Canadian broadcasters are forced into making promises they’ll inevitably break, and find themselves dealing with pesky independent producers.
Ed Barreveld had a strong year with hits like The World Before Her and Herman's House, yet the state of broadcasting leaves him looking for work.
Knowledge Network pledges to provide a commercial-free space that connects audiences with independent thinkers and independent voices.
I’ve finally hit my patience limit with the paperwork required by broadcasters and funding agencies to make a television documentary.
"Ever since Bell Media announced its $3.38-billion purchase (subject to regulatory approval) of Astral Media, I’ve been worried," notes our policy columnist.
Whatever you want to call it—reality TV, docu-series, docu-soap—unscripted television is being watched by more people around the globe than ever. With this popularity has come a new breed of storytellers,
Is it possible to make one-off “POV” docs anymore? A look at the sorry state of Canadian broadcasting.
The CRTC bought Bell’s two-step hook, line and stinker, snapping their own credibility so thoroughly as to turn Tony Clement into something few ever thought would be possible: a folk hero.
What a time it’s been for private Canadian broadcasters. Here they are, in the midst of a mini depression, on the ropes from falling ad revenue, and swimming in debt.
When the American “pro-Israeli” version of The Six Day War was broadcast in Canada, POV asks, who controls history in this country?