Contenu. Abondance. Découvrabilité : Le CRTC et l’ONF seront les hôtes du Sommet de la découvrabilité à Toronto

Le 3 décembre 2015 – Gatineau et Montréal – Le Conseil de la radiodiffusion et des télécommunications canadiennes (CRTC) et l’Office national du film du Canada (ONF)

Le Conseil de la radiodiffusion et des télécommunications canadiennes (CRTC), de concert avec l’Office national du film du Canada (ONF), annonce que le Sommet de la découvrabilité se tiendra les 10 et 11 mai 2016 à Toronto.

Événements En Route
Le CRTC et l’ONF ont tenu des événements préalables afin d’entamer le dialogue sur la découvrabilité du contenu audiovisuel le 1er décembre à Vancouver et le 3 décembre à Montréal. Les événements En route vers le Sommet de la découvrabilité : le contenu à l’ère de l’abondance ont été diffusés en direct et rassemblaient des experts de divers domaines. Des idées et stratégies préliminaires ont été présentées, lesquelles seront approfondies lors du Sommet de la découvrabilité en 2016.

Vous avez manqué ces deux événements préparatoires? N’ayez crainte, des vidéos et des transcriptions seront disponibles en ligne dans les jours qui viennent.

Le Sommet de la découvrabilité
Les 10 et 11 mai 2016, le CRTC et l’ONF seront les hôtes du Sommet de la découvrabilité. Ce sera une occasion unique et faisant autorité qui permettra aux participants de discuter de stratégies, d’outils et d’approches pour améliorer la découvrabilité du contenu et faire en sorte qu’il soit plus facile pour les consommateurs de trouver le contenu qu’ils veulent. La participation ne s’effectuera que sur invitation, car le nombre de places est limité.

Pour obtenir les dernières nouvelles et pour vous joindre à la conversation sur la découvrabilité :

Les faits en bref

  • La découvrabilité est un défi national et international dans plusieurs domaines culturels, notamment, l’audiovisuel, la musique et l’édition du livre.
  • De plus amples détails au sujet du Sommet de la découvrabilité seront annoncés dans les mois à venir.


« Les événements de Vancouver et de Montréal ont lancé un dialogue sur la découvrabilité du contenu audiovisuel qui se poursuivra dans les mois à venir. Les participants ont tenu d’intéressantes discussions sur les tendances technologiques, culturelles, sociales et comportementales qui jouent un rôle dans la manière dont le contenu est découvert et partagé. De nombreuses idées créatives et prometteuses ont été formulées, lesquelles seront examinées davantage lors du Sommet de la découvrabilité de l’an prochain. N’oubliez pas d’indiquer ce rendez-vous sur votre calendrier et joignez-vous à la conversation sur les médias sociaux en utilisant #découvrabilité. »

Jean-Pierre Blais, président et premier dirigeant, CRTC

« Les enjeux liés à la découvrabilité des contenus sont liés à des enjeux technologiques, mais également à des enjeux d’accès au contenu, donc d’accès à la connaissance, aux arts et à la culture. Dans ce contexte, il faut agir! Le Sommet de la découvrabilité de Toronto sera l’occasion pour tous les joueurs interpellés de poursuivre la conversation et d’explorer des pistes d’actions. »

Claude Joli-Coeur, commissaire du gouvernement à la cinématographie et président de l’ONF

There’s an overwhelming amount of entertainment to keep up with these days – whether in the form of books, movies, music or TV shows. And there’s probably a lot of shows we’re missing out on, simply because we haven’t discovered them. To make life a little easier, we’ve put together a list of 5 sites designed to make it easier to discover new TV shows, based on the TV series you already like to watch.

Whether based on user-generated ratings or complex algorithms, these 5 sites are able to make solid recommendations on what you’d like to watch based on just one TV show and nothing more. In some cases, the sites will recommend more than just new TV shows, suggesting books, movies and more. In other cases, they will allow you to narrow down your results based on specific attributes any given show may possess.

