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Minister’s Message

James MooreThe Government of Canada is committed to building a country in which all citizens have the chance to participate in our cultural and economic life. Our Government recognizes the importance of arts and culture in reaching this goal. The agencies and organizations in the Canadian Heritage Portfolio, such as the National Film Board (NFB), are working toward this goal of providing us with opportunities to celebrate and share our rich historical, cultural, artistic, and social heritage.

As Canada’s public producer and distributor of audiovisual works, the NFB offers to Canadians an exceptional opportunity to share their stories. Accessible to Canadians in every region and in both official languages, the NFB’s relevant, original, and innovative audiovisual productions add to our understanding of the issues facing Canadians, as well as their values and viewpoints.

As the digital revolution continues to transform the media industry and society, the NFB is leading the way with advances in form and content that allow for distinctively Canadian products to be offered on digital platforms. With the launch of the Online Screening Room site at nfb.ca, marking its 70th anniversary, the NFB is reasserting its unique leadership in the production and distribution of works that are now even more accessible to a greater number of Canadians.

As Minister of Canadian Heritage and Official Languages, I am pleased to present the 2008–2009 Departmental Performance Report of the National Film Board. This report provides a detailed account of the NFB’s accomplishments and demonstrates the ways in which it supports the priorities of our Government. I would like to highlight the efforts that its staff have made throughout the year to strengthen the bonds that unite us as Canadians, thus contributing to our collective feeling of pride.

The Honourable James Moore, P.C., M.P.

Message from the Government Film Commissioner

This fiscal year has been a demanding one for all sectors of the audiovisual industry, public and private. The industry, along with the rest of the country, was shaken by the economic crisis. This happened at the very time when it was struggling to come to grips with the fundamental and ongoing structural changes being wrought by the digital revolution. The NFB has not been immune to these seismic forces.

If we have been successful in a remarkably turbulent year, it is because we have stayed focused on putting the key building blocks of the strategic plan into place. We reasserted our position as creative innovators, and confirmed our relevance to Canadians. We worked hard to reinforce our ties with key stakeholders including government, creators, and organizations and institutions across the country. Our international profile has become even stronger.

Most of all, we understood that the NFB, as the nation’s public producer and distributor, could play a critical role in the digital shift providing a platform for experimentation, prototyping and modeling in areas where no proven business or creative models existed. We knew that we could and had to pioneer ways to exploit the untapped creative potential of the digital space while ensuring a strong Canadian presence on digital platforms. Our trailblazing advances in content and form continue to be defined by our ability to deliver value to Canadians through giving voice to the whole range of Canadian society while developing and testing new economic opportunities.

Nothing proved the point more than NFB’s national online Screening Room. Launched as the kick-off for the NFB’s 70th anniversary celebrations in the last quarter of the fiscal year it provided Canadians for the first time with immediate access to close to 1,000 titles from NFB’s vast collection. It did so at very high quality – available 24/7, in both of Canada’s official languages, on the web and on mobile platforms. With the click of a button, viewers could connect to the pulse of Canadian life and creativity travelling across time, geography and linguistic barriers. No other site can give with that scope and depth a sense of who we are. Canadians have expressed their affection and gratitude in surprising numbers. We have seen a 54% increase in traffic since last year, and an increased amount of time being spent on the site.

However, much as the NFB could take, and has taken leadership in pursuing a forward-thinking digital strategy it cannot act in isolation. It is for that reason we have been advocating for a coherent, integrated national digital strategy bringing together private and public sectors to put in place the foundations for the creative economies of the future. We made the argument at hearings before the Canadian Radio-television and Telecommunications Commission, an argument subsequently endorsed by the Chair of the CRTC, and at a range of industry forums where the call was warmly welcomed.

Even as we push forward exploring the creative potential of digital spaces, we have not neglected the traditional areas in which we render service to Canadians. The NFB stood alongside Canadians in marking major moments in the life of our nation, honouring Canada, its history, its values. The NFB produced and co-produced works that were a cornerstone of the 400th anniversary celebrations in Quebec City, including the groundbreaking 3-D stereoscopic experience Facing Champlain, created in collaboration with the Musée de la civilisation du Québec and directed by Jean-François Pouliot. With the collaboration of the Department of Canadian Heritage we were able to produce a DVD boxed set of our Quebec work and distribute it to schools across the country so that all Canadian school-children could participate in this seminal celebration.

