- Member of Parliament
- Member of Parliament
- Bloc Québécois
- Drummond
- Quebec
- Voting Attendance: 68%
- Expenses Last Quarter: $108,134.67
- Government Page
Mr. Speaker, at the beginning of my speech just now, I commented on how much I appreciated the collaborative atmosphere at the Standing Committee on Canadian Heritage. To be clear, I was speaking directly to my colleague from Bow River, who is a big fan of culture. He was right at home on the heritage committee. I really enjoyed our conversations.
Now, visual arts—painters and that whole side of things—are holding their own. However, in today's world, a world where things are opening up and borders are disappearing, the digital world, social media and major broadcasting platforms have to be accessible. It is much harder for a small francophone market in an anglophone sea to gain access. That is why Quebec artists, francophone artists, our very own creators, need that support in order to be seen, to get their names out there. They do not want to force themselves on the rest of the world. They just want a way to be visible on those platforms. That is what this is really about.
178 words
All Topics
- Hear!
- Rabble!
- add
- star_border
- share
Mr. Speaker, I thank my colleague from Rosemont—La Petite-Patrie for his great question.
I will even add that, once Bill C-11 is passed and the reform of the Broadcasting Act is implemented, it will enable certain TV and radio broadcasters with very specific missions that serve under-represented communities to survive and blossom.
As for my colleague's question about the Conservatives' stand, yesterday, I was very perplexed by the speech given by one of my Conservative colleagues, in which she talked about how much she loves artists in general, but especially digital artists. I am very perplexed that the Conservatives moved an amendment to do away with the bill, rather than trying to improve it. I think that says it all.
127 words
All Topics
- Hear!
- Rabble!
- add
- star_border
- share
Mr. Speaker, as I was just saying, when I heard the comments made by my colleague from Lethbridge suggesting that the artists would not benefit from the reform of the Broadcasting Act, I made a few phone calls. I contacted a few of my artist friends to ensure that the bill would benefit the cultural associations and businesses and not just the broadcasters. They all told me that artists and creators have been awaiting the bill just as eagerly as cultural businesses have.
In all humility, I have to say that I am not the most artistic member of the Bloc caucus. The member for Longueuil—Saint-Hubert, Caroline Desbiens, had a brilliant career in television and theatre. There is also the extraordinary artist we call “La Marsouine”, the member for Beauport—Côte-de-Beaupré—Île d'Orléans—Charlevoix. She is a songwriter whose work is well known among the international francophonie. There are people in the Bloc Québécois caucus who know what they are talking about.
We were inspired by these people and we fought for this bill on behalf of our colleagues who were themselves part of the arts scene. They can tell us how regulating the broadcasting sector benefits our artists.
Here we find ourselves at another stage of Bill C-11. This may be the last step; we hope it is. As we have seen, our Conservative colleagues are once again trying to kill this bill.
After finding some particularly creative ways to delay its study in committee, yesterday they even brought forward an amendment to completely gut the bill. All this after accusing the Bloc Québécois of failing to stand up for the demands of the Quebec National Assembly.
Let us talk about the demands of the Quebec National Assembly. I found it quite rich to hear the Conservatives say that the National Assembly opposed the passage of Bill C-11 as is when, in June 2022, the National Assembly unanimously adopted a resolution that stated the following:
Whereas the federal government is under pressure from multiple sources to ensure social media is not subject to Bill C-11, while many companies commercially stream musical and audiovisual content;
THAT the National Assembly recall that Québec’s cultural production and its uniqueness are strongly disadvantaged by the lack of regulation of online streaming platforms and social media;
THAT it affirm that it is essential that all online streaming platforms, including social media, be subject to federal and provincial laws, such as C-11, so that all digital broadcasters, whether Canadian or foreign, contribute to the creation, production, broadcasting, promotion and discoverability of Québec content;
I will spare members a reading of the full text of the resolution. It concludes as follows:
THAT, lastly, it urge the federal government to include social media governance in Bill C-11 to amend the Broadcasting Act.
Obviously, that does not align with the Conservative position.
I want to talk about Quebec's Minister of Culture and Communications, Mathieu Lacombe, who did a bunch of interviews recently, answering journalists' questions about the mandate he took on last fall. When asked, “Should streaming platforms be forced to highlight homegrown content?”, he instantly replied “Yes, this is about Quebec's distinct culture”. Speaking to various media outlets, Minister Lacombe emphasized the importance of discoverability for francophone content from Quebec, meaning how easy it should be to access homegrown content on major digital platforms like Netflix and Spotify, for example. That is what Minister Lacombe said. The National Assembly is hoping for a speedy passage of Bill C‑11.
