The National Film Board of Canada (NFB) is a federal cultural agency within the portfolio of the Canadian Heritage Department. Initially known as the National Film Commission, it was created by an act of Parliament in 1939. Its mandate, as set forth in the National Film Act, 1950, is “to produce and distribute and to promote the production and distribution of films designed to interpret Canada to Canadians and to other nations.”

The NFB's mandate has been revised several times over the years to take into account the changing audiovisual environment and financial and social situation.

This interpretation of the mandate reflects the new vision of the NFB's role: “The National Film Board's mission is to reflect Canada, and matters of interest to Canadians, to Canada and the rest of the world through creating and distributing innovative and distinctive audiovisual works based on Canadian points of view and values.”

For more information on the NFB's mandate from its inception in 1939 to its projections for the future, search under:

• 1939: Creation of a National Film Commission
• 1950: The National Film Act
• 1965: Regionalization of NFB activities
• 1973: Greater assistance for private-sector filmmakers
• 1978: Contracting-out of sponsored films to the private sector
• 1980: Creation of the Applebaum-Hébert Committee
• 1984: The National Film and Video Policy
• 1995: Re-evaluation of the NFB's mandate by the Mandate Review Committee
• 1996: NFB Board approves the Action Plan for the NFB in the Year 2000
• 2002: NFB Board approves the 2002 - 2006 Strategic plan
• 2008: A New NFB Strategy for the Digital Age
   

1939: Creation of a National Film Commission
In May 1939, the federal government proposed the creation of a National Film Commission (soon to be known as the National Film Board), to complement the activities of the Government Motion Picture Bureau. The enabling legislation stipulated that the NFB was to "make and distribute films designed to help Canadians in all parts of Canada to understand the ways of living and the problems of Canadians in other parts."
The legislation also provided that the NFB, with its headquarters in Ottawa, Ontario, would co-ordinate the film activities of all federal departments.

1950: The National Film Act
As a result of a report commissioned by the federal government and written by independent producer Gordon Sheppard on government cultural policies and activities, the NFB began regionalizing its English production activities. Producers were appointed in Vancouver and Toronto and, soon thereafter, in the Prairies and the Maritimes.
The goal of this initiative was to recruit young filmmakers and encourage local production, particularly by spreading sponsorships more widely throughout the regions. The report also recommended that more films be made by the private sector.
Finally, the NFB closed some film depots in a number of Canadian communities, to begin the distribution of its own films in 21 Canadian cities. This marked the beginning of the decline of what were known as film councils.

1973: Greater assistance for private-sector filmmakers
This year saw the introduction of the regionalization program in Quebec, Aide artisanale au cinéma et à la formation. The program, today known as Aide au cinéma indépendant -- Canada, or ACIC, in French, was introduced on the English side seven years later as the Program to Assist Filmmakers in the Private Sector, or PAFPS. It is intended to help independent filmmakers by providing them with different services related to production.

1978: Contracting-out of sponsored films to the private sector
Secretary of State John Roberts, appearing before the Standing Committee on Broadcasting, Films and Assistance to the Arts, announced that the government intended to contract out more than 50% of its government-sponsored films to the private sector. The NFB created a review committee for sponsored films.
Three years later, in response to long-standing pressure from private industry and Ottawa's desire to strengthen that sector's economic viability, the NFB announced that most sponsored films for government departments, accounting for about 25% of its activities, would be made by the private sector. The NFB would act as executive producer, a role that represented a major shift in its mandate.

1980: Changes made by the Board of Trustees to the original mandate
The NFB Board of Trustees ratified changes to the NFB mandate, with five new objectives:

• to serve the public interest;
• to facilitate access to NFB films;
• to be part of the international film scene, especially in the Third World;
• to be a leader in film technology, research and development and professional training; and
• to play an instrumental role in Ottawa's national film policy.

   

1980: Creation of the Applebaum-Hébert Committee
The federal government established the Federal Cultural Policy Review Committee, better known as the Applebaum-Hébert Committee, in part to study the NFB's role. Two years later, the Committee recommended in its report that the NFB be transformed into a research and training centre and give up producing and distributing films. The NFB rejected this recommendation but accepted the cultural thrust of the report.

