-1961).

In the 1950s British and American production-companies made several notable films in Australia based on stories from [[Australian literature]] (generally with strong rural themes). These included ''[[A Town Like Alice (film)|A Town Like Alice]]'' (1956, which starred [[Virginia McKenna]] and Peter Finch); [[The Shiralee (1957 film)|''The Shiralee'']] (1957, also starring Peter Finch with Australian actors [[Charles Tingwell]], [[Bill Kerr]] and [[Ed Devereaux]] in supporting roles); [[Robbery Under Arms (1957 film)|''Robbery Under Arms'']] (1957, again starring Finch); and ''[[Summer of the Seventeenth Doll]]'' (1959, starring [[Ernest Borgnine]], [[John Mills]] and [[Angela Lansbury]]). In 1960, [[The Sundowners (1960 film)|''The Sundowners'']] was shot partly in the [[Snowy Mountains]] of [[New South Wales]] with foreign leads [[Deborah Kerr]], [[Robert Mitchum]], and [[Peter Ustinov]] but a supporting cast including Australians - Chips Rafferty, [[John Meillon]] and [[Leonard Teale]].

In 1958, [[Australian Film Institute]] was formed{{by whom|date=March 2021}} and in the same year began awarding the [[Australian Film Institute Awards]].

After filming ''[[Whiplash (TV series)|Whiplash]]'' in the country in 1960, [[Peter Graves]] said that the biggest problem was the shortage of Australian actors.<ref>{{cite news |url=http://nla.gov.au/nla.news-article103107678 |title=Says Australia Needs Actors |newspaper=[[The Canberra Times]] |location=Australian Capital Territory, Australia |date=24 October 1960 |access-date=4 May 2020 |page=1 |via=Trove }}</ref> Australian film-production reached a low ebb with few notable productions during the 1960s.<ref>{{Cite web |url= http://www.afi.org.au/Past_Winners2/AM/ContentManagerNet/ContentDisplay.aspx?ContentID=6460&Section=Past_Winners |title= The Australian Film Institute &#124; Past Winners |access-date= 29 August 2013 |archive-url= https://web.archive.org/web/20100723062132/http://www.afi.org.au/Past_Winners2/AM/ContentManagerNet/ContentDisplay.aspx?ContentID=6460&Section=Past_Winners |archive-date= 23 July 2010 |url-status= dead  }}</ref> The 1966 comedy [[They're a Weird Mob (film)|''They're a Weird Mob'']], starring [[Walter Chiari]], [[Chips Rafferty]] and [[Claire Dunne]], was a rare hit of the period which also documented something of the changing face of Australian society: telling the story of a newly-arrived Italian immigrant who, working as a labourer in Sydney, becomes mates with his co-workers, despite some difficulties with [[Australian slang]] and culture. The film foreshadowed the successful approaching [[Australian New Wave|"New Wave"]] of Australian cinema of the 1970s that would often showcase colloquial [[Culture of Australia|Australian culture]].

Overseas cinema continued to attract Australian actors as "action-men" with the casting of Australian [[George Lazenby]] to replace [[Sean Connery]] in portraying the superspy [[James Bond]] in the 1969 U.K. film [[On Her Majesty's Secret Service (film)|''On Her Majesty's Secret Service'']].

===Renaissance – 1970s and 1980s===
[[File:Gorton Press Conference 1970 (8).jpg|thumb|upright|[[Prime Minister of Australia|Prime Minister]] [[John Gorton]] initiated several avenues of government support for Australian cinema]]
[[John Gorton]], [[Prime Minister of Australia]] from 1968 to 1971, initiated several forms of government support for film and the arts, including the [[Australian Film Development Corporation]]. The [[Gough Whitlam]] government (1972–75) continued the support via its successor the [[Australian Film Commission]], and state governments also established assistance programs. These measures led to a resurgence of Australian film-making in both the low budget 16mm format and 35mm cinema - the [[Australian New Wave]] - which lasted until the mid-to-late [[Australian films of the 1980s|1980s]]. The era also marked the emergence of the "[[Ozploitation]]" style – characterised by the exploitation of colloquial Australian culture.

