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The CRTC's Enforcement of Canada's Broadcast Legislation: 'Concern', 'Serious Concern' and 'Grave Concern'
Canadian Journal of Law and Technology Volume 5 Number 3 Article 1 8-1-2006 The CRTC's Enforcement of Canada's Broadcast Legislation: 'Concern', 'Serious Concern' and 'Grave Concern' Monica Auer Follow this and additional works at: https://digitalcommons.schulichlaw.dal.ca/cjlt Part of the Computer Law Commons, Intellectual Property Law Commons, Internet Law Commons, Privacy Law Commons, and the Science and Technology Law Commons Recommended Citation Monica Auer, "The CRTC's Enforcement of Canada's Broadcast Legislation: 'Concern', 'Serious Concern' and 'Grave Concern'" (2006) 5:3 CJLT. This Article is brought to you for free and open access by the Journals at Schulich Law Scholars. It has been accepted for inclusion in Canadian Journal of Law and Technology by an authorized editor of Schulich Law Scholars. For more information, please contact [email protected]. The CRTC’s Enforcement of Canada’s Broadcasting Legislation: ‘‘Concern’’, ‘‘Serious Concern’’, and ‘‘Grave Concern’’ M.L. Auer, M.A., LL.M.† I. Introduction again in 2004, by the Parliamentary Standing Com- mittee on Heritage. Generally speaking, however, these his paper describes results from a quantitative study studies used case-based analyses wherein the conclusions T of the enforcement by the Canadian Radio-televi- necessarily depended on the cases reviewed. This paper sion and Telecommunications Commission 1 (CRTC or adopts a broadly based empirical approach to describe Commission) over the last several decades of Canada’s and analyze the CRTC’s regulation of its conventional, broadcasting legislation and its own regulations. Estab- over-the-air radio licensees from 1968 to 2005. lished by Parliament in 1968, the CRTC is a quasi-judi- This paper concludes that the CRTC uses informal cial regulatory agency that administers Canada’s Broad- sanctions, rather than the penalties set out by Parliament casting Act, 1991 2 as well as the nation’s in Canada’s broadcasting legislation, and that the telecommunications legislation. -
Paterson Erika Phd 1997.Pdf
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter 6ce, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI A Bell & Howell Infonnation Company 300 North Zed) Road. Ann Arbor MI 48106-1346 USA 313/761-4700 800/521-0600 Ordering Chaos: The Canadian Fringe Theatre Phenomenon by Erika Paterson BJ.A., University of Victoria, 1989 A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY in the Department of Theatre We accept this dissertation as conforming to the required standard Dr. -
Waimea Ocean Film Festival Experience
THIRD ANNUAL OCEAN FILM FESTIVAL January 3-6, 2013 Waimea, Mauna Kea Resort + Kohala Coast January 7-11, 2013 Four Seasons Resort Huala¯ lai sponsors contents + about our area LODGING AND VENUE SPONSORS contents 4 About the Festival 5 Letter from the Director 6 Host Venues and Map 8 Films 23 Waimea Morning Activities KOHALA COAST 24 Waimea Schedule 28 Waimea Breakfast Talks 30 Four Seasons Schedule 32 Four Seasons Breakfast Talks 34 Jake Eberts Tribute 36 Guest Speakers and Presentations INNER CIRCLE SPONSORS 60 Artists and Exhibits Artwork by Becky Holman 65 About Our Leaders 68 Thank You to Our Contributors about our area The Island of Hawai’i, known as The else in the world, inhabit these reefs Big Island to avoid confusion with the along side Hawaiian Hawksbill turtles, state, was formed as five volcanoes octopuses, eels and smaller reef sharks. MEDIA SPONSORS overlapped one another and became Spinner dolphins come to rest in shallow one land mass. The still active Kı¯ lauea bays during the day before returning sits at the heart of Volcanoes National to deeper waters to hunt at night. Park, while Mauna Kea, Mauna Loa and Humpback whales frolic along the coast Hual¯a lai rise above the Kohala and Kona during winter months filling the ocean coastline, where stark lava fields meet with the sound of their beautiful song. turquoise waters and white and black People watch enthralled as they breach sand beaches. The gentle slopes of the or surface for air. Kohala Mountains, now extinct, provide FOOD AND BEVERAGE SPONSORS the backdrop to the town of Waimea The town of Waimea, also known as and to Hawi and Kapa’au in the north. -
