- Member of Parliament
- Member of Parliament
- Bloc Québécois
- Shefford
- Quebec
- Voting Attendance: 66%
- Expenses Last Quarter: $81,135.43
- Government Page
Mr. Speaker, the answer is simple. Artists in my community have explained to me how this will affect the music industry in particular. At this point, Quebec francophone artists are losing market share and revenue.
Every day that Bill C‑11 does not pass is another day that artists have to fight to keep our culture and the French language alive, and another day that artists will lose money and will struggle more financially.
It is as simple as that. This bill will help our artists to continue producing content in their language. The same is true for indigenous languages.
101 words
- Hear!
- Rabble!
- add
- star_border
- share
Mr. Speaker, I humbly rise today following my wonderful colleague from Berthier—Maskinongé's speech about this bill, which is important for Quebec culture and is central to the very mission of the Bloc Québécois. I would also like to commend my colleague from Drummond for his superb work on this file.
Broadcasting is without a doubt the most effective tool for spreading culture, and it helps define our national identity. Given the rapid development of information and communication technologies, the Bloc Québécois obviously supports the idea of modernizing the Broadcasting Act, which has not been updated since 1991. Back then, I was still listening to music on cassette on my yellow Walkman, and I was only just beginning to take an interest in CDs. I had scarcely even heard of the Internet. The Bloc Québécois contributed substantially to improving the previous version of this bill, the infamous Bill C-10.
I will briefly address the new version, Bill C-11, in my speech. First, I will talk about protecting and promoting original French-language content. I will then discuss the misinformation circulating about the bill. I will conclude by discussing the importance of the bill for local media.
First, let me mention a few crucial aspects regarding the protection and promotion of original French-language content: the discoverability of Canadian programming services and original Canadian content so that there is more original French-language content, proportionally speaking; the promotion of Canadian programming in both official languages, as well as in indigenous languages; a compulsory contribution to the Canadian broadcasting system should a company be unable to use Canadian resources for its programming; the presence of first-run French-language content in order to ensure that platforms like Netflix have new French-language programs, not only old shows; and a sunset clause ensuring an in-depth review of the act every five years.
The Minister of Canadian Heritage promised us that the Bloc Québécois's amendments would be included in the new version of the reform, and indeed they are almost all there. Since nothing can be left to chance in such a bill, we are making sure that we can course correct in the event that changing one simple word has a major impact on the effect of the clause. We have to keep in mind that we want a piece of legislation that will not be obsolete as soon as it is passed. Technology is developing very quickly, and we need a long-term vision to ensure that the act does not become outdated after just a few years. Flexible legislation is important.
From day one, the Bloc, backed by Quebec's entire cultural sector, was the party that worked the hardest on improving Bill C‑10 and getting it passed before the end of the parliamentary session. During the last election campaign, making sure that Bill C‑10, now Bill C‑11, was passed was even the first item on our election platform under arts, culture and heritage. Quebec's and Canada's cultural sectors have been waiting for decades for this act to be updated. The cultural sector made a simple demand just a few days after Bill C‑11 was introduced. It asked us to ensure that this bill passed quickly, because the sector had waited long enough.
Essentially, the objective of the bill remains the same: to apply the Broadcasting Act to the web giants by forcing them to contribute financially to the creation and discoverability of Canadian cultural content. The Canadian Radio-television and Telecommunications Commission, or CRTC, will receive new powers that will allow it to determine which online services will have to be regulated and what quotas will need to be met.
Bill C‑11 will help better regulate video streamers such as Netflix, Apple TV+, Disney+ and Amazon Prime Video, but also companies that specialize in streaming music online such as Spotify, YouTube and Apple Music. Bill C‑11 will require these companies to contribute to Canadian content when commercial items such as albums are downloaded and distributed on their platforms.
The exclusion clause, namely clause 4.1, addressed earlier, has been revised. Now creators, users and social media influencers are exempt from the legislation. It still needs to be taken into account. The money a creator earns from their content is immaterial in the eyes of the new legislation. So-called amateur content on social media would be exempt. The legislation focuses specifically on commercial products.
