And who knows - maybe you’ll even end up with a vested interest in the 2015 Screenies.The second picture does not show Steam Edition, it is simply the screen that is now shown on the FSX "Home" tab.
Screenie youtube awards movie#
Your job is to watch a Canadian movie instead, so the people who deserve to make them can keep doing so. The few hundred people in attendance will dress up and have fun whether anyone tunes in or not. So, with apologies to this year’s host Andrea Martin, don’t worry too much about watching the CSAs. Maybe next year at the CSAs, people will be wondering about whether they’re nominated.” “Look at the numbers CBC has been getting for Schitt’s Creek and Book of Negroes,” Emslie says. And if the CSAs attract more Canadians toward homegrown talent, the impact might not be measurable in the context of the Screenies - if at all - until next year’s awards. It’s a tougher success metric because, at least with ratings, you can quantify your blunder in six or, god willing, seven figures. They do fail, though, if the nominees Katz and the rest of his peers honour wake up March 2 with just a trophy and a prayer - or worse, just the prayer. The CSAs don’t necessarily fail if their ratings stink. Add to this the fact that Canadians aren’t exactly quick to embrace self-congratulation, which Emslie calls it “the curse of humility.” Combined, these two factors add up to a deadly, self-effacing cocktail. That might be true in the U.S., where there’s less worry about homegrown films being seen, whereas here, it is a legitimate concern for myriad r easons. It might instead be that audiences subscribe to the idea that an awards show’s success is only measurable by the strength of its ratings. The problem might not lie with the ACCTV - “they’re trying,” Agoston says, and Katz, of course, concurs. We’re part of that trend.” Emslie is more succinct: “The CSAs aren’t just about the awards.” “The French have the Césars - they don’t complain about how many people are watching or not watching,” he says. Instead of trying to figure out why the CSAs don’t work, let’s redefine how we look at them: more about the nominees and less about the gala. “Suddenly, I think a lot of the rest of Canada said, ‘I don’t know what this movie is and I have to see it.’ They do us a huge service with just that nomination.” For people like Chris Agoston, a producer on best-picture CSA nominee Cast No Shadow - a coming-of-age-story with a budget of less than $1-million - the nomination alone will raise significant interest, both among industry peers and audiences. And maybe that’s what we should focus on. It’s arguable that the CSAs are having an impact, but that impact has nothing to do with viewership numbers. Katz cites the number of social media impressions garnered by the awards in 2014, which were more than four times the amount earned in 2013 (in spite of the ratings slide - and perhaps because of the evolving use of social media). To that end, there are plenty of things that the CSAs are doing well, purposefully or otherwise. It’s appropriate to acknowledge the things that are doing well.” I think it’s exciting that we can do a bit of both. We want to recognize that there are programs that people in the industry will vote for, and programs that people are watching. “It’s a way of bringing some element of the popular into our awards program, which is otherwise a peer-based assessment,” he says. Article contentĪCCTV chair Martin Katz agrees with that theory - to a point. This advertisement has not loaded yet, but your article continues below. Manage Print Subscription / Tax Receipt.
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