![Sample our Humanities journals, sign in here to start your FREE access for 14 days]({"type":"image" , "src" : "/sda/5939/TOC-Subject-Sample-2021-Humanities.jpg"})
ABSTRACT
This article discusses the problems that Australian films face in the big distribution model, and ways thatproducers have rethought how their films are funded and distributed. To do this it uses the case study of Robert Connolly'sCinema Plus exhibition company. Although there is a historical precedence set for Connolly's self-distribution venture, this shiftto rethink how Australian films are being distributed and exhibited is certainly representative of a changing reassessment of theporous relationship between production and exhibition, which for some time Screen Australia demarcated in by two separatepools. What Cinema Plus represents is a recognition that conventional big distribution is not always the most effective way toreach the widest possible audience.
Disclosure statement
No potential conflict of interest was reported by the authors.
Notes on contributor
Dr Stephen Gaunson is Senior Lecturer in the School of Media and Communication at RMIT University. In 2017 he was a recipient of a National Citation for Outstanding Contributions to Student Learning (Australian Awards for University Teaching). He teaches courses at the undergraduate level on Australian cinema, adaptation, and documentary studies, and is supervising numerous students at both MA and PhD levels in the areas of cinema and creative writing. He has co-edited a number of collections on the history of film exhibition and distribution, and written the book The Ned Kelly Films (2013, Intellect Books).