DOCSLIB.ORG

Canadian Families and Television in the Digital Age

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Canadian Families and Television in the Digital Age Are the kids all right? CANADIAN FAMILIES AND TELEVISION IN THE DIGITAL AGE Groupe de recherche sur les jeunes et les médias Centre for Youth and Media Studies We would like to acknowledge the Canada Media Fund for their support in facilitating the diusion of our research reports. Youth Media Alliance Alliance Médias Jeunesse 1400 boul. René-Lévesque Est Bureau 106 Montréal, QC, H2L 2M2 Fax: 1-514-597-5205 [email protected] Groupe de recherche sur les jeunes et les médias Centre for Youth and Media Studies GRJM/CYMS, Département de communication C.P. 6128, succursale centre-ville Montréal, QC, H3C 3J7 Phone: 1-514-343-7828 [email protected] Copy Editor : Curtis White Design & Editing : Pierre-Luc Chabot Illustrations : Jean-Frédéric Koné All Rights Reserved © 2012 Are the Kids All Right? Canadian Families and Television in the Digital Age Groupe de recherche sur les jeunes et les médias I Centre for Youth and Media Studies Département de communication, Université de Montréal Authors André H. Caron Ed.D. Jennie M. Hwang Ph.D. Elizabeth McPhedran B.A. In collaboration with Catherine Mathys B.Sc. Pierre-Luc Chabot B.Sc. Ninozka Marrder B.A.A. Boris H.J.M. Brummans, Ph.D. Letizia Caronia, Ph.D. II Acknowledgements First of all, we would like to underline the It goes without saying that a project on this exceptional collaboration that developed between scale could never have seen the light without us and the Youth Media Alliance, particularly the enthusiasm, drive and hard work of an with Peter Moss, Chair of the YMA, the Executive entire team of people, who provided assistance Directors Caroline Fortier and Chantal Bowen. throughout the process. We would also like to thank Groupe CIC President Last but not least, we thank the many families Richard J. Paradis for his support in this and young people we met, all across the country, project. We are grateful as well to Michele Paris, for taking part, giving of their time, and Alexandra Raé, J.J. Johnson, Lyne Côté and extending such warm welcomes. None of this Katrina Walsh for their work editing the regional would have been possible were it not for them. chapters. ey provided invaluable support through their curiosity, appreciation of the research and exemplary suggestions. We also wish to thank Bell Media for its tremendous nancial contribution, as well as Dr. André H. Caron the Canada Media Fund for their support in Director of the Centre for Youth and Media Studies facilitating the diusion of our research reports. Université de Montréal. Table of Contents Background 1 Introduction to Phase II Study 2 Methodology 3 Regional Analysis of St. John's, NL 9 III Introduction 10 From a Family’s Perspective 12 From a Child’s Perspective 19 Children take on the role of television producer 23 From an Adolescent’s Perspective 25 Final oughts 26 Regional Analysis of Montréal, QC 27 Introduction 28 From a Family’s Perspective 30 From a Child’s Perspective 37 Children take on the role of television producer 40 From an Adolescent’s Perspective 41 Final oughts 43 Regional Analysis of Toronto, ON 45 Introduction 46 From a Family’s Perspective 49 From a Child’s Perspective 61 Children take on the role of television producer 65 From an Adolescent’s Perspective 66 Final oughts 68 Table of Contents (continued) Regional Analysis of Calgary, AB 69 Introduction 70 From a Family’s Perspective 72 From a Child’s Perspective 84 IV Children take on the role of television producer 87 From an Adolescent’s Perspective 87 Final oughts 89 Regional Analysis of Vancouver, BC 91 Introduction 92 From a Family’s Perspective 94 From a Child’s Perspective 105 Children take on the role of television producer 109 From an Adolescent’s Perspective 110 Final oughts 112 Conclusion 115 Final oughts 118 Appendix 1 121 — How do children really watch television in Background 2012? For more than three decades, the Youth Media Alliance (YMA) [previously the Alliance for Chil- — Is television still a prevalent medium in chil- dren and Television (ACT)] has been monitoring dren’s lives? the quality of Canadian children’s television and all screen-based content, while keenly contribut- — Are kids watching children’s television pro- ing to the vitality of the industry. e YMA also grams on the Internet? actively undertakes original research projects to advance understanding of children’s television — How did television shape us as adults and how and the impact of screen-based media on young is it shaping our children today? people. Working with the Canadian Radio- television and Telecommunications Commission In their own words, parents, teenagers and 1 (CRTC) and other government agencies, the YMA children across Canada answered these questions