{"id":1704,"date":"2021-11-09T19:34:03","date_gmt":"2021-11-10T00:34:03","guid":{"rendered":"https:\/\/pressbooks.library.ryerson.ca\/mediaucracy\/?post_type=front-matter&p=1704"},"modified":"2021-11-19T09:52:42","modified_gmt":"2021-11-19T14:52:42","slug":"what-media-students-are-saying","status":"web-only","type":"front-matter","link":"https:\/\/pressbooks.library.torontomu.ca\/mediaucracy\/front-matter\/what-media-students-are-saying\/","title":{"raw":"WHAT STUDENTS* ARE SAYING","rendered":"WHAT STUDENTS* ARE SAYING"},"content":{"raw":"

\u201cOur TV policy doesn\u2019t prioritize global reach because the framework was developed before key technological advancements, so policymakers focused on satisfying the local media production job market. It is beyond me why this remains true today.\u201d<\/strong><\/h4>\r\n

Isabella Salceda<\/p>\r\n\r\n

\u201cAudience success in other countries \u2014 Netherlands, Denmark, America, South Korea \u2014 is born of a desire to sell.\u201d<\/strong><\/h4>\r\n

Andrea Bougiouklis<\/p>\r\n\r\n

\u201cIn comparison to Hollywood\u2019s \u2018Content Optimization Model (COM)', Canada\u2019s \u2018Production Optimization Model (POM)\u2019 policy structure places more importance on creating supply than satisfying demand.\u201d<\/strong><\/h4>\r\n

Jack Shapiro<\/p>\r\n\r\n

\u201cMEDIAUCRACY<\/em> is a call-to-action for policy change to ensure a bright future for Canadian storytellers.\u201d <\/strong><\/h4>\r\n

Alisa Badr<\/p>\r\n\r\n

\u201cI moved to Canada to work as a content creator. After finishing MEDIAUCRACY<\/strong><\/em><\/strong>, I\u2019m determined to apply these arguments to Brazilian broadcasters.\u201d<\/strong><\/h4>\r\n

Laura Machado Faria<\/p>\r\n\r\n

\u201cMEDIAUCRACY<\/em> created a rollercoaster of emotions, especially as a young Canadian creator eager to see change. The most reassuring takeaway is that the issue is not Canadian creatives\u2019 lack of talent, but the policy structure.\u201d<\/strong><\/h4>\r\n

Addison Holley<\/p>\r\n\r\n

\u201cA twist on McLuhan, in the world of content creation, the audience is also the message.\u201d<\/strong><\/h4>\r\n

Bayli Iorio Wilson<\/p>\r\n\r\n

\u201cDear Canadian Creatives: I\u2019m sorry, it was never your fault. We, the audience, were never the priority; meeting government quotas was. Not popularity, never mind globality. People think it\u2019s because no one here is creative enough to make good shows; they\u2019re wrong. Let\u2019s bring Canadian creativity to a global scale. If you\u2019re willing to bring this up to the executives, I promise I will make them listen.\u201d <\/strong><\/h4>\r\n

Kristine Lee<\/p>\r\n\r\n

\u201cThere is no shortage of outstanding talent in this country, writers to producers, actors to directors, but the framework behind Canada\u2019s broadcasting policies in television is outdated.\u201d <\/strong><\/h4>\r\n

Samantha Claire Durrell<\/p>\r\n\r\n

\u201cAs a TV editor, I never considered the policies behind the products I create and consume. I wish I had learned about this much sooner. We have the talent to achieve globality; it\u2019s time to adjust the framework to allow important changes.\u201d<\/strong><\/h4>\r\n

Kirsten Rowe<\/p>\r\n\r\n

\u201cThe book argues Canada\u2019s policy framework should shift to a goal of <\/strong>globality, defined as the combination of \u201ctwo words: Global + popularity.\u201d <\/strong><\/h4>\r\n

Maria Diana Miclat<\/p>\r\n\r\n

\u201cYouTube is a great role model, a platform on which Canadian creators thrive, of competition on a global scale, where content must inspire the audiences.\u201d<\/strong><\/h4>\r\n

Caroline Maniatacos-Woodworth<\/p>\r\n\r\n

\u201cBy implementing some of the ideas from international policies, Canada could also become a nation with a global audience<\/strong>.\u201d<\/em><\/strong><\/h4>\r\n

Miles Clarke<\/p>\r\n\r\n

\u201cNow that my classmates and I have this awareness, we can help make systematic changes to permit creative talent to emerge for a global audience. The future for Canadian content will look very bright if we all carry this knowledge.\u201d<\/strong><\/h4>\r\n

Thomas Cannon<\/p>\r\n\r\n

\"MEDIAUCRACY <\/strong><\/em>can be summarized by the following: It\u2019s broke. Fix it.\u201d<\/strong><\/h4>\r\n

Marina Lypyavka<\/p>\r\n \r\n

*All the above are undergraduates in RTA Media at The Creative School<\/a>.<\/p>","rendered":"

\u201cOur TV policy doesn\u2019t prioritize global reach because the framework was developed before key technological advancements, so policymakers focused on satisfying the local media production job market. It is beyond me why this remains true today.\u201d<\/strong><\/h4>\n

Isabella Salceda<\/p>\n

\u201cAudience success in other countries \u2014 Netherlands, Denmark, America, South Korea \u2014 is born of a desire to sell.\u201d<\/strong><\/h4>\n

Andrea Bougiouklis<\/p>\n

\u201cIn comparison to Hollywood\u2019s \u2018Content Optimization Model (COM)’, Canada\u2019s \u2018Production Optimization Model (POM)\u2019 policy structure places more importance on creating supply than satisfying demand.\u201d<\/strong><\/h4>\n

