Thank you very much, Mr. Chairman. It's a pleasure for me to be here with my colleagues.
We have a few slides to show you to support my remarks, just to simplify the presentation.
Obviously, Mr. Chairman, you'll understand that we certainly can't be here to speculate about future policy directions of the government, but we're more than happy to provide some factual information to the extent we can. If we can't provide it today, we'll follow up with the clerk of the committee. We'll try to be as helpful as we can within the limits of what we as public servants can or cannot do.
I bring your attention to the first slide, which is on page 2.
Whenever one does a policy framework, as you're looking at in terms of the impact of new technologies on creation here in Canada, the broad strokes of any tool kit would include legislation, institutions, and perhaps programs. On page 2 you can see the items in the current tool kit--the principal ones, not the sole ones--that we use to support creation of and access to Canadian content. You may notice that some of these date from a few years ago; however, they remain particularly resilient and adaptive, because when they were originally drafted by Parliament, they were done in such a way that they were pretty open-textured and were able to evolve over time. They have helped us to continue to support the strategic outcomes we're looking for, as I mentioned--the creation of and access to Canadian content--but now we're trying to do it on a multi-platform basis.
We will move to page 3. You've been at this and hearing evidence for a number of months, so none of this will come to you as a surprise.
Technology is indeed one of the most important drivers, though not the sole driver, affecting arts and culture these days. You've heard this from a number of folks. It's certainly affecting the way we create, share, and consume creative content. There's convergence in devices as well as suppliers. Traditional lines of business are completely blurring, and there is a significant disintermediation of traditional players.
Nevertheless, audiences out there, Canadians, want their content on the platforms that they want, when they want it. These new platforms don't necessarily compete with each other. It's amazing how people seem to have more time to consume more content at the same time, but the choices are multiplying and the choices are global. This actually is quite a great opportunity for Canadian creators, because the technology is providing our Canadian artists and creators with global audiences. Certainly content plays an important role, and it's actually driving the demand for devices and bandwidth. As well, you'll see in an ownership chart in the annex that it's actually affecting how people are organizing to deliver on it.
Within the department, we have been addressing the issue of the impact of new technologies on content creation at least since I have been in my position, that is since 2004.
At that time, we established a working group on new technologies, and we conducted basic research that put us in a good position to turn the corner.
On page 4, there is a summary of the major changes that we have managed to make in support of the programming.
For instance, in March 2009 Minister Moore was able to announce fundamental changes to the Canada Media Fund, which has $134 million per year of contributions. If you add the private sector contribution, it totals over $350 million per year. We announced changes to the Canada Interactive Fund, which replaced the former Partnerships Fund and the Gateway Fund. That's $55 million over five years. The Canada Book Fund was reformulated in September 2009. That's another $40 million. The Canada Music Fund was renewed in July 2009 and given $27 million. The Canada Periodical Fund, which was announced in February 2009, is another $75 million.
Into every one of these programs, when we reviewed them, we incorporated a digital component adapted to those particular realities. We also have the Virtual Museum of Canada as well as the online works of reference.
The framework also includes, of course, the important role of the national cultural institutions. I'll let you read what's on the page. Certainly the National Film Board, Library and Archives Canada, the CBC, and others--national museums, for instance--through their archives and new collections are very important innovators in providing Canadian content to Canadians. It's quite remarkable. CBC, for instance, is one of the most successful media sites out there.
Since then, with our colleagues from Industry Canada,
and from the Department of Human Resources, we have worked together on the digital economy. We conducted a consultation between May and July. Interest was very great.
You've no doubt seen the document issued jointly by the three departments.
From our perspective, I think it's chapter 4 that deals with digital content. I recommend you read it if you haven't had a chance to do that so far, because it provides a road map for dealing with content in the digital world. We were quite surprised that almost half of all submissions dealt with content, so it's very much a driver of where we're going, and the page outlines that.
Looking forward over the coming months, again related to the digital story, there is the Copyright Modernization Act and the digital economy strategy. We are in the process of developing a forward strategy with the ministers.
As well, we are currently looking at the foreign investment policy in the book and publishing distribution business in Canada. The Red Wilson panel, you will recall, has recommended that we periodically review our investment policies; we're in the process of doing that, starting with the book policy. This policy was originally adopted in 1985 and revised in 1992, so it's certainly one that needs to be looked at.
That pretty much summarizes where we've been and where we're going. I'd be more than happy to answer some questions.
Now my colleague, Alain, will say a few words.