El 18 de noviembre de 2020 el Tribunal de Justicia de la Unión Europea dictó un importante fallo en materia de sincronización audiovisual de fonogramas. A pesar de haber transcurrido más de dos años, ...aún no se han materializado los efectos directos de esa resolución, llamada a alterar significativamente la tarifa que las entidades de gestión de los productores de fonogramas y los artistas musicales pueden percibir de los organismos de radiodifusión televisiva y de otros operadores que realicen actos de comunicación pública de obras audiovisuales en las que se hayan sincronizado fonogramas. La doctrina del Tribunal de Justicia implica que, tras la sincronización del fonograma en una grabación audiovisual que contenga la fijación de una obra audiovisual, la ulterior comunicación pública de esa grabación audiovisual no comporta una comunicación al público del fonograma o fonogramas sincronizados en ella. Por consiguiente, no ha lugar a exigir de los sujetos que realicen esos actos de comunicación pública el pago de la remuneración equitativa que, a nivel interno, prevén los artículos 108.4 y 116.2 del Texto Refundido de la Ley de Propiedad Intelectual, para los artistas intérpretes o ejecutantes y los productores de fonogramas respectivamente, y a nivel comunitario el artículo 8.2 de la Directiva 2006/115. Más allá de los efectos inmanentes al proceso judicial del que traía causa la cuestión prejudicial resuelta por el Tribunal de Justicia, circunscritos al operador televisivo que era parte en ese litigio, debemos preguntarnos las consecuencias que el nuevo entendimiento sobre la sincronización de fonogramas en obras audiovisuales provoca para el sector en su conjunto. Asimismo, es deber del intérprete del Derecho preguntarse si la doctrina de la sentencia «Atresmedia» está llamada a producir repercusiones más allá de los objetos a los que el caso se refería (fonogramas y obras audiovisuales), debiendo extenderse a otros casos de sincronización (de fonogramas en otros bienes inmateriales o de otros objetos en obras audiovisuales); así como de la concreta modalidad de explotación que estaba en juego en el litigio de origen. El artículo también se interroga sobre la proyección en el tiempo de la doctrina sentada en la sentencia.
The paper defined saturation of an insert product placement as a part of marketing communication. Product placement is known as a modern tool of marketing communication and so that product placement ...and its types and forms are not so casual used in the Czech Republic as in other parts of the world. The mentioned issues are explained from the perspectives of three groups: TV studios experts, directors and producers and other experts (media agencies and advertisers). Types and forms of this marketing communication tool as well as options of its utilization are also mentioned in the paper.The Czech Republic market where product placement occurs is very small - only few television companies. The primary aim of the paper is to identify the intensity of two essential areas expressing product placement using - natural (non-invasive) insert and contrived (invasive) insert. Moreover, conflicting interests of the interested parties (advertiser - ordering party, producer and television) are observed in the paper too. The last issue discussed in this paper is to what extent the degree of product placement implementation can affect the script and what impact on quality and specifics of an audiovisual work can this script modification have.
This article discusses issues associated with exclusive rights to broadcast television coverage of sports events, in light of a decision of the President of the Office of Competition and Consumer ...Protection (hereafter, the UOKiK President) relating to a long-term licence agreement between the Polish Football Association (hereafter, PZPN) and Canal+. It describes the special features of a sports event as the subject of licensing rights and discusses the impact of intellectual property issues on assessing whether agreements comply with the law on competition and consumer protection. Emphasis is put on the special role of analysing each case of exclusivity economically, particularly with regard to its long-term market effects and the significance of additional restrictions accompanying exclusivity. Attention is also drawn to the precedential nature of the position of the UOKiK President that media licences can, in justified cases, cover periods of several years.
Publishing agreements have long operated with certain assumptions about what books are and what publishers do. These assumptions are increasingly at odds with the new technological forms in which ...books are created and marketed, from e-books and Kindle 2 read-aloud works to so-called “vooks” that incorporate on-demand streaming video and other internet-based features in conjunction with hard copy books. Publishers’ contracts need to be re-thought in light of these changed circumstances. Specifically, publishing contracts today should focus on the activities in which the publisher may engage, and not the form in which the work may be presented, a point that was made clear several years ago in the Random House v. RosettaBooks litigation. In defining these activities, contracts should track the language of the exclusive rights enumerated in §106 of the Copyright Act. Finally, to the extent that books are becoming “audiovisual works” publishers may be able to shift to a work-made-for-hire model for obtaining ownership, rather than relying on grants from individual authors.