The CRTC will also have the option to impose conditions associated with discoverability and the development of Canadian content. The bill will not touch the algorithms that can influence the recommendations made to users. The department says it wants to focus instead on discoverability outcomes and not intervene directly with respect to web giants' algorithms. Quebec, francophone and Canadian content must be much more accessible on platforms. Ottawa is trying to give the CRTC the power to hold discussions with each of the digital companies to determine how much they could contribute to Canadian content based on their business model.
Second, I would remind members that the Liberals, the NDP and the Bloc supported and tried to improve this bill that the Conservatives were against from the outset. They engaged in a smear campaign and tried to find all kinds of far-fetched flaws. They really used their imagination. In Parliament, they used a variety of stratagems to slow down the process, both in committee and in the House. They took the House hostage under false pretenses, claiming that the bill infringes on freedom of expression.
However, since 1991, there has been a provision that forces the CRTC to respect freedom of expression. This provision has always been respected, and there is nothing to indicate that that will change. Pierre Trudel, a law professor at Université de Montréal who is an expert on the CRTC and information technologies, reassured us of that. He categorically stated that the freedom of Internet users is not at risk. There is no thought police on television, and there will be no thought police online.
Given the popularity and growing use of online platforms, there is no doubt that the legislation needs to be reviewed. According to ADISQ statistics on the music consumption habits of Quebec francophones over the age of 15, 50% of users follow YouTube's recommendations when choosing their playlists. When it comes to streaming services, 26% of users choose music suggested by the platform through playlists, and 17% follow recommendations. This is based on their past listening habits. These figures illustrate the importance of making Quebec and Canadian francophone content easily discoverable to users on online platforms in order to give it a boost.
Solutions do exist to address the algorithms. One option to consider would be for Spotify and Apple Music to offer a lot more francophone playlists.
Part of the CRTC's mission is to ensure the proper functioning and development of the Canadian broadcasting system. In doing so, it must respect freedom of expression and the other foundations of the Canadian Charter of Rights and Freedoms.
Third, both Quebec's and Canada's broadcasting industries are in crisis. According to an August 2020 report from the Canadian Association of Broadcasters, or CAB, local television and radio broadcasters were projected to face a revenue shortfall totalling $1.6 billion between 2020 and 2022. According to the CAB, 50 radio stations were at risk of shutting down within four to six months of the report's release, and another 150 could go silent within 18 months, resulting in 2,000 job losses, or 24% of 2019 employment levels. The report added that at least 40 of the 95 private and local television stations in Canada would cease operations by 2023.
The most vulnerable operations are AM stations, independent stations and other private radio and TV stations in smaller markets across Canada. Radio and television revenues have been declining for several years, and COVID-19 exacerbated these disconcerting trends.
We know that the Internet has revolutionized the way Quebeckers, particularly young Quebeckers, consume their favourite TV shows, movies, radio stations and music. Consumption trends have drastically changed. The online broadcasting market is dominated by foreign players. We need to take that into account.
Young Quebeckers are especially likely to skirt the traditional broadcasting system. The vast majority of young francophones aged 15 and up frequently listen to music on YouTube. We therefore need to ensure that they are offered francophone content.
A study conducted by CEFRIO, a research and innovation organization, found that over eight in 10 Quebeckers used a social media site in 2018, an increase of 16% compared to 2016. It is clear that the Internet is changing usage and listening habits.
Since I have only about a minute left, I just want to give a few statistics from the Canadian Audio-Visual Certification Office. Canadian content production decreased by an average of 12.4% per year between January 2017 and December 2020. It is important to remember that media outlets are currently in crisis, mainly because they have lost their advertising revenue to web giants.
In conclusion, the Yale report was clear: Canadian content is important. It said that if we do not tell our own stories, no one else will. That really made an impression on me. That was why the report set out a suite of recommendations on financing Canadian content with public funds, imposing spending requirements on foreign online broadcasters, and strengthening CBC/Radio-Canada.
One last thing before I wrap up: Last night, I met with Martin Gougeon from the Théâtre de l'Ancien presbytère. He is an artist who has made it his mission to promote our francophone culture to young students. I have also met with local media representatives many times. They are all unanimous. Quebec's cultural and media communities want this. Let us pass Bill C‑11. Enough dawdling.
1700 words
All Topics
- Hear!