continuously provides valuable insights into all and more as we attempted to explore the role of matters concerning screen-based content for media content in young people’s lives in greater young Canadians. detail. e research was based not only on the habitual media use of Canadian families but on e current research on children’s television, the ways in which they interpret, make sense of, sponsored and supported by Bell Media, is a and use media during their daily social interac- 3-year project led by a team of researchers from tions with family and friends. the Centre for Youth and Media Studies at the Université de Montréal’s Département de com- In the following sections, we will detail the phase munication, under the supervision of Dr. André two research objectives and methodology, and H. Caron, Ed.D. is groundbreaking project has then report our ndings based on the ve regions two parts. In phase one, we took a quantitative our researchers visited in their tour across approach and conducted a national content analy- Canada. sis to investigate the current state of children’s television programming in Canada. e ndings, published in 2010, provided the industry with an overall portrait of where children’s programming stands, what its strengths are, and what new paths could be considered. rough an analysis of the relationship between types of television net- work, scheduling, and audience viewing behavior, the phase one report also looked into what children’s programs young Canadians are actually watching in terms of their age groups, and what are the most popular children’s shows. Based on the ndings of the phase one study, the second phase involves qualitative research that focuses on the ways children and parents ap- propriate media and media content. Our research team conducted in-depth family interviews and focus group discussions across the country. is study addressed questions like: particularly tricky for children as they tend to Introduction to mature and undergo these changes at dierent rates and over dierent lengths of time. It should Phase II Study also be noted that children today are increasingly In collaboration with the Youth Media Alliance exposed to numerous screen-based technologies (YMA), the Centre for Youth and Media Studies that may impact on the amount of time they at the University of Montreal has undertaken watch television. is is relevant to the ndings. an extensive qualitative study that looks at children’s and parents’ appropriation of media In the past, children were loyal viewers of many and media content in Canada. Based on our quality Canadian-made children’s programs. knowledge of children’s television programming However, they now have access to fewer Canadian from the phase one report, the phase two study children’s programs made especially for them, 2 was designed to look at Canadian families in their and they have begun shifting toward viewing home environment and to learn about what par- non-Canadian programs. In addition, with ents and children think about today’s children’s limited variety and quality of Canadian programs television programs. targeting their age group in particular, many chil- dren have begun to watch content destined for e results from phase one (2010) showed, older viewers, such as general-audience or adult among other things, a serious gap in the programs, which are not always age appropriate. availability and variety of Canadian television programs targeted expressly at children aged 9 Hence, the second phase was designed to inter- to 12. e study found that all Canadian-made view Canadian families in their everyday settings, children’s programs represented a mere 2 out of in order to learn more about what parents and 5 of the programs oered to this age group, and children aged 9 to 12 think about today’s televi- that more than half of all the programs made sion programs made specically for the 9-to-12 available for this age group were animations. age group. Parents, teenagers and children across Canada opened their homes and engaged our In English Canada, only three of the top ten researchers in this discussion, as we attempted to favourite children’s programs for 9-12 year olds explore in greater detail the role of media content were Canadian-made, whereas with the younger 2 in these young people’s lives. In addition to the to 6 year olds, eight of the top ten children’s pro- role of television and its content, children’s use grams were either Canadian-made or Canadian of new technologies, such as the computer, iPad, co-productions. For French speaking children, video game consoles, and cellular phones were the numbers were six of the top ten Canadian also investigated. erefore, the study looked at children’s productions for the 2 to 6 age range each family as a whole, in terms of how its mem- and ve of the top ten for the older age group.
