44th Parl. 1st Sess.
February 16, 2022 02:00PM
Mr. Speaker, we definitely need to ensure that our creators stop suffering.
They have suffered unnecessarily because Parliament's work was interrupted for the sake of personal vanity. I think we should proceed quickly but stay vigilant.
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Mr. Speaker, I am so pleased to speak to this issue.
Right now, I am an MP, a politician, but in a former life, I was an actor and an artist. I was involved in quite a few films and TV series. I had theatre companies. I am of course deeply concerned about the fate of culture and artists, and that is exactly what I want to talk about today: culture.
I do not want to get bogged down in the technical details, the algorithms, the streaming services. I am going to try to focus the debate on the substance of Bill C‑11. To me, what is at stake here is Quebec culture.
I apologize in advance to the interpreters. My speech is about Quebec culture, so I think they might have a very hard time interpreting some of the terms. My anglophone colleagues might not understand what I am talking about. However, the salient point is that ours is a minority culture within the greater North American context. We are in the middle of a technological revolution, and Quebec culture is in danger.
Let me begin by quoting one of my very good friends, filmmaker Pierre Falardeau, who had this to say about culture:
For me, that is what Quebec culture is all about. It's a direct, physical, deeply sensual connection with this land of the Americas. Culture is a landscape that grips your heart. It's a mountain, a lake, a valley that wells up from the depths of your youth. Quebec culture is a verse by Gaston Miron, [the images] of Pierre Perrault, the colour of the snow in a painting by Clarence Gagnon. Culture is also the smell of my mother's cooking. It's watching hockey on TV on Saturday nights, freshly bathed, hair perfectly combed, in your flannel PJs that smell of laundry soap and the wind. Quebec culture is also about my aunts being exploited by Imperial Tobacco in Saint-Henri. It's my uncle, a Lithuanian immigrant, who could walk on his hands. [It was wonderful.] Quebec culture is my father, who taught me about justice, solidarity and love for my people. Culture is the back alleys downtown. It is Reggie Chartrand's fists. It's a song from old France that takes you back 400 years, for no apparent reason. It is Champlain. It's the curve of the roof on our houses. Quebec culture is my girlfriend's “spaghatte” sauce, my couscous from “Faubourg à m'lasse” and my children rapping in French. That's what culture is all about. It's a thousand little things that give life its flavour.
Obviously, a great many other things are associated with culture. Quebec culture has a vocabulary all its own. In fact, Quebeckers talk about each season in a way no one anywhere else does. I will start with winter, represented in our national song, “Mon pays, ce n'est pas un pays, c'est l'hiver”, or “my country is not a country, it's winter”. Quebec culture is understanding the difference between frais, frisquet, froid and frette—cool, chilly, cold and bloody freezing. Quebec culture is coming out of blowing snow into slush and freezing rain. Quebec culture is the myriad colourful expressions that describe how Quebeckers “attachent leur tuque avec de la broche”, or brace themselves, against the long, cold winter and hang in there, even if “ils en ont ras le pompon”—they are fed up—even if “ils ont peur de péter au frette, de ne pas passer l’hiver”, in other words, even if they fear they will not make it through to spring. “Pas passer l'hiver”, not making it through the winter. Where else in the world would anyone say that?
Quebeckers also have a thousand and one ways to celebrate spring, from marvelling at ice jams and fiddleheads to enjoying the maple sugar season. The word “sugar” evokes a series of images and smells that resonate with Quebeckers, capturing their world and their memories. That one word says so much.
Spring means breaking out the shorts and t-shirts at the first rays of warm sunshine as though dressing for warm weather will make it arrive sooner. However, a day that cool would have us reaching for a sweater in the fall.
Quebeckers also have a thousand and one ways to soak up the summer, from Saint-Jean-Baptiste Day to jam making and corn husking parties. We love getting back to nature and visiting outfitters in controlled harvesting zones, or ZECs. We have to take advantage while we can still have all the windows down.
Naturally, we also have a thousand and one ways to enjoy the fall, from picking cherries to admiring the fall colours. As the days start getting shorter, we quibble with our roommates over the best starting lineup for our beloved hockey team's upcoming season. Even after a miserable season, as soon as they pick up a few wins in a row, we already feel like the cup is within reach. As Quebeckers, we always feel the cup is within reach, even when it is far away, although right now it seems a long way off.
