les auditoires – English Translation – Keybot Dictionary

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Show textShow cached sourceOpen source URL	Le financement doit clairement être lié à la taille des auditoires. Car ce sont les auditoires qui sont au coeur du débat.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine parl.gc.ca as primary domain	Funding clearly has to speak to the issue of people watching. If it's not about people watching, what is it about?

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Show textShow cached sourceOpen source URL	Nous avons démontré, avec le concert que nous avons donné au Centre national des arts en avril, dans le cadre du festival Alberta Scene dont M. McPhee vous a parlé, que les auditoires canadiens accueillent avec enthousiasme les oeuvres des compositeurs albertains contemporains.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine parl.gc.ca as primary domain	As well, increased funding would enable us to commission more works by Canadian composers. We demonstrated at our concert at the National Arts Centre in April, at the Alberta Scene festival Mr. McPhee spoke to you about, that Canadian audiences will jump to their feet in enthusiastic response to music written by contemporary Alberta composers.

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Dans sa réponse publiée il y a un peu plus d'un an, le gouvernement s'était engagé à faire en sorte que les émissions canadiennes soient davantage regardées par les auditoires canadiens, à améliorer la gestion du Fonds canadien de télévision et à accroître la collaboration entre les organismes et les programmes qui visent à appuyer ce système.

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In its response published a little more than a year go, the Government undertook to ensure that Canadian programs are watched by larger Canadian audiences, to improve management of the Canadian Television Fund and increase cooperation between the organizations and programs that seek to support the broadcasting system. I share these objectives. In this regard, in a speech that I gave in Montreal a few weeks ago before the leading figures in Quebec television and film, I undertook to work unceasingly for the renewal of funding for the Canadian Television Fund.

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Si l'on essaie d'accroître les recettes canadiennes, ce qui signifie un volume de films canadiens pertinents que les auditoires veulent voir, nous n'avons pas un nombre suffisant de distributeurs au Canada ayant les ressources financières, les compétences en marketing et la créativité nécessaires pour atteindre ce volume.

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This isn't to beat up on Canadian distributors. It's a small country. With a lot of these companies...there are some very good distributors in Canada, but there are a few of them. If we're trying to increase Canadian box office, which means volume of relevant Canadian films that audiences want to see, we do not have enough distributors in Canada with the capability of the financial resources, the marketing expertise, and the creative expertise to reach that volume. We've seen that over this period of time.

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Show textShow cached sourceOpen source URL	Vous dites que votre rôle consiste à: « soutenir le développement et la promotion d'une industrie de l'audiovisuel et de talents canadiens qui... tentent de séduire les auditoires d'ici et d'ailleurs sur toutes les plateformes de diffusion qui s'offrent à eux. »
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine parl.gc.ca as primary domain	I did notice from your opening comments that you understood very well the mandate of Telefilm Canada, and I'll just quote that back to you. You refer to its role as being “to support the development and promotion of an audiovisual industry and of talented Canadians who...seek to attract audiences at home and abroad, using all broadcasting platforms available to them”.

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Show textShow cached sourceOpen source URL	Comme les télédiffuseurs attribuent naturellement les plus hautes priorités aux productions qui, à leur avis, attireront les plus fortes cotes d'écoute, et comme ils sont prêts à leur accorder des droits de diffusion plus élevés, le programme des droits de diffusion se fonde sur ces deux critères pour déterminer la puissance d'attrait d'une émission pour les auditoires canadiens.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine parl.gc.ca as primary domain	As broadcasters naturally assign higher priorities and are willing to pay higher licence fees to productions they believe will draw the highest audience, the LFP relies on these two criteria as a proxy to determine the attractiveness of a show to Canadian audiences.

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Alors que les auditoires des émissions canadiennes doivent être une priorité clé, il est aussi important de noter que les investissements du FCT dans les émissions canadiennes soutiennent l'ensemble du secteur de la création, mais le succès du fonds ne peut être mesuré uniquement en termes d'auditoires, bien que cela soit un aspect à considérer.

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Secondly, under current policies, private broadcasters do not receive money directly from the CTF. Yes, the CTF provides funding to independent producers in the form of a licence fee top-up and equity investments after securing a broadcast licence commitment. While audiences to Canadian programming must be a key priority, it is also important to note that the CTF investments in Canadian programming support the entire creative industry and cannot be measured in audience numbers alone, albeit they are important. As the CTF stated in its appearance before you last week, for every $1 spent by the CTF, another $3.50 in production spending is triggered.