{{anchor|womencinema}}
Also notable during this era was the effect of the  growing [[feminism in Australia#1970 onwards|feminist movement]]. The role of women's films was discussed at the Women's Liberation Conference in [[Melbourne]] in 1970,<ref name=gillnfsa/> and groups such as the Feminist Film Workers collective (1970s and 1980s), Sydney Women"s Film Group (SWFG, 1972–), Melbourne Women's Film Group (1973–), Reel Women (1979 to 1983 in Melbourne), and  Women's Film Unit (Sydney and Melbourne, 1984/5) were established.<ref>{{cite book | last=Liddy | first=S. | title=Women in the International Film Industry: Policy, Practice and Power | publisher=Springer International Publishing | year=2020 | isbn=978-3-030-39070-9 | url=https://books.google.com/books?id=rkz2DwAAQBAJ&pg=PA289 | access-date=30 August 2022 | page=289}}</ref> A number of filmmakers, including [[Jeni Thornley]], Sarah Gibson, Susan Lambert, [[Martha Ansara]], [[Margot Nash]] and [[Megan McMurchy]], were involved in these groups.<ref name=gillnfsa>{{cite web| url=https://www.nfsa.gov.au/latest/feminist-filmmakers| website= [[NFSA]]|title=Feminist filmmakers| first=Heather| last= Gill| access-date=30 August 2022}}</ref> The 1975 [[International Women's Film Festival (Australia)|International Women's Film Festival]], the first of its kind,<ref name="gillnfsa"/> was initiated by the SWFG,<ref>{{cite thesis| first=Pauline| last=Webber| type=MA| publisher= [[University of Technology, Sydney]]|date=2005| url= https://opus.lib.uts.edu.au/bitstream/10453/20050/1/01front.pdf| title=History of the Sydney Film Festival, 1954–1983 | access-date=30 August 2022}}</ref> but groups around the country organised screening events in other state capitals. In Melbourne and [[Sydney]] the festivals ran for nine days (with an audience of around 56,000), and in the other states they spanned two to three days.<ref name=zetterling>{{cite journal| author=Zetterling, Mai |url=https://search.informit.org/doi/10.3316/ielapa.636989311447701 |title=International Women's Film Festival [abstract]| journal= [[Metro Magazine]]|issue= 32 |date=1975}}</ref>

Films such as [[Picnic at Hanging Rock (film)|''Picnic at Hanging Rock'']] (directed by [[Peter Weir]], 1975) and ''[[Sunday Too Far Away]]'' ([[Ken Hannam]], 1975) made an impact on the international scene. The 1970s and 1980s are regarded by many{{who|date=March 2021}}{{quantify|date=March 2021}} as a "golden age" of Australian cinema, with many successful films, from the dark dystopian fiction of ''[[Mad Max (film)|Mad Max]]'' ([[George Miller (filmmaker)|George Miller]], 1979) to the romantic comedy of ''[[Crocodile Dundee]]'' ([[Peter Faiman]], 1986) and the emergence of such film-directing auteurs as [[Gillian Armstrong]], [[Phillip Noyce]] and [[Bruce Beresford]].

A major theme of Australian cinema which matured in the 1970s was one of survival in the harsh Australian landscape. A&nbsp;number of thrillers and horror-films - dubbed "[[outback]] gothic" - have appeared, including ''[[Wake in Fright]]'', [[Walkabout (film)|''Walkabout'']], ''[[The Cars That Ate Paris]]'' and [[Picnic at Hanging Rock (film)|''Picnic at Hanging Rock'']] in the 1970s, [[Razorback (film)|''Razorback'']], [[Long Weekend (1978 film)|''Long Weekend'']] and [[Shame (1988 film)|''Shame'']] in the 1980s and ''[[Japanese Story]]'', [[The Proposition (2005 film)|''The Proposition'']] and [[Wolf Creek (film)|''Wolf Creek'']] in the 2000s. These films depict the [[Australian bush]] and its creatures as deadly, and its people as outcasts and psychopaths. These elements combine with futuristic post-apocalyptic themes in the [[Mad Max (franchise)|''Mad Max'' series]]. 1971's ''Walkabout'' was a British film, set in Australia, which became a forerunner to many Australian films related to indigenous themes; it introduced [[David Gulpilil]] to cinematic audiences. 1976's ''[[The Chant of Jimmie Blacksmith (film)|The Chant of Jimmie Blacksmith]]'' directed by [[Fred Schepisi]] re-told an award-winning historical drama from the book by [[Thomas Keneally]] about the tragic story of an Aboriginal [[bushranger]].

