ARCHIVED - RPP 2007-2008
National Film Board of Canada

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SECTION I - OVERVIEW

The world in which Canadians live is changing incessantly. Economic frontiers are fading, new technologies are becoming more and more accessible and new ways of highlighting our heritage and culture are emerging. These changes involve new challenges and many new possibilities. The activities of Canadian Heritage Portfolio corporations allow Canadians to seize all the opportunities available to them in culture, heritage and civic participation.

As a member of the Canadian Heritage Portfolio, the National Film Board of Canada (NFB) contributes to the vitality of Canadian culture. Its audiovisual productions reflect our cultural and linguistic diversity and help strengthen the bonds that unite all the members of our society. The NFB also supports new talent as well as artistic and technological innovation and ensures our films are known throughout the country and abroad. Testimony to this is the NFB's 69th Oscars nomination for the animation short The Danish Poet.

The vision and goals of the National Film Board of Canada for 2007-2008 are presented in this Report on Plans and Priorities. They illustrate the NFB's contribution to a dynamic Canadian culture and to the building of prosperous and creative communities throughout the country.

Beverley J. Oda

 

1.2 Acting Government Film Commissioner's Message

Established in 1939 to be the "Eyes of Canada," the National Film Board has over the years become a forum for Canadians from all parts of the country to debate major issues that interest and concern them, as well as a vehicle for showing the rest of the world an image of Canada that reflects the country's diversity and the full range of Canadian experience.

The NFB's current mandate is to produce films that reflect and explain the cultural and social realities of Canada. The NFB showcases these by supporting and encouraging filmmakers from groups that were not always at the forefront of the film industry, such as young emerging filmmakers, members of diverse cultural and linguistic communities, Aboriginal communities and the disabled. The NFB has opened its doors, giving all communities - from people living on the margins of society in Quebec cities to young Aboriginals from Alberta - the chance to have their voices heard across Canada and around the world.

The digital age and its inherent universality are leading to ever-greater globalization of production and distribution of audiovisual programming, making it more accessible to the public. In this new environment, it is essential that the public interest be well served. Technological progress must make it possible to reach all Canadians and to promote dialogue on issues important to Canadian society. The presence of a public producer and distributor in Canada and its role in achieving that goal have never been as vital as they are today. The proliferation of professional and amateur video content as well as new transmission platforms will radically change the broadcasting landscape in Canada and elsewhere. The NFB is particularly well placed to ensure Canadians have ready access to Canadian voices through innovative, challenging and relevant audiovisual productions that promote and preserve Canadian interests and values at the international level.

Ever since its inception, the NFB has been a wellspring of innovation for the Canadian film industry, maintaining its technological edge and contributing to the industry's international reputation in the documentary and point-of-view animation sectors. The NFB's expertise, particularly in training emerging talent and innovation, has made the organization a sought-after partner in the industry. Initiatives to improve the NFB's productivity in its production and distribution activities will be shared with the private sector to foster the future competitiveness and productivity of Canadian film and television production.

From the first flickering images it made for the big and small screens to its involvement in developing IMAX technology and recent role in digital distribution, the NFB has been guided by the policies of successive governments and by Canadians themselves. Through its challenging, innovative and relevant films, the NFB plays a key role in implementing government priorities by fostering debate on a wide variety of current issues, including the environment, violence in schools and Canada's place in the world. Its expertise in producing and distributing audiovisual works reflecting Canadians' concerns have made the organization a pillar of the government's cultural policy development.

The year 2007-2008 will be a period of transition for the organization's management team and employees. The end of the former Government Film Commissioner's term coincided with the last year of the strategic planning cycle initiated in 2002. In order for the organization to continue offering a relevant vision of Canada's cultural diversity to Canadians and to the rest of the world, and continue playing an essential and indispensable role in the Canadian film industry, the Board of Trustees, management team, employees and partners will all be pursuing the process of strategic reflection aimed at positioning the NFB favourably and making it possible for the organization to tackle the many challenges presented by today's film industry in Canada and the advent of new technologies and distribution platforms.

