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Broadcasting Public Notice CRTC 2003-54
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Ottawa, 26 September 2003 |
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Support for Canadian television drama – Call for comments
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The Commission seeks comment on actions it
might take to support the production and broadcast of more high quality,
original, English-language Canadian drama and to attract larger audiences to
such programming. The Commission also seeks comment on actions it might take
to ensure that high quality, original French-language Canadian drama remains
a key component of prime time viewing. |
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Background
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The importance of television drama
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1. |
Television is the most popular source of
information and entertainment for Canadians. According to Nielsen Media
Research data set out in Appendix 1, the average Canadian spends over 26
hours per week watching television. Of this, viewing to drama and comedy far
exceeds viewing to other program genres such as news and information, sports
and variety. BBM Bureau of Measurement (BBM) data for Fall 2002 indicates
that viewing to comedy and drama represented 39.5 % of all television viewing
during the period of the survey. |
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2. |
It is through television drama that most
Canadians participate in their national culture and share in the evolution of
social values and stories of human passion. However, since the advent of
television over fifty years ago, the national culture and evolving values
that Canadians have been exposed to on English-language television have been
predominantly those of the United States. Viewing to foreign television
drama, virtually all from the U.S., outstrips viewing to English-language
Canadian drama by a factor of 9 to 1. In 2002, 89% of all viewing to drama on
English-language television, which includes conventional as well as specialty
and pay services, was to foreign programming (see BBM data set out in
Appendix 4). |
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3. |
Canadian drama should be a cornerstone of the
Canadian broadcasting system. Drama can, and should, reflect Canadians of
every background and culture to each other. |
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4. |
There are many examples of how our television
drama has celebrated the Canadian experience or, in the words of the
Broadcasting Act (the Act), has enriched and strengthened the fabric of
Canada. English-speaking Canadians of a certain age grew up with "The
Beachcombers," "King of Kensington" and "The National Dream." In more recent
decades "Anne of Green Gables," "Due South" and "Traders" have brought large
audiences to Canadian drama on a regular basis. French-speaking viewers have
had a particularly rich heritage of dramatic programming including "Les
Plouffes," "Cré Basile," "Les filles de Caleb," "La p’tite vie," "Lance et
compte," "Un gars une fille," "Fortier," and "Virginie." French-language
public and private television has provided viewers with a consistent volume
of original drama – more than a thousand series and mini-series – since the
beginning of television in Canada. Viewers have responded to this offering
positively. |
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5. |
Despite occasional hits, English-language drama
has never had the consistent success enjoyed by French-language drama. Until
the mid 1980s, virtually all prime time drama was produced and broadcast by
the CBC. The advent of the Telefilm Broadcast Fund and specific CRTC licence
requirements encouraged private broadcasters to license greater quantities of
prime time Canadian drama. |
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6. |
It is rare for English-language Canadian drama
series to achieve audiences of over one million. A drama that reached 1.5
million viewers would be considered a major hit. Since 1997, viewing to
Canadian drama, as a percentage of all viewing to drama on English-language
television, has remained between 10% and 11%. Audiences to prime time drama
series on French-language television regularly exceed one million, and hit
programs often attract two to three million viewers. These are figures that
English-language producers and broadcasters have rarely achieved, despite
their access to a much larger audience (see Appendix 4). |
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7. |
In a report commissioned jointly by the CRTC and
Telefilm Canada, Trina McQueen wrote, "It is hard to reconcile the reality of
our viewing with the objectives of the Broadcasting Act, which through
all its many versions, has insisted that programming respond to the tastes
and interests of Canadians. Drama is the most appealing form of television
for most Canadians. If they are not watching Canadian drama, it is hard to
see how the Act is being upheld."1 |
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8. |
The Commission considers that a healthy and
successful Canadian broadcasting system must include popular drama programs
that reflect Canadian society and project Canada’s stories onto the world
stage. |
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The role of regulation
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9. |
The primary role of the CRTC with respect to
Canadian programming is to ensure that licensees offer to Canadian audiences
programming that is consistent with the "Broadcasting Policy for Canada" set
out in section 3 of the Act. The Commission does this by creating regulations
that apply to all licensees of a particular class and by imposing conditions
of licence on individual licensees. These regulations and conditions can have
the effect of stimulating demand on the part of broadcasters for certain
categories of Canadian programming. |
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10. |
Part of the regulator’s role is to define the
key terms that form the basis of the regulatory framework. The term "Canadian
program" is defined in the Television Broadcasting Regulations, 1987
using a points system that identifies certain key creative functions
performed by Canadians.2 This point
system is set out in Certification for Canadian programs – A revised
approach, Public Notice CRTC 2000-42,
17 March 2000 (Public Notice 2000-42).
Drama, including comedy, is defined according to the definition set out
below, which is taken from Definitions for new types of priority programs;
revisions to definitions of television content categories; definitions of
Canadian dramatic programs that will qualify for time credits towards
priority programming requirements, Public Notice CRTC
1999-205, 23 December 1999. |
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Category 7 Drama and Comedy
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Entertainment productions of a fictional nature, including
dramatisations of real events. They must be comprised primarily of (i.e.
more than 50%) dramatic performances. Category 7 includes the following
subcategories:
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a) On-going dramatic series;
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b) On-going comedy series (sitcoms);
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c) Specials, mini-series, and made-for-TV feature films;
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d) Theatrical feature films aired on television;
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e) Animated television programs and films (excludes computer graphic
productions without story lines);
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f) Programs of comedy sketches, improvisations, unscripted works,
stand-up comedy; and
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g) Other drama, including, but not limited to, readings, narratives,
improvisations, tapes/films of live theatre not developed specifically
for television, experimental shorts, video clips, continuous action
animation (e.g. puppet shows).