International Meetings on the Themes of Culture, Economy and the Media
1 Press release 14th of October 2009 2 International meetings on culture, economy and the media, with Frédéric Mitterrand, Minister for Culture and Communication. PARIS, October 2/PRNewswire/ -- Building on the success of last year's premiere, the second International Forum d’Avignon will bring together for two days, between November 19th – 21st, 300 personalities from all over the world (*) including artists, directors, producers, economists, internet and media company managers, politicians etc… For the blossoming of cultures. These decision makers from both the public and private sectors will debate a major issue in view of the financial crisis and the crisis of values which we are currently experiencing: “cultural strategies to succeed in a post-crisis era”. How can culture contribute towards the recovery from this crisis? What are the strategies of the various key players? What values are likely to transform the vision of economic indicators themselves? To analyse the different cultural strategies throughout the world, three debates will be held based upon the themes of innovation and creation, the attractiveness of regions and tax policies. Exclusive studies commissioned by the Forum d’Avignon and conducted by international firms (Bain and Co., Ernst & Young, Ineum Consulting) will offer some areas for further reflection and proposals based upon concrete experiences: - Creating and innovating to succeed in an post-crisis era - Considering culture from an economic or symbolic viewpoint. How it can help build an area’s attractiveness? -
DVD Profiler
101 Dalmatians II: Patch's London Adventure Animation Family Comedy2003 74 minG Coll.# 1 C Barry Bostwick, Jason Alexander, The endearing tale of Disney's animated classic '101 Dalmatians' continues in the delightful, all-new movie, '101 Dalmatians II: Patch's London A Martin Short, Bobby Lockwood, Adventure'. It's a fun-filled adventure fresh with irresistible original music and loveable new characters, voiced by Jason Alexander, Martin Short and S Susan Blakeslee, Samuel West, Barry Bostwick. Maurice LaMarche, Jeff Bennett, T D.Jim Kammerud P. Carolyn Bates C. W. Garrett K. SchiffM. Geoff Foster 102 Dalmatians Family 2000 100 min G Coll.# 2 C Eric Idle, Glenn Close, Gerard Get ready for outrageous fun in Disney's '102 Dalmatians'. It's a brand-new, hilarious adventure, starring the audacious Oddball, the spotless A Depardieu, Ioan Gruffudd, Alice Dalmatian puppy on a search for her rightful spots, and Waddlesworth, the wisecracking, delusional macaw who thinks he's a Rottweiler. Barking S Evans, Tim McInnerny, Ben mad, this unlikely duo leads a posse of puppies on a mission to outfox the wildly wicked, ever-scheming Cruella De Vil. Filled with chases, close Crompton, Carol MacReady, Ian calls, hilarious antics and thrilling escapes all the way from London through the streets of Paris - and a Parisian bakery - this adventure-packed tale T D.Kevin Lima P. Edward S. Feldman C. Adrian BiddleW. Dodie SmithM. David Newman 16 Blocks: Widescreen Edition Action Suspense/Thriller Drama 2005 102 min PG-13 Coll.# 390 C Bruce Willis, Mos Def, David From 'Lethal Weapon' director Richard Donner comes "a hard-to-beat thriller" (Gene Shalit, 'Today'/NBC-TV). -
Of Logos, Owners, and Cultural Intermediaries: Defining an Elit