Throughout the strategic repositioning process with the future Commissioner at the helm, the NFB will be guided by the principles of good governance and sound management of public funds in order to meet Canadians' expectation in the cultural sector and help them perceive the NFB as a valuable and critical public institution.

I would like to express my deepest gratitude to Jacques Bensimon, Government Film Commissioner and Chairperson of the NFB from 2002 to 2006, for his contribution to the Canadian film industry. His vision and passion for Canadian film and the National Film Board have contributed enormously to the NFB's renewal and expansion over the last five years. Under his guidance, the NFB perceived and responded to major shifts and developments in contemporary Canadian society, becoming a voice that expressed the reality of Canadians across the country and around the world.

Claude Joli-Cœur
Acting Government Film Commissioner and Chairperson of the National Film Board of Canada

 

1.3 Management Representation Statement

I submit for tabling in Parliament, the 2007-2008 Report on Plans and Priorities (RPP) for the National Film Board of Canada

This document has been prepared based on the reporting principles contained in Guide for the Preparation of Part III of the 2007-2008 Estimates: Reports on Plans and Priorities and Departmental Performance Reports:

• It adheres to the specific reporting requirements outlined in the Treasury Board Secretariat guidance;
• It is based on the department's Strategic Outcome(s) and Program Activity Architecture that were approved by the Treasury Board;
• It presents consistent, comprehensive, balanced and reliable information;
• It provides a basis of accountability for the results achieved with the resources and authorities entrusted to it and;
• It reports finances based on approved planned spending numbers from the Treasury Board Secretariat.

Maryse Charbonneau
Director, Administration

1.4 NFB Overview

Summary Information

The National Film Board is a public production and distribution organization with an extensive film collection, a conservation laboratory, and postproduction and research and development facilities. As the living memory of Canadians, the NFB has its face turned firmly to the future and to the world. It is paving the way for new talent, promotes artistic and technological innovation, forges national and international partnerships and plays an active role in producing content that engenders debate on current issues important to Canadian society.

Mandate - As a cultural agency accountable to Parliament, the National Film Board of Canada's mandate, as set forth in the National Film Act, 1950, is "to initiate and promote the production and distribution of films in the national interest and, in particular,

• to produce and distribute and to promote the production and distribution of films designed to interpret Canada to Canadians and to other nations;
• to represent the Government of Canada in its relations with persons engaged in commercial motion picture film activity in connection with motion picture films for the Government or any department thereof;
• to engage in research in film activity and to make the results available to film producers;
• to advise the Governor in Council in connection with film activities; and
• to discharge such other duties relating to film activity as the Governor in Council may direct the Board to undertake."

Mission - "to produce and distribute distinctive, culturally diverse, challenging and relevant audiovisual works that provide Canada and the world a unique Canadian perspective."

Vision - In its 2002-2006 Strategic Plan, the NFB established the following vision: The NFB is recognized as being indispensable to all Canadians as the world-renowned public producer and distributor of audiovisual works that are socially relevant and innovative.

Offices

In addition to its Head Office in Ottawa and its Operational Headquarters, the NFB maintains production facilities in Vancouver, Edmonton, Winnipeg, Toronto, Montreal, Moncton and Halifax, a production office in Quebec City and two viewing centres, one in Montreal and the other in Toronto.

Benefits to Canadians and to the World

In Canada's Performance 2006, the Government of Canada reported that "Canadians value a strong Canadian culture and call on the government to ensure that, despite our small market and vast geography, conditions exist in which Canadian culture can take root. Canadians want to have Canadian choices that reflect Canadian creativity and talent, linguistic duality, multicultural diversity, and the special place of Aboriginal peoples within Canadian society." ¹ The NFB is one of the best instruments the Government of Canada has to meet Canadians' expectations. The NFB produces - in both official languages - Canadian audiovisual content on social issues of concern to communities across Canada. National Film Board audiovisual productions made by members of cultural, linguistic and Aboriginal communities from all parts of Canada showcase many promising talents among emerging filmmakers, and portray an authentically Canadian point of view recognized both here and abroad.