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11. |
The Commission’s regulatory approach to
promoting Canadian drama has evolved over the years. Prior to 1979, there was
no regulatory requirement for Canadian television licensees to broadcast
Canadian drama. In that year, the Commission issued CTV Television Network
Ltd., Decision CRTC 79-453, 3 August 1979, in which it renewed the
licence for the CTV Television Network for three years and imposed a
condition of licence requiring CTV to broadcast a minimum of 26 hours of
original Canadian drama during the 1980-81 broadcast year, and 39 hours of
original Canadian drama during the 1981-82 season. This decision was appealed
to the Supreme Court of Canada which, in 1982, ruled in favour of the
Commission’s right to impose such a condition. |
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12. |
Throughout the 1980s and 1990s, in licence
renewal decisions for the major private English-language licensees CTV and
Global, the Commission imposed conditions of licence setting minimum
requirements with respect to the number of hours of Canadian drama that must
be broadcast, as well as minimum requirements with respect to expenditures on
Canadian entertainment programming. |
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13. |
In 1993, following the Structural Public
Hearing, the Commission announced plans for the creation of a new Canadian
programming fund through contributions from certain cable licensees. The
guidelines for the Cable Production Fund (CPF), which included an emphasis on
the funding of Canadian drama programs, were set out in The Production
Fund, Public Notice CRTC 1994-10, 10
February 1994. In its first year of operation, the CPF contributed over $34
million to independent productions. In 1996, the Minister of Canadian
Heritage announced the creation of a new entity, the Canada Television and
Cable Production Fund (CTCPF). This fund combined the existing CPF and the
Telefilm Broadcast Fund with new funding from the Canadian government.
The Commission endorsed the transfer of supervision of the CPF to the
Department of Canadian Heritage in Transfer of oversight of the Cable
Production Fund (CPF), Public Notice CRTC
1996-159, 20 December 1996. The CTCPF evolved into the Canadian
Television Fund (CTF) and the current contributions that licensed broadcast
distribution undertakings are required to make under the Broadcasting
Distribution Regulations amount to almost $100 million annually. |
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14. |
The following requirements for CTV relating to
the number of hours of drama were set out in Television network licence
renewal, Decision CRTC 94-33,
9 February 1994 (Decision 94-33),
which was the last licence renewal decision for CTV before the Commission
issued its 1999 television policy: |
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5. The licensee shall broadcast in network sales time between 8:00 p.m.
and 11:00 p.m. Monday through Friday, and between 7:00 p.m. and 11:00 p.m.
Saturday and Sunday, the following average number of hours per week of
regularly-scheduled Canadian drama programming in each year of the licence
term: 3 hours per week in each of the first three years, and 3 hours 30
minutes per week in each of the last two years.
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6. The licensee shall broadcast in network sales time between 8:00 p.m.
and 11:00 p.m. Monday through Friday, and between 7:00 p.m. and 11:00 p.m.
Saturday and Sunday, a minimum of 48 hours per year of Canadian dramatic
features, mini-series and limited series, to be averaged over the licence
term.
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15. |
In Decision
94-33, the Commission
expressed it expectation that CTV would adhere to its commitment that the
proportion of original hours, as opposed to repeats, would remain above 70%. |
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16. |
The following requirements for Canwest Global’s
Ontario station CIII-TV were set out in Licence renewal for CIII-TV,
Decision CRTC 96-72, 29
December 1996 (Decision 96-72): |
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6. The licensee shall broadcast, at a minimum, in each broadcast year,
an average of 4 hours each week of Canadian drama between 8 p.m. and 11
p.m. Monday through Friday, and between 7:00 p.m. and 11:00 p.m. on
Saturday and Sunday.
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17. |
In Decision 96-72, the Commission noted Global’s
commitment that 50% of its Canadian drama hours would be original programs. |
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18. |
In June 1999, the Commission released its new
television policy, Building on success: A policy framework for Canadian
Television, Public Notice CRTC 1999-97,
11 June 1999 (the Television Policy). The Television Policy established the
concept of priority programs, which include: |
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Canadian drama
programs (Category 7);
Canadian music and dance, and variety programs (Categories 8a & 9);
Canadian long-form documentary programs (Category 2b);
Canadian regionally produced programs in all categories other than News and
Information (Categories 1, 2a and 3) and Sports (Category 6); and
Canadian entertainment magazine programs. |
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19. |
The Television Policy indicated that the largest
multi-station ownership groups (CTV, TVA and Canwest Global) would be
required to broadcast, over the broadcast year, on average at least 8 hours
per week of priority Canadian programs during the 7 p.m. – 11 p.m. viewing
period. |
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20. |
The Television Policy also stated that the
Commission would remove expenditure requirements with respect to Canadian
programs on the following grounds: |
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The Canadian broadcasting system has become increasingly competitive. In
such an environment, licensees need flexibility and diversity to attract
the largest possible audiences and advertising revenues. The Commission
believes that, in a competitive environment, licensees require high quality
programming to win audience loyalty.
