Movies - Copyright
The Internet has revolutionized how young people watch movies: half of Canadian teens say that they download movies without paying for them at least once a week. [1]
The Internet has revolutionized how young people watch movies: half of Canadian teens say that they download movies without paying for them at least once a week. [1]
Popular culture, news media, and the way we consume violence on social media all play significant roles in shaping and reinforcing narratives of violence against women and diverse communities.
Canada’s Broadcasting Act, last amended in 1991, outlines industry guidelines for portrayal of diversity.
Social justice activists and writers have built on Peggy McIntosh’s original essay on privilege in 1988, by adding to and modifing the original list to highlight how privilege is not merely about race or gender, but that it is a series of interrelated hierarchies and power dynamics that touch all facets of social life: race, class, gender, sexual orientation, religion, education, gender identity, age, physical ability, passing, etc. These categories will be further discussed below.
Though young adolescents may seem "all grown up", there are still many issues that need to be addressed relating to movie content. Many movies aimed at the "tween" age group (11–13) contain material that isn't appropriate for young teens. The rating systems don't necessarily help either: films that were rated Restricted (17 and over) at the cinema may become 14A when released on home video in Canada.
Canada is a diverse and multicultural nation, but a major criticism that can be leveled at Canadian media’s treatment of religion is that it does not reflect this diversity. Lack of representation is, for some religions, as considerable an issue as misrepresentation is for others. Media recognition of Canada’s ‘religious mosaic’ and increased coverage of underrepresented religions is the first step towards accurate media portrayal.
No longer relegated to the realms of innuendo and secrecy, today we see a wide range of gender identities and sexual orientations represented on television and in mainstream film alongside cisgender people. 2SLGBTQ+ (two-spirit, lesbian, gay, bi-sexual, trans, queer and gender and sexually diverse communities) people see their reflections on screen in a wide variety of roles. And yet, there remain many challenges.
Part of stereotyping is the attitude that all members of a particular group are the same, or else fall into a very small number of types. This is particularly true in the few cases where persons with a disability appear in media
As in other media, 2SLGBTQ+ people have gained a greater and more widely visible presence within the advertising world, with ad agencies courting the “Pink Dollar.” This is not surprising, considering that the 2SLGBTQ+ audience is estimated to be worth around $917 million in buying power.[1]
2SLGBTQ+ people have been involved in producing their own media for as long as alternative media has existed, but with the advent of the electronic age and cheaper and more accessible electronic devices for production, there has been an explosion of 2SLGBTQ+-produced media of all kinds. The following section explores the ways that 2SLGBTQ+ people have sought to claim space for themselves within media and culture.