Appendix 2

Our functions and powers

The functions and powers of the NFSA are set out in sections 6 and 7 of the National Film and Sound Archive of Australia Act 2008, as follows.

Section 6. Functions

1. The functions of the National Film and Sound Archive of Australia are to:

       (a) develop, preserve, maintain, promote and provide access to a national collection of programs and related material; and

       (b) support and promote the collection by others of programs and related material in Australia; and

       (c) support, promote or engage in:

            (i) the preservation and maintenance of programs and related material that are not in the national collection; and

            (ii) the provision of access to programs and related material that are not in the national collection; and

       (d) support and promote greater understanding and awareness in Australia of programs; and

       (e) undertake any other function conferred on it by any other law of the Commonwealth.

Ways in which support may be provided

2. The ways in which the National Film and Sound Archive of Australia may provide support as mentioned in subsection (1) include (but are not limited to) doing any of the following:

       (a) providing financial assistance (whether by way of loan, grant, investment or otherwise and whether on commercial terms or otherwise);

       (b) commissioning or sponsoring programs or other activities;

       (c) providing services, facilities, programs or equipment;

but does not include providing guarantees.

Considerations governing the performance of functions

3. In performing its functions, the National Film and Sound Archive of Australia is, as far as practical, to:

       (a) place an emphasis on the historical and cultural significance of programs and related material; and

       (b) use every endeavour to make the most advantageous use of the national collection in the national interest; and

       (c) apply the highest curatorial standards; and

       (d) promote the efficient, effective and ethical use of public resources.

National Film and Sound Archive of Australia may charge fees

4. The National Film and Sound Archive of Australia may charge fees for things done in performing its functions.

National Film and Sound Archive of Australia may cooperate with others

5. The National Film and Sound Archive of Australia may perform its functions alone or together with other persons.

Severability

6. Without limiting its effect apart from this subsection, this Act also has the effect it would have if the powers and functions of the National Film and Sound Archive of Australia were confined to powers and functions that were to be exercised and performed:

       (a) in so far as it is appropriate for those powers and functions to be exercised and performed by the National Film and Sound Archive of Australia on behalf of the Government of the Commonwealth as the national Government of Australia; and

       (b) for purposes for which it is appropriate for the Parliament, as the national Parliament of Australia, to authorise the National Film and Sound Archive of Australia to exercise powers and perform functions; and

       (c) in relation to expenditure of money that is available for the purposes of the National Film and Sound Archive of Australia in accordance with an appropriation made by the Parliament; and

       (d) in relation to trade and commerce with other countries, among the States, between Territories or between a Territory and a State; and

       (e) in relation to postal, telegraphic, telephonic, and other like services; and

       (f) in relation to the collection of statistics; and

       (g) in relation to external affairs; and

       (h) in relation to a Territory; and

       (i) in relation to the executive power of the Commonwealth; and

       (j) in relation to matters incidental to the execution of any of the legislative powers of the Parliament or the executive power of the Commonwealth.

Section 7. Powers

1. The National Film and Sound Archive of Australia has power to do all things necessary or convenient to be done for or in connection with the performance of its functions.

2. The National Film and Sound Archive of Australia’s powers include, but are not limited to, the following powers:

       (a) to accept gifts, devises, bequests and assignments (whether on trust or otherwise);

       (b) to act as trustee of money, programs or other property vested in the National Film and Sound Archive of Australia on trust;

       (c) to act on behalf of the Commonwealth or an authority of the Commonwealth in the administration of a trust relating to programs or to matters connected with programs;

       (d) to do anything incidental to any of its functions.

3. Despite anything contained in this Act, any money, programs or other property held by the National Film and Sound Archive of Australia on trust must be dealt with in accordance with the obligations of the National Film and Sound Archive of Australia as trustee of the trust.

Appendix 3

Detailed acquisition highlights for 2017–18

Film

• Current film productions, including Sweet Country (Warwick Thornton, 2018), Gurrumul (Paul Damien Williams, 2018), Rockabul (Travis Beard, 2018), Finding Maawirrangga (Dylan River and Glynn McDonald, 2017), Hawke: The Larrikin and The Leader, Series 2 (Bruce Permezel, 2018), Slapper (Luci Schroder, 2017)
• A collection of 16mm home movies from the estate of the late JO Fairfax, shot between 1928 and 1933
• A set of 31 unique nitrate film reels taken by Tassilo Adams, the official ethnographer for the Dutch government of the East Indies in Indonesia during the 1920s
• Virtual Reality production The Extraction (Khoa Do and Piers Mussared, 2018)
• Web series This is Desmondo Ray! (Steve Baker, 2017), winner of Best Animated Series at the International Academy of Web Television Awards 2017 in Los Angeles.

