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Canadian Content Regulations in a Global Context

The increasing influence of globalization in contemporary settings is having both positive and negative effects. While the world at large feels thrilled by the high level of interaction achieved because of globalization, it is a threat to domestic elements, products, and concepts. One of the industries that have significantly been affected by globalization is media and film. Ideally, films produced in one part of the world can go on to dominate theatres in nations that did not have anything to do with the production. Consequently, there is a need to have regulatory bodies such as Canadian content (Can Con) regulations to promote, by protecting domestic productions. However, for Can-Con, it remains interesting to see if their regulations are an effective approach to protecting domestic cultural production and resist the incursion of American culture.

Can-Con regulations

Can-Con regulations mainly affect TV and radio broadcast regarding the percentage of Canadian content that must be aired. Primarily the regulation state that both French and English speckling radio stations in Canada must ensure that a minimum of 35% of all the content produced especially popular music is Canadian content. The same provision applies to commercial radio stations in which at least 35% of the music they broadcast throughout the day from 6: 00 am to 6:00 pm on all weekdays is Canadian content. However, recently licensed radio stations have the minimum requirements to play Canadian content at 40% (Dachis & Schwanen, 216, pg. 2). The term Canadian content is used to refer to any media production that was produced, written either partly or entirely, presented, or contributed by people of Canadian origin. Regarding talk radio, the only existing regulation is that the station must have a properly working studio in the region from where it broadcasts. Consequently, there is no use of satellite-operated stations.

The rules for television content are higher as compared to radio. Primarily, the Can-Con regulations require that 60 % per year of all programming comprising of 50% prime time programs running between six in the evening to midnight must be of Canadian origin. However, for private television broadcasters, the requirement was lowered from 60% to 55%.

The effectiveness of the Con-Can

The current Can Com regulations are not effective in protecting domestic content in Canada. Ideally, they do not consider what the people want but focus on ensuring that domestic content; irrespective of the values it presents takes a significant place in radio and television programming. According to Emily West in her essay, “Selling Canada to Canadians,” there is a need to ensure that Canadians appreciate local content in Canada in equal measures as they often associate themselves with the successful products from the United States. The approach will mean that content providers such as media stations will not feel short-changed by requiring them to observe certain limits for local contends. For instance, most content providers prefer having American programs at prime times when more audience is watching because the Canadian audience seems to like the Americans programs more. Therefore, the change should first begin by changing the perception of the people through branding of the local content and assessing what appeals more to Canadians instead of forcing it on them.

Can-con regulations are also not effective in protecting local Canadian media products because they do not enhance differentiation with the hugely successfully Americans products. For instance, Emily (213) argues that one of the primary goals for safeguarding the domestic cultural and artistic institution in Canada is to support and differentiate them from American and other foreign products. The approach helps create a distinct Canada. However, Can-Con regulations do not aid in this as they only focus on content that has a Canadian attachment. For instance, a program might be written in America and then produced in Canada. Consequently, it will display the values and characters from America yet it will be regarded as local content based on the current Can-Con regulations.

Can-con regulations are not ideal for protecting the domestic cultural production and resisting the incursion of American culture because they only focus on the percentage of the content to air. Ideally, Cartwright and Marita Sturken (2018, pg. 13) state that the influence of content on people has more to do with the time it is aired and not the number of times it airs. Therefore, most Canadian stations, especially for television programming still offer more American products at prime times thereby encouraging the spread of American culture in Canada. For instance, the 60% requirement to air local content is not effective because most stations regard talk programs, current affairs, news, and reruns as local content while American programs dominate in dramas, films, and documentaries, which have more influence on people.

Global Streaming Platforms

Global streaming platforms programs have significant implications for the future of Canadian content. Ideally, these platforms incorporate content that is high on demand as they seek to have a larger audience all over the world. Moreover, they do not have a preference for region-specific content. Therefore, if the content has good quality and appeals to more audience worldwide, it will be selected to appear on the platform. Thus, in the short run, Canadian content will suffer because of these global streaming platforms, as competitions from top producing nations such as the USA will mean that only a fraction of Canadian content will be available on the platforms. However, on the positive side, they present a challenge to Canada to improve on the quality of their production to march those produced in the United States.