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The Commission is concerned that the existing expenditure requirements
are complex and may not provide licensees with the flexibility they require
to adapt their programming strategies to a highly competitive marketplace.
In addition, concerns regarding the equitable application of expenditure
requirements have begun to outweigh the benefits.
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21. |
In addition, the Television Policy significantly
changed the existing time credits for dramas that achieve 10 points under the
system set out in Public Notice 2000-42
(10-point Canadian drama). Previously, a 150% credit was given to such
programs against the licensee’s overall Canadian content requirements. This
meant that, for every hour of 10-point Canadian drama broadcast during peak
viewing periods, the licensee could schedule an additional thirty minutes of
foreign programming. Under the Television Policy, the 150% credit could be
applied against the 8-hour priority programming requirement, but not against
overall Canadian content requirements. A new credit of 125% for Canadian
drama programs that achieved less than 10 points and were scheduled in peak
viewing periods was also introduced and is applied against a licensee’s
priority programming requirements. |
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22. |
In justifying this new approach to time credits,
the Commission stated: |
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The economics of the Canadian marketplace are such that it remains very
expensive to create and exhibit Canadian drama and the Commission considers
that incentives for broadcasters to acquire such programs are warranted.
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The Commission recognizes that all distinctively Canadian drama programs
in the subcategories 7a) to 7e) are costly to produce and acquire and are
often more difficult to export. Therefore, the Commission has concluded
that Canadian dramas that receive the full 10 Canadian key creative points
will receive a 150% credit in recognition of these factors.
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Canadian drama programs that receive less than 10 key creative points
are also expensive. Producing these programs employs thousands of skilled
Canadians and revenues from sales abroad are key to the profitability of
independent producers. The Commission wishes to encourage the production,
exhibition and export of all Canadian drama. It has therefore
decided to provide a 125% credit for Canadian dramas in categories 7a) to
7e) that receive 6 to 9 points.
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23. |
In 2001, the Commission issued Licence
renewals for the television stations controlled by CTV, Decision CRTC
2001-457, 2 August 2001 and
Licence renewals for the television stations controlled by Global,
Decision CRTC 2001-458, 2
August 2001. In these decisions, the Commission renewed the television
licences controlled by CTV and Canwest Global for a seven year term. As
contemplated by the Television Policy, conditions requiring 8 hours per week
of priority programs were attached to these licences. There were no specific
requirements for Canadian drama. In both decisions, the Commission made the
following statements: |
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The Commission is satisfied that the priority programming proposed by
CTV (and Global) consists of a reasonable balance of programming genres,
with an emphasis on drama. In the Commission’s view, it is premature to
make any substantive alterations to the Television Policy, a policy that
has only been in effect for a year. The Commission will be monitoring and
evaluating all aspects of this policy over the next several years.
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The Commission has decided, therefore, to re-impose3
on the licence of each CTV (and Global) station, a condition
of licence that requires the licensee to broadcast in each week, as a
minimum in each broadcast year, an average of 8 hours of Canadian programs
in the priority program categories between the hours 7 p.m. and 11 p.m. The
Commission will continue to monitor CTV’s (and Global’s) performance with
respect to the provision of priority programming, and expects that
each station’s schedule will reflect a reasonable distribution of priority
programming both throughout the broadcast week and the broadcast year.
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Evaluating the success of the Commission’s Canadian drama policies
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24. |
It is possible to evaluate the success of the
Commission’s drama policies by examining three key criteria: hours of
Canadian drama broadcast, expenditures on Canadian drama and viewing to
Canadian drama. |
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Hours of Canadian drama
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25. |
Licensees are required to submit logs to the
Commission identifying all the programs that they broadcast. Based on these
logs, the Commission can calculate the number of hours of Canadian drama
offered by licensees. Appendix 2 sets out the information filed by the
major English-language and French-language licensees with respect to the
broadcast of Canadian drama in peak viewing hours (7:00 p.m. – 11:00 p.m.).
In the four years since 1998/99, the amount of drama broadcast by the
English-language services CBC (CBLT-TV), CTV (CFTO-TV) and Global (CIII-TV)
has declined by approximately 68 hours annually. During the same period, the
Canadian drama broadcast by the French-language services SRC (CBFT-TV) and
TVA (CFTM-TV) declined by approximately 51 hours per year. |
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Expenditures on Canadian drama
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26. |
Although the Commission removed expenditure
requirements from most broadcasters as part of its 1999 Television Policy, it
continues to monitor licensees’ spending on all types of programming. Based
on the annual returns filed by licensees, Appendix 3 sets out the spending on
Canadian drama for the period 1997 through 2002. This information shows that,
while spending fluctuates year by year, English-language licensees have
increased their spending on Canadian drama by 43% since 1997. French-language
broadcasters’ spending on Canadian drama has increased by 20% over the same
period. |
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Viewing to Canadian drama
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27. |
The Commission has been tracking viewing to
Canadian drama programs, as a percentage of all viewing to drama on
English-language stations, since the early 1980s. The information is based
upon the BBM Fall sweep weeks. English-language stations include all Canadian
and U.S. conventional, specialty and pay television services, with the
exception of ethnic services (Appendix 4). |
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28. |
Based on this data, in 1983, viewing to Canadian
drama on English-language television constituted 4% of all drama viewing. A
full 96% of viewing was to drama that was created by Americans for the U.S.
market. Between the mid 1980s and 1997, the percentage of viewing to Canadian
drama on English-language television more than doubled to 10% of all viewing.