Load more

Recommended publications
  • Grille Des Canaux Classique Février 2019
    Shaw Direct | Grille des canaux classique février 2019 Légende 639 CTV Prince Albert ..................................... 092 Nat Geo WILD HD..................................... 210 ICI Télé Montreal HD ............................... 023 CTV Regina HD .......................................... 091 National Geographic HD ...................... 707 ICI Télé Ontario .......................................... Chaînes HD 648 CTV Saint John ........................................... 111 NBA TV Canada HD ................................. 221 ICI Télé Ottawa-Gatineau HD ............ ...............Chaîne MPEG-4 378 CTV Saskatoon .......................................... 058 NBC East HD (Detroit) ........................... 728 ICI Télé Quebec.......................................... La liste des chaînes varie selon la région.* 641 CTV Sault Ste. Marie ................................ 063 NBC West HD (Seattle) ............................... 732 ICI Télé Saguenay ..................................... 356 CTV Sudbury .................................................... 116 NFL Network HD....................................... 223 ICI Télé Saskatchewan HD ................... 650 CTV Sydney ................................................. 208 Nickelodeon HD ........................................ 705 ICI Télé Trois-Rivieres ............................. 642 CTV Timmins ............................................... 489 Northern Legislative Assembly ........ 769 La Chaîne Disney .....................................
    [Show full text]
  • Via G Janu Mr. J Secre Cana Tele Ottaw K1A Dear Re: 1. 2. 3. 4
    Via GCKey January 22nd, 2014 Mr. John Traversy Secretary General Canadian Radio-television and Telecommunications Commission Ottawa, Ontario K1A 0N2 Dear Mr. Traversy: Re: Part 1 Application to amend the broadccasting licences of TELETOON/TÉLÉTOON, TELETOON Retro and Historia and Séries+ specialty programming undertakings 1. This is an application by Corus Entertainment Inc. (Corus), filed on behalf of the licensees of the specialty television programming undertakings listed in the Attachment to this letter. All licensees are wholly owned subsidiaries of Corus. 2. The purpose of this application is to seek an amendment, pursuant to Part 1 of the Canadian Radio-television and Telecommunications Commission Rules of Practice and Procedure, to the broadcasting licences for each of the television services listed in the Attachment. 3. The proposed amendment would replacee the existiing condition of licence (COL) relating to the level of over-expenditures that may be deducted from the required expenditures on Canadian programming (CPE) or programs of national interest (PNI) in the next broadcast year, as set out in Broadcasting Decision CRTC 2013-737, Appendices 3 and 4 and Broadcasting Decision CRTC 2013-738, Apppendices 2 and 3. The affected COL for each service is listed in the Attachment. 4. Specifically, Corus requests that the affected COL for each service be replaced with the following COL: (b) In each broadcast year of the licence term, excluding the final year, where the licensee expends an amount for that year on Canadian programming or programs of national interest that is greater than the minimum required expenditure, the licensee may deduct that amount from the minimum required expenditure in one or more of the remaining years of the licence term.
    [Show full text]
  • Breaking Bad and Cinematic Television
    temp Breaking Bad and Cinematic Television ANGELO RESTIVO Breaking Bad and Cinematic Television A production of the Console- ing Passions book series Edited by Lynn Spigel Breaking Bad and Cinematic Television ANGELO RESTIVO DUKE UNIVERSITY PRESS Durham and London 2019 © 2019 Duke University Press All rights reserved Printed in the United States of America on acid- free paper ∞ Typeset in Warnock and News Gothic by Tseng Information Systems, Inc. Library of Congress Cataloging-in-Publication Data Names: Restivo, Angelo, [date] author. Title: Breaking bad and cinematic television / Angelo Restivo. Description: Durham : Duke University Press, 2019. | Series: Spin offs : a production of the Console-ing Passions book series | Includes bibliographical references and index. Identifiers: LCCN 2018033898 (print) LCCN 2018043471 (ebook) ISBN 9781478003441 (ebook) ISBN 9781478001935 (hardcover : alk. paper) ISBN 9781478003083 (pbk. : alk. paper) Subjects: LCSH: Breaking bad (Television program : 2008–2013) | Television series— Social aspects—United States. | Television series—United States—History and criticism. | Popular culture—United States—History—21st century. Classification: LCC PN1992.77.B74 (ebook) | LCC PN1992.77.B74 R47 2019 (print) | DDC 791.45/72—dc23 LC record available at https: // lccn.loc.gov/2018033898 Cover art: Breaking Bad, episode 103 (2008). Duke University Press gratefully acknowledges the support of Georgia State University’s College of the Arts, School of Film, Media, and Theatre, and Creative Media Industries Institute, which provided funds toward the publication of this book. Not to mention that most terrible drug—ourselves— which we take in solitude. —WALTER BENJAMIN Contents note to the reader ix acknowledgments xi Introduction 1 1 The Cinematic 25 2 The House 54 3 The Puzzle 81 4 Just Gaming 116 5 Immanence: A Life 137 notes 159 bibliography 171 index 179 Note to the Reader While this is an academic study, I have tried to write the book in such a way that it will be accessible to the generally educated reader.
