There is a difference between the Canadian edition of Netlix and the Canadians who watch Netflix. What does that mean for the future of the service in Canada?
Melissa Aronczyk discusses Fort McMoney, an interactive web documentary designed to raise awareness of the conflicts among industrial, political and environmental interests in the development of oil.
The underlying discourse of the interview is that media scrutiny and critique is the modus operandi of liberal/leftist/elitists. But who, exactly, are the elitists?
Distribution remains a challenge for many artists and labels, and this initiative creates a much-needed resource that can allow artists to more easily sustain creative autonomy.
With the 2013 edition of ‘Canada Reads’ set to begin on Monday, we consider the cultural work performed by the program in the Canadian context. In particular, what are the potential implications of this year’s emphasis on competition between Canada’s regions for the program and its contributions to debates and discourses concerning Canadian national identity?
By broadcasting exclusively online and abandoning space-based FM or AM broadcasting, college radio stations run the risk of losing the local focus that has been integral to the programming and operations of the campus and community radio sector.
As the Canadian Museum of Civilization transforms into the Canadian Museum of History, it seems that meaningful conversations about historical issues that are actually formative of Canadian culture are less compelling than the $25 million incentive that comes with the tunnel vision of the Ministry of Heritage.
Canada’s sesquicentennial is eagerly anticipated by Canada’s Conservative government, which is planning a series of commemorative events. The trouble is, these events are contrived to commemorate the Conservative government far more than the nation’s glorious (or inglorious) pasts.
Ten (or more) media industry news items you might have missed recently.
Carly Rae Jepsen’s Justin Bieber-supported breakthrough offers a case study for how difficult it is for stardom to remain transnational when moving into the U.S. market.
Precursor to what would now be called a “sports entertainer,” the athletic Carpentier came into his own as wrestling expanded its influence on North American pop culture through television and film.