The 2024 report Australian Television Drama’s Uncertain Future states the following: Cultural objectives should prioritise the needs of Australians rather than industry, as the changed industrial context no longer enables economic supports to reliably deliver cultural outcomes. What are the arguments for and against this statement? Answer using specific examples from SVOD services and contemporary Australian television content.
The 2024 report Australian Television Drama’s Uncertain Future suggests that cultural objectives in Australian television should prioritize the needs of Australians rather than the industry, asserting that economic supports are no longer sufficient to deliver desired cultural outcomes. This assertion arises from the recognition that changes in the global media landscape, particularly the rise of Subscription Video on Demand (SVOD) services such as Netflix, Amazon Prime, and Disney+, have disrupted traditional television production and distribution models. In this context, the report calls into question whether industry incentives, such as quotas and subsidies, can still ensure the creation of distinctly Australian content that meets local cultural needs. This essay will explore arguments for and against this statement, using specific examples from SVOD services and contemporary Australian television content. While some argue that cultural objectives should indeed focus on the needs of Australians, as globalized platforms often overlook local culture, others believe that industrial supports are essential for maintaining the viability of Australian television production in an increasingly competitive market.
The emergence of SVOD platforms has significantly altered the Australian television landscape, creating both opportunities and challenges for local content producers. Traditional broadcast television was historically subject to regulations that mandated the production and distribution of Australian content. These quotas, enforced by the Australian Communications and Media Authority (ACMA), were intended to ensure that Australian stories, voices, and culture were represented on screen. However, with the rise of global SVOD services, these platforms are not subject to the same content regulations. Consequently, a significant portion of what Australians watch now comes from international sources, particularly the United States and the United Kingdom.
For instance, Netflix, the dominant SVOD platform in Australia, offers a wide range of international programming, and while it does produce some Australian content, such as Clickbait and Pieces of Her, these shows often cater to a global audience rather than reflecting distinctly Australian experiences. The global nature of these platforms means that local stories may be diluted or overlooked in favor of content with broader international appeal. This creates a tension between economic incentives, which drive SVOD platforms to produce content with mass appeal, and cultural objectives, which aim to preserve and promote Australian identity. Therefore, one argument in favor of the report's recommendation is that without a focus on the specific cultural needs of Australians, local culture risks being overshadowed by the demands of the global marketplace.
On the other hand, proponents of maintaining industry-focused economic supports argue that these mechanisms are still essential for the survival of the Australian television industry. The Australian government has long provided financial incentives, such as tax rebates, grants, and subsidies, to support local television production. These supports are designed to offset the high costs of producing television content in a relatively small market like Australia. Without these economic supports, it is argued, the Australian television industry would struggle to compete with the larger budgets and more extensive resources available to producers in countries like the United States and the United Kingdom.
For example, shows like The Newsreader (ABC) and Mystery Road (ABC), both critically acclaimed Australian dramas, were made possible in part due to funding from Screen Australia and other government agencies. These shows have been praised for their distinctly Australian narratives, characters, and settings, demonstrating that economic supports can indeed deliver cultural outcomes. Critics of the report’s recommendation might argue that removing or reducing these supports in favor of a purely cultural focus could lead to fewer Australian-made productions overall, diminishing opportunities for Australian voices to be heard on screen.
Another argument against the report’s recommendation is that Australian content can have global appeal, and prioritizing the needs of Australians over industry considerations could limit the international reach of Australian television. In recent years, Australian shows have found success on global platforms, with productions like Heartbreak High (Netflix) and Stateless (Netflix) receiving international acclaim. These shows, while grounded in Australian culture, also resonate with global audiences due to their universal themes and high production values.
The success of these shows suggests that Australian content can compete on the world stage, and that industry-focused economic supports are necessary to produce the kind of high-quality programming that attracts international viewers. In this sense, prioritizing the needs of the Australian television industry can ultimately serve cultural objectives by promoting Australian stories to a global audience. Therefore, rather than seeing cultural objectives and economic supports as mutually exclusive, some argue that they can work in tandem to ensure both the survival of the Australian television industry and the promotion of Australian culture.
Despite the global success of some Australian productions, there are significant challenges in ensuring that Australian culture is adequately represented on SVOD platforms. Unlike traditional broadcasters, SVOD services are not subject to the same regulatory requirements for local content production. In 2020, the Australian government announced a relaxation of local content quotas for commercial free-to-air television networks, a move that was criticized by some for reducing the visibility of Australian culture on television. While this decision was intended to provide greater flexibility for broadcasters to compete with SVOD services, it also raised concerns about the long-term impact on Australian storytelling.
The Australian Writers’ Guild and other industry bodies have called for stronger regulation of SVOD platforms to ensure that they invest in Australian content. They argue that without such regulation, SVOD platforms will prioritize international programming, further marginalizing Australian stories. For example, while Netflix has invested in a handful of Australian productions, its content library is overwhelmingly dominated by international shows. This suggests that relying solely on market forces and industry incentives may not be sufficient to ensure that Australian culture is adequately represented in the media landscape.
One of the strongest arguments in favor of the report’s recommendation is the importance of cultural sovereignty in preserving national identity. Television plays a critical role in shaping how Australians see themselves and their place in the world. Australian television dramas, in particular, have been instrumental in reflecting the country’s unique cultural, social, and historical contexts. Shows like Offspring (Network Ten) and Wentworth (Foxtel) have not only entertained audiences but have also provided a platform for exploring issues such as family dynamics, gender roles, and social justice in an Australian context.
If cultural objectives are subordinated to the needs of the industry, there is a risk that the unique aspects of Australian culture will be lost in favor of more commercially viable, internationally appealing content. This is particularly concerning in an era of globalization, where cultural homogenization can erode national identities. Prioritizing the cultural needs of Australians, therefore, is seen as a way to protect and promote the diversity of Australian stories and perspectives.
While the report suggests that cultural objectives should take precedence over industry needs, some argue that a balanced approach is necessary. The reality is that the television industry operates in a competitive global market, and without economic supports, it may not be possible to produce the kind of high-quality content that both reflects Australian culture and appeals to audiences. Therefore, rather than prioritizing one set of objectives over the other, it may be more effective to find a balance between cultural and economic goals.
For example, the introduction of content quotas for SVOD platforms could ensure that a certain percentage of programming is Australian-made, while still allowing these platforms the flexibility to produce commercially viable content. Similarly, targeted subsidies could be provided for projects that have a strong cultural focus, ensuring that Australian stories continue to be told without sacrificing economic sustainability. This approach would recognize the importance of both cultural and economic objectives in shaping the future of Australian television drama.
The statement from the 2024 report Australian Television Drama’s Uncertain Future highlights the complex relationship between cultural and economic objectives in the context of a rapidly changing media landscape. While there are strong arguments for prioritizing the cultural needs of Australians, particularly in light of the dominance of global SVOD platforms, there is also a compelling case for maintaining industry supports to ensure the viability of Australian television production. Ultimately, the future of Australian television drama may depend on finding a balance between these competing objectives, ensuring that Australian stories continue to be told while also meeting the demands of an increasingly globalized market.
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