Tag Archives: government

Global Culture

Cultural industry. It sounds like an oxymoron. ‘Culture’ relating to the artistic or creative, and ‘industry’ describing business interests, on a large scale. At the very least, it seems a rocky marriage.

The term is most often applied to the electronic arts, as they are called: music and motion pictures, the artforms which lend themselves to mass duplication and distribution. No one talks about the dance industry, or the sculpture industry.

The cultural industry I’m most familiar with is the motion picture one, and indeed, someone once referred to the movie industry as ‘too much of a business to be an art, and too much of an art to be a business.’ That just about encapsulates the conundrum.

In Canada, unlike the U.S., the movie and television industries have always needed public subsidy. The costs of production are simply too high, and the Canadian marketplace too small, for the indigenous production companies to survive. That’s been the argument at least.

I can recall, back in the mid-80s, when the Canadian Film Development Corporation, originally founded in 1967 to advance the Canadian movie biz, became Telefilm Canada, charged with promoting and funding the Canadian ‘audiovisual’ private sector, that is television as well as movies. People from the agency were talking about how it was intended to grow production companies from the nascent stage, but then to gradually withdraw its funding as those companies matured and became financially independent.

In the 90s, Telefilm still explicitly required funded productions to be ‘distinctly Canadian.’ These shows were to be stories told by Canadians, set in perceptibly Canadian locales, in which Canadian audiences could recognize themselves. So too were so-called ‘lifestyle’ and ‘industrial’ shows excluded from support; game shows, talk shows, that sort of thing.

downloadAs we rolled into the new millennium, TV shows like Flashpoint, Orphan Black and Rookie Blue made little effort to clarify where their episodes were shot (Toronto), although Rookie Blue did, in its latter seasons, begin to actually use Toronto street names. Rookie Blue also, in its final season last year, received over five million dollars in subsidy from the Canada Media Fund, a public-private partnership administered by Telefilm. That in addition to the considerable monies the production company would also have received via both provincial and federal tax credits. The parent company for Rookie Blue is E1, a multimedia corporation, headquartered in Toronto, with revenues in 2015 of more than $1.5 billion Cdn. You’d have to consider that mature.

And today, when Paperny Entertainment, a Vancouver-based production company owned by E1, produces World’s Weirdest Restaurants for the Food Network, surely a ‘lifestyle’ distributor, that show can access all the same government subsidies that can any other TV show.

At the same time, I don’t mean to sound alarmist bells here. The situation I’m describing is not unique to Canada. It was probably naive to think, back in the 80s, that production companies could be weaned from the public funds which did so much to create the business model by which they grew and prospered. And god knows governments everywhere are competing (some say in a race to the bottom) to offer ever more generous tax credits to attract the industry, given that it pays well, is labour intensive, and relatively non-polluting.

Governments everywhere have also fought to exclude cultural industries from the various free trade-type agreements that continue to proliferate in our times. Ultimately though, the problem is beyond national controls, subject to the same global economic and technical forces which are inexorably interconnecting the planet. As Catalina Briceño, Director of Industry and Market Trends at the Canada Media Fund, wrote in a new report, “[the] globalization of tastes is supplanting cultural differences.”

It’s no surprise then that, especially with dramatic movies and television shows, creators and producers design them to play like home product in several markets. Rookie Blue aired on Global in Canada and ABC in the U.S. Orphan Black premiered on Space in Canada and on BBC America in the United States.

John Fawcett, one of the creators of Orphan Black, certainly did his best to put a positive spin on the situation in an interview with Entertainment Weekly in 2014: “To be honest, we don’t want to say we’re American and alienate the Canadians, or say we’re Canadian and alienate the Americans. The bottom line is we’re one big happy family. We’re just a little bit further north than you.”

Nice. As culture and industry evolve globally, their marriage begets family. I can get behind that. The family part at least. Happy? Maybe not quite so much.

Immigration

I am in awe of an immigrant. This is someone who has severed ties, forever, with everyone who has ever supported them, and with everything that has served to define them. Friends, family, home, country, culture, familiarity in general; all that and more the immigrant has chosen to leave behind, with no intention of ever returning to stay.

Maybe it’s simply a reflection of my own middle-class background in one of the most peaceful and privileged countries on earth, but I can’t imagine making that choice. It seems an incomprehensibly difficult transition to complete, lonely, deeply unsettling, arduous in every practical way. And more than anything, for me, I can’t imagine permanently breaking the family tie, the ancestral line which, however inconsequential or little known, has brought me to where I was born and raised. Every immigrant must know, in their hearts, that their children will grow up to be fundamentally different from all the family members who have preceded them, that they will never enjoy the blood bonds that they would have had they lived in their country of origin. To immigrate is to accept that you must begin a whole new family history.

I have a friend who, in emigrating, gave up a career as a librarian to become a janitor. I once worked in a restaurant with a man who had been a lawyer in his home country, and who was now host at that restaurant, seating the customers. I know of couples who have not been able to manage the change together, where one or other of the two couldn’t make the leap, and so returned home, ending the marriage. And of course we all know of the people who literally risk their lives for a chance to emigrate. (To me, these people are by definition not immigrants, nor ‘economic migrants,’ but refugees.)

Sue Waters photo
Sue Waters photo

Give me your tired, your poor, 

Your huddled masses, yearning to breath free, 

The wretched refuse of your teeming shore, 

Send these, the homeless, tempest-tost to me,

I lift my lamp beside the golden door.

 These words are of course the inscription on the Statue of Liberty, and they could hardly be more ironic at a time when Donald Trump leads the polls among Republicans running for President, while proposing that a wall be built along the entire U.S.-Mexico border.

