Stursberg calls for ‘harmonization’ between CRTC content rules and TV funding

The recently appointed executive director of Telefilm Canada is calling for greater harmonization between CRTC content regulations and the funding of television programming. In comments made during his first interview with CCR since assuming his new post at the beginning of the year, Richard Stursberg says the commission’s Canadian content policy is failing the industry. "Obviously, there is a very important relationship between the commission’s content rules and where the nature of the demand in the broadcasting system is," he says. "I’m still concerned about whether the content rules are working in a way that ensures that there will be good demand for English drama. And it’s interesting to me that one of the things that (CRTC chair Charles) Dalfen said was going to be one of his priorities would be to look into this question." There is currently no announced initiative at the CRTC to re-write the rules, and CRTC officials had not responded at press time to inquiries by CCR about the likelihood of a proceeding. Stursberg continues to believe that the 1999 television policy is negatively affecting the production of Canadian drama. The policy – most of which came into effect in September 2000 – broadened the definition of prime-time underrepresented programming to include documentaries, regional programs (other than news and sports), and programs to promote Canadian talent. These new genres joined drama, comedy, music, and variety programs on the list of what is considered "priority" (CCR, July 14/99). Because the CRTC eliminated minimum spending requirements for large broadcasters, many industry players predicted the networks would shy away from costly drama and turn to producing cheaper Canadian fare to meet the new requirement of airing eight hours of Canadian content during prime-time. Stursberg contends that there are a number of issues at stake. "Because the commission system is point based, unlike the Canadian Television Fund (CTF) system which is point plus distinctiveness based, they are kind of out of synch," he points out. "Point two, there are concerns about where the drama gets put – whether it gets into deep prime time, on the shoulder, or somewhere else. Problem number three, there are now questions about whether the bonusing works properly. And people have complained about counter programming strategies." He doesn’t have a specific solution in mind but notes "it would be a good idea to have a look at how we’re doing, and how the two pieces fit together". "I don’t have any view as to what the right approach is with respect to anything that would have to do with changes to Canadian content rules," he adds. "My only point is that there has been a lot of discussion about the relationship between the rules, and demand for drama and other genres. But I do think that it’s important to make sure that whatever happens with respect to the commission’s content regulations in broadcasting is synchronized in a way that they work with the television fund in a harmonized fashion." Stursberg, who assumed the position of executive director of Telefilm Canada on January 1, was previously chair of the CTF. The $230-million fund is a public-private initiative with two parts: the Licence Fee Program (LFP) and the Equity Investment Program (EIP). Canadian Heritage contributes $50 million and Telefilm Canada another $50 million annually to the EIP, which is administered by Telefilm. The LFP gets about $50 million from Canadian Heritage and $80 million from broadcast distributors annually. "Like the EIP and the LFP have to work together, the commission rules and the principle financing agency have to have arrangements that work together," Stursberg says. "At the end of the day, you want something that hangs together." When Stursberg resigned from his position at the CTF to join Telefilm, he was praised by CTF president and CEO Garry Toth for working toward a more harmonized approach between the EIP and the LFP. In the past, though Stursberg has advocated that a new organization be formed to take over the administration of the funding of television, film and new media productions. "Ideally, this organization would not be a Crown corporation or quasi-governmental agency; rather it would be structured and operated as a private, not-for-profit venture," he said during a speech on June 14, 2000 at the Banff Television Festival (CCR, June 22/00). While Stursberg stills believes that "there should be one board and one administration" to manage the LFP and the EIP, he says that would be difficult to achieve because it would require changing legislation (CCR, Oct. 13/00). During his tenure at Telefilm, Stursberg also hopes to rectify some of the criticisms directed toward Telefilm in the KPMG Consulting report and another commissioned by the CTF board and conducted by François Colbert and David Silcox (CCR, April 27/00). He says he would like to streamline the funding application process and more precisely articulate the goals of Telefilm. "I think that we are going to try to be clearer to what we are doing, and we are going to try to do things in a way that’s simpler," he notes. "But these things are tricky because there are a lot of horses pulling in a lot of different directions." However, Stursberg says he is encouraged by the approach of the Feature Film Fund, which aims to increase the percentage of screen time in Canada devoted to Canadian films from about two-and-a-half per cent to five per cent, and, in part, ties future funding of films to how well a producer’s previous work performed at the box office (CCR, Oct. 13/00). "I think it’s a good approach because it makes it clear to everyone what it is you’re trying to accomplish. It gives you a baseline to measure whether you are doing well or badly," he says.

Stursberg calls for ‘harmonization’ between CRTC content rules and TV funding

Broadcast | March 15, 2002

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Stursberg calls for ‘harmonization’ between CRTC content rules and TV funding

Broadcast | March 15, 2002

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