Classic stories from [[Australian literature]] and [[Australian history]] continued to provide popular cinematic adaptations during the 1970s and 1980s. [[Gillian Armstrong]]'s ''[[My Brilliant Career (film)|My Brilliant Career]]'' (1979) featured [[Judy Davis]] and [[Sam Neill]] in early lead-roles. 1982's ''[[We of the Never Never (film)|We of the Never Never]]'' followed up on the theme of the female experience of life in the [[Australian bush]]. 1982's [[The Man from Snowy River (1982 film)|''The Man from Snowy River'']], starring [[Tom Burlinson]] and [[Sigrid Thornton]], dramatised the classic [[Banjo Paterson]] poem of that name and became one of the all-time box-office successes of Australian cinema. In addition to the serious historical dramas popular in the 1970s, a number of films celebrating and satirizing Australian colloquial culture appeared over the decade, including: ''[[The Adventures of Barry McKenzie]]'' (1972), ''[[Alvin Purple]]'' (1973), and ''[[Barry McKenzie Holds His Own]]'' (1974). The [[Barry McKenzie]] films saw performing-artist and writer [[Barry Humphries]] collaborating with director [[Bruce Beresford]]. In 1976, [[Peter Finch]] won a posthumous [[Academy Award for Best Actor]] for his role in the American satire [[Network (1976 film)|''Network'']], thus becoming the first Australian to win an Oscar for best actor.<ref>{{cite web |url=http://www.screenaustralia.gov.au/australian_productions/F_A_Success/Academy_42_89.asp |title= Screen Australia: Australian Productions|website=www.screenaustralia.gov.au |archive-url=https://web.archive.org/web/20110226195718/http://www.screenaustralia.gov.au/australian_productions/F_A_Success/Academy_42_89.asp |archive-date=26 February 2011}}</ref>

1980's [[Breaker Morant (film)|''Breaker Morant'']] (starring [[Jack Thompson (actor)|Jack Thompson]] and [[Edward Woodward]]) dramatised the controversial trial of an Australian soldier during the [[Boer War]] of 1899-1902; there followed 1981's [[World War&nbsp;I]] drama [[Gallipoli (1981 film)|''Gallipoli'']] (directed by [[Peter Weir]] and starring [[Mel Gibson]]). These films, now considered classics of Australian cinema, explored contemporary Australian identity through dramatic episodes in Australian history. Gibson went on to further success in 1982's [[The Year of Living Dangerously (film)|''The Year of Living Dangerously'']] before transferring to pursue his Hollywood career as an actor and director. Many other Australian stars would follow his path to international stardom in the coming decades. The director of ''The Year of Living Dangerously'', Peter Weir, also made a successful transition to Hollywood. Weir contributed to the screenplay along with its original author, Christopher Koch, and playwright [[David Williamson]]. Williamson rose to prominence in the early 1970s, and has gone on to write several other original scripts and screenplays made into successful Australian films, including: ''[[Don's Party]]'' (1976); ''Gallipoli'' (1981), [[Emerald City (play)|''Emerald City'']] (1988), and [[Balibo (film)|''Balibo'']] (2009).<ref>[[IMDbName:0932011|David Williamson – IMDb]]</ref>

Actor/comedian [[Paul Hogan]] wrote the screenplay and starred in the title role in his first film, ''[[Crocodile Dundee]]'' (1986), about a down-to-earth hunter who travels from the Australian outback to New York City. The movie became the most successful Australian film ever, and launched Hogan's international film career. Following the success of ''Crocodile Dundee'', Hogan starred in the sequel, ''[[Crocodile Dundee II]]'' in 1988. 1988 also saw the release of the drama [[Evil Angels (film)|''Evil Angels'']] (released outside of Australia and New Zealand as ''A Cry in the Dark'')<ref>{{cite web|url= https://www.imdb.com/title/tt0094924/releaseinfo#akas|title= A Cry in the Dark (1988) – Release dates|publisher= IMDb.com|access-date= 14 June 2012|archive-url= https://web.archive.org/web/20180921204840/https://www.imdb.com/title/tt0094924/releaseinfo#akas|archive-date= 21 September 2018|url-status= live}}</ref> about the [[Lindy Chamberlain]] saga, in which a [[dingo]] took a baby at [[Ayers Rock]] and her mother was accused of having murdered the child.