Santa Claus and the tooth fairy may be universal, but Quebec has its very own fictional characters, like Séraphin, Donalda, Ti-Coune, Lyne la pas fine, and Capitaine Bonhomme. Then there are some even more mythical characters, so mythical that they are known by all but have never been seen. There is Roger Bontemps, Madame Blancheville and the guy everyone loves, Joe Bleau, the most famous everyman in all of Quebec. No doubt he comes from Saint-Glinglin.
Saint-Glinglin, now that is interesting. Everyone knows it is far away, but nobody knows where it is. Quebec can be pretty disorienting to outsiders, what with our eastern border being on the north shore and our southern border being in the Eastern Townships. We also have square “arrondissements”, not circular ones, and quiet revolutions. Quebec is the only place where piggybacking on someone else's idea is called “faire le pouce”, and where sacred words can be used in decidedly profane ways, as long as one has the decency to blush.
Quebec culture is all kinds of things. It is images, the luminosity of a Jean-Paul Lemieux, the abandon of a Riopelle, the impetus captured in a Krieghoff, the human form captured in a Corno. It is an aesthetic that does not even define itself as such. It is touchstone tomes that span the gamut from Flore laurentienne to L'Almanach du peuple.
Quebec culture can feel like one big family. Some names speak volumes in a single word. In Quebec, everyone knows who Clémence is. Janette, Dédé, Boucar and Ginette? Sure, we know all about them, and of course we all know Céline.
Unfortunately, Quebec culture also means a lot of political and linguistic misunderstandings with English Canada. When we say “secularism”, the English-language media calls it “racism”. When we say “academic freedom”, it is translated in English Canada as “racism”. When we talk about the survival of the French language, that too is translated as “racism”.
Quebec culture is about expressing modern ideas using new French words: clavardage for chat, courriel for email, pourriel for spam, and balado for podcast, not to mention all the words that were invented at the same time as the object itself. The motoneige, or snowmobile, is a perfect example of a Quebec invention. The snow blower and car mats were invented in Quebec too. Let us not forget poutine, Quebec's national dish. This decadent dish has conquered the world. Quebec culture is about all of those things.
As they say, everything is interconnected, or “tôuttt est dans tôuttt”, as Raôul Duguay put it in his song Tôuttt etô bôuttt. As for Ariane Moffatt, she wants it all, as she says in her song, Je veux tout. That is what is at stake with Bill C-11.
If we allow our media to plunge into even more hardship, if we neglect to support our creators and our platforms, all these great Quebec sayings will gradually get erased, and all these cultural touchpoints that still bring us together today will become foreign to a whole new generation, including my children's generation. This will sever the bond that ties us to our history and to everything that makes us who we are today.
Such is the risk of a people becoming nothing more than one demographic among many. A culture, especially a minority culture like ours, is a precious and delicate garden that could be swept away and destroyed by the fierce winds of technological globalization. If that happens, the world would lose our unique and irreplaceable colour from its spectrum. That would be a tragedy for the entire world, because when a culture dies, it is a loss for all of humanity.
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Madam Speaker, the member piqued my interest when he referenced hockey as one of Canada's great passions of culture. I think of the Montreal Habs and the Winnipeg Jets. How we love our hockey. Culture is very much the Céline Dions and many other celebrities in the performing arts, and the many contributions to writing, poetry or books in general. It is a very strong and healthy industry.
When we think of streaming on the Internet, this legislation would provide additional strength going forward to build on specific industries, arts and culture in particular. Would the member provide his thoughts on just how important it is that this legislation pass so that we can further support, and continue to support, our culture and heritage across Canada?
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Madam Speaker, my colleague is absolutely right. We have to get going and pass this bill. Even before the last election, I was getting calls and emails from my artist friends, telling me I was lucky because I made it to Parliament. Our artists are starving. Distinguished artists, people who are really immensely talented, are not enjoying the fruits of their labour. It is shocking.
On YouTube, people automatically go for English content. We have to make French content discoverable. It has to show up, or people will not seek it out. That is why it is incredibly important to pass the bill as soon as possible.