1984: The National Film and Video Policy
Minister of Communications Francis Fox released his National Film and Video Policy, which added two new dimensions to the NFB's original mandate. In addition to "making and distributing films designed to interpret Canada to Canadians and to other nations," the NFB was now to become "a world centre of excellence in production of films and videos" and "a national training and research centre in the art and technique of film and video."

What is a "world centre of excellence"?

Since its creation in 1939, the NFB had always enjoyed an enviable international reputation for the high quality of its products, in particular its documentary and animation films. While the NFB had maintained a "Canadian" viewpoint, it had often surpassed its mandate of "interpreting Canada to Canadians and to other nations."
The federal government, in its National Film and Video Policy, wished to change the NFB's mandate to give it the opportunity to focus on its skills as a producer working on the cutting edge of the artistically possible, and as a commentator on major issues affecting Canada and the world and thereby to complement private-sector production.

And what is a "national training and research centre"?

The federal government, in line with the recommendations of the Federal Cultural Policy Review Committee, also urged the NFB to devote more of its resources and energy to research, asking it in part to:

• push back the technological boundaries of film and video, for instance by working on film proposals for giant screens;
• make the best use of its own resources, by working closely with the private sector, educational institutions, other federal bodies, provincial film and broadcasting bodies and government research centres; and
• become a learning centre for young filmmakers and others in the film industry wishing to refresh their skills.

1995: Re-evaluation of the NFB's mandate by the Mandate Review Committee
When the federal government brought down its budget in February, it informed the National Film Board, along with Telefilm Canada and the Canadian Broadcasting Corporation, that their mandates would be redefined during the course of the year.
In May 1995, a special committee made up of Pierre Juneau, Peter Herrndorf and Catherine Murray was formed to study the mandate of each institution and to report back in September. The committee's report, entitled "Making Your Voices Heard: Canadian Broadcasting and Film for the 21st Century," was tabled on January 31, 1996. While supporting the National Film Board's role as a public producer, the report suggests, among other things, that the NFB's activities be rationalized in order to focus on production, that this production be renewed and that television be emphasized as a distribution channel.

1996: NFB Board approves the Action Plan for the NFB in the Year 2000
The Board of Trustees of the National Film Board of Canada, at a meeting held in March 1996, approved the comprehensive plan to restructure the organization. The restructuration reflects budgetary reductions, technological changes and the Mandate Review Committee's Report.

The press release issued at this occasion outlines the major measures approved by the Board and the Action Plan - A New Charter for a New Century, provides the details.

2002: NFB Board approves the 2002 - 2006 Strategic plan

In January 2002, the NFB Board of Trustees approved the 2002–2006 Strategic Plan, which was designed to address the impact of major reductions to the NFB's parliamentary allocation in the 1990s, which was cut by approximately 32 percent. The new Plan placed particular emphasis on rebuilding the NFB brand and rekindling the NFB's connection with Canadians, while recommitting the NFB to producing and distributing distinctive, culturally diverse, challenging and relevant audiovisual works that provide Canada and the world a unique Canadian perspective.

The complete 2002–2006 Strategic Plan is available online here.

2008: A New NFB Strategy for the Digital Age

In April 2008, the NFB introduced its new five-year Strategic Plan. At the heart of the plan is a return to the roots of the NFB: supporting creators, privileging imagination and socially engaged creation in all technological forms, and making the results accessible to all Canadians. 

Today, digital technologies are transforming how media is created, experienced and shared. Canada's public producer and distributor is changing too: utilizing new technologies to push boundaries and take risks, and connect with Canadians in every region of the country, in exciting new ways.

To find out more about NFB's vision for the future of public filmmaking, click here.

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 and with the rapid and corrosive impacts of the digital revolution, the private sector in Canada is unable 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.

The NFB is an integrated production and distribution organization with an extensive film collection, a conservation laboratory, and postproduction and R&D facilities.

The NFB produces in both official languages through its English and French Programs, which comprise several production studios, each headed by an executive producer. Its films are made by independent staff and directors in the different regions of Canada. The NFB has seven production centres across Canada: Montreal, Toronto, Moncton, Halifax, Winnipeg, Edmonton and Vancouver.

