Blog
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Op-ed: An EU Copyright law for the 21st century film and TV industry
The EU Copyright Directive, which is currently being finalised by the Council and the European Parliament, must include a principle of fair and proportionate remuneration to be fit for the 21st century film and TV industry, writes Cécile Despringre.
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How to exploit authors’ work without exploiting the author
How can screenwriters and directors ensure their films have the chance to be viewed by as many as possible and at the same time get fairly and proportionately paid for the success? This was one out of many interesting discussions at the dinner during SAA's event in the European Parliament, called ‘One Day in Strasbourg’.
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Royalties for audiovisual authors – a drop in the ocean
Last week, the International Confederation of Societies of Authors and Composers (CISAC) presented its annual Global Collections Report. Out of royalties collected for audiovisual, dramatic, literature, music and visual authors, audiovisual authors get a mere 6,4%, compared to music that represent 87% of global collections.
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How to make European films visible and accessible online?
At this week’s Lumière Film Festival in Lyon, Commissioner Gabriel will present the prototype of the Directory of European Films developed by the European Audiovisual Observatory to increase the visibility of European films on the video-on-demand (VOD) market.
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Transparency: in EU institutions and copyright
The proposal for a Directive on Copyright in the Digital Single Market has now moved on to ‘trilogue’ negotiations between the Parliament, the Council (Member States) and the European Commission. This last stage of the negotiation process leading to its final adoption resonates particularly with an issue being dealt with in the Directive: transparency.
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The new Copyright Directive: a thriller with a happy ending - 1st season
On 12 September, in the corridors of the European Parliament in Strasbourg, uncertainty about the outcome of the vote on the new Copyright Directive was palpable, as the media were echoing a possible rejection of the Directive.
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Copyright 0-1: defending rights versus opposing obligations
“Tech Giants Win a Battle Over Copyright Rules in Europe” was the headline of the New York Times following the vote in the European Parliament on 5 July which delays the adoption of the Copyright Directive in the Digital Single Market.
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Flourishing industries profit from struggling authors?
“Creative industries have never been as prosperous in terms of turnover as they are now. The content creators though have never received so little”
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Getting closer to the finishing line?
The other evening, I re-watched ‘Notting Hill’ on Netflix. While millions of people are still enjoying the romantic comedy from the 90s, director, Roger Michell, has never received any royalties for the countless times his film is being viewed online.
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Performers and audiovisual authors plea to the European Parliament
On 29 May, performers and audiovisual authors from across Europe gathered in Strasbourg to explain in their own words why an unwaivable right to remuneration is urgently needed for them as creators, when their works are being watched on on-demand platforms. The meeting was a last plea to the European Parliament before the vote on the new Copyright Directive on 21 June.
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Authors’ right to remuneration is universal
The situation of screenwriters and directors differs across the globe, but the solution to secure that they actually get remuneration for the exploitation of their works is universal: a legal mechanism of a right to remuneration is what is needed.
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Fair working conditions for the next generation of screenwriters and directors
If the left hand of the European Commission would know what the right hand is doing, the discussions about whether audiovisual authors’ right to fair remuneration for the exploitation of their works should be a part of the new Copyright Directive in the Digital Single Market, would not be questioned.
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