Good afternoon, Mr. Chairman.
We represent writers, who form the bottom of the pyramid of television culture, since it is our members who write the scripts. Among other things, the Broadcasting Act provides that the broadcasting system should:
(ii) encourage the development of Canadian expression by providing a wide range of programming that reflects Canadian attitudes, opinions, ideas, values and artistic creativity, by displaying Canadian talent in entertainment programming [...]
That act has been in existence since 1991, and we feel it is still entirely current. Radio-Canada's culture mandate is very important. It has served the Francophones of Canada well, particularly in Quebec. It is often said that English-language television doesn't operate as well, which suggests that French-language television has no problems. In our view, that idea is false.
In the case of French-language television, nine of the 10 most watched programs in 2001 were dramas. In 2005, that figure fell to three. So there has been a decline. Of course, I'm talking about dramas because, of all the priority areas, drama counts the most for our members, the writers. It makes it possible to express Canadian culture through stories written by and for Canadians.
The CBC/SRC played its leadership role well in the twentieth century, and we believe it should continue to do so in the twenty-first. With regard to the creation of dramas, it should consider culture as the very basis of its existence. It must of course be granted the funding that will enable it to pursue its mandate, but it must also be ensured that the cultural objectives are the same for the new technological platforms. A business model must therefore be found that will enable the new platforms of the twenty-first century to be profitable for everyone, so that everyone can live off it and Radio-Canada can receive from those platforms the funds enabling it to continue generating dramas. Let's not forget that both private and public general-interest television networks, including CBC/SRC, are, in 95% of cases, those that generate the funds for the licences that make it possible to create the programs that are watched by Canadians.
In 2005, the specialty channels allocated only $1.9 million out of $41 million to the creation of dramas. They cannot be expected to increase that figure considerably. Nor can we expect private general-interest producers to think of culture first rather than their shareholders. Consequently, to protect this cultural universe, there is still CBC/SRC. That is why we strongly support the past, present and future mandate of the CBC/Radio-Canada.
These are good words indeed, but if the necessary money is not there to support them, what happens when a pipeline is closed down will happen to our culture. In 15, 20 or 30 years, it won't be there anymore.
Thank you.