- Rabble!
- add
- star_border
- share
Madam Speaker, I thank my colleague for the question and for her love of French. She is improving. That is great. I love having discussions with her.
I think I demonstrated that there has been a great deal of misinformation about this bill.
I remember the sarcastic intervention by my colleague from Longueuil—Saint‑Hubert when he said that after listening to the Conservatives, he had to agree with their arguments.
The Conservatives claim that we now have a system that imposes things on us, controls information and might well drift into allowing excessive control over what is broadcast.
I showed that compared to the former Bill C‑10, clause 4.1 of this bill adds protection against that. I would remind members that the bill includes a provision requiring a five‑year review of the legislation. We could therefore monitor the progress of the situation.
In this specific case, I believe that this worry is unfounded. We have shown that there is a protection mechanism in the bill. This does not infringe on freedom of expression; Canada has not become a dictatorship that tells people what they can say, do, think or broadcast. That is really pathetic.
202 words
All Topics
- Hear!
- Rabble!
- add
- star_border
- share
Madam Speaker, I rise today to speak to Bill C‑11 at report stage. Let me start by saying that this bill matters a lot to the Bloc Québécois and has since the last Parliament.
I spoke in favour of this bill in a speech last month. However, I would be remiss if I did not acknowledge the hard work of my colleague from Drummond, who has devoted himself, body and soul, to this bill ever since its previous incarnation as Bill C‑10. He deserves every bit of the applause I am hearing right now.
I will begin my speech today with a reminder about how important Bill C‑11 is to the discoverability of francophone culture. I will move on to a reminder about the importance of local media, and I will wrap up with an expression of hope regarding the importance of fighting misinformation, which has had such an impact on this parliamentary session.
As I was drafting my speech, I came across the Coalition for the Diversity of Cultural Expressions. The CDCE states that Bill C‑11, which updates the Broadcasting Act, is one of Canada's important and long-awaited cultural policies. On its website, the CDCE has what I think is a very good summary of the importance of Bill C‑11.
It ensures that Canadian creations and productions have a prominent place on our airwaves and on our screens, and that the companies generating revenues from access to culture in the music and audiovisual sectors contribute to their creation, development and distribution.
Canadians are increasingly accessing culture through online platforms. Much of the broadcasting ecosystem is transitioning to digital content. This has a number of benefits for the public and for creators: increased access to a variety of stories, music and ideas, increased opportunities for creators to launch their work, and renewed ability to reach audiences in Canada and around the world...
Many large corporations take advantage of this digital age without any obligation to contribute. Artists, creators, producers, publishers and other professionals of the music and audiovisual industries, as well as for Canadian society, do not reap the potential benefits of investment in the Canadian cultural ecosystem. C-11 was introduced to correct this unfairness.
Unfairness is indeed a problem.
The purpose of the new bill essentially remains the same as the previous one, namely to apply the Broadcasting Act to the web giants by forcing them to contribute financially to the creation and discovery of Canadian cultural content.
The Canadian Radio-television and Telecommunications Commission, or CRTC, will receive new powers that will allow it to determine which online services will have to be regulated and what quotas will need to be respected. Bill C‑11 will help better regulate video streamers such as Netflix, Apple and TV Plus, Disney+, Prime Video, but also companies that specialize in streaming music online such as Spotify, YouTube and Apple Music. The bill will require them to contribute to Canadian content when commercial items such as albums are downloaded and distributed on platforms.
However, the exclusion clause, namely clause 4.1, addressed earlier, has been revised. Now creators, users and social media influencers are exempt from the legislation. The money a creator earns from their content is immaterial in the eyes of the new legislation. So‑called amateur content on social media would be exempt. The legislation focuses specifically on commercial products.
The level of monetization of the use of content in full or in part by a broadcasting undertaking regulated by the CRTC will, among other things, be taken into consideration. The CRTC will also have the option to impose conditions associated with discoverability and the development of Canadian content.
The bill will not touch the algorithms that can influence the recommendations made to users, and that is very important. The Department of Canadian Heritage says it wants to focus on discoverability outcomes and not intervene directly with respect to web giants' algorithms. There are still questions to be asked, for example, on whether the two are not already intertwined and whether greater discoverability of Canadian and francophone content is necessarily dependent on algorithms.
