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Experimenting with the Local and the Transnational: Television Drama Production on the Gold Coast

For the last 40 years the dominant framework for understanding Australian television has been via its contribution to national identity. Australian television drama has been no exception—it has been unambiguously national in its outlook with its international successes historically predicated on identifiably Australian storytelling and settings in series like Neighbours, Skippy, Home and Away and Flying Doctors (Cunningham & Jacka, 1996). Yet for the high end of this television drama since the mid-1990s this strategy of using locally oriented production to achieve both local success and international circulation has been increasingly undermined by fragmenting audiences, declining production funds, and increased competition within traditional export markets. Retrospectively we can see that the central problem facing local television production, particularly film and television drama production, over that decade has been one of how to manage for these new configurations: how to internationalize local film and television production in order to retain and hopefully build market shares; and how to develop new models of financing that combine both local and foreign sources. And for some production organizations (e.g. Grundy, and more recently Beyond International) this entailed asking whether it was necessary to shift focus to other low-cost forms of television content altogether, thereby abandoning drama production, and/or to move offshore, establishing production