The Inuit Broadcasting Corporation (IBC) was launched as a public broadcasting service in January 1982. Broadcast in Inuktitut, it is North America’s first Indigenous-language television network and the world’s first Indigenous media project broadcast by satellite. IBC gave up its broadcast licence in 1991 to allow for the creation of the forerunner to the Aboriginal Peoples Television Network (APTN). IBC is now a content producer for APTN as well as other organizations, such as IsumaTV. IBC produces programming that aims to preserve the culture and language of more than 25,000 Inuit in Inuit Nunangat (the Inuit homeland in Canada). IBC has received international recognition for its programming and has helped launch the careers of many independent Inuit producers, directors, writers and camera operators. Partially funded by the Department of Canadian Heritage, IBC receives revenue from Nunavut government programs, license fees, production funds, program sales and fundraising.
Aboriginal Peoples Television Network (APTN) is the world’s first Indigenous national broadcaster dedicated to Indigenous programming. First broadcast on 1 September 1999 in Winnipeg, Manitoba, APTN provides various content, including news, dramas and documentaries. Aimed at diverse audiences, APTN offers programming in Indigenous languages, English and French. It broadcasts into more than 11 million Canadian households and businesses, a significant portion of which are located in remote areas. APTN mainly generates revenue for operations through subscriber fees, advertising sales and partnerships.
Based on an ancient Inuit folktale, Atanarjuat (The Fast Runner) is the first Inuktitut-language feature film ever made. A critically-acclaimed commercial success, it won numerous awards worldwide, including the Camera d’or for best first feature at the Cannes Film Festival and five Genie Awards, including Best Screenplay, Best Direction and Best Motion Picture, as well as the Claude Jutra Award (now the Canadian Screen Award for Best First Feature). It is widely considered one of the best Canadian films ever made, and in 2015 was ranked No. 1 of all time in a poll conducted by the Toronto International Film Festival (see Top 10 Canadian Films of All Time).
Prior to the 1960s, only a few periodicals were published for Aboriginal people, mainly by non-Aboriginal missionary and government organizations. Notable examples were the Chinook-language Kamloops Wawa (1891-1905) and the Inuktitut-language Oblate publications of the 1940s and 1950s.
Dan George, OC, Tsleil-Waututh actor, poet, public speaker (born 24 July 1899 on the Burrard Indian Reserve No. 3 in BC; died 23 September 1981 in North Vancouver, BC). By his film roles and personal appearances, Dan George helped improve the popular image of Indigenous people, often represented in stereotypical ways.
Alanis Obomsawin, OC, GOQ, filmmaker, singer, artist, storyteller (born 31 August 1932 near Lebanon, New Hampshire). One of Canada’s most distinguished documentary filmmakers, Alanis Obomsawin began her career as a professional singer and storyteller before joining the National Film Board of Canada (NFB) in 1967. Her award-winning films address the struggles of Indigenous peoples in Canada from their perspective, giving prominence to voices that have long fallen on deaf ears. An Officer of the Order of Canada and a Grand Officer of the National Order of Québec, she has received the Prix Albert-Tessier and the Canadian Screen Awards’ Humanitarian Award, as well as multiple Governor General’s Awards, lifetime achievement awards and honorary degrees.
Buffalo Child Long Lance, writer, actor, impostor (born Sylvester Long at Winston-Salem, North Carolina on 1 December 1890; died in Arcadia, California on 20 March 1932). Of mixed Indigenous and white (and possibly black) ancestry, he was able to escape the segregated southern US because he looked "Indian."
Loretta Todd, documentary filmmaker, installation artist, essayist (b at Edmonton circa 1963). A central figure in what might be considered the second wave of aboriginal directors, Todd brings insight, discipline, resistance to sentimentality and a sense of adventurousness to her non-fiction films.