In our case, it is the outcome that counts. Quebec, francophone and Canadian content must be much more accessible on platforms. Ottawa is trying to give the CRTC the power to hold discussions with each of the digital companies to determine how much they should contribute to Canadian content based on their business model. The CRTC will be able to impose administrative and monetary penalties on those digital broadcasters that refuse to comply with the Broadcasting Act.
Finally, the Minister of Canadian Heritage is proposing other legislative changes in his bill that will apply to all broadcasters, traditional or otherwise. The law should also strengthen programs produced by Canadians that cover news and current events—from the local and regional to the national and international—and that reflect the viewpoints of Canadians, including the viewpoints of indigenous persons and of Canadians from racialized communities and diverse ethnocultural backgrounds.
After everything we just talked about with regard to this legislation, I also want to mention the gains that the Bloc Québécois was able to secure with Bill C-11.
The Bloc Québécois did a lot to improve the previous version of the bill, namely Bill C-10, by ensuring the protection and promotion of original French-language programs; the discoverability of Canadian programming services and original Canadian content, including French-language original content, in an equitable proportion; the promotion of original Canadian content in both official languages and in indigenous languages; a mandatory contribution to Canada's broadcasting system if a company is unable to make use of Canadian resources as part of its programming; the requirement for first-run French-language content, in order to ensure there are new French-language shows on Netflix, for example, and not old ones; and a sunset clause that would provide for a comprehensive review of the act every five years.
This is very important, because we will thoroughly review C‑11 and meet with the various industry stakeholders and experts to get a sense of what is happening in the industry. We will have to keep evolving this law. We will not hesitate to try to improve it, if necessary, and we will surely propose again many of the hundreds of amendments that were rejected in the spring. Some of our proposals would have made improvements for local, community and independent players, for example.
We have to keep in mind we want a piece of legislation that will not be obsolete as soon as it is passed. Technology is developing very quickly, and we need a long-term vision to ensure that the act does not become outdated after just a few years. Flexible legislation is important, especially since Quebec's and Canada's cultural sectors have been waiting for decades for this act to be updated.
The cultural sector made a simple demand just a few days after Bill C‑11 was introduced. We need to ensure that this bill is passed quickly. The sector has waited long enough.
In May 2021, on Tout le monde en parle, even the former minister of Canadian Heritage said that every month that goes by without us enacting Bill C-10, now Bill C-11, represents more than $70 million that does not go to our artists in Quebec and Canada.
Second, do not forget that, like Bill C-18, which specifically focuses on assistance to print media and is based on the Australian model, Bill C-11 also fits into the context of this media crisis.
Since their inception, Facebook, Twitter and Google have been appropriating news articles and reports without giving any compensation to the authors or the media outlets concerned. For too many years, the digital giants have therefore been instrumental in dismantling our traditional media. This phenomenon began with national advertisers deserting traditional media for Facebook and Google, later followed by local advertisers, who also stopped buying advertising in local weeklies in favour of the giants.
Advertising on digital platforms is now the property of Google and Facebook, which alone are pocketing 80% of online ad revenue. Moreover, digital giants pay nothing for journalistic content that ends up on their platform, and they disregard the copyright of journalists whose work others share on social media.
Third, I really want to talk about misinformation, especially since there has been so much of it in connection with Bill C‑11: cat videos that will not be allowed to circulate, freedom of expression denied and information controlled, like in Russia. I have heard so many shocking things during the debates on this issue.
Just this week, the Chief Justice of the Supreme Court of Canada expressed concerns about the impact of misinformation on the health of our democratic institutions. He pointed to the demonstration in downtown Ottawa that paralyzed the city for three weeks, but he emphasized the importance of our shared responsibility to fight ignorance and hatred, which lead to misinformation. He expressed one wish for people in positions of authority, such as ourselves, namely that we pay more attention to the statements we make and their veracity.
I also replaced a colleague at the Standing Committee on Public Safety and National Security during its deliberations on radicalization and online hate. We cannot continue to ignore our role as elected representatives in the deterioration of public discourse on topics like Bill C-11 and in the divisiveness that exists. I hope to see this place debating a bill to address online hate sooner rather than later.