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Madam Speaker, I thank the hon. member for his speech. It was very enjoyable. He spoke about Quebec content and francophone content on streaming services.
What proportion of Quebec content would my colleague want to see on the big streaming platforms?
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Madam Speaker, you cannot put a number on success. If an artist produces a great song, that song needs to be heard.
The problem right now is that even well-known artists who are very successful in Quebec cannot make it on major platforms like Spotify and YouTube because they do not show up there.
We must ensure that successful artists from Quebec are on the platforms and available for people to listen to. That is the big issue.
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Madam Speaker, I thank my colleague for his lyrical musings about his love for Quebec culture, which I share as well.
He made me think of the anthropologist Claude Lévi‑Strauss. In a debate where he was asked whether humans were part of nature or culture, Lévi-Strauss answered that it was in man's nature to be cultural. We are therefore not human if there is no culture.
I believe that the way people discover songs is by seeing them pop up on social media platforms such as YouTube. If we want Quebec or French-language songs to be available and visible to consumers, we have to tweak the algorithms.
However, Bill C‑11 prohibits the CRTC from tweaking algorithms. What does my colleague think of that clause of the bill?
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Madam Speaker, I do not know if there is some technical reason that makes French-language content appear more frequently or whether we need to use algorithms. I am not an expert in that area. In any case, the issue remains the same.
Bill C‑11 gives us a sort of guarantee that the major platforms will be asked to work on discoverability. It is not perfect. For the time being, we are not going to get involved in that. We will rework the bill. If there is reason to get involved in that area, the CRTC will decide in the end.
I do believe that the message is fairly clear in the bill: We want French-language content to be visible everywhere for anyone who wants to consume it.
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Madam Speaker, I am familiar with Bill C‑11, having spent a lot of time working on the previous bill, Bill C‑10, which addressed the same issues but was not passed by the Senate. This is a new version, but it is almost identical to Bill C‑10, with some changes.
To set the stage, I think it is important to talk about tax fairness. Yesterday, I was listening to prominent left-wing economist Thomas Piketty on the radio. He said that getting the ultrarich, the billionaires, the big corporations, the web giants like GAFAM, to pay is key to being able to create societies that are fairer and more egalitarian, societies where we can pay for social programs to take care of our people, our communities and our neighbours.
This bill is a step in that direction. Unfortunately, the federal government, be it Conservative or Liberal, has not yet done anything to make these web giants pay tax in Canada. I can already hear the Minister of Canadian Heritage saying that it is not up to Canadian Heritage, it is up to Finance. He is right. I know that.
I am just saying that we have a major tax fairness problem preventing us from making necessary investments in health care, post-secondary education and infrastructure. Middle-class workers are always the ones who end up paying for those things, while the rich find a way out and go hide their money in tax havens. Big companies like web giants are still not paying tax in Canada. That is absolutely scandalous, and we should all be outraged.
I invite the federal government—I urge it—to heed the demands of those on the left, of progressives and the NDP, among others, and tell these companies that enough is enough. Google, Apple, Facebook and their ilk need to pay tax. They make mind-boggling amounts of money. They are literally stealing our money, and the middle class, the workers, the people we represent in our ridings, are the ones who always end up bearing the tax burden.
We are not talking about taxation in Bill C‑11, but about a certain fairness in financial contributions to support our cultural sector. That is the link between the two. It is a small step, but a significant one for our artists, creators, and national, local or regional productions. It is becoming absolutely essential to be able to make this shift. It is high time that we did so. We are already lagging far behind.
The last version of the Broadcasting Act was enacted in 1991. It is now 2022. Spotify, Netflix and all these online streaming services did not exist in 1991. Fortunately or unfortunately, I remember it as an entirely different era. One thing is certain: we have a regulatory and legislative framework that is outdated and archaic. As the member for Trois-Rivières stated, it is literally from another century and must be adapted for the present day.
Back then, the federal government was able to step in and pass legislation on TV and radio broadcasters because the airwaves had been declared a public good. Since they were a public good, the government could step in to oversee and regulate the use of these airwaves. That is not true of the Internet. The Internet is not considered a public good or even a public service, which is unfortunate. I do think it should be a public service. Back then, the legislation was drafted based on the concept of public airwaves for radio and later for television. We are light years beyond that.