Certainly, Quebec had demands, legitimate demands, such as being consulted on regulations that will impact broadcasting in Quebec and Quebec culture. The unanimous National Assembly motion that set tongues wagging recently reads as follows:
THAT the National Assembly acknowledge that the federal government could soon pass Bill C‑11, which aims to amend the Broadcasting Act;
THAT it underline that this bill does not recognize the application of Québec laws regarding the status of artists;
THAT it recognize that this bill, as it is currently written, grants Québec no rights of inspection on the directions that will be given to the CRTC, and that those directions will have a significant impact on Québec’s cultural community;
THAT it remind the federal government that Québec’s linguistic specificity must be respected;
THAT it highlight for the federal government that as a nation, it is up to Québec to define its cultural orientations;
THAT it demand that Québec be officially consulted on the directions that will be given to the CRTC regarding the bill and that, for this purpose, a formal mechanism be added to the bill;
THAT it affirm that Québec will continue to apply, in its areas of jurisdiction, the laws democratically passed by the National Assembly;
THAT, lastly, the National Assembly inform the federal government that Québec will use all the tools at its disposal to continue protecting its language, culture and identity.
The minister has the means and the tools needed to respond to these demands from Quebec. The real question is whether he will do the right thing through ministerial directives to the CRTC. We will see over the next few days, but I really hope he does. We in the Bloc Québécois will continue to properly and faithfully stand up for Quebec's demands to ensure the protection of its culture and broadcasting sector.
Recently, my colleagues and I have all been getting a rather impressive number of emails from people who are opposed to Bill C-11. Oddly enough, they are not well-crafted emails written by an organization representative like the ones we received in previous weeks and months. They are very short emails that are more focused on the issue of censorship and control over what Quebeckers and Canadians will be able to watch online once Bill C-11 is passed.
I have no qualms about saying that this is blatant misinformation. However, I want to talk about it a little and explain to the millions of Quebeckers and Canadians who are watching right now what these scare tactics are all about. The word “censorship” is one that has been coming up a lot. People are talking about a law that is going to censor Quebeckers and Canadians and undermine their freedom of speech.
If we stop for a second and think about this, we realize that a person would have to be totally disingenuous or a complete conspiracy theorist to believe that, here in Canada, in our current system, a government could impose censorship with impunity like they do in totalitarian states. Feeding that fear is an act of bad faith and intellectual dishonesty. I am not sure that that is very healthy. It may be politically advantageous, but that is another issue.
People wrote to us with concerns about the control the government will have over what we can see online and what it wants to ban from being seen online.
Bill C‑11 does not say that the government will be able to force people to binge Les filles de Caleb on the weekend. Bill C‑11 seeks to have content produced by creators from here, to showcase stories from here, that our culture and the talent of our creators have their place on streaming platforms. No one is saying that people have the right to watch or not watch this or that. No one is preventing any content from being streamed.
I have lost track of how many times I have heard about the manipulation of algorithms. Web giants talked about it at committee meetings. It was like we were asking those companies for the recipe to build a nuclear bomb. It was a bit excessive. I do not think that anyone at the CRTC is going to tell Spotify to open its code so they can mess with it. That is just silly.
However, we need to give the CRTC the latitude and the tools it needs to ensure that the objectives are met.
Traditional radio used what were known as logger tapes. For younger folks, such as the member for Thérèse-De Blainville, these were reels that turned at very slow speed and recorded 24‑7. It was easy because radio programming was a continuous broadcast on a single frequency. Obviously, the same mechanism cannot be used with online platforms. However, it is important that the regulator responsible for verifying that the objectives are being met actually has the means to verify that they are, in fact, being met. Algorithm manipulation should therefore not be permitted. It is essential to keep the door open to allow future verifications, if this is how verifications must be done.
Then, there is the age-old issue of infringement on freedom of expression. I do not understand how anyone could believe that we could pass laws that literally infringe on freedom of expression. For some, any attempt to address disinformation and ensure that people have access to reliable, verified information amounts to an infringement on freedom of expression. We are certainly going to hear about it at length when we debate Bill C-18, but freedom of expression will not be violated by Bill C-11. In any case, a law passed by the government that would infringe on freedom of expression obviously would not stand up in court and would be quashed very quickly.
I do not see a problem with imposing discoverability obligations, obligations to promote Quebec, Canadian, French-language and indigenous content, and to showcase the distinct nature of the Quebec nation and of Canada on the online platforms of digital giants. I came up with what I thought was a useful analogy. For those opposed to regulating GAFAM, the major online broadcasting companies, I will present the following analogy.