Of Logos, Owners, and Cultural Intermediaries: Defining an Elite Discourse in Re-branding Practices at Three Private Canadian Television Stations Christopher Ali University of Pennsylvania ABSTRACT This article explores the relationship between local television stations and na - tional networks through a careful study of station re-branding. The relationship is explored through case studies of the three privately owned English-speaking television stations in Win - nipeg, Canada. Through in-depth interviews with station and network executives, the author investigates the critical factors that facilitated the re-branding of Canada’s private television networks between 1997 and 2005. This period saw many English-speaking television networks unite their respective affiliate stations under a single logo and brand. Influenced by branding theory and scholarship on Canadian broadcasting, this article examines the shift away from local identification in Canadian broadcasting and the benefits, challenges, and resistances therein. KEYWORDS Canadian broadcasting; Local television; History of broadcasting; Branding RÉSUMÉ Cet article explore le rapport entre les stations de télévision locales et les réseaux nationaux au moyen d’un examen méticuleux des changements de marque des stations. Pour ce faire, l’auteur a mené des études de cas sur les trois stations de télévision privées de langue anglaise à Winnipeg, Manitoba. En se fondant sur des entretiens en profondeur avec des cadres de stations et de réseaux, l’auteur explore les facteurs critiques qui ont permis les changements de marque des réseaux de télévision privés au Canada entre 1997 et 2005. C’est durant cette période que plusieurs réseaux de télévision anglophones ont uni leurs stations affiliées respectives sous la bannière d’un seul sigle et d’une seule marque. -
The Future: the Fall and Rise of the British Film Industry in the 1980S
THE FALL AND RISE OF THE BRITISH FILM INDUSTRY IN THE 1980S AN INFORMATION BRIEFING National Library Back to the Future the fall and rise of the British Film Industry in the 1980s an information briefing contents THIS PDF IS FULLY NAVIGABLE BY USING THE “BOOKMARKS” FACILITY IN ADOBE ACROBAT READER SECTION I: REPORT Introduction . .1 Britain in the 1980s . .1 Production . .1 Exhibition . .3 TV and Film . .5 Video . .7 “Video Nasties” & Regulation . .8 LEADING COMPANIES Merchant Ivory . .9 HandMade Films . .11 BFI Production Board . .12 Channel Four . .13 Goldcrest . .14 Palace Pictures . .15 Bibliography . .17 SECTION II: STATISTICS NOTES TO TABLE . .18 TABLE: UK FILM PRODUCTIONS 1980 - 1990 . .19 Written and Researched by: Phil Wickham Erinna Mettler Additional Research by: Elena Marcarini Design/Layout: Ian O’Sullivan © 2005 BFI INFORMATION SERVICES BFI NATIONAL LIBRARY 21 Stephen Street London W1T 1LN ISBN: 1-84457-108-4 Phil Wickham is an Information Officer in the Information Services of the BFI National Library. He writes and lectures extensively on British film and television. Erinna Mettler worked as an Information Officer in the Information Services of the BFI National Library from 1990 – 2004. Ian O’Sullivan is also an Information Officer in the Information Services of the BFI National Library and has designed a number of publications for the BFI. Elena Marcarini has worked as an Information Officer in the Information Services Unit of the BFI National Library. The opinions contained within this Information Briefing are those of the authors and are not expressed on behalf of the British Film Institute. Information Services BFI National Library British Film Institute 21 Stephen Street London W1T 1LN Tel: + 44 (0) 20 7255 1444 Fax: + 44 (0) 20 7436 0165 Try the BFI website for film and television information 24 hours a day, 52 weeks a year… Film & TV Info – www.bfi.org.uk/filmtvinfo - contains a range of information to help find answers to your queries. -
The Score Press Kit FINAL Apr27
