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Results: 1 - 15 of 20
Claude Joli-Coeur
View Claude Joli-Coeur Profile
Claude Joli-Coeur
2012-11-22 11:02
Thank you, Mr. Chair.
Good morning, Mr. Chairman, and members of the standing committee.
My name is Claude Joli-Coeur, and I am the assistant commissioner of the National Film Board of Canada. I am here this morning with Michèle Bélanger, our Francophonie project leader.
I wish to thank you for giving us this opportunity to contribute to your study on linguistic duality during the 150th anniversary celebrations of Canadian Confederation in 2017.
With your permission, I would like to take a few moments to call your attention to some of the NFB’s latest achievements in the area of Canadian linguistic duality.
We are now in the era of accessibility. As we all know, the digital era now affords us increased communication potential that makes it possible to be present and accessible throughout the country and enhance our ties with francophone and anglophone communities across Canada. As a federal cultural agency, the National Film Board of Canada is committed to maintaining these ties with the communities, and making its content available to all Canadians, in both official languages.
On its 70th anniversary in January 2009, the NFB launched its online screening room, in French and English, onf.ca and nfb.ca, and gives Canadians in all regions unlimited access 24 hours a day, seven days a week to a unique audiovisual heritage that celebrates the richness of Canada's cultural and linguistic diversity. The screening room's French and English content is equivalent but not identical as it reflects the breadth and diversity of the communities. Nearly 2,500 works can currently be viewed free of charge. Moreover, we have begun to produce versions of titles that are only available in one official language.
Today the screening room has resulted in over 36 million views of our works, including views via our apps, which are available on various mobile platforms, such as iPhone, iPad, Android, and the BlackBerry PlayBook, as well as those on our partner sites, such as YouTube and Vimeo. There have been nearly 10 million views in Canada in French and English on onf.ca and nfb.ca, and that number is constantly growing.
Canadian francophones and anglophones can also get involved and interact with us online about issues of concern to their communities, through a variety of virtual public spaces that are available to them. These include Le blogue ONF.ca and the NFB blog, and the infolettre and newsletter, overseen by community managers and separate francophone and anglophone editors. The NFB is also present on social networks—Facebook, Twitter, YouTube, and Vimeo—in both official languages.
In the education sector, the NFB introduced Campus in January 2012. This new online education platform, which is specifically designed for Canadian teachers, is an innovative resource that provides easy access to our 2,500 Canadian productions, including films, interactive works, study guides, and workshops in both official languages. The departments of education in five provinces—Ontario, British Columbia, Manitoba, New Brunswick, and Quebec—have already licensed CAMPUS for English schools.
In addition to the tremendous access digital technology affords, it is essential to have a unique presence in the communities. Supporting linguistic duality and official language minority communities is a priority at the NFB. In 2006, the NFB became a partner of the Rendez-vous de la francophonie, an annual national event held in March that allows us to reach over 50 communities in 13 provinces and territories.
We are also active in the Canadian public library network, where we offer documentary and animated film programs in French and English twice a year. Last year, a total of 70 screenings were held throughout this network. We also organize the Animez-vous/Get Animated event, a cross-Canada animation celebration featuring screenings and workshops, available to official language minority communities.
In the fall of 2011, we put a selection of about 20 works geared to Canadian francophones online. Entitled Espace francophonie, the selection is presented by Franco-Ontarian songwriter Damien Robitaille and focuses on francophone identity and culture. Titles from coast to coast, from Acadia to western Canada, make up the selection. Some of the works can also be viewed by francophiles in the Showcase Francophonie section of NFB.ca.
There will be many opportunities to highlight Canada’s linguistic duality between now and 2017, and major anniversaries will occur during the period leading up to the 150th anniversary of Canadian Confederation. Here are a few examples.
The year 2014 will mark the 100th anniversary of the Royal 22e Régiment. The creation of this regiment in 1914 played a decisive role in integrating French speakers into the Canadian armed forces. Production is currently under way to create a documentary celebrating this anniversary, which has special significance for francophones. We are working on the film in close collaboration with the Canadian Forces.
The year 2014 will also mark the 75th anniversary of the Second World War and the 100th anniversary of the First World War. The NFB collection contains an impressive number of documents dealing with both these major conflicts. The documents could be grouped together, enhanced and made accessible to Canadians in DVD format or online in both official languages.