In the nation’s capital, we joined with Veterans Affairs Canada, the Department of National Defence and other partners to commemorate the 90th anniversary of Armistice Day, honouring the sacrifices of Canadians with our new film Front Lines.

This year for the first time we partnered with the Governor General’s Performing Arts awards to fête Canada’s greatest talents. We produced a series of short signature works honouring laureates of three awards. These are creative gems in their own right and a number went on to play in important film festivals, including Sundance.

Our programming has had remarkable acclaim across the country and internationally. The NFB has had an outsized presence at the most important Canadian and world festivals including IDFA in Amsterdam (the world’s most important documentary festival), Hot Docs, Sundance, Toronto International Film Festival, Annecy Animation Festival and many more. For the third year in a row we swept the Canadian feature doc category at Hot Docs and won top prizes at the Jutras, the Genies and other festivals. Our feature documentary co-production (with Eyesteel Films) Up the Yangtze broke $1 million at the box office.

Internally, we have implemented our operational plan, a first for the NFB, ensuring that our strategic plan is translated into operational realities of budgets, schedules and human resources. It means better planning, sharper focus and greater efficiency. We have revamped our budgeting process on an activity basis allowing for more rigorous analysis and better alignment of financial resources with priorities. We undertook an extensive benchmarking exercise measuring all NFB activities against comparable activities in other government agencies, the private sector and internationally, allowing us to target improvements in performance. We revamped the organizational structure, merging nine corporate branches into five, to create a more streamlined and effective organization for a digital future. By these means we have been able to put significantly more dollars into making and delivering to Canadians the programming that is at the heart of our mandate.

Rapid change can be daunting; we see it as an opportunity. The NFB pulsates with a restless creative energy – questioning, pushing boundaries, experimenting with new ways of reflecting and engaging the reality of our country. We will remain disciplined and focused on building an essential public institution for the future –one which serves Canadians and in which Canadians will continue to be proud.

Tom Perlmutter
Government Film Commissioner and Chairperson of the National Film Board of Canada

 

SECTION I: DEPARTMENTAL OVERVIEW

1.1. Summary Information

Raison d'être

The NFB was created by an act of Parliament in 1939. Reporting to Parliament through the Minister of Canadian Heritage, its mandate, as set forth in the National Film Act, 1985, is to “produce and distribute and to promote the production and distribution of films designed to interpret Canada to Canadians and to other nations.” The mission of the NFB is to reflect Canada, and matters of interest to Canadians, to Canada and the rest of the world through creating and distributing innovative and distinctive audiovisual works based on Canadian points of view and values.

Consistent with its mission, the NFB’s brand promise is to “move Canadians and the world to see differently through exceptional, distinctive and audacious media works that can only be created at the NFB.”

Over the course of its 70-year history, the NFB has become one of Canada’s most respected cultural institutions and an essential component of Canada’s national fabric. The NFB’s works offer vital insights into our country’s richness and diversity, and serve as an indispensable part of Canada’s cultural heritage. The NFB and its private and public sector partners provide filmmakers from every region of the country with the means to bring their visions to life.

Responsibilities

Today, more than ever, the NFB plays a vital role in Canadian society as a public producer and distributor of audiovisual materials that deal with social issues in ways that would otherwise not be done. With production focusing on documentary, auteur animation and increasingly new media, the NFB promotes the exploration of contemporary social issues, with an emphasis on diverse, point-of-view films that help Canadians engage with each other. Throughout the decades, the NFB has also played an important role in marking the major changes and events taking place in Canadian society. It has set the benchmark for Canadian cinematic innovations.

As a co-producer, the NFB enables private sector producers to take commercial and artistic risks that they otherwise would not be able to take. The NFB is a creative laboratory par excellence for developing the new formats and approaches to storytelling of the future, ranging from groundbreaking work in digital creation and distribution (online, mobiles and e-cinema) to explorations in stereoscopic productions.

The NFB also offers development and training programs to emerging filmmakers, teaching them to use new digital means of expression. These programs fill the gap between the film and training schools and a filmmaker’s first professional production experience. These initiatives enhance the skill levels of first-time filmmakers, leading to the discovery of new talent and increased film and television production, and encourage experimentation and innovation in digital production. By supporting members of diverse cultural and linguistic communities, Aboriginal communities and people with disabilities, the NFB ensures that its audiovisual works reflect the country’s diversity and explain the changing cultural and social realities of Canada.

