When you look at what we've done with the policy, we've actually made a big shift. We decided that our creators were the most important players in the industry, in the sense that we wanted to focus all our policies toward creators. We believe that by supporting a great idea, there's going to be great content that will be developed. It may be a book, it may be a film, it may be music. By doing that, we want to support risk-taking and also excellence in the sector.
Once there's great production, of course we know there's a global hunt for stories. We know, with the Internet being international by nature, that there are great markets that our creators can access and seize opportunities within. We've reinvested $125 million over five years. That will put boots on the ground in embassies, whether that means hiring people who are from the city or the region who know the market, to help our artists and creators actually enter these markets and seize their opportunities.
We also want to make sure that Canada is really present in international affairs. Content exporters need to be supported by the government to actually access these markets, meet the right people, and make these deals happen. That's why we were present at the gamescom conference for video games in Cologne this year. My colleague Sean Casey was there, well representing our country. That's why we'll be there for the Frankfurt book fair. We'll be the host of honour at the Frankfurt book fair in 2020. That's also why we're doing our first cultural trade mission to China in April. We want to bring lots of great representatives of the industry—from Cirque du Soleil, for example, to Cavalia, as well as people in the performing arts and virtual reality and video games sector—to make sure we can help them seize opportunities in the Chinese market.