Imagine if, instead of offering cultural content, these businesses were serving food. Would there be any objection to these food service companies being subject to the same health regulations that traditional restaurants are? I doubt it. I doubt there would be any objection if the rules set by MAPAQ, Quebec's department of agriculture, fisheries and food, which apply to restaurants, were also applied to any business that serves food. Even though we talk about a free market on the Internet, there are limits that must be applied there as well. I thought that was an interesting analogy for illustrating the importance or relevance of regulating online businesses as well.
I do not want to spend all day debating this. We have debated it extensively, and we are at the stage where we want to come to an agreement as quickly as possible and return this bill to the Senate so that it ultimately gets approval. Then we can move on to the much-anticipated implementation stage of this bill, which is eagerly awaited by the entire cultural community and by broadcasters. However, I am going to move an amendment in closing. It is an amendment to the amendment moved yesterday by the member for Lethbridge.
My amendment to the amendment is as follows: that the amendment by the member for Lethbridge be amended by replacing all the words after the word “that”; the motion be amended by adding to the last paragraph “further calls on the government to establish a process for consultation with the Quebec government so that Quebec's specificity and the unique reality of the francophone market are adequately considered by the CRTC” and recalls that the federal Status of the Artist Act respects Quebec's jurisdiction and is consistent with Quebec legislation on the status of the artist.
2012 words
All Topics
- Hear!
- Rabble!
- add
- star_border
- share
Mr. Speaker, the last time I stood up to speak to Bill C-11, I said that I hoped it would be the last time, so that we could finally get to the final stage of this very important bill that has been long awaited by our broadcasters, our cultural industries.
A lot of water has gone under the bridge since the first version of this bill came to us in November 2020. At that time it was introduced by the current Minister of Environment and Climate Change, who was then the minister of heritage. As I like to say rather often, the first version of this bill looked like a document that someone threw on the table saying, “Here are some blank pages, we need to fill them up”. I also said that it was like a paint-by-numbers that someone had forgotten to colour in. A lot of hard work has been done since then, though.
Now that we are at the point of responding to the government's response to the Senate amendments, I would actually like to take this opportunity to recognize the members of the Standing Committee on Canadian Heritage for their hard work and engagement, no matter their opinion or point of view. We had quite a few differences of opinion. Early on, before something happened that triggered all kinds of obstructive manoeuvres by the Conservatives, we had some pretty good chemistry and collaboration around the table. I want to applaud the member for Richmond—Arthabaska, my fellow vice-chair of the Standing Committee on Canadian Heritage at the time, for his work. Our collaboration was excellent. Even though our Conservative colleagues had different views on all kinds of factors and topics, we were able to discuss cultural issues and move things forward anyway. It is really impressive how constructive our work was despite our differences of opinion. I want to recognize that.
Then there was the removal of what was then the proposed section 4.1. This unleashed the wrath of our Conservative friends, who officially withdrew their support, in as much as they ever supported this bill. Let us just say that the collaborative spirit at the time eroded a bit.
That being said, a lot of hard work has gone into this bill. I want to acknowledge the efforts of government representatives, the NDP and my Bloc colleagues who also took part in the study of this bill. They all worked for artists, for our cultural industries, and for our broadcasters in a spirit of co-operation and solidarity.
I often hear people say that this bill does not really meet the expectations of artists. We know that it is extremely important for the cultural industry, but is it true that this bill does not meet the expectations and needs of artists?
I completely disagree with that statement. Yesterday we heard the speech by the member for Lethbridge, who suggested that the unions were the ones who would benefit from this reform to the Broadcasting Act and that the artists would not come out ahead at all. That is completely untrue. I even went to the trouble—
533 words
- Hear!
- Rabble!
- add
- star_border
- share
- Nov/21/22 2:16:49 p.m.
- Watch
Mr. Speaker, Jean Lapointe has left us.
He left an indelible impression on us as a comedian who made Quebeckers laugh for decades, and as a prominent actor in Quebec films such as Les ordres, L'eau chaude, l'eau frette and Le dernier tunnel.
We will never forget his star turn as Duplessis, arguably one of the most remarkable performances in the history of Quebec television. We will also never forget his successful career as a singer-songwriter, with hits like C'est dans les chansons, Cyrano, Si on chantait ensemble and Chante-la, ta chanson. Above all, we will never forget his altruism, which motivated him to help out people who were struggling.
Since 1982, Maison Jean Lapointe has been a beacon of hope for people seeking help for alcoholism and drug abuse. Thousands of Quebeckers, as well as their families and friends, are indebted to him. Thousands, even millions, of Quebeckers are grateful to him, and his passing is a huge loss to us all.
On behalf of the Bloc Québécois, I offer my most sincere condolences to all those who loved him.
190 words
- Hear!
- Rabble!
- add
- star_border
- share
- Sep/23/22 11:16:23 a.m.