As a public institution and in accordance with its mandate, the NFB has a particular duty to connect with Canadians. Traditionally, the NFB has reached Canadians primarily through television and education networks, and also through festivals, community screenings and libraries. For decades the NFB has been, as it continues to be, a trusted provider of Canadian audiovisual content to our schoolchildren across the country in both official languages. The Canadian perspectives that the NFB delivers are ever more crucial in the globalized YouTube world. Increasingly, consumers are using the Internet to access the NFB’s large media library. The launch of the NFB’s online Screening Room in January 2009 has been heralded as a groundbreaking step in providing Canadians with free access anywhere, anytime, to an important part of our cultural heritage.

For more information on the NFB please refer to the following electronic link: http://www.onf-nfb.gc.ca/eng/about-us/organization.php

Strategic Outcome(s) and Program Activity Architecture (PAA)

Strategic Outcome(s) and Program Activity Architecture (PAA)

 

1.2. Summary of Performance

2008–09 Financial Resources ($ thousands)


Planned Spending Total Authorities Actual Spending
65,042 68,623 68,006

Total Authorities reflect an increase in funds of $3.6M from planned spending. The difference between planned spending, authorities and actual spending is further detailed in page nine.

2008–09 Human Resources (FTEs)


Planned Actual Difference
498 467 -31

Early in 2008-2009, the NFB reallocated resources through its internal program review, rationalization and efficiencies in order to fund its digital strategy, including the purchase of equipment required for the new digital production process, rights clearances and the development of its online Screening Room. This rationalization resulted in a reduction of human resources.


          Strategic Outcome 1: The reflection of Canadian values and perspectives through the production of innovative Canadian audiovisual works accessible in relevant media of the day      
Performance Indicators Targets 2008–09 Performance
Percentage of Canadian public that perceive the NFB as an innovative, creative and socially engaged institution 60% by March 31, 2011 According to an online survey conducted on behalf of the NFB in 2008, 65% of Canadians believe the NFB to be innovative, 75% agree that the institution is creative, while 62% felt that the NFB is socially engaged.
Percentage of completed productions dealing with major social issues 90% by March 31, 2011 74% of NFB productions completed in 2008-2009 dealt with major social issues, and 90% explored Canadian diversity.
Percentage of NFB audience who indicated that NFB productions reflect Canadian values or perspectives 85% by March 31, 2011 In an online survey of Canadians conducted on behalf of the NFB in 2008, the NFB established baseline measures showing that 71% of respondents feel that NFB productions are reflective of Canadian values, and associate the NFB with many core Canadian values.

 


Program Activity ($ thousands) 2007-08 Actual Spending 2008-09 Alignment to Government of Canada Outcomes
Main Estimates Planned Spending Total Authorities Actual Spending
Production of audiovisual works 54,701 51,060 51,060 53,606 53,711 Social Affairs: A Vibrant Canadian Heritage and Culture1
Distribution, Accessibility, Outreach 16,466 13,982 13,982 15,017 14,295
Revolving Fund N/A N/A N/A N/A N/A
Total 71,167 65,042 65,042 68,623 68,006  

Variance explanation
The variance from the 2008-09 Planned Spending, the Total Authorities and the Actual Spending includes $3,6M in Supplementary Estimates appropriation which main components were the Reimbursement of Eligible Paylist Expenditures , funds for the Interdepartmental Partnership with the Official-Language Communities (IPOLC) as well as an allocation from Canadian Heritage for the production of a DVD boxset marking the 400th anniversary of Quebec City.


$(thousands)
Planned Spending 65,042
     Supplementary Estimates appropriation 3,581
Total Authorities 68,623
     2008-2009 Carry Forward (617)
Actual Spending 68,006

Contribution of Priorities to Strategic Outcome

Overall, the NFB successfully delivered on priorities identified in its 2008-2009 RPP, meeting all expectations with respect to three priorities, and meeting most expectations for the remaining two. The chart below summarizes progress achieved with respect to each priority. In addition, the NFB’s new Strategic Plan 2008-2013, published in April of 2008, identified two new management priorities. These were mostly met and are discussed in the table below on management priorities.


