Mr. Chair, when we think of film, we start by thinking of going to the movies at the theatre down the street. That is still where the full experience of film is at its best, but the reality is that the primary place Canadians watch films is in their homes, and technology has only improved that experience over time.
Broadcasting has long been the primary means for Canadian films to reach large audiences, but as you have heard from other witnesses, the shelf space for Canadian film in the broadcast window has shrunk over time as private broadcasters have embraced more serialized dramas and the CBC has stepped back from film for strategic reasons linked to funding cuts. Simply put, even with many of the efficiency adjustments we'll discuss later, the future of the film industry and the benefits it creates will be tenuous without a strong presence on our television broadcasting system, because it is through this system on the large flat screen at home that the large majority of consumers will continue to watch film.
Mr. Chair, since the beginning of cinema, we have seen the Canadian presence in the theatre down the street severely limited due to the dominance of exhibition space by foreign studios, particularly Hollywood. We now face a similar threat when it comes to film on our broadcasting system because, if there is no preference or priority for Canadian space on the home theatre, then Canadians will have access only to foreign films. We don't need to repeat that mistake, and we don't and should not ever block access to the best films from around the world. There is room for the best of both worlds.
There is a pressing need to find effective ways in our policy tool kit to encourage Canadian television broadcasters, both the private sector services and the CBC, to participate more fully in the financing of Canadian films, scheduling them when Canadians are most likely to watch, and actively promoting them.
Canadian television broadcasters are not financing Canadian feature films as they once did largely because of the financial risk involved. The CBC has a mandate to support identifiably Canadian content and stories, and film in Canada has been one of the primary vehicles for delivering our stories. The shelf space for Canadian films on CBC has been barren indeed. With the loss of Hockey Night in Canada on Saturday nights, we can't help but think this is the perfect opportunity for the CBC to showcase Canadian films. As such, we would fully support a recommendation from this committee that the CBC be given additional resources to carry out such an initiative to help develop, produce, and showcase Canadian films, especially English-language films.
With respect to private broadcasters, we agree with other witnesses who suggest that the CRTC needs a special category under what it calls PNI, programs of national interest, to ensure appropriate funding for and promotion of Canadian feature film. The time is ripe for action here as the CRTC decided on March 12 to review its policy, but we also believe that the carrot is a better way to start than only a stick.
The CMPA recently developed and submitted a proposal for a new three-year pilot incentive to be incorporated within the existing framework of the Canada Media Fund. This proposal was discussed first with key broadcasters, and there was a high degree of support for it. We hope the CMF will accept our proposal for implementation this year.
We believe this incentive would be an effective complement to the Canada feature film fund that would allow producers and broadcasters to collaborate each year on a select number of Canadian films. It is expected that while these films would be released in theatres as the first window, they would quickly become available for broadcast on television, where the overwhelming majority of Canadians typically view Canadian films.
A closer collaboration in this regard would also allow for the development of cross-market promotional strategies that would increase the efficiencies in reaching the greatest possible audience success in both the theatre and television markets.
Jennifer.