21 September 2015

Chinese delegation meets GESAC for European CMO best practices

On Friday 18 September, GESAC hosted the collective management part of the Chinese Legal Affairs Commission’s (LAC) European study visit. Also attending this meeting, which was held at the Sabam offices in Brussels, were representatives of CISAC and CEIPI. The meeting was organised following a request from IPKey, a Commission initiative to facilitate the development of an IPR framework in China that embraces the principles of effectiveness, fairness and transparency.

The Chinese government is currently working on a reform of its copyright legislation, which sparked this visit to Europe. The new CRM Directive and the impact of its provisions on CMOs across Europe were some of the topics of interest. As an important trade partner of the European Union, cross border licensing of music in particular was addressed during this meeting. Also on the radar for Chinese authorities were European best practices regarding the recognition of directors and screenwriters as the authors of audiovisual works and the collective management of their rights.

LAC indicated that the Chinese government was considering the integration of resale right in its new copyright legislation. GESAC warmly welcomed this move and together with the other attendees of the meeting, provided more information on the implementation of this right in Europe. The administrative aspects of the management of visual rights in general were also discussed: an important subject for Europe which sees some of its comics’ characters like Hergé’s Tintin and other visual works widely exported to China and the rest of the world.

Policies

Artificial intelligence

Artificial intelligence brings about many new opportunities for our lives, including in the field of culture and creativity, but its applications also raise a number of ethical and legal questions due to their wide-spread uncontrolled and unchecked usage.

Policies

Music Streaming

Music streaming has unquestionably become the predominant means of enjoying music, replacing traditional physical media and expanded far beyond the live sector by providing user-friendly, high quality, and affordable access to the largest possible repertoire anytime, anywhere, online, or offline.

Songs and compositions are at the heart of this thriving market, which counts 524 million users on subscription-based music services globally, reaches more than 2 billion users including the streaming on UGC platforms, and offers more than 70 million tracks from approximately 8 million artists.

Yet, the authors and composers cannot benefit adequately from this success, and the debate over unfairness of this market is gaining traction across Europe and around the world.

There is a need to look more closely at how songwriters and composers are connected to this thriving economy and what can be done to improve their currently neglected situation.

Read below to find out more about the Music Streaming market.

Policies

Buy-out contracts: a dangerous threat to European creators

European music creators (composers, lyricists etc.) are being forced to forsake thousands of euros in future earnings by draconian ‘work made for hire’ (WMH) and buy-out contracts.

Online audiovisual services and broadcasters that are mainly US-based are forcing music creators to accept such contracts, which enforce a one-time payment in exchange for their rights.

Given the worldwide popularity of shows and series on platforms like Netflix, Amazon, Disney etc., and their replay value, the audiovisual market represents an important revenue stream for creators. Soundtracks alone are part and parcel of series and often attract a similar amount of popularity, massively boosting sales, streams and the worldwide fanbase of their authors.

Read below to find out how video on demand (VOD) platforms and broadcasters are circumventing EU law and what can be done about it.

Policies

Authors’ societies & the collective management model

Authors’ societies are hugely beneficial to both authors (creators), users (platforms and services), and the broader public.

Beyond benefiting these different groups, authors’ societies also support the broader cultural ecosystem by funding and promoting cultural and creative initiatives.

Below are five key benefits to authors’ societies and the collective management model.

Policies

The Copyright Directive

In April 2019, the Directive on Copyright in the Digital Single Market was formally adopted, a change that will positively transform authors’ rights throughout the EU. Each member state now has until 7 June 2021 to transpose the Directive into their respective national law.

This reform is an opportunity to address pressing issues for authors in the Digital Single Market and will promote the growth of Europe’s creative and cultural industries (CCIs) – a major driver of Europe’s economy.

One of the biggest achievements of this new piece of legislation was to address the
‘Transfer of Value’ problem, a priority issue for all European creators.

Below are some of the Directive’s key areas that will affect creators and those who profit from their work.