The local screen industry is abuzz with excitement as the proposed Australian content obligation for streaming services gains traction. This bold move by the federal government has sparked a wave of enthusiasm and debate within the industry.
Imagine having access to over 50,000 shows daily, and yet, the Australian screen industry has been fighting for its place in this vast landscape. Actor, writer, and director Rhys Muldoon, a long-time advocate for content requirements, describes the proposed plan as a "huge relief." He emphasizes the importance of telling Australian stories and being part of the global conversation.
But here's where it gets controversial... The proposed plan requires streaming services like Netflix and Prime Video to invest a minimum of 10% of local expenditure or 7.5% of local revenue in Australian content. While this is a step forward, some industry experts, including Screen Producers Australia (SPA), advocate for a more ambitious target of 20% investment. Advocacy groups like Save Our Arts even push for a higher figure of 25%, ensuring that Australian content is not just an afterthought but a significant part of the streaming landscape.
And this is the part most people miss... The proposed regulation comes at a time when the industry is facing a crisis. According to Screen Australia's Drama Report, there has been an 18% decrease in expenditure across the sector in 2023-24. SPA CEO Matthew Deaner highlights the urgency of this regulation, stating that "the industry's been in a bit of a crisis over the last 12 to 18 months."
The proposed content obligation will require platforms with at least 1 million local subscribers to produce new Australian drama, children's programming, documentaries, arts, and educational content. However, the devil is in the details, and the industry eagerly awaits the legislation's introduction to parliament for more clarity.
One of the key concerns raised by advocacy groups is the discoverability of Australian content. Peter Mattessi, president of the Australian Writers' Guild and a supporter of Save Our Arts, emphasizes the need for "algorithmic prominence" to ensure that Australian shows are not buried by algorithms. He believes that Australian audiences want to watch and support local content, and it's crucial to make it easily accessible.
But what exactly constitutes Australian content? This is a question that has sparked intense debate. Some argue that the definition should be as strict as possible, ensuring that the content is not just filmed in Australia but is an authentic representation of Australian stories, with local writers, directors, and cast. Others worry that such strict definitions might limit creativity and collaboration.
Streaming services, on the other hand, have long opposed local content quotas, citing increased production costs and concerns about meeting the demand. However, as the Albanese government moves forward with its commitment to implementing content quotas, the industry awaits the final details and the potential impact on the screen industry's sustainability and viability.
As Arts Minister Tony Burke puts it, "We should never underestimate how important it is for Australians to see themselves on screen." The proposed content obligation aims to ensure that Australian stories continue to be told and shared with the world, helping us better understand ourselves and our place in the global community.