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Growing on-demand platform fuels new series

Some of fall’s top new TV shows this fall are gaining similar traction on demand, with cable systems increasingly offering ways to catch up.

But low-rated newcomers including Fox’s horror comedy Scream Queens and FX’s violent period drama The Bastard Executioner are also among the top draws on demand, according to new data from Comcast, the country’s largest system, which claims 42% of cable subscribers and more than half the video-on-demand (VOD) usage.

NBC’s Blindspot, the top new show this fall, is also tops on demand, with 3.2 million views for any of the first four episodes in Comcast homes, which would translate to 6 million nationally. It’s followed by ABC’s Quantico (3.1 million); Queens (2.8 million); CBS’s Limitless (1.7 million); and Bastard (1.4 million).

But there are big differences in how the viewing pie for these shows is split. Among adults ages 18 to 49 who watched Blindspot within three days, 45% saw it live, 20% watched it on DVRs and 35% used Comcast’s VOD to catch up. Compare that with Bastard: Just 26% watched it live and 30% used DVR playback, while nearly half — a big 45% of adult viewing — came from on-demand activity. (Still, that wasn’t enough to keep the show from getting cancelled this week after its first season ended.)

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The use of data analytics to build a global audience steered much of the discussion around content discoverability at an event hosted by the CRTC in collaboration with the National Film Board of Canada (NFB).

The panel of experts at Tuesday’s event in Vancouver, held as part of the lead-up to the CRTC’s Discoverability Summit, said industry should look at discoverability from a global perspective rather than focusing only on Canada.

“Companies should start reaching out to audiences globally. Don’t just think about driving people into your own flagship store that’s located at the end of the street at a dead end. Think about the mainstream audience,” Ling Lin, head of Google Inc.’s YouTube content partnerships in Canada, said during the discussion.

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I’ve been gorging on a lot of UK crime dramas lately, though crime shows have rarely been my preferred series of choice (there’s a The Wire exception to every rule though). Luther might have been the first I devoured, but it’s been followed by The Fall, Happy Valley, Scott & Bailey, and Broadchurch. I tried others and found they weren’t to my taste: Inspector Morse and Midsommer Murders are two I remember. Some UK not-crime dramas slipped into my heart, too: Call The Midwife, The Bletchley Circle.

US series have the advantage of all the marketing money in the world and being widely covered in Canadian media, and Sherlock Holmes and Downton Abbey have become mainstream North American water cooler shows, but how did I discover all these UK series? Netflix. One after another, Netflix told me I’d probably like them, and Netflix is often right.

One of the interesting aspects of last week’s TalkTV announcements was the CRTC’s intention to host a “Discoverability Summit” this fall to “bring together innovators and thought-leaders from the public and private sectors to explore how technology can be used to help viewers find programs made by Canadians.”

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Discovery has been and continues to be a regular buzzword at publishing conferences. Sadly, we saw no breakthroughs in 2013. Instead we saw the acquisition of Goodreads by Amazon and the very sad demise of Small Demons.

The reality is that there is no discovery “pain” for readers. Most readers have e-readers or tablets full of ebooks not yet read (and many ebooks bought in a knock-down sale might never be read) or a pile of unread books of the trusted printed variety sitting next to their bed. Many of us have both—I certainly do.

There is always plenty to read, and while we love those moments where we discover that magical new read that we hadn’t been looking for, we are amply entertained by what we find or stumble upon or are recommended by friends.

On the other hand, discoverability is becoming a bigger problem for authors and publishers. More books than ever are being published. Last year it was somewhere between half a million and a million new titles that were published in the United States alone. Self-publishing—mostly in the form of ebooks without a corresponding print edition (digital first)—has greatly added to that abundance.

Ebooks have added to this overwhelming choice in another way, too. Books don’t go “out of print” any longer. They now remain available as ebooks basically forever. Thus the total catalog of books available to readers for purchase or download has swelled dramatically and may now be around the ten or twenty million mark (exact numbers are surprisingly difficult to come by).