The very idea that we can draw an imaginary line along some part of the earth, then say, ‘The land on this side is ours; you are not allowed to enter or stay,’ is basically bizarre. Sure, we collectively agree to a set of laws which lends force to this prohibition, but morally, can it be justified? If so, why? Because we got there first, then organized to keep others out? Seems pretty thin justification to me.

Years ago, I watched a short film by madcap artist Byron Black (sadly it doesn’t seem to exist online), in which Byron furtively approaches a small concrete pylon marking the Canada-U.S. border as it crosses Point Roberts, the western-most peninsula descending from Canada across the 49th parallel, making ‘The Point’ a tiny but separate part of the American empire. Byron steps carefully over the pylon, then waits apprehensively for the wrath of god and government to descend upon him. It doesn’t; no bolt of lightning, no megaphone voice telling him to lie face down on the ground, nothing. It goes on, but suffice it for me to say that the piece ends with Byron gleefully hopping back and forth across the border, maniacally celebrating his ability to flaunt the power of big government. For my money, the film surgically and hilariously impales the notion of ‘border.’

Recently, Gboko John Stewart, a young man from Liberia, applied for and was granted admission to Quest University in Squamish, BC. Initially the Canadian government denied him a visa for entry because of the Ebola outbreak in his home country. Reasonable enough, you might say. An international quarantine was in effect against this virulent disease. But once Liberia was declared Ebola-free by the World Health Organization in May of 2015, Mr. Stewart applied again for a visa. And again he was refused; this time because some nameless bureaucrat was not satisfied that he would leave Canada at the conclusion of his time at Quest.

I have never met Mr. Stewart; know little about him. He works as a freelance journalist and radio host in Monrovia, and, from his writings, it’s clear he is skilled in the English language. He’s also an activist, deeply involved in an organization called HeForShe, which calls for men to support the equality of women. Mr. Stewart presumably never expressed an interest in staying in Canada permanently, but regardless, and despite my limited knowledge of him, I have to think he should be exactly the sort of person my country might be prepared to admit, temporarily or otherwise.

And, once again, I find myself struggling to understand the helplessness and frustration he must feel at the anonymous, arbitrary power that denies him a chance at his educational dreams.

When it comes to immigration, tragically, none of it seems to make any sense.

 

The Role of Government

It’s the statistic that got everyone’s attention. A recently released study by Oxfam, the international agency dedicated to combatting poverty and injustice, warns that the richest 1% of the planet’s citizens will soon possess more than the remaining 99%.

The nation's representatives? Michael Riffle photo
The nation’s representatives?
Michael Riffle photo

In an interesting related factoid, The Upshot (a ‘data-driven’ undertaking from The New York Times) reports that the richest 1% of Americans, on average and after excluding capital gains, have seen their incomes increase by $97,000 since 2009; the 99% have seen their average income fall by $100 in that time.

In Canada the situation is less dire, but the trend is in the same direction. In the 1980s, as reported by the Broadbent Institute, the top 1% of Canadians received 8% of all national income; that figure has now risen to 14%.

In that same article in The Upshot, writer Justin Wolfers, professor of economics at the University of Michigan, wonders why it is that “robust employment growth over recent years” has not generated more broadly based income growth in America.

Well, surely part of the answer has to be the structural changes wrought in the economy by the digital revolution. The London taxi drivers currently protesting the arrival of the Uber app are just the latest in a now long line of workers who have found themselves displaced by hi-tech changes in their industry. And those workers, once displaced, rarely find themselves able to land alternate employment at higher wages. As has been pointed out by authors like Erik Brynjolfsson and Andrew McAfee, the people not being displaced by computers—once we get past the coders themselves—tend to be folks like waiters, gardeners and daycare workers; not exactly the sorts pulling down the big bucks.

And the other major factor of course has to be the whole trickle-down, anti-regulatory economic wave that began to swell back in the days of Reagan/Thatcher, and which continues to roll over us today. The financial crash of 2008 is the most obvious example of what economic deregulation can mean to all of us, but, more generally, as times have toughened in the Western economies (that is as we have seen the onset of globalization), people have tended to increasingly resent the hand of government in their pockets. Neo-cons have encouraged this attitude at every turn, and so the back doors have been increasingly left open, allowing the rich to sneak into the kitchen, then scoop up ever larger portions of the economic pie.

The single greatest triumph of the Republican Party in America has been their ability to convince a great many white, working-class Americans that the Party has their backs, when very few propositions could be further from the truth.

We have seen, in recent decades, a steadily growing anti-government sentiment provide steadily growing opportunity for the rich to get ever richer. And let’s be very clear about one thing. The growing bank accounts of the mega-rich are not the best means for growing the economy, for easily apparent reasons. Those guys simply don’t have to spend their money the way us poorer people do, just to stay ahead of the monthly bills. Here’s a TD Bank study that makes this point.

Now no one should rightly go about saying more government is the answer to all our socio-economic woes. Anybody who has ever dealt with a government office in a time of acute need knows that these bureaucracies can be inefficient, self-serving and sometimes obnoxious, even vindictive. But greater government management of the current economy? Well, how much more evident could that need be?

Robert Reich's formula for government intervention.
Robert Reich’s formula for government intervention.

 

 

 

 

 

 

 

 

It comes down to some fairly old-fashioned ideas like a guaranteed annual income, higher minimum wages, and a more progressive income tax regime. Scary stuff for a whole lot of people. But if you’re one of them, if you’re one of those people who finds the idea of more government anathema, an outrageous infringement upon your economic freedom, you should recognize that if your opinion prevails, then what you see now is what you will see later.

Only worse, if that can be imagined.