Regulatory requirements may have had an influence on this trend, but so did
the creation of the Telefilm Broadcast Fund, the Canadian Television Fund and
other public and private support mechanisms for the production of drama
programs. |
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29. |
While viewing to Canadian drama has remained
almost static since 1997 at between 10% and 11% of all viewing on
English-language stations, it should be noted that during this period viewing
was increasingly fragmented as a result of the availability of additional
Canadian and foreign television services. |
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The definition of drama
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30. |
As noted in paragraph 10 above, the Commission’s
definition of drama includes a number of genres of fiction programming such
as features, comedy series, stand-up comedy, improvisations and scripted
animation. The data collected by the Commission with respect to viewing,
expenditures and hours broadcast includes all the genres set out in the
definition. Further, all genres of drama qualify as priority programs and
most could qualify for the time credits described in paragraph 21 above. The
Commission will consider proposals for changes to the current definition of
drama (Category 7) where such changes could further the objectives of this
proceeding. |
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Specialty services
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31. |
Original Canadian series drama gains its largest
audiences on the major over-the-air services. In recent years, however,
specialty services have increasingly played a role, not only by serving as
second and subsequent windows for Canadian drama, but also by commissioning
original dramatic works. Neilsen data for 2001/2002 indicate that,
collectively, Canadian pay and specialty services now attract a greater share
of English-language viewing than the private conventional stations. Of the
Canadian specialty services licensed, all but a few are permitted to carry
drama programs. The Commission is prepared to consider proposals that may
encourage specialty services to play a greater role in the creation and
presentation of Canadian drama. |
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Regulation of drama in other jurisdictions
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32. |
European Union countries are subject to the
Television Without Frontiers Directive4
which specifies that: |
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Member states shall ensure where practicable and by appropriate means
that broadcasters reserve for European works ... a majority proportion of
their transmission time, excluding the time appointed to news, sports
events, games, advertising, teletext services and teleshopping.
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33. |
Effectively, this provision means that
European-produced dramatic programs, along with music, variety and
documentary genres, occupy the majority of broadcast time. |
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34. |
As noted by Barry Kiefl in his report prepared
for the CRTC, "While there is a considerable amount of foreign, mostly U.S.,
drama on European and Australian TV screens, there is also a very substantial
and growing domestic component, especially in prime time viewing hours. … In
Europe more than 50% of drama in prime time is domestic, except in Italy
where the production industry has been slower to develop."5 |
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35. |
Australia has a regulatory mechanism designed
specifically to support indigenous drama. The Australian approach, which is
under review by the Australian government at this time, is based on a minimum
quota for dramatic programs. The quota is not based solely upon hours or
expenditures but rather on a minimum number of points that each broadcaster
must achieve. The score for each drama program is calculated using a
measuring system that multiplies a ‘format factor’ by the program’s duration
in minutes. The format factors reflect relative production values and the
costs and risks associated with different types of drama. More information on
the Australian system can be found at the Web site of the Australian
Broadcasting Authority.6 |
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36. |
The Commission notes that other jurisdictions,
such as Australia and the European Union, define a domestic television
program using different criteria than those used in Canada. These differences
in definitions make it difficult to compare the performance of domestic drama
from one jurisdiction to another. |
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The French-Canadian experience
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37. |
In a report prepared for the CRTC and Telefilm
Canada7, Guy Fournier identified the
following as the key reasons for the success of Canadian French-language
drama: |
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Television rapidly became the preferred and usually the only means of
expression for Quebec artists and crafts persons.
Viewers recognize themselves in French-language dramas and identify
with them.
A successful star system has been built up step by step over the last
fifty years. All media and media personalities see the benefit in promoting
Quebec television drama.
French-language series have long runs. Thirty of the longest running
series have been on air for an average of six seasons.
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38. |
The following questions and concerns arise with
respect to the future of French-language drama: |
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Viewing trends show that specialty services are progressively
increasing their viewing shares with potential negative impacts on
advertising for the conventional networks. Consequently, will the networks
be able to continue producing drama programs of the same quality and
quantity, and should specialty services play a greater role in
French-language drama?
The changing demographics of Quebec are not fully reflected in today’s
drama programs. Reflecting the new face of Quebec is a challenge that must
be met.
"Reality" television has had an enormous impact on Quebec television.
Could this new genre become a threat to scripted French-language drama, or
provide a new way to reflect a changing society?
The decline in ratings for public television could compromise the
future quality of drama on French-language television in Canada.