    [Show full text]
  • Television Content Quality and Engagement
    GONZÁLEZ, M., RONCALLO-DOW, S., ARANGO-FORERO, G. Y URIBE-JONGBLOED, E. Television content quality and engagement CUADERNOS.INFO Nº 37 ISSN 0719-3661 Versión electrónica: ISSN 0719-367x http://www.cuadernos.info doi: 10.7764/cdi.37.812 Received: 08-06-2015 / Accepted: 11-04-2015 Television content quality and engagement: Analysis of a private channel in Colombia1 Calidad en contenidos televisivos y engagement: Análisis de un canal privado en Colombia Qualidade de conteúdos televisivos e engagement: Análise de um canal privado na Colômbia MANUEL IGNACIO GONZÁLEZ BERNAL2, Facultad de Comunicación, Universidad de La Sabana. Chía, Colombia [[email protected]] SERGIO RONCALLO-DOW, Facultad de Comunicación, Universidad de La Sabana. Chía, Colombia [[email protected]] GERMÁN ARANGO-FORERO, Facultad de Comunicación, Universidad de La Sabana. Chía, Colombia [[email protected]] ENRIQUE URIBE-JONGBLOED, Departamento de Comunicación Social, Universidad del Norte. Barranquilla, Colombia [[email protected]] ABSTRACT RESUMEN RESUMO This paper presents the results of a Este artículo expone los resultados de Este artigo expõe os resultados de content analysis and an inquiry into un proyecto de investigación enfocado en um projeto de pesquisa enfocado em Colombian audiences regarding the comprender los elementos que intervienen compreender os elementos que intervêm concept of ‘quality television’ and its en la generación de engagement por parte na geração de engagement por parte effect upon engagement. The results de los televidentes colombianos y el aporte dos telespectadores colombianos e a show that for the sampled audience del concepto de ‘calidad televisiva’ a ese contribuição do conceito de ‘qualidade the most relevant elements in terms of proceso.
    [Show full text]
  • Netflix and the Development of the Internet Television Network
    Syracuse University SURFACE Dissertations - ALL SURFACE May 2016 Netflix and the Development of the Internet Television Network Laura Osur Syracuse University Follow this and additional works at: https://surface.syr.edu/etd Part of the Social and Behavioral Sciences Commons Recommended Citation Osur, Laura, "Netflix and the Development of the Internet Television Network" (2016). Dissertations - ALL. 448. https://surface.syr.edu/etd/448 This Dissertation is brought to you for free and open access by the SURFACE at SURFACE. It has been accepted for inclusion in Dissertations - ALL by an authorized administrator of SURFACE. For more information, please contact [email protected]. Abstract When Netflix launched in April 1998, Internet video was in its infancy. Eighteen years later, Netflix has developed into the first truly global Internet TV network. Many books have been written about the five broadcast networks – NBC, CBS, ABC, Fox, and the CW – and many about the major cable networks – HBO, CNN, MTV, Nickelodeon, just to name a few – and this is the fitting time to undertake a detailed analysis of how Netflix, as the preeminent Internet TV networks, has come to be. This book, then, combines historical, industrial, and textual analysis to investigate, contextualize, and historicize Netflix's development as an Internet TV network. The book is split into four chapters. The first explores the ways in which Netflix's development during its early years a DVD-by-mail company – 1998-2007, a period I am calling "Netflix as Rental Company" – lay the foundations for the company's future iterations and successes. During this period, Netflix adapted DVD distribution to the Internet, revolutionizing the way viewers receive, watch, and choose content, and built a brand reputation on consumer-centric innovation.