Operational Priorities Type Status Linkages to Strategic Outcome

Maintain an environment dedicated to excellence and innovation that is conducive to nurturing new avenues for creativity in the audiovisual form.

The NFB plays a unique role as a centre for creative excellence and innovation, providing leadership and a strong international brand for the benefit of its private sector partners in the Canadian industry.

Its award-winning productions explore major contemporary social issues through strong, diversified point-of-view films that connect with Canadians and promote community engagement.

On-going

Met all expectations

The NFB delivered on all plans with respect to this priority, embarking on productions exploring social issues, participating in events of national significance such as the 400th anniversary of the founding of Quebec City, entering into a partnership with the Vancouver Olympic Committee for the upcoming 2010 Winter Olympics, and supporting innovative productions intended for new platforms.

The NFB maintained its level of coproduction activity, completing 33 productions with the Canadian private sector last year, and 10 with international partners.

The NFB provided technical services and support to 165 productions by independent filmmakers through the FAP-ACIC2 programs.

SO 1: The reflection of Canadian values and perspectives through the production of innovative Canadian audiovisual works accessible in relevant media of the day

PA 1: Production of audiovisual works

This priority links to SO1 and PA1 through innovation in the production of audiovisual works (both creative and technical)

Maintain and strengthen the NFB’s ability to identify, develop and mentor the talent and creative skills from emerging filmmakers and aboriginal, regional, linguistic and ethnocultural communities.

Through programs aimed at encouraging the development of authentic artistic voices that reflect diverse Canadian perspectives, the NFB identifies and provides opportunities to creators from Canada’s many regions, linguistic, ethnocultural and Aboriginal communities to develop their skills, preparing them to participate in the knowledge-based professions of the future creative sector.

On-going

Met all expectations

In keeping with its commitment to foster a diversity of voices and assure access to media for all cultural communities, the NFB met its objectives for the year, providing talent development opportunities to 241 participants in 19 initiatives. Forty one new productions were completed by emerging filmmakers.

Eighty five of all productions completed in 2008-2009 explored Canadian diversity. Thirty three productions were produced in the regions.

SO 1: The reflection of Canadian values and perspectives through the production of innovative Canadian audiovisual works accessible in relevant media of the day

PA 1: Production of audiovisual works

This priority links to SO1 and PA1 through diversity of perspectives and Canadian values in the production of audiovisual works.

Maintain, promote and enhance research and development initiatives to ensure increased accessibility of NFB audiovisual works.

The digital revolution is altering in fundamental ways how audiences are consuming and interacting with audiovisual media. To stay relevant, the NFB is engaging in research and development initiatives that will ensure that NFB programming can migrate easily to such platforms as mobile, iPod, and such others as become available and popular. These activities contribute to the development of film as an art form and to new business models that may lead to new opportunities for the film industry and provide more accessibility to Canadians.

On-going

Mostly Met Expectations

This year, the NFB worked on Research & Development on 4 projects. Projects embarked on are destined for use on new platforms and technologies, encouraging the development of innovative content and applications.

The e-cinema network pilot project, in its 2nd year, continues to provide an applied forum for testing the technology and delivery mechanism.

SO 1: The reflection of Canadian values and perspectives through the production of innovative Canadian audiovisual works accessible in relevant media of the day

PA 2: Distribution, Accessibility, Outreach

This priority links to SO1 and PA2 through the development of innovative content and application to increase accessibility of Canadian audiovisual works

Create a digital strategy that will serve as a foundation to enable the NFB to deliver on its mandate into the future in distribution, new business development, outreach and preservation of its audio-visual heritage.

Investments in digital production and distribution will enable the NFB to more effectively exploit its assets now and into the future through new digital distribution channels, by maximizing revenues while making its productions more accessible, and assuring the preservation of the NFB’s rich Canadian heritage collection for future generations.

New

Met all expectations

The NFB delivered on this priority, making a digital strategy the centrepiece of its new five-year Strategic Plan 2008-2013, launched at the beginning of 2008-2009. All projects identified in its 2008-2009 RPP were sucessfully launched, including the NFB’s new online Screening Room; NFB Images, featuring its digitized stock shot library; and the implementation of its new policy for the acquisition and renewal of rights, which is vital to the success of the NFB’s digital strategy.

