The commercial features and distribution models of the movie, traditional television, streaming video and online video industries each exert an influence on the type of content produced, how it's crafted and how audiences engage with it.
Canada’s Broadcasting Act, last amended in 1991, outlines industry guidelines for portrayal of diversity.
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.
Indigenous media has a long history in Canada. While the earliest newspapers aimed at Indigenous readers were published by settlers, there have been Indigenous-run papers since Ojibwa chief, doctor and publisher Peter Edmund Jones, also called Kahkewaquonaby, launched The Indian in Hagersville, Ontario, in 1885. This tradition has continued with papers such as Wawatay News, based in northern Ontario and Edmonton’s Windspeaker.[1]
Families, friends, teachers and community leaders all play a role in helping boys define what it means to be a man. Mainstream media representations also play a role in reinforcing ideas about what it means to be a “real” man in our society. In most media portrayals, male characters are rewarded for self-control and the control of others, aggression and violence, financial independence and physical desirability: “for boys, violence and dominance are aligned with norms of masculinity.”
Various media analysts and researchers argue that media portrayals of male characters fall within a range of stereotypes.
Visual media, encompassing art, photography and film, communicate meaning to an audience by strategically employing "rules of notice" – deliberate techniques used by creators to guide a viewer's attention and influence their interpretation of an image or narrative.
Media violence has been taken up as a public policy issue by a number of Western countries. Central to the debate has been the challenge of accommodating what may appear to be opposing principles—the protection of children from unsuitable media content and upholding the right to freedom of expression.
What we see – and don’t see – in media affects how we view reality. Media works can be imagined either as mirrors that reflect an audience’s own experience, windows that give them access to experiences they otherwise wouldn’t have known, or in some cases both.