Canadian content
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Canadian content (abbreviated cancon or can-con) refers to the Canadian Radio-television and Telecommunications Commission requirements that radio and television broadcasters (including cable/satellite specialty channels) must air a certain percentage of content that was at least partly written, produced, presented, or otherwise contributed to by persons from Canada. It also refers to that content itself, and, more generally, to cultural and creative content that is Canadian in nature.
Some other countries employ similar systems. For example, Australian broadcasters are required to broadcast a certain percentage of Australasian content alongside international content.
A major motivation is the fear that without a regulatory system, independent Canadian popular culture would be swallowed up by that of the neighboring United States. However, the policy has been criticized by other commentators as cultural protectionism.
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[edit] Radio
For music, the requirements are referred to as the MAPL system. Following an extensive public hearing process organized by the Canadian Radio-television and Telecommunications Commission (CRTC), the MAPL system, created by Stan Klees (co-creator of the Juno Awards), was adopted as a way to define and identify Canadian content in pieces of music for the purposes of increasing exposure of Canadian music on Canadian radio through content regulations governing a percentage (25%) of airplay that is to be devoted to Canadian music. The percentage was increased to 30 per cent in the 1980s, and to 35 per cent in the 1990s.
However, certain stations — especially those playing formats where there may be a limited number of Canadian recordings suitable for airplay, such as classical, jazz or "oldies" — may be allowed by the CRTC to meet Canadian content targets as low as 20 per cent. Stations in Windsor, Ontario are also allowed to meet lower Canadian content targets due to Windsor's proximity to the Metro Detroit media market in the United States.
Conversely, the campus radio station of Toronto's Humber College, CKHC, voluntarily adopted a 100 per cent Canadian content policy in 2005. CKNS in Haldimand also offers a predominantly Canadian music format, although to offer some flexibility its owners applied for 60 per cent Canadian content, rather than 100 per cent, as their condition of license.
Before the MAPL system was established in 1971 Canadian music was regarded with indifference on Canadian radio. This was a major hurdle for Canadian musicians since they could not gain attention in their home country without having a hit single in the United States first. Even after MAPL was implemented, in the early 1970s some radio stations were criticized for restricting their Canadian content to off-peak listening hours, in program blocks mockingly known as the "beaver hour". This practice is now prevented by CRTC regulations that stipulate that CanCon percentages must be met between 6 am and 6 pm, rather than allowing a station to save all their Canadian Content for off-peak hours.
On satellite radio services, Canadian content regulation is applied in aggregate over the whole subscription package. The licensed satellite radio broadcasters, Sirius Canada and XM Radio Canada, are not required to adjust the programming on the international broadcast services they offer, but must offer a minimum number of Canadian-produced channels with at least 85 per cent Canadian content on those services.
The name of 1980s Canadian music group Kon Kan is derived from "Can-con".
[edit] How the MAPL system works
To qualify as Canadian content a musical selection must generally fulfil at least two of the following conditions:
- M (music) — the music is composed entirely by a Canadian.
- A (artist) — the music is, or the lyrics are, performed principally by a Canadian.
- P (production) — the musical selection consists of a performance that is:
- recorded wholly in Canada, or
- performed wholly in Canada and broadcast live in Canada.
- L (lyrics) — the lyrics are written entirely by a Canadian. [1]
There are four special cases where a musical selection may qualify as Canadian content:
- The musical selection was recorded before January 1972 and meets one of the above conditions.
- It is an instrumental performance of a musical composition written or composed by a Canadian.
- It is a performance of a musical composition that a Canadian has composed for instruments only.
- The musical selection was performed live or recorded after September 1, 1991 and, in addition to meeting the criterion for either artist or production, a Canadian who has collaborated with a non-Canadian receives at least half of the credit for both music and lyrics.
This last criterion was added in 1991, to accommodate Bryan Adams' album Waking Up the Neighbours. Adams had collaborated with British record producer Robert "Mutt" Lange, and as a result, the album did not qualify as Canadian content under the existing rules. After extensive controversy in the summer of that year, the CRTC changed the rules to allow for such collaborations. Other Canadian artists with long-time international careers, like Anne Murray, Celine Dion, and Shania Twain, have used recording studios in Canada specifically to maintain Cancon status.