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39. |
The Commission seeks comments on the above
questions and concerns or on other issues related to the future of
French-language Canadian drama. |
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Regulatory incentives
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40. |
In the past, the Commission has made limited use
of regulatory incentives with respect to Canadian drama. The 150% time credit
for 10-point drama had been in effect since 1984 when, as noted above, it was
changed significantly in the 1999 Television Policy. |
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41. |
By their very nature, regulatory incentives
provide licensees with relief from certain obligations in exchange for
actions that may not otherwise be taken and are deemed to be in the public
interest. As explained above, time credits for Canadian drama have, in the
past, allowed licensees to reduce their overall Canadian content and,
currently, permit them to reduce their requirements for priority programming. |
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42. |
In her report, Dramatic Choices, Trina
McQueen proposes a number of very specific incentives which, in her opinion,
would provide positive reasons for major English-language broadcasters to
schedule and promote drama in the best possible way. Some of the proposed
incentives would allow licensees who broadcast 10-point Canadian drama not
only to reduce their Canadian content but also to increase the amount of
advertising permitted. Others would reward "hit" drama programs with
additional time credits that would be applied against their overall Canadian
content obligations. |
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43. |
In order to better evaluate Ms McQueen’s
proposals, the Commission asked Nordicity Group Ltd. (Nordicity) to develop a
model by which the financial impact of certain of the incentives proposed
could be assessed8. In preparing its
report,
Nordicity had access to information collected by the CRTC, some of which is
considered confidential. |
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44. |
The Commission will very shortly make the
Nordicity report public, but without including specific financial
information. Interested parties will be able to access the report on the CRTC
Web site and on the public file of this proceeding. The Commission seeks
comments on the Nordicity model, as well as Ms McQueen’s proposals. In
particular, the Commission expects that major English-language broadcasters
will provide information to show how these models, or an alternative, could
apply to their undertakings. |
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The financing of Canadian drama
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45. |
The Commission recognizes that the funds
available to produce new Canadian drama programs are finite and come from a
variety of private and public sources. Further, the financing model for any
given drama project is complex and varies with the particular genre,
broadcaster and production company. While the Commission has little direct
impact on either the public or private dollars available for drama
production, it is important that it understand as clearly as possible the
financial impact of any regulatory requirements for Canadian drama on its
licensees. Accordingly, the Commission seeks, from interested parties,
information that will allow it to better understand what can reasonably be
expected from Canadian broadcasters, given their own resources and the
resources made available in the rest of the system. |
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Audience measurement
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46. |
Some of the incentives that have been proposed
would reward licensees for achieving specific targets with respect to
audiences to Canadian drama. In order for such incentives to work, the
Commission will have to use audience measurement technologies and data that
were agreed to be appropriate to the task, fair to all licensees and
available in a timely and cost effective manner. |
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47. |
The Commission is interested in receiving
specific suggestions regarding the fairest and most effective audience
measurement tools that it might use to determine the success of individual
drama programs, taking into account the variations in potential audience
reach among conventional and specialty licensees. |
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Call for comments
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48. |
In light of the background set out above, as
well as recent studies and reports on Canadian drama, the Commission seeks
comment on actions it might take to support the production and broadcast of
more high-quality, original, English-language Canadian drama and to attract
larger audiences to such programming. With respect to French-language drama,
the Commission seeks comment on actions it might take to ensure that
high-quality, original Canadian drama remains a key component of prime time
viewing. The information, analysis and proposals set out in the reports
commissioned by the CRTC will be available on the Commission’s Web site. |
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49. |
Specifically, the Commission seeks comment on
the following questions: |
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1. What are the most important elements necessary to ensure an
appropriate quantity of original Canadian drama on English-language
television, and to attract larger audiences to such programming?
|
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2. How effective are regulatory requirements, or regulatory incentives,
in achieving the objectives of increasing the amount of original,
English-language drama programming and attracting larger audiences to that
programming?
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3. If regulatory requirements, or incentives, can be effective tools in
fulfilling the Commission’s objectives, what specific proposals should the
Commission adopt? Such proposals should be as detailed as possible, and the
reasons for their effectiveness set out.
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4. While it is generally considered that the most pressing problems
concern English-language drama, there are concerns that French-language
drama may not remain as healthy in the future. How can the Commission help
to ensure the continued production of popular, original, French-language
drama? What specific requirements, or incentives, designed to support
English-language drama may affect French-language drama? Should the
Commission develop separate and distinct regulatory regimes, or incentive
programs, for the two language markets?
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50. |
The Commission will accept comments
that it receives on or before 14 November 2003. |
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51. |
Following the Commission’s review of
these comments, it may call for further submissions if it considers that
additional information is necessary. The Commission will then determine if
changes to its current regulations or policies are appropriate. If so, the
Commission will publish the proposed changes and provide an opportunity for
comment. |
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52. |
The Commission will not formally
acknowledge comments. It will, however, fully consider all comments and they
will form part of the public record of the proceeding, provided that the
procedures for filing set out below have been followed. |
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Procedures for filing comments
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53. |
Interested parties can file their
comments either electronically (i.e. by email) or on paper. Submissions
longer than five pages should include a summary. |
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54. |
Parties wishing to file their
comments electronically can do so by sending them to
procedure@crtc.gc.ca. |
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55. |
Parties wishing to file their
comments on paper should send them to the Secretary General, CRTC, Ottawa,
K1A 0N2. |
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56. |
Please number each paragraph of your
submission. In addition, please enter the line ***End of document***
following the last paragraph. This will help the Commission verify that the
document has not been damaged during transmission. |
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57. |
The Commission will make comments
filed in electronic form available on its web site at www.crtc.gc.ca but only
in the official language and format in which they are submitted. Such
comments may be accessed in the Public Proceedings section of the CRTC
web site. Copies of all comments, whether filed on paper or in electronic
form, will also be placed on the public examination file. |
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58. |
The Commission encourages interested
parties to monitor the public examination file (and/or the Commission’s web
site) for additional information that they may find useful when preparing
their comments. |
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Examination of public comments and related documents at the following
Commission offices during normal business hours
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Central Building
Les Terrasses de la Chaudière
1 Promenade du Portage, Room G-5
Hull, Quebec K1A 0N2
Tel: (819) 997-2429 - TDD: 994-0423
Fax: (819) 994-0218 |
| |
Metropolitan Place,
99 Wyse Road, Suite 1410,
Dartmouth, Nova Scotia, B3A 4S5.