SO 1: The reflection of Canadian values and perspectives through the production of innovative Canadian audiovisual works accessible in relevant media of the day

PA 2: Distribution, Accessibility, Outreach

A digital strategy has made NFB audiovisual works more accessible to Canadians, thus contributing to SO1

Make the works of the NFB readily and widely accessible to Canadian and international audiences.

Engagement with the NFB’s socially relevant works serve the public interest by fostering social cohesion and national experiences, stimulating learning, renewing our shared values and contributing to the cultural fabric of our country. Enhanced access drives sales to the educational and international markets, supported by the NFB’s considerable brand value.

On-going

Mostly met expectations

The NFB met most expectations with respect to this priority, increasing its total audience by 9% to over 31 million views through all channels.

Due to the worldwide economic recession, the NFB did not realise increased international revenues, seeing instead a drop of 21%.

SO 1: The reflection of Canadian values and perspectives through the production of innovative Canadian audiovisual works accessible in relevant media of the day

PA 2: Distribution, Accessibility, Outreach

This priority links to SO1 and PA2 through an increased accessibility of NFB products.

Organizational renewal that will make the NFB a model for the creative organization of the 21st century, delivering value to Canadians through environmentally responsible and flexible, efficient and effective structure and work processes.

The planned organizational renewal will support the NFB’s recent implementation of a new Program Activity Architecture, the Management Accountability Framework of the Government (MAF) and its five-year Strategic Plan, which positions it and its industry partners to be more competitive in the changing environment.

New

Met all

The NFB met all expectations with respect to this priority for the planning period, strengthening management and accountability with new audit, risk management and evaluation plans, and implementing performance measurement strategies aligned to its MRRS3.

Organizational re-structuring integrated nine branches into five, which has meant a more supple and responsive organizational structure and more resources going to programming and accessibility – the fundamental pillars of the strategic plan.

SO 1: The reflection of Canadian values and perspectives through the production of innovative Canadian audiovisual works accessible in relevant media of the day

This priority supports SO1 by allowing more resources going to PA1 and PA2.

Firm Financing that will put the NFB on a sound financial basis to deliver on its mandate.

Through sound budgeting, responsible fiscal management and cost-effectiveness, the NFB must focus resources on programming and accessibility and assure the NFB can deliver on its mandate and responsibilities into the future.

New

Mostly met

Significant savings were achieved through organizational review and restructuring, involving the closing of the NFB’s Paris, New York and Ottawa offices and abolishing a number of positions through transfers, retirements and layoffs.

A key challenge remains to translate visibility of the collection into increased revenues.

SO 1: The reflection of Canadian values and perspectives through the production of innovative Canadian audiovisual works accessible in relevant media of the day

Savings through organizational review has meant more resources going to PA1 and PA2.


Risk Analysis

The global digital transformation is altering in fundamental ways how audiences are consuming and interacting with audiovisual media. Engaging with content online or through mobile phones and other hand-held devices has already overtaken traditional television viewing among the younger demographic. As more Canadians engage with the digital world, they expect a full range of offerings, including audiovisual programming. According to a February 2009 Comscore report, 21 million Canadians viewed more than 3.1 billion videos online during the month of February 2009. Canadians want, need and have a right to expect Canadian cultural content on these new platforms. Canadian youth, in particular, are ravenous consumers of digital product and, without a rich cultural offering showcasing Canadian values and stories, will continue to turn to foreign programming. This is the major challenge facing content providers, including the NFB, but also an opportunity to better serve Canadians. Digital technologies offer easier reach, and a much more efficient and effective delivery of cultural products to Canadians and to the world.

In order to better serve all Canadians across the country, including the most remote regions, the NFB must ensure the accessibility of its films and programs by migrating its production and delivery technology to new and more efficient methods, technologies and platforms.

The NFB’s digital transformation was identified as a strategic priority during an extensive strategic planning process conducted in 2007-2008 and has been undertaken within the confines of its means. A multifaceted digital strategy has been developed that includes the digitization of the NFB’s collection. The NFB is also pioneering new ways of producing and distributing, which requires new creative approaches, new audiovisual languages and grammars, new ways of engaging with audiences as creators, new business models, new work flows and new international co-production models. It also involves the expansion of our E-cinema network.

