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Section I — Overview

Thanks to the contributions of dynamic communities across the country and tremendous creative talent, Canadians have a wonderfully rich and diverse cultural heritage. Canada's unique brand of culture has overcome the challenges posed by our vast geography and has played a critical role in strengthening the Canadian federation. Our creative and innovative society embraces the tremendous possibilities offered by rapidly changing technologies. The Canadian Heritage portfolio organizations work to ensure that the cultural sector is able to take advantage of every opportunity available and that Canadian arts and culture continue to be robust and accessible to people here at home and around the world.

As a member of the Canadian Heritage Portfolio, the National Film Board (NFB) is a vital contributor to the cultural life of Canada. The NFB plays a unique role in bringing innovative, challenging and relevant programming to Canadian and world audiences. Defined by creative excellence, it promotes and values community participation and encourages citizens to make their voices heard. New production and distribution technologies allow the NFB to reaffirm its relevance and ensure that the many communities that make up Canadian society have access to its rich and diverse programming.

As the work plan outlined in this 2008-09 Report on Plans and Priorities illustrates, the National Film Board will continue to preserve and promote our cultural heritage, which is at the very heart of what it means to be Canadian.

The Honourable Josée Verner, P.C., M.P.

 

1.2 Government Film Commissioner's Message

For almost seventy years the National Film Board has played a vital role in Canadian society as a public producer and distributor of audiovisual materials in the public interest. It is recognized and celebrated the world over as one of the great cultural laboratories for research, development and innovation in the world of documentaries, animation, and now, new media. It is unique in providing Canadian creators a place to develop new forms of authentic, socially relevant works that are central to creating common democratic, civil values in a rapidly changing and increasingly diverse society. Through the support of emerging filmmakers, members of diverse cultural and linguistic communities, Aboriginal communities and the disabled, the NFB ensures that its audiovisual works reflect the country's diversity and explains the changing cultural and social realities of Canada. It is the most trusted provider of Canadian audio-visual content to Canada's educational system and is a significant carrier of Canadian values to Canada's youth. As a public provider, it is uniquely placed to break new ground and take the creative risks that neither the private sector nor the public broadcast sector can undertake.

In a digital era, the need for the NFB as Canada's public producer is more essential than ever to undertake the kinds of risks that an audio-visual industry in constant state of change and turmoil cannot afford to take. Again and again, the NFB has shown that it can lead initiatives, on its own or in private-public partnerships, that benefit the industry and Canadians. It is one of the hallmarks of the NFB to step in in areas of market failures to create public goods that enrich the country and provide cultural leadership both domestically and internationally. The NFB's enormous international brand value, its creative work and its constant inventiveness has attracted new investors to Canada and opened doors for the private sector to new markets such as Brazil and Singapore.

The inevitable digital transformation is altering in fundamental ways that audiences are consuming and interacting with audio-visual media. New technologies are giving the NFB the opportunity to reach all Canadians in ways that have not been available and providing them with an enriched media experience that is interactive and dynamic. It does bring however, significant challenges rooted in the proliferation of digital formats. The NFB must quickly review its production models and explore new film languages. A digital strategy will layout the foundations to enable the NFB to make use of new production technologies and distribution platforms for its projects, and ensure its audiovisual works remain relevant and accessible to all communities throughout Canada and internationally.

Today the NFB is the caretaker of one of Canada's most significant audiovisual heritages, an heritage in which Canadians have invested for the past seventy years. It includes almost 13,000 films, 500,000 still images, an extensive sound library and almost 6,000 teacher guides to accompany its productions. This collection is the pulse of Canadian life and creativity across the years. The NFB has a duty that goes far beyond conservation. We are committed to an ongoing reinvigoration of the collection through the production and distribution of collected works of the great creators like Norman McLaren, Pierre Perrault, and Alanis Obomsawin, through release of historically significant works for educational use and by ensuring that Canadians have access to these treasures that are rightly theirs. The digital strategy will be essential to make this happen.

