‘Gender Matters’ is the umbrella name of Screen Australia’s efforts to address the underrepresentation of women, non-binary and gender diverse practitioners in the Australian screen industry.
Gender Matters is comprised of targeted programs and initiatives, and the Gender Matters KPI.
In May 2015 Screen Australia updated industry-wide data of participation by women in the production of Australian film and documentary across the roles of producer, director and writer, alongside the publication of the research study Gender Matters: Women in the Australian Screen Industry. The data found that while women represented over 50% of the population and made up some 46% of the workforce, women comprised just 35% of people employed in the film and video production – with only 16% of feature films in 2014 were directed by women.
In response, Screen Australia launched Gender Matters, an ambitious $5 million suite of initiatives that sought to address inequality onscreen over three years, and the first Gender Matters KPI, supported by the Gender Matters Taskforce (see below).
The initial five-point plan included:
- Assessment criteria changes: an express mention of gender and cultural diversity was added to the Assessment Criteria on all Screen Australia funding guidelines
- Brilliant Careers (aka ‘Enterprise Women’): nearly $2 million was provided to 13 organisations (i.e., ADG) to run programs to increase female access to work, or to create or expand female-led businesses
- Brilliant Stories (aka ‘Women’s story fund’): nearly $2 million was allocated for the development of 45 female-led dramas that satisfied the ‘three tick test’. This funding contributed to the development of features How to Please a Woman, Relic and Ride Like a Girl.
- Attachments: projects funded by Screen Australia in 2016/17 with a budget over $500,000 were required to include a paid attachment for a woman.
- Better Deals (aka ‘Distribution guarantee support’): this fund incentivised distributors to support female-led feature films, offering matched funding of up to $300,000. The Nightingale and The Flip Side received Better Deals funding.
Over the following years, some of the Gender Matters Taskforce initiatives included:
- ElevateUs: a three-month mentorship program, delivered by WIFT and Screen Australia.
- Credit Maker: opportunity for women directors, cinematographers and composers to attain a credit on a scripted production. Supported by Screen Australia in partnership with the ADG, the ACS and the AGSC.
- Gender Matters Webinars: a series of webinars hosted by Screenworks and presented by women key creatives.
- Gender Matters Connect: a mentoring program connecting women and gender diverse practitioners with mentors, delivered in partnership with WIFT Australia.
The Gender Matters KPI and initiatives continue to provide valuable insight into the representation of female talent in key creative roles within the Australian screen industry. This has included expanding the Gender Matters KPI to also examine non-binary and gender diverse representation across the sector.
2015:
- Screen Australia published industry-wide data of participation by women in the production of Australian film and documentary across the roles of producer, director and writer.
- Screen Australia also released a study, Gender Matters: Women in the Australian Screen Industry, which highlighted the issue of gender imbalance in the Australian screen industry.
- To address the issue, Screen Australia announced:
- a $5 million Gender Matters five-point plan over three years (see below)
- the Gender Matters Taskforce, and
- the first Gender Matters KPI (see below).
2016:
- As part of the five-year plan, Screen Australia ran the Brilliant Stories, Brilliant Careers, Better Deals and Attachments for Women programs.
2018:
- Screen Australia announced the second iteration of the Gender Matters Taskforce.
- Screen Australia’s program guidelines for General and Children’s drama were updated to stipulate that at least one women director must be used on extended television series with more than one filming block.
2019:
- Results of the first Gender Matters KPI were released: across a three-year average, 56% of projects that received Screen Australia production funding had at least half of the key creative roles occupied by women.
- Screen Australia announced a new three-year Gender Matters KPI target based on a headcount system.
2020:
- Screen Australia announced the third iteration of the Gender Matters Taskforce.
2021:
- The Gender Matters Taskforce announced two initiatives to encourage inclusivity in the industry: Gender Matters Webinars hosted by Screenworks and Gender Matters Connects, a mentoring program delivered in partnership with WIFT.
2022:
- The Gender Matters Taskforce launched the Credit Maker initiative in partnership with the ADG, ACS and AGSC.
- The results of the second Gender Matters KPI were released: across a three-year average from 2019/20 to 2022/23, 55% of all key creative roles across all projects that received Screen Australia production or development funding were occupied by women.
2023:
- Screen Australia announced the fourth iteration of the Gender Matters Taskforce.
- The Gender Matters Taskforce announced the ElevateUs mentorship program in partnership with WIFT Australia.
- The Gender Matters KPI was ‘rolled over’ for 2022/23, and the target was met: across a three-year average, 55% of all key creative roles across all projects that received Screen Australia production or development funding were occupied by women.
2024:
- Screen Australia announced an expanded Gender Matters KPI target for 2023/24 to 2025/26, to have at least 50% of the key creative roles across all projects receiving Screen Australia production or development funding to be occupied by women, and/or non-binary and/or gender diverse people, across a three-year average.
2025:
- Screen Australia announced Credit Maker 2.0, in partnership with the ACS and AGSC.
Screen Australia’s analysis of applications and funding decisions over the previous two years revealed that the proportion of women attached in key roles to all applications has been matched by the proportion of women attached to successful applications.
From 2015-2025, the Gender Matters Taskforce was a volunteer-based advisory body for Screen Australia, comprised of women and gender diverse practitioners working across the Australian screen and digital games industries. For a decade, the Taskforce advocated for change and created important opportunities that empowered women and gender diverse practitioners in the local sector.
Appointees to the Gender Matters Taskforce included:
2016:
- Deanne Weir (Chair of Taskforce), Imogen Banks, Corrie, Sandi Don, Sophie Hyde, Emma Jensen, Samantha Lang, Sue Maslin, Miranda Tapsell and Natalie Tran.
