What is your favorite Cancon part?
Maybe Schitt’s Creekwhich was broadcast on CBC but it also occurred to me in Netflix. Maybe some iteration of Anne of Green Gables. Or maybe a classic David Cronenberg movie like Dead bells? All of these are considered Cancon: Achigraphy for the Canadian content, refers to film and television productions made in Canada by the Canadians.
But maybe you have a favorite program like CBS Trackerwhich is broadcast on global television in Canada. It is one of the most viewed programs in transmission and transmission according to Nielsen Ratings, an audience measurement system based in the United States. It is filmed in British Columbia and uses Canadians, but no Cancon is considered.
That is important because broadcasting agencies in this country have obligations to ensure that a minimum percentage of content that distributes spectators meets the requirements of the Cancon government to ensure that Canadian stories are available on Canadian television screens or transmission devices.
The transmission on request changed the game, with global companies such as Netflix, Amazon Prime and Disney+ dominating the market. But they have not had the same Canadian Canadian stations, and the transmission companies say that it is not realistic to expect them to do it.
That is not necessarily something that is in the minds of spectators when they are installed on the couch and reach remote control or laptop. So this is what you need to know about Cancon and the challenge of having Canadian eyes.
I just want to see my programs. What do I care?
The Canada Transmission Regulator, the Canadian Radio-Television and Telecommunications Commission (CRTC), has a bifurcation on the road when it comes to Cancon.
The reason why there are Canadian Stories and Points of Vista are not drowning through the avalanche of content flowing from the United States.
“We are a small market in a large world and sit next to a producer of prolific and very experienced content,” said Dave Forget, executive director of Guild of Canada. “There should be some space on the shelf for Canadian stories so that Canadians can also see themselves in their own experience.”
In 2023, the Canada online transmission law entered into force, updating the transmission laws to include content transmission services.
It meant that foreign transmission companies would not only have to promote or recommend Canadian program on their platforms, but that streamers that earn $ 25 million or more in Canada will have to start paying five percent of their national income to support the production of Canadian media content.
The CRTC estimates that the tax He would raise around $ 200 million a year and said the financing would be used to boost local and indigenous transmission.
But now the CRTC is also looking to update what you consider Canadian content.
“Our goal is clear: modernizing the definition of Canadian content to reflect the reality of today,” said Vicky Eatrides, CEO and president of the CRTC, during the beginning of public consultations last month, destined to review exactly what constitutes exactly Cancon and determine if foreign streamers should be maintained with the same standards as traditional broadcasters in Canada.
Public audiences in Gatineau, which, extended two weeks and concluded on May 27.
Canada has had rules to decide what account or Canadian television since 1984, but as visualization habits changed those regulations faced new questions. MAKDA GHEBRESLAssie de CBC Draw the existing definition of Canadian content, or Cancon, how it works and what could change.
So how should Canadian series and movies be?
While many films and shows from the south of the border may have been filmed in Canada, with Canadian crews and talent, it is not enough to be considered a canon in the eyes of the CRTC.
First, the producer of the film or program has to be Canadian. Then, there is a 10 -point system for key creative roles, and six out of 10 points are needed to meet the bar to be considered Cancon.
For example, if the director or writer is Canadian, that gives you two points. But, between the director and the writer, at least one must be Canadian.
That also goes to the best artists; One of the two tracks must be Canadian. That counts by one point each.
Other crew roles, such as production designer, photography director, editor and music composer, count on one point each. Other rules apply for animated productions.
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In addition to the points system, the Cancon rules claim that 75 percent of production and postproduction expenses have to go to Canadians or Canadian companies.
The requirements have loosen before. The CRTC reduced the minimum number of points needed from eight to six In 2016Something that the commission said would allow more films to be eligible for certain financing programs.
In the hearings of last month, the number of points needed for 15 was really talked about, as well as if a requirement to reflect Canadian cultural elements must be introduced.
Canadian filmmakers say they are fighting at the box office despite obtaining international recognition. They say that the delays in the online transmission law that will force the streamers to promote the Canadian content add to their problems.
So what do Netflix, Disney+ and other streamers want?
Canadian emitters, producers, and even artists, want foreign transmission services, mainly large Americans use many Canadians, to meet the minimum Cancon requirements as they do to maintain transmission licenses and qualify for subsidies.
Anthony Shim, a director whose credits include the acclaimed 2022 independent film Sleep of RiceBoyHe admits that it is a challenge to balance freedom of creativity with the need to protect Canadian artists and the storytelling of stories, an objective that says that it should always be the most important.
The writer, producer and director born in Toronto, Anthony Q. Farrell, who has worked in series, included The officeThe British series The secret life of children and CTV’s JarHe says that the definition of Cancon is more important than ever.
“Especially at a time when we are really focusing on buying Canadian and taking care of our national voice, I think it is important that … we use our Canadian creatives to tell our stories,” said Farrell, who provided recommendations in CRTC’s consultations on behalf of the Guild of writers of Canada.
He agrees that the transmission companies “earning money with Canadians” should put some of their profits again in a clear production of Canadian film and television.
Transmission companies, however, do not see it in the same way.
They were collectively represented in the consultations by the Canadian Film Association, which argued that they are already an integral part of the Canadian film and television production sector, but that they should not have the same content requirements as traditional stations.
Wendy Now, the president of the association, appeared in May 16 audiences And he said that the CRTC should make changes in its Cancon policies, including the reevaluation of the amount of points required in the 41 -year -old Cancon points system, as well as a reevaluation of what roles they qualify for the points.
She said that before the CRTC imposes the requirements of Canadian content to foreign streamers, they must “introduce significant flexibility to modernize the definition of Canadian programs.”
“Transmission policies must be simple, sustainable and flexible to allow global producers to do what they do best: create entertainment for the public at home and worldwide,” said Noss.
The CRTC will hold more Cancon consultation audiences at a later date.
But large transmission companies are also ready to fight CRTC in the Court for the implementation of the online transmission law.
They presented an appeal last year, after the commission ordered that global online transmission services bifurcan more than five percent of their national income to support the production of Canadian content.
Look | Why some creators of Canadian content are upset by the online transmission law:https://www.youtube.com/watch?v=xkqqc-nfcia