- Watch
Mr. Speaker, I have to interrupt the order of business because tomorrow, September 24, is Dodo's birthday. Yes, Dominique Michel is celebrating her 90th birthday tomorrow. I know that it is impolite to discuss a woman's age, but we are talking about Dodo, she is part of the family. It is an opportunity to tell her that we love and miss her. We have spent quite a bit of time with Dominique Michel, from music to Moi et l'autre, Denys Arcand films to Bye bye, then her final Bye bye, her final Bye bye, and her final Bye bye. Dominique Michel is simply an honorary member of every Quebec family.
It is not often that the Bloc Québécois promotes TV shows in the House, but every Quebecker has a rare opportunity to celebrate with Dodo tomorrow because she will be the guest of honour on En direct de l'univers. I bet there will be quite the crowd at her party.
On behalf of the Bloc Québécois, on behalf of all Quebeckers and on behalf of the House, happy birthday, Dodo. We thank you for your work and we wish you good health and a happy retirement even though we miss you.
Happy 90th birthday to Dominique Michel.
220 words
- Hear!
- Rabble!
- add
- star_border
- share
Mr. Speaker, I want to start my speech with an aside once again. I am definitely making a habit of starting my speeches with an aside. I want to do this and I think everyone will be fine with it, because last Friday was graduates' day. In Quebec, we celebrated students graduating from high school, CEGEP, vocational school and other schools. We applauded their efforts and their determination at an important step in their studies. I therefore wanted to take a few moments to commend graduates in the riding of Drummond. I am thinking in particular of Elsa Darveau and Ève Turgeon, two young ladies that I adore. Back home, I want to applaud my stepson Christophe and his girlfriend Sophia who are also headed to CEGEP. I want to commend and congratulate everyone graduating in Quebec and Canada, and all those taking this big step in their studies.
I hope that this will be the last time we rise to speak to Bill C‑11. I am optimistic that it will be. We worked on Bill C‑10, we worked on Bill C‑11. It is time to pass this bill that our cultural and broadcasting industries have awaited for such a long time.
I must say that we put a lot of hours into Bill C‑10 after it was introduced in 2020. The spotlight was on us, as members of Parliament, and we were being congratulated and patted on the back by our colleagues and others, but there is a whole team working behind the scenes. I want to acknowledge my support team, which did extraordinary work during our study of Bill C‑10 last year and during our study of Bill C‑11 now before us.
I especially want to thank my assistant Mélissa, who did an amazing job planning more than 60 meetings with stakeholders from all across the industry and who worked non-stop to prepare for the committees. She did an amazing job. I thank my friend Éric, who contributed his thoughts and experience, our research friends, Michael and Vincent, and the whip's team, Paul, Marie-Christine and Charles.
I want to say a special thank you to my colleague from Beauport—Côte-de-Beaupré—Île d'Orléans—Charlevoix, who is here in the House today. Last year, she held meetings on Bill C-10, and she put in a lot of effort. It was a bill that she cared a lot about. I imagine she is pleased today to see that Bill C-11 will be passed. She was a singer in a former life. Actually, that is not true. She will always be a singer. In fact, the Standing Committee on Fisheries and Oceans has the opportunity to benefit from her talents at just about every meeting. I think this bill was particularly close to her heart because she has made a living from singing and she knows how important the Broadcasting Act is to the entire cultural industry. I therefore thank my colleague for her wonderful help.
I feel like I am giving a thank-you speech at an awards ceremony, but I think it is important. I hope others will follow suit.
I also want to say a big thank you to the interpreters, the committee staff, and the clerks' office staff, who do an absolutely incredible job, always behind the scenes. Without them, I do not think we would be able to get anything done. I want to sincerely thank them as well.
With that, I want to focus on a number of very important things that were added to Bill C‑10, which I spoke about earlier. My pet analogy is that Bill C‑10, as introduced on November 3, 2020, was like a blank paint-by-number. The numbers were there, but they were in need of paint to fill in the structure and content of a bill that was lacking on both fronts.
Earlier, the parliamentary secretary talked about Bill C‑10 and Bill C‑11 as though they were essentially one and the same. He is not completely wrong about that, but he should have said that it was actually the final version of Bill C‑10 as amended and the version of Bill C‑11 as introduced that were virtually the same. That is an important distinction because a lot of work was done on Bill C‑10. Specifically, a lot of work was done to take out significant sections of the Broadcasting Act, for example, paragraph 3(1)(a) on the Canadian ownership and control of broadcasting entities. Last year, the Bloc Québécois proposed an amendment to Bill C‑10 to replace it with the following: “the Canadian broadcasting system shall be effectively owned and controlled by Canadians, and foreign broadcasting undertakings may also provide programming to Canadians”.