Tel: (902 426-7997 – TDD: 426-6997
Fax: (902) 426-2721 |
| |
405 de Maisonneuve Blvd. East
2nd Floor, Suite B2300
Montréal, Quebec H2L 4J5
Tel: (514) 283-6607
Fax: (514) 283-3689 |
| |
55 St. Clair Avenue East
Suite 624
Toronto, Ontario M4T 1M2
Tel: (416) 952-9096
Fax: (416) 954-6343 |
| |
Kensington Building
275 Portage Avenue
Suite 1810
Winnipeg, Manitoba R3B 2B3
Tel: (204) 983-6306 - TDD: 983-8274
Fax: (204) 983-6317 |
| |
Cornwall Professional Building
2125 - 11th Avenue
Room 103
Regina, Saskatchewan S4P 3X3
Tel: (306) 780-3422
Fax: (306) 780-3319 |
| |
10405 Jasper Avenue
Suite 520
Edmonton, Alberta T5J 3N4
Tel: (780) 495-3224
Fax: (780) 495-3214 |
| |
530-580 Hornby Street
Vancouver, British Columbia V6C 3B6
Tel: (604) 666-2111 - TDD: 666-0778
Fax: (604) 666-8322 |
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Secretary General |
| |
This document is available in alternative
format upon request and may also be examined at the following Internet site:
http://www.crtc.gc.ca |
| |
Appendices to Broadcasting Public Notice CRTC 2003-54
|
| |
Appendix 1
|
| |
Television Viewing - Average Weekly Hours per Viewer
|
| |
Sources: BBM: 2002-03 Television Data Book; Nielsen Media Research; CBC
Research |
| |
Appendix 2
|
| |
Number of Drama and Comedy Program Hours Broadcast During
Peak Viewing Hours (7 p.m. to 11 p.m.)
|
| |
The following tables set out the number of drama
and comedy (category 7) program hours broadcast during the 1998/99 to 2001/02
broadcast years in the peak viewing period of 7 p.m. to 11 p.m. for the
following conventional television stations: |
| |
- CFTO-TV, Toronto (CTV)
- CIII-TV, Toronto (Global)
- CBLT-TV, Toronto (CBC)
- CFTM-TV, Montréal (TVA)
- CBFT-TV, Montréal (SRC)
|
| |
Note: Calculation of the Average Weekly Hours
of Drama and Comedy = Total Hours of Drama and Comedy divided by 365 days
times 7 days.
Source: Information taken from the logs data filed by the station with the
CRTC. Information on file in August 2003 |
| |
| Summary |
Total Hours per year |
Average Weekly Hours |
| (hh:mm) |
1998/99 |
1999/00 |
2000/01p |
2001/02p |
98/99 |
99/00 |
00/01p |
01/02p |
| CBLT-TV, Toronto (CBC) |
293:47 |
359:37 |
282:30 |
248:40 |
5:38 |
6:53 |
5:25 |
4:46 |
| CFTO-TV, Toronto (CTV) |
291:51 |
263:34 |
270:58 |
247:31 |
5:35 |
5:03 |
5:11 |
4:44 |
| CIII-TV, Toronto (Global) |
286:52 |
323:01 |
338:03 |
307:52 |
5:30 |
6:11 |
6:29 |
5:54 |
| Subtotal |
872:32 |
946:14 |
891:31 |
804:04 |
16:44 |
18:08 |
17:05 |
15:25 |
| CBFT, Montréal (SRC) |
331:29 |
314:22 |
349:44 |
347:30 |
6:21 |
6:01 |
6:42 |
6:39 |
| CFTM-TV, Montréal (TVA) |
278:50 |
237:30 |
248:21 |
211:23 |
5:20 |
4:33 |
4:45 |
4:03 |
| Subtotal |
610:20 |
551:52 |
598:05 |
558:53 |
11:42 |
10:35 |
11:28 |
10:43 |
| Total |
1482:52 |
1498:06 |
1489:37 |
1362:58 |
28:26 |
28:43 |
28:34 |
26:08 |
| P =
preliminary data |
|
| |
| (hh:mm) |
Total Hours per Year |
Average Weekly Hours |
| CFTO-TV,
Toronto (CTV) |
1998/99 |
1999/00 |
2000/01p |
2001/02p |
98/99 |
99/00 |
00/01p |
01/02p |
|
07a |
Ongoing dramatic
series |
220:47 |
198:06 |
158:12 |
171:09 |
4:14 |
3:47 |
3:02 |
3:16 |
|
07b |
Ongoing comedy
series |
0:00 |
9:55 |
0:59 |
7:25 |
0:00 |
0:11 |
0:01 |
0:08 |
|
07c |
Specials,
mini-series etc. |
55:41 |
47:45 |
72:03 |
48:30 |
1:04 |
0:54 |
1:22 |
0:55 |
|
07d |
Theatrical feature
films |
0:00 |
0:00 |
0:00 |
0:00 |
0:00 |
0:00 |
0:00 |
0:00 |
|
07e |
Animated TV prog.
