Canadian Content, eh?
Monday, May 1st, 2006 by Christian HansenIn our last class on television, we briefly discussed “Canadian Content” rules and their relevance with respect to new technologies like Slingbox and internet broadcasting. The following explores this issue in more detail, describing content rules promulgated by the Canadian equivalent of the FCC, and what impact such rules can have on new ways of watching TV or listening to the radio.
First, a quick look at the rules. Of the music radio stations with a Canadian broadcasting license play, at least 35% must be Canadian. In this respect, “Canadian” doesn’t mean just a Canadian artist; the song must be produced there as well. French language stations must ensure that 65% of the songs they broadcast are sung in French. Satellite radio broadcasters (essentially Sirius and XM) must also obey certain content rules, but only in aggregate over all the stations being aired over their systems. International (i.e. US) stations can be broadcast, but a given number of Canadian stations must also be included in any satellite service.
Television stations licensed in Canada must ensure that 60% of their programming between 6am and midnight is “Canadian.” In this case, the producer and other key staff must be Canadian and 75% of the post-production costs must be paid to Canadians. Broadcasters can earn special credits in this system by running Canadian dramas during prime-time hours.
Canadian content (or “CanCon”) rules have often been the target of sarcasm. Sometimes referred to as “Beaver Hour” on Canadian stations, the rules also led to the creation of a couple of ironic Canadian icons. The comedy program SCTV (when first aired out of Edmonton) was required to include some Canadian content; in response, the Second City troupe came up with “Bob and Doug McKenzie.” These characters satisfied the content rules, all while poking fun at Canadian idiosyncrasies such as our national speech impediment (“eh?”) and our fondness for drinking too much beer.
CanCon rules for the radio seem to have been more successful than those for TV. For every mediocre musical act like Celine Dion or Bryan Adams that CanCon has fostered, there are acts like Sarah Feist or Arcade Fire that are worth listening to. We have yet to see similar success for television programming; I can’t think of one Canadian TV show that has made a significant mark in the US market.
The Canadian Radio-television and Telecommunications Commission (CRTC) has made some strides in keeping up with technology. For example, the rules for satellite radio discussed above are a reflection of the regulator’s ability to stay on top of the latest advances in broadcasting. That said, CRTC CanCon rules can only be applied over broadcasters seeking a Canadian license. For years TV stations in the US have intentionally broadcast into major Canadian markets like Vancouver and Toronto (selling time to Canadian advertisers) thus getting around CanCon requirements. US satellite radio service is often purchased by Canadians as well (though this requires a billing address in the US). Given the CRTC’s inability to regulate what it cannot control, it is unlikely that we will see new rules on Slingbox anytime soon (indeed, a search of the CRTC website revealed no results for “slingbox”). Should the technology become widespread, the CRTC may have no choice but to find some new way to “protect” Canadians from the scourge of Desperate Housewives.