    [Show full text]
  • Catherine Johnson
    Catherine Johnson TELE-BRANDING IN TVIII The network as brand and the programme as brand In the era of TVIII, characterised by deregulation, multimedia conglomeration, expansion and increased competition, branding has emerged as a central industrial practice. Focusing on the case of HBO, a particularly successful brand in TVIII, this paper argues that branding can be understood not simply as a feature of television networks, but also as a characteristic of television programmes. It begins by examining how the network as brand is constructed and conveyed to the consumer through the use of logos, slogans and programmes. The role of programmes in the construction of brand identity is then complicated by examining the sale of programmes abroad, where programmes can be seen to contribute to the brand identity of more than one network. The paper then goes on to examine programme merchandising, an increasingly central strategy in TVIII. Through an analysis of different merchandising strategies the paper argues that programmes have come to act as brands in their own right, and demonstrates that the academic study of branding not only reveals the development of new industrial practices, but also offers a way of understanding the television programme and its consumption by viewers in a period when the texts of television are increasingly extended across a range of media platforms. TVIII, at least at this juncture, must be considered the age of brand marketing. (Rogers et al. 2002, p. 48) ‘Branding’ has emerged as a central concern of the television industry in the age of digital convergence. (Caldwell 2004, p. 305) New Review of Film and Television Studies Vol.
    [Show full text]
  • Appendix A: Non-Executive Directors of Channel 4 1981–92
    Appendix A: Non-Executive Directors of Channel 4 1981–92 The Rt. Hon. Edmund Dell (Chairman 1981–87) Sir Richard Attenborough (Deputy Chairman 1981–86) (Director 1987) (Chairman 1988–91) George Russell (Deputy Chairman 1 Jan 1987–88) Sir Brian Bailey (1 July 1985–89) (Deputy Chairman 1990) Sir Michael Bishop CBE (Deputy Chairman 1991) (Chairman 1992–) David Plowright (Deputy Chairman 1992–) Lord Blake (1 Sept 1983–87) William Brown (1981–85) Carmen Callil (1 July 1985–90) Jennifer d’Abo (1 April 1986–87) Richard Dunn (1 Jan 1989–90) Greg Dyke (11 April 1988–90) Paul Fox (1 July 1985–87) James Gatward (1 July 1984–89) John Gau (1 July 1984–88) Roger Graef (1981–85) Bert Hardy (1992–) Dr Glyn Tegai Hughes (1983–86) Eleri Wynne Jones (22 Jan 1987–90) Anne Lapping (1 Jan 1989–) Mary McAleese (1992–) David McCall (1981–85) John McGrath (1990–) The Hon. Mrs Sara Morrison (1983–85) Sir David Nicholas CBE (1992–) Anthony Pragnell (1 July 1983–88) Usha Prashar (1991–) Peter Rogers (1982–91) Michael Scott (1 July 1984–87) Anthony Smith (1981–84) Anne Sofer (1981–84) Brian Tesler (1981–85) Professor David Vines (1 Jan 1987–91) Joy Whitby (1981–84) 435 Appendix B: Channel 4 Major Programme Awards 1983–92 British Academy of Film and Television Arts (BAFTA) 1983: The Snowman – Best Children’s Programme – Drama 1984: Another Audience With Dame Edna – Best Light Entertainment 1987: Channel 4 News – Best News or Outside Broadcast Coverage 1987: The Lowest of the Low – Special Award for Foreign Documentary 1987: Network 7 – Special Award for Originality
    [Show full text]
  • Channel Listing Fibe Tv Current As of June 18, 2015
    CHANNEL LISTING FIBE TV CURRENT AS OF JUNE 18, 2015. $ 95/MO.1 CTV ...................................................................201 MTV HD ........................................................1573 TSN1 HD .......................................................1400 IN A BUNDLE CTV HD ......................................................... 1201 MUCHMUSIC ..............................................570 TSN RADIO 1050 .......................................977 GOOD FROM 41 CTV NEWS CHANNEL.............................501 MUCHMUSIC HD .................................... 1570 TSN RADIO 1290 WINNIPEG ..............979 A CTV NEWS CHANNEL HD ..................1501 N TSN RADIO 990 MONTREAL ............ 