As a final point, I do not know whether this will be my last speech of the session, so I want to remind everyone listening of my unwavering commitment to the people of Shefford. I always keep in mind that I am accountable to my constituents, first and foremost, and, in this case, I am thinking of our local media in particular. I want nothing but the very best for the people of my region who have a right to access francophone cultural products, and for our artists, who have such an important and vibrant presence in our communities. They have been hit particularly hard by the pandemic, so they need some good news. Let us do something for them and pass Bill C-11.
1764 words
All Topics
- Hear!
- Rabble!
- add
- star_border
- share
Madam Speaker, it is with great interest that I rise today to speak to Bill C-11, the online streaming act, which follows on Bill C‑10, an act to amend the Broadcasting Act.
First, as a student of journalism, media arts and technology at the Cégep de Jonquière, which I would like to give a shout-out to, then as a politics and communications student at Université de Sherbrooke and even recently as the critic for seniors, I have heard a lot about what is happening to the media and web giants like GAFAM. That is what my speech will focus on today, because my other colleagues, including the member for Drummond, have spoken at length about the importance of Bill C‑11. In my speech, I will address three points: the link between this bill and local news, the importance to seniors of protecting regional media, and the Bloc's gains in this bill.
The first part of my speech will be a plea to save regional news. For that, I will cite excerpts from Extinction de voix: plaidoyer pour la sauvegarde de l'information régionale, a book on this very subject that was written by a journalist and author from back home, Marie-Ève Martel.
First, by not requiring enough of a contribution from GAFAM and their ilk, we are helping erode regional news content. We can rail against the unfair tax treatment between the news media and the web giants and the federal government's inaction when it comes to remedying the situation. Local news outlets have been part of the socio-cultural landscape in Quebec communities for decades. Many of these outlets played an essential role in their community for years and years before closing up shop.
The uncertain economic outlook for regional news businesses dictates the rules of the game. Economic stability seems unattainable for some. There is a high price to be paid for the dwindling number of journalistic voices out there. It is not uncommon for several small media outlets to be served by a single journalist or a barebones staff. They sometimes get content from national news outlets or other group members to pad the web edition. Televised newscasts are cut down or fleshed out with national news reports on more general topics. In some cases, any white space on the platforms is simply filled with press releases, which means that the message is not subject to a journalist's scrutiny. By using such practices, news outlets can hide the fact that they are producing increasingly less local content, as a result of having insufficient resources to produce as much coverage as they used to.
Journalism is often called the fourth estate, because it is in charge of monitoring the other three, namely the legislative branch, the executive branch and the judiciary, and reminding us of their purpose. We are governed by elected members who advocate for transparency on all fronts, at least in their speeches. In the digital age, they can now communicate with their constituents without an intermediary. Their policies should be available online with just a few clicks. Despite this so‑called transparency, the information is not necessarily more accessible than it was before. There are still many obstacles that will need to disappear before we can be said to have full access to this information.
We have to acknowledge the many barriers making regional journalists' work harder. Although these limitations and barriers are not directly contributing to the disappearance of the media, they prevent the media from fulfilling their mission, so in that sense, they are a threat on the same level as economic uncertainty.
Another equally important role the media plays, regardless of location, is oversight of political power. Elected representatives represent their constituents, so, as officers and administrators of public funds and municipal government, they are accountable for managing them. That watchdog role is one of the main reasons media outlets do what they do. Need I point out that the media took shape as political instruments centuries ago? On behalf of the people, journalists keep representatives accountable and ensure the proper functioning of local governments. That is why they are known as the fourth estate, which some elected representatives sometimes dislike.
Nevertheless, as much as journalists keep an eye on politicians, they also serve them, if only by enabling them to take the pulse of the populace. Many elected representatives rely on local news for information about problems and issues of concern to the people. The media essentially helps build local identities, serves as a catalyst for local unity, and provides a public forum for the exchange of ideas.
Regional media outlets serve as an advertising platform that gives businesses consumer visibility and, as a service, they are a powerful showcase for small and medium-sized businesses.
