Canadian content study could lead to more ‘harmonized’ funding, regulation rules

The federal government’s review of how Canadian content should be defined could lead to greater harmonization of CanCon funding and regulatory policies. François Macerola, the former Telefilm Canada executive director who will oversee the review, says this latest study is more all-encompassing than a previous examination by the CRTC of what constitutes Canadian content. "For me what we’re going to try to do is more global, and it does include all the different definitions used by different organizations in order to define Canadian content," he tells CCR. "(With the CRTC review), they harmonized Canadian content definitions with CAVCO (Canadian Audio-Visual Certification Office), but still there is certainly room for improvement. "For example, should we have one system? Should the different definitions of Canadian content be harmonized? Should they be administered by one organization?" he asks. Kerry Edmonds, director of communications for Canadian Heritage minister Sheila Copps, who announced the review April 2, says the initiative was prompted by industry concerns. "Many people have questioned the CanCon rules, and a review of these is a reasonable response to the public pressure," she says. "The CanCon consultation will be a careful evaluation of rules that have been in effect for some three decades." Among those calling for greater harmonization between Canadian content definitions for CRTC regulation and TV funding is new Telefilm Canada executive director Richard Stursberg (CCR, March 15/02). As well, new CRTC chair Charles Dalfen indicated at an industry reception in Ottawa in January that increasing the production of English-language drama was a priority. Some industry experts believe that the commission’s 1999 television policy, which redefined priority Canadian programming, is negatively affecting the production of Canadian drama. A discussion paper entitled Canadian Content in the 21st Century released by Canadian Heritage in conjunction with its CanCon study indicates that requirements for government subsidies to create Canadian programming could change. "The various assistance programs supported by the government in the film and television sector will be central to this debate and may be redefined as a result of the review," the paper states. Written comments to a series of questions laid out in the discussion paper are due May 31, with the deadline for reply comments set for July 31. The questions include: How should a revised Canadian content system establish an appropriate balance between different perspectives (e.g. developing Canadian cultural stories, fostering new talent, building industrial capacity, increasing domestic market shares and maximizing international market potential)? Should the general approach of the current system be retained or should a new approach to assess Canadian content be developed?Should international treaty co-productions continue to qualify as 100 per cent Canadian content? Elizabeth McDonald, president and CEO of the Canadian Film and Television Production Association (CFTPA), says it’s important to ensure that there’s room for distinct Canadian programming. She remains leery of proposals put forward by the Canadian Association of Broadcasters (CAB) calling for numerous supports for Canadian content in a transition period to a Canadian broadcasting system pillared on for-profit domestic programming (CCR, March 28/02). "What they (the CAB) are asking is to ensure that programming with large U.S. presales is eligible for Canadian content, and that means with far lower licence fees," she tells CCR. "So in fact, what they are looking for is a way to lower their licence fees and make more money – increase our return on our investment and don’t ask us to contribute to the system." She points out that Canadian broadcasters can make money with dramas that qualify for six points out of ten under the existing system through overseas presales. But she questions whether this programming really tells distinct Canadian stories. "Are we trying to have a homogenized broadcasting system?" she asks. "Solely industrial Canadian programming, I think, is a very dangerous precedent. But it’s excellent, and it plays both an economic and entertainment role. Canadian programming plays an entertainment, economic, and cultural role. All of those goals are important. We need a blend." Macerola says he and his team of two researchers will begin cross-Canada consultations on the matter, likely at the Banff Television Festival in June. He anticipates having a draft report ready later this year for comment, and submitting the final version with recommendations to the minister by March 2003. "What I really want to stick to is: ‘Is the system still pertinent and if it’s not, how can we improve it?’ And that system is intimately related to the production of television programs and features films," he says. For a look at how new media might factor into the review, see the April 8 edition of CCR affiliate publication Canadian NEW MEDIA.

Canadian content study could lead to more ‘harmonized’ funding, regulation rules

Broadcast | April 12, 2002

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