Sound

• Over 24,000 CDs from ABC CD libraries across Australia, including rare releases by independent Australian artists
• Over 12,000 vinyl discs from SBS Radio (Melbourne) World Music Collection, including: sound effects, jazz, popular music, religious, opera, classical, soundtracks, musicals, marches, humour and spoken word. Countries represented include: Argentina, Bulgaria, Chile, China, Croatia, Cuba, Czechoslovakia, Denmark, Egypt, Israel, Lebanon, Mexico, Romania, Slovakia and Tahiti
• The master tape collection from Fable Records, a significant independent record label in the early 1970s. Fable Records worked with artists such as Brian Cadd, Mike Brady and Axiom
• Over 250 master tapes from the York Street Recording Studios, a major Melbourne recording studio in the 1970s and 1980s, which recorded acts like Goanna, The Primitive Calculators and The Ears
• The personal collection of Australian jazz figure Errol Buddle, including 44 home movies from his private and musical career and a cassette tape collection of live unreleased recordings from the 1980s onward, including international tours and a series from Sydney jazz venue Soup Plus with Col Nolan, Dave Rutledge, Edwin Duff and more
• Audio recordings, still images and biographies of contemporary female Aboriginal and Torres Strait Islander artists MC Lady Lash, Leah Flanagan and Emily Wurramurra
• A collection of unreleased and live recordings, videos and photographs of jazz singer Margret Roadknight
• A selection of recordings of early opera singers Elsa Stralia, Rosina Buckman, Marjorie Lawrence and Frances Alda
• A master tape recorded by alternative rock band TISM for their third album, Machiavelli and the Four Seasons.

Broadcast – TV

• A large collection of Reg Grundy Organisation and FremantleMedia Australia quiz and format shows from the 1970s to 2000s, including Sale Of The Century (1980–2001), Wheel Of Fortune (1981–2002), Who Wants To Be A Millionaire, A Question of Sport (1995–96), Catch Us If You Can (1981), Superquiz (1989), Spending Spree (1971–73), Super Seven (1976), Quizmania (2006–07), Name That Tune (1975), Australian Idol (2003–09) and film components for Number 96: The Movie and episodes of Spyforce and Consider Your Verdict
• Contemporary TV shows on free-to-air and streaming platforms, including Romper Stomper (Series 1), Wake In Fright, Underbelly Files: Chopper, Grace Beside Me (Series 1), Drop Dead Weird, The China Boy Show, Oddlands and Riot
• News and current affairs from networks across free-to-air and subscription television including stories on the CBS purchase of Network Ten, same sex marriage debate, 2017 Queensland and 2018 South Australian elections, centenary of the Battle of Beersheba, 75th anniversary of the Battle of Kokoda, Commonwealth Games, Wangaratta Jazz Festival and items relating to the deaths of Betty Cuthbert, Sir Ninian Stephen, Malcolm Young and Gillian Rolton
• A Current Affair interviews with Magda Szubanski and then-Prime Minister Malcolm Turnbull on the marriage equality vote
• Betacam SP masters for the complete White Collar Blue (2002–03)
• A low-band video collection containing the only surviving episodes of Canberra CTC 7’s Meeting In The Middle (1979), episodes of the Capital 7 program Interlude (1984), a complete CTC 7 Late Evening News Edition from February 1981 and the last-known footage of current affairs program 11AM (1984)
• Two-inch mastertapes of assorted 1960s and 70s music specials broadcast on the Seven Network, including Helen Reddy (with guest Peter Allen, 1975), Bee Gees In Concert (1974) and Pat and Olivia (featuring Pat Carroll and Olivia Newton-John, 1967)
• A collection of 16mm kinescope recordings of 1960s and 70s GTV9 television productions including Night of Stars (1971), Hey Look Us Over In Colour (1968), Australia’s Celebrity Game (hosted by Bert Newton, 1969) and several episodes of The Adventures of Gerry Gee.

Broadcast – radio

• Podcasts, including 570 episodes of the Kyle and Jackie O Show (2014–17), Roy & HG’s Mardi Gras of Medals podcasts for the 2016 Olympics, Tough Conversations with Henry Rollins, Girls Talk Footy and Game Changers
• Over 9000 hours of off-air radio—including top-rating breakfast, drive and talk shows from Fox FM, KIIS 101.1, 3AW, Triple M and Gold FM—through a new program with the support of the Australian Radio Network, Macquarie Media and Southern Cross Austereo networks. Highlights include: broadcasts of the 2017 Melbourne Cup, the last radio programs of Hamish and Andy, Triple M’s coverage of the 2017–18 Magellan Ashes cricket series, and the final recordings of Macquarie’s Talking Lifestyle station before it changed format in April 2018
• Community sector radio programs, including Joy 94.9 FM marking the 40th anniversary of the Sydney Gay and Lesbian Mardi Gras, including parade commentary, and Beyond the Bars 2017 prisons broadcasts from 3CR
• Editions of the 2017 and 2018 AFL Multicultural Football Show and match commentaries in Arabic, Hindi, Mandarin and Spanish
• Papers and recordings documenting the career of Sydney radio pioneer John Brennan OAM from his early career at 2WG to significant roles at stations 2UE, 2SM and 2GB
• Recording by 3AK of the 1966 Australian National Record Awards program with performances from 15 artists
• Material from radio station 3XY, including: a special on the band Kiss; 3XY Looking Back, a 1981 history of the station; and transparencies of 3XY studios, offices, staff and equipment from 1977.