L’examen des dispositions de la loi libanaise n.75 du 3 avril 1999 sur la propriété littéraire et artistique relatives aux oeuvres audiovisuelles nous permet de déterminer le cadre juridique relatif ...à ce type de création. Pour accéder à la protection par le droit d’auteur, l’oeuvre audiovisuelle doit bénéficier d’un certain degré d’originalité mais aussi elle doit répondre à la définition légale de l’oeuvre audiovisuelle consacrée à l’article 1 de la loi libanaise. Une fois les conditions d’accès à la protection déterminées, on peut étudier le régime juridique applicable à ce type de création. Les oeuvres audiovisuelles sont qualifiées par l’article 9 de la loi libanaise d’oeuvres collectives. Cette qualification nous permet de déterminer le régime juridique applicable. Ceci implique la détermination des différents "acteurs" de l’oeuvre audiovisuelle, leurs droits et les modes d’exploitation de ces droits.
The examination of the provisions of Lebanese law number 75 dated on April 3, 1999 concerning the literary and artistic property for audiovisual works allow us defining the legal framework for this type of creation. Therefore, to reach the copyright protection, any audiovisual work shall benefit from a certain degree of originality and shall also meet the legal definition of an audiovisual work stipulated in article one of the Lebanese law. Once the necessary conditions for an audiovisual work protection are defined, we can proceed with the study of legal regulations applicable to this kind of creation. Audiovisual works are qualified by article 9 of the Lebanese law on collective works. Based on the audiovisual work qualification, we can define the applicable legal regulations. This involves identifying the different “actors” of audiovisual work, their rights and ways of exploiting these rights.
Copyright law in the member states of the African Intellectual Property Organization (OAPI) is not supposed to be standardized but harmonized. As a result, many differences remain between national ...laws of “OAPI space”. Some of those differences could be reduced by the transposition of regional rules. Such is the case notably concerning audiovisual work. Although the rules regarding this work differ from one state to another, audiovisual work is subjected to particular rules in all OAPI countries. It may be asked whether these specific rules are always justified.
Les rapports entre l’oeuvre audiovisuelle et les droits dérivés présentent deux tendances contraires. La première de ces tendances est celle de l’autonomie. En effet, certaines exploitations dérivées ...ont pour objet des oeuvres telles que les titres et les personnages qui bénéficient d’une protection indépendante de l’oeuvre audiovisuelle. Ce mouvement s’accentue lorsque les titres et les personnages font l’objet de dépôts de marques, car la finalité de la marque diffère de celle du droit d’auteur. La protection cumulative crée des interactions entre les droits, tant dans leur existence que dans leur exercice. Une dernière manifestation de cette autonomie réside dans l’exclusion des droits dérivés du champ de la présomption de cession des droits d’exploitation au producteur, cette exclusion se justifiant par le fait que les droits dérivés ont pour objet la création et l’exploitation d’oeuvres nouvelles. La seconde de ces tendances est celle du rattachement des droits dérivés à l’oeuvre audiovisuelle. Tout d’abord, la propriété commune de l’oeuvre audiovisuelle implique un consentement de l’ensemble des coauteurs à son adaptation. Ensuite la liberté de l’adaptateur est limitée par le droit au respect de l’oeuvre qui fait obstacle à la dénaturation de l’oeuvre audiovisuelle. Enfin, la pratique révèle que le producteur s’érige en personnage pivot de l’exploitation de l’oeuvre audiovisuelle en lui assurant une unité organique. A l’origine des investissements consentis en vue de la création initiale, il va ainsi chercher à participer le plus largement possible aux fruits de l’exploitation en se faisant céder les droits dérivés et en concluant des sous-contrats d’exploitation.
The connection between the audiovisual work and the derivative rights sets out two opposing trends. The first of these trends is that of autonomy. Indeed, some derivative exploitations involve works such as titles and characters that are granted an independent protection of the one granted to the audiovisual work. This movement becomes more pronounced when titles and characters are subject to trademark applications, because the function of the trademark is different from that of copyright. The cumulative protection creates interactions between the rights, both in their existence and in their exercise. A final expression of this autonomy is the exclusion of the derivative rights from the scope of the presumption of assignment of exploitation rights in the audiovisual work to the producer. This exclusion is mainly justified by the fact that the purpose of derivative rights is to authorize the creation and the exploitation of new works. However, and its the second trend, derivative rights remain in many ways related to the audiovisual work. First, the common property of the audiovisual work implies consent of all the joint authors to its adaptation. Then, the freedom of the adapter is limited by the moral right of integrity which forbids the distortion of the audiovisual work’s substance. Finally, the practice reveals that the producer stands as a pivotal character of the exploitation of the rights in the audiovisual work. Taking the initiative of investing in the creation, the producer, in order to extend the field of profit-making, will seek to obtain from the authors the transfer of derivative rights and conclude sublicence agreements with third parties.
Belgium Vanbrabant, Bernard; Strowel, Alain
Balancing Copyright - A Survey of National Approaches,
04/2012
Book Chapter
Although regulations on copyright law in Belgium are essentially integrated into a general law – the Act of 30 June 1994 on copyright and related rights (Copyright Act) – clearly the effects of this ...law vary to a non-negligible extent depending on the literary and artistic categories concerned.
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