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At DEGNZ we undertake a considerable amount of professional development to advance the craft of directing and editing. We are not the only screen industry guild or association to do so.

Right now however, there is a confluence of activity occurring in the education sector that will have a significant impact on the screen industry, hopefully for the better.

In August, the Government announced the Reform of Vocational Education. This comes in part, I believe, because of the decline in the apprenticeship system that was brought about by a radical restructuring and liberalisation of the economy and education sector by the fourth Labour Government in the 1980s.

The inability of Polytechnics to financially survive is another reason. Case in point is Unitec in Auckland’s Mt Albert, the country’s largest institute of Technology. Unitec has been in financial difficulty for years, and this has long been known in the screen industry. Whitirea and WelTec are two others in the same boat.

It’s clear though that the workplace is changing. Lower skilled jobs are disappearing because of automation and other factors, while new jobs are coming to the fore. These new jobs need increased training to upskill the workforce for the new roles being created.

What’s all this got to do with us?

Well, as we know the Creative Sector is a funny old beast. Most of us are contractors and there are few large companies. But, we will continue to undergo rapid change due to technology, and more importantly, there is a crew shortage due to the significant level of production activity happening here. Consequently, there is a need to encourage more workers into the industry and to train them to meet the demand.

The Government is looking to the Reform of Vocational Education to bring about seven key changes that they hope will create a unified vocational education system:

  1. Create Workforce Development Councils (WDC) to give industry greater leadership across vocational education.
  2. Establish Regional Skills Leadership Groups to provide advice about the skills needs of their regions.
  3. Establish Te Taumata Aronui to help ensure that the Reform of Vocational Education reflects the Government’s commitment to Māori Crown partnerships.
  4. Create a New Zealand Institute of Skills & Technology, bringing together the existing 16 Institutes of Technology and Polytechnics (ITPs), such as Unitec, Whitirea and WelTec.
  5. Shift the role of supporting workplace learning from Industry Training Organisations (ITOs) to providers.
  6. Establish Centres of Vocational Excellence to grow excellent vocational education provision and share high-quality curriculum and programme design across the system.
  7. Unify the vocational education funding system.

The Tertiary Education Commission is now proposing to establish a industry specific training organisation for the Creative Sector, something the industry hasn’t had before. This WDC would be the voice of industry, participating in a virtuous circle with employers, educational providers and educational bodies to help ensure a focused and effective approach to vocational training.

At the same time, The Screen Industry Guild of Aotearoa NZ (Techos) is seeking to implement tactical initiatives to get more skilled workers on the ground fast. They are working together in the Auckland region with Auckland Tourism, Events and Economic Development (ATEED), who are making a concerted effort to build capability in this area, too. There is a national focus on vocational training for all sectors including the Creative Sector, to ensure the regions benefit as well. The Film Commission, the guilds and numerous other bodies and organisations are looking at supporting this push to shape education for our sector.

It is interesting to observe that the concept of apprenticeships in the Creative Sector is a topic of conversation that has risen to the surface as all of this goes on. At DEGNZ, we have made a real effort this year in the area of assistant editors and we have often discussed an apprenticeship-style model. Our director attachments for TV drama, while definitively not apprenticeships, do deliver the on the job-training that epitomises apprenticeship schemes.

For many in the screen industry, the key to success can often be just getting out there and practising the craft. There’s no doubt though that the formal approach of vocational training will better equip many to find their way into the industry and help ensure sunstainable careers in an ever-changing workplace environment.

 

Tui Ruwhiu
Executive Director

 

 

 

 

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Ten years of business-focused government policy is now seeing a correction taking place in the New Zealand labour market.

Health and education have been the focus of recent labour matters, but thanks primarily to Radio New Zealand, the independent contractor market is now in the spotlight.

RNZ has put considerable effort into bringing into the open the plight of courier drivers, who are forced to operate as businesses, buying their own vehicles, uniforms, and scanners yet being dictated to by the companies that contract them as though they were employees. Worse, after deducting all their expenses, many it seems are earning less than the minimum wage. John Campbell interviewed Minister for Safety and Workplace relations Iain Lees-Galloway on this here. RNZ offered CEO Mark Troughear of Freightways, who owns NZ Couriers, the chance to respond here.

