Navigating teh New Digital Landscape: Why the CRTC’s Approach to Streaming Needs Reconsideration
the passage of Bill C-11 and the subsequent decisions by the Canadian Radio-television and Telecommunications Commission (CRTC) represent a pivotal moment for Canadian culture in the digital age. As someone who has spent years advocating for a thriving Canadian creative sector, I’m compelled to share a critical assessment of the current path and outline a more effective strategy for the future.
Last year, I delivered a speech urging the CRTC to undertake a comprehensive overhaul of our broadcasting system – one built for the realities of the global digital economy. My core argument was simple: applying traditional radio regulations to streaming services is not only ineffective, but actively detrimental to fostering a vibrant Canadian cultural landscape. Remarkably, within 22 hours of that speech, the CRTC released it’s Phase 1 decision, a move that, while framed as “bringing foreign streamers into the Canadian broadcasting system,” felt strikingly like regulating them as if they were Canadian radio stations. Frankly, I’m deeply frustrated by this approach.
To understand why, we need to acknowledge the pressures facing the Canadian cultural industries. for over a decade, funding for film, television, and music has been steadily declining. Market consolidation hasn’t yielded the expected funding boosts, and the rise of cord-cutting has eroded the revenue base for traditional levies. Even with a decade of generally supportive government policies, demand for arts and culture funding has consistently outstripped available resources.
In this context, the appeal of compelling massive foreign streaming services to contribute financially to Canadian content is understandable. Its a politically attractive solution. However, it’s a short-sighted one.
The most effective cultural policy isn’t about extracting funds; it’s about incentivizing investment. We need to create an environment where global digital platforms actively want to invest in Canada – establishing a presence here, employing Canadians, collaborating with our artists, labels, publishers, and supporting our festivals and cultural celebrations. We should be attracting Canadian employees, commissioning Canadian artist advancement programs, prominently featuring Canadian content (“splash pages”), and fostering Canadian sponsorships.
Regrettably, the initial CRTC decisions have prioritized the pursuit of foreign cash over recognizing the contributions platforms are already making. This is a critical mistake. It risks stifling existing investment, and ultimately, will lead to a renewed scramble for funding sooner than anyone anticipates.
Recognizing Existing investment is Key
The platforms aren’t simply passive observers of the Canadian cultural scene.They are actively investing – in licensing agreements, in showcasing Canadian artists, and in developing local content initiatives.These contributions need to be acknowledged and valued as part of any contribution system.
That’s why we recently filed a motion to intervene at the Federal Court of Appeal in the case brought forward by the platforms. Our position is clear: the CRTC’s regulatory framework must account for and value the investments platforms are already making in Canada. We’ve been actively engaging with stakeholders in Parliament and at the CRTC, and it’s essential that the commercial music industry’s viewpoint is heard by the court.
Our commitment extends beyond the courtroom. We will continue to actively participate in the ongoing CRTC consultations throughout the year. Our overarching goal remains to help the CRTC build a regulatory framework for the streaming era that empowers Canadian and Indigenous artists to compete on a global stage – alongside every song and video ever created.
I remain hopeful, but hope alone isn’t a strategy. We are committed to working tirelessly on this file. Canada deserves a regulatory system that is as innovative and globally-minded as the artists it seeks to support. I look forward to returning next year to report on our progress.
Looking Ahead: A Conversation with Hannah Sung
The recent election adds another layer of complexity to this already dynamic landscape. To delve deeper into these issues and explore the broader implications for Canadian media, I’m thrilled to welcome journalist Hannah Sung.
Hannah is a familiar face to many,having started her career as a VJ on MuchMusic. Today, she’s a respected cultural commentator, writing for publications like The Globe and Mail, Toronto Star, and The New York Times. She’s also the co-founder of Media Girlfriends, a company dedicated to promoting inclusion in Canadian media. Her perspective is perfectly aligned with the evolving mission of Departure – to foster a more diverse and representative media landscape.
please join me in welcoming Hannah Sung.
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