Last week, the ongoing Senate hearings into Bill C-11 featured an appearance from the Canadian Association of Film Distributors and Exporters, who spelled out its expectations for Bill C-11, particularly the contributions from streaming services such as Netflix, Disney+, and Amazon Prime. While much of the Bill C-11 debate has focused on the regulation of user content, the bill’s supposed intent is to bring large streaming services into the Canadian broadcasting system. Fuelled by the government’s dubious claim that the bill could generated a billion dollars per year (even government officials now admit that the number is an estimate based not based on actual data), the Canadian sector came sporting demands wildly out of touch with international standards. Indeed, when compared to European regulation, which is often touted as the global leader, Canada would strongly discourage market entry for streaming services and likely result in reduced libraries of content in order to meet the government and CRTC’s regulatory requirements.
Post Tagged with: "online streaming"
Why the Canadian Film and TV Production Sector’s Bill C-11 Expectations Are Wildly Out of Touch With Global Standards
Parliament may be on a summer recess, but the debate over Bill C-11, which is now in the Senate, continues. Yesterday, I engaged in a Twitter debate with Matthew Gray, an official in the office of Heritage Minister Pablo Rodriguez that ultimately focused on the relative importance of the government’s “policy intention” vs. the actual text of the bill. While officials and Minister Rodriguez regularly point to what they intend the bill to do, experts note that the text does not reflect those intentions.
CRTC Chair Ian Scott Confirms Bill C-11 Can Be Used To Pressure Internet Platforms to Manipulate Algorithms
The Senate Standing Committee on Transport and Communications held an exceptionally important hearing as part of its Bill C-11 pre-study (which is about to change into a Bill C-11 study) last night featuring Canadian Heritage officials and CRTC Chair Ian Scott. I will have a second post on the officials, who struggled to provide clear answers to basic questions on everything from how to identify what counts as Cancon for user content (Youtube’s Content ID was suggested) to the absence of thresholds for what is covered by the bill (there are no thresholds and the government wants the ability to also target small streamers). But the key moment of the day came in questioning Scott about the discoverability and the potential for algorithmic manipulation.
Nettwerk Music Group Sounds Alarm Bells on Bill C-11: “It Will Hurt Canadian Artists and Music Companies”
Nettwerk Music Group has long been recognized as one of Canada’s leading independent music companies. Led by Terry McBride, the company has featured label and management clients that include Coldplay, Sarah McLachlan, Dido, and Barenaked Ladies. The company has a reputation for embracing innovation: it was one of the first to drop digital rights management technologies from MP3 music sales and focused on fan preferences in the marketing and distribution of music. Given its role and reputation, when it engages in public policy, government should pay attention.
Yesterday, Nettwerk released a statement on Bill C-11 that is exceptionally critical of the legislative proposal:
Bell on Bill C-11: Limit Consumer Choice, Weaken Competition, and Legislate Access to Cheap U.S. Content
Just over 11 years ago, I wrote a column for the Toronto Star titled U.S. Web-Streamed TV Could Change Game for Canadian Broadcasters. The piece argued that Internet streaming of television was in its infancy, but could soon become the norm with major implications for Canadian broadcasters:
While the use of the Internet to by-pass Canadian broadcasters is still relatively rare – most U.S. programs bundle the broadcast and Internet rights together – the decision to stream the games directly into the Canadian market could soon become the norm. The key determinant will obviously be money. Once U.S. rights holders conclude that it is more profitable to retain the Internet rights so that they can stream their programs online to a global audience and capture the advertising or subscription revenues that come with it, Canadian broadcasters may find that they can only license broadcast rights with the U.S. rights holders competing directly with them via the Internet.
I continued by noting that the Internet was on the verge of disrupting the longstanding Canadian broadcast model and its reliance on cheap U.S. programming. I speculated that the result would be that Canadian broadcasters would recognize the need to create their own content that they could licence online around the world.
That column came to mind during Bell’s appearance before the Heritage committee on Bill C-11 yesterday.