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Show textShow cached sourceOpen source URL	Ce même secteur d'activité a été ébranlé par la concurrence, l'ouverture des frontières, la déréglementation et la fragmentation des auditoires. Au fur et à mesure que les choix se multiplient pour les auditoires, les conditions deviennent de plus en plus difficiles pour les radiodiffuseurs.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine parl.gc.ca as primary domain	Also, competition, open borders, deregulation and audience fragmentation have shaken our industry. As the range of choices available to audiences grows, conditions get considerably more difficult for broadcasters. Growing competition drives up the cost of program rights, while the audiences broadcasters need to generate their revenues are split into dozens of smaller segments.

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Je voudrais commencer par préciser que les présentateurs de films en salle appuient entièrement les initiatives prises par le gouvernement pour multiplier les auditoires de films canadiens, de façon à ce que ces derniers représentent 5 p.

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We would like to start by saying that exhibition fully supports the government's initiatives to build an audience for Canadian films, to reach 5% of Canadian box offices by the end of 2006, and to continue this growth in succeeding years. We applaud the government's initiatives via Telefilm and other agencies to reward producers financially for making films that audiences want to see and will pay to see. Equally, we applaud the objectives of developing talented creators, improving the quality of Canadian films, and disseminating and preserving Canadian feature films.

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Mme Cynthia White-Thornley: Il est intéressant de signaler que d'après nos calculs, environ 48 p. 100 du financement de Présentation des arts Canada est acheminé vers les régions rurales et éloignées et les auditoires dans ces régions.

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Ms. Cynthia White-Thornley: Interestingly, our calculations show us that about 48% of our funding in Arts Presentation Canada goes to rural and remote areas and to audiences in those areas. That's our biggest program in terms just of the sheer volume of the program. It certainly does look as though there are a lot in those urban areas, but in pure percentages, it's 48% in rural and remote areas. I know it doesn't look that way, because the list is so exhaustive.

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M. Charles Dalfen: Pour revenir à la question de l'Internet, là où pourrait se poser le problème du contenu canadien, c'est je suppose au niveau de l'équivalent des émissions de radio ou de télévision qui y sont diffusées. Il me semble que cela dépendrait de la mesure dans laquelle les auditoires, enfants ou autres, regardent ces émissions sur Internet plutôt qu'à la télévision, et d'une façon très marquée.

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Mr. Charles Dalfen: Again, on the Internet, to get back to that, where you would worry about Canadian content is, I suppose, on programming, radio or television equivalent. The measure, it seems to me, would be the extent to which audiences, children or others, were turning to that and away from television and it was making real inroads. Broadcasters would be saying, look, it isn't fair that we have all these rules and they can basically pick and choose. That would be a valid point, and that would certainly be a time to look at it.

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Personne n'y croyait. Ce sont les régions canadiennes hors des grands centres qui peuvent augmenter les auditoires du cinéma canadien, mais elles sont négligées actuellement sur le plan de la diffusion cinématographique.

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Our regional festival has spun other festivals. The people behind the festivals in Sudbury and Moncton came to see us. There is now a whole series of events. We were the first region in Canada to organize a festival, with the exception of Yorkton, with its Yorkton Short Film and Video Festival. No one believed in it. The regions outside the major centres of Canada can increase audiences for Canadian films, but they are being neglected at the moment with respect to film distribution.

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Les mesures protectionnistes ne sont possibles que si on peut contrôler les frontières. Ce n'est plus le cas. Les auditoires massifs à qui nous pouvions imposer une grille-horaire ne sont plus là. Ils sont dispersés sur des centaines de nouvelles fenêtres.

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Protectionist measures are only possible if the boundaries can be controlled. This is no longer the case. The massive audiences that we could impose a schedule on are no longer there. They are dispersed over the hundreds of new windows. Mainstream broadcasters, like the TVA network, who depend entirely on advertising revenues, are at risk. Audiences are decreasing substantially and ad revenues are following that downward curve. If we do not wake up, these mainstream broadcasters who offer the flagship news shows and public affairs programming will no longer be able to offer these services.

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J'estime que ce serait une grave erreur de nous contenter de confier à quelques personnes dans un bunker à Toronto le soin de décider quelles émissions canadiennes seront bien reçues ou boudées par les auditoires.

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We consider in Canada that you would have to look to the regions. We often have to look outside of Toronto and outside of Ontario, not exclusively, to see some of the breakaway hits. Of course, Quebec has been proving that for many years. And then outside of Quebec, if you look at something like Atanarjuat, The Fast Runner, that was, again, a breakaway. If we use our standard thinking, if we were to say let's just have some people in a bunker in let's say Toronto, and they are going to be the arbiters of what will and won't work from Canadian programming, we're making a very serious mistake.

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C'est l'aspect fondamental de ce que nous tâchons d'accomplir, mais à cette fin, nous devons nous assurer également de la pérennité de l'expression culturelle qui passe par le développement des capacités et nous assurer que les Canadiens ont accès à la vie culturelle grâce à divers programmes qui permettent d'atteindre les auditoires.