The NFB has established an effective distribution network with partners in both the public sector (public and school libraries) and the private (distributors, cataloguers, movie theatre chains, video retail outlets, etc.) in order to provide access to its audiovisual works in all provinces and territories of Canada. Additionally, the Board acts as a distributor abroad and has representatives in Paris, London and Los Angeles.

The NFB Board of Trustees consists of eight members: the Government Film Commissioner, who is also Chairperson, the Executive Director of Telefilm Canada and six other members appointed by the Governor in Council.

Claude Joli-Coeur, Assistant Commissioner and director, Business Affairs and Legal Services, is serving as Secretary to the Board of Trustees since October 2003.

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

Yves Desjardins-Siciliano
Lawyer and businessman

Anne-Marie H. Applin
Président, Applin Marketing & Communications

Mary-Lynn Charlton
Founder, Charlton Communications

John Hutton
Realtor with Reardon Construction and Development and Prudential Reardon Realty

Cheryl Ashton
Festival Director, Gimli Film Festival

Government Film Commissioner and Chairperson of the National Film Board of Canada
Tom Perlmutter
Phone : 514-283-9245

Office of the Assistant Commissioner and Corporate Services
Assure strategic planning and government relations. Manage business relations and legal services. In charge of institutional communications and the Secretary of the Board of Directors.
Assistant Commissioner: Claude Joli-Cœur
Phone : 514-283-2905

English Program
Production of documentaries, animation, children's and multimedia materials at Montreal Headquarters and regional centres across Canada (Halifax, Toronto, Winnipeg, Edmonton and Vancouver)
Post-production and marketing of these productions
Filmmaker Assistance Program (FAP)
Director General: Cindy Witten
Phone : 514-283-9501

French Program
Production of documentaries, animation, children's and multimedia materials at Montreal Headquarters and two regional centres across Canada: Ontario and West Studio (Toronto) and Acadia Studio (Moncton).
Postproduction and marketing of these productions
Aide au cinéma indépendant - Canada (ACIC)
Director: Monique Simard
Phone : 514-283-9285

Accessibility and Digital Enterprises
"To raise awareness of the NFB outside of its walls" - that is, monitor audiences and build relationships with them using every medium available to the sector.
Director General: Deborah Drisdell
Phone : 514-283-3242

Finance, Operations and Technology
Integrate and support all NFB operations and priorities by taking leadership of major operational projects, and by supporting programming, accessibility and conservation activities, and all other strategic or operational activities through research and development.
Director General: Luisa Frate
Telephone: 514-283-9050

Human Resources
By contributing its know-how in implementing strategies that promote excellence and professional development of the NFB's human resources, the division's HR team acts as a partner in advancing the NFB's strategic goals.
Director General: François Tremblay
Telephone: 514-566-1493

Government Film Commissioner and Chairperson of the NFB

As stipulated in the National Film Act of 1950, the person who holds the position of Government Film Commissioner is the head of the National Film Board of Canada (NFB). As such, he or she is responsible for the administration of the Board, directs its activities and, subject to its by-laws, exercises in the Board's name all the powers granted to the organization.

In addition to advising the Governor in Council on film matters, the Commissioner is mainly involved in the long-term planning of activities at the NFB, in developing its resources, clarifying its general policies and formulating its production policies.

The Commissioner is appointed for a five-year term, subject to removal for cause by the Governor in Council, upon the recommendation of the NFB.

The current Government Film Commissioner is Mr. Tom Perlmutter.

List of former Commissioners of the NFB:

John Grierson
1939-1945

Ross McLean
1945-1947 (interim)
1947-1950

W. Arthur Irvin
1950-1952

Albert W. Trueman
1953-1957

Guy Roberge
1957-1966

Grant McLean
1966-1967 (interim)

Hugo McPherson
1967-1970

Sydney Newman
1970-1975

André Lamy
1975-1979

James de Beaujeu Domville
1979-1984

François N. Macerola
1984-1988

Joan Pennefather
1989-1994

Sandra M. Macdonald
1995-2001

Jacques Bensimon
2001-2006

Claude Joli-Coeur
2006-2007 (interim)