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.
As 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.