[[Nicole Kidman]] began appearing in Australian children's TV and film in the early 1980s – including starring roles in [[BMX Bandits (film)|''BMX Bandits'']] and ''[[Bush Christmas]]''. During the 1980s she appeared in several Australian productions, including [[Emerald City (play)|''Emerald City'']] (1988), and ''[[Bangkok Hilton]]'' (1989). In 1989 Kidman starred in [[Dead Calm (film)|''Dead Calm'']] alongside [[Sam Neill]] and [[Billy Zane]]. The thriller garnered strong reviews, and Hollywood roles followed.<ref>[https://www.variety.com/review/VE1117790280.html?categoryid=31&cs=1&p=0 Dead Calm] {{Webarchive|url= https://web.archive.org/web/20081227225718/http://www.variety.com/review/VE1117790280.html?categoryid=31&cs=1&p=0 |date= 27 December 2008 }}. Variety.com. 1 January 2007. Retrieved 10 March 2007.</ref>

===1990–2000===
[[File:National Film and Sound Archive viewed near McCoy Circuit.jpg|right|thumb|The National Film and Sound Archive in [[Canberra]]]]
{{quote box|width=275px|align=left|quote="Is everyone in Australia a few degrees off from true north? You can search in vain through the national cinema for characters who are ordinary or even boring; everyone is more colorful than life. If England is a nation of eccentrics, Australia leaves it at the starting line."|source=[[Roger Ebert]] describing the eccentric national character in his review for the film ''[[Chopper (film)|Chopper]]'' (2000).<ref>{{cite web|url=https://www.rogerebert.com/reviews/chopper-2001|title=Chopper|work=[[Chicago Sun Times]]|first=Roger|last=Ebert|date=1 June 2001|accessdate=26 January 2023}}</ref>}}
The 1990s proved a successful decade for Australian film and introduced several new stars to a global audience. Low budget films such as the comedy/drama ''[[Muriel's Wedding]]'', starring [[Toni Collette]],<ref>{{Cite web |url=http://aso.gov.au/titles/features/muriels-wedding/ |title=''Muriel's Wedding'' (1994) on ASO – Australia's audio and visual heritage online |access-date=1 December 2010 |archive-url=https://web.archive.org/web/20110302211306/http://aso.gov.au/titles/features/muriels-wedding/ |archive-date=2 March 2011 |url-status=live }}</ref> the gently satirical suburban comedy ''[[The Castle (1997 Australian film)|The Castle]]'' directed by [[Rob Sitch]] (which cast [[Eric Bana]] in his first prominent film role), and [[Baz Luhrmann]]'s flamboyant ''[[Strictly Ballroom]]''<ref>{{Cite web |url=http://aso.gov.au/titles/features/strictly-ballroom/ |title=Strictly Ballroom (1992) on ASO – Australia's audio and visual heritage online |access-date=1 December 2010 |archive-url=https://web.archive.org/web/20110226101242/http://aso.gov.au/titles/features/strictly-ballroom/ |archive-date=26 February 2011 |url-status=live }}</ref> each attained commercial and critical success, and explored quirky characters inhabiting contemporary Australian suburbia – marking something of a departure from the [[Outback]] and historical sagas which obtained success in the 1970s and 1980s. [[Stephan Elliott]]'s 1994 film ''[[The Adventures of Priscilla, Queen of the Desert]]'' mixed traditional outback cinematography and landscape with contemporary urban sub-culture: following three [[drag queen]]s on a road trip to Central Australia.

While a number of major international stars gained early prominence in Australia over the period, an important stable of established and emerging local stars with prodigious film credits remained prominent, including screen veterans [[Charles Tingwell]], [[Bill Hunter (actor)|Bill Hunter]], [[Jack Thompson (actor)|Jack Thompson]], [[Bryan Brown]] and [[Chris Haywood]].

