The low costs of producing horror films are beneficial for Australia’s film industry, which is now experiencing a decline. This provides Australian filmmakers with a competitive advantage over their rivals working in other countries. As a result of their origins in a “national” cinema that was fueled by public subsidies and social/cultural causes, horror films have been severely marginalized within contexts that involve public financing.
This is despite the fact that horror films are both globally oriented and culturally neglected. This article explores the implications of cultural policy limits on the Producer Offset and also provides an introduction to the making of Australian horror films.
Due to the lack of public support for “great” cultural endeavors, issues about the position of “culturally indifferent” commercial genre films in Australian cinema have been often discussed since the 1970s. These issues stem from a lack of public funding for cultural endeavors. Since the 1970s, one of the most important goals of film has been to create a sense of national identity in its audience (“Australian film policy,” 2012). In this particular situation, the government provides financial support to a national cinema that operates on a size that falls in between small and moderate.
As more and more independent filmmakers from poor countries go to other countries for finance and creative collaboration, the creation of films is becoming more and more influenced by simple financial concerns as well as popular film genres (Garnham, 2005). The Australian horror films are the focus of this study because they perfectly illustrate the contradictions between commercially driven film genres, subvention techniques, and cultural policy frameworks in Australia. As an example, the Australian Horror Film Industry may be researched deeper and in more depth. The subgenre of horror is not often associated with the majority of Australian films; notable exceptions are Wolf Creek (2005), body melt (1993), Razorback (1984), and Patrick (2005).
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