44th Parl. 1st Sess.
May 11, 2022 02:00PM
- May/11/22 2:09:52 p.m.
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Mr. Speaker, on Monday, May 9, the David Suzuki Foundation unveiled the 15 finalists for the 8th Prix Demain le Québec.
Among the finalists are projects that spotlight the culture and heritage of Canada's indigenous peoples as well as initiatives to protect territory and biodiversity. One of the 15 finalists is a project from my riding, Argenteuil—La Petite-Nation.
Espace Monarque is a project that gives kids a chance to explore the world of insects and monarch butterflies and deepen their understanding of how plants and animals interact. It focuses on ecology and provides young people with an opportunity to learn and develop their sense of belonging and engagement.
It is a wonderful partnership between the RCM of Argenteuil, Oasis elementary school and the Club Richelieu de Lachute. I applaud the reeve of the RCM of Argenteuil, Scott Pearce, and his team, Éric Pelletier, Renée‑Claude Bergeron and Émilie Jutras, for this initiative, which really puts the RCM of Argenteuil, Quebec and Canada on the map.
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Mr. Speaker, I had a few questions for my colleague, and I even had the lyrics of the Pierre Lapointe song, Je déteste ma vie, running through my head, although I do not hate my life today, since we are talking about this bill. It is an honour to talk about it.
Having been a musician, creator and singer myself, I would like to inform my colleague opposite that I have had the opportunity to perform on the Internet without having to pay anything, since anyone can post a video on YouTube, for example. This is not included in the bill, and it allows everyone these days to be creative and share our amateur talents without being mortgaged to the hilt, without having to pay anything.
It is important for me to discuss Bill C-11 and how best to support original French-language content and production.
I respectfully acknowledge the Anishinabe people as I join my colleagues in the national capital region, which is located on the traditional unceded territory of the Algonquin nation. I realize that we all work in different places and that some people, including those who are watching at home, might therefore be joining us today from the traditional territory of another nation.
As we all know, this bill responds to the urgent need for legislation that updates the Canadian broadcasting system for the era of online streaming. The last major reform of the Broadcasting Act was over three decades ago, which is more than one generation. Simply put, our legislative framework needs to be reviewed because it does not reflect new technologies and the realities of today's digital world.
For decades, only traditional broadcasting services such as radio, television and cable had requirements to meet under our system. We are a far cry from the days of the old CDs and cassettes we listened to in the car. We bought CDs and recorded off them at home, but we paid royalties every time we went to the record store, which meant we were supporting our artists.
In those days, our artists were paid every time we purchased content. Nowadays, they alone are funding Canadian content, even though the world has changed and the industry has evolved a great deal in terms of its product offering and capabilities. We can no longer ignore the reality, and the government cannot sit idly by in this situation.
Our bill will ensure that all broadcasting services, including both the traditional ones and the online ones like Netflix, Crave and Spotify, contribute appropriately to Canada's creative industries. We believe and recognize that the contributions made by these online services will be important for supporting a large number of Canadian creators and artists. Francophones, Canadians from francophone communities and anglophone minority communities will benefit.
This bill is proof of our government's commitment to and support for francophone communities, and this bill's impact will be felt in the arts, culture and innovation sectors. The government plans to continue bolstering French-language productions. The CRTC already has a very strong regulatory framework in place for traditional broadcasters, requiring them to contribute to and promote francophone creators and French-language content.
The government expects online broadcasters to abide by these same requirements, which is what this bill would do. The online streaming act would give the CRTC new powers to more effectively oversee French-language content production and to protect the promotion and availability of this content on these platforms.
In spite of existing safeguards, there is not enough access to content in French through dubbing and subtitles. The content that does exist does not fully meet the needs of francophones who want to see their history, their culture and their identities on the screen. We have francophone talent in Canada and it must be showcased. Producing original French-language content that reflects the realities and needs of francophones should be a priority for all broadcasters, and that applies to online broadcasters as well.
These days, we listen to music using very different platforms from those that existed back when the Broadcasting Act was passed, and then updated in 1991, which is when I got my first car. It had a tape deck.