The wording has changed a bit in Bill C‑11. Without getting into it too much, we would have preferred the wording from Bill C‑10, but this is still an important amendment.
We often say that the Bloc Québécois put the protection of French back into the broadcasting bill. That is true, and it is in Bill C‑11 because we managed to add it to Bill C‑10. Here is what the new subparagraph 3(1)(i.1) says: “reflect and support Canada's linguistic duality by placing significant importance on the creation, production and broadcasting of original French language programs, including those from French linguistic minority communities”.
There is an important nuance here that I think is worth bearing in mind and repeating. The bill talks about “original French language programs”, not programs in French. If we had stuck with “programs in French”, as the bill seemed to suggest before we amended this clause, then content dubbed in French would have been given equal weight regardless of the original language. What we were calling for, and it was entirely legitimate for us to do so, was original French content, meaning broadcasting companies would be required to produce original content in the language of Molière, Vigneault, Leclerc, Lévesque and myself.
I am talking a lot about Bill C-10 because we added a few things to it, some of which also made their way into Bill C-11, so they have been discussed again.
One of them was the issue of discoverability, which really got people talking. It has become quite hackneyed and used to spread appalling misinformation. I talked about discoverability in the House last week, and I think it is pretty straightforward as a concept. It aims to ensure that local content is promoted, easy to find and available on any broadcasting platform.
I cannot imagine anyone thinking to themselves that, yes, we produce great content but that we need to make sure that no one can find it, so as not to completely confuse the algorithms of the big foreign companies, which will stop liking us.
I was elected by Quebec voters, who want me to protect their interests. I was not elected by multinational corporations that are based abroad and who report virtually no revenue, pay virtually no taxes and contribute virtually nothing to our broadcasting system and our cultural industry in Canada.
I therefore have no problem imposing discoverability requirements on these businesses, because I find that it makes sense. I find it contemptible that this requirement has caused so much outrage and been used as justification by those who claim that this broadcasting bill essentially amounts to censorship.
Another very interesting addition made to last year's bill is the sunset clause. This emerged from the realization that the Broadcasting Act has not been updated, revised or amended for more than 30 years, and that if nothing were done, it would more than likely be quite some time before a new act were adopted or amendments made to the new Broadcasting Act.
Why would we not require a re-evaluation at specified times to make the necessary amendments and adjustments? That is one of the fine additions included in Bill C-10, and then in Bill C‑11, and it will require the House to review the Broadcasting Act every five years. If some things are not being done properly today, we will not have to wait 30 years to correct them.
Bill C‑11 has had quite a strange trajectory. We can agree that the process was a little messed up. In other words, it was short-circuited or neglected. I apologize; perhaps I could have used a better term.
It did not help that the Conservatives decided they were going to oppose the bill in any way they could, by filibustering during some very important meetings, even though the study process had already been planned out when the committee received the bill. In response, the government opted for a closure motion, which made it tough to talk about amendments and advocate for amendments.
This meant that the committee was not able to have the types of discussions it would normally have when amendments to bills are proposed. I think that the discussion can open members' minds. I wanted to hear my colleagues make arguments, even the ones I find far-fetched. In committee, we are meant to discuss, listen to what others say and keep an open mind. This is how we can amend Bill C‑11 as effectively as possible.
A few Bloc Québécois amendments were rejected. I think the main reason they were rejected is that we did not have the opportunity to explain them. There was no room for debate, particularly on the control we want to have over online companies, or rather the control we refuse to have over them.
It is unbelievable. When we tried to force American, Chinese and international companies, foreign companies, to hire Canadian and Quebec human resources, creative resources and talent as much as possible, I was told that it is impossible because the companies are already investing a lot of money. I was told that we cannot force them to hire locals because that would be too upsetting. That is what I was told. These companies and the web giants say that they are already contributing a lot and that it would be inconvenient if they were forced to use Canadian resources as much as possible. To that I say, they are always nibbling away at the advertising pie and taking the revenues for themselves.
I really want members to understand this. People in this flourishing industry are on the verge of switching careers. They no longer have an income, and media outlets are closing up shop, yet web giants tell us they do not want us to impose those kinds of constraints. Our doormat of a Canadian government lies down and has no problem letting them walk all over it.
I sincerely hope the government will take a somewhat firmer stance, especially when it comes to orders the CRTC can give. The CRTC does actually require good faith negotiations between the companies that create programs and those that distribute or broadcast them, and obviously that includes online platforms in our current system. That means the CRTC would need the tools to impose fair negotiation rules should good faith negotiations not happen. That idea was turned down too.
I was told it would not work, that the government could not give the CRTC tools to respond should negotiations not take place in good faith. That means big corporations will be able to walk all over our little-guy production companies and carry on exploiting our Quebec and Canadian content creators for profit.