We in the NDP welcome this kind of legislation, which aims to ensure that everyone is treated equally by bringing those who do not currently contribute to funding Quebec and Canadian cultural production in line with those who do. This should have been done a long time ago. We said this last year, before the election. Governments have been dragging their feet on this issue. It is culture, our cultural sector and our artists, who have suffered and unfortunately continue to suffer.
I find it particularly hypocritical that the Liberals argued for urgent action on the former Bill C-10, after introducing it too late in 2021 and then calling an election, knowing full well that this would kill the bill, which would die on the Order Paper in the Senate and therefore not receive royal assent.
The Liberals' political self-interest and the tactical, partisan decisions they made in the hope of gaining a majority led them to knowingly and willingly abandon the cultural sector and our artists. Because of the Liberals, these artists will have to wait months, maybe even a year, before this problem will be solved and the various stakeholders will help fund our cultural productions through the Canada Media Fund or other funds.
This sector has never been more in need of our support. The cultural sector, along with tourism, has probably been hit hardest by the pandemic. This is particularly true for the performing arts, which are not as affected by Bill C‑11 and the Broadcasting Act but still employ a lot of people, who are desperate and struggling. The past two years have been extremely difficult, which is one more reason we need to be diligent and mindful in designing the best bill possible.
If this act is only reviewed every 33 years, it becomes even more important that we do a good job now, since we do not know when we will have the chance to make any changes.
As I was saying, technology has left our current system in the dust. On the one hand, our broadcasters and cable companies pay for arts, TV, film and music productions. On the other, web giants, all the online and streaming broadcasters, do not pay a penny to support the telling of our stories.
This inequality, this inequity, this is what needs fixing and should have been fixed a long time ago. We are ready to work in good faith with our friends in the cultural sector to change this situation and find a solution to this problem.
The NDP supports the bill in principle, just as it supported the old Bill C‑10. We want to work with our cultural sector, not just because we like culture or because it is what defines us as humans, but also because it is an important economic sector with tens of thousands of jobs. Those jobs in turn support cities, towns and regions. Lots of those jobs are in Quebec, in Montreal, and, I am proud to say, in my riding, Rosemont—La Petite-Patrie, where I am fortunate to represent a very visible, active and creative artistic community that I am very proud of.
I would like to raise the two questions that we have, and I look forward to hearing what the minister has to say about them and talking about them in committee.
One thing that derailed the debate the last time was the official opposition's very partisan speeches. The Conservative Party was getting a great kick out of raising the doubts and concerns of people who were worried about being regulated and managed by a government body like the CRTC. However, a fair reading of the previous bill showed that such would not have been the case.
It seems the Liberals were worried that the debate would shift or derail like that again, so the new bill seems even more forceful with regard to what we generally refer to as cat or baby videos, which will not be subject to CRTC regulations. Users and user-generated content will be excluded.
That is stated and reiterated in the bill. We could discuss that, but I think we are headed in the right direction. That is not the purpose of the bill. The purpose of the bill is to make individuals and companies that use social media for business purposes and generate a significant amount of revenue contribute.
That is where things are unclear right now. For example, how will we calculate YouTube's contribution if we are making a distinction between commercial and personal or private use? I am saying YouTube, but the same would be true for TikTok, Facebook or Instagram.
These platforms and social media sites are used a lot for professional and business purposes. That is fine, but we need to make sure that we have a mechanism for determining the value of the commercial use of TikTok or YouTube, for example, and excluding private or personal use.
Based on the preliminary discussions we had with officials from Canadian Heritage, the answer is unclear. They seem to be floundering, unsure how they are going to find a solution. I suspect that they will end up negotiating with each of these platforms.
If we do not have transparency tools for obtaining information on the proportion of personal use versus commercial use, information that is held by these social media platforms and online streamers, how does the Liberal government plan to negotiate with these giants to ensure that they are not pulling a fast one?
How do we make sure that they stop failing to contribute their fair share and stop saving money on the backs of workers who actually do contribute by paying taxes in Quebec and Canada?
We need to seek clarification, and I think this is going to be important work to do in committee. The Minister of Canadian Heritage is going to have to explain this to us.