|
1:00 |
0:00 |
7:00 |
1:27 |
0:01 |
0:00 |
0:08 |
0:01 |
|
07f |
Programs of comedy
sketches |
13:23 |
7:48 |
32:43 |
18:59 |
0:15 |
0:08 |
0:37 |
0:21 |
|
07g |
Other Drama |
1:00 |
0:00 |
0:00 |
0:00 |
0:01 |
0:00 |
0:00 |
0:00 |
|
Total Drama |
291:51 |
263:34 |
270:58 |
247:31 |
5:35 |
5:03 |
5:11 |
4:44 |
| P =
preliminary data |
|
| |
| (hh:mm) |
Total Hours per Year |
Average Weekly Hours |
|
CIII-TV, Toronto (Global) |
1998/99 |
1999/00 |
2000/01p |
2001/02p |
98/99 |
99/00 |
00/01p |
01/02p |
|
07a |
Ongoing dramatic
series |
190:32 |
215:36 |
233:35 |
184:52 |
3:39 |
4:08 |
4:28 |
3:32 |
|
07b |
Ongoing comedy
series |
70:53 |
61:32 |
45:15 |
1:27 |
1:21 |
1:10 |
0:52 |
0:01 |
|
07c |
Specials,
mini-series etc. |
6:55 |
23:24 |
23:48 |
33:48 |
0:07 |
0:26 |
0:27 |
0:38 |
|
07d |
Theatrical feature
films |
0:00 |
0:00 |
0:00 |
0:00 |
0:00 |
0:00 |
0:00 |
0:00 |
|
07e |
Animated TV prog. |
17:02 |
22:23 |
35:23 |
87:44 |
0:19 |
0:25 |
0:40 |
1:40 |
|
07f |
Programs of comedy
sketches |
0:00 |
0:00 |
0:00 |
0:00 |
0:00 |
0:00 |
0:00 |
0:00 |
|
07g |
Other Drama |
1:28 |
0:04 |
0:00 |
0:00 |
0:01 |
0:00 |
0:00 |
0:00 |
|
Total Drama |
286:52 |
323:01 |
338:03 |
307:52 |
5:30 |
6:11 |
6:29 |
5:54 |
| P =
preliminary data |
|
| |
| (hh:mm) |
Total Hours per Year |
Average Weekly Hours |
| CBLT-TV,
Toronto (CBC) |
1998/99 |
1999/00 |
2000/01p |
2001/02p |
98/99 |
99/00 |
00/01p |
01/02p |
|
07a |
Ongoing dramatic
series |
104:52 |
135:00 |
89:00 |
66:59 |
2:00 |
2:35 |
1:42 |
1:17 |
|
07b |
Ongoing comedy
series |
17:30 |
21:00 |
40:18 |
14:30 |
0:20 |
0:24 |
0:46 |
0:16 |
|
07c |
Specials,
mini-series etc. |
40:00 |
48:12 |
26:20 |
50:48 |
0:46 |
0:55 |
0:30 |
0:58 |
|
07d |
Theatrical feature
films |
11:25 |
12:39 |
4:00 |
4:00 |
0:13 |
0:14 |
0:04 |
0:04 |
|
07e |
Animated TV prog .
|
2:00 |
2:06 |
6:30 |
1:30 |
0:02 |
0:02 |
0:07 |
0:01 |
|
07f |
Programs of comedy
sketches |
111:30 |
137:10 |
113:52 |
108:53 |
2:08 |
2:37 |
2:11 |
2:05 |
|
07g |
Other Drama |
6:30 |
3:30 |
2:30 |
1:59 |
0:07 |
0:04 |
0:02 |
0:02 |
|
Total Drama |
293:47 |
359:37 |
282:30 |
248:40 |
5:38 |
6:53 |
5:25 |
4:46 |
| P =
preliminary data |
|
| |
| (hh:mm) |
Total Hours per Year |
Average Weekly Hours |
| CFTM-TV,
Montréal (TVA) |
1998/99 |
1999/00 |
2000/01p |
2001/02p |
98/99 |
99/00 |
00/01p |
01/02p |
|
07a |
Ongoing dramatic
series |
190:04 |
170:32 |
165:13 |
128:55 |
3:38 |
3:16 |
3:10 |
2:28 |
|
07b |
Ongoing comedy
series |
46:37 |
35:43 |
37:41 |
56:12 |
0:53 |
0:41 |
0:43 |
1:04 |
|
07c |
Specials,
mini-series etc. |
28:59 |
12:23 |
26:05 |
5:59 |
0:33 |
0:14 |
0:30 |
0:06 |
|
07d |
Theatrical feature
films |
11:26 |
14:50 |
11:06 |
11:34 |
0:13 |
0:17 |
0:12 |
0:13 |
|
07e |
Animated TV prog.