The NFB is in process of both creative and organizational renewal: the year 2008-2009 will mark the implementation of an updated Program Activity Architecture, as well as the Strategic Planning repositioning for the next five years. Throughout this process, the organization will be guided by the principles of good governance and accountability to help forge a bond of confidence with Canadians.

Tom Perlmutter

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

 

1.3 Management Representation Statement

I submit for tabling in Parliament, the 2008-2009 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 2008–09 Estimates: Reports on Plans and Priorities and Departmental Performance Reports:

• It adheres to the specific reporting requirements outlined in the Treasury Board of Canada Secretariat guidance;
• It is based on the department's Strategic Outcome 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 of Canada Secretariat.

Luisa Frate, CA

Director, Administration

 

1.4 NFB Overview

Raison d'être

The National Film Board is a public audiovisual production and distribution organization with an extensive film collection, a conservation laboratory, and postproduction and research and development facilities.

The NFB produces –in both official languages- innovative and engaging Canadian audiovisual content on issues of concern to communities across Canada. National Film Board audiovisual productions made by members of cultural, linguistic and Aboriginal communities from all regions of Canada showcase many promising talents among emerging and seasoned filmmakers. They reflect an authentically Canadian point of view recognized across Canada and around the world, therefore playing a pivotal role in the Canadian film and television industry.

Since its earliest days, the NFB has been a wellspring of innovation for the Canadian industry, maintaining its technological edge and contributing to the industry's international reputation in the documentary and point-of-view animation sectors. Today, the NFB remains faithful to this tradition, maintaining an environment dedicated to excellence and innovation that is conducive to nurturing new avenues for creativity. In addition to advising government and industry, the NFB embraces technical development projects that help advance the art and science of filmmaking.

Harnessing the vast potential of new technologies, the NFB has developed a variety of traditional and virtual distribution networks that ensure that its new productions and its extensive film collection- the collective memory of Canada- are increasingly accessible to all Canadians, in every province and territory.

 

Benefit to Canadians and to the World

There is enormous locked up value in the NFB brand as it speaks of integrity, social engagement, commitment to diversity, artistic innovation and authenticity. For almost 70 years Canadians have invested in the National Film Board. Since its inception in 1939, the National Film Board, with its deep connection with communities and Canadians across the country remains an institution that is essential to the fabric of this country. In an era of mass globalization and evolving technologies that breakdown all geographic borders, the technological environment offers many opportunities, but it also presents certain risks. It is essential that Canadian voices in public service are heard in both traditional and new media, so that Canadian diversity, individuality and identity are preserved. The NFB, recognized around the world as a beacon of creative excellence and innovation, is a dynamic institution who over the years has reinvented itself to meet the demands of new generations, while remaining true to its core mandate.

The NFB's 70th Oscar® nomination for the animated short Madame Tutli-Putli is an example of the NFB's essential contribution to the development of Canadian talent. It is only at the NFB that these two emerging filmmakers could have perfected their craft over four years to create this original and innovative work.

The NFB produces Canadian audiovisual content that engages and entertains Canadians of all regions. National Film Board audiovisual production 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.

The NFB has a unique role in providing Canadians with innovative, challenging Canadian content that would otherwise not be available. With increased competitiveness and market pressures, it is very difficult for the private sector to take the creative, financial and technological risks that must be taken for Canada to remain at the forefront of the cultural industry. By testing the creative possibilities of new technologies, tackling tough issues of concern or enabling distribution into remote communities, the NFB provides Canadians and the Canadian industry, with new opportunities and contributes to a vibrant Canadian culture and heritage.

 

Organizational Information

The National Film Board is a public production and distribution organization with an extensive film collection, a conservation laboratory, 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 digital world. It is paving the way for new talent, promoting artistic and technological innovation, forging national and international partnerships and playing an active role in producing content that engenders debate on current issues important to Canadian Society.

The National Film Board of Canada's mandate 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 available the results thereof to persons engaged in the production of films;
• 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 – The National Film Board of Canada's mission is to reflect Canada (and matters of interest to Canadians) to Canadians and the rest of the world through the creation and distribution of innovative, unique and distinctive audio-visual works based on Canadian point of view and Canadian values.