Who might need these negotiations to be protected? Small programming businesses might need that, although many of them have grown. Consider APTN, for example. APTN's wonderful model is being emulated around the world. New Zealanders were inspired by what APTN has done in Canada and created a similar channel. CPAC is another example. I think everyone here is quite familiar with CPAC. We can also think of The Weather Network. These are all businesses that need this protection, but they are not getting it because we think that if we are too strict with online businesses, they will be angry. Do we really think they will go away because they are angry? They make billions of dollars.
Here is another thing that really frustrated me. We hear about balancing the market, making the market fair to ensure that our traditional broadcasting companies are not penalized in relation to online companies. In that regard, I am quite happy that the part II fees, which imposed significant and onerous financial conditions on licensed broadcasters, have been dropped. I think dropping these fees should really help them, or at least give them a little breathing room. However, the CRTC still cannot issue orders.
Let us talk about one of the amendments that I thought did not make much sense:
The [CRTC] may, in furtherance of its objects, make orders imposing conditions on the carrying on of broadcasting undertakings that the Commission considers appropriate for the implementation of the broadcasting policy set out in subsection 3(1), including conditions respecting...any change in the ownership or control of a broadcasting undertaking that is required to be carried on under a licence.
I said that the idea of a licence should be removed because we want that to apply to online undertakings. However, that was rejected. People did not want that to apply to online undertakings. It is as though they were still scared of the big online company monster. It is as though they were afraid of stepping on the toes of the giant.
We are afraid to step on the toes of the giant, but that giant is crushing us and we are saying nothing about it. We think it is amusing because we can watch our movies and our shows. We do not even realize that our creators are starving.
Bill C‑11 will pass. The result of the vote will be close, but it will pass. I hope that the fears of those who have profusely expressed them will be allayed when they eventually realize that the “censorship” and “control” of what they envisioned are fabrications. These arguments are pure fearmongering and really have no merit. All the rambling that took place over the past few months and the Conservatives' systematic filibustering when Bill C‑11 was being studied in committee has only resulted in the postponement of important studies, such as that of bill C‑18.
More than 450 news businesses have closed their doors. This is a crisis. Because so much time has been wasted for unfounded ideological reasons, a slew of media outlets, including small regional media, are on the brink of closure, and I find that outrageous. I think that these people should show their frustration by pounding a table and making sure their MPs hear them. It is absurd that Bill C‑18 cannot be studied sooner and that we must wait until the fall to discuss this urgent matter.
2597 words
All Topics
- Hear!
- Rabble!
- add
- star_border
- share
Madam Speaker, I thank my colleague from Kitchener—Conestoga for his question. Following our discussion this afternoon, I thought he might ask his question in French, but maybe next time.
Amendments were debated and voted on last year when the House was studying Bill C‑10. I was pleasantly surprised to see those amendments as clauses here in Bill C‑11.
There are indeed provisions designed to promote the use of official languages by broadcasters, online or otherwise. It is indeed very important to promote minority cultural communities and indigenous cultures. In fact, I am absolutely delighted to see that the latter are becoming much easier to discover in various media and it is well worth doing so.
That is yet another example of why it is so important for us to make the rules ourselves and apply them to foreign companies with a digital presence here.
152 words
All Topics
- Hear!
- Rabble!
- add
- star_border
- share
Madam Speaker, I would like us to be able to rely on the goodwill of digital companies. I would like them to show us that they do indeed care about the cultural specificity and the specific characteristics of Quebec and Canadian content. Unfortunately, that is not the case.
I think the government has to establish some ground rules and enforce them so that artists can express themselves. As my colleague said about freedom of expression, there has to be a playing field to apply it and express it.
I think that it is up to Parliament to set some guidelines, at the very least. An organization, the CRTC, will then make regulations on the details. The government certainly has a key role to play in the discoverability of content and in the expression of artists in various media.
138 words
All Topics
- Hear!
- Rabble!
- add
- star_border
- share
Madam Speaker, as an aside, I would first like to point out to the House that, like many of my colleagues, I am wearing the colours of Ukraine today.
I was in Montreal yesterday, along with several of my Bloc Québécois colleagues, to take part in the rally in support of Ukraine. A number of rallies were held across Canada and Quebec. I saw yesterday why the people of Ukraine will emerge victorious from this conflict. Whatever the outcome of this Russian assault, the people of Ukraine have embarked on a path that will inevitably lead them to achieve their goals. When a people or a nation decides to live freely and to live in a democracy, the path to get there does not stop until the ultimate goal has been reached.