An American study published in May 2018 found that when local media shuts down, this has a profound impact on the local economy. The study looked at a total of 1,266 counties in the U.S. served by more than 1,500 newspapers, 291 of which disappeared between 1996 and 2015. The authors found that, since the media monitors how contracts are awarded, including by various levels of government, when the media disappears, this has a direct impact. Public spending tends to increase within a three-year period, particularly in the area of long-term borrowing for infrastructure projects.
In the communities that were studied, borrowing costs were on average 0.55% to 1.1% higher in places where there was no longer a newspaper to keep an eye on public spending.
These are just a few examples from the book to illustrate the importance of better protection.
Ms. Martel has recently written another book, Privé de sens: plaidoyer pour un meilleur accès à l'information. It is a plea for better access to information. In it, she explores Quebec's access to information system, which was set up 40 years ago and allows anyone to obtain most documents produced by public organizations. These days, the mechanisms underpinning the system are often outdated. Long wait times, astronomical fees, conflicts of interest, blatant misunderstandings, insufficient resources and redacted documents are some of the numerous and overlapping reasons given for refusing or delaying the provision of information. The book also explores the connection between access to information requests and the democratic foundations of our societies.
We must now remember that in the 20th century, Quebec's and Canada's local broadcasters had two advantages that enabled them to provide free local journalism and increased their revenues.
First, the media could offer a package of products, or a combination of genres and categories, with the profitable parts of the package subsidizing the unprofitable parts, thus ensuring the overall viability of the platform. For example, television stations used to offer all types of programs, including news, sports and others, and they used the profits to subsidize less profitable genres.
Second, radio and television stations and newspapers served as gatekeepers. They provided news that listeners, viewers and readers could not officially or easily have obtained otherwise.
The Internet changed everything. Websites and platforms took off, starting with the classified ads on Craigslist and moving on to international digital platforms, such as Google and Facebook ads, and they were soon able to compete with local media for profits. With targeted print, audio and video media being delivered digitally, the Internet enabled more competition for advertising dollars and for consumers' time and attention, including international competition for these three elements. The competition, especially from global Internet conglomerates, devastated local Canadian media.
The Quebec and Canadian radio and television broadcasting sector is in crisis. An article published by the Canadian Press on August 27, 2020, reported that the short- and medium-term outlook for private radio and television broadcasting in Canada is very bleak. It is high time to subject web giants to the Broadcasting Act by forcing them to contribute financially.
Second, the survival of local media is extremely important for seniors, as this is how they stay connected to their communities. They are worried that the web giants are not paying their fair share, which is jeopardizing the survival of local media. I got a question about this at a debate during the 2019 election campaign. I have also heard from organizations on this issue recently because of my position as critic for seniors.
Third, I have to mention that the Bloc Québécois contributed significantly to the previous version of the bill, the infamous Bill C‑10, and was able to secure the following gains: the protection and promotion of original French-language programs; the discoverability of Canadian programming services and original Canadian content, including French-language original content, in an equitable proportion; the promotion of original Canadian content in both official languages and in indigenous languages; a mandatory contribution to Canada's broadcasting system if a company is unable to make use of Canadian resources as part of its programming; the requirement for first-run French-language content, in order to ensure there are new French-language shows on Netflix, for example, and not old ones; and a sunset clause that would provide for a comprehensive review of the act every five years.
I would like to mention that the Haute‑Yamaska chamber of commerce held its 35th awards gala last weekend, and the daily newspaper La Voix de l'Est won in the category “retail business and services with more than 15 employees”, demonstrating that our local news outlets are an integral part of our economy. Mario Gariépy received the community builder award, notably for his involvement with the committee that turned La Voix de l'Est into a co-operative.
To conclude, this bill is very important to us, because Quebec culture is at the heart of the Bloc Québécois's mission. Broadcasting is undoubtedly the most effective tool for disseminating our culture, and it helps define our national identity. Local artists regularly remind us of this. The Bloc Québécois is obviously in favour of modernizing the Broadcasting Act. We must keep pace, stop the misinformation and move forward. I was barely 10 years old in 1991, the last time this legislation was reviewed.
1739 words
All Topics
- Hear!
- Rabble!
- add
- star_border
- share
- menumenu
- notificationsnotifications
- home
- mailmail
- searchsearch
