ABSTRACT Filmmakers with disability are significantly underrepresented in key creative roles within the Australian screen industry, making up only 5.3% of Australian production crew, despite comprising 17.7% of the Australian population. Despite rapid advances in assistive technologies, well-established anti-discrimination legislation and a conscious movement by the government and the creative industries towards visible commitments to accessibility, screen industry practices rarely meet the diverse needs of filmmakers with disability. Drawing on a disability justice approach, informed by the lens of crip theory, I share findings from qualitative interviews with filmmakers with disability about their experiences working in the Australian screen industry. Their stories indicate filmmakers are doing significant labour simply to be present on set, facing cultural incompetence, frequently being read as ‘high risk', and having to engage in a process of continuous and intimate disclosure. The participants used everyday skills of hacking and scrapping to navigate physical, policy and cultural spaces and experienced ‘access intimacy' when working with their peers. The findings urge the screen industry to re-evaluate ‘business as usual’. In an industry teeming with innovators, designers, and imaginers, the screen must become more creative in the ways we envisage accessibility and the future of storytelling for filmmakers with disability..
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