The World War II drama ''[[Blood Oath (film)|Blood Oath]]'' (1990) debuted both [[Russell Crowe]] and [[Jason Donovan]], in minor cinematic roles. Crowe demonstrated his versatility as an actor in this early period of his career by starring soon after as a street gang Melbourne [[skinhead]] in 1992's ''[[Romper Stomper]]'' and then as an inner-Sydney working-class gay man in 1994's ''[[The Sum of Us (film)|The Sum of Us]]'' before transferring to the US to commence his Hollywood career.

George Miller's ''[[Babe (film)|Babe]]'' (1995) employed new digital effects to make a barnyard come alive and went on to become one of Australia's highest-grossing films. The 1996 drama ''[[Shine (film)|Shine]]'' achieved an [[Academy Award for Best Actor]] award for [[Geoffrey Rush]] and [[Gregor Jordan]]'s 1999 film ''[[Two Hands (1999 film)|Two Hands]]'' gave [[Heath Ledger]] his first leading role.

===2001–2019===
After Ledger's successful transition to Hollywood, Jordan and Ledger collaborated again in 2003, with Ledger playing the iconic [[bushranger]] title role in the film ''[[Ned Kelly (2003 film)|Ned Kelly]]'', co-starring Australian actress [[Naomi Watts]].

The canon of films related to [[Indigenous Australians]] also increased over the period of the 1990s and early 21st Century, with [[Nick Parsons]]' 1996 film ''[[Dead Heart (film)|Dead Heart]]'' featuring [[Ernie Dingo]] and [[Bryan Brown]];<ref>{{Cite web |url=http://aso.gov.au/titles/features/dead-heart/ |title=Dead Heart (1996) on ASO – Australia's audio and visual heritage online |access-date=1 December 2010 |archive-url=https://web.archive.org/web/20110228124317/http://aso.gov.au/titles/features/dead-heart/ |archive-date=28 February 2011 |url-status=live }}</ref> [[Rolf de Heer]]'s ''[[The Tracker (2002 film)|The Tracker]]'', starring [[Gary Sweet]] and [[David Gulpilil]];<ref>{{Cite web |url=http://aso.gov.au/titles/features/tracker/ |title=The Tracker (2002) on ASO – Australia's audio and visual heritage online |access-date=1 December 2010 |archive-url=https://web.archive.org/web/20110226100847/http://aso.gov.au/titles/features/tracker/ |archive-date=26 February 2011 |url-status=live }}</ref> and [[Phillip Noyce]]'s ''[[Rabbit-Proof Fence (film)|Rabbit-Proof Fence]]''<ref>{{Cite web |url=http://aso.gov.au/titles/features/rabbit-proof-fence/ |title=Rabbit-Proof Fence (2002) on ASO – Australia's audio and visual heritage online |access-date=1 December 2010 |archive-url=https://web.archive.org/web/20110313084500/http://aso.gov.au/titles/features/rabbit-proof-fence/ |archive-date=13 March 2011 |url-status=live }}</ref> in 2002. In 2006, Rolf de Heer's ''[[Ten Canoes]]'' became the first major feature film to be shot in an Indigenous language and the film was recognised at [[Cannes Film Festival|Cannes]] and elsewhere.

The shifting demographics of Australia following post-war multicultural immigration was reflected in Australian cinema through the period and in successful films like 1993's ''[[The Heartbreak Kid (1993 film)|The Heartbreak Kid]]''; 1999's ''[[Looking for Alibrandi (film)|Looking for Alibrandi]]''; 2003's ''[[Fat Pizza]]''; the ''[[Wog Boy]]'' comedies and 2007's ''[[Romulus, My Father (film)|Romulus, My Father]]'' which all dealt with aspects of the migrant experience or Australian subcultures.<ref>{{cite web|url = http://film.vic.gov.au/resources/documents/AA4_Aust_Box_office_report.pdf|archive-url=https://web.archive.org/web/20110723234802/http://film.vic.gov.au/resources/documents/AA4_Aust_Box_office_report.pdf|archive-date=23 July 2011|publisher = Film Victoria|title = Australian Films At the Australian Box Office}}</ref>

[[Fox Studios Australia]] and [[Village Roadshow Limited#Warner Roadshow Studios|Warner Roadshow Studios]] had hosted large international productions like [[George Lucas]]'s ''[[Star Wars: Episode II – Attack of the Clones]]'' and [[Star Wars: Episode III – Revenge of the Sith|Episode III – Revenge of the Sith]], and the ''[[The Wachowskis|Wachowskis]]'s [[The Matrix]].''

