Since the pandemic, calls for local content allocation on streaming and video on demand (SVOD) platforms have grown louder, transforming both our viewing habits and the local film and TV production industry.
In January 2023, Arts Minister Tony Burke said that legislation on local quotas on streaming platforms would be introduced in Parliament in the second half of the year, with implementation no later than 1 July 2024.
As of today, that deadline has completely passed.
Frustration is growing among Australian filmmakers, with this uncertainty around regulation contributing to what they perceive to be a “plummeting” level of local production commissions by international streamers. I see it as becoming.
SPA CEO Matthew Diener told ScreenHub:
“July 1 is the promised deadline for the government to introduce a long-awaited and long-awaited framework to ensure popular streaming platforms can invest in Australian screen stories with a minimum guarantee. I’m obviously disappointed that I missed out.
“Unfortunately, this delay is causing a great deal of anxiety and uncertainty for screen production companies. Our members have told us that commissioning is largely on hold while we wait. This is very concerning.”
In June, Screen Producers Australia (SPA) asked its members to complete a survey investigating how local and international streamers currently engage with Australian producers.
A summary of these findings was shared with MPs as part of the Senate Standing Committee on Economic Research to discuss changes to Australia’s position and producer offsets, a separate but related issue.
The results are alarming, with international streamers revealed to be the least engaged commissioners, with 38% and 36% of respondents saying their streamers will have “less” or “much less” engagement than in 2023. I answered. Local Commissioner Stan remained the most engaged.
Read: QUT study says Australian TV drama is in trouble
Producers cited a range of negative impacts from slowing commissioning, from crew mental health to project financing. About 54% said the slowdown is impacting every step of the production process, from initial meetings to development and production.
While there is no doubt that a slowdown in broader global investment is the biggest reason for the decline in commissioning, many in our industry believe that long waits for government regulatory announcements may be the real, unspoken reason. I think there is. One respondent said, “There’s a big gap between what the networks say and what we know, and that’s the reason for the decline in commissions.”
Other answers included:
“It is clear that SVODS will wait as long as possible and have as few pending allocations as possible.”
“Right now, even if they come back, it’s very difficult to get them involved in any projects.”
A successful series.
Diener said the data is “alarming” and that “filmmakers and the workforce they employ are just enduring.”
“Australian viewers need some guarantee that they can access Australian stories through online streaming services, just like any other service,” Mr Diener said. “The screen industry has been extremely patient through a long consultation process.Nevertheless, we are pleased that the Albanon Government is supporting this important cultural initiative with a strong framework that supports both the industry and audiences now and into the future. must be executed.”
The industry expects an announcement any time soon, and some hope the bill will be retroactively enacted on July 1.
Local content quotas: background information
Broadcast content quotas are a type of television industry regulation that mandates the production of local, Australian and children’s content. These have been enforced in various forms on commercial television networks since the 1960s.
The arrival of international streaming platforms such as Netflix, Disney+ and Amazon Prime has changed Australia’s media landscape, but the government has not previously imposed content quotas on these platforms. For more information on what the industry wants, see Jane Mills’ 2023 article, “The screen industry needs more than quotas.”
