THE CANADIAN TELEVISION EXPERIENCE

(Attallah, Paul. (2007). A Usable History for the Study of

Television. Canadian Review of American Studies, 37(3), 325-349

HISTORICAL CONTEXT

Film industry developed earlier, whereas TV controlled by corporations

which were first interested in radio

Hollywood’s response to Television:

1) withhold its product but television developed its own stars, borrowed from

radio and sometimes even Hollywood;

2) highlight technological advances, e.g. colour, 3D, Cinerama, Cinescope.

Colour TVs not widely distributed until 1972.

3) emphasize the grandeur of film – the spectacle (e.g. Cleopatra)

4) Audience segmentation – targeting particular segments of the audience.

5) Eventual strategy – to cooperate with television.

ALONG THE WAY….

Hollywood’s discovery of the Blockbuster – using television as

a way to advertise the film and cultivate interest, create spin-off

products and ‘after life’ reproductions through DVDs, CDs, etc.

VCR and pay-cable allowed other channels and ways in which

films could be recycled.

TV responded by creating special cable channels, television on

demand, etc. allowing viewers greater control over viewing

schedules.

TELEVISION’S RESPONSE

Flood market with products, utilize means to

recycle old programs through DVDs, specialty

channels

Convergence – technologies like the sound home

theatre

Convergence also with computers with interfaces

that allow for the same experience (digitization)

Reality TV – linking new technologies to the habit

of watching TV

ATALLAH

We are, therefore, confronted with television's new disposition.

No longer simply an "idiot box" or "boob tube," television is,

increasingly, an information hub that provides a cinematic

experience with content that specifically appeals to the emergent

world of gadgetry and digitization. The result is not the devaluation

of the television experience but its overvaluation. The reality TV

viewer who textmessages and trades views online is spending not

less time with television but more. "Home theatre," therefore,

encourages greater involvement in television. (page 333)

CANADA

Nothing resembling Hollywood here and no strong

cultural basis in theatrical, literary productions which

could be the foundation for cultivating stars, technicians,

directors, producers, or narratives.

CBC – created in 1936 – focus on coverage of the war

(1940s), emphasis on news and current affairs.

Entered the realm of television in 1952 – maintained

focus on documentary.

NATION-NESS: SELF VS OTHER

Canada did not want to be like the US, saw itself as

different.

Distrustful of American television.

Nationalist argument – informed the Massey Commission

Report of 1951

Canadian television was to be different from the US – not

popular and entertaining like that of the US but rather

instructive, educational, moralistic and reformist.

“Canadian television was born, therefore, into a paternalistic

atmosphere that sought to wean the public from its own

preferences.” (page 334)

By 1951 – 150,000 television sets in Canada

Today - 34,056,000 people have more than 2 TV sets (excluding

Yukon, Northwest Territories and Nunavut.

(http://www.tvb.ca/page_files/pdf/InfoCentre/TVBasics.pdf)

Recent estimates indicate that on the average, Canadians watch

30 hours of television a week.

CBC subsequently transformed from an in-house producer to a major

purchaser of externally produced content.

With Telefilm funding, development of independent production houses

Networks developed an “in house” style of production

But, medium demands constant products – so reliance on

international markets for purchase of products.

Co-productions and co-ventures (point system) for encouraging

Canadian content

Canadian style – deliberate and expository.

STANDARD CANADIAN STORY

““a small culture struggle heroically to ‘tell its own stories’ over

and against a predatory presence form the South.” … but is

constantly betrayed by indolent politicians, unfair markets and

the inexplicable preferences of audiences for American content.

This last fact is attributed to the sheer frequency of exposure to

American culture, which results in an ideological misrecognition

whereby Canadians mistake American television for what they

like while simultaneously neglecting the Canadian television that

they ought to like.” (page 338)

REGULATORY MEASURES

Increased regulatory measures imposed to protect Canadian content.

But Canadian content often becomes the backdrop of popular series.

Policies regarding the amount of US or international content on

Canadian television; lack of access to channels in the US or elsewhere

but this is increasingly being challenged by audiences and their

techniques for bypassing restrictive controls (e.g. torrents).

Canadian content inclusion made possible also by the cheaper dollar,

municipal and provincial incentives, and cheaper, available talent.

THE CULTURAL DEFENSE ARGUMENT

Underpinning the restrictions imposed and regulatory control is

the notion of a culture under siege and the necessity of protecting

Canadian culture. This does not hold true for Quebec which has a

thriving television industry and which celebrates its own culture

(defined as French, regional and in opposition to English

Canada).

For English Canada – and hence English Canadian television –

the notion of an Other is either America and more recently, an

opposition of that which is different within the nation.

National identity is based on a Self/Other distinction.

WHY WE DON’T WATCH CANADIAN TV

We are used to watching American programming

In Canada, we do not have the equivalent of Hollywood

French Television in Quebec is very different, prolific. Different

sense of nation.

Canadian shows very safe, regional focus and often parochial.

Canadian talent goes south, so to watch Canadian actors, we watch

US TV.

Lack of awareness of Canadian shows

US produces more shows for television than we do.

THE BORDER (2008)

A CBC series which focuses on stories at the US-Canada

border.

Ran for 3 seasons, syndicated to various countries

Similar in some ways to 24 and in fact, premier aired on the

same night as 24 when the show was displaced because of strike.

Accused of anti-American bias by the Americans.

Nominated for numerous awards.

https://www.youtube.com/watch?v=NrdWmOH6OUU

LA FEMME NIKITA

Avatars – changing in response to changing audiences,

changing contexts.

La Femme Nikita (film 1990, French)

https://www.youtube.com/watch?v=MploONnAKhI

Canadian version:

https://www.youtube.com/watch?v=xGLpA6HpDrc

US Version:https://www.youtube.com/watch?

v=IhelGgaa2Wg

MAIN POINTS

Canadian TV – did not develop like the US industry

Extensive Regulation as opposed to the US

deregulation of television industry

Underpinned by a conservativeness that is grounded in a

profound sentiment that we are not the US, and we don’t

want to be engulfed by the US.

Defensive position – safeguarding culture – our culture.

USABLE HISTORY OF TELEVISION

FOCUS ON THE AUDIENCE – WHO IS THE

AUDIENCE, WHAT ARE THEIR TASTES, AND WHAT

DO THEY CONSUME?

RATHER THAN FOCUS ON REGULATION, LET’S

LOOK AT CONTENT AND HOW THAT CONTENT

SPEAKS TO THE AUDIENCE – WHAT ARE STORIES

THAT IT TELLS? ABOUT THE NATION AND ITS

PEOPLE?

POINTS FROM CLASS

TV as a story-teller

TV different from film – longer, episodes allow for the development

of plot, characters

Allows for fan communities to develop and respond

Creates or allows for intimacy and alternative experiences as

compared to film

Projections: Network TV as Event TV, Crossovers, More specialty

channels and more companies like Netflix which allow for greater

control over viewing practices