Quebeckers are worried about loved ones who are currently stuck in Ukraine. One of my constituents in Drummond, Mr. Nelson, comes to mind. His wife is sheltering in the basement of the school where she teaches in Nizhyn. He has not heard from her, although perhaps it is for some silly reason, like she cannot charge her phone or has no way to reach him. I want Mr. Nelson to know that the Bloc Québécois and his representative will never give up.
This long preamble on the situation in Ukraine is somewhat related to what we are debating today. War in the digital era plays out at different levels than it did a few decades ago, or even one decade ago. These days public opinion is infinitely easier to manipulate. We have seen it many times and examples have been pouring in for a few years now. It is a threat that we must confront urgently.
An example of this came up just today. My colleague from Saskatoon—Grasswood mentioned it. This afternoon, the Minister of Canadian Heritage was at the Standing Committee on Canadian Heritage and we talked about the Russian propaganda media, Russia Today, which has been banned from several Canadian cable companies. I am not saying that muzzling or censorship is the solution. I want to make it clear that this is an exceptional measure.
The solution is not always to silence the voices of people with different opinions, and I pointed this out to the minister earlier. I told him that this was warranted in the case of Russia Today, which is broadcasting disinformation and propaganda from the Russian regime to justify Russia's despicable attack on Ukraine, but I said that this instance must not create a precedent for censoring or silencing other press or media outlets that might broadcast questionable content that we do not agree with or condone.
This is why a bill on the Broadcasting Act that takes today's reality into account is so important. As members know, the current legislation was passed in 1991. I think we explored the issue thoroughly during the debate on Bill C‑10 last year. This old and outdated legislation is long overdue for revitalization and modernization. I am very pleased to finally rise to speak to the long-awaited Bill C‑11, an act to amend the Broadcasting Act, which will also address online streaming.
It is rather sobering to see that, 16 months after a bill that was urgently awaited by the cultural industry, broadcasters and the media was first introduced, we are essentially back to square one. I say “essentially” because some improvements were made to Bill C‑11. These improvements were obviously the result of the numerous amendments proposed when the bill was studied in committee last year. I also want to point out that many of these improvements were championed by my colleagues in the Bloc Québécois, in particular the improvement regarding the discoverability of Canadian and French-language content and content from different cultural communities, which add colour and beauty to our cultural universe.
Had Bill C-10 passed, the CRTC would now be holding hearings to regulate the industry with a view to creating a more level playing field for all actors in cultural sectors and broadcasting.
Had Bill C-10 passed, we would be starting to see our content creators, programming undertakings and artists getting back to creating television shows, movies and music because they would have renewed confidence in the government's ability to create an environment where their content will do more than just make Chinese and American billionaires richer.
These people are not asking for a pandemic relief program. They are asking to create, sing, dance, produce shows, play, produce and earn an honest living through their passions.
We have lost many people and a great deal of expertise in the cultural and radio and television sectors since the start of this pandemic. Many people have left for more stable and less stressful sectors because they are also mothers and fathers. We underestimate these people's contributions to society.
I will repeat it, because I get the impression that it takes time to sink in, that it is not immediately or quickly understood: Culture is not an expense. Culture is an investment. Culture pays off. Culture contributes to the Quebec and Canadian economy. Artists and cultural workers are not a bunch of lazy old fogies who live off subsidies. Culture is an industry worth about $60 billion per year. Culture is an industry that supports more than 600,000 people in Canada. It is is wealth. It is not just wealth from a financial perspective, it is our wealth because it both reflects and conveys what and who we are as a nation. Culture conveys to the whole world what our identity is, what our values are, what our personality is, what our colours are.
If the means of disseminating our culture are taken away, what will be left of us? The rest of the world will continue to think that Canadians play hockey, that they drink beer and Tim Hortons coffee, that Quebeckers wear arrowhead sashes while eating poutine around a campfire in winter. We will see the usual familiar clichés that all of us are a little tired of seeing around the world. That is what our television, our radio, our cinema allow us to convey. They allow us to showcase our stories, what and who we are.
We must ensure that our creators, producers and broadcasters can continue to do just that on the new platforms forced upon us by the new technologies on which we are becoming increasingly dependent.
We have heard a lot of criticism about the regulation of content. Sometimes the criticism is ideological, while other times it is more partisan. Sometimes it is well-founded, while other times it is less so. I think the criticism is relevant in the sense that everyone is entitled to their opinions. For instance, someone might not be a big fan of quotas for French-language content.
I started working in radio as a young host in the mid-1980s. Canadian music quotas and francophone music quotas were just starting to be imposed. I can say that it really got on my nerves, because it was not very cool, even though there was some great music there. There were some excellent artists, but the choice was still pretty limited at the time. There was not a huge pool of music for the different styles of radio, for example. The radio station I worked for was much more youth oriented. We definitely had a little less to choose from in those days.