presents Running Time: 83:22 minutes Genre: Dramatic Musical Format: High Definition PRESS KIT For Sales Information Contact: World Sales IndieCan Entertainment Avi Federgreen 194 Glenholme Avenue Toronto, ON M6E 3C4 T: 416.898.3456 E: info@indiecanent/com SHORT SYNOPSIS A groundbreaking musical drama about a scientist whose own genetic history threatens her career, her lab and her life. “Are you ready to kick the ass genomic?” Dr. Lynn Magnusson is a brilliant geneticist racing to isolate a cancer-causing gene. All that’s standing in her way is competition from a well funded French lab, a ticking biological clock that leads to a risky office romance, and her own fears that she might carry the same Huntington’s gene that killed her mother. Based on the award-winning play by Electric Company Theatre, The Score explores the human elements and revolutionary implications of the rapidly advancing world of genetics and uses humour, music and dance to transform scientific ideas into universal themes of identity, freedom and creation. SYNOPSIS The Score tells the story of Dr. Lynn Magnusson, a woman at the helm of a cutting-edge but under-funded lab that is racing towards a significant discovery of genetics-based cancer research. In order to beat the odds at being the first to discover an elusive cancer trigger and maintain her funding, she contemplates sharing research and resources with a lab in Paris, headed by JP Martineau. Meanwhile she is being courted by Ameritech Pharmaceuticals, a multinational company that may be the answer to her lab’s financial woes. -
Hliebing Dissertation Revised 05092012 3
Copyright by Hans-Martin Liebing 2012 The Dissertation Committee for Hans-Martin Liebing certifies that this is the approved version of the following dissertation: Transforming European Cinema : Transnational Filmmaking in the Era of Global Conglomerate Hollywood Committee: Thomas Schatz, Supervisor Hans-Bernhard Moeller Charles Ramírez Berg Joseph D. Straubhaar Howard Suber Transforming European Cinema : Transnational Filmmaking in the Era of Global Conglomerate Hollywood by Hans-Martin Liebing, M.A.; M.F.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin May 2012 Dedication In loving memory of Christa Liebing-Cornely and Martha and Robert Cornely Acknowledgements I would like to thank my committee members Tom Schatz, Charles Ramírez Berg, Joe Straubhaar, Bernd Moeller and Howard Suber for their generous support and inspiring insights during the dissertation writing process. Tom encouraged me to pursue this project and has supported it every step of the way. I can not thank him enough for making this journey exciting and memorable. Howard’s classes on Film Structure and Strategic Thinking at The University of California, Los Angeles, have shaped my perception of the entertainment industry, and having him on my committee has been a great privilege. Charles’ extensive knowledge about narrative strategies and Joe’s unparalleled global media expertise were invaluable for the writing of this dissertation. Bernd served as my guiding light in the complex European cinema arena and helped me keep perspective. I consider myself very fortunate for having such an accomplished and supportive group of individuals on my doctoral committee. -
Péter Szaffkó Central European Theatre and The
PÉTER SZAFFKÓ CENTRAL EUROPEAN THEATRE AND THE CANADIAN THEATRE REVIEW: THE FIRST DECADE 1. Introduction The history of the Canadian theatre goes back to 1606 when the first theatrical performance was presented on the shores of Port Royal to celebrate the return of the Governor from his trip. Nevertheless, professional theatre in Canada has a relatively short history; in fact, less than half a century. With some exaggeration, I might also say that theatre criticism in Canada has existed ever since the regular publication of local and national newspapers. The story of this fascinating genre is very well illustrated and commented upon in Establishing Our Boundaries published in 1999. Theatre journals, however, emerged only in the 1960s when various experts—directors, historians, dramaturgs, critics and scholars—wanted to express their views on the state of affairs as well as the development of the theatre arts in Canada. Although the difference between day-to-day criticism of individual performances and a more academic approach to the art of the theatre in any culture may seem evident, it is worth quoting Herbert Whittaker, one of the doyens of Canadian theatre criticism, who was the first national chairman of the Canadian Theatre Critics Association and worked for the Globe and Mail for more than thirty years. Concerning the history of Canadian theatre criticism, he wrote that The academic critic is allowed a more historical perspective, watching for the trends taken by [the current theatrical] expression. While the daily working critic feels part of the daily creativity, clinging precariously to his objectivity, the periodical critics must look for overall 171 developments, making note of similar trends in time and place. -
