Yesterday’s post on the still-secret broadcast and telecommunications review submissions obtained under Access to Information focused on Bell, which proposed extensive new regulations for Netflix that would result in hundreds of millions in payments that could spark a trade battle with the United States. The major Canadian communications companies are not united on this issue, however. While there are similarities on wireless (most oppose mandated MVNOs), the broadcast perspectives differ significantly. This post reveals some of the details in Shaw’s submission to the BTLR, also obtained under ATIP.
Post Tagged with: "netflix"
Self-Serving in the Extreme: Bell’s Broadcast and Telecom Submission to the BTLR Revealed
The government’s expert panel on broadcast and telecommunications law reform is expected to release its preliminary report on the results of its public consultation next month. The panel has remarkably kept the submissions to the consultation secret, rejecting an open and transparent policy making process that the government insists is essential to good policy development. I filed an Access to Information Act request for some of the more notable submissions (some have been made available and are posted online by the FRPC). An interim release of that request just arrived in my inbox and I’ll have a couple of posts on point over the next few days.
The LawBytes Podcast, Episode 6: Former CRTC Vice-Chair Speaks Out on the Plan to Regulate and Tax the Internet – “Dangerous Game to Play”
For the better part of two decades, Canadian cultural groups have been pressing Canada’s telecom and broadcast regulator, the CRTC, to regulate and tax the Internet. The CRTC and successive governments consistently rejected the Internet regulation drumbeat, citing obvious differences with broadcast, competing public policy objectives such as affordable access, and the benefits of competition. That changed last year when the CRTC released Harnessing Change: The Future of Programming Distribution in Canada, in which it dramatically reversed its approach. Peter Menzies, a former CRTC commissioner and Vice-Chair of Telecommunications, joins this week’s LawBytes podcast to help sort through Cancon funding, Internet regulation, and the CRTC.
A Netflix Crisis?: Foreign Funding Now By Far the Largest Source of Financing for Canadian Fictional English Language TV Production
The Canadian Media Producers Association has just released the latest data on film and television production in Canada which confirms that foreign sources are now by far the biggest contributor to Canadian English language television production. Despite warnings of cultural imperialism and repeated calls from some in the industry for Netflix taxes to fund production, the data suggests that it already does since foreign investment in Cancon now larger than the primary Canadian sources. In fact, when it comes to Canadian English-language fictional programming, foreign financing is now larger than private broadcaster licence fees, public broadcaster licence fees, and Canada Media Fund contributions combined.
Flawed Arguments and Inappropriate Analogies: Why Netflix Taxes and Cancon Requirements Should be Rejected
CBC President Catherine Tait recently sparked a firestorm with comments to an industry conference that likened Netflix, the popular online video service, to the British Raj in India and French in Africa, warning about “imperialism and the damage that it can do to local communities.” The comments were rightly criticized as shockingly inappropriate, as if any video service can be reasonably compared to the subjugation of millions.
My Hill Times op-ed notes that some in the Canadian creator community rushed to defend Tait, however, viewing the comments as a strong assertion for Netflix regulation, the creation of a “level playing field”, and the need for all stakeholders to contribute to the broadcast system. Supporters of Netflix taxes and content requirements – who were joined in the Hill Times last week by Sheila Copps – present a vision of Canadian content at risk without regulatory intervention, leading to the loss of Canada’s “authorial voice” from film and television production.
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