Thanks, or no thanks to the Hobbit Law, all film workers are classed as independent contractors and thus prevented from negotiating as a group to improve their terms and conditions.

Now I am not comparing the terms and conditions of courier drivers with those of screen industry workers. We all know which lot is in a better place. But we also all know that in the domestic screen industry, particularly with digital content, the unscrupulous are taking advantage of screen workers.

First Union are taking up the cause of courier drivers as you can read about here. And it’s the guilds’ role to represent the interests of those in the screen industry.

DEGNZ along with the other guilds took part in the Film Industry Working Group to address our (DEGNZ’s) and the government’s concerns about both the Hobbit Law and the inability of screen industry workers to collectively bargain. In due course those recommendations should be made public. All the guilds worked in good faith on this and represented their memberships as they are expected to do. Guilds are after all essentially unions, although some officially are not, including us.

Until now, DEGNZ has not been a union, although it has been a question that the board has asked itself—Should DEGNZ unionise? In the last few months the board has looked into this carefully, and met with various parties to weigh up the pros and cons.

At a recent board meeting, the board unanimously voted “Yes” to unionisation. This coming Annual General Meeting the board of DEGNZ will propose to the membership for the Guild to unionise and ask for a vote on it.

In the lead up to the AGM we want to give the membership as much opportunity as possible to make their views known, ask questions and debate the merits of unionisation.

This is an important issue that we will ask all paid-up financial members to decide upon, so do let us know what you think. And please put the AGM, scheduled for Saturday 6 October at 10AM in Auckland, in your diary. We would like as many of you as possible to come and hear why the board supports this view, and to get behind whatever decision is made.

Tui Ruwhiu
Executive Director

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Like most everyone else, I’ve been walking around with a smile on my face since Winston Peters decided which side of the seesaw to get on.

I’m not as rabidly dogmatic as many left of centre seem to be in the screen industry, but I do know that the social fabric of New Zealand society has been torn under National, the Arts have suffered, and it deeply disturbs me that we can’t swim in many of our waterways anymore.

I’ve read numerous articles online about what the change of government means for education, transport, trade, the economy, the environment and other sectors, but I haven’t seen anything yet on what it means for the Arts, and more particularly for the screen industry. So like everybody else, I’m going to postulate about some things.

Firstly, the minister for Arts, Culture and Heritage will be Grant Robertson, moving it far up the ladder from where it sat with Maggie Barry. Jacinda is passionate about the Arts and has been Labour’s Arts spokesperson, but won’t have the time this term to deal with it. I believe she’ll give the portfolio to Robertson, another strong Arts supporter, who himself will be busy with Finance. I’ll happily eat my words if Jacinda keeps it, though.

Second: the Hobbit Law. It’s goneburger. Labour outlined in its Fair Pay Agreements (FPAs) the ability for employers or employees/unions to be able to begin negotiations on FPAs once a sufficient percentage within an industry call for one. Under The Hobbit Law, all workers in the screen industry are classified as contractors, cannot collectively bargain and are not subject to the minimum working wage requirement—all the antithesis of what Labour stands for. The Hobbit Law will go and it’s up to the guilds to make sure that happens and that we unify to seek sustainable careers in the screen industry.

Next, copyright for directors. The Copyright Act Review is underway. I put considerable effort into lobbying Jacinda directly about director copyright when she was the Opposition spokesperson for Arts, Culture and Heritage. Director copyright is about sustainable careers, a touchpoint for Labour. Our chances on changing the copyright law are now slightly improved but will still need significant effort on our part. It’s not a big ticket item for government, but hopefully with Robertson we’ll have a more sympathetic ear and will be able to get to the other ministers who will count.