2018:
- Deanne Weir (Chair of Taskforce), Imogen Banks, Sarah Bishop, Jo Bladen, Fiona Cameron, Corrie Chen, Sasha Close, Lisa French, Michelle Guthrie, Sophie Hyde, Emma Jensen, Samantha Lang, Deborah Mailman, Sue Maslin, Julie McGauran, Sharon Menzies, Pearl Tan, Joanna Werner, Caitlin Yeo.
2020:
- Joanna Werner (Chair of Taskforce), Deanne Weir (Deputy Chair), Sarah Bassiuoni, Diana Burnett, Tania Chambers, Liz Doran, Anusha Duray, Bonnie Elliott ACS, Lisa French, Rachel Griffiths, Monique Keller, Rosie Lourde, Kristy Matheson, Georgie McClean, Que Minh Luu, Meg O’Connell, Rachel Okine, Fiona Tuomy, Malinda Wink, Sophia Zachariou.
2023:
- Rosie Lourde (Chair of Taskforce), Melissa Lee Speyer (Strategy Manager), Louise Smith (Treasurer), Zaina Ahmed (Coordinator), Donna Chang, Chantal Chateauneuf, Sarah Christie, Patrick Clancy, Tracey Corbin-Matchett, Martine Delaney, Joanne Donahoe-Beckwith, Sacha Horler, Samantha Alexis Laughton, Victoria Lord, Marissa McDowell, Nel Minchin, Emma Myers, Deborah Peart ASE, Frances Wallace, Heshi Wijerathna.
Screen Australia’s Gender Matters KPI target has evolved over the years:
KPI 1: 2016/17 to 2018/19
Target: At least half of the projects that received Screen Australia production funding would have women occupying at least 50% of key creative roles (writers, producers and directors), across a three-year average.
Result: Achieved, with a three-year average of 56%.
KPI 2: 2019/20 to 2021/22
Target: At least 50% of the key creative roles (writers, producers and directors) across all projects that received Screen Australia development and production funding would be women, across a three-year-average.
Result: Achieved, with a three-year average of 55%.
This KPI was ‘rolled over’ for the year 2022/23. Screen Australia achieved the target, achieving a three-year average of 55% (2020/21-2022/23).
KPI 3 2024/24 to 2025/26 (Current)
Following feedback from industry, Screen Australia expanded the KPI to include non-binary and gender diverse key creatives.
Target: Across a three-year average (2023/24 to 2025/26), at least 50% of the key creative roles (writers, producers and directors) across all projects receiving Screen Australia development and production funding will be occupied by women, and/or non-binary and/or gender diverse people.
Results for 2023/24 are here.
Results for 2024/25 are here.
Gender Matters KPI data 2024/25
Screen Australia approved applications (Development and Production) – women, non-binary and gender diverse key creatives.
Notes on method:
- Screen Australia’s Gender Matters KPI data is based on information in Screen Australia funding applications. Applicants nominate the gender of writer, producer, director and other roles.
- Only writer, producer and director roles are counted. Credits such as ‘creative producer’ are evaluated.
- Individuals that serve in multiple roles are counted for each role: e.g. a writer/director would be counted once as a writer and once as a director.
- Screen Australia publishes ‘finer cuts’ of the data by splitting the overall KPI result into eight funding categories:
- Documentary development
- Documentary production
- Feature drama development
- Feature drama production
- Online drama development
- Online drama production
- TV/VOD drama development
- TV/VOD drama production.
- The number of approved titles in a funding category varies. One or two funding decisions can significantly impact smaller categories.
- First Nations titles are included across all eight funding categories.
- All factual projects, including titles funded by the Online and First Nations departments, are categorised as ‘Documentary’.
- Decisions to approve or decline funding are counted. Note, some titles have multiple funding decisions in a single year. Variations to funding for the same activity are not counted.
- Data includes Screen Australia initiatives administered by third parties, where data is available.
- From 2023/24, Screen Australia updated the gender options in applications to align with the most recent guidance from the Australian Bureau of Statistics.
- The application dataset is more expansive than the 2015 report Gender Matters: Women in the Australian Screen Industry, and is not directly comparable.
Industry-wide data
Women working in key creative roles.
Notes on method:
- Industry-wide data is not included in the Gender Matters KPI.
- Data includes titles entering production in Australia in a financial year.
- Data is based on information provided to Screen Australia by agencies, broadcasters and producers, and some publicly-sourced information. There is a one-year lag for industry-wide data (compared to Screen Australia application data).
- Data is based on titles analysed by Screen Australia for drama and documentary production statistics.
- Screen Australia tracks drama titles (feature, series, serials, mini-series, single-episodes and telemovies) with total durations over 30 minutes.
- Documentary titles tracked include single or series titles over 15 minutes in duration. The roles of writer, director and producer are not always available or applicable, particularly for externally sourced documentary titles.
- Industry-wide data is indicative only, as some titles do not provide or publish credits/information. Data is subject to revision.
Games gender data
Screen Australia approved applications (Games) – women, non-binary and gender diverse key roles.
Notes on method:
- Games development data is not included in the current Gender Matters KPI.
- Games data is based on information in Screen Australia’s application database. Key roles are designated by applicants.
- Due to the large variety of roles in games development, Screen Australia evaluates key roles and categorises them as: ‘Creative’ and/or ‘Business’ and/or ‘Technical’.
- Games roles may fall under two or three of the categories. In these instances, the individual is counted under each relevant category.