Trump tariff threat to Australia’s screen industry

In the new world order, as the American empire seems to be starting to unravel, there are likely to be severe repercussions for other countries and their international cultural presence. One of the unnoticed casualties of the tariff wars may be Australian content and our local screen industry. The export value of Australian screen production is minute in comparison to the vast flood of imported content from the US. However, it is culturally and economically significant for Australia.

The Albanese Government has been promising a new model to ensure that streaming services commit funds to Australian content. The Americans, especially the new regime, are very hostile to any form of regulation or quotas. If they chose to push hard, they might threaten tariffs on other industries that have a tighter grip on Government, like agriculture or mining. In such a scenario cultural production might be sacrificed for bigger sector, that are more significant in terms of economic income, but less important for Australia’s standing and presence in the global world.

The National Film and Sound Archive, custodian of Australia’s long and proud history of screen culture.

The Albanese Government has been promising a new model to ensure that streaming services commit funds to Australian content. The Americans, expecially the new regime, are very hostile to any form of regulation or quotas. If they chose to push hard, they might threaten tariffs on other industries that have a tighter grip on Government, like agriculture or mining. In such a scenario cultural production might be sacrificed for bigger sector, that are more significant in terms of economic income, but less important for Australia’s standing and presence in the global world.

See the whole story on Substack. 

Do you want fries with that?

In my long working life I've traversed the public sector, the private sector and the community sector - not lots of people can say that. I've seen the best – and the worst – of them all. Lately I've noticed a whole new approach to how local businesses interact with me. It's the 'do you want chips with that' approach to upping the spending ante. Given the way that over the last few decades we have started to treat public and community services like private businesses – and often turn them into private businesses – I expect to see this become more widespread.

As businesses go all out to recover from the economic ravages of the pandemic I’ve noticed a whole new approach. Everywhere I get asked ‘how was my day?’ This can become very irritating. I don’t even like to ask myself how my day was.

 

'Do you want fries with that?'

Alongside this new chumminess, there’s an enthusiasm to remind you of extra ways to spend money. It’s the ‘do you want fries with that?’ approach to upping the ante.

The bigger picture of the big picture

I write about culture and creativity, because these are important, because they interest me and because I’ve worked in the area all my life. Creativity and culture are important, but they don’t exist in a vacuum, so, as 2024 crawls into 2025, I find myself hitting the hard stuff, as far as ideas go. While it’s sobering reading, I expect to emerge blinking into the light of the New Year with a much clearer grasp of where the world is going in 2025 and beyond – the bigger picture of the big picture.

I write about culture and creativity, because these are important, because they interest me and because I’ve worked in the area all my life. I’ve been publishing articles about this on my blog, indefinite article, for the last 15 years but increasingly I am writing less about the specifics of arts and culture and more about the bigger picture – the bigger picture of the big picture.

Shuttered public facility, Greymouth, New Zealand, 2023

Childless and orphaned behind enemy lines

Life is made up of some big moments – birth, coming of age, getting an education, learning to dance, travelling to the other side of the world, playing music, speaking other languages, having children – even the death of loved ones, just so we know it’s not all fun. I sometimes realise that I am a childless orphan, possibly stuck behind enemy lines, in a world that is unravelling. We are teetering in a strange balance between building on the achievements of the past and desperately trying to dismantle them. In this time of upheaval – both good and bad – creativity is needed like never before. Underpinning our world, creativity and culture are the glue that holds everything together and the engine that drives it.

It's a shock to suddenly notice that I am a childless orphan, possibly stuck behind enemy lines, in a world that seems to be unravelling. We are teetering in a strange balance between building on the achievements of the past and desperately trying to dismantle them. In many countries, the current generation is poorer than the previous one, upending generations of dreams by working class parents and migrants for a better life for their children. In this time of upheaval and change – both good and bad – creativity is needed like never before.