The other aspect of copyright is Google’s desire to see relaxed US Fair Use and Safe Harbours legislation enacted here, replacing our Fair Dealing regime that is more stringent and protects the intellectual property of creators better. They must have choked when Winston Peters said he was going with the Labour Party. Years of upfront and behind-the-scenes lobbying to swing National to their view just hit a major speed bump. But they had moved many beaureaucrats toward their line of thinking as well so we’re not off the hook yet. We still need to fight hard to keep Fair Dealing in the face of Google’s enormous financial muscle.

Then there’s public service TV. Radio New Zealand will be transformed into Radio NZ + as promised, giving us a digital platform that will deliver more quality reporting and investigative journalism, Maori, Pasifika and other diverse community content, as well as education and entertainment for children. How the additional $38 million will be spread between the proposed independent Public Media Funding Commissioner and NZ On Air funding is unclear, but it would seem that anything that falls under the remit of the new commissioner that currently is being funded by NZ On Air will move to the new fund, thereby not increasing NZ On Air’s funding but giving it more money to play with in the commercially contestable realm, which will continue to be its responsibility.

Labour understands that the Arts can also generate revenue, and that the screen industry is a significant employer as well as a hotbed for commercial innovation, particularly at the higher end. Steven Joyce never liked the screen incentives although he was smart enough to know we needed them. They will stay, and everyone will await the outcome of the full Ministry of Business, Innovation and Employment assessment of the screen incentives currently underway. We might see more production funding for the NZFC for NZ films, which didn’t increase under National although they did top up the Screen Production Grant for both NZ and international films. This funding increase would come out of the Ministry of Economic Development portolio, who is supported by MBIE, who essentially controls the Ministry for Culture and Heritage, at least for the moment. David Parker will be the new Minister for Economic Development.

What about a Minister of Broadcasting? I’m sure Amy Adams helped do away with this as the last minister because she viewed broadcasting as a sunset industry. Labour won’t reintroduce one because Broadcasting, which essentially means Free-to-air these days, no longer holds the sway it once did.

We have to give thought to our public broadcaster TVNZ. This is a vexing question. It’s not the public broadcaster it’s meant to be. Labour would probably flog it off if there were a buyer for it, but who would want it? Perhaps a US network like CBS who has just won its battle to acquire Australia’s Network 10 for US$167 million? Or Fox, who lost out to CBS? Or a private equity fund like Ironbridge who stepped in to save Mediaworks? I don’t think there will be a knight in shining armour for TVNZ, though, with Mediaworks sitting there as an abject lesson, essentially held up by its radio business.

I’m guessing that Labour will leave TVNZ to its own commercial devices after stripping it of its public service mandate, and using whatever dividend it generates to help fund public broadcasting. A more interesting question is what will happen to the public broadcasting and current affairs shows funded by NZ On Air currently on the commercial channels, including the Māori programming? I think they’ll be looking for a new partner to + with.

Will Māori get more money to play with in the screen sector? Yes, because of the work that’s been done by NZFC around their Māori strategy, but that was coming anyway. No for Te Māngai Pāho who already received a boost last year, although not for content. I’d personally prefer that Labour made te reo mandatory in schools through their education policy rather than funding TMP to revitalise the language via Māori Television, although Whakaata Māori would need to keep producing Māori language content until we all caught up.

I don’t believe NZFC and NZ On Air will be merged. We have a new NZFC CEO who will be on a three-year contract. And with other changes to come and those that have recently occurred in and around the funding bodies, it doesn’t make sense to pursue such an idea now.

Creative New Zealand is going to get some attention. Grant Robertson as Associate Spokesperson for Arts Culture & Heritage in a Radio NZ interview prior to the election outlined thoughts that will require some restructuring at CNZ to achieve Labour’s ideas around regional Arts development, more practioners at the top table, and how to ensure young and emerging artists get a fair crack at the funding pie.

In the same interview Robertson gave Labour’s perspective on the Arts:

“Arts are the window to the soul of our people and our country.”

Labour is supportive of the Arts. It wants to see more funding go to the Arts. But it will take time for this to happen and their main focus will be elsewhere for awhile. I don’t think any of us will complain too much if they give first attention to homelessness, mental health, the minimum wage and the housing crisis.

Tui Ruwhiu
Executive Director