Dieu Merci!

A group of artists walk through a door to find themselves in a setting where they do not know who they embody, nor to what they will confront.

https://ar-ra1011.cmf-fmc.ca/index.php/media_centre/video/119
Papo & Yo

An interactive fable in which the primal relationship between parent and child is brilliantly allegorized in the tale of a monster and his small friend.

https://ar-ra1011.cmf-fmc.ca/index.php/media_centre/video/124
Rookie Blue

Sales: Denmark, Finland, France, Germany, Netherlands, Norway, Slovenia, Sweden,  Worldwide (excluding USA)

Average Minute Audience: 1,805,000 

https://ar-ra1011.cmf-fmc.ca/index.php/media_centre/video/126

Financing Sources : Definitions

CMF

This category represented production funding committed to projects by the Canada Media Fund (CMF).

Broadcasters

This category included contributions from all broadcaster types. The forms of broadcaster financial participation were licence fees, in cash or in the form of services provided that are used to purchase traditional television broadcast or non-traditional rights (merchandising and Internet broadcasting were examples of non-traditional rights), and equity investment. Digital media projects had licences for digital distribution.

  • Conventional—broadcasters that were defined as conventional by the CRTC.
  • Educational—broadcasters that were defined as educational by the CRTC, which comprised ACCESS, Knowledge Network, SCN, Télé-Québec, TFO, TVO.
  • CBC/Radio-Canada—English or French Canadian Broadcasting Corporation television broadcasting services and affiliates, whether conventional or specialty.
  • Specialty & Pay—broadcasters that were defined as specialty or pay-television by the CRTC.

Federal Government

This category included all federal government funding, for example: funding from tax credits, the Canadian International Development Agency, or the Canada Council for the Arts. Any Telefilm Canada funding was also included here.

Provincial Governments

This category included provincial government funding, for example: tax credits and grants from cultural agencies and ministry departments.

Distributors

This category included pre-sales and distribution advances from Canadian distributors. Distribution companies that were unrelated to the production applicant as well as those that are related distribution arms were included in these statistics.

Foreign

This category included financing from foreign entities of any type, including broadcasters and distributors. For treaty co-productions, only financing for the Canadian part of the budget, as defined by the CMF, was included.

Producers

All production company participation was depicted in this category (except for distribution advances from related distribution arms). This included equity investment, deferrals, services rendered in kind, or loans. The participants were not limited to the applicant company and could have been a related party, a supplier, or any creative personnel.

Private Funds

This category included the independent television and digital media funds set up to fulfill CRTC requirements. Their participation included grants or equity investments. Other cultural agencies or charitable organizations were included in the Other Canadian category.

Interim Financiers

This category included private entities that provided interim financing.

Other Canadian

This category included any type of financing that did not fit into the above-mentioned categories. Charitable foundations made up the majority of these financiers.

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