Appendix 2

OUR FUNCTIONS AND POWERS

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

Section 6. Functions

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

1. develop, preserve, maintain, promote and provide access to a national collection of programs and related material; and
2. support and promote the collection by others of programs and related material in Australia; and
3. support, promote or engage in:

• the preservation and maintenance of programs and related material that are not in the national collection; and
• the provision of access to programs and related material that are not in the national collection; and

1. support and promote greater understanding and awareness in Australia of programs; and
2. undertake any other function conferred on it by any other law of the Commonwealth.

Ways in which support may be provided

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:

1. providing financial assistance (whether by way of loan, grant, investment or otherwise and whether on commercial terms or otherwise);
2. commissioning or sponsoring programs or other activities;
3. providing services, facilities, programs or equipment;
4. but does not include providing guarantees.

Considerations governing the performance of functions

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

1. place an emphasis on the historical and cultural significance of programs and related material; and
2. use every endeavour to make the most advantageous use of the national collection in the national interest; and
3. apply the highest curatorial standards; and
4. promote the efficient, effective and ethical use of public resources.

National Film and Sound Archive of Australia may charge fees

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

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

Severability

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:

1. 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
2. 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
3. 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
4. in relation to trade and commerce with other countries, among the States, between Territories or between a Territory and a State; and
5. in relation to postal, telegraphic, telephonic, and other like services; and
6. in relation to the collection of statistics; and
7. in relation to external affairs; and
8. in relation to a Territory; and
9. in relation to the executive power of the Commonwealth; and
10. 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:

• to accept gifts, devises, bequests and assignments (whether on trust or otherwise);
• to act as trustee of money, programs or other property vested in the National Film and Sound Archive of Australia on trust;
• 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;
• 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

ACQUISITION HIGHLIGHTS FOR 2015–16

Sound and Broadcast

• Alberts Collection Phase 1 – vinyl, CDs, cassettes, DVDs, documentation
• Trafalgar Music master and multitrack tapes
• Cordell Jigsaw Zapruder/House of Hancock (two-part series) – masters and documentation as per Screen Australia deliverables
• Every Cloud Productions/Miss Fisher’s Murder Mysteries (Series 3, eight-episode series) – masters and documentation as Film Victoria deliverables
• NWS9: four pallets of news master compilation Broadcast Video U-Matic covering the period 1979–1992. Significant items included Ash Wednesday bushfire coverage (1993), Roxby Downs stories, Maralinga, the Adelaide Grand Prix, elections, budgets, radio ratings, news specials and documentaries, a complete series of magazine program, Storyline, from 1985, and additional compilations of archival footage from the 1960s and 1970s, including Beaumont search, Vietnam, Don Dunstan
• Seven Network’s Retrospective Acquisition Program: one pallet of 1” tapes, various titles, including mini-series Nancy Wake, Melba, Heroes II, Shout, Flair, Tracks of Glory, and The Rainbow Warrior Conspiracy; drama series Land of Hope, The Distant Home; sports/light entertainment Test of the Toughest (1971) and Go!! Show (Episode #105, 1966); and a compilation reel of 1960s music clips and music TV show excerpts, along with two episodes of Young Talent Time from 1988 not already held
• Recordings from the 1997 Australian Women’s Festival
• Live Recordings from the 1972 Mulawala Outdoor Pop Festival
• Recordings of the broadcasts of the election speeches of John Gorton and Gough Whitlam for the 1969 Federal Election
• Set-up of automatic downloading of Southern Cross Austereo podcasts, including a Hit 104.1 2DayFM podcast of Dan & Maz on 11 June 2015 with a heated discussion with Nick Jenson about marriage equality
• 1,200 episodes of The Hamish and Andy Show, the highest-rated radio show in Australian history.