With the emergence of online streaming services such as Apple Music and Amazon Prime, French-language content is now in a worrisome situation considering the competition from foreign offerings, which are mostly in English. The car I just bought has an interactive display, but nowhere to insert a CD or a cassette. The music I play in my car is provided by network programming. However, francophone Canadian artists are not well represented among the most popular artists in Canada on digital music platforms.
Another reality that should not be ignored is the fact that investments in and budgets for English-language film and video productions have continued to rise in recent years. It is estimated that this year, streaming giants will invest $125 billion in films, series, and dramas worldwide. We must ensure that an appropriate proportion of this spending is allocated to original French-language productions. We must act quickly.
To resolve the problem, we added significant objectives for producing and broadcasting original French-language programming, not just translated content. They must work in French, produce in French and broadcast in French. We also strengthened the mandate of the Canadian Radio-television and Telecommunications Commission, or CRTC, to recognize all the needs of Canada's francophone community.
Bill C‑11 expressly states that our broadcasting system must support the production and broadcasting of original programs in French. It also requires the CRTC to facilitate the provision of programs created and produced in French. That will make it clear to all broadcasters operating in Canada that the needs and interests of francophones are of paramount importance in this bill.
To make it even clearer, the bill gives the CRTC the power to impose conditions of service, including conditions respecting the proportion of original French-language programs, especially first-run programs. In addition, the CRTC will have the power to make regulations on expenditures to be made by broadcasters, including online services. In the specific case of broadcasters that offer programs in both French and English, such as Netflix or Crave, the CRTC will be able to prescribe the minimum share of expenditures that are to be allocated to Canadian original French-language programming.
By including these flexible mechanisms in the act, we are ensuring that programming and spending proportions can adjust to a changing society and the needs of francophones now and in the future. This way, we avoid forcing lawmakers to amend a number in the act as well as the possibility that the proportion could soon become a ceiling. In short, the government is taking the initiative to protect original French-language content and production for years to come. With input from public consultations, the CRTC has the resources and expertise to examine and be informed by the research and diverse stakeholder perspectives as it strives to ensure the regulations remain effective and relevant.
In conclusion, hon. colleagues, we all know it is time to restore balance to the broadcasting sector and implement the regulatory mechanisms that will ensure a flexible, diverse and inclusive broadcasting system.
Let us go ahead with Bill C‑11.
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Mr. Speaker, I thank my hon. colleague for his question.
The Conservatives are using this bill as a bit of an opportunity to spread misinformation. What they are saying is false. People will still be able to post their content on social media.
They will be able to do what I did during the pandemic. I created a YouTube channel to sing to isolated seniors. On Monday and Wednesday evenings, I sang to entertain them. Seniors could choose songs from my repertoire, which I would then practice and sing to them. Nothing can stop me from continuing this. I was free to do that, and everyone will continue to be free to do that kind of thing. What the Conservatives are saying is misinformation.
We want to take on the web giants to give back to artists. The Conservatives do not agree with that, because they want to support the web giants and give them free rein on the Internet.
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Mr. Speaker, I thank my opposition colleague for his question.
I can assure him that there is no one more Liberal than I am, but there is no one more Québécois than I am either. I am an ardent defender of French. I have many friends in my riding who are Bloc supporters. I am very comfortable in this seat.
When I read this bill and I saw that a francophone could create francophone content, deliver francophone content and be paid for francophone content, I thought to myself that we could not ask for better for a Quebecker.
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Mr. Speaker, I am going to repeat some of what I said in my speech.
Back when I was a saxophone player and we were recording music, the money went to the orchestras, creators and musicians. Whether the music was recorded on an eight-track tape, a four-track tape or vinyl, we had a basic income.
What we want to do is revise this act, which has not been updated since 1991, by adapting to the new formula. This means taking the money that web giants earn through social media, without touching the content of ordinary Canadians, and using it to give artists their due and to ensure that Canadian francophone and anglophone artists are treated equitably. We want to give the music, arts and cultural community what it is owed.
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