The second thing I wanted to talk about is the concept of discoverability. I have questions about this, and I am not the only one, because I heard my colleagues from the Bloc Québécois, including the former heritage critic, also raise this question. The bill touches on the issue of funding for various cultural activities, and the web giants now have to chip in.
We must ask ourselves one important question: Will consumers see this content? It is all well and good to say that there may be a Quebec film in the Netflix catalogue, but if it never appears on the home page when the app is opened, if people do not even know it exists, they are not going to watch it. The same goes for a TV show or a song.
For our artists and singers, YouTube is a major means of monetizing and selling their work. The Liberal government is telling us that it wants that work to be seen and found by consumers, but it does not want to intervene in the algorithms of these social media platforms and online streamers.
I am scratching my head a little and wondering how this will be verified. The home page and suggestions shown to each consumer may vary based on their streaming history, previous searches, areas of interest and also, I believe, a significant amount of data that these web giants share in order to create customer profiles.
How will we know if Cœur de pirate's latest song is easy for people to find when they are looking for music on YouTube?
I was told that these people will have an obligation to deliver and that they will look at the overall picture. I have no idea how they are going to monitor all that, collect the data and be able to verify whether the discoverability mechanisms are real or just wishful thinking and a declaration of intent.
I understand that algorithms are also a trade secret. This may be a touchy subject, but I have yet to get a clear answer on how we can achieve this from a technical standpoint without tweaking the algorithms. I think these are important questions.
If the bill simply says that it is very important for Quebeckers and Canadians to have access to TV shows, films and songs from Quebec and Canada and that it is important that they be able to find them easily, but, in reality, none of what the bill says is enforced or enforceable, then the bill will fall short of its goal.
There are some worthwhile aspects, such as funding, national production, discoverability and diversity. The bill does take some steps in the right direction. For example, it contains some guarantees in terms of French-language content production.
As a member of Parliament from Quebec, it is obviously very important to me and to the people I represent across Quebec, and to francophones outside of Quebec and to people all across the country, that French-language works can be produced and are discoverable. We must avoid making the same mistakes the Liberals made with their big agreement with Netflix, when they seemed to have completely forgotten French-language or Quebec content. There were no guarantees.
The NDP is very much in favour of focusing on indigenous productions and indigenous-language content creation. That is something that has been neglected over the years, and there is some catching up to do. Investments are required. We are talking about money, about regional and provincial support. I do not know if we are going to want to look at quotas, but the fact that we are even talking about this and making it a priority is a step in the right direction. This is something that the NDP will emphasize strongly when we are studying the bill.
The bill addresses other points worthy of our attention, such as the idea of cultural sovereignty. If we cannot find a way to tell our own stories, the stories of our regions and towns, we will be crushed, completely overtaken. Our identity, be it Canadian, Québécois, indigenous or something else, will suffer. We have to be realistic. We are right next to the United States, the epicentre of global cultural imperialism. We need to make sure we have the tools to protect Quebec and Canadian content and our ability to produce it. We have to protect our content and promote the use of local talent. Quebec and Canadian artists have to be able to participate and be in those productions. They need exposure and recognition. That is crucial.
Bill C‑11 misses the mark in that it fails to mention CBC/Radio-Canada. The government could have gone there. It could have included CBC/Radio-Canada. There is nothing in this bill about the independence of its board of directors or the role of advertising at CBC/Radio-Canada. That is something the NDP would have liked to see.
We have also been anxiously waiting for legislation that was promised by the federal government, including support for newsrooms to deal with the issue of online broadcasters using content created by journalistic sources. Sites like MSN take articles from here, there and everywhere without paying to use or disseminate them. This is a big problem.
Considering the situation in downtown Ottawa right now and the interference of far-right groups in some of the protests, I think a bill on online hate and radicalization would be extremely important. We really want the Liberal government to do something about this. We are still waiting for the Liberal government to take action to support journalism work and newsrooms, and to address online hate.
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Madam Speaker, it has been somewhat encouraging to hear the opposition members address the legislation. The minister responsible was very passionate in his explanation of, and love for, Canadian culture and heritage and all our different regions.