Documents and artefacts

• AC/DC drum head with a ‘Lil Devil’ illustration drawn by Angus Young and signed by five band members
• Key costumes by award-winning costume designer Tess Schofield from The Sapphires (Wayne Blair, Australia, 2012)
• A brass and perspex plaque of Dr Dan, a winged figure holding a guitar, originally displayed in the foyer of Triple M radio station
• Polyorama panoptique toy optical viewer invented in 1849
• Wooden, leather and ivory accordion made by Father William Ezekiel Barnard in Mildura, c1850s
• Channel 9 audio boom used during a children’s program broadcast on CTC in the 1970s
• A 1916 signed photograph and letter to a fan from silent film actress Louise Lovely
• German release posters for Somersault (Cate Shortland, 2004) and Jindabyne (Ray Lawrence, 2006), a Belgian release poster for Mad Max: Beyond Thunderdome (George Miller, 1985) and a rare three-sheet poster of Errol Flynn in The Adventures of Robin Hood (Michael Curtiz and William Keighley, USA, 1938)
• Set of rare, signed photographs of performers Jim Gerald, Jude Kelly and Googie Withers
• Publicity still of Australian opera singer Marjorie Lawrence on Great Artists Series (NBC, 1944) and a 24-page program of her Melbourne homecoming concerts in 1939
• Black-and-white photographs and drawings documenting TV series Phoenix Five (1970), A Country Practice (1981–1993), Mother and Son (1984–1994), Sara Dane (1982) and The Dame Edna Experience (1987, 1989).

Oral history interviews

• Paul Barron (producer)
• Steve Blanda (journalist)
• Jasin Boland (stills photographer)
• Noeline Brown (actor)
• John Eastway (director)
• Freda Glynn (foundation director of CAAMA)
• Peter Hitchener (radio and TV presenter)
• Steve Jodrell (director)
• Gretel Killeen (comedian and presenter)
• David Mitchell (TV writer, producer, director)
• Neil Mitchell (radio presenter)
• Maurice Murphy (film and TV producer, director)
• David Noakes (producer)
• Barry Otto (actor)
• Anne Phelan (actor)
• Peter Rix (music manager and producer)
• Catriona Rowntree (journalist)
• John Seale (cinematographer)
• Anna Senior (costume designer)
• Margaret Throsby (radio presenter)

Appendix 4

Papers accepted to national and international forums

Appendix 5

Access to information

The NFSA publishes information, including a plan of the information we make available, in compliance with the Information Publication Scheme (IPS), at nfsa.gov.au/about/information-publication-scheme.

We also publish our Disclosure Log of documents released in response to requests received under the Freedom of Information Act 1982 (the FOI Act), at nfsa.gov.au/about/disclosure-log.

If you cannot find the information you are seeking through our IPS web page, or through the Disclosure Log web page, you may request administrative access using the contact details below.

If you are not granted administrative access to the information or documents you seek, or if you need access through more structured arrangements, you can apply as follows:

• You may request access to your personal information in accordance with the Privacy Act 1988 by approaching our Privacy Contact Officer at privacy@nfsa.gov.au. You will find more information about this in our Australian Privacy Principles Privacy Policy at nfsa.gov.au/about/privacy.
• You may request access to documents in accordance with the FOI Act by writing to our FOI Contact Officer at foi@nfsa.gov.au. You will find more information on our FOI web page at nfsa.gov.au/about/freedom-information.

Contact details:

Administrative access email: legal@nfsa.gov.au

Privacy Contact Officer email: privacy@nfsa.gov.au

FOI email: foi@foi.gov.au

Alternatively, you may write to:

Senior Manager, Procurement, Contract Management and Legal

National Film and Sound Archive

GPO Box 2002

CANBERRA ACT 2601

If you need help with your request, phone (02) 6248 2145.

Appendix 6

Compliance index

Section 41 of the National Film and Sound Archive Act 2008 (the NFSA Act) specifies the annual reporting requirements as below.

The index below shows compliance with information requirements specified in the Public Governance Performance and Accountability Act 2013, sections 39, 43 and 46, and prescribed by the Public Governance, Performance and Accountability Rule 2014, Subdivision B—Annual report for corporate Commonwealth entities.

It is also the responsibility of corporate Commonwealth entities to consider whether the following legislation applies to them in annual reporting.

Appendix 7

Analysis of 2016-2017 and 2017–18 cross-agency KPIs