[edit] The MAPL logo
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Every radio station in Canada must meet Canadian content quotas, therefore, the MAPL logo, created by Stan Klees, on album packaging and on the compact disc itself increases the chance that the music will receive airplay in Canada. The MAPL logo is a circle divided into four parts, one part for each of the four "MAPL" categories. The categories in which the music qualifies are black with a white initial M, A, P or L. The categories for which the music does not qualify are in white, with a black letter.
[edit] Controversy
Canadian content remains controversial at times — some Canadians believe that Cancon represents an unreasonable and undemocratic intrustion into the right of consumers to make their own entertainment choices, and claim that the policy is too often used to prop up weak or untalented artists. (See also cultural cringe.)
Conversely, some musicians and critics also charge that radio stations tend to fulfill their Canadian content quotas by playing predominantly "safe" choices — i.e. well-established artists such as Shania Twain, The Tragically Hip or Bryan Adams — to the exclusion of emerging artists. In fact, artists who are not already established stars are still sometimes forced to build an audience outside of Canada before Canadian radio will play them — the very situation the Canadian content rules were originally designed to remedy. (Arcade Fire, for example, received almost no commercial radio airplay in Canada until months after the band had already been widely anointed as rising stars in the American music media, while Daniel Powter had to reach the pop charts in Europe before Canadian radio played his music.)
In 2005, the website Indie Pool launched a campaign to have the CRTC review and modify the current Canadian content rules to put greater emphasis on supporting new and emerging artists. The group's petition has been signed by approximately 5,000 Canadian artists and music fans to date, but has not been widely supported by Canadian media or acknowledged by the CRTC.
In 2006, the Canadian Association of Broadcasters, in a submission to the CRTC, proposed a reduction in Canadian content regulation to 25 per cent, arguing that conventional radio was facing increased competition from alternative music sources such as Internet radio, satellite radio and iPods. In the same submission, the CAB also proposed stricter new guidelines on the licensing of new radio stations. In another submission, however, Friends of Canadian Broadcasting argued that the Canadian broadcasting industry is in a healthy position and did not need to have the Canadian content rules relaxed.
[edit] Non-music radio
As in the United States in the 1980s, the trend for AM stations in Canada in the 1990s was to apply for an FM broadcasting license or move away from music in favour of talk radio formats. The total amount of Canadian-produced content declined as broadcasters could license syndicated radio programs produced in the U.S., while the Cancon regulations were conceived to apply to music only, and not to spoken-word programming. This became particularly controversial in 1998 when stations in Toronto and Montreal (ironically on FM), started airing the Howard Stern talk show from New York City during prime daytime hours.
[edit] Television
- See also: Television in Canada
To an even greater extent than on radio, Canadian television programming has been a perennially difficult proposition for the broadcast industry, particularly dramatic programming in primetime. It is much more economical for Canadian stations to buy the Canadian rights to an American primetime series instead of financing a new homemade production. Perhaps more importantly, given the reach of the major U.S. broadcast networks in Canada, it is virtually impossible to delay or modify a U.S. program's broadcast schedule, as regularly occurs in other foreign markets, to weed out failures or to otherwise accommodate indigenous programming.
In English Canada, presently only the public network, CBC Television, devotes the vast majority of its primetime schedule to Canadian content, having dropped U.S. network series in the mid-1990s. The French-language networks, both public and private, also rely largely on Canadian series, relying on dubbed American movies - with a handful of dubbed series - for most of their foreign content.
[edit] Programming
Early Canadian programming was often produced merely to fill content requirements, and featured exceedingly low budgets, rushed production schedules, poor writing and little in the way of production values and as a result did not attract much of an audience. The Trouble With Tracy was a notable offender in this regard. However, even given these limitations, some productions managed to rise above the mediocre - both SCTV (originally on Global) and Smith & Smith (CHCH) grew from local low budget productions with a limited audience to large production companies with a North American audience.
In the 1980s and early 1990s, distinctly Canadian drama series such as CBC's Street Legal or CTV's E.N.G. consistently drew hundreds of thousands of viewers each week. In the latter part of the 1990s and the early 2000s, Global's Traders and the CBC drama Da Vinci's Inquest completed long runs, buoyed by critical approval if not overwhelming viewer success. As for CTV, after short-lived runs of planned "flagship" drama series such as The City, The Associates and The Eleventh Hour, the network has recently found ratings success with the reality television series Canadian Idol and with the sitcom Corner Gas. The CBC dramedy This is Wonderland was a moderate success with a loyal fan base, but was nonetheless cancelled in 2006 after three seasons.