I can admit quite honestly now that I used to find it annoying to have to comply with francophone music quotas. However, over time, I began noticing the positive impacts of that regulation, that push to promote francophone content on Quebec radio stations.
As time passed, more and more new bands and new musical genres came along and were discovered because of the regulations that were put in place to showcase our music and our artists. There were extraordinary positive impacts.
Today, there could be radio stations with 100% French-language programming and listeners would never get bored. They would not necessarily hear the same thing all the time, even if some radio programmers believe that the same songs should be replayed just about every hour. That is another matter and another debate.
The positive effects of implementing such regulations are tangible. If it worked for radio, if it works for traditional media, it is also going to work for digital media. We must do it for digital media for the same reasons that I mentioned earlier. We show the entire world who we truly are through our media, our art, our culture, our programs, our movies and our talent. We are more than just beer and coffee drinkers, more than just lovers of poutine wearing arrowhead sashes and gathering around a fire. Culture dispels clichés.
The need to quickly bring in new broadcasting regulations, to refresh the ones that have been in place since 1991, is even more urgent given the current crisis in the cultural industry, which has certainly been aggravated by the omnipresent digital media and digital corporations like GAFAM. These giants are gobbling up our news media's profits and their share of the advertising pie. It is time to regulate this.
I have some figures to share. Since the beginning of the pandemic, out of the 180,000 jobs lost, whether temporarily or permanently, more than 50,000 cultural sector workers, artists and content creators decided to throw in the towel and do something else. They went off to get another job. They have families to feed, and they cannot stay in a situation where they do not know when the next crisis will crop up or what impact it will have on them.
These people no longer want to go through that kind of stress. More than 50,000 people in Canada have decided to do something other than the work they loved above all else. One of these days, we will have to come back to this and think about how much importance we give to our artists and content creators. We might want to consider reviewing the Status of the Artist Act. I want that to happen soon. It will be important to do that, because these self-employed cultural workers lack even a modicum of financial security, as they are excluded from government programs by virtue of their status. That means we lose them in times of crisis, which is what we are seeing right now.
The Union des artistes, a Quebec-based artists' union, polled its members earlier this year, and the numbers are alarming: 61% reported having lost interest in their artistic trade, 35% had sought help for mental distress, and 15% had suicidal thoughts during this period. The Union des artistes has 13,000 members, so 15% is a lot of people to be having those thoughts.
Culture is important, but we also need to talk about broadcasters. Up until a few years ago, companies across Canada were operating in a system that they helped to build and that afforded them some protection from the invasion of powerful foreign consortia and major media outlets. This was, in large part, thanks to the legal requirement that this system be effectively owned and controlled by Canadians.
For decades, these companies helped develop Canadian and Quebec content, highlighting and promoting cultural and linguistic diversity. These companies spent and are still spending a lot of money to be able to operate and meet the licensing requirements. Many of these companies are key parts of our economy, in Quebec and across Canada. These companies still bear a massive burden just to be able to operate as broadcasters.
What message are we sending these builders, these major employers, these broadcasters that have been required to contribute to helping artists and niche broadcasters thrive?
Niche broadcasters, which may have less influence, have had the opportunity to thrive and offer programming for cultural communities. ICI Télévision in Montreal is a wonderful little TV station that I think everyone should check out.
There is also APTN, which does such a good job of promoting the culture of our first nations and serves as an example for the entire world. People come here to learn from APTN's expertise and apply it in other countries. I think we can be proud of that, and it is thanks to our broadcasting system that we can have success stories like this one.
The message we are sending our broadcasters right now is that it is okay for the big sharks to swim in our little fishbowl, siphoning off the bulk of the advertising revenue without having to contribute significantly to the system. However, it is our broadcasters who must comply with burdensome, increasingly costly, counterproductive and decidedly unfair regulations as the industry transforms.
These days, there is a lot of talk about politicizing issues. It is true that a lot of politics is done on just about everything, and I think that is normal. We are in politics, so it is normal to politicize issues. Otherwise, I do not think we would be in the right place. However, I think there are issues that require us to rise above and look beyond ideology or filibustering. We need to be open and aware of the issues we are debating here.
Bill C‑11 may not be perfect yet, but we will have the opportunity to work on it. I think this is a bill with a very good foundation, and it certainly does not deserve to be blocked the way Bill C‑10 was last year.
I sincerely hope that all members and political parties in the House will see this bill as a necessity for our Canadian and Quebec broadcasters, but also for the entire cultural industry, for our artists, our content creators, our artisans and our self‑employed workers in the cultural sector.
2363 words
All Topics
- Hear!
- Rabble!
- add
- star_border
- share
- menumenu
- notificationsnotifications
- home
- mailmail
- searchsearch