Since its inception, the NFB has played a leading role in the Canadian and international audiovisual industries. Today, the Canadian film industry is vibrant and recognized for its excellence worldwide, largely because of the NFB's major contribution to animation and documentary film. The NFB is an outstanding force for creative excellence, fostering the exploration of major contemporary social issues and supporting strong, diversified point-of-view films.

Through the application of new audiovisual technologies, the NFB has developed a variety of traditional and virtual distribution networks that make its productions and its extensive film collection - the collective memory of Canada - even more accessible to Canadians in every province.

 

Financial Resources

2007-2008	2008-2009	2009-2010
67,276	64,988	64,988

 

Human Resources

2007-2008	2008-2009	2009-2010
498	498	498

 

NFB Priorities

#	Name	Type
1	Maintain overall programming slate of distinctive, challenging and relevant audiovisual works with a special emphasis on strengthening feature documentary production and developing a consistent approach to making short films.	Mandatory
2	Strengthen the NFB's ability to identify and to work with leading talent, championing emerging filmmakers and members from diverse communities (ethnocultural, linguistic, regional and Aboriginal) and encouraging regional diversity.	Mandatory
3	Encourage partnerships through co-productions and maintain the development of international co-productions.	Mandatory
4	Strengthen innovation in content, form and technology.	Mandatory
5	Contribute to the overall competitiveness and productivity of the Canadian Film industry	Mandatory
6	Strengthen NFB distribution networks and optimize NFB revenues.	Mandatory
7	Enhance the conservation of the NFB collection in new emerging digital formats and increase its equitable access across Canada.	Mandatory
8	Maintain, promote and enhance R&D initiatives to reposition the NFB as a leader in the Canadian film industry, along with its partners.	Mandatory
9	Enhance accountability, business practices and information systems.	Mandatory
10	Strengthen accountability, risk management, resources management and governance in the public sector.	Mandatory

 

Link to the Government of Canada Outcome areas

The National Film Board of Canada is a cultural agency reporting to the Department of Canadian Heritage. It supports the Department in its mission to make Canada an exciting, cohesive place where all Canadians can take part in the country's cultural and social life. The NFB contributes directly to the Department's two strategic outcomes ²:

• Canadians achieve diverse cultural experiences and share them with one another and the world;
• Canadians live in a society open to everyone, based on inter-cultural understanding and citizen participation.

These two strategic outcomes are in their turn linked with Government of Canada objectives that are designed to strengthen Canada's social foundations. Canada is an inclusive society, fostering linguistic duality and diversity as well as a dynamic Canadian culture and heritage. In its response to the Standing Committee on Canadian Heritage report, the Government of Canada confirmed the NFB's role as an essential component of its cultural strategy, stating that "the NFB has been a key agency for the production and distribution of films and other audiovisual works that reflect the cultural and social realities of Canada." ³

 

Alignment with Government Priorities

Through the Department of Canadian Heritage, the NFB contributes directly to the achievement of federal government priorities announced in the April 2006 Speech from the Throne and reiterated in the federal Budget and recent 2006 Economic and Fiscal Update. Through its social mandate and by means of its original film productions, the NFB in its role as a cultural organization assists the federal government in achieving the following priorities in innovative ways:

1. Managing the environment: The Government will take measures to achieve tangible improvements in Canada's environment, including reductions in air pollution and greenhouse gas emissions and protecting Canadian from the consequences of climate change.

   The NFB is aware that the environment and sustainable development are of greater concern to Canadians than ever. Thus, the organization produces audiovisual works that nourish discussion and debate on those issues. In addition to films on environment-based themes already made or currently in production, such as Manufactured Landscape and The Refugees of the Blue Planet, the NFB is currently working on a proposal for a vast multi-platform project that will showcase environment-friendly technologies developed by Canadian researchers and encourage Canadians to take tangible action to improve the environment.

2. Tackling crime: The government will take measures to prevent criminal behaviour and will work with the provinces and territories to help communities, provide hope and opportunity for Canada's youth, and end the cycle of violence that can lead to broken communities and broken lives.