[[Rob Sitch]] and [[Working Dog Productions]] followed the success of ''The Castle'' with period comedy ''[[The Dish]]'', which was the highest grossing Australian film of the Year 2000 and entered the top ten list of highest grossing Australian films. Big budget Australian-international co-productions ''[[Moulin Rouge!]]'' ([[Baz Luhrmann]], 2001) and ''[[Happy Feet]]'' (which won the [[Academy Award for Best Animated Feature]] for filmmaker [[George Miller (filmmaker)|George Miller]] in 2006) also entered the top ten list during the first decade of the new century. Baz Luhrmann directed a series of international hits and returned to Australia for the production of 2008's ''[[Australia (2008 film)|Australia]]'', which showcased a host of Australian stars including [[Nicole Kidman]], [[Hugh Jackman]] and [[David Wenham]] and went on to become the second highest-grossing film in Australian cinematic history.

''[[Lantana (film)|Lantana]]'', directed by [[Ray Lawrence (film director)|Ray Lawrence]] attained critical and commercial success in 2001 for its examination of a complex series of relationships in suburban Sydney, and events surrounding a mysterious crime. It won seven [[Australian Film Institute Awards|AFI Awards]] including Best Picture, Best Director, Best Actor for [[Anthony LaPaglia]] and Best Actress for [[Kerry Armstrong]].

Emerging star [[Sam Worthington]] had early lead roles in the 2002 mobster black comedy ''[[Dirty Deeds (2002 film)|Dirty Deeds]]'' and 2003's crime caper ''[[Gettin' Square]]''. ''Gettin Square'' also featured rising star [[David Wenham]] who demonstrated versatility with a string of critically acclaimed roles including the title role in [[Paul Cox (director)|Paul Cox]]'s 1999 biopic ''[[Molokai: The Story of Father Damien]]'' and the 2001 thriller ''[[The Bank (2001 film)|The Bank]]'', directed by the politically conscious film director [[Robert Connolly]].

In 2005, ''[[Little Fish (2005 film)|Little Fish]]'' marked a return to Australian film for actress [[Cate Blanchett]] and won five [[Australian Film Institute Awards]] including Best Actor for [[Hugo Weaving]], Best Actress for Blanchett and Best Supporting Actress for screen veteran [[Noni Hazlehurst]].

In 2008 following Ledger's death, the documentary film celebrating the romps of the [[Australian New Wave]] of 1970s and 1980s low-budget cinema: ''[[Not Quite Hollywood: The Wild, Untold Story of Ozploitation!]]'' The film was directed by Mark Hartley and interviews filmmakers including [[Quentin Tarantino]], [[Dennis Hopper]], George Miller and [[Barry Humphries]].

