• Production: Principles

    Form is important in information programming. Production techniques contribute to the meaning of our content and its impact. They help focus attention and can facilitate understanding. Our use of production techniques is consistent with factual accuracy and fairness in our reporting. This means we make judicious choices when information content is presented with music or visual effects that could affect perception or impact.

    We are clear and open about the production methods we use, so the audience can put our images, sound and statements in their proper context. We advise the audience of the use of certain techniques, for example the reenactment of a scene, the use of archival material in scenes of current events or the use of clandestine methods.

  • Form of Reporting on Litigious Subjects

    Pre-recorded material that has undergone a rigorous editorial process is generally the surest way to avoid errors in reports that could be litigious or could prejudice the reputation of a person or an organization.

    We may also use live on-air reporting provided all the following conditions are met:

    • A script or detailed scenario is prepared for a live stand-up or other live exchange, including presentation, illustrations, audio and visual clips and headlines;
    • All elements of the scenario are submitted for the appropriate approvals;
    • The approved scenario is adhered to.
  • Use of Archival Material

    Illustrating a subject often requires the use of visual or audio material that we have not recorded ourselves, such as stock footage. But the use of stock footage and sound in scenes of current events must not give rise to confusion. If there is a risk of misinterpretation, we will advise the audience of the context and/or date of the archives used. The stock footage will not be used in such a way that distorts either the historical or current reality.

  • Reconstitutions, Simulations and Generic Scenes

    A reenactment of an event must match the reality as closely as possible. When a reenactment is necessary for a proper understanding of the subject, we take care to be factually accurate, using transcriptions, minutes or official documents. We may use a transcript word for word or set the reenactment in the location where the actual scene occurred. To eliminate any risk that the audience will confuse the reenactment with the reality, we will ensure that the audience can clearly identify the reenacted scenes.

    Other methods of illustrating a subject may attempt to describe a situation in general terms without pretending to be a precisely accurate rendering of reality. Such methods can be used, subject to certain conditions.

    A simulated scene aims to evoke or give an impression of an event, its protagonists, their actions and the place where the event occurred. A simulated scene is produced and presented in a way that makes clear it is an evocation rather than a precise depiction of reality. If a risk of confusion remains, we advise the audience that the scene is simulated not real.

    Generic scenes are commonly used in audiovisual production. These are often everyday actions like walking, answering the phone, looking at a document, closing a door. These scenes clearly serve as general illustration and in no way pretend to describe real facts precisely.

  • Explicit Sexual or Violent Content

    Violence, nudity and sexuality are never presented without good reason. They may be justified when they are important to an understanding of the world we live in. Where they are necessary, we present them without undue exploitation, voyeurism or sensationalism and without trivializing, encouraging or glorifying.

    We treat painful scenes with discretion and restraint and without prolonging them unduly.

    When it is necessary to present explicit content that some could find shocking, we provide an audience advisory.

    The same principles apply to disturbing video/audio on our digital platforms as on our conventional broadcast platforms.

    We strive to notify audiences in advance of them seeing such material, including – if possible – when it is seen on third-party platforms.

  • Partnerships and Funding

    We maintain editorial independence and control over our journalistic content.

    The use of outside funding cannot influence that content or create the perception that the funding body or partner has any influence.

    If content is produced using external funding, that fact will be disclosed to the audience.

    Staff wanting to use outside funding to create news content or programming – including from an NGO, federal agency or professional scholarship or fellowship – will seek prior approval from the Director.

    There are times where for business or philanthropic purposes the CBC itself engages in partnerships with outside entities. News coverage cannot be a condition of such partnerships.

    If there is news coverage, it should respect the JSP, and be done in such a way that journalists involved are not endorsing an event or a product.

    These conditions apply as well to productions acquired by CBC. If there are any funding relationships or conditions attached, they must be fully disclosed to CBC in writing.

  • Publicity and Advertising

    CBC does not allow sponsors to use commercial time to run information programming they have created. We are responsible for all information programming, no matter where it is placed on the schedule.

    CBC’s credibility and brand as an information provider must never be compromised. Information content may be accompanied by advertising or promotion. However, we do not commercially exploit the brand of our information programs and content in any way detrimental to our independence, credibility or integrity as a public service.

    This means that CBC's journalistic staff do not prepare or present any paid advertising content.

    Ads should be clearly defined in appearance and placement so that the public does not confuse them with CBC news content.

  • Brand Protection: Fiction

    Any proposal to have journalists simulate their work in fiction, parody or advertising must be referred to the General Manager and Editor in Chief.

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