Authority asked to set TV quota

Press, Volume CXII, Issue 33065, 4 November 1972, Page 2

Authority asked to set TV quota

(New Zealand Press Association) WELLINGTON, November 3. The only way to ensure the inclusion of New Zealand-made programmes on television was for the Broadcasting Authority to set a quota binding on present and future warrant holders, the authority was told yesterday.

Mr D. J. Monaghan, the producer of “Gallery,” and the chairman of the New Zealand Television Quota Committee, was giving evidence for the committee at the hearing on applications to run a second television channel.

Counsel for the committee, Mr M. R. Camp, said it was time the myth that inadequate artistic resources and inadequate facilities were holding back local content on television was well and truly destroyed. Mr Camp said the committee’s figure was clearly reasonable in view of I.T.C.’s intention to exceed 33 per cent local content in its second year of operation and the N.Z.B.C.’s assessment in 1970 that it could substantially exceed this.

Presenting the committee’s evidence, Mr Monaghan said the committee had been formed by five organisations —the Television Producers’ and Directors’ Association, Actors’ Equity, the Film Producers’ Association, P.E.N., and the Producers’, Directors’ and Writers’ Guild —motivated by their common interest in the future of television in New Zealand.

Mr Monaghan said that everyone appearing before the authority, and the authority itself, was agreed on the need for New Zealand programmes. “After careful consideration we are unanimous that the only way to ensure that this desire actually results in programmes is for the authority to set a quota that i would bind present and

future warrant holders,” he said. “The establishment of a quota this time will act as a much needed stimulus to the industry in this country,” Mr Monaghan said. “Such positive encouragement will lead not only to an increase in the number of programmes but also to an over-all improvement in production standards. EXPORT MARKET “A not insignificant byproduct of such a development is that we could readily expand the very limited export market already established for New Zealand programmes overseas,” he said. “It is a very simple, although crucial decision that we are asking the authority to make,” Mr Monaghan said. “All that we request is that New Zealanders be ensured a guaranteed place on New Zealand television.” “The committee believes that the quota system is the only way of guaranteeing that we can compensate for the hazards of constant exposure to the imported attitudes and values which do not relate to the New Zealand situation.

“Such is the power of television that, without a strong commitment to the local product, all the technical and financial effort to establish the medium in New Zealand is a tragic waste and ultimately could be seen as a suicide of nationhood.” The committee felt that 50 per cent local programmes would be ideal, but had concluded that a quota of 33 per cent in the first year was fair, realistic, and attainable. “The committee further suggests that this quota be subject to an annual increase of 3 per cent thereafter, rising to a level of 45 per cent before being reviewed by this authority.” The committee also suggested a minimum of 33 per

cent peak time transmission (i.e. 6 p.m. to 10 p.m.) be set aside for local content; at least one hour a week of New Zealand-produced children’s programmes, and at least half an hour a week of New Zealand-produced adult drama using both New Zealand and overseas scripts. A further suggestion was that: “As a positive incentive to the production of New Zealand drama, a one-for-one loading system similar to that of the Australian Broadcasting Control Board be imposed, giving a credit of the total quota of one hour for each half hour of drama produced.” New Zealand had the talent and the facilities to cope adequately, and the industry was lacking only the positive encouragement and opportunity to demonstrate its potential, Mr Monaghan said. FIGURES He produced a diagram showing that in the first six months of 1972, 74.96 per cent of programmes shown by the N.Z.B.C. were imported, locally-produced news and current affairs constituted 11.35 per cent, light entertainment 2.01 per cent, drama .34 per cent, children’s programmes 1.28 per cent, specialty programmes 9.57 per cent, and New Zealand-compiled programmes .49 per cent. The percentage of New Zealand programmes shown between August, 1971, and July, 1972, was 36.75 per cent, of which 21.73 per cent was news and current affairs. Drama accounted for .67 per cent in this period. Mr Monaghan said that in the five years, 1966 to 1971, New Zealand writers had published 234 novels, 21 dramatic works, 327 histories and biographies, 54 ethonographic studies, and 152 volumes of poetry.

In the period 1965 to 1970, New Zealand periodicals published 462 short stories, 1312 poems, and 14 plays by New Zealand authors, and in the period from 1966 to 1967, radio produced 106 plays by New Zealanders. “The committee has no doubt whatever that New Zealand writers can support television just as capably, given the scope and incentive,” he said. On the availability of actors he said Actors’ Equity had had an 83 per cent increase in membership in the last two years. During the period that television had operated in New Zealand, 54 professional artists had left New Zealand to work successfully in television overseas. Their failure to return was believed to be directly related to the limited opportunities available in New Zealand and the uncertainty of regular employment. DIRECTOR A proposed director of the Independent Television Corporation had earlier told the hearing that his backing for the proposed independent channel stemmed from a strong belief in the benefits which the community could gain from sensible competition. Mr A. Lincoln Laidlaw said that he had been invited to join the I.T.C. sponsoring board because of the desire to have at least one director with an involvement in the dramatic arts. He was a former chairman of the Auckland Theatre Trust, which operates the Mercury Theatre.

"Within T.T.C.’s financial resources and general programme policy one of my own desires is to ensure that the channel makes a genuine contribution to cultural development a a he said.