The NFB will also be celebrating its 75th anniversary in 2014. This will provide yet another opportunity to organize special activities in official language minority communities across the country. The NFB is a privileged witness to Canadian history, and its unique audiovisual heritage is a source of pride for all Canadians.
The 50th anniversary of the Canadian flag in 2015 will be an occasion for us to showcase a unique film in our collection that recounts the flag’s first raising, in 1965. This archival film will honour the anniversary in a very special way.
Lastly, the 150th anniversary of Canadian Confederation in 2017 will provide us with an unparalleled opportunity for celebration. We therefore plan to develop a participatory and inclusive nationwide project for all Canadians of all generations. The project will enable us to look to the future and imagine the Canada of tomorrow. This work could be launched during the official celebrations marking the 150th anniversary of Confederation.
As you can see, the commemorative events leading up to 2017 provide us with a wide array of opportunities to celebrate Canada’s linguistic diversity and highlight its richness. All these major projects pay tribute to significant events in Canadian history. We will work on them in partnership with institutions that come under the Department of Canadian Heritage, as well as with our partners in official language minority communities and the organizations that represent them.
The ties we have forged over the years and continue to maintain—particularly as a result of the national tour we undertook in the fall to consult the communities—will enable us to expand the scope of our initiatives and increase their outreach to Canadian communities.
These events will also allow us to provide Canadians with works from our collection that bear witness to our history, while at the same time seizing these opportunities to create new works—the works of tomorrow that will bear witness to our present.
Thank you.
View Joyce Bateman Profile
CPC (MB)
Thank you, Mr. Gourde.
Thank you to our witnesses.
Thank you all very much for being here.
Mr. Joli-Coeur, you said in your presentation that supporting linguistic duality and official language minority communities was a priority. You mentioned the Rendez-vous de la francophonie event.
Your colleague, Mr. Rodgers, talked about a specific project involving English-speaking artists in Quebec, a project I am very interested in.
How would Mr. Rodgers go about making a request to the NFB?
Claude Joli-Coeur
View Claude Joli-Coeur Profile
Claude Joli-Coeur
2012-11-22 11:31
This year, as part of our bilateral meetings with minority group organizations, we met with Quebec's English-Language Arts Network, and we started examining ways we could work together.
The real way to get the ball rolling is to contact our producers. We have two English-language production centres in Montreal, with producers who focus solely on English-language content. Collaborating with them is the way to make those projects happen.
Those are things we discussed in general terms and could examine in greater detail. We have English-language producers in Montreal who could work on specific projects like that.
View Scott Simms Profile
Lib. (NL)
Do you attend conferences—film conferences, writing conferences, that sort of thing—more into the mainstream for artistry, like writing, graphic arts, graphic design, and that sort of thing? That's the first part.
The second part is, do you avail yourself of any programs from, say, the National Film Board, Telefilm, or anything to do with the Canada media fund?
Luc Duchaine
View Luc Duchaine Profile
Luc Duchaine
2012-10-25 16:17
None that I'm aware of for the National FIlm Board because we don't do film per se, we do video games. We do attend a bunch of conferences on art and writing. Two years ago I was at the Toronto International Film Festival. We did a panel with Jon Landau, the Avatar producer, and people from the gaming industry in Toronto. We try to be as visible as possible. We've been to Sundance. We try to be everywhere to make our industry known and to get some writers to work for us, or some other people. The narrative aspect is so important, so yes, we need to attend those.
Barry Blake
View Barry Blake Profile
Barry Blake
2012-10-23 15:34
Thank you, Mr. Chair.
Good afternoon, everyone. My name is Barry Blake. I'm a professional Canadian actor, and I'm also a national councillor with ACTRA, the Alliance of Canadian Cinema, Television and Radio Artists.
I'm speaking today on behalf of our 22,000 members across the country, professional performers whose work entertains, educates, and informs audiences in Canada and around the world.
Canada's cultural industries represent over $85 billion, which translates to 7.4% of our GDP. They generate over 1.1 million jobs. In 2010-2011, screen production alone created 128,000 jobs and generated $2.6 billion in exports. That's significant.
Make no mistake: Canadian content creation is a very serious business. Content is at the heart of the digital economy. Canadian content creation is also synonymous with Canadian job creation. Building a mature, digital infrastructure requires smart investments that reinforce our cultural economic drivers.
