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How Canadians Communicate III: Contexts of Canadian Popular Culture HCC3 Final SK v3_Layout 1 07/01/10 9:19 AM Page 1 HOW CANADIANS COMMUNICATE III HCC3 Final SK v3_Layout 1 07/01/10 9:19 AM Page 2 HCC3 Final SK v3_Layout 1 07/01/10 9:19 AM Page 3 HOW CANADIANS COMMUNICATE III Contexts of Canadian Popular Culture EDITED BY Bart Beaty Derek Briton Gloria Filax and Rebecca Sullivan HCC3 Final SK v3_Layout 1 07/01/10 9:19 AM Page 4 © 2010 Bart Beaty, Derek Briton, Gloria Filax and Rebecca Sullivan Published by AU Press, Athabasca University 1200, 10011 – 109 Street Edmonton, AB T5J 3S8 Library and Archives Canada Cataloguing in Publication Contexts of Canadian popular culture / edited by Bart Beaty ... [et al.]. (How Canadians communicate ; III) Includes bibliographical references and index. Issued also in electronic format (978-1-897425-60-2). ISBN 978-1-897425-59-6 1. Popular culture--Canada. 2. Nationalism--Canada. 3. Cultural industries-- Canada. 4. Canada--Cultural policy. 5. Mass media and culture--Canada. 6. Culture and globalization--Canada. 7. Group identity--Canada. I. Beaty, Bart II. Series: How Canadians communicate ; III FC95.5.C66 2010 306.097109'0511 C2009-906236-4 Cover design by Natalie Olsen Book design by Laura Brady Printed and bound in Canada by Marquis Book Printing. This publication is licensed under a Creative Commons License, Attribution- Noncommercial-No Derivative Works 2.5 Canada, see www.creativecommons.org. The text may be reproduced for non-commercial purposes, provided that credit is given to the original author. Please contact AU Press, Athabasca University at [email protected] for permission beyond the usage outlined in the Creative Commons license. HCC3 Final SK v3_Layout 1 07/01/10 9:19 AM Page 5 CONTENTS Acknowledgements 7 Foreword 9 DAVID TARAS Introduction 11 Contexts of Popular Culture BART BEATY AND REBECCA SULLIVAN <1> A Future for Media Studies 35 Cultural Labour, Cultural Relations, Cultural Politics TOBY MILLER <2> Log On, Goof Off, and Look Up 55 Facebook and the Rhythms of Canadian Internet Use IRA WAGMAN <3> Hawkers and Public Space 79 Free Commuter Newspapers in Canada WILL STRAW <4> Walking a Tightrope 95 The Global Cultural Economy of Canadian Television SERRA TINIC <5> Pedagogy of Popular Culture 117 “Doing” Canadian Popular Culture GLORIA FILAX <6> Popular Genres in Quebec Cinema 141 The Strange Case of Horror in Film and Television ANDRÉ LOISELLE HCC3 Final SK v3_Layout 1 07/01/10 9:19 AM Page 6 <7> Cosmopolitans and Hosers 161 Notes on Recent Developments in English-Canadian Cinema ZOË DRUICK <8> From Genre to Genre 183 Image Transactions in Contemporary Canadian Art JOHANNE SLOAN <9> Controlling the Popular 199 Canadian Memory Institutions and Popular Culture FRITS PANNEKOEK, MARY HEMMINGS, AND HELEN CLARKE <10> After the Spirit Sang 217 Aboriginal Canadians and Museum Policy in the New Millennium HEATHER DEVINE <11> Producing the Canadian Female Athlete 241 Negotiating the Popular Logics of Sport and Citizenship MICHELLE HELSTEIN <12> Gothic Night in Canada 259 Global Hockey Realities and Ghostly National Imaginings PATRICIA HUGHES-FULLER <13> Vernacular Folk Song on Canadian Radio 281 Recovered, Constructed, and Suppressed Identities E. DAVID GREGORY <14> The Virtual Expanses of Canadian Popular Culture 319 DEREK BRITON About the Contributors 353 Index 359 HCC3 Final SK v3_Layout 1 07/01/10 9:19 AM Page 7 ACKNOWLEDGEMENTS The editors would like to extend their gratitude to Frits Pannekoek and David Taras, whose vision and unflagging support made this volume possible. To the members of the Alberta Global Forum, including Jeanette Nicholls, Gina Grosenick and Clare Cummings: we thank you for all your assistance. We also with to thank Brenda Tchantz and Jackie Bell from The University of Calgary, and the members of The University of Calgary’s urgc Conference grant program committee. The excellent staff at Athabasca University Press, especially Walter Hildebrandt, Ruth Bradley-St-Cyr, Renata Brunner Jass, Erna Dominey, Brenda Hennig and Kathy Killoh, provided expert guidance during the manuscript development stage. Our colleagues and collaborators included in this anthology were generous with both their knowl- edge and patience. This project was supported by Athabasca University, The University of Calgary, and the Alberta Global Forum. 