The legislation we have before us is needed. Technology has advanced greatly and the need for the legislation is very real. One of the reasons why it is before us today is to recognize that streaming has become a major aspect of society and ensure that our arts community is not left behind with regard to it. This is one of the reasons why I see the bill as very strong legislation.
The hon. member mentions a number of areas he would like to see changed. Does the NDP actually have some amendments the member would be able to share with the House, prior to the bill going to committee?
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Madam Speaker, given that we agree with the principle of supporting our cultural community, our artists and our creators, we will definitely push for a bill that does exactly that, with the necessary corrections. I talked about two of them earlier.
The NDP will therefore work constructively at committee to improve Bill C-11 and address the problems. However, I would encourage the federal government to do a much better job defending its bill than the previous heritage minister did. I hope the new Minister of Canadian Heritage does not fall into the traps that the Conservative Party will try to set on the issue of freedom of expression.
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Madam Speaker, I was just going through the bill, and there is one part in section 5 that talks about consultations with linguistic minority communities across Canada. The commission will have to seek consultation from these communities to figure out if the policies being made are actually going to be implemented, and what effect they will have on communities.
Does the member have any thoughts on that? Does he have any faith that these consultations will actually take place and make meaningful change to the Broadcasting Act to better serve the needs of these communities?
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Madam Speaker, I thank my colleague for his excellent question.
The bill has the support of several important groups, such as the Coalition for the Diversity of Cultural Expressions and the Coalition for Culture and Media in Quebec. It is also being closely watched by francophone communities outside Quebec, which are very interested.
I remember meeting with people from Acadian cultural societies in New Brunswick. I hope that the minister will be honest in his consultations, and I think that changes or guarantees could be offered to these francophone communities outside Quebec. I am thinking about the Acadians, but also, as I mentioned before, the indigenous nations.
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Madam Speaker, I thank my colleague from Rosemont—La Petite‑Patrie for his excellent speech and comments, which line up with most of our ideas.
I would like his take on the work that was done on the former Bill C‑10. The Bloc Québécois made a lot of suggestions, additions and corrections to improve it. We are now faced with the current Bill C‑11, which I certainly think could easily be passed once it is studied.
The thing that bothers me is the $80 million a month that skips over the creators and goes straight to the broadcasting bigwigs. It makes me so mad. As a singer-songwriter myself, I know that all of my colleagues are up in arms over this.
Does my colleague also believe that we must deal with the bill urgently and efficiently?
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Madam Speaker, I share his sense of urgency. A considerable amount of money is being stolen from artists every month and every year. I am not an artist, but I am quite familiar with their situation because my brother is part of the Quebec folk band Le Vent du Nord. Members of the band are paying close attention, and they want the government to act as quickly as possible.
I think we can do that because Bill C-11 is a good foundation on which to build. The last time, the Bloc Québécois made a lot of suggestions and improvements, and the NDP supported most of them. I think that the Bloc did the same for the amendments suggested by the NDP, so I think we will be able to work together because we both have a strong interest in these issues.
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Madam Speaker, I will begin by thanking my hon. colleague, who has done absolutely tremendous work in this area. I could not agree more with him that the arts community has been gutted, particularly now that we are in a pandemic. That is one of the reasons I put forward a bill for a guaranteed livable basic income, something that would be a game-changer for artists.
My hon. colleague spoke about how the NDP has fought to ensure that the orders and conditions required by the CRTC from the web giants are transparent, public and do not contain loopholes that web giants can use to circumvent their obligations to fund Canadian cultural content and make it discoverable. Could my hon. colleague expand on that and why this is critically important?
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Madam Speaker, I thank my colleague for her question. I know that there is a very active and vibrant artistic community in her riding that has been weakened by the laissez-faire approach of successive federal governments and by the current crisis, which is still ongoing.
I think she made an excellent point. As a progressive opposition party, we must be very vigilant about the powers given to the CRTC.
I spoke a bit about that earlier. We need to be very serious and firm about information, data transparency, negotiations with web giants and the obligations that will be imposed. In my past life, I often saw the CRTC being somewhat lax, weak and complacent with large corporations.
If the directives and guidelines are unclear, we cannot automatically assume that the CRTC will do the right thing.
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Madam Speaker, I thank my colleague for his speech. He seems very knowledgeable about this issue; good for him.
