Mr. Speaker, that is a very good point. I will read a quote from a book titled From “Radical Extremism” to “Balanced Copyright”, which is a collection of articles on copyright. I will get to the quote in a moment, but it is a salient point and certainly is germane to this conversation because, when the member talks about the American interests, a lot of it has to do with digital locks because the major corporations headquartered in the United States have a vested interest in digital locks for that reason.
Again I push back to them just a little by saying that if I take an artist's material, and that artist could be Canadian, I can only play it on certain platforms that are deemed fit for that particular artist's work. I am not sure if I totally agree with that and I push back somewhat for the sake of public interest and for that particular artist. It is the song that I purchased; the method of distribution I care little for. It is just that I want that song or movie.
Sara Bannerman wrote an article in this book, one of the first articles in it. She brings up the international context of this debate, which I spoke about earlier in my speech, going way back to the late 1800s. She says:
Bill C-32 responds to the same pressures, domestic and international, that have historically characterized Canadian copyright reform. ... Bill C-32, to a greater extent than its predecessor in Bill C-60, bows to international demands and goes beyond the minimum requirements of the WIPO Internet treaties.
She has particular concerns about this bill and the international scope of it. That leads to the fact that, yes, there are a lot of international pressures, especially from the United States.