CBC/Radio Canada, the Canadian public broadcaster, has renewed its federal broadcasting license through 2027, but the attached lines include commitments for the first time to support independent television producers in the community “seeking equality”.
The CRTC, the country’s television and telecommunications watchdog, requires the CBC’s English-language services to allocate at least 30% of total programming costs to local independent series produced by “local producers, OLMC (bilingual) producers, racists and producers with disabilities. Who claim to be LGBTQ2″.
And in the final year of its future broadcast license, CBC will see the minimum spend level increase to 35%.
“CRTC is modernizing its approach to ensure that CBC/Radio Canada programs are tailored to and reflect the emerging preferences of Canadians, including equality seekers and minority and native-speaking communities. “We give CBC/Radio Canada more flexibility, ensuring that it is accountable and represents our diverse geographic and cultural realities in both official languages,” said ICT Scott, President and CEO of CRTC.
While Canadian Pubcaster does not have a specific commitment to supporting local and diverse programming, the CBC has focused on increasing the diversity of its content in recent years. But the CRTC, while agreeing to renew the CBC’s federal license, said minimum spending requirements for content diversity would help close the current capital gap when it comes to supporting independent TV and film producers from disadvantaged communities.
“The Commission believes that the issue of the diversity and relevance of CBC broadcasts has become increasingly important and that the public broadcaster has a key role to play in ensuring that Canada’s broadcasting system meets the programming needs of Indigenous Peoples. and Canadians. They are all different”, reads the decision to renew the CRTC license.
During a public hearing on the public broadcaster’s license renewal, CBC officials argued that it was too early to allocate some resources to specific issues, as splitting the network’s program pie “poses certain challenges equally.” CBC executives added that the result potentially paved the way for “mathematical programming”, the CRTC said in its final report.
The television watchdog is also seeking greater accountability from the CBC on how it measures content diversity. That’s because the CBC is facing controversy for hosting its two original series commissioned by independent producers, the original drama. trickster s Kim comfort A comedy that recently completed a hit series on Netflix.
Canadian filmmaker Michelle Latimer apologized for misrepresenting the indigenous family’s roots in Quebec’s Algonquin community after the film’s first season. trickster, The CBC television drama is about an indigenous teenager struggling to support his dysfunctional family when myths, magic and monsters enter his life.
The controversy over Latimer’s indigenous origins has drawn criticism from the Canadian film industry, where increasingly generous subsidies are offered to First Nations filmmakers in the context of industry calculations. And in social media posts, two CBC stars Kim comfort Comedy – including Marvel Studios Shang-chi and the Legend of the Ten SealsStar Simu Liu: We shared behind-the-scenes experiences working on the show, which they say has diversity issues, unfair pay, and a racist backdrop in season five.
As for in-house pubcaster programming, the CRTC said it would impose new reporting requirements “to assess the diversity of the CBC programming workforce, including employees with decision-making responsibilities for in-house programming.”
In June 2021, before hearing the license renewal, the CBC said it required that at least 30% of all major creative roles in new written and unwritten series commissioned by independent producers be owned by Black Indians. People of color or people with disabilities.
On the other hand, Telefilm Canada, the country’s leading filmmaker, has increasingly taken steps to address the two-tier industry, where privileged producers receive generous, automated funding that has long been inaccessible to Canadian filmmakers in the BIPOC and other disadvantaged communities. .
And the Canadian television industry as a whole is working on the first BIPOC media audience measurement by Numeris, a compiler of Canadian television industry statistics, to help increase on-screen performance.
Numeris and Canadian broadcasters value local audiences for popular African-American-themed series such as Power, Scandal, Empire, Atlanta, Greenleaf, Dear Whites, Blacks s Ა Reliable This plays in front of a large audience north of the border.
But the Canadian TV scene has traditionally had far fewer home shows with people of color on camera or beyond, until the 2020 protest over the murder of George Floyd was followed by Black Lives Matter in the industry.
Source: Hollywood Reporter
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