On 7 March, I was invited by the Hellenic Copyright Organisation to a conference they organised for their 30th anniversary in Athens. Many prominent copyright experts gave valuable presentations on copyright and AI, while I participated in a roundtable on Copyright and Collective Management in the Age of AI. The panel was moderated by Prof. Bernt Hugenholtz. Alongside my colleagues from GESAC (Adriana Moscoso del Prado), AEPO-ARTIS (Ioan Kaes) and IFRRO (Anthi Akritidou), I explained the challenges CMOs

What transpires from recent news about Meta’s use of a pirate website to train its AI model is certainly not good news for authors. Indeed, very disappointed but not surprised, the authors have entered 2025 with a further confirmation that protected works have been and will continue to be used without their authorisation. The news arrives at a crucial and turbulent time for the EU and its authors, for at least two reasons: the battle on interpretation of the text-and-data mining exception and the drafti

Read the interview by UFUS AFA PROTECTION's (the Serbian Film Authors Organisation) with Cecile Despringre, SAA Secretary General, for the January issue of their Bulletin.

Authors’ unwaivable right to remuneration and collective management was first recognised in the early 1990s, with the directive on rental and lending rights and on cable and satellite (see our timeline of key EU directives). 30 years later, all European authors are fairly remunerated for when their works are shown on TV channels, copies are made for personal use on devices or media and films are watched on streaming platforms, right? No, unfortunately not.  

We’re back from intense few days in Strasbourg, for the first session of the European Parliament’s 10th term. Like many other stakeholders, we met with MEPs and their assistants, some of whom we knew and who had supported authors’ rights in the previous term, as well as new MEPs whom we identified as possible new allies.

On 6-9 June, EU citizens will have their say about the composition of the new European Parliament and consequently on the future of the Union. But both the EU and the cultural and creative sectors are facing a few challenges.

It has become impossible to ignore the elephant (or robot) in the room. Over the last few years, the technology surrounding Artificial Intelligence has experienced exponential growth. The development of large language models, such as Chat GPT, which was introduced in late 2022, has since triggered a wave of transformation across numerous industries, not least within the audiovisual sector.

Authors and other creative professionals are the key actors in the creative value chains and deserve to be treated fairly. Their rights should be recognised and their contribution to society and the economy valued, writes EU Member States’ expert group in its recent report on the status of the artists. Their proposal, a legal status for artists and creative professionals is not a privilege nor an honorary title, it is a way to reduce social and economic disadvantages.

The adoption of the EU Directive 2019/790 on Copyright and Related Rights in the Digital Single Market (The Directive) was a great victory for authors after three years of intense negotiations and strong opposition from content sharing platforms like YouTube.

The ‘SatCab II’ Directive (EU) 2019/789, on copyright and related rights applicable to certain online transmissions of broadcasting organisations and retransmissions of television and radio programmes expanded the scope of the first Directive 93/83/EEC. It regulated retransmissions by other means than cable, direct injection and domestic retransmissions. What is the outcome of the implementation in the 24 Member States that have transposed the Directive so far?

Slovenia ranks 12th on the European Gender Equality Index, it performs particularly well in terms of access to financial resources and has recently progressed in participation in decision making. On the other hand, the audiovisual sector does not seem to progress in the same pace.

This year the Golden Globes, the Oscars and most recently the French César awards all failed to nominate any women for best director catalysing campaigns such as #OscarsSoMale and #CesarSoMale. Even the European Parliament’s LUX Audience Award only had one female director nominee out of five film finalists, making it clear that there still are many steps that need to be taken to reach a more equal and diverse film sector, and appreciation for women behind and on the screen.