Jack Shapiro<\/p>\n

\u201cMEDIAUCRACY<\/em> is a call-to-action for policy change to ensure a bright future for Canadian storytellers.\u201d <\/strong><\/h4>\n

Alisa Badr<\/p>\n

\u201cI moved to Canada to work as a content creator. After finishing MEDIAUCRACY<\/strong><\/em><\/strong>, I\u2019m determined to apply these arguments to Brazilian broadcasters.\u201d<\/strong><\/h4>\n

Laura Machado Faria<\/p>\n

\u201cMEDIAUCRACY<\/em> created a rollercoaster of emotions, especially as a young Canadian creator eager to see change. The most reassuring takeaway is that the issue is not Canadian creatives\u2019 lack of talent, but the policy structure.\u201d<\/strong><\/h4>\n

Addison Holley<\/p>\n

\u201cA twist on McLuhan, in the world of content creation, the audience is also the message.\u201d<\/strong><\/h4>\n

Bayli Iorio Wilson<\/p>\n

\u201cDear Canadian Creatives: I\u2019m sorry, it was never your fault. We, the audience, were never the priority; meeting government quotas was. Not popularity, never mind globality. People think it\u2019s because no one here is creative enough to make good shows; they\u2019re wrong. Let\u2019s bring Canadian creativity to a global scale. If you\u2019re willing to bring this up to the executives, I promise I will make them listen.\u201d <\/strong><\/h4>\n

Kristine Lee<\/p>\n

\u201cThere is no shortage of outstanding talent in this country, writers to producers, actors to directors, but the framework behind Canada\u2019s broadcasting policies in television is outdated.\u201d <\/strong><\/h4>\n

Samantha Claire Durrell<\/p>\n

\u201cAs a TV editor, I never considered the policies behind the products I create and consume. I wish I had learned about this much sooner. We have the talent to achieve globality; it\u2019s time to adjust the framework to allow important changes.\u201d<\/strong><\/h4>\n

Kirsten Rowe<\/p>\n

\u201cThe book argues Canada\u2019s policy framework should shift to a goal of <\/strong>globality, defined as the combination of \u201ctwo words: Global + popularity.\u201d <\/strong><\/h4>\n

Maria Diana Miclat<\/p>\n

\u201cYouTube is a great role model, a platform on which Canadian creators thrive, of competition on a global scale, where content must inspire the audiences.\u201d<\/strong><\/h4>\n

Caroline Maniatacos-Woodworth<\/p>\n

\u201cBy implementing some of the ideas from international policies, Canada could also become a nation with a global audience<\/strong>.\u201d<\/em><\/strong><\/h4>\n

Miles Clarke<\/p>\n

\u201cNow that my classmates and I have this awareness, we can help make systematic changes to permit creative talent to emerge for a global audience. The future for Canadian content will look very bright if we all carry this knowledge.\u201d<\/strong><\/h4>\n

Thomas Cannon<\/p>\n

“MEDIAUCRACY <\/strong><\/em>can be summarized by the following: It\u2019s broke. Fix it.\u201d<\/strong><\/h4>\n

Marina Lypyavka<\/p>\n

 <\/p>\n

*All the above are undergraduates in RTA Media at The Creative School<\/a>.<\/p>\n","protected":false},"author":232,"menu_order":4,"template":"","meta":{"pb_show_title":"on","pb_short_title":"","pb_subtitle":"","pb_authors":[],"pb_section_license":""},"front-matter-type":[],"contributor":[],"license":[],"class_list":["post-1704","front-matter","type-front-matter","status-web-only","hentry"],"_links":{"self":[{"href":"https:\/\/pressbooks.library.torontomu.ca\/mediaucracy\/wp-json\/pressbooks\/v2\/front-matter\/1704","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/pressbooks.library.torontomu.ca\/mediaucracy\/wp-json\/pressbooks\/v2\/front-matter"}],"about":[{"href":"https:\/\/pressbooks.library.torontomu.ca\/mediaucracy\/wp-json\/wp\/v2\/types\/front-matter"}],"author":[{"embeddable":true,"href":"https:\/\/pressbooks.library.torontomu.ca\/mediaucracy\/wp-json\/wp\/v2\/users\/232"}],"version-history":[{"count":21,"href":"https:\/\/pressbooks.library.torontomu.ca\/mediaucracy\/wp-json\/pressbooks\/v2\/front-matter\/1704\/revisions"}],"predecessor-version":[{"id":1746,"href":"https:\/\/pressbooks.library.torontomu.ca\/mediaucracy\/wp-json\/pressbooks\/v2\/front-matter\/1704\/revisions\/1746"}],"metadata":[{"href":"https:\/\/pressbooks.library.torontomu.ca\/mediaucracy\/wp-json\/pressbooks\/v2\/front-matter\/1704\/metadata\/"}],"wp:attachment":[{"href":"https:\/\/pressbooks.library.torontomu.ca\/mediaucracy\/wp-json\/wp\/v2\/media?parent=1704"}],"wp:term":[{"taxonomy":"front-matter-type","embeddable":true,"href":"https:\/\/pressbooks.library.torontomu.ca\/mediaucracy\/wp-json\/pressbooks\/v2\/front-matter-type?post=1704"},{"taxonomy":"contributor","embeddable":true,"href":"https:\/\/pressbooks.library.torontomu.ca\/mediaucracy\/wp-json\/wp\/v2\/contributor?post=1704"},{"taxonomy":"license","embeddable":true,"href":"https:\/\/pressbooks.library.torontomu.ca\/mediaucracy\/wp-json\/wp\/v2\/license?post=1704"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}