He said the act has not been updated since 1991 and commented that he did not know if it was a good thing or a bad thing that he remembers those days. Unfortunately, I was not yet born, so I do not remember it. I am so sorry, but that joke really made me laugh.
I heard him mention algorithms, which is something that really interests me. At the end of his speech, he pointed out that the act does not really say much about CBC/Radio-Canada.
In the regions, we have issues with coverage. We have just one or two reporters covering Rimouski, Matane, Gaspé, Chaleur Bay, the Gaspé coast and the Îles‑de‑la‑Madeleine. I think that deserves our attention. Perhaps my colleague agrees.
How could that have been built into this bill?
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Madam Speaker, I thank my colleague from Avignon—La Mitis—Matane—Matapédia for her excellent intervention.
This reform of the Broadcasting Act could indeed have been a good opportunity to do that. The Canadian Broadcasting Corporation has beautiful, modern facilities in Montreal, but unfortunately, the corporation itself could use a little updating in terms of its mandate, its role and its resources.
I am also very sympathetic to what my colleague said about regional coverage. I would perhaps even go a little further than she did. There are also problems with coverage outside Quebec. Many francophone communities outside Quebec do not get much news coverage from Radio-Canada, so they get very little out of the public broadcaster. A lot of work needs to be done to improve that, particularly by having a more independent board of directors, who can then make their own choices.
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Madam Speaker, I will be sharing my time with the hon. member for Lac-Saint-Louis.
It is an absolute privilege for me to stand in the House today, on behalf of the residents of my riding of Davenport, to speak in support of Bill C-11, an act to amend the Broadcasting Act and to make related and consequential amendments to other acts. I am truly grateful for the leadership of the Minister of Canadian Heritage and the work that he, his department and his team have done with respect to the bill.
As I have mentioned many times in this chamber, my riding of Davenport, in Toronto's west end, is home to more artists, creators and those in the cultural industry than probably most ridings across this country. Anything that impacts artists and cultural sector is of great interest to me and to the residents of my riding.
Before I go any further, I would like to acknowledge that I am delivering this speech from the unceded traditional territory of the Algonquin nation.
Our federal government is committed to advancing the interests of Canada and Canadians through a forward-thinking digital policy agenda. This will include steps to make the Internet fairer and safer for all Canadians, while ensuring that it remains an engine for innovation.
For decades, our system has guaranteed the creation of Canadian movies, TV shows and music. Today, streaming platforms benefit from access to the Canadian market, but have zero responsibility toward Canadian artists and creators. With Bill C-11, our online streaming bill, we are asking online streamers to showcase and contribute to the creation of Canadian culture. The online streaming act would also improve fairness in the broadcasting system and ensure the sustainability of our cultural industry and the livelihoods of Canadian artists and creators.
A key and important element of the online streaming act is its application to online streamers. This issue has seen a lot of debate in the past, but our approach moving forward is quite simple. Canadians will continue to be able to use social media as they always do and will not be subject to this legislation. User-uploaded programs on social media, including those of digital-first creators, are excluded.
The online streaming act is about broadcasting and ensuring that online streaming services that provide access to commercial programs are required to contribute in an equitable manner. During the last parliamentary session, this bill's predecessor was the subject of a lively debate about the treatment of social media services and their role in supporting our creators and culture.
We know that parliamentarians, broadcasters, cultural creators and all Canadians rightfully value freedom of expression. We are also passionate about supporting our unique, vibrant culture and ensuring that there is a prominent place on our airwaves, our TV screens and the Internet for Canadian music and stories.
Let us be clear. The online streaming act would not force a choice between these important objectives. Our federal government listened to the concerns of many different stakeholders, built on the work of my colleagues from the last parliamentary session and, as a result, changed the approach to appropriately recognize the role of social media platforms. Under this approach, users of social media, including online streamers, are not impacted. The bill would not impact their choice of freedom of expression.
Social media services play a role both as communication tools and as broadcasters. The online streaming act recognizes this dual function. When social media services are used as communication tools to share personal content, they are not covered by the bill. In fact, the vast majority of activity on social media services is not covered by the act.
At the same time, the CRTC can impose obligations of social media services in situations where their activities are the same as those of other online broadcasters. The approach is simple.
