Allegra Spender (Wentworth, Independent) Share this | Hansard source

Australia is a creative nation with a rich cultural history. Our filmmakers, actors, musicians, writers and painters have a reputation for excellence, for storytelling and for capturing the hearts and minds of people across the world. This is no more true than in Wentworth, where the arts and culture are central to the fabric of our community. My electorate is home to over 10,000 people who work in the cultural and creative industries as well as 4,000 cultural businesses; it's extraordinary. In the past two weeks many of those have been part of the Vivid Sydney festival, with the incredible light show around the harbour drawing in more than 2½ million visitors.

But recent years have been tough, particularly for the arts. The sector has experienced neglect, which was compounded by the devastating effects of COVID-19. The livelihoods of many of our arts and cultural workers were threatened and in some cases suffered irreparable damage. So the support provided as part of the government's cultural policy is welcome, and it is imperative to the sector's survival and growth. But it is not just the promised funding that's important. It is the sentiment expressed by the policy that the arts do matter, that they're fundamental to our national psyche and that a healthy, vibrant and diverse cultural sector is essential to both our wellbeing and our economy.

The National Cultural Policy is a small step in the right direction. But, along with many people in Wentworth, I remain concerned about the long-term health of our screen sector and our ability to tell Australian stories. Telling authentic and diverse Australian stories helps us to recognise who we are, helps create a sense of community and respect for our diversity, and helps us to understand each other and to feel connected. But as more and more content is accessed via streamers, such as Netflix, Disney+ and Binge, access to Australian content is at risk. Without a legislative requirement for Australian content, multinational streamers may simply fill their schedules with cheaper repeats and international reality television. That's why an Australian quota for streaming services is critical. Requiring streamers to dedicate 20 per cent of their Australian revenue to making Australian dramas, documentaries and children's television would need only a modest increase in their investments, but it would protect our future by ensuring that Australian stories continue to be told to audiences across the country.

I acknowledge the government's constructive and ongoing consultation on this issue, and it is critical that they get the details right. For example, expenditure obligation must apply to new commissions only, since buying titles that are several years old is of little benefit for the Australian screen sector. The government must also be cautious when considering so-called multipliers, which provide flexibility but could enable streamers to artificially meet their quota without real investment in Australia.

The reforms should also protect Australian intellectual property. Currently too many producers are forced to hand over their IP in order to get their foot in the door with a multinational streamer, so they miss out on the benefits that should accrue when their programs are screened over many years. Putting in place a fixed term after which IP would revert back to the original content creators would ensure a just reward for the Australian screen sector. This is being done in other countries, such as France, and is something I hope the government will consider over the coming months.

There is so much more to do to ensure the stability, sustainability and growth of the Australian screen sector. I urge the government to continue to listen. I urge the government to protect Australian programming and intellectual property. And I urge the government to ensure that original, diverse and compelling Australian stories continue to be shown across our screens.

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