the canadian television experience (attallah, paul. (2007). a usable history for the study of...
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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