To do that, we are proposing a three-point plan in terms of a sustainable digital economy strategy.
First, public investments are needed in content creation. I want to congratulate the government on maintaining the budgetary commitment to the Canada Media Fund in budget 2011.
I must say, it's a great start. It means we share our own Canadian stories at the same time as we create jobs. It's win-win.
With our changing industry, we need to make sure the proper tools are in place to seize all new opportunities. In addition to your support for the CMF, we urge you to commit to renewed and stable long-term funding for Telefilm Canada, the CBC, and the National Film Board.
Telefilm Canada's feature film fund is crucial to making sure that Canadian films get made. Each dollar invested in a Telefilm production triggers two dollars in additional financing for digital media projects, and three dollars for feature film projects. With the last budget's cuts to Telefilm's parliamentary appropriation, its mandate to foster the development of Canada's audiovisual industry and track its export value around the world is in jeopardy.
We recommend restoring Telefilm's full parliamentary appropriation and giving Canadian creators the support they need to excel on a competitive international stage.
Insofar as the CBC/Radio-Canada is concerned, a recent study by Deloitte determined that for every dollar the federal government invests in CBC/Radio-Canada, the corporation puts back more than three dollars into the Canadian economy. These are investments, not really costs.
We ask you not only to restore the previous parliamentary allocation but also to increase that allocation by seven dollars per capita, from $33 to $40 for every Canadian. That would bring it in line with the funding of public broadcasters in other industrialized nations.
The National Film Board is recognized around the world as one of our great cultural workshops. For over 70 years, it's created groundbreaking documentaries, animation, and digital media productions. It has pioneered many technical innovations. Unfortunately, the 2012 budget saw $6.68 million cut from the NFB's parliamentary allocation over three years. We urge you to reverse the cuts and put the brakes on future budget reductions.
Our second point would be increasing private investment. Our cultural industries don't want to rely on government funding alone. We need to build on incentives to increase private investment in content creation. We urge you to look at tax credits, expanding the Canadian film and video production tax credit, and allowing production services tax credits to count against the entire budget, not just labour costs. We're also looking at labour-based tax credits for digital and interactive media at the federal level.
Our final point is on income averaging for artists. Simply put, performers and artists are small businesses with very spikey or lumpy income, as we call it. The model we face is an employee-centred model, not really one that meets the needs of independent businesses.
We urge you to support the current bill before the house, Bill C-427, reflecting the realities of Canadian artists. This is one way to redress the inequity that performers face, and it would be lovely if it was supported by all parties.
Thank you very much.
Claude Joli-Coeur
View Claude Joli-Coeur Profile
Claude Joli-Coeur
2011-12-06 8:48
Good morning, Mr. Chairman and members of this standing committee.
I'll make my presentation both in French and English.
My name is Claude Joli-Coeur, and I am the Assistant Commissioner at the National Film Board of Canada. I am joined by James Roberts, the Assistant Director General of the Accessibility and Digital Enterprises division.
We're very glad to have this opportunity to offer our input for your study on the celebrations being planned for Canada's 150th anniversary.
But first, since it's the first time we have met, I'd like to outline the role of the NFB as an institution, its digital shift, and its involvement in commemorating events of significance to Canadians.
Here is a brief reminder of what the NFB is. It's a federal cultural agency established in 1939 to produce and distribute our regional and innovative audiovisual works that add to our understanding of the issues facing Canadians. These works also raise awareness of Canadian values and viewpoints around the world. We are recognized in particular as a leading producer of documentaries, animated films, and interactive works.
Today, the NFB remains a special organization in a rich and diverse audiovisual world. It is a creative laboratory, a leader in exploring areas the private sector has a difficult time getting involved in. It is also a voice for under-represented Canadians, a fundamental tool for ensuring the vitality of Canada's francophone culture and finally, and most importantly, a leading Canadian innovator in the digital world.
Our audiovisual content is 100% Canadian and reflects the country's diversity. It is available in French and English, and crosses all geographic borders. The NFB has one of the largest audiovisual collections in the world and is an invaluable heritage for all of Canada and the rest of the world.
For a few years now, the transition from analog format to digital format has been among the technological changes transforming the media environment.