|
1:43 |
3:22 |
8:15 |
1:58 |
0:02 |
0:03 |
0:09 |
0:02 |
|
07f |
Programs of comedy
sketches |
0:00 |
0:38 |
0:00 |
6:42 |
0:00 |
0:00 |
0:00 |
0:07 |
|
07g |
Other Drama |
0:00 |
0:00 |
0:00 |
0:00 |
0:00 |
0:00 |
0:00 |
0:00 |
|
Total Drama |
278:50 |
237:30 |
248:21 |
211:23 |
5:20 |
4:33 |
4:45 |
4:03 |
| P =
preliminary data |
|
| |
| (hh:mm) |
Total Hours per Year |
Average Weekly Hours |
| CBFT, Montréal
(SRC) |
1998/99 |
1999/00 |
2000/01p |
2001/02p |
98/99 |
99/00 |
00/01p |
01/02p |
|
07a |
Ongoing dramatic
series |
243:31 |
184:45 |
227:53 |
212:59 |
4:40 |
3:32 |
4:22 |
4:05 |
|
07b |
Ongoing comedy
series |
24:51 |
56:03 |
58:41 |
66:24 |
0:28 |
1:04 |
1:07 |
1:16 |
|
07c |
Specials,
mini-series etc. |
28:44 |
64:33 |
20:21 |
22:42 |
0:33 |
1:14 |
0:23 |
0:26 |
|
07d |
Theatrical feature
films |
13:42 |
6:47 |
20:35 |
22:43 |
0:15 |
0:07 |
0:23 |
0:26 |
|
07e |
Animated TV prog.
|
3:23 |
0:12 |
0:06 |
0:05 |
0:03 |
0:00 |
0:00 |
0:00 |
|
07f |
Programs of comedy
sketches |
8:53 |
0:59 |
22:04 |
21:38 |
0:10 |
0:01 |
0:25 |
0:24 |
|
07g |
Other Drama |
8:24 |
0:59 |
0:00 |
0:56 |
0:09 |
0:01 |
0:00 |
0:01 |
|
Total Drama |
331:29 |
314:22 |
349:44 |
347:30 |
6:21 |
6:01 |
6:42 |
6:39 |
| P =
preliminary data |
|
| |
Appendix 3
|
| |
Programming and Production Expenses
Category 7 – Drama
|
| |
| |
|
|
|
|
|
|
Annual % Growth |
Growth
97 to 02 |
|
($000) |
1997 |
1998 |
1999 |
2000 |
2001 |
2002 |
98 |
99 |
00 |
01 |
02 |
| English-Language |
| Private Conventional Television* |
45,047 |
73,008 |
57,818 |
60,443 |
62,594 |
58,589 |
62% |
-21% |
5% |
4% |
-6% |
30% |
| CBC Television |
35,945 |
35,325 |
62,016 |
62,407 |
46,212 |
57,150 |
-2% |
76% |
1% |
-26% |
24% |
59% |
| Subtotal |
80,992 |
108,333 |
119,834 |
122,850 |
108,806 |
115,739 |
34% |
11% |
3% |
-11% |
6% |
43% |
| French-Language |
|
Private Conventional Television & SRC |
53,659 |
59,941 |
57,974 |
59,800 |
59,502 |
64,322 |
12% |
-3% |
3% |
0% |
8% |
20% |
|
Total |
134,651 |
168,274 |
177,809 |
182,650 |
168,308 |
180,061 |
25% |
6% |
3% |
-8% |
7% |
34% |
*Includes ethnic stations
Source: CRTC Financial Database |
|
| |
Appendix 4
|
| |
Viewing to Canadian Drama as a Percentage of All Viewing
to Drama On English-Language Services*
|
| |
| 1983 |
1984 |
1985 |
1986 |
1991 |
1996 |
1997 |
1998 |
1999 |
2000 |
2001 |
2002 |
| 4% |
4% |
6% |
7% |
6% |
8% |
10% |
10% |
11% |
11% |
11% |
11% |
Based on BBM fall surveys and CRTC database
All Canada, All Persons 2+
* Includes all Canadian and U.S. conventional, specialty and pay television
services with the exception of ethnic television services. |
| |
Viewing to Canadian Drama as a Percentage of All Viewing
to
Drama On French-Language Services
|
| |
| 1991 |
1996 |
1997 |
1998 |
1999 |
2000 |
2001 |
2002 |
| 43% |
42% |
48% |
49% |
50% |
47% |
51% |
52% |
BBM fall surveys and CRTC database
All Canada, All Persons 2+ |
| |
Footnotes :
1
Dramatic Choices – A report on Canadian English-language drama.
Prepared by Trina McQueen for the CRTC and Telefilm Canada. May 2003
2 For more
information on how the Commission defines a Canadian television program, see
www.crtc.gc.ca/eng/cancon/t_program.htm
3 Following
the publication of the Television Policy, a number of licences for CTV and
Global stations were amended to impose the obligation to broadcast priority
programming.
4 For a
description of the directive see
http://europa.eu.int/comm/avpolicy/regul/twf/newtfwf-e.htm
5
International TV Programming and Audience Trends 1996 – 2001. A report
prepared for the CRTC by Barry Kiefl Canadian Media Research Inc. May 2003
6
www.aba.gov.au/tv/content
7What
About Tomorrow? – A report on Canadian French-language drama. Prepared by
Guy Fournier for the CRTC and Telefilm Canada. May 2003
8
Evaluation of the ‘Dramatic Choices’ Report: Economic Considerations of
Certain Audience-based Incentives. Nordicity Group Ltd. September 2003 |