Beginnings, middles and ends
Creativity and destruction, beginnings, middles and ends – they are all intertwined. Once we went to parties, now we go to funerals – perhaps the two are connected. When life finally gives up the ghost, whether you’re famous to the whole planet or just to your own friends and family, everyone is a hero in their own small way and a loss to the world when they go.

A man and his boy, the Central Highlands of Tasmania - the end of the Earth in the middle of nowhere.

I was remembering someone I used to work with a lifetime ago, someone even older than me, who had lived in England at one stage and owned a house in France. I wondered if she has gone back there when she retired. My fellow traveller said ‘she’s probably dead’ and I thought that perhaps people already wondered that about me – ‘whatever happened to such and such, he’s probably dead by now.’

Returning to France - liberté, égalité, fraternité

As we prepare to visit France yet again later this year, I had to ask myself why I find it so fascinating. Part of the reason is the influence French culture has had in so many areas. Part of the reason concerns a story told about Zhou Enlai, the former Premier of China. Asked by Kissinger what he thought were the long term effects of the French Revolution, he replied ‘it’s too soon to tell’. Even though it seems he was referring to the student uprising of May 1968, the truth is his answer could more accurately be a reference to the original French Revolution. I am very fond of a long term view – which seems particularly Chinese.

As we prepare to visit Europe again later this year, after a hiatus of over four years due to the pandemic, I was thinking about why I enjoy going to France so much. It’s not just because the buildings are so old and the food and wine is fabulous and you’re surrounded by a sense of the importance of culture. It’s not even because of some of the historic connections between Australia and France, amongst which is the story of Villers-Bretonneux, a small French village, which after being protected by Australian soldiers during World War I, put a sign up in the village school, saying ‘Never forget Australia’ and which still celebrates ANZAC day every year.

Surrounded by a sense of the importance of culture - Societe des Poetes Francais

It also helps that I spent six years at high school in Tasmania learning French. I can still say 'J’ai étudié le Francais pendant six ans a l’ecole', even if I can't say much else. What I can do quite well is read French, so I get by with signs and labels in museums. I was very pleased when once, staying in Vaison-la-Romaine, destination of choice of many Parisian holidaymakers, I managed to ask for directions in French at the local Mairie (town hall) when we had to move our car early the next morning because a large market that blocked all roads was about to take place.

Keeping cities alive – making space for culture and the creative economy

As much as I am attracted to smaller and regional cities, the reality is that our large cities are where creativity (and more importantly applied creativity – innovation) occur, because critical mass and larger-scale proximity encourage experimentation and interaction and new ideas. Just up the road from where I live, the city of Sydney, the largest city in Australia (for the moment, anyway), is grappling with the loss of creative talent and the creative economy which has driven much of the excitement and liveability of the city for decades. Their attempts to address te issue offer useful pointers to other cities, large and small, facing the same issues.

On 12 June 2024, from 6:30pm–8:30pm at Centennial Hall, Sydney Town Hall, a serious line-up of Australian and global speakers – prominent artists, strategists and political decision-makers will discuss what to do about it, to help kick start strategies to turn the situation around.

Based on a true story

The whole idea that something is ‘based on a true story’, raises questions about fiction and lies, reality and truth and the whole relationship between creative interpretation and everyday life. While things are usually exactly what they seem – which is why conspiracy theories, while satisfying, are usually wrong – sometimes things are definitely not what they seem. Having worked in Government for quite a few years I often think that what might look like a malignant conspiracy, is more likely to be incompetence. Government can make big things happen, but usually doesn’t. It might be nice to think that Government could plan grand strategies, but often maybe it’s just bumbling along. Despite this, the answer to the question of whether something is based on a true story, is that everything is based on a true story.

It makes me think of the story about former noted Chinese Premier Zhou Enlai, supposedly a response to a question by Henry Kissinger. Asked what he thought was the long term impact of the French Revolution, he reputedly replied ‘It’s too early to tell’. This is a story that is so good and so profound that if it is not true, it needs to be.