980 ABC - EAST ................................................... 221 CTV TWO ......................................................202 NBC ..................................................................220 TSN3 ........................................................ VARIES ABC HD - EAST ..........................................1221 CTV TWO HD ............................................ 1202 NBC HD ........................................................ 1220 TSN3 HD ................................................ VARIES ABORIGINAL VOICES RADIO ............946 E NTV - ST. JOHN’S ......................................212 TSN4 ........................................................ VARIES AMI-AUDIO ....................................................49 E! .........................................................................621
    [Show full text]
  • 2011-2012 CJFE's Review of Free Expression in Canada
    2011-2012 CJFE’s Review of Free Expression in Canada LETTER FROM THE EDITORS OH, HOW THE MIGHTY FALL. ONCE A LEADER IN ACCESS TO INFORMATION, PEACEKEEPING, HUMAN RIGHTS AND MORE, CANADA’S GLOBAL STOCK HAS PLUMMETED IN RECENT YEARS. This Review begins, as always, with a Report Card that grades key issues, institutions and governmental departments in terms of how their actions have affected freedom of expres- sion and access to information between May 2011 and May 2012. This year we’ve assessed Canadian scientists’ freedom of expression, federal protection of digital rights and Internet JOIN CJFE access, federal access to information, the Supreme Court, media ownership and ourselves—the Canadian public. Being involved with CJFE is When we began talking about this Review, we knew we wanted to highlight a major issue with a series of articles. There were plenty of options to choose from, but we ultimately settled not restricted to journalists; on the one topic that is both urgent and has an impact on your daily life: the Internet. Think about it: When was the last time you went a whole day without accessing the membership is open to all Internet? No email, no Skype, no gaming, no online shopping, no Facebook, Twitter or Instagram, no news websites or blogs, no checking the weather with that app. Can you even who believe in the right to recall the last time you went totally Net-free? Our series on free expression and the Internet (beginning on p. 18) examines the complex free expression. relationship between the Internet, its users and free expression, access to information, legislation and court decisions.
    [Show full text]
  • 20-1011-1669 PD E (Pdf)
    CANADIAN BROADCAST STANDARDS COUNCIL NATIONAL SPECIALTY SERVICES PANEL Teletoon Retro re an advertisement for The Night Exchange during Batman: The Animated Series (CBSC Decision 10/11-1669) Decided December 15, 2011 R. Cohen (Chair), M. Bulgutch (ad hoc), S. Crawford (ad hoc), D. Dobbie (ad hoc), D.-Y. Leu, D. Ward THE FACTS Teletoon Retro is a specialty service that broadcasts classic animated programs from the 1960s, ’70s, ’80s and ’90s, targeted at a variety of different age groups, including adults who want to revisit favourite cartoons from their childhood. The service aired an episode of Batman: The Animated Series at 1:30 am Eastern Time on May 16, 2011 (11:30 pm on May 15 in the complainant’s Mountain time zone). The episode, which was originally produced in 1992, included some very mild comic-book-style action and violence. Teletoon Retro rated it C8. A 30-second commercial for an adult telephone service called The Night Exchange was aired twice during Batman, in the first and third commercial breaks. The name of the service appeared on the screen as well as the telephone number and the words “local fun”, “easy to use” and “free trial”. The commercial consisted of a series of scenes of various individual women speaking to the camera or using a telephone. In a somewhat seductive manner, they each made comments to entice viewers to call, including “Do you wanna have some fun?”, “Show off your fun side”, and “You can’t have fun if you don’t make the call”. One woman said, “Sometimes we just talk.