Vision - The NFB's vision, which will be more explicitly articulated in its 2008-2012 Strategic Plan, is to promote the reflection of Canadian values and perspectives and contribute to a vibrant Canadian culture and heritage.

In addition to its Operational Headquarters in Montreal and its office in Ottawa, 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. In addition, two foreign offices support the distribution of NFB works around the world: one office in the Canadian Cultural Centre in Paris, and an office in New York.

The NFB is governed by the National Film Act and a series of other statues, including the Financial Administration Act, which sets out the government's financial administration structure and process, and the Access to Information act, Privacy Act and Official Languages Act.

As a cultural agency of the federal government, the NFB reports to Parliament through the Minister of Canadian Heritage. The NFB Board of Trustees is constituted of eight members, including the Government Film Commissioner and the Executive Director of Telefilm Canada as an ex-officio member. The NFB has an Chief Audit Executive who reports directly to the Film Commissioner NFB Board of Trustees, while the Office of the Auditor General (OAG) acts as the NFB's external auditor. Once a year, the OAG examines the NFB's financial statements to ensure they are accurate and in compliance with authorizations.

 

Program Activity Architecture (PAA) Crosswalk

2008–2009
($ thousands)	New Program Activity 1 Production of Audiovisual Works	New Program Activity 2 Distribution, Accessibility and Outreach	Total
Old Program Activity 1 Production of Audiovisual Works	47,385	0	47,385
Old Program Activity 2 Distribution of Audiovisual Works	0	2,459	2,459
Old Program Activity 3 Accessibility and Outreach	0	11,523	11,523
Old Program Activity 4 Research and Advisory Services	3,675	0	3,675
Total	51,060	13,982	65,042

The New Program Activity Architecture will be effective as of April 1, 2008. Old program activities Production of Audiovisual Works and Research & Advisory Services have been combined and incorporated into the program activity Production of Audiovisual Works. Old program activities Distribution of Audiovisual Works and Accessibility and Outreach have been combined and incorporated in the new program activity: Distribution, Accessibility and Outreach.

The new Program Activity Architecture is now comprised of two main program activities: Production of Audiovisual Works, and Distribution, Accessibility and Outreach.

 

Voted and Statutory Items displayed in the Main Estimates

($ thousands)

Vote or Statutory Item	Truncated Vote or Statutory Wording	2008–09 Main Estimates	2007–08 Main Estimates
60	Program expenditures	65,042	67,118
(S)	National Film Board Revolving Fund	. . . . .	. . . . .
	Total Agency	65,042	67,118

The reduction of 2,076 ($ thousands) from 2007-2008 and 2008-2009 is explained by the following items:

Incremental funding – Internal Audit	245
Adjustments for collective agreements	226
Reduction of the Canadian Memory Fund	(1,810)
Reduction of the IPOLC allocation	(320)
(Interdepartmental Partnership with the Official-Language Communities)
Reduction from Procurement cost efficiencies	(417)
TOTAL reduction year-over-year	(2,076)

(Note: The Canadian Memory Fund (CMF) and the Interdepartmental Partnership with the Official-Language Communities (IPOLC) are both Canadian Heritage programs)

 

Departmental Planned Spending Table and Full Time Equivalents*

($ thousands)	Forecast Spending 2007–08	Planned Spending 2008–09	Planned Spending 2009–10	Planned Spending 2010–11
Production of Audiovisual Work	53,523	53,365	53,365	53,365
Distribution, Accessibility & Outreach	0	19,970	19,970	19,970
Distribution of Audiovisual of Work	8,234	0	0	0
Accessibility and Outreach	13,851	0	0	0
Research and Advisory Services	3,843	0	0	0
Budgetary Main Estimates (gross)	79,451	73,335	73,335	73,335
Non-budgetary Main Estimates (gross)
Less: Respendable revenue	8,293	8,293	8,293	8,293
Total Main Estimates	71,158	65,042	65,042	65,042
Adjustments
Total Adjustments	-	-	-	-
Total Planned Spending	71,158	65,042	65,042	65,042
Less: Non-respendable revenue	-	-	-	-
Plus: Cost of services received without charge	-	-	-	-
Total Departmental Spending	71,158	65,042	65,042	65,042
Full-time Equivalents	498	498	498	498

* PAA structure will be modified as of April 2008.