Specialty channels also naturally produce Canadian content. Although most series come and go virtually unnoticed by the general public, some, most notably Showcase's mockumentary series, Trailer Park Boys, have been able to generate a strong mass appeal.
Despite these indigenous successes, Canadian networks have frequently fulfilled Cancon requirements by airing series produced in Canada but intended primarily for the lucrative United States market. Recent examples include CTV's Sue Thomas: F.B.Eye, Global's Zoe Busiek: Wild Card, and Citytv's Stargate: SG-1.
CBC's The Red Green Show was also a success, being imported into the United States via PBS. That show's cast often did pledge drive specials and received strong viewer support on PBS stations in the northern part of the United States, such as Minnesota, Wisconsin, Michigan and New York.
The television show SCTV created the 2-minute long "Great White North" sketch with the characters Bob and Doug McKenzie to both fulfill and make fun of the Canadian content rules, as the sketch was loaded with Canadian stereotypes. It became the most popular segment of the show and the characters, played by Rick Moranis and Dave Thomas, would be featured in comedy albums, film and commercials.
[edit] Regulations
For broadcast stations, the CRTC presently requires that 60% of programming aired between 6:00 a.m. and 12:00 midnight, and 50% of programming aired between 6:00 p.m. and 12:00 midnight, be of Canadian origin. However, historically, much of these requirements have been fulfilled by low-cost news, current affairs and talk programmes in off-peak hours. It is usually not difficult to fill the daytime schedule with a sufficient amount of Cancon, often through reruns, while two-thirds of the latter requirement can be filled simply by airing an hour of news every night at 6:00 p.m. and again at 11:00 p.m. As described above, often the remaining domestic content has consisted of low-cost science fiction or drama programming primarily intended for sale to the U.S. and elsewhere, and has aired on nights or in timeslots where it is unlikely to attract a large audience, freeing up other timeslots for American network programming.
Over the years the CRTC has tried a number of strategies intended to increase the success of Canadian programming, including expenditure requirements and time credits (i.e. a single hour of Cancon counts for more than an hour) for productions with specific requirements. Its most recent policy, issued in 1999, requires stations owned by the largest private groups, including CTV, Global/CH, Citytv/A-Channel, and TVA/Sun TV, to air an average of eight hours per week (between 7:00 and 11:00 p.m.) of priority programming, including the following categories:
- drama (for CRTC purposes "drama" includes scripted comedies)
- variety
- documentaries
- entertainment newsmagazines
Drama programs which meet specific requirements, including the number of Canadians in key production roles, can count for additional time credits for this purpose but not for the purposes of the overall 60%/50% requirements. (Global/CH and Citytv/A-Channel are generally prohibited from sharing priority programming.)
These current regulations have been criticized by actors' and directors' groups, among others, for not adequately favouring dramas. Indeed, the rise in popularity of low-cost reality television in general has driven Canadian broadcasters to air more of these programmes, often classified as documentaries or variety programmes, as opposed to higher-cost dramas. As well, entertainment newsmagazines now regularly air during the "priority" period on CTV (eTalk Daily), Global (ET Canada), CH (Out There with Melissa DiMarco), A-Channel (Star! Daily), and Sun TV (Inside Jam!), presumably to serve this very purpose.
The CRTC has since modified its policies slightly by increasing the incentives for airing new drama programmes. Broadcasters will now receive additional minutes of advertising above the 12 minutes per hour generally permitted, which can be aired anywhere in the schedule, in exchange for increasing the number of Canadian dramas aired and meeting certain other drama-related targets. However, contrary to some media reports, these are not mandatory targets; hence several groups are unsatisfied and wish that the CRTC compel the major networks to air a minimum number of hours of drama.
Requirements for specialty channels and premium television services — channels available only on cable and satellite — often differ greatly from those of broadcast stations. Most long-established specialty channels are expected to devote at least 50% of airtime to Cancon, while category 2 digital channels and most premium services have much lower restrictions. However, specialty channels are allowed to take part in the advertising incentives.
[edit] External links
- MAPL system (CRTC)
- Let's Fix Cancon - Site advocating changes to the Canadian Content system
- Cancon Hall Of Shame - Views opposing the Cancon system.