   The NFB produces, in both official languages, Canadian audiovisual content on social issues of concern to communities across Canada interested, among other things, in discovering the causes of violence in or society. Moreover, initiatives like Wapikoni Mobile and Vidéo Paradiso successfully encourage young people to participate and give them the means to express themselves and share their experiences in original ways.

   Vidéo Paradiso: The Vidéo Paradiso program, to which the NFB contributes, is a mobile training and audiovisual studio for young people living on the margins of society in Montreal and Quebec. While learning about the art of filmmaking, the young artists record their innermost feelings and experiences, breaking the silence and making their voices heard.

3. Canada - strong, united, independent and free: The Government will work to advance common values and interests. More broadly, the Government is committed to supporting Canada's core values of freedom, democracy, the rule of law and human rights around the world.

   The NFB produces innovative and challenging films that convey Canadian values in the country and around the world. Whether the film is a documentary on UN peace missions involving Canada, such as The Peacekeepers, or an animated short on conflict resolution, the NFB is the ideal instrument for conveying Canada's core values.

4. Immigrants and Aboriginal people: The Government will seek to improve opportunity for all Canadians, including Aboriginal peoples and new immigrants.

   The NFB plays a unique role in producing and distributing audiovisual works by members of these ethnocultural and Aboriginal communities. A number of NFB initiatives have also been established specifically with the aim of reaching members of Aboriginal and ethnocultural communities.

   NFB programs targeting Aboriginal communities: Wapikoni Mobile is a mobile film production studio, created by Manon Barbeau and supported by the NFB, that seeks out young Aboriginal people in their own communities; initiating them into the techniques of filmmaking and helping them produce their first films and sound clips.

   First Stories is aimed at developing Aboriginal people's talents and expertise in the areas of film and television production. Through this initiative, young Aboriginal filmmakers in Manitoba, Saskatchewan, Alberta and the North have an opportunity to attend a series of intensive seminars, at the end of which they are invited to submit proposals for short films on social issues.

 

NFB Priorities in Relation to Program Activity Architecture

Strategic outcome: produce and make available relevant, ambitious and innovative audiovisual works that offer Canadians a deeper understanding of Canada and the world.
Activity	Expected Results	Planned spending			Contributes to the following priority
		2007-2008	2008-2009	2009-2010
Production of Audiovisual Works	85% of programming involving social issues	47,572	47,172	47,172	Priority 1
	Programming with the focus on point-of-view documentaries, animation, alternative fiction and new media				Priority 1
	Accessibility of NFB movies across Canada				Priority 1, 6 & 7
	Projects innovative in content, form and broadcasting mode, with flexibility for experimentation				Priority 1 & 4
	Number of national and international co-productions maintained				Priority 3
	Number of productions realised by new talent maintained				Priority 2
	Ongoing promotion and development of new talent				Priority 2
Distribution of Audiovisual Works	Access to Canadian and international audiences	2,416	2,398	2,398	Priority 6 & 7
	Optimized revenue in contribution to the Canadian film and television industry financial health				Priority 6
	Acquisition of more productions that complement the NFB catalogue				Priority 6
Accessibility and Outreach	Improved access to the NFB collection through its various activities and offerings, particularly the mediatheques and other resources;	13,628	11,768	11,768	Priority 7
	Continued digitization of the NFB collection				Priority 7
	Better citizen participation through public screenings and other appropriate means				Priority 6 & 7
	Improved recognition of the NFB brand on television, in festivals and schools, during industry activities and with the federal government				Priority 6 & 7
	Strong presence of NFB productions in Canada's community and educational distribution networks				Priority 6 & 7
Research and Advisory Services	Appreciable research and development efforts on techniques and technology in the audiovisual field	3,660	3,650	3,650	Priority 8
	The NFB as an enduring benchmark in filmmaking				Priority 8
	TOTAL	67,276	64,988	64,988

 

NFB Plans and Priorities

The Planning Environment

Salient features of the external business environment for this strategic planning period are the government's high expectations for good governance, a film industry in full transition - primarily because of new production technologies and distribution platforms - and a review of the NFB's partnership agreements.

