The report was specifically concerned to ensure that Aboriginal communities of Arnhem Land would benefit from film crews.
It dealt with issues ranging from the cost of film permits, to how to make films about Aborigines which demonstrated strong ethical positions on sacred sites, privacy rights, editorial control, distribution, employment, environmental issues and legal rights.
Release forms signed on the basis of informed consent have become as necessary to the filmmaking process as they are for academic research, but they have become a contentious issue for some non-Aboriginal filmmakers who film across different cultures.
Described as often not worth the paper they are written on, release forms and the notion of informed consent are rules that in fact place strain upon the relationship between the filmmaker and their talent, the moment they are asked to sign.
From these various sets of guidelines that have been evolving over decades has emerged a general requirement that filmmakers should gain the approval of Aboriginal communities, individuals, and talent before being permitted to film them.
This approval would be given on the basis of informed consent, and given on specially designed release forms.
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Of the sixty or so a chosen handful of balls are elevated by a protruding tube that elevates them above the others releasing them to the outside world making someone else lucky or rich.
They also hold filmmakers and the talent to the contract forever, protecting the funding body or the broadcasters involved, and they can be ethically fraught because lawyers, for whom they are really written, have little appreciation of the sensitive and intimate relationship between a filmmaker and their talent.
Because the filmmaking process is frequently a long and unfolding process, it is not unusual for even the filmmakers not to know how anyone fares in their film until the fine cut stages.