The reduction of 6,116 ($ thousands) from 2007-2008 to 2008-2009 is explained by the following items:

Carry forward - GG Warrant	(3,656)
Incremental funding – Internal Audit	87
Reduction of the Canadian Memory Fund	(1,810)
Reduction of the IPOLC allocation	(320)
(Interdepartmental Partnership with the Official-Language Communities)
Reduction from Procurement cost efficiencies	(417)
TOTAL reduction year-over-year	(6,116)

(Note: The Canadian Memory Fund (CMF) and the Interdepartmental Partnership with the Official-Language Communities (IPOLC) are both Canadian Heritage programs)

 

Summary Information

Financial Resources ($ thousands)

2008–09	2009–10	2010–11
65,042	65,042	65,042

Human Resources

2008–09	2009–10	2010–11
498	498	498

Departmental Priorities

Name	Type
1. Maintain an environment dedicated to excellence and innovation that is conducive to nurturing new avenues for creativity in the audiovisual form.	On-going
2. 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.	On-going
3. 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.	New
4. To make the works of the NFB readily and widely accessible to Canadian and international audiences.	On-going
5. Maintain, promote and enhance research and development initiatives to ensure increased accessibility of NFB audiovisual works.	On-going

 

Program Activities by Strategic Outcome

		Planned Spending ($ thousands)
Activity	Expected Results	2008–09	2009–10	2010–11	Contributes to the following priority
Strategic Outcome:	The reflection of Canadian values and perspectives through the production of innovative Canadian audiovisual works accessible in relevant media of the day				Priorities 1 through 5
Production of audiovisual works	Programming involving social issues	51,060	51,060	51,060	Priority 1
	Programming with the focus on point of view documentaries, animation, alternative drama and new media				Priority 1
	Projects innovative in content, form and broadcasting mode, with flexibility for experimentation				Priority 1
	Completed audiovisual works exploring Canadian diversity				Priority 1 and 2
	Completed audiovisual works created by culturally, regionally & linguistically diverse, aboriginal and disabled filmmakers				Priority 2
	Completed audiovisual works produced by emerging filmmakers maintained				Priority 2
	On-going promotion and development of new talent.				Priority 1 and 2
Distribution, Accessibility, Outreach	Completed audiovisual works accessible on new distribution platforms	13,982	13,982	13,982	Priority 3
	On-going digitization of the NFB collection				Priority 3
	Increased number of audiovisual works available online				Priority 3
	Increased sales generated by NFB's collection				Priority 3 and 4
	Improved access to the NFB collection through its various activities and offerings, particularly the mediatheques and other resources				Priority 4
	Improved recognition of the NFB brand on television, in festivals and schools, during industry activities and with the federal government				Priority 4
	Increasing number of initiatives targeted for the educational sector				Priority 4
	Appreciable research and development efforts on techniques and technology in the audiovisual field				Priority 5

 

NFB Plans and Priorities

External Business Environment

Government Expectations

The NFB reports to the Department of Canadian Heritage, which is responsible for administering the National Film Act governing the organization as a public production and distribution agency. It is funded primarily through Parliamentary appropriations and revenue from the sale of films and other products.

The NFB subscribes to the Government of Canada's principles of good governance. In the Federal Accountability Act, the Government 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 is currently undergoing the round V of the Management Accountability Framework assessment. The MAF assessment results will be used to evaluate the state of management practices within the organization and set priorities for management improvement.

In preparation for the round V of the MAF assessment, the NFB had conducted a self evaluation using the MAF framework. Overall, the assessment was quite positive, indicating sound financial management and controls. It was, however, noted that the organization, though it assesses operational risks, does not have an overall approach to corporate risk management. As a result of this self-evaluation, the NFB has started developing a formal corporate risk profile. With the beginning of a new strategic planning cycle, the NFB has also begun developing revised evaluation and audit actions plans, as well as its performance measurement framework.

