David Tiley

David Tiley was the Editor of Screenhub from 2005 until he became Content Lead for Film in 2021 with a special interest in policy. He is a writer in screen media with a long career in educational programs, documentary, and government funding, with a side order in script editing. He values curiosity, humour and objectivity in support of Australian visions and the art of storytelling.

David Tiley's Latest Articles

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Exhibition sector split by government relief funds

The indie exhibitors tug regional heartstrings to get support funds while multiplexes left out in the cold.

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Box office: the blockbusters are back

High octane monsters blast across the screen just as the Australian films reach the end of their run.

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Make a film in 48 hours? No problem, says Adelaide

Australian input to the global 48 Hour Film Project is back, at least in Adelaide with a crazed weekend of…

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Will Disney toast local exhibitors with streaming policy?

Exhibitors will lose a lot of money over Disney's hard line about streaming its prime content. But local audiences may…

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Marvel, Netflix and NBCUniversal change debate on overseas production

International productions are building alliances with local companies as the game changes from features to streamed series.

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Box office: The Dry is more impressive than you think while Nomadland shines too

In the lull before the holiday onslaught, The Dry passes $20m. Meanwhile in China the highest grossing weekend flick is…

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Aboriginal horror short The Moogai wins at SXSW

Jon Bell's The Moogai stunned the jury in the Midnight Short section at SXSW with its exploration of the continuing…

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What does Netflix want from documentary makers?

Netflix offers some of the best documentary opportunities in the world. They are ultimately managed by Lisa Nishimura, a key…

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Screen industry lobbies Parliament to regulate streaming services

The well-oiled screen industry lobbying machine went to Canberra to launch a key demand converting the streaming companies into partners…

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Australian features flourish, but head into dangerous future

Dominating the box office, but faced by cuts, what is the future of the Australian feature film sector?

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