Film

• Current film productions, including The Dressmaker (Jocelyn Moorhouse, 2015), Wyrmwood (Kiah Roache-Turner, 2015), All About E (Louise Wadley, 2015), Life (Anton Corbijn, 2015), Holding the Man (Neil Armfield, 2015) and The Daughter (Simon Stone, 2015)
• Australian retrospective features pre-print elements delivered on 35mm, including Look Both Ways (Sarah Watt, 2005), Japanese Story (Sue Brooks, 2003), Footy Legends (Khoa Do, 2006), Playing for Charlie (Pene Patrick, 2008), Luigi’s Ladies (Judy Morris, 1989), Serenades (Mojgan Khadem, 2000), Candy (Neil Armfield, 2006), The Magic Riddle (Yoram Gross, 1991), Somersault (Cate Shortland, 2004), The Sapphires (Wayne Blair, 2012), and Not Quite Hollywood (Mark Hartley, 2008)
• There was a significant step forward in digital film acquisition with film distributors Roadshow and e-One facilitating the acquisitions of unencrypted Digital Cinema Packages of Australian feature films, including Charlie’s Country (Rolf de Heer, 2014), The Castle (Rob Sitch, 1997) and Strictly Ballroom (Baz Luhrmann,1992)
• The films of Billy Baker, a cinematographer and resident of Papua New Guinea in the 1950s and 60s, including So He Shot Thro’ (Joe Lubran, 1953), Walk into Parody (Badali/Lubraker Productions, 1956) and Faces and Places: Port Moresby, Capital of Papua (Badali/Lubraker Productions, 1957)
• The Australian Paralympic Games footage shot and collected by Don Worley. These 16mm and Super 8 films record the Australian team’s involvement in disabled sports from the World Games for the Disabled in Heidelberg, West Germany, in 1972, to the Seoul Paralympics in 1988
• Leslie Family Collection of Karratha Station, Western Australia. Standard 8mm home movies documenting Australia’s iron ore mining boom. The Leslie family ran Karratha Station (in WA) from 1929 to 1966 and the footage contains sheep mustering in the late 1930s, cyclone damage in the 1940s, the British atomic test at Montebello Island in 1952, the development of mining infrastructure in the 1960s, and countless scenes of rural life
• A schoolboys cricket team tour of India in 1966–7, including footage of their matches, accommodation, travel and sightseeing locations such as the Taj Mahal
• Six webisodes for Footballer Wants a Wife (Jovita O’Shaugnassey, 2015), a parody reality show that plays on the one truth at the heart of reality TV – it is fabricated!

Documents and artefacts

• Paul Delprat’s original artworks for the film The Age of Consent (Michael Powell, 1969)
• Photographs, scrapbooks, albums, costumes, merchandise and personal effects related to Bobo the Clown, a beloved Adelaide children’s television character throughout the 1960s
• Key documentation – including organisational papers, publicity and stills – from Metro Screen, a New South Wales screen resource centre that closed down in December 2015 after 30 years of operation
• Documentation collections from film producer John Daniell, actor Trader Faulkner, entertainer Jimmy Hannan, and film and television producer David Cahill
• A six-sheet poster, backed on linen, for Strike Me Lucky (Ken G Hall, 1934) originally used on a railway or road hoarding.

Oral history interviews

Oral history interviews were conducted with:

• Peter Cobbin, a high-profile and very popular senior recording engineer and music producer
• Al Clark, producer
• John Ruane, writer/director
• Ginny Stein, Walkley award-winning journalist and video journalism pioneer
• Grant Hansen, Indigenous musician and broadcaster
• Lynette Curran, actor
• Michael Cordell, producer/director of Cordell, Jigsaw, and Zapruder
• Richard Payten, producer/distributor of Ronin Films, Dendy, and Transmission Films
• Cathy O’Connor, CEO of NOVA radio
• Les Gock, guitarist/writer, member of Hush, and composer of film and television soundtracks
• Anthony Partos, multi award-winning film and TV composer
• Margeret Pomeranz, critic/TV presenter and NFSA Ambassador
• Jocelyn Moorhouse, director.

Appendix 4

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 www.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 or access under the Privacy Act 1988 or the Freedom of Information Act 1982 at any time using the contact details below.

Administrative access requests: You may request administrative access using the contact details below. This informal process may be the most efficient way to access any information or documents you seek.

Personal information requests: You may request access to your personal information in accordance with the Privacy Act 1988 by contacting the NFSA Privacy Contact Officer using the contact details below. You will find more information about this in our Australian Privacy Principles (APP) Privacy Policy at www.nfsa.gov.au/about/privacy/.

Freedom of information requests: You may request access to documents in accordance with the FOI Act by writing to our FOI Contact Officer using the contact details below. 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 email: privacy@nfsa.gov.au

FOI email: foi@foi.gov.au

Alternatively, you may write to:

Legal Services Section

National Film and Sound Archive of Australia

GPO Box 2002

CANBERRA ACT 2601

If you need help with your request, phone (02) 6248 2056.