First, the users of social media services are not considered broadcasters. They will never face obligations under the act. This means that no matter how active we are on social media, what we post, read or comment on will always fall outside the scope of the Broadcasting Act. The online streaming act is not about our activities on social media.
Second, social media services like YouTube can only have obligations in relation to the commercial programs they carry on their services. Content that does not generate revenue, the content of digital-first creators that is only distributed on social media and amateur content are excluded.
Finally, when social media services are used to distribute commercial music, they can be required to contribute in the same way as other online streaming services. It is only fair. After all, two-thirds of Canadians listen to music on YouTube. We owe it to our talented creators and our Canadian broadcasters to ensure fair treatment of programs consumed on different platforms, regardless of how they are distributed.
I will outline this approach in greater detail. The online streaming act is not about regulating the Internet. It would not affect Canadians' ability to use the Internet. Canadians would be able to connect with friends and family, and stream their favourite movies and TV shows, just as they always have done. The act would set clear limits as to where the CRTC may impose obligations. Content uploaded by Canadians on social media platforms, such as Facebook or YouTube, would not face obligations, except in clearly defined circumstances as provided in section 4.2 of the act.
Let me provide a few examples. Ottawa's Jade Taylor-Ryan uploads a video of her dancing cat, Ed, that reaches over 10 million likes on TikTok. Jade Taylor-Ryan is a user of social media and would never be covered by the act. TikTok would also not face any obligations in relation to Jade's video. Gurdeep Pandher, Yukon's famous bhangra dancer, uploads his YouTube videos that have danced their way into many hearts. Gurdeep Pandher is a user of social media, and would never be covered by the act. YouTube would also, in this case, not face any obligations in relation to Gurdeep's videos. YouTube and other social media services cannot face obligations in relation to these user-uploaded videos, because they are not the kinds of videos offered on other streaming or traditional broadcasting services, such as TV and radio stations, or Spotify and Netflix.
Again, if a Canadian uploads a video of their child's birthday party, that would also fall outside the scope of the act. Even when a Canadian captures their pet's hilarious moment and uploads it to social media, where it goes viral with millions of views, both the user and the content would always fall outside of the scope. Again, the act would not apply to content generated by everyday Canadians or to social media services for their distribution of that content.
This brings us to the question of digital-first creators. Social media platforms have helped turn many Canadians into household names. We have seen the rise of such talents as Gigi Gorgeous and Asian-Canadian pop singer, Alex Porat, on YouTube. Platforms like Bandcamp and SoundCloud have provided opportunities for artists such as Hussein Ahmed, a.k.a. Handsome Tiger. He is a producer and DJ of Anishinabe-Métis-North African descent. These individuals are among the many Canadian digital-first creators. Their content is developed first and foremost to be distributed on social media platforms. It is not distributed through other broadcasters.
The intention of this bill is not to interfere with or stifle these Canadian voices. That is why the government intends to instruct the CRTC through a policy direction to ensure that the content of digital-first creators be excluded from the act. Therefore, social media services would not face any obligations in relation to the programs of digital-first creators. We have been clear on this from the very start.
The online streaming act would only allow the CRTC to impose obligations on social media services with regard to a subset of commercial content, such as commercial music. The legislation includes three factors the CRTC would have to consider in identifying commercial programs. It would consider the amount of revenue generated by the program, whether the program was available on other traditional or online broadcasters, such as Netflix or Spotify, and whether the content had been assigned an international standards code number.
The objective here is fairness. Any service used to distribute commercial programs in our homes, cars or pockets would be required to contribute to Canadian stories and music. This approach would ensure that music like Edmonton native Ruth B.'s song, Dandelions, which is also popular, would be treated the same way when made available through YouTube as on the radio or Spotify.
In conclusion, the new approach to social media in the online streaming act would ensure that social media services contribute in an appropriate manner to the Canadian broadcasting system while respecting the rights, freedoms and choices of Canadians. With our online streaming bill, we are asking online streamers to showcase and contribute to the creation of Canadian culture. Both Canadian broadcasters and streaming platforms should play from the same set of rules. I ask all the hon. members of the House to support the online streaming act. We owe it to our creators, our culture and all Canadians.
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