    [Show full text]
  • GRILLE DE CHAÎNES NATIONALE (ORDRE NUMÉRIQUE) Octobre 2020
    GRILLE DE CHAÎNES NATIONALE (ORDRE NUMÉRIQUE) Octobre 2020 100 Chaînes Atlantique HD 164 Citytv Winnipeg HD 238 CBS West HD 327 ESPN Classic 101 Global Halifax HD 170 Chaînes Saskatchewan HD 239 Fox West HD 328 Sportsnet World HD 102 CBC Halifax HD 171 Global Regina HD 240 NBC West HD 329 beIN SPORTS HD 103 CTV Halifax HD 172 CBC Regina HD 241 PBS Seattle HD 330 WWE Network HD 104 CTV2 Atlantic HD 173 CTV Regina HD 242 PBS Spokane HD 331 Leafs TV HD 105 Global New Brunswick HD 174 Citytv Saskatchewan HD 243 myTV38 HD (WSBK Boston) 336 Fox Sports Racing HD 106 CBC Frederiction HD 175 Global Saskatoon HD 244 PIX 11 HD (The CW New York) 337 Cowboy Channel Canada HD 107 CTV Saint John HD 176 CTV Saskatoon HD 245 WGN Chicago HD 338 The Water Channel HD 108 CTV Moncton HD 177 CTV Prince Albert HD 246 KTLA 5 CW Los Angeles HD 350 Chaînes pour enfants HD 109 CBC Charlottetown HD 178 CTV Yorkton HD 252 The Weather Network HD 351 Treehouse HD 110 CTV Sydney HD 179 CKSA Lloydminster HD 253 aptn HD 352 Disney Junior HD 111 CBC Newfoundland HD 180 CITL Lloydminster HD 254 CPAC HD 353 Family Jr. HD 112 NTV Newfoundland HD 181 Northern Legislative Assembly 255 CBC News Network HD 361 Nickelodeon HD 120 Chaînes Québec HD (anglais) 182 OMNI Prairies HD 256 CTV News Channel HD 362 YTV HD 121 Global Montreal HD 190 Chaînes Alberta HD 257 BNN Bloomberg HD 363 YTV West HD 122 CBC Montreal HD 191 Global Edmonton HD 258 CNN HD 364 Disney XD HD 123 CTV Montreal HD 192 CBC Edmonton HD 259 HLN HD 365 CHRGD HD 124 Citytv Montreal HD 193 CTV Edmonton HD 260 MSNBC
    [Show full text]
  • Quality TV As Liberal TV
    Michael z. Newman and other cultural productions similarly blessed with prestige. Quality TV as Liberal TV This essay will sketch a historical outline of this tradition of Quality TV as libera l TV, ident ifying its sources and examining its Alongside so many changes in American television over its years as. expressions of an ideology. a mass medium there have also been continuit ies. These are easily) In doing so I am choosing a handful of examples of emblematic obscured by the presentist "Golden Age" rhetoric of popular critics or influential texts over this timespan rather than canvassing in the early twenty -first century.1One such continuity, spanning ; all of the telev isual representations one might associate with several aesthetic and industrial eras, is a trad ition of quality in, liberalism. There will necessarily be a provisional character scripted prime-time series, which is intertwined with a tradition to my discussion, as the topic is big enough for a much longer of liberal politics in elite urban American culture. 2 More than work. Numerpus details remain to be filled in, but I hope that the thirty years ago, Jane Feuer argued that "quality TV is liberal TV."3 connections will at least seem apposite, and the liberalism of She was talking about programs like The Mary Tyler Moore Show . American Quality TV worthy of further critical elaboration. and WKRPin Cincinnati, and using "quality" not simply to judge > Unlike more established, older art forms, televis ion has relative value but to mark off a group of programs recognizable struggled to be accepted as legitimate culture worth discussing by producers and audiences alike as having prestige.4 If Quality in aesthetic terms in the first place.
    [Show full text]