Now in our fourth year of our five-year strategic plan, we have become the leading Canadian institution in the area of creative and innovative use of digital media. The shift to digital technology has helped us fulfill our commitment to our audience and once again win over the hearts and minds of Canadians through renewed access to our productions.
NFB.ca or ONF.ca screening rooms were launched in January 2009. They are the cornerstone of the NFB's digital strategy, which aims to provide the majority of Canadians with 24/7 access to the film collection.
Over 2,100 films, excerpts and trailers are available for private viewing free of charge on our website. Since the January 2009 launch, we have so far had almost 27 million viewings of NFB productions on various digital platforms in Canada and abroad. The screening room is also available as a mobile phone application and on platforms such as the iPhone, iPad, as well as the Android and BlackBerry PlayBook platforms.
The NFB also plays a key role by marking events that are significant to Canadian society and presenting them dynamically to Canadians. Here are a few concrete examples of NFB projects that have commemorated major events.
I want to describe those examples to you, since they will give you a solid idea of how the NFB is getting involved in those major events that help strengthen all Canadians' pride and sense of identity.
To mark Quebec City's 400th anniversary, in 2008, the NFB produced an innovative 3D film, Facing Champlain. Thanks to a partnership with the Musée de la civilisation in Quebec City, that film has been streamed daily since 2008. All schools, children and tourists inevitably drop by and watch that NFB production.
We also teamed up with the National Battlefields Commission to mark the 100th anniversary of the Plains of Abraham Battlefield Park with the film My Park, My Plains, which has also been streamed since 2008.
Also, in 2008 we joined the Department of Veterans Affairs, National Defence, Rideau Hall, the Canadian War Museum, and the Royal Canadian Legion to commemorate the 90th anniversary of the armistice. We did a multi-platform project, and our film was screened in schools across the country, theatres, on television, and on the web.
In 2010, we were at the Canada Pavilion during the Shanghai World Exposition. For that occasion, we produced a wonderful movie, which was seen by 6.4 million people. Surveys indicate that this film was seen by the Chinese as a major event to remember Canada by.
In 2010 we explored new ways of celebrating sports in Canada in the context of the Vancouver Olympics.
In partnership with VANOC, we contributed to Canada's first Cultural Olympiad Digital Edition, Canada CODE. It was a national open-source website that let Canadians, wherever they were, help create a collective online portrait or mosaic of the country. This online souvenir album was accessible to everyone and was displayed on sites celebrating the Vancouver Games.
To ensure maximum participation, and especially to introduce young people to new media, the NFB organized over 60 online storytelling workshops in schools and community centres across the country, including in official language minority communities. An educational guide was also produced so that teachers could incorporate Canada CODE into their curriculum.
It is in that spirit that we intend to develop, over the next few years, a number of projects aimed at highlighting historical events that will lead up to the celebration of the 150th anniversary of our Confederation.
Next year we'll be celebrating the Diamond Jubilee of Her Majesty Queen Elizabeth II. In preparation for the occasion, the NFB is currently working on the souvenir DVD, which will include two well-known films from its collection—Royal Journey, 1951, and Canada at the Coronation, 1953—as well as a new production, The Portrait, where we're filming the painting of the portrait of the Queen, which will be disclosed next year.
The NFB has several projects planned to mark the 200th anniversary of the War of 1812. We are planning to co-produce an interactive project on the Battle of York. A DVD box set containing productions from our collection and an educational project are also in the works.
The Royal 22e Régiment, whose 1914 creation was the determining factor in the integration of francophones within the Canadian Forces, will turn 100 in 2014. We are currently working on a documentary on the regiment in order to commemorate that important anniversary.
In 2014 we'll also commemorate the 75th anniversary of the Second World War and the 100th anniversary of the First World War. The NFB's vast, priceless collection of films about these two global conflicts could be distributed on multiple platforms to mark these anniversaries and help increase public awareness.
The NFB will also turn 75 in 2014, and we have a number of projects planned to mark that anniversary. We intend to get involved in the Pan-American Games Toronto will host in 2015. We also want to commemorate the 50th anniversary of the Canadian flag in 2015. Our collection actually contains a special film on the first raising of the flag in 1965.
In 2017 Montreal will celebrate the 375th anniversary of its founding. The NFB has been an active presence in Montreal since 1956, and naturally we'll mark the occasion of this special anniversary.