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Certainly, within the creative side of the equation, my sector, the cultural industry and cultural affairs sector of the department, is first and foremost trying to build to make sure we have Canadian content of quality. That is the heart of what we are trying to achieve, but to that end, we are also making sure we have sustainable cultural expression that is building capacity and making sure Canadians have access to that cultural life through various programs to reach audiences.

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Notre stratégie—je ne sais pas si elle va réussir—a recours à des moyens intéressants. Nous essayons d'abord de produire pour les auditoires régionaux. Par exemple, en Acadie, on est en train de produire une série qui s'appelle Double étoile avec des artistes de la francophonie des provinces de l'Atlantique ainsi que des autres provinces.

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Our strategy—I do not know if it will be successful—involves very interesting means. We start by trying to produce programs for regional audiences. For example, in Acadia, we are currently producing a series entitled Double étoile with francophone artists from the Atlantic provinces as well as the other provinces. We are producing inter-regionally. We also try to do things ourselves. If these programs are of high calibre, we will obviously then broadcast them on the network. But we start working that way because those programs meet the needs of the community. We are aware that cultural life is flourishing in Acadia and in the Atlantic provinces, and that is why we are undertaking these projects.

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Show textShow cached sourceOpen source URL	Le problème que je perçois, c'est tout d'abord que les auditoires en sont à l'étape de la maturité, dans tous les sens du terme. Ils ne prennent plus d'expansion, ce n'est pas possible. Il n'y a qu'un certain nombre d'heures disponibles chaque jour.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine parl.gc.ca as primary domain	The problem I now see is that first, the audiences are maturing in every sense of the word. They're not growing bigger; they can't. They've only so many hours in the day, and they're actually getting older, according to the cultural demographics we've seen. So the audiences can't grow.

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Or si l'on veut y arriver, dans un monde où les auditoires sont de plus en plus fragmentés, où de plus en plus d'intervenants vont aux États-Unis pour y acheter des droits et où il faut plus d'efforts, plus de ressources et davantage de compétences et d'argent pour réussir dans ce nouvel environnement, il faut rejeter cette interdiction de la propriété réciproque, sans quoi on priverait le Canada de son avenir.

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Canada actually has a number of enterprises that are trying to do for Canadians what people are trying to do around the world, and move into the new world of developing new services and new capabilities. As Alain explained, it could very well be that the future of the whole system depends on stronger, more commercially sustainable programming. And for that programming to be more sustainable, in a world where audiences are getting fragmented; where more and more people are getting down to the U.S. to buy rights; where it takes more effort, more resources, more skills, and more money to succeed in this new environment and to bring it all together, you would be taking Canada away from the future if you in put that kind of cross-ownership ban.

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Show textShow cached sourceOpen source URL	Depuis 50 ans, les services de nouvelles de CBC/Radio-Canada tiennent les Canadiens au courant de ce qui se passe dans leur communauté, dans leur pays et dans le monde. Pendant ce temps, CBC/Radio-Canada est passée du statut de radiodiffuseur, au sens strict du terme, à celui de service multiplateforme qui sert les Canadiens et les auditoires à l'étranger.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine parl.gc.ca as primary domain	For more than 50 years, CBC/Radio-Canada news services have been keeping Canadians informed about their community, their country and their world at large. During that time, the CBC has moved from being a radio-only broadcaster to a multi-platform service to Canadians and to others around the world.

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Après le succès sans précédent obtenu auprès des critiques et du public par des documentaires tels que The Corporation, Bowling for Columbine ou Shake Hands With The Devil, il est clair que les auditoires sont prêts à se rendre dans les salles de cinéma pour voir des documentaires réalisés par des Canadiens.

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This initiative will enable us to expand our role in an important part of Canadian film--feature-length documentaries. With the unprecedented critical and box office success of documentaries such as The Corporation, Bowling for Columbine, and Shake Hands With The Devil, it's clear that audiences will go to the theatre to see documentaries made by Canadians, and feature-length documentaries are a natural fit for us at the CBC.

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Show textShow cached sourceOpen source URL	Le problème que je perçois, c'est tout d'abord que les auditoires en sont à l'étape de la maturité, dans tous les sens du terme. Ils ne prennent plus d'expansion, ce n'est pas possible. Il n'y a qu'un certain nombre d'heures disponibles chaque jour.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine parl.gc.ca as primary domain	The problem I now see is that first, the audiences are maturing in every sense of the word. They're not growing bigger; they can't. They've only so many hours in the day, and they're actually getting older, according to the cultural demographics we've seen. So the audiences can't grow.

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Nos membres emploient un nombre significatif d'artistes canadiens et assument les risques financiers et créatifs qui découlent de la conception de contenu original pour les Canadiens et les auditoires étrangers.