 

Canada's Film and Television Production Industry

Statistics in the most recent Economic Report on the Canadian Film and Television Production Industry, Profile 2007¹ indicate that the total production for Canada's Film and Television production industry increased in 2005-2006 by 5.8% to $4.8 billion.

Film and television production generated 124,300 full-time equivalents jobs including more than 8,600 directly and indirectly in theatrical films production. The real GDP in motion picture and video production and post-production industry grew by 1.5% in 2005-2006.

The Canadian theatrical production increased by 75.6% in 2005-2006 from the previous year, to reach $323 million. The number of Canadian theatrical films rebounded from a two year decline in 2003-2004 and 2004-2005. The recovery can be largely traced back to an increased number of productions at the higher end of the budget scales, particularly in the fiction feature-length genre, and the increase in foreign location productions. However, international treaty co-production activity continued to drop with a $117 million decrease in 2005-2006. The international pre-sale market still has not rebounded to the exceptional levels seen in the late 1990s.

 

Documentary Genre

According to Getting Real 2007², Canadian documentary film and television production reached $440 million (including independent and in-house production) in 2005-06, growing at an annualized rate of 10.8% since 1996-97.

Employment in Canadian documentary production more than doubled between 1996-97 and 2005-06, with direct and indirect job creation rising from 7,300 to 15,300 during the period. Full Time Equivalent jobs in documentary production increased by approximately 110% between 1996-97 and 2005-06, reaching 5,900.

The export value of Canadian documentary production increased 200% since 1996-97 to $42 million in 2005-06. The international treaty co-production activity for the documentary sector was down 39% from 2005 to reach a total of $36.5 million (sum of domestic and foreign budgets), though it has still more than doubled since the late 1990s.

It is noted that the growth in economic activity, job creation and international export in documentary production has outpaced overall industry growth and has placed this genre as an emerging economic engine for the digital age.

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

 

Digital Transition and New Digital Platforms

Digitization will make it possible for Canadians to access audio-visual content on the platform of their choice – DVD, digital music player, mobile video player, webcasts and other means- regardless of where they are. It also presents an opportunity to directly reach and communicate with Canadians. Much like the days of the travelling projectionists who went from town to town holding public screenings, the NFB uses new technology to connect with Canadians from all communities, giving them a voice and encouraging citizen engagement from coast to coast.

Though the digital revolution provides a wealth of extraordinary opportunities for producers and distributors, it also brings enormous challenges. 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.

The NFB will face many challenges rooted in the proliferation of digital formats. HD will soon become the unchallenged standard for shooting, broadcasting and distribution in Canada and internationally. Without HD production and distribution capacity on multiplatforms, the NFB could jeopardize its distribution activities and its revenues could drop precipitously.

The NFB must act 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. The transition represents considerable challenges, particularly related to technology, rights management and financing. The high cost of this transition will have an important impact on both to the independent industry and the organization.

 

Internal Business Environment

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

The new technologies demand new ways of operating. The linear, hierarchical, central organization is not able to respond efficiently and quickly enough to those challenges. Employees have a wealth of knowledge, talent and skills that may often not be fully utilized in hierarchical structures.

The NFB is increasingly shifting its work processes to cross-disciplinary, cross departmental collaborative work groups and processes. Institutional norms on accountability, performances measures, efficiency, effectiveness and long-term continuity remain vital.

Creativity is not simply a creative output (ie: a film); it is a characteristic of all staff and can be leveraged to make a more fulfilling and effective workplace. The basis for a fully creative organization include clearly articulated goals and priorities, free flow of information decentralized and delegated decision making to those with the operational know how, as well as the articulation of clear expectations and performance measures.

 

Appointment of 15th Government Film Commissioner and Chairperson of the NFB

On June 11 2007, the 15th Government Commissioner and NFB president, Mr. Tom Perlmutter, took on the Commissioner's duties. In addition to the Film Commissioner's appointment, there were several changes to the Board of Trustees. With the support of the new Board of Trustees, the Commissioner is preparing a strategic plan in order to firmly anchor the NFB in the new digital era.