Within the organization, the planning cycle will be profoundly affected by a variety of factors, including completion of the restructuring process, the future appointment of a new Government Film Commissioner and the NFB's strategic repositioning.

External Business Environment

Government Expectations

The NFB reports to the Department of Canadian Heritage, which is responsible for administering the Film Act that governs NFB operations. The Canadian cultural organization is funded primarily through Parliamentary appropriations and revenue from the sale of films and other products.

Canada's government was elected on a platform of good governance of federal institutions and restoration of accountability. In the Federal Accountability Act, it puts forward specific measures to increase accountability, transparency and oversight of government activities. In addition, the Management Accountability Framework sets out all expectations for managing the Public Service in today's world to ensure superior organizational performance.

At the NFB, analysis and compliance with the government's sound management requirements are ongoing processes as well as organizational priorities. The NFB's business practices foster good governance and accountability, and help forge a bond of confidence with Canadians. The organization ensures that all activities comply with or exceed the highest standards in these areas. The principles of sound public management and accountability established by the government will guide future discussions by the Board of Trustees and Management Committee during the organization's upcoming strategic repositioning process.

Canada's Film and Television Production Industry

According to the data in Profile 2006 ⁴, the Canadian film and television industry slowed down over the past two years after experiencing strong growth at the start of 2000. In 2004-2005, Canadian film production was down $116 million, or 31%, compared to the previous year, partly due to a reduction in the number of official co-productions, which dropped by 39% in 2004. Partnerships involving feature films were particularly hard hit. This has had an impact on job creation in the audiovisual production industry, which declined by 11% in a single year. Real GDP in the film and video industries was also affected, dropping to 3.7% in 2004 after growing at an average annual rate of 5.0% between 1998 and 2004.

The export value ⁵ of film and television production in Canada was 1.76 billion in 2004/2005 - a decrease if 24% from the previous year. This decrease was mostly driven by a 23% drop in foreign location production in Canada. The indigenous film industry has also done less well than last year, with the export value of Canadian film production falling by 72% to $31 million.

As the figures show, the Canadian film industry is facing a variety of significant issues that could have longer-term repercussions on its outlook for growth. Production costs have been increasing constantly for the past ten years, not only because of inflationary factors but also because of the higher cost of acquiring underlying rights. With market fragmentation, international pre-sales and foreign investment in Canada's film and audiovisual industry are dropping, depriving producers of substantial sources of revenue. As a result, government programs that fund audiovisual productions are becoming more important. The industry's profit margins currently hover around 1.6%, less than half the Canadian industry average.

The above factors will not only affect private-sector producers but also have an impact on NFB operations throughout the planning period covered in this report.

The Documentary Environment in Canada

The documentary is the film genre that has made Canada's international reputation ever since direct cinema came into being in the early 1960s. The many prizes garnered throughout the world for NFB films and by independent filmmakers and producers confirm the international community's recognition of Canadian documentaries and contribute to the country's prominence.

In Canada, documentary production, financing and distribution are all subject to significant pressures, as they are in other parts of the world. And in spite of its restored popularity, particularly in theatres after the success of feature-length documentaries like Super Size Me and The Corporation, the documentary genre accounted for only 17% of CAVCO-certified productions ($293 million), a 13% decline over the previous year. ⁶

Even before the global success of documentaries like Fahrenheit 9/11 and March of the Emperor, the NFB had for a number of years been moving into strong auteur films that could compete with feature dramas at the box office. At present, the NFB averages about a dozen feature-length documentaries a year.

As pointed out in the last report of the Standing Committee of Canadian Heritage, which examined the film industry, new avenues are emerging for documentary films, particularly "Canadian [long-length] documentary films [that] have achieved a high level of success both within Canada and internationally, and have long been a strength of the Canadian film industry." ⁷ Sources of funding for feature-length documentaries are limited, however, making them difficult to produce. A very few private-sector distributors remain key stakeholders in documentary distribution, though they tend to focus on entertainment series and documentaries.

