Certainly, the decline in audiovisual investments in Australia is a fact, but is it really the main trigger for the announcement of streaming quotas?
In this jurisdiction, the same fact is interpreted differently, because regulation is often the result of political pressures and the pursuit of cultural sovereignty, beyond economic fluctuations.
For example, similar quotas were established in France through the European directive on audiovisual media services long before a major decline; the imperative to support local creation is a constant policy there.
The decline may have served as a timely justification, but it is rarely the primary cause of such a large-scale regulatory policy.
It is the awareness of issues surrounding cultural identity that leads to such measures, not just investment figures.