This book explores the impacts of digitisation and sector internationalisation on national drama production, and their consequences for industry, audiences, and domestic storytelling. Using Australia as a case study, it provides a systematic evaluation of the efficacy of cultural policy intended to support the production and circulation of national drama from 2001-23.
During the first two decades of the 21st century, new digital distribution technologies transformed the business of television worldwide, bringing conditions of abundance that ended mass media logics grounded in scarcity of content and providers. In doing so digitisation upended longstanding norms around the funding, production, and circulation of national television drama. In this period, the conditions for which cultural policy was first created changed radically due to digital distribution and sector internationalisation. This book’s analyses of the responses of policy makers, broadcasters, production companies and screen agencies to television’s distribution revolution evaluates their collective impacts on Australian television drama. It explains how 21st century dynamics undermined cultural policy supporting the production of Australian drama with cultural value, leading to a catastrophic fall in hours made. This book argues that the scale of disruption digitisation causes to television in the transnational and national space requires a bold re-imagining of cultural policy instruments intended to support Australian drama.
This account will be of interest to screen industry practitioners, policy makers and scholars, and, more generally, to anyone wondering whatever happened to Australian drama.
This book explores the impacts of digitisation and sector internationalisation on national drama production, and their consequences for industry, audiences, and domestic storytelling.
1. Cultural policy has failed Australian television drama
2.
Understanding Australian television culture
3. The end of mass media logics:
broadcaster and policymaker responses
4. Screen agency roles and reforms: the
case of Screen Australia
5. Australian drama producers: evolution and
adaptation
6. Policy Reform: Looking to the Future
7. Conclusions And
Implications for Australian Drama
Anna Potter, PhD, is a Professor in Digital Media and Cultural Studies in Queensland University of Technologys School of Communication, where she is Academic Lead, Research and a Chief Investigator in the Digital Media Research Centre. A leading authority on childrens television, national drama and media policy, she is the author of Creativity, Culture, and Commerce: Producing Australian Childrens Television with Public Value (Intellect, 2015), Producing Childrens Television in the On-Demand Age (Intellect, 2020), and multiple journal article and book chapters.
Marion McCutcheon, PhD, is a communications economist and holds the position of Senior Research Fellow at the University of Canberras News and Media Research Centre. She has extensive experience in providing policy-focused research and advice within the Australian Government, and as an academic researcher focusing on the media industries and creative industries. Her interests include the role of the creative industries in economic systems and how society benefits from investing in culture. Recent work includes the book Transnational TV Crime: From Scandinavia to the Outback (Edinburgh University Press 2024) with the University of Wollongongs Sue Turnbull.
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