Annual-Report-2002.Pdf
2002 annual report stronger together in the long run, we only hit what we aim at based on a quote by henry david thoreau (1817 – 1862) Corus Entertainment is a leading integrated media and entertainment company recognized for the strength of its brands and its commitment to excellence in customer service. Corus has assembled a collection of strategic assets that operate through three synergistic business units – Radio, Television and Content. In just three years, the Company has taken its place as a market leader in Canada in both radio and specialty television. One out of every two English Canadians watches a Corus specialty television service each week.* Nearly one out of every three Canadians over the age of 12 tunes into a Corus radio station weekly.** Around the world, in over 200 countries and dozens of languages, children and their families are entertained every day by millions of books, videos, toys and television animation that bring to life Corus’ portfolio of globally recognized character brands like Babar and Franklin the Turtle. The Company’s assets include: 50 radio stations (pending crtc approval of the divestiture of its two Oshawa radio stations) clustered in major markets in British Columbia, Alberta, Manitoba, Ontario and Quebec; analog specialty television services: ytv, Treehouse tv, teletoon (40%), Telelatino, cmt and W Network (formerly wtn); digital television networks: Discovery Kids, Documentary Channel, Edge tv and scream; Western Canada’s premium television service Movie Central; three conventional over-the-air television stations; digital advertising services for television, and a residential digital subscription music service, Max Trax. Corus also owns Nelvana, a leading global producer and distributor of animation and branded children’s content, Kids Can Press, Canada’s leading children’s book publisher, and a 50% interest in The Locomotion Channel, an animation channel reaching 7 million subscribers in Latin America and Iberia (Spain and Portugal). -
Celebrating 60 Years: the ACTRA STORY This Special Issue Of
SPECIAL 60TH EDITION 01 C Celebrating 60 years: THE ACTRA STORY This special issue of InterACTRA celebrates ACTRA’s 60th Anniversary – 60 years of great performances, 60 years of fighting for Canadian culture, 4.67 and 60 years of advances in protecting performers. From a handful of brave and determined $ 0256698 58036 radio performers in the ‘40s to a strong 21,000-member union today, this is our story. ALLIANCE ATLANTIS PROUDLY CONGRATULATES ON 60 YEARS OF AWARD-WINNING PERFORMANCES “Alliance Atlantis” and the stylized “A” design are trademarks of Alliance Atlantis Communications Inc.AllAtlantis Communications Alliance Rights Reserved. trademarks of “A” design are Atlantis” and the stylized “Alliance 1943-2003 • actra • celebrating 60 years 1 Celebrating 60 years of working together to protect and promote Canadian talent 401-366 Adelaide St.W., Toronto, ON M5V 1R9 Ph: 416.979.7907 / 1.800.567.9974 • F: 416.979.9273 E: [email protected] • W: www.wgc.ca 2 celebrating 60 years • actra • 1943-2003 SPECIAL 60th ANNIVERSARY ISSUE 2003 VOLUME 9, ISSUE 3 InterACTRA is the official publication of ACTRA (Alliance of Canadian Cinema, Television and Radio Artists), a Canadian union of performers affiliated to the Canadian Labour Congress and the International Federation of Actors. ACTRA is a member of CALM (Canadian Association of Labour Media). InterACTRA is free of charge to all ACTRA Members. EDITOR: Dan MacDonald EDITORIAL ADVISORY COMMITTEE: Thor Bishopric, Stephen Waddell, Brian Gromoff, David Macniven, Kim Hume, Joanne Deer CONTRIBUTERS: Steve