In this environment, the NFB plays a unique and essential role in documentary distribution, among other things by distributing the films it produces and co-produces with or acquires from private-sector producers. For the industry, the NFB provides a unique brand of expertise that combines creativity and technological innovation. Point-of view documentaries are an operational priority at the NFB, because Canadians want to see films that help them gain a better understanding of the issues that affect them. NFB documentaries are important in encouraging a process of reflection among Canadians and among stakeholders in the political, economic and social arenas.

High-Definition Revolution

For several years, broadcasters in Canada and elsewhere have been making the transition to high-definition (HD). The landscape is shifting very quickly, and in a few years, standard-definition (SD) and analog distribution will be outdated. It is therefore crucial for Canadians to have access to Canadian content in HD. Production companies in both the United States and European Union (EU) are preparing for the shift to HD to meet broadcasters' demands.

A number of broadcasters are planning to gradually eliminate analog transmission, and are broadcasting more and more content in HD. In the years to come, all their programming should be in HD. To regulate the industry, the US Senate passed a budget motion asking traditional television stations to stop analog broadcasting over the airwaves by February 17, 2009. In the EU, individual member states are selecting switch-off dates for analog terrestrial broadcasting; many have chosen 2010 as a switch-off date, while six have chosen 2012. In the United Kingdom, analog service will begin to be switched off in 2008, with all analog service discontinued by 2012 ⁸. As a public producer, the NFB must be thoroughly prepared by the time a deadline is established for Canada. Since the production cycle takes about eighteen months, the NFB must be producing all documentaries and animated films in HD by 2008-2009 to be ready by 2009-2010.

Proliferation of platforms

Digitization will make it possible for Canadians to watch films and television shows on the platform of their choice - DVD, digital music player, mobile video player, webcasts and other means - regardless of where they are. Yet even though the digital revolution provides a wealth of extraordinary opportunities for producers and distributors, it also brings enormous problems with it. The NFB has been preparing for a number of years, creating partnerships and conducting research on image quality, innovative modes of transfer, accessibility and broadcasting in order to make the shift to digital technology.

Over the next few years, the NFB will face many challenges rooted in the proliferation of digital formats. HD will become the unchallenged standard for shooting, broadcasting and distribution in Canadian and internationally. Without HD production and distribution capacity on multiple platforms, the NFB could jeopardize its distribution activities and its revenues could drop precipitously.

New digital technologies make it possible for consumers to generate audiovisual material themselves and exchange it with peers through interactive distribution networks. The transition to digital formats is creating new operating platforms that are redefining the audiovisual landscape and fragmenting audiences. Without Canadian options in both French and English, future generations will turn increasingly to media that convey US culture and points of view.

The NFB must quickly adjust its production chain, distribution strategies and collection management methods to meet its program objectives and maintain its leadership role among its partners and Canadians generally. Costs, however, are important both to the independent industry and to the organization. The transition represents a considerable challenge.

Copyright

The increase in copyright purchase costs and rise in copyright protection insurance premiums are having a predominant impact on documentary production in Canada. In a survey among members of the Documentary Organisation of Canada (DOC), 85% of respondents indicated that higher copyright costs were doing them more harm than good, particularly because of the increased costs they engender and the limits on utilization of audiovisual archive holdings. ⁹

As a public producer, the NFB must ensure it has the rights to its films so that Canadians can enjoy them as long as possible. Higher rights purchasing costs have direct repercussions on production costs and costs engendered by ensuring continued access to the NFB collection. This is a considerable challenge for the organization.

To reduce the impact on its financial resources, the NFB has established a minimum rights purchasing strategy. The Film Board also receives assistance under the Memory Fund to renew its rights to a number of heritage titles. Nonetheless, additional funding may still be needed to keep the NFB's film heritage accessible to Canadians.

After making a substantial portion of its collection - over 3,500 titles so far - accessible on DVD, the NFB plans to continue developing its digitization tools to ensure that its productions are accessible in formats that meet client expectations. To achieve that goal, in December 2006 the NFB negotiated and signed two agreements, one with the English-language Alliance of Canadian Cinema, Television and Radio Artists (ACTRA) and one with the French-language Société des Auteurs de Radio, Télévision et Cinéma (SARTEC), on rights to digital distribution of NFB films over the Internet.

