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introduction

why women do(n't) make films

in the beginning there was...

evolutions

new century movements

an interesting question of gender

sponsorship & volunteers


WOMEN OF MOTION


PROGRAMMES


bibliography

links

 

 

 

 

sponsorship & volunteers page 1


Photos from 1995 Programme

Funding (or lack thereof) has always been a major concern for WIFT (victoria). Over its eight incarnations Women in Motion had many funding sources and sponsors. From an initial one-off grant from the Department of Labour, the event has been funded every other year by a combination of funds and support from a variety of other groups. The nature of the initial grant meant that the following years had to again find funds and sponsorship. Whilst this was never an easy task Sue Maslin believes that the success of the first Women in Motion provided the proof of the event's viability to prospective sponsors,

"...in subsequent years it was a lot easier job for, not that it was ever an easy job, but it was made a bit easier for Marsha then to go out into the market place and raise sponsorship and she harnessed all sorts of organisations and businesses and so on that volunteered time and provided services and film stock and a whole range of things to get Women In Motion off the ground, so it was, it enjoyed a lot of industry support over the years." (Sue Maslin 2000)



1990

Equal Opportunity Resource Centre (Inner City School Support Centre), the Australian Film Institute, the State Film Centre, Cameraquip, and Cinevex.

1992
Film Victoria, Kodak, Cinevex Film Laboratories, Ministry of Education, Australian Film Institute, Open Channel

1993
Film Victoria, Cameraquip, Cinevex, Open Channel

1994
Film Victoria, Cameraquip, Cinevex, Digital Film Laboratory, Open Channel

1995
Film Victoria, Abracadabra Films, Cameraquip, Cinevex, Lemac, The Facility, VCA School of Film and TV

1996
Film Victoria, Cameraquip, Cinevex, The Facility, Open Channel, Key Lighting

1997
AFTRS Industry Training Fund for Women, Screen Education ‹ Cinemedia, Multimedia 21 Fund, AAV Digital Pictures Australia, MAC Rent, Intercity Gear House, Cinevex, Cameraquip, The Facility, VCA - School of Film and Television

1998
Cinemedia, Australian Film Commission, City of Port Phillip, AAV Australia, Apple, Avid, Colourfast Systems, VCA, AFTRS, BOS Office Products, ASDA, Jurlique, Sweet Design, The Faculty, Sound Waves, FACB, spaa, Kodak, Soundfirm, Key Lighting Australia, Holding Redlich, Open Channel, Cameraquip, Flower, Panavision, Cinevex, Music and Effects, Divadata, Genovese Coffee, Lemac Film and Video Equipment, Encore.

1999
Cinemedia, NSW Film and TV Office, Cameraquip, Holding Redlich, Screenrights, Encore, AAV Australia, Apple, City of Port Phillip, Freelancers Promotions, Kodak Australia, Open Channel, AFTRS, Soundfirm, Calypso Flowers

2000
Vic Health, Cinemedia, NSW Film & TV Office, Film Finances, Sound Waves, Screenrights, Freelancers Promotions, Cameraquip, Soundfirm, Kodak Australia, Open Channel, Australian Teachers of Media (ATOM), AAV


volunteers


Despite the generosity of industry sponsors Women In Motion has always relied heavily upon the willingness of the women involved to volunteer a great deal their time for free; from the volunteers who made up the Management Committees of WIFT(victoria) over the years, to the women who came and spoke.

"...they thought it was worth while and they wanted to make a contribution..." (Marsha Emerman 2000)

Whilst in later years participants were given small honorariums to cover parking or childcare, compared to the fees these professionals command in their working lives, their time is essentially volunteered. The chance to discuss their careers and inspire younger generations is the motivation given by many of the women involved in the project over the years for the commitment of time and energy,

"I think teaching and training, and speaking you always get something out of it for yourself, the strongest of course is just being able to articulate and think on a deeper level about how your interests and directions are and to actually articulate that back to an audience of, of young people it's, I know that the speakers were very interested and very involved in that, and they came back year after year as well to, so be involved so it was something, I think, that they got a lot out of as well." (Sue Maslin 2000)


This history was researched and written by Mia Treacey. This site is published in good faith and based on accurate and reliable information. Every effort has been made to ensure that the information in this site is accurate and up-to-date. No liability can be accepted for error or omission. The author welcomes advice of any changes or corrections. No part of this history or site may be reproduced by any process without written permission of the author. Copyright © 2000 Mia Treacey