The new Canadian Television Fund rules regarding documentaries exhibit little or no understanding of the world of independent documentary filmmakers in Canada today. We have become slaves of big corporations who use us to make films for little or no money, and who only commission films that they in their infinite wisdom deem ‘commercial.’

How has this happened? This painful state of affairs exists because Heritage and the CTF have allowed broadcasters (and the large companies which own them – for example, Alliance Atlantis) to control access to 90% of the production funds available. You must have a broadcast licence to access almost every funding source. Even during development!

The irony is that while Canadian feature films and drama are floundering, documentary feature films are flourishing. Some are making millions at the box office. The films doing so, such as The Corporation, would never have been funded by broadcasters, due to their controversial subject matter, and their length.

Canada has a very important role to play in the world today because people who live here have a different perspective on the world. We should be making films on worldwide issues, from a Canadian perspective, but we should not be viewed as irresponsible children who are only mature enough to tell stories 100% filmed in Canada.

I would like to know exactly what the CTF and Heritage think they are ‘protecting’ in Canadian culture, because they have created a situation where it is impossible for thoughtful or provocative films to be made.

I made a documentary called Loyalties six years ago, which won the Canada Award at the Geminis. The film told the story of two Canadian women connected through a heritage of slaves in the family, 100% of the crew and cast were Canadian, but 75% of that film was shot in South Carolina. Loyalties would never get made today.

I strongly urge the CTF and Heritage to add the voices of independent filmmakers to their councils.

Lesley Ann Patten,

Documentary filmmaker,

Nova Scotia.