However, the undertaking is enormous and presents many technological and cost challenges. Approximately twenty percent of the NFB’s collection of films is at risk of loss unless it is migrated to new formats over the next few years. Migration requires careful restoration and the development of standards for digital information management. The NFB must also negotiate costly new platform distribution rights for approximately two-thirds of its film titles, so that all of NFB’s collection is accessible to Canadians and consumers around the world.

The NFB has reallocated resources through its internal program review, rationalization and efficiencies in order to fund its digital strategy, including the purchase of equipment required for the new digital production process, rights clearances and the development of our online Screening Room. In 2007-2008 and 2008-2009, five per cent of the NFB’s operating budget was re-allocated to support the digital investment.

Organizationally, the NFB is acting quickly to adjust its production chain, distribution strategies and collection management practices. In January 2009, nine branches were integrated into five divisions in order to provide for a more coherent and efficient way of working.

For the past five years, the global marketplace for financing and producing programming has been in transition; globalization, broadcast fragmentation in major markets and the emergence of on-line video services have all had a profound effect on our industry. With the fragmentation of audiences comes the fragmentation of advertising dollars. This trend was observed long before the current global economic crisis. Broadcasters around the world are cutting back on programme expenditure, relying on more local programming, cheaper programming and repeat broadcasts of previously purchased programming. In documentary, there has been a recent decline in appetite for one-off documentaries versus less expensive factual entertainment, reality and lifestyle programming. But this may be a cyclical event, as the popularity of reality programming is declining. One of the specific actions of the NFB’s distribution, accessibility and outreach activities is the exploitation of the long shelf life of its documentaries, so that they continue to sell over time. The more popular factual entertainment, which is more topical in nature, naturally has a shorter shelf life.

The digital transformation coupled with the current economic downturn is severely affecting Canada’s broadcasting industry, which could reduce the NFB’s ability to fund new productions and participate in co-productions and to make them available to Canadians. The NFB’s revenues (including pre-sales) from public and private television broadcasters decreased by 26 percent in 2008-2009, and 2009-2010 is expected to be another difficult year. In addition, the NFB’s purchasing power has eroded considerably over the past years through the rise in program costs. The NFB continuously seeks to improve its efficiency through the reallocation of resources, rationalization of programs and activities and internal efficiencies. For example, in the last two years, five percent of the NFB’s operating budget was reallocated to support the digital investment.

Other recent events that affect the NFB include the following:

  • The Canada Culture On-Line - Canadian Memory Fund sunsetted in 2008-2009. This program supported the production of many online educational exhibits on the NFB’s website.
  • The Interdepartmental Partnership with Official-Language Communities program (IPOLC) ended on March 31, 2009 – In addition to supporting NFB programs for emerging filmmakers from minority-language communities, this Canadian Heritage program supported the e-cinema pilot project (involving new digital distribution technology) in New Brunswick so that francophones could have access to a large collection of NFB films, screened in French in five communities across the province.

Expenditure Profile

Spending trends

Actual spending included Vote 15 (for maternity leave and severance pay) which was not included in planned spending. For 2006-2007, the authorities and actual spending included allocations from the Canadian Memory Fund ($2.5M) and IPOLC ($240K); these funds were received through supplementary estimates.

In 2007-2008, Canadian Memory Fund ($1.8M) and IPOLC ($320K) allocations were included in planned spending. This explains the higher planned amounts in 2007-2008 compared to 2006-2007. The end of the Canadian Memory Fund program in 2007-2008 resulted in a reduction to NFB’s planned spending in 2008-2009. IPOLC ($ 320K) funds were received through supplementary estimates in 2008-2009.The NFB also received $750K for the production of the DVD boxed set associated with the tribute to the 400th anniversary of Quebec City.

In 2007-2008, to help fund its digital transformation strategy, the NFB used funds carried over from the previous two years. At the same time, NFB established strict financial controls that provided the funding needed for the start of the digital shift. Consequently, there were very low carry forwards during the 2007-2008 and 2008-2009 fiscal years.


Voted and Statutory Items
($ thousands)
Vote # or Statutory Item (S) Truncated Vote or Statutory Wording 2006-07
Actual
Spending
2007-08
Actual
Spending
2008-09
Main
Estimates
2008-09
Actual
Spending
60 National Film Board – Program expenditures 68,436 71,167 65,042 68,006
Total 68,436 71,167 65,042 68,006