As for the 150th anniversary of Confederation, we plan to develop a concept akin to Canada CODE, which was tremendously successful at the Vancouver Olympic Games. A mosaic of many audio and visual accounts will provide Canadians with an opportunity to share their part of the country and their vision of Canada in their own way. That vibrant project, created by and for Canadians, will be coming together throughout the celebrations leading up to the anniversary and will be completed at the celebration of the 150th anniversary of Confederation.
As you can see, the NFB intends to carry out many commemorative projects leading up to the 150th anniversary in 2017. We are prioritizing partnerships with institutions that come under the Department of Canadian Heritage for all those major projects to mark important events in Canadian history. We also intend to work with as many partners as possible in order to make the most of our activities.
The NFB can join ongoing and evolving projects, to which it can add its artistic and technological expertise through new productions. The NFB can also promote films from its collection that will be put together and broadcast to accompany those anniversaries. The NFB has some hidden treasures for each important anniversary, from 2012 to 2017. Those treasures truly reflect our history. It is important to make that available to today's Canadians.
That concludes our presentation.
Thank you very much. We're pleased to discuss all of these projects.
View Parm Gill Profile
CPC (ON)
Thank you, Mr. Chair.
I want to thank the witnesses for being here with us today. I'll start with my question for the National Film Board.
The National Film Board invited productions for a series on Canadian history in 1967 for the centennial celebration. Many of us were recently impressed with John A, so it seems there is an interest in reviving some of our important historical stories.
Will the National Film Board be considering a similar series for the 2017 celebrations?
View Parm Gill Profile
CPC (ON)
How will the National Film Board be partnering with other Canadian arts and media institutions in the lead-up to the 2017 celebrations? Do you have a plan for that?
Claude Joli-Coeur
View Claude Joli-Coeur Profile
Claude Joli-Coeur
2011-12-06 9:12
The examples I was giving, with museums or broadcasters—the CBC, for example, or private broadcasters—are things we do on a constant basis. We really believe that to get as much leverage as possible, since our means are limited, we need to do that.
Two years ago we did an exhibition with the National Capital Commission, a photo exhibit in front of the Chateau Laurier. That was a partnership.
I'm part of a committee of the Department of Canadian Heritage, a portfolio organization, where we meet on a regular basis, and every time we can find a way to collaborate with other institutions, we do it.
We have a partnership with the Canadian science museum. We're currently completing a partnership with the Museum of Civilization. We did some projects with the national archives. We're currently working with the new human rights museum in Winnipeg, establishing a partnership for their new exhibit. When Pier 21 in Halifax was inaugurated, some of our films were screened on that occasion as part of an ongoing relationship.
So it's really part and parcel of how we approach a project. The example I was giving you for VANOC, the Vancouver games, was a perfect one. We were partnering with the organization, and that's the way we're able to have so much success.
That's really our approach.
View Mark Adler Profile
CPC (ON)
View Mark Adler Profile
2011-12-06 9:49
Thank you, Chair.
Mr. Joli-Coeur, could you outline the budget of the National Film Board for me?
Claude Joli-Coeur
View Claude Joli-Coeur Profile
Claude Joli-Coeur
2011-12-06 9:49
Our budget this year is just a little over $71 million.
View Andrew Cash Profile
NDP (ON)
View Andrew Cash Profile
2011-12-06 10:00
I understand that. You want to, as you say, be part of the fabric of what's going on, and you should be.
When you look at it in terms of the operational aspects of things, how much allocation do you think you're going to need to participate in the way you think NFB should and in a way that gives full voice to the multitude of stories, aspects, and opinions that we have here in this country? What kind of allocation do you think you are going to need?
Claude Joli-Coeur
View Claude Joli-Coeur Profile
Claude Joli-Coeur
2011-12-06 10:01
It's way too early to put down any figures. Just to give you an example, we did what we did for Shanghai without any allocation from the government. We decided to take an important sum of money because we knew it would have a major impact. We devoted $1 million to that project. We got $500,000 from Cirque du Soleil, and we did a major flagship project. That was a lot of money for us, in terms of our $70 million budget.
We can't imagine something that will have a big impact, so it will remain small, given the overall projects that will be done for 2013-2017. It will really be a matter of what's going on globally and how we can fit that kind of project in with our limited means. It can be a flagship film. It can be a project. It can be a couple of million dollars. It's very early to say.
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