7 HCC3 Final SK v3_Layout 1 07/01/10 9:19 AM Page 8 HCC3 Final SK v3_Layout 1 07/01/10 9:19 AM Page 9 FOREWORD How Canadians Communicate: Contexts of Popular David Taras Culture is the third in a series of books meant both to chronicle and to contribute to our understanding of the Canadian experience. The first volume focused on the challenges that Canadian media and communication industries faced as they entered the first years of the twenty-first century. The second volume dealt with the impact of globalization on Canadian media and culture and how Canadians both adapt to and resist these influences. This third volume describes not only the sites of popular culture—social media, video games, art, mem- ory institutions, cinema, sports, and so on—but the seeds and sparks that create these explosions of expression and creativity. But these experi- ences intersect with gender, social class, lan- guage, region, ethnic heritage, and age, among 9 HCC3 Final SK v3_Layout 1 07/01/10 9:19 AM Page 10 other factors and conditions to determine how we use and give meaning to pop- ular culture. The book raises critical issues about our uses of myths and stereo- types, how we define beauty, how we deal with our darkest visions, the role of violence in society, how culture is used both to enforce and to push the bound- aries of convention and social control and how we express our many identities. The hope is that Contexts of Popular Culture will both illuminate this complex and multi-textured landscape, and become a catalyst for research and discussion. Contexts of Popular Culture is a joint undertaking between Athabasca University and the Alberta Global Forum (agf) at the University of Calgary. The volume emerged out of a conference that brought the authors together for far- reaching discussions and exchanges on the emerging trends and meanings of pop- ular culture. We are grateful to the editors, Bart Beaty, Derek Briton, Gloria Filax, and Rebecca Sullivan, for selecting the contributors, for mapping the intellectual terrain, for being exceptional hosts, and for carrying the project through to com- pletion with the highest professional standards. We owe a special debt to Toby Miller, who came as the CanWest Global Visiting Scholar, for providing leader- ship, congenial company, and stimulating ideas. Gina Grosenick did much of the organizing work with her usual combination of efficiency, smarts, and good cheer. The goal of the agf is to act as a bridge between the University of Calgary and the community by sponsoring and participating in discussions of critical issues and by undertaking focused research and community partnerships. The agf takes great pride in its partnership with Athabasca University and would like to thank President Frits Pannekoek and the Director of Athabasca University Press, Walter Hildebrandt, for their vision and commitment. We could not have a better partner. The agf would like to thank the members of its board and espe- cially its chair, Greg Forrest, for their leadership, and Jeannette Nicholls for her wisdom and faith. David Taras 10 David Taras HCC3 Final SK v3_Layout 1 07/01/10 9:19 AM Page 11 INTRODUCTION Contexts of Popular Culture Bart Beaty and In the months leading up to the October 2008 Rebecca Sullivan federal election—Canada’s fourth of the twenty- first century—the minority government of Stephen Harper’s Conservatives introduced a series of acts that were seen to negatively impact arts, media, and cultural groups on multiple lev- els. Among the more controversial was Bill C-61, a dramatic reappraisal of copyright legislation that put severe restrictions on the principle of “fair use” for mass-mediated and digital materi- als and privileged large media conglomerates over individual meda users. In other words, Bill C-61 abrogated existing standards for fair deal- ing and cultural production that favoured cre- ators and audiences and replaced them with ones that privileged manufacturers and distributors. On another front, nestled in the back pages of an intricate and lengthy bill to updating federal tax 11 HCC3 Final SK v3_Layout 1 07/01/10 9:19 AM Page 12 codes, was a provision that film and television productions that contained content “contrary to public policy” would have their public funding withheld. Since so lit- tle film and television production takes place in Canada without some form of public funding, the spectre of moral censorship of culture was raised. Claims of a hidden ideological agenda were furthered when the government cut the PromArts program, which funded international travel and foreign exchange among artists and journalists. In this case, there was a near refreshing honesty coming from gov- ernment officials who identified journalists and artists like Avi Lewis and Gwynne Dyer as people who “were not necessarily ones we thought Canadians would agree were the best choices to be representing them internationally.”1 While the Tories weathered the controversy and managed to return to government with another minority, pundits argued that the party’s apparent disdain for cultural industries, and a controversial moral agenda, prevented them from breaking through in urban regions and saw them lose ground in Quebec.2 This perception was revived when Diane Albonczy, the junior minister for small business and tourism, had removed from her portfolio the Marquee Tourism Events Program, as punishment for a high-profile grant to Toronto Pride Week.3 Again, media reports framed this story in a way that pitted ideologies, regions (The Calgary Stampede, it was noted by many, received $2 million from the same program), and cultural identities against each other.
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