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made the decision that no individual credits would appear on any of the three films. This was influenced by the wide-reaching and radical women's liberation critique of individualistic and hierarchical practices which were regarded as contributing to "famous men" notions of history. The production
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for funding for an independently run Women's Film
Workshop (1974). the aim of which was to teach the basics of scriptwriting, filming, sound recording, and editing by the production of short 16mm films. Several participants in the workshop subsequently went on to careers in various aspects of the
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weekend, held at the Sydney
Filmmakers Co-operative In November 1973, was billed as "a weekend for women involved in the media, but more importantly it's a weekend for women interested in finding out about being women". Attended by over 200 women, the weekend program viewed and discussed the
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stereotypical roles historically written for women in fiction films, the difficulty of finding work as an actress if you were not prepared to play these roles, and the male domination of the film and television industries in both creative and technical roles. The first practical result of
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in the 1970s. In 1978 Feminist Film
Workers, a smaller closed group of SWFG members was formed in response to "the growing apolitical and amorphous quality of the SWFG", continuing distribution and exhibition work and making more explicit the group's feminist intentions and outlook.
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Without the influence and political lobbying of these women I don't believe I would have had the subconscious conviction ... that I could make films, and that what I wanted to say, even if intimate, domestic and personal in scale, was just as interesting as the mythic male
169:. The name was then adopted for the distribution and exhibition group that was formed in 1973 within the Sydney Filmmakers Co-op. Sydney Women's Film Group and Feminist Filmworkers effectively ceased to exist once the Co-op's cinema closed in 1981 when the
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Though there were no formal membership requirements, most women who were active in the group had films in distribution with the Sydney
Filmmakers Co-op, particularly after the productive Women's Film Workshop of 1974.
140:(SFMC) whose interest was in distributing and exhibiting films by, for and about women. From the beginning a group with feminist intentions and outlook, it was contemporaneous with, and part of, the
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Although the name originated to describe a production entity, subsequently the activities of the group centred on distribution, exhibition, workshops and discussions, and political lobbying.
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of the topic and provide significant coverage of it beyond a mere trivial mention. If notability cannot be shown, the article is likely to be
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277:(1987). "Sixteen Year of Women and Film Groups: A Personal Recollection". In Blonski, Annette; Creed, Barbara; Freiberg, Freda (eds.).
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in 1977, which provided participants with the opportunity to learn basic television studio production processes.
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The Sydney Women's Film Group first appeared in the production credits of three films made in the early 1970s,
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Thornley, Jeni (1987). "Past, Present and Future: The Women's Film Fund". In
Blonski; Creed; Freiberg (eds.).
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Grieve, Anna (1987). "Big Mother/Little Sister: The Women's Film Fund". In
Blonski; Creed; Freiberg (eds.).
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Of the less tangible influence of the work undertaken by the SWFG, film and television producer
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entity was therefore named as the Sydney Women's Film Group for these three films.
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281:. Richmond Victoria 3121: Greenhouse Publications Pty Ltd. pp. 89–90.
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The
Encyclopedia of Women and Leadership in Twentieth-Century Australia
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Please help to demonstrate the notability of the topic by citing
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Incorrectly cited as occurring in 1974 in several references in
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Subsequent SWFG lobbying resulted in a course in held at the
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decided to no longer subsidise the cinema's operation.
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