The early 2000s were generally not successful years for Australian cinema, with several confronting dramas proving unpopular at the box office. In 2008, no Australian movies made $3 million at the box office, but a conscious decision by filmmakers to broaden the types of films being made as well as the range of budgets produced a series of box-office hits at the close of the decade. Strong box office performances were recorded in 2009–10 by [[Bruce Beresford]]'s ''[[Mao's Last Dancer (film)|Mao's Last Dancer]]''; the Aboriginal musical ''[[Bran Nue Dae (film)|Bran Nue Dae]]'' the dramatization of [[John Marsden (writer)|John Marsden]]'s novel ''[[Tomorrow, When the War Began (film)|Tomorrow, When the War Began]]''; and the crime drama ''[[Animal Kingdom (film)|Animal Kingdom]]'' which featured major Australian screen stars [[Ben Mendelsohn]], [[Joel Edgerton]], [[Guy Pearce]] and [[Jacki Weaver]]. ''Animal Kingdom'' achieved success at the 2010 [[Australian Film Institute Awards]] and was acclaimed at film festivals around the world.<ref>{{cite news | url=https://www.smh.com.au/entertainment/movies/good-year-for-australian-films-as-they-switch-bleak-for-broad-20101210-18sss.html | work=The Sydney Morning Herald | first=Garry | last=Maddox | title=Good year for Australian films as they switch bleak for broad | date=11 December 2010 | access-date=19 February 2020 | archive-url=https://web.archive.org/web/20191102070137/https://www.smh.com.au/entertainment/movies/good-year-for-australian-films-as-they-switch-bleak-for-broad-20101210-18sss.html | archive-date=2 November 2019 | url-status=live }}</ref> ''Tomorrow, When the War Began'' became the highest-grossing domestic film of 2010 and it was nominated for nine Australian Film Institute Awards.<ref>{{cite web|url=http://watchoutfor.com.au/tomorrow-when-the-war-began-biggest-film-of-2010-movie-news|title=Tomorrow When The War Began Biggest Film Of 2010|first=Sean|last=Lynch|work=watchoutfor.com.au|date=17 September 2010|access-date=31 October 2010|archive-url=https://web.archive.org/web/20120723234954/http://watchoutfor.com.au/tomorrow-when-the-war-began-biggest-film-of-2010-movie-news/|archive-date=23 July 2012|url-status=dead}}
</ref><ref>
{{cite web
|url=http://www.afi.org.au/AM/ContentManagerNet/HTMLDisplay.aspx?ContentID=11828&Section=AFI_Award_Winners_and_Nominees |title=The Australian Film Institute &#124; AFI Award Winners and Nominees Ceremony |publisher=Afi.org.au |access-date=19 December 2010 |url-status=dead |archive-url=https://web.archive.org/web/20131216034823/http://www.afi.org.au/AM/ContentManagerNet/HTMLDisplay.aspx?ContentID=11828&Section=AFI_Award_Winners_and_Nominees |archive-date=16 December 2013
}}
</ref>

Other award-winning films of the period included ''[[Balibo (film)|Balibo]]'' (2009) starring [[Anthony LaPaglia]]; Middle Eastern crime flick ''[[Cedar Boys]]'' (2009) directed by Serhat Caradee; and animated comedy drama ''[[Mary and Max]]''.

[[File:Olympic park sydney AIRSCREEN.jpg|thumb|An open-air cinema in [[Sydney]] in 2010]]
World War I drama ''[[Beneath Hill 60]]'' (2010), directed by [[Jeremy Sims]] and starring [[Brendan Cowell]], was nominated for numerous awards and won three.

[[Sally Riley (producer)|Sally Riley]], as inaugural head of the Indigenous department at [[ABC Television (Australian TV network)|ABC Television]], after her previous role at the [[Australian Film Commission]] (later [[Screen Australia]]), has done much to develop Indigenous talent in the film and television industry.<ref>{{cite web | last=Martyn | first=Shona | title='We need new voices': The ABC boss who's changing what we see on TV | website=[[The Sydney Morning Herald]] | date=30 July 2021 | url=https://www.smh.com.au/culture/tv-and-radio/the-daughter-of-a-tapdancing-shearer-from-narromine-who-changed-our-tv-20210727-p58ddj.html | access-date=12 November 2021}}</ref><ref>{{cite web | title=Sally Riley |date=23 July 2021| website=Rose d'Or Awards | url=https://www.rosedor.com/sally-riley/ | access-date=12 November 2021}}</ref> Contemporary Indigenous film-makers include [[Warwick Thornton]], [[Wayne Blair (director)|Wayne Blair]], [[Trisha Morton-Thomas]] and [[Rachel Perkins]].