 

New Strategic Plan 2008-2012

The new commissioner in consultation with the Board of Trustees, the NFB employees and the institutions' strategic partners are in the strategic planning process. A strategic plan covering the years 2008 to 2012 will be finalized and implemented in the spring of 2008.

Alignment with Government Priorities

Through the Department of Canadian Heritage, the NFB contributes directly to the achievement of federal government priorities announced in the October 2007 Speech from the Throne. Through its mandate and by means of its original audiovisual works, the NFB in its role as a cultural organization assists the federal government in achieving its priorities in innovative ways.

As stated on the Speech of the Throne, "Canada is built on a common heritage of values, which Canadian have fought and died to defend". The NFB's extensive collection of more than 13,000 audiovisual works are an important cultural heritage that reflect these values, and contribute to strengthening Canada's Sovereignty and Place in the World.

In order to safeguard this heritage, it is crucial for the organization to create a digital strategy that will allow it deliver on its mandate in distribution and developing new business models that will be beneficial to the Canadian industry. A digital strategy will allow the organization to make these works accessible to the country as well as internationally, all the while preserving Canada's heritage.

In the Speech of the throne, the government also stated its commitment to international assistance in promoting democratic governance in fragile states. In alignment with the government's on-going efforts in Haiti, the NFB has partnered with the Haitian Ministry of Culture and Communications to donate equipment and titles of its collection for broadcast in the Haitian State television network, private channels and for screenings in the Haitian school system. As indicated by the Haitian Cultural Minister, the development of cultural expression is an important facet of Haiti reconstruction efforts. In 2008-2009, the Canadian Embassy will hold a festival of NFB films in the nation's capital and in other major cities. In addition, the NFB is currently exploring the possibility of developing initiatives targeted to emerging filmmakers and at-risk youth in order to further contribute to the reconstruction efforts.

The NFB will also be a key player in the celebration of the 400th anniversary of the founding of Quebec City, thus contributing to the government's priority of Strengthening the Federation and our Democratic Institutions. The NFB is currently working on several initiatives to contribute to the national programming for this celebration, and using innovative technology to present to the Canadian public. Among these is the innovative Champlain project, on the founder of the City of Quebec. This short film, directed by noted Quebec filmmaker Jean François Pouliot (La grande séduction) relies on stereoscopic animation techniques.

The NFB's programming values are inherently aligned with the government's efforts to strengthen Canada's linguistic duality. Through its English and French language programming branches active across the country, the organization produces and distributes audiovisual works in both official languages, which are essential components of Canadian identity. The NFB also engages with filmmakers and official language minority communities, and is putting in place an e-cinema pilot project to make its films accessible to five French-speaking Acadian communities.

The NFB is committed to producing and distributing works that reflect the values and opinions of all communities that make up Canadian society. It is committed to maintaining and strengthening its ability to identify, develop and mentor the talent and creative skills from regional, linguistic, and ethnocultural communities, as well as aboriginal and emerging filmmakers.

Many of the NFB's filmic programs designed for Aboriginal communities across the country give rise year after year to a rich and distinct cinematography, reinforcing the government's continued commitment to 'improving the lives of Canada's Aboriginal People'. Initiatives such as Wapikoni Mobile nurture the talent of aboriginal youth, who have shared their experience and vision of the world through their productions, laying the groundwork for a promising Aboriginal cinema. Wapikoni Mobile has also empowered communities by encouraging the creation of permanent studios, which together could constitute Quebec's first Aboriginal audiovisual production co-operative.

By testing the creative possibilities of new technologies through innovative initiatives such as the e-cinema pilot project, the NFB enables distribution into remote communities while developing new business models. Through this process the NFB is ensuring that Canada has a modern infrastructure, an innovative and entrepreneurial business environment and taking the creative, financial and technological risks that the private sector is unable to do. The NFB, through its research and development initiatives is committed in helping the government provide effective economic leadership for a prosperous future.

Finally, the project Greencode for the documentary industry is an example of the NFB's proactive initiative to support the government's efforts to improve the environment and health of Canadians. The NFB is supporting a private-sector initiative to develop a framework to support better environmental practices by the audiovisual community.

 

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