Partnerships

Strategic partnerships are essential to the achievement of the NFB's mandate and mission. The organization seeks to forge partnerships with Canadian private-sectors producers and distributors as well as public broadcasters to co-produce, broadcast and distribute NFB films. Internationally, the National Film Board has formed alliances to maximize potential synergies and boost sales and revenue. For example, the NFB and the Brazilian Audiovisual Secretariat recently signed an agreement on the development of e-cinema and of co-production, distribution, network development and training, as well as R&D projects. The NFB has also signed a Memorandum of Agreement with the Media Development Authority of Singapore, under which the NFB and MDA will co-operate on a series of co-production, education and training projects, as well as technological development projects.

In 2005-2006 one-third of NFB productions were made possible by co-productions involving Canadian private- and public-sector partners. By focusing on its ability to innovate and add value on the production side as well as the training and broadcasting side, the NFB has strengthened its ties with Canadian private-sector producers. The organization also wants to enhance the public sector's international presence to take advantage of market globalization and raise its profile internationally and within the Canadian industry.

In addition to its substantial sales in the educational sector, the NFB promotes co-operation with educators, research and educational institutions, and libraries. An entire network of partner libraries is already in place. It also provides educational materials, organizes workshops at numerous annual regional and provincial teachers' conferences, and arranges training activities for university instructors.

During the planning period, the NFB will conduct a careful study of its existing partners, including libraries and existing distributors. Each of them will be assessed in the light of future strategic directions the organization will establish once the strategic planning process is completed. After the study, the NFB will be in a position to assess which of the partnerships will help it best fulfil its mandate and which need to be modified to serve the NFB's needs more effectively and meet its partners' expectations.

Internal Business Environment

As a public producer and distributor of documentaries and animated films, the NFB fosters cultural diversity, encourages Aboriginal communities, promotes official languages and advances citizen participation. With seven production centres across the country, the NFB reflects Canada's diversity and succeeds in reaching Canadians in all provinces and territories as well as people around the world.

Term of Government Film Commissioner and Chairperson of the NFB Ended

On December 18, 2006, Jacques Bensimon completed his term at the helm of the NFB. A selection committee was established within the Board of Trustees, charged with recommending to the Minister of Canadian Heritage a candidate well equipped to lead the NFB in taking up the many challenges the organization will encounter over the next planning cycle. During the selection process, Claude Joli-Cœur, Director of Business Affairs and Legal Services, will take on the Commissioner's duties in an acting capacity until the new Commissioner takes office. At the December 2006 Board of Trustees meeting, members asked the Management Committee to assess the results accomplished during the planning period and to consolidate the many changes made at the NFB in recent years.

End of 2002-2006 Strategic Plan

The year 2006-2007 marked not only the end of Jacques Bensimon's term but also the last year of the 2002-2006 Strategic Plan. Over the past five years, all NFB activities have been aimed at repositioning the organization as an essential partner in an ever-changing national and international film environment. On the Board of Trustees' recommendation, the Management Committee will take on the task of producing the NFB's Strategic Plan once the next Commissioner is appointed.

With the NFB in the midst of a full-fledged period of transition, efficient and effective management that fosters accountability in the administration of public funds remains the principle that guides all the organization's decisions. The NFB's new priorities will have to set a clear path that will help the organization remain relevant in Canada's broader production and distribution landscape, in the areas of both artistic achievement and technological excellence.

Restructuring at Marketing and Communications Branch Finalized

The process to establish the new Marketing and Communications Branch was completed in the fall of 2006. The Branch is responsible for ensuring consistency in communications and marketing activities by maintaining a comprehensive overview of all projects. Over 2007-2008, Marketing and Communications will work hand-in-hand with other NFB branches to finalize the process that will make it possible to co-ordinate theory and practice in communications and marketing through a consistent and concerted approach.

 

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