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The CFTPA represents the interests of almost 400 companies engaged in the production and distribution of English-language television programs, feature films, and interactive media products in all regions of the country. Our member companies are significant employers of Canadian creative talent, and assume the financial and creative risk of developing original content for Canadians and international audiences.

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Show textShow cached sourceOpen source URL	Pour illustrer cela, j'aimerais maintenant attirer votre attention sur quelques-unes des histoires et des images, aussi captivantes que saisissantes, qui ont récemment touché les auditoires du Canada et de l'étranger.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine parl.gc.ca as primary domain	To illustrate this point, what I'd like to do now is turn your attention to a brief presentation we've prepared that spotlights some of the recent compelling stories and striking images that have touched Canadians and international audiences.

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Show textShow cached sourceOpen source URL	Ils animent et inspirent les auditoires, nous aident à comprendre notre passé et à envisager l'avenir, nous incitent à poser des questions et à définir le Canada dont nous voulons faire partie, que nous voulons bâtir et présenter au monde.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine parl.gc.ca as primary domain	As artists and practitioners we see firsthand the power of the arts. They excite and inspire audiences. They help us understand our past and look to the future. They challenge us to ask questions and map out the kind of Canada we wish to participate in, build, and show to the world.

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Show textShow cached sourceOpen source URL	Il n'existe donc pas au sein du spectre de radiodiffusion canadien de système qui crée pour les auditoires une concurrence suffisante qui créerait à son tour une concurrence du côté de la programmation.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine parl.gc.ca as primary domain	So a system doesn't exist within the Canadian broadcast spectrum that creates adequate competition for audiences to, in turn, create competition within programming. At the end of the day, the Canadian public is the audience that television serves. Therefore, broadcasters, through many different channels, are responsible to the Canadian public.

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Show textShow cached sourceOpen source URL	C'est le public, et ce qui nous importe, c'est de rester pertinents pour les auditoires que nous desservons et, si possible, de donner du travail par la même occasion au plus grand nombre de Canadiens possible.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine parl.gc.ca as primary domain	Speaking to the point about these schedules, we reflect on them with dismay. Our compass stays intact. Our compass is audience, and it's all about trying to maintain relevance to the audiences we serve and hopefully to employ as many Canadians as we can in the process.

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Show textShow cached sourceOpen source URL	Ils sont plutôt intéressés à faire en sorte que les auditoires canadiens et les goûts des Canadiens fassent partie d'un modèle mondial de distribution de productions mondiales plus ou moins standardisées.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine parl.gc.ca as primary domain	They will never treat and never have been interested in treating Canada as a distinctive region they could service. Rather, they are interested in bringing Canadian audiences and Canadian tastes around to the more global model of distributing sort of standardized global productions.

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Show textShow cached sourceOpen source URL	Les radiodiffuseurs privés du Canada sont fiers du rôle qu'ils jouent pour aider à réaliser les objectifs de la politique culturelle énoncée dans la Loi sur la radiodiffusion, et un bref examen des données clés sur les auditoires et les dépenses de programmation révèle combien les radiodiffuseurs privés offrent un produit de valeur aux Canadiens.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine parl.gc.ca as primary domain	Canadian private broadcasters are proud of the role they play in achieving the cultural policy objectives, as set out in the Broadcasting Act. A brief look at key audience numbers and program expenditures demonstrates the value that the private broadcasting sector brings to Canadians.

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Ce qui se produirait, c'est que ces émissions perdraient leur auditoire, car les auditoires sont très volages. Tant que les émissions sont offertes régulièrement, elles peuvent avoir un auditoire, car les gens savent où et à quelles heures elles sont diffusées.

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What would happen is that they would really lose the audience, because audiences are very fickle. As long as the program is there on a regular basis, they can tune in; they know where it is, they know when it is, and they watch. But as soon as that disappears off the television screens, within a few weeks, within a month, two months at the most, that audience goes. They gravitate somewhere else. And it will be very, very difficult to get that audience back.

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Les mesures protectionnistes ne sont possibles que si on peut contrôler les frontières. Ce n'est plus le cas. Les auditoires massifs à qui nous pouvions imposer une grille-horaire ne sont plus là. Ils sont dispersés sur des centaines de nouvelles fenêtres.

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Protectionist measures are only possible if the boundaries can be controlled. This is no longer the case. The massive audiences that we could impose a schedule on are no longer there. They are dispersed over the hundreds of new windows. Mainstream broadcasters, like the TVA network, who depend entirely on advertising revenues, are at risk. Audiences are decreasing substantially and ad revenues are following that downward curve. If we do not wake up, these mainstream broadcasters who offer the flagship news shows and public affairs programming will no longer be able to offer these services.