Screen Australia releases Gender Matters KPI update and new industry data

22/10/2020

15 10 2020 - Media release Screen Australia releases Gender Matters KPI update and new industry data

The Gender Matters Taskforce at their first meeting in early March 2020. Photo credit: Daniel Boud

Back L to R Anusha Duray, Joanna Werner, Monique Keller,

Middle L to R Lisa French, Sarah Bassiuoni, Tania Chambers, Rachel Okine, Deanne Weir, Fiona Tuomy,

Front L to R Meg O'Connell, Sophia Zachariou, Rosie Lourde, Liz Doran, Que Minh Luu, Kristy Matheson,

Not pictured Taskforce members Rachel Griffiths, Bonnie Elliott, Malinda Wink.

Screen Australia today announced it is on track to meet its new Gender Matters KPI at the end of 2021/22, with 57% of key creative roles across approved development and production funding held by women in 2019/20.

The KPI is to have at least 50% of the key creative roles across all formats (feature drama, television drama, online drama and documentary) that receive Screen Australia development and production funding to be held by women, across a three-year-average. This is the first year of the new KPI reporting and considers the key creative roles of producer, writer and director. The tracking period is 2019/20 to 2021/22.

We want to see real and significant inclusion of women in screen projects and ensure our female practitioners are equally represented in our industry, said Joanna Werner, Screen Australia Board Member, chair of the Gender Matters Taskforce and acclaimed producer.

While we are encouraged by the result overall, the KPI has been lifted by high levels of participation by women in development applications, and these high levels are not yet carrying through to some areas of production.

We can also see in industry-wide data that tracks participation over an eight-year period that men continue to dominate all key creative roles in feature production, and writer and director roles in television drama, online drama and documentary.

Systemic change is not something that happens overnight and we recognise that there is still more progress to be made. We hope to gain valuable insights from this three-year KPI reporting period, as we continue to work towards achieving gender parity, said Joanna Werner.

Screen Australia has also released data relating to protagonists of successful feature, online and television drama development and production applications in order to monitor female representation on screen, however this is not counted towards the overall KPI.

Screen Australia puts consideration around what stories are being told and who is telling them at the centre of our decision making. The inclusion of development data in the Gender Matters KPI shows our commitment to ensuring women are not an afterthought or quota for inclusion that needs to be filled on projects when they reach production they are present every step of the way, said Nerida Moore, Screen Australia s Head of Development.

While the first year results for development are promising, the process of developing a project can take anywhere upwards of five years for a feature drama, and around two years for episodic content to move in to production. Many projects we see included in this year's successful development applications won't reach production by the end of this three year KPI reporting period. A number of factors influence conversion rates including marketplace, natural attrition and creative reasons. We want to continue to see strong results across every application area and hope this in time converts to more female-led projects being made, said Nerida Moore.

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Women made up the majority of the key creative roles in successful applications in Screen Australia development programs for 2019/20, with particularly high participation in online drama development (72%) and television drama development (62%). Across production formats, successful applications in feature drama production and television drama production featured women in 52% and 54% respectively in all key creative roles. Online drama production is at 49%, with documentary production reporting also below parity at 46% across all key creative roles.

While only one year of data is available for development applications, these results indicate that several barriers to female participation occur when projects move through to production.

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Screen Australia has released data for approved production applications over a four year period from 2016/17 to 2019/20. Yearly results can be influenced by a range of factors and the 2019/20 data considers writer, producer and director roles based on the most recent information processed in Screen Australia's applications database (see Notes on method below). Despite improvement in several areas over the last four years, the 2019/20 data continues to display areas of disparity within production applications.

What's heartening to see is that over the last four years, the percentage of women in all key creative roles in feature drama production has increased from 27% to 52%, said Joanna Werner.

Television drama production also saw an increase from 47% to 54% and online drama production from 44% to 49%. Across all key creative roles, documentary production saw a small increase from 51% in 2016/17 to 55% in 2017/18, and remained at this percentage in 2018/19. However, this has decreased to 46% in 2019/20.

Women were consistently well represented across every format in producer roles in approved Screen Australia production applications in the first year of data for this KPI reporting period. In 2019/20, women represented 59% of producers in feature drama, 61% in television drama, 51% in online drama and 55% in documentary.

For the first time in four years, women represented more than 50% of all key creative roles in successful feature drama production applications in 2019/20. Historically, women have been under-represente

LINK:	https://www.screenaustralia.gov.au/sa/media-centre/news/2020/10-15-scr...
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