The Australian film industry continues to produce a reasonable number of films each year, but in common with other English-speaking countries, Australia has often found it difficult to compete with the [[Cinema of the United States|American film industry]],<ref>{{cite news|url=https://www.theguardian.com/culture/australia-culture-blog/2013/jul/18/australian-film-bigger-audiences|title=Why don't we watch more Australian films?|last=Swift|first=Brendan|date=18 July 2013|work=The Guardian|access-date=15 May 2017|language=en-GB|issn=0261-3077|archive-url=https://web.archive.org/web/20180524081608/https://www.theguardian.com/culture/australia-culture-blog/2013/jul/18/australian-film-bigger-audiences|archive-date=24 May 2018|url-status=live}}</ref> the latter helped by having a much larger home market. The most successful Australian actors and filmmakers are easily lured by [[Hollywood (film industry)|Hollywood]] and rarely return to the domestic film industry. The [[South Australian Film Corporation]] continues to produce quality films, and [[Adelaide]] has been chosen as the location for films such as ''[[Hotel Mumbai]]'' (2019).{{Citation needed|date=August 2020}}

===2020–present===
The Australian film and TV industry was greatly impacted by the [[COVID-19 pandemic in Australia|COVID-19 pandemic]], with at least 60 [[film shoot|shoots]] being halted and around 20,000 people being put of work.<ref>{{cite web | last=Eltham | first=Ben | title='We'll see bankruptcies': how coronavirus has shut down Australian film and TV | website=The Guardian | date=27 March 2020 | url=http://www.theguardian.com/film/2020/mar/28/well-see-bankruptcies-how-coronavirus-has-shut-down-australian-film-and-tv | access-date=18 April 2020 | archive-url=https://web.archive.org/web/20200407172733/https://www.theguardian.com/film/2020/mar/28/well-see-bankruptcies-how-coronavirus-has-shut-down-australian-film-and-tv | archive-date=7 April 2020 | url-status=live }}</ref> On Monday 23 March, all productions funded by [[Screen Australia]] were postponed.<ref>{{cite web | title=Coronavirus response update|first=Graeme|last= Mason | website=Screen Australia | date=27 March 2020  | url=https://www.screenaustralia.gov.au/covid19|archive-url=https://web.archive.org/web/20200406162659/https://www.screenaustralia.gov.au/covid19/|archive-date=6 April 2020 }}</ref> {{as of |2020|4|15}}, after some improvement in COVID-19 statistics in Australia, Screen Australia continues to fund work and process applications, intending to use all of its 2019/20 budget.<ref>{{cite web  | title=Coronavirus response update|first=Graeme|last =Mason | website=Screen Australia | date=15 April 2020 | url=https://www.screenaustralia.gov.au/covid19 | access-date=18 April 2020|archive-url=https://web.archive.org/web/20200418032100/https://www.screenaustralia.gov.au/covid19/|archive-date=18 April 2020|url-status=live}}</ref>

Sometime after the movie and TV industries reopened, several films restarted production. Two such films were ''[[Escape from Pretoria]]'' (2020) and  ''[[Mortal Kombat (2021 film)|Mortal Kombat]]'' (2021).<ref>{{cite web |publisher=[[Adelaide Review]] |url=https://www.adelaidereview.com.au/arts/state-budget-arts-funding-adelaide-festival-windmill/|title=State Budget adds millions in Adelaide Festival and film industry funding as other arts organisations face cuts|first=Walter|last=Marsh|date=19 June 2019|access-date=8 January 2020|archive-url=https://web.archive.org/web/20190620063034/https://www.adelaidereview.com.au/arts/state-budget-arts-funding-adelaide-festival-windmill/|archive-date=20 June 2019|url-status=live}}</ref><ref>{{cite magazine|url=https://ew.com/movies/2019/05/14/mortal-kombat-james-wan/|title=James Wan-produced Mortal Kombat movie to shoot later this year|magazine=Entertainment Weekly|last=Collis|first=Clark|date=14 May 2019|access-date=8 January 2020|archive-url=https://web.archive.org/web/20190518223408/https://ew.com//movies/2019/05/14/mortal-kombat-james-wan/|archive-date=18 May 2019|url-status=live}}</ref><ref>{{cite magazine|url=https://variety.com/2019/film/news/mortal-kombat-new-movie-release-date-1203219338/|title=New 'Mortal Kombat' Movie to Hit Theaters in 2021|last=McNary|first=Dave|date=17 May 2019|magazine=Variety|access-date=8 January 2020|archive-url=https://web.archive.org/web/20190518114604/https://variety.com/2019/film/news/mortal-kombat-new-movie-release-date-1203219338/|archive-date=18 May 2019|url-status=live}}</ref>