Rabbit-Proof Fence (Image: abc.net.au)

Anthony Albanese talked pre-election about wanting to live in a country that made things — to support, for example, an advanced manufacturing sector befitting the 12th wealthiest nation in the world. But there’s no certainty that wish extends to the world of film and television.

The exponential growth over the last decade of streaming video on demand (SVOD) services like Netflix has transformed not only how we watch film and TV, but where that content is made. On the eve of the last election, the amount of Australian content on streaming services like Netflix was reduced to 2%. In other cases, zero.

The Europeans are awake to the threat and have demanded that SVOD services have local content quotas as high as 30%. And in good news, Netflix has reached or transcended 30% in most markets in Europe. Even in the UK, which shares a language with American productions, that figure is 27%.

Yet in Australia, we understand that the Albanese government may be considering a grandfathered approach of 5% a year that might stop at 15%, or half of European quotas.

For nations that want to tell their own stories, and develop their own acting, writing and directing talent, that model is death. Unfettered, a lack of local content quotas will kill national screen sectors and stories. If you want to imagine what that looks like in Australia, that means no more movies like Wake in Fright, Gallipoli or Rabbit-Proof Fence, or television shows like Prisoner, Rake or Mystery Road.

The preferred business model for streaming services is to make one production, then franchise or syndicate that piece across as many national platforms as possible. Variety is expensive.

In Australia, the SVOD services do not want to go there, which means the Labor government will need to legislate content quotas. The good news for voters in a tight fiscal environment is that they don’t need to pay a red cent. The funding for local content would come from subscriptions which have already been paid for.

While the SVOD sector is lobbying to keep local content quotas where they are — non-existent — the Australian screen sector would like to see them up around 20-25%, with additional support around talent development: helping fund pathway organisations like the Australian Film Television and Radio School (AFTRS) the National Institute of Dramatic Art (NIDA), or universities running screenwriting courses.

Are you worried about the dearth of Australian-made content on streaming platforms such as Netflix? Let us know your thoughts by writing to letters@crikey.com.au. Please include your full name to be considered for publication. We reserve the right to edit for length and clarity.