Same tired old, (and not a little pretentious and self-important), justifications below from a sector that imagines it deserves special treatment at tax-payer's expense.
Really, the insufferable arrogance of these people! Australians were just helpless acceptors of whatever British publishers decided they should read? What planet is this woman on?
We had no "authentic...cultural identity" prior to 1972?
In relation to the Australian film industry, you can see the studied and willful blindness that so characterises the cultural left. As Blair points out, there is no shortage of Australian films being made. That isn't the reason that so few people decide to spend their hard earned money on them when making a choice about what to see.
No, she'll ignore the very simple explanation - most Australian films are unwatchable self-indulgent rubbish that noone in their right mind would pay to see. Vide stage plays that are little more than leftist agitprop, such as the one that had the luvvies sponteineously orgasming over that had a character clearly supposed to be Peter Costello by any other name giving orders to the Navy not to rescue people on a sinking refugee vessel! I mean, really.
As Orwell so perceptively observed so many years ago - only an intellectual could believe that. No ordinary person would be so foolish.
And poor Ms Adler obviously doesn't understand the Market. Bit like K R Puff'n'Fluff in that regard. Even evil multinationals want to make money and know that they can only do that if they offer people what they want to buy. It really is that simple out in the real world. But not for for folks like her it seems. But then, she's got her own interests to look after
Louise Adler, publisher of gibberish, defends the Australian book industry’s cultural protectionism:
So much for pre-70s Australian writers Henry Lawson, Miles Franklin, Ray Lawler, Hal Porter, John O’Grady, Banjo Patterson …
What did the “scene” think it was previously? Adler next contrasts the thriving “publishing scene” to the moribund film sce … industry, which only a few words earlier she’d associated with Whitlamite cultural triumph:
Revenue is a guide to how many people saw those films, not to the availability of Australian content. As it happens, there were many Australian releases in 2007. Almost all of them were rubbish, which is why local audiences avoided them.
The top 100 singles in 2008 contained 20 Australian songs. The top 100 album chart contains 24 local works. “Decimated”?
Like the “reality” of a “decimated” local music “scene”? More on this fear of alien cultural influences from Bob Carr: