In the Supreme Court of Canada Factum Of

S.C.C. File No. 34210

IN THE SUPREME COURT OF CANADA (On Appeal from the Federal Court ofAppeal)

BETWEEN:

RE:SOUND

Appellant (Applicant)

- and-

MOTION PICTURE THEATRE ASSOCIATIONS OF CANADA, ROGERS COMMUNICATIONS INC., SHAW COMMUNICATIONS INC., BELL EXPRESSVU LLP, COGECO CABLE INC., EASTLINK, QUEBECOR MEDIA, TELUS COMMUNICATIONS COMPANY, TURNER BROADCASTING SYSTEMS, INC., CANADIAN BROADCASTING CORPORATION and CANADIAN ASSOCIATION OF BROADCASTERS

Respondents (Respondents)

FACTUM OF APPELLANT, RE:SOUND

OSLER, HOSKIN & HARCOURT LLP OSLER, HOSKIN & HARCOURT LLP P.O. Box 50 340 Albert Street, Suite 1900 1 First Canadian Place Ottawa, Ontario KIR 7Y6 Toronto, Ontario M5X IB8

Mahmud Jamal Patricia J. Wilson Glen Bloom Marcus Klee Tel: (613) 787-1009 Jason MacLean Fax: (613) 235-2867

Tel: (416) 862-6764 Fax: (416) 862-6666

Counsel for Re:Sound Ottawa Agent for Re:Sound TO: THE REGISTRAR OF THE SUPREME COURT OF CANADA

AND TO: HAYES ELAW LLP FASKEN MARTINEAU DUMOULIN LLP Yonge Eglinton Centre Suite 1300 2300 Yonge Street 55 Metcalfe Street Box 2397, Suite 2102 Ottawa, Ontario KIP 6L5 Toronto, Ontario M4P lE4

Mark Hayes Gerald Kerr-Wilson Tel: (416) 966-3529 Tel.: (613) 236-3882 Fax: (416) 966-3529 Fax: (613) 230-6423

Counsel for the Respondent, Ottawa Agent for the Respondent, Canadian Association of Canadian Association ofBroadcasters Broadcasters

AND TO: MCMILLAN LLP MCMILLAN LLP Brookfield Place 50 O'Connor Street, Suite 300 181 Bay Street, Suite 4400 Ottawa, Ontario KIP 6L2 Toronto, Ontario M5J 2T3

David W. Kent Marie-France Major Tel: (416) 865-7143 Tel: (613) 232-7171 Fax: (416) 865-7048 Fax: (613) 231-3191

Counsel for the Respondent, Ottawa Agent for the Respondent, Motion Picture Theatre Associations Motion Picture Theatre Associations of ofCanada Canada

AND TO: FASKEN MARTINEAU DUMOULIN LLP Suite 1300 55 Metcalfe Street Ottawa, Ontario KIP 6L5

Gerald Kerr-Wilson Tel.: (613) 236-3882 Fax: (613) 230-6423

Counsel for the Respondents, Rogers Communications Inc., Shaw Communications Inc., Bell ExpressVu LLP, Cogeco Cable Inc., Eastlink, Quebecor Media, and Telus Communications Company AND TO: FASKEN MARTINEAU FASKEN MARTINEAU DUMOULIN LLP DUMOULIN LLP Suite 1300 The Stock Exchange Tower 55 Metcalfe Street P.O. Box 22, Suite 3700 Ottawa, Ontario KIP 6L5 800 Victoria Square Montreal, Quebec H4Z 1E9

Marek Nitoslawski Gerald Kerr-Wilson Tel: (514) 397-4335 Tel.: (613) 236-3882 Fax: (514) 397-7600 Fax: (613) 230-6423

Counsel for the Respondent, Ottawa Agent for the Respondent, Canadian Broadcasting Corporation Canadian Broadcasting Corporation TABLE OF CONTENTS

PART I- BRIEF STATEMENT OF FACTS 1

A. OVERVIEW 1

B. BACKGROUND FACTS 4

(a) Re:Sound 4

(b) Re:Sound's Proposed Tariffs 6

C. DECISIONS BELOW 7

(a) Copyright Board ofCanada 7

(b) Federal Court ofAppeal (Trudel JA, Noel and Mainville JJ.A. concurring) 8

PART II - QUESTIONS IN ISSUE 9

PART III - ARGUMENT 9

A. Recording Artists And Record Companies Are Entitled To Equitable Remuneration Under Section 19 OfThe Copyright Act When Their Music Is Played In Movies And On TV, Just As They Are Remunerated When Their Music Is Played On The Radio 9

1. The Standard ofAppellate Review is Correctness 9

2. The Context ofthis Appeal 9

3. The Modem Principle ofStatutory Interpretation 10

4. The Purpose of Section 19 ofthe Copyright Act 11

(a) Section 19 recognizes the nature and importance ofequitable remuneration for performers and makers ofsound recordings 11

(b) Section 19 implements a regime oflayered reproduction and performance rights .... 14

(c) Section 19 should be interpreted in a technologically neutral way that allows the Act to continue to apply to new media technology 16

(d) Section 19 achieves equality with the rights ofauthors and composers 18

(e) Section 19 complies with Canada's obligations under the Rome Convention 20

(f) Conclusion with respect to the purposive interpretation ofs. 19 21 -11-

5. The Purpose of Section 2 ofthe Copyright Act 21

(a) To create a new, consolidated copyright in movies 21

(b) Reconciling the English and French meaning of"soundtrack" 25

6. The Proper, Purposive and Harmonious Interpretation ofss. 19 and 2 ofthe Copyright Act 26

7. Anomalies and Absurdities Flowing From the Decisions Below 26

(a) Technologically regressive 27

(b) Fails to interpret the Copyright Act as a whole 27

(d) Throws Canada out ofstep with international peers 28

(e) Breaches the Rome Convention 29

(t) Compromises Canadian recording artists' and record companies' international reciprocal equitable remuneration rights 31

(g) Confuses and confIates distinct layered rights 32

(h) Entrenches unwarranted inequality between the rights ofperformers/makers and authors/composers 35

(i) Rental rights are not in issue 34

8. Conclusion 36

PART IV -SUBMISSIONS ON COSTS 38

PART V- ORDER SOUGHT 38

PART VI - LIST OF AUTHORITIES

PART VII - RELEVANT STATUTORY PROVISIONS PART I- BRIEF STATEMENT OF FACTS

A. OVERVIEW

1. This case is about basic fairness under the Copyright Act.! It is about providing fair compensation or "equitable remuneration" under s. 19 of the Copyright Act to recording artists and record companies across Canada and internationally when their music is played in movies and on TV, just as they are currently paid when their music is played on the radio. The financial stakes are significant: about $45 million annually - a 300% increase from current levels - in lost equitable remuneration royalties. The cultural stakes, however, are much greater: at issue is the ability of Canadian cultural industries to remain competitive internationally and for Canadian musical creativity to survive and flourish.

2. Section 19 ofthe Copyright Act provides that recording artists and record companies, as

"performers" and "makers", respectively, are entitled to "equitable remuneration" for the public

performance oftheir sound recordings. The Federal Court of Appeal and Copyright Board held

that the definition of "sound recording" in s. 2 of the Copyright Act precludes equitable

remuneration under s. 19 for pre-recorded music forming part of the soundtrack of a

"cinematographic work", such as a movie or TV program soundtrack. This means that recording

artists and record companies are paid under s. 19 when their music is played on the radio, but

are not paid when their music is played in movies and on TV - even if they contribute

significantly to the success ofthose audiovisual works, and even though authors and composers

are paid when the same music is played in the same movies and TV programs.

3. To illustrate, under the approach ofthe decisions below, Ms Celine Dion is paid under s.

19 ofthe Copyright Act when "My Heart Will Go On" is played on the radio, but she is not paid

under s. 19 when the same song is played in the movie Titanic, even though her performance

was a critical factor in the movie's success. By contrast, the song's author, Mr. James Homer, is

paid both when the song is played on the radio and in the movie. The Federal Court of Appeal

and the Copyright Board found that Parliament intended to shut out performers like Ms Dion

from sharing in a movie's success.

4. Parliament intended no such thing. The purpose ofs. 19 is just the opposite: the provision provides fair compensation to recording artists and record companies when their music is publicly performed or broadcast, whether in movies, on TV, on the radio, or in any other medium. Section 19 provides as follows:

Right to remuneration Droit aremuneration 19. (I) Where a sound recording has been 19.(1) Sous reserve de l'article 20, I'artiste published, the performer and maker are entitled, interprete et Ie producteur ont chacun droit it une subject to section 20, to be paid equitable remuneration equitable pour I'execution en public remuneration for its performance in public or its ou la communication au public par communication to the public by tele telecommunication - a ['exclusion de toute communication, exceptfor any retransmission. retransmission - de l'enregistrement sonore publie. [Emphasis added] [Emphasis added]

5. The only exclusion to the broad right of equitable remuneration under s. 19 is for retransmissions: no particular entity or medium - such as movies, TV, or radio - is excluded.

6. Parliament did not intend this broad right to equitable remuneration to be cut-down by the definition of"sound recording" in s. 2 ofthe Copyright Act, which provides as follows:

"sound recording" « enregistrement sonore » « enregistrement sonore » "sound recording" "sound recording" means a recording, fixed in any « enregistrement sonore » Enregistrement constitue material form, consisting of sounds, whether or not de sons provenant ou non de I'execution d'une of a performance of a work, but excludes any oeuvre et fixes sur un support materiel quelconque; soundtrack of a cinematographic work where it est exclue de 1a presente definition la bande sonore accompanies the cinematographic work[.] d'une oeuvre cinematographique lorsqu'elle accompagne celle-ci. - 3 -

7. The purpose of the definition of "sound recording" is not to preclude equitable remuneration for sound recordings broadcast in movies, TV programs, and other audiovisual works. Rather, its purpose is to create a new copyright in movies and other "cinematographic works," one that consolidates their audio and visual elements to ensure that movies do not attract copyright protection as hoth a movie and a sound recording. There is absolutely no evidence that

Parliament intended s. 2 to take away the broad right to equitable remuneration granted by s. 19.

8. The High Court of Australia has interpreted definitions of a "sound recording" in the

U.K. Copyright Act 1956 and the Australian Copyright Act 1968 that are materially identical to the definition in s. 2 ofthe Act. The High Court held that the purpose ofthese provisions was to prevent the maker of a movie from acquiring a separate copyright, as a sound recording, in the soundtrack of the movie (i. e., the entire collection of sounds accompanying the movie as a whole). There was no intention (nor any need) to eliminate recording artists' and record companies' performance rights in respect of sound recordings. 2 The decisions below simply ignored the High Court's authoritative interpretation ofthese materially identical provisions.

9. The decisions below also failed to read s. 19 ofthe Copyright Act in its ordinary sense, in harmony with the scheme and object ofthe Act, and with the intention ofParliament. Read in its proper context, the clear purpose of s. 19 is to fairly compensate recording artists and record companies for the value ofthe performance ofrecorded music.

10. The decisions below also entail numerous anomalies and absurdities that Parliament surely did not intend. As will be shown, the decisions below:

2 Phonographic Performance Co ofAustralia Ltd v. Federation ofAustralian Commercial Television Stations, [1998] HCA 39 at 1[22, confirmed in Network Ten Ply Ltd v. TCN Channel Nine Ply Ltd, [2004] HCA 14 at 1[51. -4-

(l) interpret ss. 19 and 2 in a technologically regressive way, such that these

provisions cannot keep pace with the increasingly digital and audiovisual

dissemination ofrecorded music;

(2) fail to interpret ss. 19 and 2 in the context ofthe Act as a whole;

(3) prioritize the English over the French version of"soundtrack" in s. 2 of the Act,

and fail to reconcile the English and French versions;

(4) throw Canada out ofstep with its international peers;

(5) cause Canada to breach the Rome Convention;

(6) compromise Canadian recording artists' and record companies' international

reciprocal rights to equitable remuneration;

(7) ignore the Act's regime oflayered rights, by confusing and conflating contractual,

"front-end" reproduction rights with equitable, "back-end" performance rights;

and

(8) unfairly discriminate between the rights of authors and composers and the rights

ofperformers and makers for the same uses ofthe same music.

11. For these reasons and the reasons elaborated below, this appeal should be allowed.

B. BACKGROUND FACTS

(a) Re:Sound

12. Re:Sound (formerly the Neighbouring Rights Collective of Canada or "NRCC") is the

Canadian not-for-profit music licensing company dedicated to obtaining "equitable - 5 - remuneration" under s. 19 of the Copyright Act for recording artists and record companies.

Founded in 1997, when the provision for equitable remuneration was added to the Act, Re:Sound is the sole collective society authorized under s. 67 to collect s. 19 royalties for "performers"

(recording artists, including background and instrumental musicians as well as featured performers) and "makers" (record companies, including major and independent labels) for the use oftheir sound recordings.

13. Re: Sound has five member organizations: three represent artists who perform on sound recordings, namely, ACTRA Recording Artists' Collecting Society ("ACTRA RACS"),

Musicians' Rights Organization Canada ("MROC"), and La societe de gestion collective de

I'Union des artistes ("Artistl"); two represent record companies that make sound recordings, namely, Audio Video Licensing Agency ("AVLA") and Societe de gestion collective des droits des producteurs de phonogrammes et de videogrammes du Quebec ("SOPROQ"). Re:Sound represents at least 95% ofthe sound recordings eligible for equitable remuneration under s. 19.3

14. Re:Sound files tariffs on behalf of performers and makers with the Copyright Board pursuant to s. 67.1 of the Copyright Act; contacts and grants licences to music users (including businesses, broadcasters, and music suppliers); and enters into reciprocal agreements with similar organizations globally. Re:Sound files tariffs for the public performance of music by radio stations, pay audio services, satellite radio services, and Internet music services, in gyms and nightclubs, at live events such as receptions, fairs, and sporting events, and as background music in restaurants, retail establishments, and hotels. The tariff certification process is often

3 Reasons for the decision certifYing NRCC Tariff I.A (Commercial Radio) for the years 1998 to 2002 (August 13, 1999), Copyright Board ofCanada at pp. 10-11, 19. -6- complex and lengthy. Since being founded in 1997, Re:Sound has certified an average of one tariff every two years.4

15. The statutory system of compulsory licensing and equitable remuneration is administered collectively and benefits all participants. Recording artists and record companies have no right to authorize or prohibit the public performance of their sound recordings and cannot individually negotiate or collect equitable remuneration royalties. The only way they can be compensated for the public performance oftheir sound recordings is collectively under s. 19.

Equitable remuneration royalties under Re:Sound's tariffs also operate as a compulsory blanket licence, allowing licensees (music users) to use pre-recorded music as often as they wish without having to negotiate with thousands of individual recording artists and record companies.

Re:Sound thus serves as a "one-stop shop" for licensees and collects and distributes license fees to recording artists and record companies on an even 50150 split. Re:Sound's tariffs also redress the inequality of bargaining power between recording artists and record companies, on the one hand, and large commercial users of sound recordings such as the Respondents, on the other.

Equitable remuneration royalty rates are set by the Copyright Board, based on the submissions of

Re:Sound and music licensees.s

(b) Re:Sound's Proposed Tariffs

16. On March 28, 2008, Re:Sound proposed three new tariffs, two of which are at issue in this appeal:

4 Re:Sound's tariffs are listed on the website ofthe Copyright Board: http://www.cb-cda.gc.ca/tariffs-tarifs/index e.htm!.

5 Copyright Act, ss. 67-68. - 7 -

(1) TariffNo. 7 - Motion Picture Theatres and Drive-Ins (2009-2011): royalties to

be collected by Re:Sound for the use of sound recordings embodied in a movie by

motion picture theatres and other such establishments; and

(2) Tariff No.9 - Commercial Television (2009-2013): royalties to be collected by

Re:Sound for the use of sound recordings in TV programs broadcast by

commercial over-the-air, pay, specialty, and other TV services.

17. Authors, composers, and music publishers (represented by the Society of Composers,

Authors and Music Publishers of Canada, or "SOCAN" and its predecessors) have received royalties under substantially similar tariffs for these same uses since as early as 1937.6

C. DECISIONS BELOW

(a) Copyright Board of Canada

18. On September 16, 2009, the Copyright Board dismissed Re:Sound's application to certify

Tariffs 7 and 9. The Board found that performers and makers have no right to equitable remuneration under s. 19 of the Copyright Act for music played in movies and TV programs because, in its view, that right was taken away through the definition of"sound recording" in s. 2 of the Copyright Act. The Board held that: (1) a plain reading of the definition of a "sound recording" in the Copyright Act excludes the soundtrack of a cinematographic work (i. e., a movie or TV program) when it accompanies a cinematographic work; and (2) a "soundtrack"

(which is not defined in the Copyright Act) refers to both the aggregate collection of all sounds accompanying a movie or TV program and the soundtrack's constituent parts, including pre-

6 SOCAN's movie tariff (Tariff 6) was first certified in 1937: Reasons for the decision certifYing Tariff 6 of SOCAN's Statement ofRoyalties for the years 1992 to 1998 (December 1, 1995), Copyright Board ofCanada at p. 2. SOCAN's commercial TV tariff (Tariff 2.A) dates back to 1951: Report to the Minister ofConsumer and Corporate Affairsfor the Year 1989 (December 14, 1988), Copyright Appeal Board at p. 533. - 8 - recorded music.' The Board rejected Re:Sound's argument that "soundtrack" (<<1a bande sonore») refers only to the aggregate of sounds accompanying a movie or TV program, but not to pre-recorded music making up the soundtrack. The Board reached this conclusion on the basis that the word "aggregate" does not appear before the word "soundtrack" in the definition of

"sound recording."s On the Board's reasoning, a "sound recording" is effectively extinguished once it is included on a soundtrack.

(b) Federal Court ofAppeal (Trudel J.A., Noel and Mainville JJ.A. concurring)

19. The Federal Court ofAppeal dismissed Re:Sound's application for judicial review ofthe

Board's decision. The Court held that "the Board came to the correct conclusion essentially for the reasons that it gave.,,9 In its brief ruling, the Court made three points. First, the Court found that if and when a sound recording is extracted from the soundtrack of a movie or TV program, record companies will re-generate their copyright over that sound recording. Second, the Court found that Australian and U.K. jurisprudence was of no assistance because it was supposedly

"based on legislation that is fundamentally different." Third, the Court found that the Board's decision would not cause Canada to breach the Rome Convention. 10

7 Reasons ofthe Copyright Board at ~~7, 27-34: Appellant's Record, pp. 17-20.

Reasons ofthe Copyright Board at ~28: Appellant's Record, p. 17.

9 Reasons ofthe Federal Court ofAppeal at ~9: Appellant's Record, p. 31.

JO Reasons ofthe Federal Court ofAppeal at ~~9-13: Appellant's Record, pp. 31-32; International Conventionfor the Protection ofPerformers, Producers ofPhonograms and Broadcasting Organizations, Done at Rome on October 26, 1961 ("Rome Convention"). - 9 -

PART II - QUESTIONS IN ISSUE

Are recording artists and record companies, as "performers" and "makers" of music, entitled to "equitable remuneration" under s. 19 ofthe Copyright Act when their music is played in movies and on TV, just as they are currently entitled to equitable remuneration when their music is played on the radio?

Does the definition of "sound recording" in s. 2 of the Copyright Act preclude equitable remuneration under s. 19 for pre-recorded music forming part ofa soundtrack?

PART III - ARGUMENT

A. Recording Artists And Record Companies Are Entitled To Equitable Remuneration Under Section 19 OfThe CopyrightActWhen Their Music Is Played In Movies And On TV, Just As They Are Remunerated When Their Music Is Played On The Radio

1. The Standard ofAppellate Review is Correctness

20. Because this case has proceeded on the basis of an agreed statement of facts, the only issues concern the proper interpretation ofss. 19 and 2 ofthe Copyright Act. These are questions oflaw reviewable on a correctness standard. 11

2. The Context ofthis Appeal

21. Copyright is critical to the Canadian economy. Copyright has been called a "strategic industrial right" that represents between 4% and 7.5% of an industrialized country's GDP. 12

Moreover, the estimated global value of equitable remuneration rights for the commercial use of recorded music is between US$1.9 and 2.9 billion annually. 13

11 Society oj Composers, Authors and Music Publishers oj Canada v. Canadian Assn. ojInternet Providers, [2004] 2 S.C.R. 427 at 1150 per Binnie J.; Sirius Canada Inc. v. CMRRlSODRAC Inc., 2010 FCA 348 at 1l1l8-9.

12 Daniel J. Gervais, "Collective Management of Copyright and Neighbouring Rights in Canada: An International Perspective" (2002) 1 Can. J. ofLaw & Tech. 21 at p. 22.

13 Valuing the use oJrecorded music, PricewaterhouseCoopers (Australia, July 2008) at p. 5. - 10 -

22. The context ofthis appeal involves the fast-evolving technological environment to which copyright law must be applied. As we enter a "burgeoning digital music age,,,14 recorded music will increasingly be disseminated via technologically evolving digital audiovisual media, including: movies and TV programs; webcasting (broadcasting over the Internet); simulcasting

(the simultaneous transmission of music by radio and TV stations over the Internet); video on- demand services like NetfIix and BellTV; online video sharing services like YouTube; and online digital media stores like iTunes. As this Court has noted, the Copyright Act "should continue to apply in different media, including more technologically advanced ones.,,15 As will be shown, the same must hold for equitable remuneration under s. 19 ofthe Copyright Act ifthat right is to remain meaningful as technology evolves.

3. The Modern Principle ofStatutory Interpretation

23. Under the "modem principle" of statutory interpretation, "the words of an Act are to be read in their entire context and in their grammatical and ordinary sense harmoniously with the scheme ofthe Act, the object ofthe Act, and the intention ofParliament.,,16

24. Purposive analysis is a "staple ofmodem interpretation.,,17 This includes "the purpose of the provision to be interpreted as well as larger units - parts, divisions, and the Act as a whole," which are "used as a standard against which proposed interpretations are tested: an interpretation

14 "Note: Jazz Has Got Copyright Law and that Ain't Good," (2005) 118 Harvard Law Review 1940 at p. 1960.

IS Robertson v. Thomson Corp., [2006] 2 S.C.R. 363 at 1[49 per LeBel and Fish JJ.

16 R. v. Ahmad, [2011] 1 S.C.R. 110 at 1[28 per curiam, citing approvingly E.A. Driedger, Construction ofStatutes 2nd ed. (Toronto: Butterworths, 1983) at p. 87 and Rizzo & Rizzo Shoes Ltd. (Re), [1998] 1 S.C.R. 27 at 1[21 per Iacobucci J.

nd 17 Ruth Sullivan, Statutory Interpretation, 2 ed. (Toronto: Irwin Law Inc., 2007) at p. 194. - 11 - that promotes the purpose is preferred over one that does not, while interpretations that would tend to defeat the purpose are avoided.,,18

25. As will be shown, the purpose of s. 19 of the Copyright Act is to entitle recording artists and record companies to a broad right of equitable remuneration when their music is publicly performed or broadcast - be it in a multitude of public forums (restaurants, stores, nightclubs, etc.) or over the radio, in movies or on TV, or in any other audiovisual medium. There is no evidence that the definition of "sound recording" in s. 2 ofthe Act was intended to detract from or undercut this purpose. Rather, the sole exception under s. 19 relates not to any particular entity or medium (such as TV or the Internet), but rather to a particular kind o/transmission (namely, retransmissions). 19

4. The Purpose ofSection 19 of the CopyrightAct

(a) Section 19 recognizes the nature and importance of equitable remuneratiou for performers and makers of sound recordings

26. The overarching purpose ofthe Copyright Act is to strike "a balance between promoting the public interest in the encouragement and dissemination ofworks ofthe arts and intellect and obtaining a just reward for the creator (or, more accurately, to prevent someone other than the creator from appropriating whatever benefits may be generated).,,2o For decades, Canadian authors and composers (represented by SOCAN) have been paid copyright royalties for the public performance and broadcast oftheir works as part of movie and TV program soundtracks.

In 1997, the Copyright Act was amended to also acknowledge the essential contribution of

18 Id

19 Retransmissions are governed by s. 31 of the Copyright Act, which governs the retransmission of over-the-air broadcast signals, be it over the radio, TV cable systems, or the Internet.

20 Theberge v. Galerie d'Art du Petit Champlain inc., [2002] 2 S.C.R. 336 at ~~30-33 per Binnie J. - 12 -

performers and makers III the creation of sound recordings through a right to "equitable remuneration" in s. 19.21

27. Equitable remuneration is the basic right to fair compensation for the use of a creative work. It is not a copyright per se, but rather a "neighbouring right" - one that "neighbours" or 22 exists alongside of copyright. Equitable remuneration provides fair payment for public uses of music (rather than for its creation or sale).23 As the Copyright Board has explained elsewhere,

"what triggers the remuneration is the performance or telecommunication of the maker's recording.,,24

28. Importantly, equitable remuneration compensates recording artists and record companies for the uses oftheir music outside ofcontract ("equitable,,).25 While Canadian record companies may receive an up-front, contractual payment for the initial reproduction of a particular recording Gust as music publishers do), before 1997 record companies did not otherwise receive any back-end payment for the subsequent repeated public performance of their work (as music publishers long have).26 Equitable remuneration corrects this imbalance through a system of

21 An Act to amend the Copyright Act, S.C. 1997, c. 24.

22 Ysolde Gendreau and David Vaver, "Canada" in International Copyright Law and Practice, ed. Paul Edward Geller (Newark, N.J.: LexisNexis, 2008) at p. CAN-1I4. The tenn "equitable remuneration", which first appeared in international copyright law in 1928, stems from a tenn used in statutory licensing provisions in German patent law that translates literally as "an appropriate remuneration": see David Brennan, "What is Equitable Remuneration for Intellectual Property Use?", paper prepared for a seminar held at the Oxford Intellectual Property Research Centre (25 January 2005) at pp. 3-4.

23 Malcolm E. McLeod, "Recent Copyright Developments: The Canadian Perspective," (1998) IS Canadian Intellectual Property Review 39, pp. 40-41.

24 Reasons for the decision certifYing NRCC Tariff 1A (Commercial Radio) for the years 1998 to 2002, above, note 3 at p. 3.

25 Delia Lipszyc, Copyright andneighbouring rights (Paris: UNESCO, 1999) at pp. 385-386.

26 Ruth Towse, "Copyright and the Cultural Industries: Incentives and Earnings," paper presented to the Korea Infomedia Lawyers Association in Seoul, Korea (30 October 2000) at p. 6; Paul Sanderson, Musicians and the Law in Canada, 3'd ed. (Toronto: Carswell, 2000) at pp. 15-18. - 13 - compulsory blanket licensing through tariffs administered by a collective society. It thereby helps redress the inequality of bargaining power between individual performers and large commercial users ofrecorded music.27

29. As the European Court of Justice has explained, equitable remuneration balances the interests of recording artists and record companies in receiving fair compensation for the use of their music, and the interests of commercial parties in being able to use recorded music for reasonable payment.28 Equitable remuneration, as an economic right, reflects the added value that recorded music gives its users,29 including: attracting viewers, listeners, and patrons; promoting products and services; and improving the ambience and atmosphere for customers and employees.3o Recorded music, for example, is part of TV program content and a critical revenue source for the TV industry.31 Equitable remuneration also helps finance the creation ofrecorded music, the performance ofwhich is generally viewed as being a "quasi-public good.,,32

30. These accepted purposes ofequitable remuneration under international copyright law are

reflected in s. 19 of Canada's Copyright Act. By recognizing the right to equitable remuneration

Canada aligned itself with the majority of developed countries in the world, where

"broadcasters and businesses must pay a 'reasonable' royalty (or 'equitable remuneration') to

27 Lawrence Lessig, Remix: Making Art and Commerce Thrive in the Hybrid Economy (New York: The Penguin Press, 2008) at p. 256.

28 Slichting ter Exploitatie van Naburige Rechten (SENA) v. Nederlandse Omroep Slichting (NOS) (6 February 2003), Case C-245/00 (European Court ofJustice) at 1[1[36-37.

29 Lipszyc, above, note 25 at p. 373.

30 Valuing the use ofrecorded music, above, note 13 at p. 7.

31 Id. at p. 54.

32 Towse, above, note 26 at p. 6; Lessig, above, note 27 at pp. xxii, 289. - 14 -

the artists and the record companies whose sound recordings they play.,,33 Section 19 thus

balances the interests of recording artists and record companies in receiving fair compensation

for the use oftheir music and the interests of commercial users ofrecorded music.34 Elsewhere,

the Federal Court ofAppeal has properly acknowledged that the right to equitable remuneration

under s. 19 promotes the purpose of the Copyright Act to achieve a balance between

compensating creators and encouraging the public dissemination of artistic works and

performances.35

(b) Section 19 implements a regime of layered reproduction and performance rights

31. Like other parts of the Copyright Act, s. 19 implements a regime of "layered" reproduction and performance rights.36 Rights are "layered" when two or more rights exist in the same subject-matter. For example, the Court has explained that music copyright holders' rights under s. 3 of the Copyright Act include "the right to perform (including radio broadcast), and the right to make a recording [which] are distinct rights in theory and in practice, as is evident from a description of the licensing system by which musicians obtain payment for use of their works.,,37 The Copyright Board itself has acknowledged the distinction between the "front-end"

33 Valuing the use ofrecorded music, above, note 13 at p. 2.

34 Stefan Martin, "Remuneration equitable: l'equite pour qui? Reflexion sur la philosophie du droit d'auteur au Canada," in Copyright: Administrative Institutions, ed. Ysolde Gendreau (Montreal: Editions Yvon Blais, 2002) at pp. 457-458.

35 Astral Media Radio Inc. v. Society ofComposers, Authors and Music Publishers ofCanada, 2010 FCA 16 at 1132; Neighbouring Rights Collective ofCanada v. Society ofComposers, Authors and Music Publishers of Canada, 2003 FCA 302 at 111161-62.

36 Robertson v. Thomson Corp., above, note 15 at 116 ("the Copyright Act establishes a regime oflayered rights").

37 Bishop v. Stevens, [1990] 2 S.C.R. 467 at p. 477 per McLachlin J. (as she then was) [emphasis added]. - 15 - reproduction rights and "back-end" performance rights of composers and music publishers.38

That distinction applies equally here.

32. Music authors' and composers' performance rights are assigned to a performance rights collective society (SOCAN), while their reproduction rights are assigned to music publishers.

Similarly, recording artists and record companies assign their public performance rights to a collective society (Re:Sound), while recording artists generally assign their reproduction rights to a record company.

33. The right of a recording artist and a record company under s. 19 is thus a separate and distinct right to equitable remuneration for the public performance or broadcast of their recording. The purpose and effect of s. 19 is to introduce the right to equitable remuneration for the performance of recorded music and layer it alongside contractual reproduction rights.

Equitable remuneration provides a right to a distinct reward (equitable, outside of contract) for a distinct right (performance). As noted by John McKeown in Fox on Canadian Law o/Copyright and Industrial Designs: "The act which triggers a right to be paid royalties is the performance in public or communication to the public by telecommunication of a sound recording. The person liable for performing or communicating the recording is the person who does it. Section 19 creates a right to remuneration.,,39

38 Reasons for the decision certifYing Tariff 2.A ofsaCAN's Statement ofRoyalties for the years 1994 to 1997 (January 30, 1998), Copyright Board ofCanada at p. 13.

39 John S. McKeown, Fox Canadian Law ofCopyright and Industrial Designs, 4'h ed. (Toronto: Carswell, 2009) at 13:3(c). - 16 -

(c) Section 19 should be interpreted in a technologically neutral way that allows the Act to continue to apply to evolving media technology

34. This Court has repeatedly held that the Copyright Act should be interpreted in a technologically neutral way, without discriminating among technologies: "[m]edia neutrality means that the Copyright Act should continue to apply in different media, including more technologically advanced ones.,,40 Commentators have also cautioned that the Copyright Act should be interpreted "so as to render its meaning relevant to today's communications technology.,,41 Regarding the Internet in particular, the Court has said that "[t]he capacity of the

Internet to disseminate 'works of the arts and intellect' is one of the great innovations of the information age. Its use should be facilitated rather than discouraged, but this should not be done unfairly at the expense ofthose who created the works ofarts and intellect in the first place.,,42

35. As directed by this Court, s. 19 should be interpreted in a technologically neutral way, without discriminating between radio and audiovisual media (such as movies, TV, and the

Internet). This is critical because recorded music is increasingly disseminated via technologically evolving digital audiovisual media.43

40 Robertson v. Thomson Corp.• above, note 15 at \149.

41 Wanda Noel and Louis B.Z. Davis, "Some Constitutional Considerations in Canadian Copyright Law Revision" [1981] 54 C.P.R. (2d) 17 at p. 41, citing Edwards v. Canada (Attorney General), [1930] 1 D.L.R. 98 at pp. 106 107.

42 Society of Composers, Authors and Music Publishers of Canada v. Canadian Assn. of Internet Providers, above, note II at \140 [emphasis addedl.

43 Martin Kretschmer, "Artist's Earnings and Copyright: A Review ofBritish and German Music Industry Data in the Context of Digital Technologies," (2005) 10:1 First Monday: Peer-Reviewed Journal on the Internet at p. 10, online: http://firstmonday.orglhtbin/cgiwrapfbin/ojs/index.php/fin/article/view/1200/l120, cited approvingly in Lessig, above, note 27 at p. 303, n. 16. See also William H. O'Dowd, "Note: The Need for a Public Performance Right in Sound Recordings," (1994) 31 Harvard Journal on Legislation 249 at p. 250. - 17 -

36. In this era of digital and audiovisual music, "[r]oyalties from performing rights administered by collecting societies (which cannot be individually renegotiated to reflect economic bargaining power) appear to form an important and increasing part of artists' earnings.,,44 This source ofearnings is essential: in 2006/2007, the average income ofa Canadian musician was $16,491.45 Equitable royalties thus "encourage artists at the margins of full-time work.,,46 The amounts at issue in this appeal would meaningfully contribute to improving the livelihood of Canadian performers and makers: for TV broadcasts alone (Tariff 9), the estimated annual royalties would be approximately $45 million, a 300% increase in the equitable remuneration paid to many struggling Canadian recording artists and record companies.47

37. Nothing in ss. 19 or 2 or any other provision ofthe Copyright Act precludes the collection of these royalties for the benefit of Canadian artists and record companies. If Parliament had intended exempt particular entities and media such as TV, movies, and other audiovisual media, it would have done so explicitly in s. 19 itself (which governs equitable remuneration), rather than in s. 2 (through an undefined term, "soundtrack", as an exclusion from the definition of a

44 Kretschmer, above note 43 at p. 10.

45 Douglas Hyatt, An Overview ofthe Financial Impact ofthe Canadian Music Industry (Toronto: May, 2008) at pp. II, 14.

46 Kretschmer, above, note 43 at p. 10.

47 SOCAN collected approximately $90 million domestically from its television tariffs in 2009 and approximately $100 million in 20 I0 according to its 2009 and 20 IO Financial Reports: below, note 54. The Copyright Board has repeatedly held that performers and makers should receive the same compensation for the public performance of their music as authors and composers: Reasons for the decision certifYing the tarifffor pay audio servicesfor the years 1997 to 2002 (15 March 2002), Copyright Board of Canada at p. 14. Re:Sound's rate has been set at 50% of SOCAN's rate to account for the relative size of its repertoire in both its Commercial Radio and Music to Accompany Dance tariffs: Reasons for the decision certifYing the tarifft in respect ofcommercial radio for the years 2003 to 2007 (22 February 2008), Copyright Board of Canada at 1)6 and Re:Sound Tariff6.A - Use ofRecorded Music to Accompany Dance, 2008-2012 (15 July 2011), Copyright Board of Canada at 1)31. The estimate of $45 million is based on an equivalent adjustment in relation to SOCAN's television tariffs. - 18 -

"sound recording"). Instead, the sole exemption Parliament intended under s. 19 is for retransmissions, which is set out explicitly in s. 19 itself.48

38. It would be peculiar to say the least for Parliament to have introduced such a significant exemption from the right to equitable remuneration in the definitions section of the Copyright

Act, rather than in the substantive provision dealing with equitable remuneration itself. As the

Federal Court ofAppeal has elsewhere explained, "[d]efinitions are used for convenience and to bring more precision to a legislative text. They are meant to be of assistance to legislative drafting, not to bring confusion to legislative interpretation.,,49 Yet confusion is precisely what the decisions below bring to the interpretation ofss. 19 and 2 ofthe Act.

(d) Section 19 achieves equality with the rights of authors and composers

39. As noted, the introduction of a right to equitable remuneration into the Copyright Act in

1997 was intended to grant performers and makers rights that "neighbour" authors' and composers' copyrights. Section 19 puts "performers [and record companies] on a similar footing as composers, lyricists and music publishers" and permits recording artists and record companies

"to have a collective, similar to SOCAN, and to collect and distribute royalties as set by the

Copyright Board.,,50 In fact, the Copyright Board has previously recognized that "section 19 rights do not differ substantially from those enjoyed by SOCAN,,51 and said that "authors and

48 By contrast, where Parliament intended to discriminate in favour of a particular entity, as in the case of commercial radio, it did so explicitly: see Copyright Act, s. 68.1, which exempts commercial radio from making full royalty payments on varying amounts ofadvertising revenues.

49 Canadian Cable Television Assn. v. Canada (Copyright Board), [1993] 2 F.C. 138 (C.A.) at p. 147.

50 Gregory C. Ludlow and Mark A. Le Blanc, "Survey of Intellectual Property: Part V: Copyright and Industrial Designs," (2000) 31: 1 Ottawa Law Review 93 at p. 98.

51 Reasons for the decision certifYing NRCC Tariff 1.A (Commercial Radio) for the years 1998 to 2002, above, note 3 at p. 28. - 19 - composers should get the same as performers and makers.,,52 The Board has also cautioned that there must be a "solid case" to grant preferential treatment to one group over another. 53

40. SOCAN collects substantial royalties on behalf of authors and composers for the use of their songs in movies and TV programs: $190 million domestically for TV alone in 2009-2010.54

However, the decisions below create a stark asymmetry between the rights of authors and composers and the rights of performers and makers. The decisions below now prohibit performers and makers from receiving equitable remuneration for the same use of the same music. This asymmetry is palpably unfair given that it is often the recorded performance of music (rather than its composition) that determines its popularity and drives the playing ofmusic on radio, TV, and in other public places.55 In sum, the decisions below unfairly preclude performers and makers from receiving equitable remuneration for the same uses of their music for which authors and composers have long been remunerated.56

41. Parliament did not intend this inequitable result in creating a right to equitable remuneration that "neighbours" a music publisher's or composer's copyright in a musical work.

To the contrary, in amending the Copyright Act in 1997, Parliament intended to provide statutory

52 Reasonsfor the decision certifYing the tarifffor pay audio servicesfor the years 1997 to 2002, above, note 47 at p. 4 [emphasis added].

53 Id. at p. 23.

54 SOCAN, SOCAN 2010 Financial Report: http://www.socan.calpdf/enlpub/2010FinanciaIReoort.pdf; SOCAN, SOCAN 2009 Financial Report: http://www.socan.calpdf/pub/FinanciaIReport2009.pdf.

55 John R. Kettle III, "Dancing to the Beat of a Different Drummer: Global Harmonization - And the Need for Congress to Get in Step with a Full Public Performance Right for Sound Recordings," (2000) 12 Fordham Intellectual Property, Media & Entertainment Law Journal 1041 at pp. 1049-1050.

56 SOCAN recently proposed a tariff for the streaming and downloading of audiovisual works. The decisions below effectively bar Re:Sound from proposing a similar tariff on behalf of performers and makers, thereby reinforcing the unfair and unintended asymmetry between the rights of authors/composers and performers/makers and affecting matters extending well beyond just movies and TV. See "Statement of Proposed Royalties to Be Collected by SOCAN for the Public Performance or the Communication to the Public by Telecommunication, in Canada, of Musical or Dramatico-Musical Works, 2012, Tariff 22.0. Audiovisual Webcasts" Supplement to the Canada Gazelle (28 May 201 I). - 20- protection to all creative activity, by extending remuneration rights formerly available only to authors and composers to performers and makers ofsound recordings. 57

(e) Section 19 complies with Canada's obligations under the Rome Convention

42. It is a well-established principle of statutory interpretation that "in interpreting domestic legislation, courts should strive to arrive at a construction which conforms with Canada's treaty obligations.,,58 As will be shown, the decisions below infringe this interpretive principle, while

Re:Sound's interpretation respects it.

43. The 1997 Copyright Act was intended to bring Canada into compliance with the Rome

Convention.59 As one of 91 signatories to the Rome Convention, Canada is obligated under art.

10 to establish a maker's exclusive right to authorize the reproduction of a sound recording.6o

This provision was incorporated into Canadian law by s. 18(1)(b) ofthe Copyright Act.61

44. Canada's ability to comply with art. 10 ofthe Rome Convention depends on s. 18(l)(b) of the Act, but also on a purposive interpretation of ss. 19 and 2. To ensure that record companies as "makers" of sound recordings have the exclusive right to authorize the reproduction of their sound recordings, as required by art. 10 of the Rome Convention, ss. 19 and 2 cannot be interpreted as denying the application of neighbouring rights to pre-recorded music included on

57 Statements of Susan Katz (former Acting Director General for Cultural Industries, Department of Canadian Heritage) in Evidence, Standing Committee on Canadian Heritage, Study ofBill C-32, An Act to Amend the Copyright Act (June 18, 1996) at p. 3.

58 United States ofAmerica v. Anekwu, [2009] 3 S.C.R. 3 at ~25 per Charron J.; R. v. Hape, [2007] 2 S.C.R. 292 at ~53 per LeBel J.

59 Copyright Act, s. 91(b).

60 Rome Convention, above, note 10, Article 10: [p]roducers ofphonograms shall enjoy the right to authorize or prohibit the direct or indirect reproduction oftheir phonograms."

61 Copyright Act, s. 18(1)(b): "[...] the maker of a sound recording has a copyright in the sound recording, consisting ofthe sole right to do the following in relation to the sound recording or any substantial part thereof [...] (b) to reproduce it any material form[.]" - 21 - the soundtrack of a movie, TV program, or other audiovisual work. According to paragraph 10.2 ofthe World Intellectual Property Organization (WIPO) Guide to the Rome Convention and the

Phonograms Convention, the exclusive right of reproduction covers a recording of "a radio or

TVprogram which contains a phonogram.,,62 However, if pre-recorded music appearing on the soundtrack of an audiovisual work is deemed not to be a "sound recording" for the purposes of the Copyright Act (as the decisions below held), then record companies will be powerless under the Act or otherwise to prevent the "ripping" (illegal copying) of their music from such a soundtrack, contrary to art. 10 of the Rome Convention. Parliament did not intend to authorize such piracy in breach ofthe Rome Convention.

(1) Conclusion with respect to the purposive interpretation ofs. 19

45. In sununary, the purpose of s. 19 is to fairly compensate recording artists and record companies when their music is played in public. Section 19 also achieves several other important copyright goals, including: (l) recognizing and implementing a regime of layered reproduction and performance rights in sound recordings; (2) allowing the Copyright Act to continue to apply to evolving media technology; (3) putting performers and makers ofrecorded music on an equal footing with authors and composers; and (4) bringing Canada into compliance with the Rome

Convention and thereby harmonizing Canadian and international copyright law.

5. The Purpose of Section 2 ofthe CopyrightAct

(a) To create a new, consolidated copyright in movies

46. There is no evidence that Parliament intended s. 2 of the Copyright Act to undercut the critical right to equitable remuneration in s. 19. Instead, s. 2 ofthe Copyright Act, which was also

62 World Intellectual Property Organization (WIPO), Guide to the Rome Convention and to the Phonograms Convention (Geneva: 1981) at p. 43. - 22-

added as part ofthe 1997 amendments, was intended to create a new copyright for a movie (and

other audiovisual works) as a whole, thereby consolidating the copyright in the audio and visual components of a movie, but without eliminating the rights ofperformers and makers in the pre- recorded music forming part ofa movie's soundtrack.

47. A "cinematographic work" under s. 2 of the Act is defined as "any work expressed by

any process analogous to cinematography, whether or not accompanied by a soundtrack," and thus includes not only movies but also TV programs and all other audiovisual works. As such, a movie or a TV program as a whole (including its soundtrack) is a single copyrighted "work" under the Act. This is ensured by excluding the movie's soundtrack (<

Vaver puts it simply in his text Copyright Law: "Film soundtracks are excluded from the definition [ofsound recordings]: they come under the film's copyright.,,63

48. Materially identical provisions were enacted in the United Kingdom (1956) and Australia

(1968) to ensure that movies do not attract copyright protection as both a movie and as a sound recording. This was affirmed by an authoritative interpretation ofthe High Court of Australia in

Phonographic Performance Co of Australia Ltd. v. Federation of Australian Commercial

Television Stations,64 a decision that the Federal Court of Appeal found "of no assistance" because it was allegedly "based on legislation that is fundamentally different in regard to sound

63 David Vaver, Copyright Law (Toronto, Irwin Law Inc., 2000) at p. 53.

64 Phonographic Performance Co ofAustralia Ltd. v. Federation ofAustralian Commercial Television Stations, above, note 2. - 23 - recordings and soundtracks.,,65 With respect, that is not so. The U.K., Australian, and Canadian statutory definitions are materially identical:

U.K., CopyrightAct1956 Australia, Copyright Act1968 Cauada, Copyright Act

In this Act "sound recording" 23(1) For the purposes ofthis "sound recording" means a means the aggregate ofthe Act, sounds embodied in a recording, fixed in any material sounds embodied in, and sound-track associated with form, consisting ofsounds, capable ofbeing reproduced visual images forming part ofa whether or not ofa performance by means of, a record ofany cinematographic film shall be ofa work, but excludes any description, other than a deemed not to be a sound soundtrack ofa cinematographic sound-track associated with a recording. work where it accompanies the cinematographic film[.] cinematographic work[.]

49. Far from being of "no assistance," the High Court of Australia's decision in

Phonographic Performance Co ofAustralia Ltd. is therefore a valuable persuasive authority.

There, the High Court considered whether a commercial TV station that broadcasted a movie

(and its soundtrack) entitled The Big Steal thereby also broadcasted a pre-recorded song,

"Dancing in the Storm," that was included on the movie's soundtrack. The High Court of

Australia held that it did, based on a purposive interpretation ofs. 23 ofthe Australian Copyright

Act 1968 that applies equally to s. 2 ofour Act:

As we have said, on the hearing of the appeal to this Court, it was accepted, and rightly so, that s 23(1) prevents the maker ofafilm from acquiring a separate copyright, as a sound recording, in the sound-track of the film. Debate centred upon whether the provision has anyfurther effect.

The respondent's contention was that because s 23(1) deems the sounds embodied in a sound-track not to be a sound recording, broadcasting the film does not broadcast the sound recording embodied in the sound-track. But the fact that the sound-track is not a sound recording (or as the Act has it "sounds embodied in a sound-track ... shall be deemed not to be a sound recording'? does not mean that the broadcast of a film embodying a sound recording does not broadcast that sound recording as well as the film. The broadcast of a sound recording may occur in many

65 Reasons ofthe Federal Court ofAppeal at 1)12: Appellant's Record, p. 31. - 24-

contexts. The simplest, and most obvious, is the radio or television station that plays the recording in the course of its transmission to the public. But if, in the course of a live production of a dramatic work which is broadcast by radio or television, a sound recording is broadcast, there is a broadcast of that sound recording for the purposes of s 85. No less is there a broadcast of a sound recording when a cinematographic film, the sound-track of which embodies that sound recording, is broadcast to the public. The fact that the sound-track is deemed by the Act not to be a sound recording is not to the point. The question is whether the aggregate of sounds embodied in the sound recording has been broadcast. What the Act deems not to be a sound recording is the aggregate of sounds that is recorded in a particular form: a sound-track. Usually, the aggregate of sounds recorded in the sound-track will be larger than or, in some other way, different from the aggregate of sounds that constitutes the sound recording. Broadcasting the film broadcasts the sound-track (which is not a sound recording) but it also broadcasts the aggregate ofsounds which constitutes the soundrecording. 66

50. Subsequently, in Network Ten Pty Ltd. v. TCN Channel Nine Pty Ltd., the High Court of

Australia considered whether broadcasting excerpts of an earlier TV program infringes the copyright in the earlier TV program. In considering the nature of a TV broadcast for copyright purposes, the High Court revisited and confirmed its ruling in Phonographic Performance Co of

Australia Ltd., stating as follows:

This court held inPPCA that (i) the operation of23(1) was to deny any separate copyright as a sound recording to the sounds embodied in the soundtrack which forms part of a cinematographicfilm, but (it) it did notfollow that, when a film, with its soundtrack, was broadcast, there was no infringement of copyright in earlier sound recordings (in PPCA, Of various songs) which had been reproduced in that soundtrack.6

66 Phonographic Performance Co ofAustraiia Ltd. v. Federation ofAustraiian Commercial Television Stations, above, note 2 at ~~21-22 [emphasis added].

67 Network Ten Ply Ltd. v. TCN Channel Nine Ply Ltd., above, note 2 at ~51 [emphasis added]; see also Brad Sherman and James Lahore, "Australia" in International Copyright Law and Practice, ed. Paul Edward Geller (Newark, N.J.: LexisNexis, 2008) at p. AUS-76. - 25 -

51. Thus, like the Australian and U.K. amendments, the Canadian amendments created a new, consolidated copyright in a movie as a whole, including both its audio and visual elements.

Also like the Australian and U.K. amendments, there is no indication that Parliament intended this new copyright to eliminate performers' and makers' rights in pre-recorded music on a movie's soundtrack. In short, Parliament did not intend a defmition in s. 2 of the Copyright Act to undercut the scope ofthe critical right to equitable remuneration granted under s. 19.

(b) Reconciling the English and French meaning of"soundtrack"

52. Re:Sound's interpretation of "soundtrack" as referring to only the aggregate of sounds accompanying a movie or TV show also best reconciles the English and French versions ofthe definition. Where there is a discrepancy between the English and French versions of a bilingual legislative provision, courts look for the version that captures the shared meaning of the provisions, and then assess whether that shared meaning is consistent with Parliament's intent.68

53. The French definition of sound recording in s. 2 provides that "... est exclue de la presente definition fa bande sonore d'une ceuvre cinematographique [.. .].,,69 The definite article

"la" in the French version introduces a singular entity: the aggregate soundtrack as a whole, as distinct from its constituent parts.

54. The French meaning of soundtrack thus reconciles the English and French versions of s.

2 and is consistent with Parliament's intent to preclude the holder ofa copyright in a movie from also seeking equitable remuneration for the movie's soundtrack as a sound recording.

68 R. v. Daoust, [2004] 1 S.C.R. 217 at ~~2, 26-31 per Bastarache J.; R. v. S.A.C., [2008] 2 S.C.R. 675 at ~~13-33 per Deschamps J.

69 Copyright Act, s. 2 [emphasis added]. - 26-

6. The Proper, Purposive and Harmonious Interpretation ofss. 19 and 2 ofthe CopyrightAct

55. In sunnnary, interpreted in their entire context and in their grammatical and ordinary sense, harmoniously with the scheme and object of the Copyright Act and the intent of

Parliament, the purposes ofss. 19 and 2 are as follows:

(l) Section 19 entitles recording artists and record companies to equitable

remuneration when their music is publicly performed or broadcast, be it on the

radio, in a movie, on TV, or in any other audiovisual work, with the sole

exception ofretransmissions; and

(2) Section 2 defines a "sound recording" and establishes a new copyright in movies

that consolidates a movie's audio and visual elements in order to prevent the

holder ofa copyright in a movie from also seeking equitable remuneration for the

movie's soundtrack as a "sound recording." The creation of a new, consolidated

and record companies in respect of pre-recorded music included on a movie's

soundtrack.

7. Anomalies and Absurdities Flowing From the Decisions Below

56. The decisions below also yield several absurd consequences that are contrary to the purposes ofss. 19 and 2 ofthe Copyright Act and should therefore be avoided. It is trite law that

"the legislature does not intend to produce absurd consequences."70

70 R. v. Middleton, [2009] I S.C.R. 674 at 1[40 per Fish J, citing approvingly Rizzo & Rizzo Shoes Ltd. (Re), [1998] I S.C.R. 27 at 1[21 per Iacobucci J. - 27-

(a) Technologically regressive

57. The decisions below will have far-reaching and technologically regressive implications for recording artists and record companies, who are now barred from receiving equitable remuneration for the performance oftheir music, not only in movies and on TV, but also in any other audiovisual works and audiovisual media, including recorded music disseminated over the

Internet (e.g., YouTube) and on mobile devices such as smartphones and tablet computers. The decisions below effectively deprive recording artists and record companies ofthe basic equitable right to share in the success of audiovisual media in which their music will be increasingly performed and broadcast. This absurd result contradicts this Court's directive in Robertson that the Copyright Act should continue to apply in different, technologically advanced media. 71

(b) Fails to interpret the CopyrightAetas a whole

58. The decisions below also fail to interpret ss. 19 and 2 in the context ofthe Copyright Act as a whole by ignoring how exclusions are established in the Act - expressly. The decisions below fail to account for the sole, explicit exclusion provided in s. 19 itself for retransmissions; no particular entities or media are expressly or otherwise excluded from s. 19.

59. The decisions below ignored this express exemption and read into ss. 19 and 2 a sweeping exemption' for TV, movies, and all other audiovisual media. Such an implicit exemption is contrary to how exemptions are established in the Act. As McLachlin 1. (as she then was) stated in Bishop v. Stevens, "an implied exemption to the literal meaning" of a provision ofthe Copyright Act "is all the more unlikely, in my opinion, in light ofthe detailed

71 Robertson v. Thomson Corp., above, note 15 at 1[49. - 28-

and explicit exemptions" made elsewhere in the Act. 72 According to McLachlin 1., changes of this kind to the Copyright Act "should be made by the legislature, and not by a forced interpretation. ,,73

60. The decisions below further erred by misinterpreting the English definition of soundtrack in s. 2 as including both the aggregate ofsounds and all individual constituent sounds, including pre-existing sound recordings, and by prioritizing an incorrect interpretation of the English provision rather than seeking to reconcile the English and French versions.

(d) Throws Canada out ofstep with international peers

61. The decisions below also throw Canada out ofstep with like-minded jurisdictions such as

Australia and the United Kingdom, as well as the majority of developed countries, which compensate record companies and/or recording artists when their music is played in audiovisual media. 74 Indeed, "[t]he use of performing rights societies for collective administration and licensing of public performances of musical works is a business model utilized around the world."75 The decisions below thus fail to live up to this Court's direction in Theberge v. Galerie d'art de Petit Champlain Inc., that "[i]n light of the globalization of the so-called 'cultural

72 Bishop v. Stevens, above, note 37 at pp. 480-481 [emphasis added]. See also the express exemption for commercial radio in s. 68.1 ofthe Copyright Act, discussed above, note 48.

73 Id at p. 485 [emphasis added].

74 O'Dowd, above, note 43 at p. 261: "The majority [of developed nations], including Austria, France, Germany, Japan, Spain, Sweden, Taiwan, and the United Kingdom, already have laws in place specifically according rights in the distribution of sound recordings by cable broadcasters to the owners of sound recording copyrights."

75 Kettle, above, note 55 at p. 1047. - 29-

industries', it is desirable, within the limits permitted by our own legislation, to harmonize our

interpretation ofcopyright protection with other like-minded jurisdictions."76

(e) Breaches the Rome Convention

62. As noted above, one ofthe purposes ofthe 1997 Copyright Act amendments was to bring

Canada into compliance with the Rome Convention.77 However, the decisions below cause

Canada to breach its obligation under art. 10 of the Rome Convention to establish a maker's

exclusive right to reproduce a sound recording78 (incorporated into Canadian law by s. 18(1 )(b)

of the Copyright Act) and throw Canada out of step with the 91 signatories to the Rome

Convention.79

63. If sound recordings included in movies and TV programs are not "sound recordings" for the purposes of the Copyright Act, it would not be an infringement of copyright to rip (i.e., reproduce) a sound recording from those works. The WIPO Guide to the Rome Convention makes it clear that signatories to the Rome Convention must establish a maker's exclusive right to reproduce a sound recording, and that the right must extend to the reproduction of a sound recording from an audiovisual work (e.g., by recording a TV program which contains a sound

76 Theberge v. Galerie d'art de Petit Champlain Inc., above, note 20 at ~6. The situation in the United States is more complicated. The United States, which is not a Rome Convention signatory, "is among a very few developed nations" that fail to recognize a full performance right in sound recordings. While there have been efforts over the years to provide a full performance right for musical performances, "furious lobbying" by broadcasters has so far prevented this from happening. Nevertheless, the United States does appear to be moving towards a more robust right in respect of the public performance and broadcast of recorded music, through a performance right in digital audio transmissions, which will only increase in importance as more music is played in digital media. See Gary M. McLaughlin, "Digital Killed the Radio Star: the Future of the Sound Recording Performance Right," (2001) 19:2 Cardozo Arts & Entertainment Law Journal 225 at pp. 225 226,230-233.

77 Above, paragraph 43.

78 Rome Convention, above, note 10, Article 10: "[p]roducers ofphonograms shall enjoy the right to authorize or prohibit the direct or indirect reproduction oftheir phonograms."

79 See above, notes 59-62. - 30- recording).so Canada has recognized a maker's exclusive right to reproduce a sound recording in s. 18(1)(b) of the Copyright Act. If the decision of the Federal Court of Appeal stands, that reproduction right would not allow a maker to prevent the reproduction ofa sound recording that is part of a movie or TV program. Canada would therefore be in breach of its obligation under art. 10 of the Rome Convention. In amending the Copyright Act in 1997, Parliament intended

Canada to comply with the Rome Convention, not to breach it.

64. The Federal Court ofAppeal responded to this argument with two points. First, the Court held that once a pre-existing sound recording is extracted from a soundtrack accompanying a movie or TV program, "it again attracts the protections offered performers and makers under the

Act for stand-alone sound recordings."Sl The neighbouring right is, in effect, "born again". Apart from its metaphysical basis, the Court's response fails to recognize that a sound recording illegally copied or ripped from a movie or TV soundtrack does not once again enjoy the

Copyright Act's protections for sound recordings: for the Court, a sound recording ripped from the movie or TV show was never a "sound recording" in the first place, because it accompanied a cinematographic work. If it never was a sound recording, it cannot be "re-born" as one.

Nothing can come from nothing.

65. In any event, whether or not a sound recording ripped from a movie is "re-born" as a

"sound recording" under the Act does not respond to the absurdity that, by virtue ofthe Court's decision, record companies cannot prevent the initial ripping ofthe recording.

80 WIPO Guide to the Rome Convention and to the Phonograms Convention, above, note 62, at ~I 0.2.

81 Reasons ofthe Federal Court ofAppeal at ~I I: Appellant's Record, p. 3I. - 31 -

66. Second, the Court observed that the Rome Convention defines "phonograms" protected under art. 10 as exclusively aural fixations of sounds, such that art. 10 would not app1y.82 But a ripped sound recording subsequently reproduced without authorization may be simply an aural fixation - because the music alone can be ripped, the illegal copy need not be audiovisual. Thus, art. 10 ofthe Rome Convention would apply, but is breached by virtue ofthe Court's decision.

67. A further absurdity flowing from the decisions below is that the "re-born" sound recording ripped from a movie or TV program would actually attract copyright. The maker ofthe

"re-bom" recording, and the owner of that copyright, would be the pirate who ripped the 83 recording. Thus, only the pirate would be able to prevent the subsequent reproduction of the

"re-born" recording. Parliament cannot have intended this absurd result.

(1) Compromises Canadian recording artists' and record companies' international reciprocal equitable remuneration rights

68. The decisions below also compromise Canadian recording artists' and record companies' reciprocal rights in foreign jurisdictions under foreign law. Many Rome Convention states, including Canada,84 make royalty payments in respect of neighbouring rights only if there are reciprocal rights in those artists' and record companies' home countries. If Canada does not recognize a right to equitable remuneration under its law, foreign states have no obligation to provide Canadian artists with equitable remuneration, even if otherwise provided for under their copyright law. International reciprocity will be lost.

82 Reasons ofthe Federal Court ofAppeal at '113: Appellant's Record, p. 31.

83 Copyright Act, 55.2 (definition of"maker") and 18(I)(b).

84 Copyright Act, s. 20(I)(b). - 32-

69. For example, while countries like Austria, France, Germany, Japan, Spain, Sweden,

Taiwan, and the United Kingdom (among others) all provide equitable remuneration for broadcasting on TV channels,85 the decisions below will cause both Canadian and international performers to lose out on significant royalties that could otherwise have been exchanged under reciprocal agreements with these countries. The decisions below thus put Canadian law behind the majority of developed nations and deprive Canadian performers offair compensation for the success oftheir music abroad.86

(g) Confuses and conflates distinct layered rights

70. The decisions below also erred in accepting the Respondents' argument that the above, proper interpretation of ss. 19 and 2 ofthe Act would countenance "double-dipping", by granting recording artists and record companies the right to be paid twice for the same use: once through payments under ss. 15(1), 17(2), and 18 of the Act, and again through equitable remuneration royalties under s. 19.87

71. With respect, the Respondents' suggestion is wrong: it confuses and conflates distinct layered rights established by Parliament and ignores the principle that when Parliament creates distinct rights under the Copyright Act, "each ofthese rights should command a separate price.,,88

85 O'Dowd, above, note 43 at p. 261.

86 For example, in 2005 SOCAN distributed $42 million in royalties collected from foreign performing rights performing rights organizations, representing 23% ofthe total royalties distributed by SOCAN: SOCAN, How your Music Makes Money... Internationaily, online: http://www.socan.ca/pdf/en/pub/pub HowYourMusic MakesMoneylntemational.pdfat p. 2.

87 Reasons of Federal Court ofAppeal at 1)9: Appeilant's Record, p. 31; Reasons ofthe Copyright Board at 1)1)32 33: Appeilant's Record, pp. 19-20.

88 ReasonsJar the decision certifYing NRCC Tariff3 with respect to the use and supply ojbackground musicJar the years 2003-2009 (20 October 2006), Copyright Board ofCanada at 1)114. - 33 -

72. Section 19 is performers' and makers' only right to compensation for the peiformance of sound recordings. The contractual rights noted by the Copyright Board89 below apply only to makers' reproduction rights in sound recordings, and to performers' performance rights in unfIXed performances (which are not sound recordings). Unfixed performances include a wide variety of live performances, such as live musical performances, dance recitals, literary readings, buskers' street performances, and so forth.

73. To properly interpret the distinct layered rights established by Parliament in respect of sound recordings, ss. 15(1), 17(2), 18, and 19 must be read together and in the context ofthe Act as a whole:

• Section 17(2), in conjunction with s. 15(1), refers to performers' contractual rights to

"front-end" compensation for the peiformance of music not "fIXed in any material

form" and the unauthorized reproduction offlXed sound recordings (i.e., those "fixed in

any material form").

• Section 18 refers to makers' contractual rights to "front-end" compensation for the

reproduction offIXed sound recordings.

• Section 19, by contrast, entitles performers and makers to equitable "back-end"

remuneration for the peiformance offIXed sound recordings. Unlike the front-end

payments made under ss. 15(1), 17(2), and 18, this is a variable form of payment tied

directly to the subsequent success of the works and media that use recorded music,

allowing performers and makers to share fairly in that success.

89 Reasons ofthe Copyright Board at 1[1[32-33; Appellant's Record, pp. 19-20. - 34-

74. To summarize these distinct layered rights and their corresponding payment entitlements:

Music . s, 17(2) s.18 s.19 Performance .,

. Unfixed Performers can get Performers and Makers get Performers and Makers get performance contractual "front-end" nothing nothing compensation for live performance

Makers get nothing Fixed Performers can get Makers can get Performers and Makers get as a sound contractual "front-end" contractual "front-end" equitable "back-end" recording compensation for compensation for remuneration for unauthorized reproductions reproduction performance

Makers get nothing Performers get nothing

75. Thus, equitable back-end payments under s. 19 for the performance of sound recordings do not duplicate contractual front-end payments for either the unfixed performance of music or the reproduction of fixed sound recordings. There is no "double-dipping," but rather distinct payments for distinct layered rights.

(h) Entrenches unwarranted inequality between the rights ofperformers/makers and authors/composers

76. While the decisions below expressed a concern that Re:Sound's interpretation of ss. 19 and 2 would lead to "double-dipping" by recording artists and record companies, they did not appear troubled by the fact that authors and composers are already entitled to "double-dip." Why

(one might ask) is it double-dipping ifCeline Dion is paid under s. 19 when her song is played in the movie Titanic, but not double-dipping when the song's author, James Horner, is paid (as he is in fact paid) at both the front-end (for reproduction) and the back-end (for performance) when the song is played in the movie? - 35-

77. The only way to reconcile this double-standard on double-dipping is to suppose that

Parliament intended to discriminate in favour ofauthors like Mr. Horner over performers like Ms

Dion. But Parliament's intention was just the opposite. Parliament introduced s. 19 to put

"performers [and record companies] on a similar footing as composers, lyricists and music publishers,,,9o as indeed the Copyright Board itselfhas found elsewhere.91

(i) Rental rights are not in issue

78. The Copyright Board below also seemed preoccupied with another far-fetched hypothetical - that recording artists and record companies could effectively veto movie rentals if pre-existing sound recordings included on movie soundtracks merit neighbouring rights.92 This misplaced preoccupation confirms that the Board failed to interpret the Copyright Act as a regime of layered rights. Section 15(1)(c) grants recording artists the exclusive right to rent out sound recordings in which an artist's performance is fixed, while s. 18(1)(c) grants record companies the exclusive right to rent out their sound recordings. Neither of these neighbouring rights applies to a movie or a TV program whose soundtrack includes a pre-existing sound recording. This is because movies and TV programs are "cinematographic works" protected by copyright under s. 3; they are not "sound recordings" that attract the Act's neighbouring rights.

90 Ludlow and Le Blanc, above, note 50 at p. 98 [emphasis added].

91 Reasonsfor the decision certifYing the tarifffor pay audio servicesfor the years 1997 to 2002, above, note 47 at p.4.

92 Reasons ofthe Copyright Board at ~29; Appellant's Record, pp. 17-18. - 36-

8. Conclusion

79. The clear purpose of s. 19 ofthe Copyright Act is to fairly compensate recording artists and record companies when their music is played on the radio, in movies, TV programs, and other audiovisual works, and in a host of public spaces, with the sole exception of retransmissions.

80. Nothing in s. 2 of the Act undercuts this clear purpose. The purpose of excluding a movie's soundtrack from the definition of "sound recording" in s. 2 is to consolidate the audio and visual elements of the copyright in movies (and other audiovisual works), and thereby prevent movie copyright owners from seeking compensation for both the movie as a

"cinematographic work" under s. 3 and the movie's soundtrack as a "sound recording" under s.

19. There is absolutely no evidence that Parliament intended s. 2 to confiscate the broad equitable remuneration rights granted by s. 19.

81. In Canada, as elsewhere, most musicians are not stars like Ms Dion. A recent survey found that the average income of Canadian musicians was $16,491, with nearly two-thirds of

Canadian musicians working multiple jobs to make ends meet.93 Interpreted in this context, s.

19's purpose to fairly compensate recording artists and record companies rings out.

82. The decisions below, by contrast, yield anomalous and absurd results inconsistent with the purposes ofss. 19 and 2 and the Copyright Act as a whole.

93 Hyatt, above, note 45 at pp. ii, 11, 14. - 37-

83. In sum, this appeal presents the following competing visions regarding the proper

interpretation ofss. 19 and 2 ofthe Copyright Act:

Re:Sound's Interpretation of The Decisions Below Sections 19 & 2

• Technologically progressive • Technologically regressive

• Consistent with the Copyright Actas a • Inconsistent with the Copyright Actas a whole whole . • Reconciles the English and French • Prioritizes an incorrect English meanings of"soundtrack" in s. 2 interpretation of"soundtrack" in s. 2 over the French version • Harmonizes international copyrightlaw • TbTows. Canada out ofstep with international peers

• Complies with the Rome Convention • Breaches the Rome Convention

• Safeguards perfonners' and Il)akers' • Compromises perfonners' and makers' reciprocal equitable remuneration vighls in reciprocal eqUitable remuneration rights in otherjurisdictions other jurisdictions • Recognizes and implements the layering of • Confuses and conflates distinct front-end distinct front-end contractual rights and contractual rights and back-end equitable back-end equitable perfonnance rights performance rights • Ensures equality ofperfonners' and • Entrenches inequality between the rights of makers' rights with the rights ofauthors perfonners and makers 'and the rights of and composers for the same uses ofthe authors and composers for the same uses of same music the same music

84. Because absurd interpretations that defeat Parliament's purpose should be avoided,

Re:Sound respectfully submits that this appeal should be allowed. - 38-

PART IV - SUBMISSIONS ON COSTS

85. Re:Sound respectfully requests costs here and before the Federal Court ofAppeal.

PART V- ORDER SOUGHT

86. Re:Sound respectfully requests an order:

(a) allowing this appeal;

(b) declaring that recording artists and record companies are entitled to equitable

remuneration under s. 19 of the Copyright Act when their music is played in

movies and on TV, just as they are compensated under s. 19 when their music is

played in the radio;

Canada Gazette, Part I, on May 31, 2008;

(d) remanding the matter back to the Copyright Board to set appropriate royalties for

Tariffs 7 and 9; and

(e) such further relief as counsel may advise and this Honourable Court permit. - 39-

All ofwhich is respectfully submitted,

th October 19 , 2011 ~. Mahniud Jamal

Glen Bloom

Marcus Klee

Jason MacLean

Osler, Hoskin & Harcourt LLP, Counsel for Re:Sound PART VI - LIST OF AUTHORITIES

Cases Paragraph referred to

Astral Media Radio Inc. v. Society ofComposers, Authors andMusic Publishers of 30 Canada, 2010 FCA 16

Bishop v. Stevens, [1990] 2 S.C.R. 467 31,59

Canadian Cable Television Assn. v. Canada (Copyright Board), [1993] 2 FC 138 38

Edwards v. Canada (Attorney General), [1930] 1 D.L.R. 98 34

Neighbouring Rights Collective ofCanada v. Society ofComposers, Authors and 30 Music Publishers ofCanada, 2003 FCA 302

Network Ten Pty Ltd. v. TCN Channel Nine Pty Ltd., [2004] HCA 14 8,50

Phonographic Performance Co of Australia Ltd. v. Federation of Australian 8, 48-49 Commercial Television Stations, [1998] HCA 39

R. v. Ahmad, [2011] 1 S.C.R. 110 23

R. v. Daoust, [2004] 1 S.C.R. 217 52

R. v. Hape, [2007] 2 S.C.R. 292 42

R. v. Middleton, [2009] 1 S.C.R. 674 56

R. v. S.A.C., [2008] 2 S.C.R. 675 52

Reasons for the decision certifYing NRCC Tariff 1.A (Commercial Radio) for the 13,27,39 years 1998 to 2002 (13 August 1999), Copyright Board ofCanada

Reasons for the decision certifYing NRCC Tariff 3 with respect to the use and 71 supply of background music for the years 2003-2009 (20 October 2006), Copyright Board ofCanada

Reasons for the decision certifj;ing Tariff2.A ofSOCAN's Statement ofRoyalties 31 for the years 1994 to 1997 (30 January 1998), Copyright Board ofCanada

Reasons for the decision certifYing Tariff6 ofSOCAN's Statement ofRoyalties for 17 the years 1992-1998 (1 December 1995), Copyright Board ofCanada

Reasons for the decision certifYing the tarifffor pay audio services for the years 36, 39, 77 1997 to 2002 (15 March 2002), Copyright Board ofCanada -2-

Cases Paragraph referred to

Reasons for the decision certifying the tarifft in respect ofcommercial radio for 36 the years 2003 to 2007 (22 February 2008), Copyright Board ofCanada

Report to the Minister ofConsumer and Corporate Affairs for the Year 1989 (14 17 December 1988), Copyright Appeal Board

Re:Sound Tariff 6.A - Use ofRecorded Music to Accompany Dance, 2008-2012 36 (15 July 2011), Copyright Board ofCanada

Rizzo & Rizzo Shoes Ltd. (Re), [1998] 1 S.C.R.27 23,56

Robertson v. Thomson Corp., [2006] 2 S.C.R. 363 22,31,34, 57

Sirius Canada Inc. v. CMRRlSODRAC Inc., 2010 FCA 348 20

Society ofComposers, Authors and Music Publishers ofCanada v. Canadian Assn. 20, 34 ofInternet Providers, [2004] 2 S.c.R. 427

Stichting ter Exploitatie van Naburige Rechten (SENA) v. Nederlandse Omroep 29 Stichting (NOS) (6 February 2003), Case C-245/00 (European Court ofJustice)

Theberge v. Galerie d'art de Petit Champlain Inc., [2002] 2 S.C.R. 336 26,61

United States ofAmerica v. Anekwu, [2009] 3 S.C.R. 3 42

Texts Paragraph referred to

David Brennan, "What is Equitable Remuneration for Intellectual Property Use?" 27 paper prepared for a seminar held at the Oxford Intellectual Property Research Centre (25 January 2005)

E.A. Driedger, Construction ofStatutes 2nd ed. (Toronto: Butterworths, 1983) 23

Daniel J. Gervais, "Collective Management of Copyright and Neighbouring 21 Rights in Canada: An International Perspective" (2002) I Can. J. of Law & Tech. 21

Ysolde Gendreau and David Vaver, "Canada" in International Copyright Law 27 andPractice, ed. Paul Edward Geller (Newark, N.J.: LexisNexis, 2008)

"Note: Jazz Has Got Copyright Law and that Ain't Good," (2005) 118 Harvard 22 Law Review 1940 - 3 -

Texts Paragraph referred to

Douglas Hyatt, An Overview of the Financial Impact of the Canadian Music 26,81 Industry (Toronto: May, 2008)

Statements ofSusan Katz (former Acting Director General for Cultural Industries, 41 Department of Canadian Heritage) in Evidence, Standing Committee on Canadian Heritage, Study ofBill C-32, An Act to Amendthe Copyright Act (18 June 1996)

John R. Kettle III, "Dancing to the Beat of a Different Drummer: Global 40, 61 Harmonization - And the Need for Congress to Get in Step with a Full Public Performance Right for Sound Recordings," (2000) 12 Fordham Intellectual Property, Media & Entertainment Law Journal 1041

Martin Kretschmer, "Artist's Earnings and Copyright: A Review of British and 35-36 German Music Industry Data in the Context of Digital Technologies," (2005) 10: I First Monday: Peer-Reviewed Joumal on the Internet

Lawrence Lessig, Remix: Making Art and Commerce Thrive in the Hybrid 28, 29, 35 Economy (New York: The Penguin Press, 2008)

Delia Lipszyc, Copyright and Neighbouring Rights (Paris: UNESCO, 1999) 28-29

Gregory C. Ludlow and Mark A. Le Blanc, "Survey ofIntellectual Property Law: 39,77 Part V: Copyright and Industrial Designs," (2000) 21 Ottawa Law Review 93

Stefan Martin, "Remuneration equitable: l'equite pour qui? Reflexion sur la 30 philosophie du droit d'auteur au Canada," in Copyright: Administrative Institutions, ed. by Ysolde Gendreau (Montreal: Editions Yvon Blais, 2002)

John S. McKeown, Fox Canadian Law ofCopyright and Industrial Designs, 4th 33 ed. (Toronto: Carswell, 2009)

Gary M. McLaughlin, "Digital Killed the Radio Star: the Future of the Sound 61 Recording Performance Right", (2001) 19:2 Cardozo Arts & Entertainment Law Joumal225

Malcolm E. McLeod, "Recent Copyright Developments: The Canadian 27 Perspective" (1998) 15 Canadian Intellectual Property Review 39

Wanda Noel and Louis B.Z. Davis, "Some Constitutional Considerations III 34 Canadian Copyright Law Revision" [1981] 54 C.P.R. (2d) 17

William H. O'Dowd, "Note: The Need for a Public Performance Right in Sound 35,61,69 Recordings" (1994) 31 Harvard Joumal on Legislation 249

Valuing the use of recorded music, PricewaterhouseCoopers (Australia, July 21,29-30 2008) -4-

Texts Paragraph referred to

Paul Sanderson, Musicians and the Law in Canada, 3rd ed. (Toronto: Carswell, 28 2000)

Brad Sherman and James Lahore, "Australia" in International Copyright Law and 50 Practice, ed. Paul Edward Geller (Newark, N.J.: LexisNexis, 2008)

SOCAN, SaCAN 2009 Financial Report: http://www.socan.ca/pdf/pub/ 36,40 FinancialReport2009.pdf

SOCAN, SaCAN2010 Financial Report: http://www.socan.ca/pdf/en/pub 36,40 /201OFinancialReport.pdf

SOCAN, How your Music Makes Money... Internationally: 69 http://www.socan.ca/pdf/en/pub/pub HowYourMusicMakesMoneylntemational. ru!f "Statement of Proposed Royalties to Be Collected by SOCAN for the Public 40 Performance or the Communication to the Public by Telecommunication, in Canada, ofMusical or Dramatico-Musica1 Works, 2012, Tariff 22.D. Audiovisual Webcasts" Supplement to the Canada Gazette (28 May 2011)

Ruth Sullivan, Statutory Interpretation, 2nd ed. (Toronto: Irwin Law Inc., 2007) 24

Ruth Towse, "Copyright and the Cultural Industries: Incentives and Earnings," 28-29 paper presented to the Korea Infomedia Lawyers Association in Seoul, Korea (30 October 2000)

David Vaver, Copyright Law (Toronto, Irwin Law Inc., 2000) 47

World Intellectual Property Organization (WIPO), Guide to the Rome Convention 43-44,63 and to the Phonograms Convention (Geneva: 1981)

Legislation Paragraph referred to

An Actto amend the Copyright Act, S.c. 1997, c. 24 26 - 5 -

Legislation Paragraph referred to

Copyright Act, R.S.C. 1985, c. C-42 1-10, 12-15, 18-20,22, 25-26,30 31,33-35, 37-39,41, 43-48,51 56,58-60, 62-64,70, 72-83

International Convention for the Protection of Performers, Producers of 10, 19,43 Phonograms and Broadcasting Organizations, Done at Rome on October 26, 45,62-63, 1961 (Rome Convention) 66,68,83 PART VII-RELEVANT STATUTORY PROVISIONS 2

CANADA

CONSOLIDATION CODIFICATION

R.S.C., 1985, c. C-42 L.RC., 1985, ch. C-42

Current to September 21, 20 II Ajour au 21 septembre 2011

Last amended on December 12.2005 Demiere modification Ie 12 dtkembre 2005

Published by the Minister ofJustice at the following address: Public par Ie ministre de In Justice ill'adresse suivante : http://laws-Iois.justice.gc.ea http://lois-Iaws.justice.gc.ca 4

OFFICIAL STATUS CARACTERE OFFICIEL OF CONSOLIDATIONS DES CODIFICATIONS

Subsections 31(1) and (2) of the Legis/alion Les paragraphes 31(1) et (2) de la Loi sur /a Revisio11 and Consolidation Act. in force on revision ella codification des lexles IegislaTijs. June 1, 2009, provide as follows: en vigueur Ie ler juiu 2009, prevoiellt ce qui suit:

Published 31. (1) Every copy of a consolidated statute or 31. (1) Tout exemplaire d'une loi codifiee ou d'uo Codific1ltiou~ consolidarion is consolidated regulation published by Ihe Minister reglement cowtic, public par Ie ministre en vertu de conUDe element e\'idence under this Act in either prinl or e1ectr(lIlic foml is ev la presente loi sur support papier au sur support (Hee de preuve idence ofthat stalute or regulation and of its content') lronique, fait roi de cette loi ou de ce reglemenl et de and every copy purporting to be published by the son conteuu. Tout exemplaire donne comme public Minister is deenled to be so puhlished. unless the par Ie ministre est repute avoir ete sinsi public, sauf contrary is shown, preuve contraire. hlcon~isto:ncies (2) In lite event of an inconsistency bcl\vcen a (2) Les dispositions de 1a loi d'origine avec ses Illcompalibilite in ACIS consolidated statute published by the Minister under modifications subsequentes par Ie greffier des Parle ~lois this Act and the original statute or a subsequent ments en vertu de In Loi sur 10 publicatio11 des lois amendment as certified by the Clerk of the Parlia l'emportent sur les dispositions incompatibles de In ments under the Publication ofStalllle~' .1<:1. !he orig loi codifiee publiee par Ie ministre en verrn de la pre inal statute or amendment prevails to the extent of sente loi, the inconsistency,

NOTE NOTE

This consolidation is current to September 21, 2011. Cette codification est it jour au 21 septembre 2011. The last amendments came into t"nce on Decem Les demieres modifications sont entrees en vigueur ber 12, 2005. Any amendments that were not in Ie 12 decembre 2005. Toutes modifications qui force as ofSeptember 21, 2011 are set out at the end n'etaient pas en vigueur au 21 septembre 2011 sont of this document under the heading "Amendments enoncees a Ia fin de ce document sous Ie titre « Mod Not in Force", ifications non en vigueur ». 5

R.S.c., 1985, c. C-42 L.R.c., 1985, ch. C-42

An Act respecting copyright Lei concernant Ie droit d'auteur

SHORT TITLE TITRE ABREGE

Shorllille I. This Act may be cited as the Copyright 1. Loi sur Ie droit d 'all/eur. Titre llbrege Aer. S.R.. eh. C-30, art. 1. R.S .• c. C-.lO, s. I.

INTERPRETATION DEFINITIONS ET DISPOSITIONS INTERPRETATIVES

Definitiolls 2. In this Act, 2. Les definitions qui suivent s'appliquent a Definitions Ia presente loi. "on:liitecnll'o! "architectural work" means any building or work" stmcture or any model of a building or stmc «accessible sur Ie l11arche» S'entend. en ce qui '( /Iccessible stu' ture; cOllceme une ceuvre ou de tout autre objet du '\'ommcrdalo' "architectural work of art" [Repcaled, 1993. c. oroit d'auteur available" 44, s. 53] (1) qu'iI est possible de se procurer, au Canada, it un prix et dans un delai raison~ "artislic work" Hartistic work" includes pamtmgs, drawings, (oU/vre maps, charts, plans, photographs, engravings, nables, et de trouver moyemlant des efforts arf;s/iqlllJ I> raisonl1ables; sculptures, works of artistic craftsmanship. ar chitecttlral works, and compilations of artistic b) pour lequel il est possible d'obtenir, a un works; prix et dans 1.111 delai raisonnables et moyen nant des eftarts raisonnables, une licence DC "Deme uBeme Convention country" means a country troyee par une societe de gestion pour la re COI\\'elltion that is a party to the Convention for the Protec COllllli)'" production. I'execution en public ou la "po)'$ panic Q tion of Literary and Artistic Works concluded communication au public par teleconununi la CanwIlIian de at Berne on September 9. 1886, or anyone of Benlc» cation, selon Ie cas. its revisions. including the Paris Act of 1971; «appareil recepteuc» [Abregee, 1993. ch. 44, "Board" "Board" means the Copyright Board estab art. 79] .. Commissioll » lished by subsection 66( I); «artiste interprete» [Abregoe, 1997, ch. 24, art. "book" «book" means a volume or a part or division of I] " livre •• a volume. in printed Conn, but does not include «artiste~interprete» Tout artiste-interprete ou HIlrtiste (0) a pamphlet, executant. intervrete» French wrsion (b) a newspaper, review, magazine or other ani}' periodical, «bibliotheque. musee ou service d'archives» (f bibliotliequc, (c) a map, chart. plan or sheet music where S'entend: lUusec ou sen'ice the map, chart, plan or sheet music is sepa d'orchi\'cs >l a) cl'UD etablissement dote ou nOll de la per rately published, and "library', archive sOImalite morale qui: ormllseul/I" (i) d'une part, ll'est pas constitue ou ad ministre pour realiser des protits. ni ne fait 6

(d) an instruction or repair nlanual that ac~ partie d'UD organisme constitue ou admi companies a product or that is supplied as an nistre pour realiser des protits, ni n'est ad accessory to a service; ministre ou contrale directement ou indi rectement par un tel organisme, .. t'roadca~ler" «broadcaster" means a body that, in the course « radiodiff/l .fcur,> ofoperating a broadcasting undertaking, broad (ii) d'autre part, rassemble et gere des col casts a cOllullunication signal in accordance lections de documents ou d'objets qui sout with the law of the country in which the broad accessibles au public ou aux chercheurs; casting undertaking is carried on, but excludes b) de tout autre etablissement a but non lu a body whose primary activity in relation to cratifvise par reglement. communication signals is their retransmission; «Commission» La Commission du droit d'au ,I COlluuission » "clioreogIHphic "choreographic work" includes any work of leur constituee au titre du paragraphe 66(1). "Board' work" choreography, whether or not it has any story c

2 7

Droit d'auteur- 21 septembre 2011

(c) any work written in distinct parts by dit~ (< deticience perceptuelle)} Deticience qui em " dl!fici~ce ferent authors, or in which works or parts of peche In lecture au I'ecoute d'tme reuvre litte percepluelle II "pcrcepma/ works ofdifferent authors are incOIporated; raire, dramatique, musicale ou artistique sur Ie disobi/iTi' support original ou la rend ditlicile, en raison "commercially "commercially available" means, in relation to notamment : available" a work or other subject-matter, ',acce.rsibJe sur /emQrchc» a) de la privation en tout au en grande partie (0) available on the Canadian market within du sens de I'oule ou de la ,rue ou de I'incapa a reasonable time and for a reasonable price cite d'orienter Ie regard; and may be located with reasonable effort, or b) de l'incapacite de tenir ou de manipuler (b) for which a licence to reproduce, per un livre; form in public or communicate to the public by telecommunication is available from a c) d'tme insuffisallce relative it Ia compre collective society within a reasonable time hension. and for a reasonable price and may be locat «distributeur exclusif» S'entend, en ce qui « di.~lriblllellr ed with reasonable effort; conceme un livre, de toute personne qui remplit exclusif» "eJ."('Tusive "cQJnmunicntion "communication signal" means radio waves les conditions suivantes: disTribllto,." sigl1.,I~ transmitted through space without any artiJicial «signa/de 0) Ie titulaire du droit d'auteur sur Ie livre au ('ommll"ica guide, for reception by the public; 'ian» Canada ou Ie titulaire d'une licence exclu sive au Canada s'y rapport8nt lui a accorde. "compilntion" "cOlnpilation" means "compilation» avant ou apres l'entree en vigueur de la pre (a) a work resulting from the selection or ar sente definition, par ecrit, la qualite d'unique rangement of literary, dramatic, musical or distributeur pour tout au partie du Canada ou artistic works or ofparts thereof, or d'unique distributeur pour un secteur du marche pour tout ou partie du Canada; (b) a work resulting from the selection or ar rangement ofdata; b) elle repond aux criteres fixes par regle ment pris en vertu de I'article 2.6, "computer "computer program" means a set ofinstructions progmUl" or statements, expressed, fixed, embodied or II est entendu qu'une persOime ne peut etre dis "programme d'ordinarCI/,.l. stored in any 11181U1er, that is to be used directly tributeur exclusif au sens de la presente defini or indirectly in a computer in order to bring tion si aucun reglement n'est pris en verhl de about a specific result; ('article 2.6.

"copyriglll" "copyright" means the rights described in «droit d'auteur» S'entend du droit vise: "droit "droit d'l'IuteurIJ ,1"alltellr •• (0) section 3. in the case ofa work, a) dans Ie cas d'une reuvre, it I'article 3; "cap.l'right"' (b) sections 15 and 26, in lbe case of a per b) dans Ie cas d'ulle prestation. nux articles former's performance, 15 et 26; (c) section 18, in the case ofa sound record c) dans Ie cas d'un enregistrement sonare, a ing. or I'article 18; (d) section 21. in the case of a communica d) dans Ie cas d'un signal de communica· tion signal; tion, a!'article 21.

"C01U1lry" "country" includes any territory; «droits moraUX» Les droits vises au paragraphe (. droils "pays)' /4.1(1). monlUX,' "mora/rigTlls" "'defeudant" "defendant" inclndes a respondent to an appli Version anglaise cation; «enregistrement sonore» Enregistrement 'I enregistrement sCIf!eme/f1 constitue de sons provenant ou non de I'execu sonore ., "so/lIId "delivery" [Repealed, 1997, c. 24, s. I] tion d'une ceuvre et fixes sur un support mate· ,./!:('ording·'

"dramatic work" "dramatic work" includes riel quelconque; est exclue de hi presente defi « (z/rYl"C nition la bande sonore d'nne ceuvre dromatique •• (0) any piece for recitation, choreographic cinematographique lorsqu'eIle accompagne work or mime, the scenic arrangement or celle-ci.

3 8

Copyrighl-September 2J. 20Il

acting foml of which is tixed in writing or «etablissement d'enseigllemCllt»: « elablissemelll otherwise, tl'ensei$ue a) Etablissement sans but lucratif agree nux meDl" "edl/c

"engravings" "engravings" includes etchings, lithographs, «livre» Tout volume ou toute partie ou divi « livre I' "g,.ovllre I. woodcuts. prints and other similar works, not sion d'un volume presentes sous forme impri "book" being photographs; rnee, aI'exclusion: ·'e...·el)' orip:innl "every original literary, dramatic, musical and a) des brochures; liternJY, artistic work" includes every original produc dml1lo·tic, b) des joumaux, revues, magazines et autres mmicnl alld tion in the literary, scientific or artistic domain, artistic w(lrk" whatever may be the mode or form of its ex periodiques; « tOllte IZIII'fe Iitlcraire, pression, such as compilations, books, pam c) des feuilles de musique, cartes, gra~ dl'omo/ique, phlets and other writings, lectures, dflllllatic or phiques ou plans, s'ils sont publies separe mll"~icale 01/ m"listiqlle dramatico-musical works, musical works, ment; originaTe» translations, illustrations, sketches and plastic d) des manuels d'instruction ou d'entretiell works relative to geography, topography, archi qui accompagnent un produit ou sont foumis tecture or science; avec des services. ..exclusi....e "exclusive distributor" means. in relation to a dislriblllor"

Canada or any part ofCanada in respect of «ministre» Sauf it l'article 44.1. Ie ministre de (( minislre f) a particular sector ofthe market, and l'Industrie. ",lfinislm;' (b) meets the criteria established by regula tions made under section 2.6,

4 9

Droir d'auteur - 21 seprembre 2011

and, for greater certainty, ifthere are no regula «ceuvre» Est assimile a une reuvre Ie titre de «a:U\Te» tions made under section 2,6. then no person l'ceuvre lorsque celui-ci est original et distinc "work" qualifies under this detinition as an "exclusive tif. distributor"; «reuvre architecturale» Tout bdtiment au edi· II a:U\Te "Her Majesty's Realms and Territories" [Re IIlchitecnJrale I) fice au tout modele ou maquette de batiment au "architecf/ll'ol pealed, 1997, c. 24, s. I] d'edifice. work"

·'infdu£l.iutt:" "infringing" means «reuvre artistique» Sont compris panni les \1 a:Ulile .. C'on/refafrm \I reuvres artistiques les peintures, dessills, sculp llrtistiqlle II (a) in relation to a work in which copyright "(Irtistk work" subsists, any copy, including any colourable tures, ceuvres architecturales, gravures ou pho w imitation, made or dealt with in contraven tographies, les renvres artistiques dues ades ar tion ofthis Act, tisans ainsi que les graphiques, cartes, plans et compilations d'ceuvres artistiques. (b) in relation to a perfonner's perfonnance in respect of which copyright subsists, any «ceuvre choregraphique» S'entend de toute I' o:uvre choregrapllique tixation or copy of a fixation of it made or chon!graphie, que l'ceuvre ait ou non un sujet. "choreographic dealt with in contravention ofthis Act, work"

(c) in relation to a sound recording in re «reuvre cinematographique» Y est assimilee I, oeU\Te spect of which copyright subsists, any copy toute reuvre exprimee par un procede analogue cinewRtogra phique ,. of it made or dealt with in contravention of a In cinematographie, qu'elle soit accompagnee "cinematograph this Act, or ou non d'une bande sonore. ic work"

(d) in relation to a communication signal in «ceuvre cn!ee en collaboration»

«ceuvre dramatique» Y sont assimilees Ies I( (eIl\T

5 10

Copyrighl- Seplember 21, 2011

"liteHiry work" "literary work" includes tables, computer pro revisees, notarnment celie de l'Acte de Paris de «aUI're grams. and compilations ofliterary works; 1971. liltJraire >J

"make,'" "maker" means «pays partie it la Convention de Rome» Pays « PIlYs partie ia III «prQduetcl/l' " partie ala Convention internationale sur la pro COllvention dt: (0) in relation to a cinematographic work, Rotnt:lt tection des artistes interpretes ou executants, ·'Rome the person by whom the arrangements neces.. des producteurs d'enregistrements sonores et Com'en/ion COlli/h)'" sary for the making of the work are under des organismes de radiodiffusion, conclue is taken, or Rome Ie 26 octobre 1961. (b) in relation to a sound recording, the per « pays partie is la Convention universelle» Pays "pD)'S partie 8 10 son by whom the arrangements necessary for partie a Ia Convention universelle sur Ie droit Con\"enliOll the t1rst fixation of the sounds are undertak- uwverselle » d'auteur, adoptee a Geneve (Suisse) Ie 6 sep "uee counll,·'· en; lcmbre 1952, au dans sa version revisee il Paris "Minister" "Minister", except in section 44.1, mean~ the (France) Ie 24 juillet 1971. (. ministre" Minister ofIndustry; «pays signataire» Pays partie ala Convention

«photographie» Y sont assimitees les photoli "phototu"llphie I, "musical work" "musical work" means any work of music or ·'photog,./Jph·' " a'/lvl'e musical composition, with or without words, thographies et toute ceuvre exprimee par un ml/.ficale" and includes any compilation thereof; procede analogue ala photographie.

"perceptual «planche» Sont assimiles it nne planche tonte « planche II "perceptual disability" means a disability that ·'plate·' disability" prevents or inhibits a person from reading or planche stereotypee au autre, pierre, matrice, 'I dC/kien..e transposition et epreuve negative, et tout moule per;epme1le J' hearing a literary, musical, dramatic or artistic M work in its original format, and includes such a ou cliche, destines aI'impression ou it la repro disability resulting from duction dlexemplaires d'une reuvre, ainsi que toute matrice ou autre piece destinees aIn fabriM (a) severe or total impainnent of sight or cation au it la reproduction d'enregistrements hearing or the inability to focus or move sonores, de prestations ou de signaux de com one's eyes, munication, selon Ie cas. (b) tlle inability to hold or manipulate a «prestation» Selon Ie cas, que I'reuvre soit en "pl'estlltion " book, or core protegee ou non et qu'elle soit deja fixee ·'performerS peifom/ance" (c) an impairment relating to comprehen sous line forme materielle que1conque au non: sion: a) Ilexecution au la representation d'une

"perfomlnnce" "performance" means any acoustic or visual reuvre nrtistique, dramatique au musicale par " representa representation of a work, perfomler's perfor lin artiste-interprete; tiOllllOIi of execution I) mance, sound recording or conuuullication sig. b) la recitation ou In lecture d'nne reuvre lit nal, including a representation made by means teraire par celui-ci; of any mechanical instrument, radio receiving set or television receiving set: c) une improvisation dramatique, musicale au litteraire par celui~ci. illspiree au 110n ·'perfonUeI's "perfOlmer's perfonnance" means any of the d'une reuvre preexist3nte. perfonnDlICCi'· following when done by a pertbrmer: « presto/ion )1 «producteur» La persollne qui eftectue les ope "prodn<:leur It (0) a performance of an artistic work, dra rations necessaires ala confection d'une ceuvre ·'maker" matic work or musical work, whether or not cinematographique, au it la premiere fixation de the work was previously fixed in any materi SOIlS dans Ie cas dlun emegistrement sonore. al t01111, and whether or not the work's teon of copyright protection under this Act has «programme d'ordinateur» Ensemble d'ins « pIOgrIlOWIt: tructions au d'enonces destine, quelle que soit d'ordillatellr» expired.. "compl/tel' la fa'Yon dont its sont exprimes. fixes, incorpo program" res au emmagasines, a etre utilise directement

6 11

Droit d 'auteur - 21 septembre 2011

(b) a recitation or reading ofa literary work, ou indirectement dans un ordillateur en vue whether or not the work's term of copyright d'un resultat particulier. protection under this Act has expired, or «radioditll.lseur» Orgal1isme qui, dans Ie cadre " I1ldiodiffn seur» (e) an improvisation of a dramatic work. de I'exploitation d'une entreprise de radiodiffu "b'"oadr:ostel" musical work or literary work, whether or sion, emet un signal de communication en not the improvised work is based on a pre~ confonllite avec les lois du pays at) il exploite existing work cette entreprise; est exclu de la presente defini tion I'organisme dont l'activite principale, liee "photogrAph" "photograph" includes photo-lithograph and any work expressed by any process analogous au signal de communication, est la retransmis· phorograpfrie» sion de celui-ci. to photography; «recueil» "recueil >, "plaintilf' «plaintiff' includes an applicant; "collect;,;e Version (mgfoisc a) Les encyclopedies. dictionnaires, an work" "reul or connmmication signals; represent3nts legaux les heritiers, executeurs "legal testamentaires, administrateurs, successeurs et nwrescntotives" "prellli~e~" "premises" means, in relation to an educational ayants droit, ou les agents ou fondes de pouvoir «loco/IX j. institution, a place where education or training regulierement constihles par mandat ecrit. referred to in the definition "educational insti tution" is provided. controlled or supervised by «representation», «execution» Ou the educational institution; «nudition» [Abrogee, 1997, ch. 24, art. 1] "receiving device" [Repealed, 1993, c. 44, s. «representation» ou «execution» Toute execu « repre~eDtl1 tion sonore ou toute representation visuelle tionllOU 79] " execution )' d'une ceuvre. d'une prestation, d'un enregistre ''perj'onIlQnce'' "RoDl~ "Rome Convention country" means a country ment sonore Oll d'un signal de communication, Convention tbat is a party to the Intemational Convention COIlIltry" selon Ie cas, y compris l'execution Oll la repre "pap pOI"lie a for the Protection of Perfonners, Producers of sentation iI l'aide d'un instrument mecanique, fa ConwlllionJe Phollograms and Broadcasting Organisations, Rome Ij d'un appareil recepteur de radio ou d'un nppa done at Rome on October 26, 1961; reit recepteur de television. "sculpmre" "sculpture" includes a cast or model; «royaumes et territoires de Sa Majeste» [Abro " sClilphlre)} gee, 1997, ch. 24, art. 1] "sound "sound recording" means a recording, fixed in recordiu!!" any material fOffil. consisting of sounds, «sculpture» Y sont assimiIes les moules et les « sculpture II <.< enregistrement mode-Ies, "scllipture~ sOJrore ), whether or not of a perfonnance of a work, but excludes any soundtrack of a cinematographic «signal de communication» Ondes radioelec (, si~lftlde work where it accompanies the cinematograph C01UillUtUC8 !riques diffusees dnlls ['espace sans guide anili tiool. ic work; ciel, aux fins de reception par Ie public. "commJmicOfiol1 Signor "telecomilluni "telecommunication" means any transmission clition" of signs, signals, writing, images or sOlmds or «societe de gestiol1» Association, societe ou " societe de '( /lilecammlll1i· persOime morale autorisee - notamment par geslioo I' catiollll intelligence ofany nature by wire. radio, visual, "collac/h'8 optical or other electromagnetic system; voie de cession, licence ou mandat - a se li sar:iety" vrer ala gestion collective du droit d'auteur ou "lfealY COWlfry" «treaty country" means a Beme Convention du droit f1 remuneration confere par les articles ('pap country, vee country or WTO Member; signa/oire II

7 12

"lIce COIIIIII)"" "vec country" means a country that is a party 19 ou 81 pour l'exercice des activites 'C paY$ partie 0 fa Cal1wnlion to the Universal Copyright Convention. adopt suivantes: Im;n!l;~clle .. ed on September 6. 1952 in Geneva, Switzer a) l'admin.istratiol1 d'un systeme d'octroi de land, or to that Convention as revised in Paris. licences portant sur un repertoire d'reuvres. France on July 24, 1971; de prestations, d'enregistrements sonores 01.1 "work~ ''work'' includes the title thereofwhen such title de signaux de communication de plusiellrs C«(Jmvre .. is original and distinctive~ auteurs, artistes-illterpretes, producteurs d'enregistrements sonores ou radiodiffuseurs '..... otic ofjoint "work of joint authorship" means a work pro et en vertu dnquel elle etablit les categories olltborship" duced by the collaboration of two or more au "tEU\.,.e eli;e en d'utilisation qu'elle antorise au titre de la collaboration •• thors in which the contrihution of one author is presente 10i ainsi que les redevances et mo~ not distinct from the contribution of the other afferentes~ author or authors; daIites b) la perception et la repartition des rede "work of sculpture" [Repealed, 1997, c. 24, s. vances payables aux tennes de In presente 1] loi. "\\fTO Member" "WID Memher" means a Member of the cc memb/"cde World Trade Organization as defined in sub~ «telecommunication» Vise toute transmission ({ ,c-JC:comnlUJli rOMe" de signes, signaux. cerits, images, sons ou ren clition n section 2(1) of the World Trade Organization "tclecomnflfnica Agreement Implementation Act. seignements de toute nature par fi1. radio, pre ticm" cede visuel ou optique, ou autre systeme elec~ R.S.• 1985. c. c-.n, s. 2: R.S., I9H5, c. 10 (4th Supp.), s. I: 1988. c, 65. s. 61; 1992, c. I. s. 145(F): 1993. c. 23. s. I. c. tromagnetique. 44,55.53.79; 1994, c. 47. s. 56; 1995. c. l. s. 62: 1997. c. «toute reuvre Iitteraire, dramatique. musicale IC tOUle amvre s. I. 24. liuC:lllire, ou artistique originale» S'entend de toute pro drQllIntique. duction originale du domaine Iitteraire, scienti lUusicale 011 fique ou artistique quels qu'en soient Ie mode llrti.~tiqlle oli~inoJe » ou la fonne d'expression, tels les compilations, "every origina' livres. brochures et autres ccrits, les confe lirCIUI'}', Jromotic. rences, les reuvres dramatiques ou dramatico~ mrtsical and musicales, les reuvres musicales, les traduc artistic 11'01'1''' tions, les illustrations, les croquis et les ouvrages plastiques relatifs aIa geographie, a la topographie, aI'architecture ou aux sciences. L.R. (1985). ch. C-42. art. 2: L.R. (1985). ch. 10 (4e suppl.), art. 1: 1988. ch. 65. art. 61; 1992. ch. 1. art. 145(F); 1993, cb. 23. art. I. ch. 44, art. 53 et 79; 1994, ch. 47, art. 56; 1995, ch. 1. art. 62; 1997. ch. 24. art. I.

CompilAtions 2.1 (l) A compilation contanung two or 2.1 (I) La compilation d'rellvres de catego Compillltions more of the categories of literary, dramatic, ries diverses est reputee constituer une compi musical or artistic works shall be deemed to be lation de la categorie representant la partie la a compilation of the category mnking up the plus importante. most substantial part of the compilation.

Idem (2) The mere fact that a work is included in (2) L'incorporation d'une ceuvre dans une Idem a compilation does not increase. decrease or compilation ne modifie pas la protection conte otherwise affect the protection conferred by ree par la presente loi aI'reuvre au titre du droit this Act in respect ofthe copyright in the work d'auteur ou des droits moraux. or the moral rights in respect ofthe work. 1993. ch. 44,art. 54. 1993. c. 44. s. 54.

Defilljti(ln of 2.11 For greater certainty, the arrangements 2.11 II est entendu que pour l'application de Definition de "milker" refetTed to in paragraph (b) of the definition I'article 19 et de 1a definition de « producteur '( producteuf» "maker" in section 2, as that term is used in admissible» al'articJe 79, les operations neces~ section 19 and in the definition "eligible mak- saires visees aIn definition de «producteur» a

8 13

Droit d'autellY - 21 septembre 2011

Wllat constitutes 2.5 (I) For the purposes of paragraphs 2.5 (I) Pour I'application des alineas 3(I)h) Location reutal 3(1)(h) and (i), 15(l)(c) and 18(1)(c), an ar et i), 15(1 )c) et 18(1 )c), equivaut il une location rangement, whntever its fonn, constinltes a l'accord - queUe qu'en soit la forme et rental of a computer program or sound record compte teIlU des circonstances - qui en a la ing if, and only it: nature et qui est conclu avec I'intention de faire un gain dans Ie cadre des activites generales du (a) it is in substance a rental, having regard loueur de progranune d'ordinateur au d'enre to all the circumstances; and gistrement sonore, selon Ie cas. (b) it is entered into with motive of gain in relation to the overall operations of the per son who rents out the computer program or sound recording. as the case lllay be.

Motiw ofgnill (2) For the purpnse of paragraph (I)(b), a (2) II n'y a toutefois pas intention de laire Imention du person who rents out a computer program or 1m gain lorsque Ie loucur n'a que I'intention de IOllellr sound recording with the intention of recover recouvrer les couts - frais generaux compris ing no more than the costs, including overhead. - afterents fa Ia location. associated with the rental operations does not 1997. ch. 24, art. 2. by that act alone have a motive of gain in rela tion to the rental operations. 1997, c. 24. s. 2.

Exclusive 2.6 The Governor in Council may make reg 2.6 Le gouvemeur en conseil peut, par re DistribulellT dislriblllor ulations establishing distribution criteria for the glement, fixer les criteres de distribution pour exclusif purpose of paragraph (b) of the detinition "ex I'application de la definition de « distributeur clusive distributor" in section 2. exclusif)} figurant al'article 2. 1997. c. 24, s. 2. 1997. ch. 24. art. 2.

Exclusive 2.7 For the purposes of this Act, an exclu 2.7 Pour I'application de la presente loi, une Licence licence sive licence is an authorization to do any act licence exclusive est I'autorisation accordee au exclusive that is subject to copyright to the exclusion of licencie d'aceomplir un aete vise par un droit all others including the copyright owner. d'auteur de fa~on exclusive, qu'elle soit accor whether the authorization is granted by the dee par Ie titulaire du droit d'auteur ou par une owner or an exclusive licensee claiming under persOime deja titulaire d'une licence exclusive; the owner. l'exclusion vise tous les titulaires. 1997. c. 24, s. 2. 1997. ch. 24. art. 2.

PART! PARTIE I COPYRIGHT AND MORAL RIGHTS IN DROIT D'AmEUR ET DROITS MORAUX WORKS SUR LES CEUVRES

COpyri~hT ill 3. (I) For the purposes of this Act, "copy 3. (I) Le droit d'auteur sur l'lEuvre com Droit d·aufeur works right". in relation to a work. means the sole porte Ie droit exclusif de produire ou reproduire sur I'O:UVIC right to produce or reproduce the work or any la totalite ou une partie importante de l'ceuvre, substantial part thereof in any material fonn SOllS une fonne materielle quelconque, d'en whatever, to perfonn the work or any substan executer ou d'en represellter la totalite au une tial part thereof in public or, if the work is un partie importante en public et, si I'ceuvre n'est published, to publish the work or any substao pas publiee, d'en publier la totalite ou une par tial part thereof, and includes the sole right tie importante; ce droit comporte, en outre, Ie droit exclusif: (a) to produce, reproduce, perform or pub lish any translation ofthe work, a) de produire, reproduire, representer au publier une traduction de l'ceuvre~

II 14

(b) in the case of a dramatic work, to con b) s'il s'agit d'une reuvre dramatique, de la vert it into a novel or other non-dramatic transformer en un roman au en une autre work, reuvre non dramatique; (c) in the case of a novel or other non-dra c) s'il s'agit d'ull roman Oll d'une autre matic work, or ofan artistic work, to convert (:~uvre non dramatique, ou d'une reuvre artis it into a dramatic work, by way of perfor tique, de translonner cette ceuvre en une mance in public or otherwise, reuvre dramatique, par voie de representation publique au autrement; (d) in the case of a literary, dramatic or mu

sical work, to make any sound recording, d) s'il s'agit d'une reuvre litteraire, drama M cinematograph film or other contrivance by tique au musicale. d'en faire un enregistre means of which the work may be mechani ment sonore, film cinematographique au cally reproduced or performed, autre support. a l'aide desquels l'ceuvre pent etre reproduite, representee all executee me (e) in the case of any literary, dramatic, nlU sical or artistic work, to reproduce. adapt and cal1iquement; publicly present the work as a cinemato e) s'il s'agit d'une ceuvre litteraire, drama graphic work. tique, musicale ou artistique. de reproduire, (/) in the case of any literary, dramatic, mu d'adapter et de presenter publiquement sical or artistic work, to communicate the l'reuvre en tant qu'reuvre cinematogra phique; work to the public by telecommunication., de communiqner an puhlic, par telecom (g) to present at a public exhibition, for a fJ purpose other than sale or hire, an at1istic munication, tine ceuvre litteraire, dramatique. work created after June 7, 1988, other than a musicale au artistique; map, chart or plan, g) de presenter au public lors d'une exposi tion, des tins autres que la vente ou la loca (h) in the case of a computer program that a can be reproduced in the ordinary course of tion, une reuvre artistique - autre qu'une its use, other than by a reproduction during carte geographique au marine, un plan au un its execution in conjunction with a machine, graphique - creee apres Ie 7 jnin 1988; device or computer, to rent out the computer 11) de louer un programme d'ordinateur qui program, and pent etre reproduit dans Ie cadre normal de son utilisation, saur la reproduction effecruee (i) in the case of a musical work, to rent out pendant son execution avec un ordinateur au a sound recording in which the work is em hodied, autre machine au appareil; i) s'il s'agit d'une ceuvre musicale, d'en and to authorize any such acts. louer tout enregistrement sonore. Est indus dans 1a presente definition Ie droit exclusif d'autoriser ces actes.

SiJllllltfllleous (l.l) A work that is communicated in the (1.1) Dans Ie cadre d'une conunullication Fixnliou fixillP: manner descrihed in paragraph (l)(f) is tixed effectnee an titre de I'alinea (ll/), line "'livre even if it is fixed simultaneously with its com est fixee ruerue si sa fixation se tait au moment munication. de sa communication. (1.2) to (4) [Repealed, 1997, c, 24, s, 3] (1.2).(4) [Abreges, 1997, ch. 24,art, 3] R.S., 1985. c. c··n, s. 3: R.S., 1985, c. 10 (4th Supp.), s. 2: L.R. (1985), cit. C-42, art. 3: L.R. (1985). ch. 10 (4~ suppl.), 1988. c. 65, s. 62: 1993, c. 23. s. 2. c. 44, s. 55; 1997, c. 24. art. 2; 1988, ch. 65, art. 62; 1993, ch. 23. art. 2. ch. 44. art. s.3. 55: 1997, cb. 24, art. 3. 4. [Repealed, 1997, c, 24, s, 4] 4. [Abrege, 1997, ch, 24, art, 4]

12 15

Droit d'awellr - 21 sepfembre 2011

No ossip.mll~nt (2) Moral rights may not be assigned but (2) Les droits moraux sont incessibles; its Iucessibilite ofmorn I rights may be waived in whole or in part. sont toutefois susceptibles de renonciatioll, en tout ou en partie.

No woive!" by (3) An assignment of copyright in a work (3) La cession du droit d'auteur n'emporte POl1ee d~ Ja nssi!.lWlIoetll does not by that act alone constitute a waiver of pas renonciation automatique aux droits mo cession any moral rights. raux.

Effect ofwoiver (4) Where a waiver of any moral right is (4) La renonciation au benefice du titulaire EITet de la renollc131ion made in favour of an owner or a licensee of du droit d'auteur 011 du detenteur d'une licence copyright, it may be invoked by any person au peut. f1 moins d'une stipulation contraire, etre thorized by the owner or licensee to use the invoquee par quicol1que est autorise par I'un ou work. unless there is an indication to the con l'autre f1 utiliser l'reuvre. trary in the waiver. L.R. (1985), cIt. 10 (4esupp1.). art. 4. R.S.. 1985.1:. 10 (4th Supp.). s. 4.

Tenll 14.2 (I) Moral rights in respect of a work 14.2 (I) Les

Succession (2) The moral rights in respect of a work (2) Au ded:s de l'auteur, les droits moraux pass, on the death ofits author, to sont devoIus ason legataire ou, adefaut de dis position testamentaire expresse. soit au lega (a) the person to whom those rights are specifically bequeathed; taire du droit d'auteur, soit, en l'nbsellce d'un tellegataire. aux heritiers de I'auteur. (b) where there is no specitic bequest of those moral rights and the author dies testate in respect of the copyright in the work, the person to whom that copyright is be queathed; or (c) where there is no person described in paragraph (a) or (b), the person entitled to any other property in respect of which the author dies intestate.

Subsequent (3) Subsection (2) applies, with such moditi (3) Le paragraphe (2) s'applique, avec les De\'OllItions SI1l:CCSSiOll cations as the circumstances require, on the adaptations necessaires, a toute devolution sub subsiquellles death orany person who holds moral rights. sequente. R.S., 1985•.c. 10 (4th Stipp.), s. .t; 1997. c. 24, s. 13. L.R. (1985), ch. 10 (4esuppl.), art. 4: 1997, cit. 24, art. 13.

PART II PARTIE II COPYRIGHT IN PERFORMER'S DROIT D'AUTEUR SUR LES PERFORMANCES, SOUND RECORDINGS PRESTATIONS, ENREGISTREMENTS AND COMMUNICATION SIGNALS SONORES OU SIGNAUX DE COMMUNICATION

PERFORMERS' RIGHTS DRons DE L'ARTISTE~INTERPRETE

CopyrighT in 15. (I) Subject to subsection (2), a per 15. (I) Sous reserve du paragraphe (2).I'ar Droit d'3ute'ur perfonll~r's fonner has a copyright in the performer's per~ tiste-interprete a un droit d'auteur qui comporte sllr la preslllrion perfonllance fonnance, consisting ofthe sole right to do the Ie droit exclusit: Ii l'egard de sa prestation ou following in relation to the performer's perfor de toute partie importante de celle-ci: mance or any substantial part thereof: a) siellen'estpasdejilfixee: (a) ifit is not fixed, (i) de la connnuniquer au public par tele communication.

21 16

(i) to communicate it to the public by (ii) de I'execuler en public lorsqn'elle est telecommunication, ainsi communiquee autrement que par si gnal de communication, (ii) to perform it in public, where it is communicated to the public by telecom~ (iii) de la fixer sur un support materiel munication othen\'ise than by communica quelconque; tion signal, and b) d'en reproduire : (iii) to fix it in any material1orm, (i) toute fixation faite sans son autorisa (b) ifit is fixed, tion, (i) to reproduce any tixation that was (ii) Iorsqu'i1 en a autorise la fixation, made without the performer's authoriza~ toute reproduction de celle-ci faite a des tion, fins autres que celles visees par cette auto~ risation, (ii) where the perfonuer authorized a fixa tion, to reproduce any reproduction of that (iii) lorsqu'lme 1ixation est pennise en fixation, if the reproduction being repro veml des parties III on VIII, toute repro duced was made tor a purpose other titan duction de celle-ci faite il des tins autres that for which tlle perfonner's authoriza~ que celles prevues par ces parties; lion was given, and c) d'en louer l'enregistrement sonore. (iii) where a fixation was pennitted under II a aussi Ie droit d'autoriser ces actes. Part III or VIII, to reproduce any repro duction oftl1at fixation. if the reproduction being reproduced was made for a purpose other than one pennitted under Part III or VIII, and (c) to rent out a sound recording of it, and to authorize any such acts.

Conditions (2) Subsection (I) applies only if the per- (2) La prestation vlsee on paragraphe (i) Conditions fOIDler's perfonnance doit etre, seionle cas: (a) takes place in Canada or in a Rome Con a) executee au Canada ou dans un pays par vention country; tie Ii la Convention de Rome; (b) is iixed in b) tixee au moyen d'un enregistrement so (i) a sound recording whose maker, at the nore dont Ie producteur, lors de la premiere fixation, soit est un citoyen canadien ou un time of the first tixation, resident permanent au sens du paragraphe (A) if a natural person, was a Canadian 2(1) de la Lai sur ['immigration et la protec citizen or pennanent resident within the lion des n}jilg;es ou un citoyen ou un re meaning ofsubsection 2(1) ofthe Imm;~ sident permanent d'un pays partie it la gra/iol1 and Refugee Protection Act, or Convention de Rome, soit, s'il s'agit d'une a citizen or pennanent resident of a personne morale, a son siege social au Rome Convention country, or Canada ou dans lm tel pays, ou fixee au (B) if a corporation, had its headquar moyen d'un enregistrement sonare publie ters in Canada or in a Rome Convention pour In premiere fois au Canada ou dans un country, or pays partie a la Convention de Rome en quantite suffisante pour satisfaire la demande (ii) a sound recording whose first publica raisonnabie du public; tion in such a quantity as to satisty the rea sonable demands of the public occurred in c) transmise en direct par signal de commu Canada or in a Rome Convention country; nication eInis a partir du Canada ou d'un or pays partie Ii la Convention de Rome par un

22 17

Droit d'auteur - 21 septembre ;lOll

(e) is transmitted at the time of the per radiodiffuseur dont Ie siege social est sime tonner's perfonuance by a communication dans Ie pays d'emission. signal broadcast from Canada or a Rome Convention country by a broadcaster that has its headquarters in the country ofbroadcast.

Publication (3) The tirst publication is deemed to have (3) Est repute avoir ete publie pour la pre Preuliel'e occurred in a country referred to in paragraph miere lois dans un pays vise a I'alinea (2)b) public:l.Iion (2)(b) notwithstanding that it in fact occurred l'enregistrement sonore qui y est publie dans previously elsewhere, if the interval between Ies trente jours qui suivent sa premiere publica those two publications does not exceed thirty tion dans un autre pays. days. L.R. (1985), ch. C-42. art. 15; 1993. ch. 44, art. 61: 1997. R.S., 1985. c. (,·42, s. 15: 199:1. c. 44. s. 61; 1997. c. 24. s. cit. 24. art. 14: 2001, ell. 27, art. 235. 14; 2001. c. 27, s. 235.

Contrncilial 16. Nothing in section 15 prevents the per 16, L'article 15 n'a pas pour effet d'empe ModtIliles anallgements fonner from entering into a contract governing cher I'artiste-interprete de prevoir, par contrat, coulncnltlles the use of the pertoflner's pertormance for the Ies modalites d'utilisation de sa prestation aUX purpose ofbroadcasting, fixation or retransmis fins de radiodiffusion, de tixation ou de retrans~ sion. mission.

RS., 1985, c. <"-42. $. 16; 1994, e. 47. s. 59; 1997, e. 24. s. L.R. (1985), ch. C·42. art. 16; 1994. ch. 47, art. 59: 1997. 14. eh. 24. art. 14.

Cinematograph. 17, (1) Where the performer authorizes the 17. (I) Des Iors qu'il autorise I'incorpora (EU\Te ic works embodiment of the perfonuer's performance in tion de sa prestation dans nne ccuvre cinemato cinelllAtogra. pbiqut a cinematographic work, the perfonner may no graphique, l'artiste-interprete ne pent plus exer longer exercise, in relation to the perfofluance cer, it l'egard de In prestation ainsi incotporee. where embodied in that cinematographic work. Ie droit d'auteur vise au paragraphe 15(1). the copyright referred to in subsection 15(1).

Ri!dltlO (2) Where there is an agreement governing (2) Lorsqu'une telle incorporation fait I'ob Droilfl remuuerntiou the embodiment referred to in subsection (1) jet d'un contrat qui prevoit un droit aremwlera n!munerntion and that agreement provides for a right to re tion pour la reproduction, l'execution en public muneration for the reproduction, performance ou la communication au public par t(Hecommu~ in public or communication to the public by nication de l'ceuvre cinematographique. l'ar~ telecommunication of the cinematographic tiste-interprete pent revendiquer ce droit aupres work, tl,e performer may enforce that right de l'autre partie contractante ou de tout ces against siomlaire du contrat au anpres de toute autre persOime qui est titulaire du droit d'auteur en ce (a) the other party to the agreement or, if that party assigns the agreement, the as qui touche Is reproduction, l'execution en pu blic on la communication au public par tele signee. and communication de l'ccuvre et qui, de fait, re~ (b) any otller person who produit ou execute en public l'ceuvre ou la (i) owns the copyright in the cinemato communique au public par teh!communication; graphic work goveming the reproduction cette partie contIaclante ou ce cessiormaire et of the cinematographic work, its pertbr~ ce tihllaire du droit d'auteur sont solidairement mance in public or its communication to responsables envers l'artiste-interprete du paie the public by telecommunication. and ment de Ia remuneration afterente au droit d'auteur vise. (ii) reproduces the cinematographic work. performs it in public or conullunicates it to the public by telecommunication, and persons referred to in paragraphs (a) and (b) are jointly and severally liable to the per-

23 18

fOlnler in respect of the remuneration relating to th

Applicntion of (3) Subsection (2) applies only if the per (3) Le paragraphe (2) s'appliqne si la presta Appli~8tioll dll St1bs~ctiOIl (2) former's perfonuance is embodied in a pre tion de l'artiste-interprete est incorporee dans paragrHphe (2) scribed cinematographic work une reuvre cinematographique qui est une pro duction definie par regiement.

Exceplion (4) Ifso requested by a country that is a par (4) Sur demande d'un pays partie a['Accord Ex~eption ty to the North American Free Trade Agree de libre-echange nord-americain, Ie ministre ment, the Minister may. by a statement pub~ peut, en publiant line declaration dans la Ga lished in the Canada Gazelfe, grant the benefits =efte du Canada, accorder, aux conditions qu'it conferred by this section, subject to any temlS peut preciser dans ceUe declaration, les avan and conditions specified in the statement. to tages conteres par Ie present article aux artistes performers who are nationals of that country or interpretes - ressortissants de ce pays ou d' un another country that is a party to the Agreement autre pays partie it I'Accord. ou citoyens cana or are Canadian citizens or pennanent residents diens ou residents pemlanents au sens du para within the meaning of subsection 2(1) of the graphe 2(1) de la Lo; stir / 'immigration et In Immigration and Refugee Protection Act and protection des r~fllgies - dont les prestations whose performer's perfonnances are embodied sont incorporees dans des ceuvres cinematogra in works other than the prescribed cinemato phiques qui sont des productions non visees par graphic works referred to in subsection (3). Ie paragraphe (3), R.S.. 1985. c. C·.[:!;, s. t7: 1994, c. 47, s. 59: 1997. c. 24, s. L.R. (1985). ch. C-42, arl. 17: 1994. ch. 47. art. 59; 1997, 14; 2001.c. 27. s. 236. ch. 24, art. 14; 2001. ch. 27, art. 236.

RIGHTS OF SOUND RECORDING MAKERS DROITS DU PRODUCTEUR n'ENREGISTREMENT SONORE

Copyright ill 18. (I) Subject to subsection (2). the maker 18. (I) Sous reserve du paragraphe (2), Ie Droit d'llutellr souud Sltr I'euregistre of a sound recording has a copyright in the producteur d'Ull enregistrement sonore a un recol"diup.s ment soltore sound recording, consisting of the sole right to droit d'auteur qui comporte Ie droit exclusif. it do the following in relation to the sound l'egard de la totalite ou de toute partie impor recording or any substantial part thereof: tante de I'enregistrement sonore : (a) to publish it for the lirst time, a) de Ie publier pour la premiere fois; (b) to reproduce it in any material form, and b) de Ie rcproduire sur un support materiel quelconque: (c) to rent it out. c) de Ie lauer. and to authorize any such acts. II a aussi Ie droit d'autoriser ces actes.

COllditiom, for (2) Subsection (I) applies only if (2) Le paragraphe (I) s'appliqne unique- Conditions <:op~'Till.ht ment lorsque. selon Ie cas: (a) the maker of the sowld recording was a Canadian citizen or pemlanent resident with a) Ie producteur, lors de la premiere fixa in the meaning of subsection 2( I) of the Im tion, soit est un citOYCll canadien au un re m(gration and Refugee Protection Act, or a sident permanent au sens du paragraphe 2(1) citizen or penllanent resident of a Berne de la La; sur I'immigration et la protection Convention country, a Rome Convention des refug;es ou un citoyen au un resident country or a country that is a WIO Member. pennanent d'un pays partie a la Convention or. if a corporation. had its headquarters in de Berne au a la Convention de Rome ou one ofthe foregoing countries, membre de rOMe, so it, s'il s'agit d'wlC per sonne morale. a SOl1 siege social au Canada (i) at the date ofthe first fixation, or au dans Ull tel pays, ou, si la premiere fixa tion s'etend sur une periode considerable, en a ete un citoyen ou un resident pennanent au

24 19

Droit d'al/feur - 21 sepfembre 2011

(ii) if that tirst fixation was extended over y a eu son siege social pendant une partie im a considerable period, during any substan portante de celte periode; tial part of that period; or b) I'enregistrement sonore est publie pour la (b) the lirst publication of the sound record premiere fois en quantite suffisante pour sa ing in such a quantity as to satisfy the rea· tisfaire la demande raisOlmable du public sonable demands of the public occurred in dans tout pays vise aralinea a). any country referred to in paragraph (0).

PublicllIion (3) The first publication is deemed to have (3) Est repute avoir ete publie pour la pre- Publication occurred in a country referred to in paragraph miere fois dans tout pays vise iI I'alinea (2)a) (2)(a) notwithstanding that it in fact occurred I'enregistrement sonore qui y est publie dans previously elsewhere, if the interval between les trente jours qui suivent sa premiere publica- those two publications does not exceed thirty tion dans un autre pays. days. L.R. (1985). cb. ('-42. art. 18; L.R. (985), ell. 10 (4e R.S., 1985. c. C-42. s. 18: R.S.. 1985, e. 10 (4th Supp.). s. suppl.). 311. 17(F); 1994. eh. 47. art. 59; 1997. eh. 24. art. 17(F); 1994. c. 47. s. 59: 1997. e. 24, s. 14; 2001, c. 27. s. 14: 2001. ell. 27, arl. 237. 237.

PROVISIONS ApPLICABLE TO BOTH PERFORMERS AND DISPOSITIONS COMMUNES AUX ARTISTES SOUND RECORDING MAKERS INTERPRETES ET AUX PRODUCTEURS O'ENREGISTREMENTS SONORES

Righi to 19. (1) Where a sound recording has been 19. (1) Sous reserve de I'article 20, I'artiste Droitil remuneratioll published, the perfonner and maker are enti interprete et Ie producteur ant chacun droit a reUlIUlcrntioll tled, subject to section 20, to be paid equitable une remuneration equitable pour I'execution en remuneration for its perfonnance in public or public ou la communication au public par tele its communication to the public by telecollunu cOl1llmmication - a 1"exclusion de toute re· nication, except for any retransmission. transmission - de l'enregistrement sonore pu· blie.

Royallies (2) For the pnrpose of providing the remu (2) En vue de ceUe n!muneration, quiconque RedevlUlces neration mentioned in subsection (I), a person execute en public au communique au public par

who pertbrms a published sound recording in telecommunication t'enregistrement sonore pU w public or communicates it to the public by blie doit verser des redevances: teleconmlUnication is liable to pay royalties a) dans Ie cas de I'enregistrement sonore (a) in the case ofa sound recording ofa mu· d'une ceuvre musicale. a 18 societe de gestion sical work, to the collective society autho chargee, en vertu de la partie VII, de les per rized under Part VII to collect them; or cevoir; (b) in the case ofa sound recnrding of a lit b) dans Ie cas de I'enregistrement sonore erary work or dramatic work, to either the d'une rellvre litteraire ou d'une reuvre dIll· maker of the sound recording or the per matique, soit au producteur, soit it l'artiste former. interprete.

Diyisi(ln of (3) The royalties, once paid pursuant to (3) Les redeval1ces versees en application de Partllgedes royahies paragraph (2)(a) or (b), shall be divided so that I'alinea (2)a) ou b), selon Ie cas, sont partagees redeV81lce5 par moitil~ entre Ie producteur et l'artiste-inter (a) the performer or perfonuers receive in prete. aggregate fifty per cent; and L.R. (1985), eh. C-42, art. 19; 1994, eh. 47. art. 59; 1997. (b) the maker or makers receive in aggregate ch. 24, art. 14. fifty per cent. R.S., 1985. c. ('-42. s. 19; 1994, c. 47. s. 59; 1997, e. 24. s. 14.

25 20

Conditions 20. (l) The right to remuneration conferred 20, (l) Le droit a remuneration confere par COllditiollS by section 19 applies only if l'article 19 ne peut etre exerce que si, selon Ie cas: (a) the maker was, at the date of the first fix ation, a Canadian citizen or pennanent resi a) Ie producteur, a la date de la premiere dent within the meaning of subsection 2( 1) fixation, soit est un citoyen canadien ou un of the ImmigraTion and Refilgee Protection resident pennanent au sens du paragraphe Act, or a citizen or permanent resident of a 2(1) de la Loi sur ['immigration efta protec Rome Convention country, or, if a corpora tion des nifilgies ou un citoyen ou un re tion, had its headquarters in one of the tore sident pennanent d'un pays partie Ii la going countries; or Convention de Rome, soit, s'il s'agit d'une personne morale, a son siege social au (b) all Ole fixations done for the sound recording occurred in Canada or in a Rome Canada au dans un tel pays; Convention country. b) toutes les fixations realisees en vue de la confection de I'enregistrement sonore ont eu lieu au Canada ou dans un pays partie a Ia Convention de Rome.

Exception (2) Notwithstanding subsection (I). if the (2) TOlltefois, s'il est d'avis qu'un pays par E:tception Minister is ofthe opinion that a Rome Conven~ tie aIn Convention de Rome n'accorde pas de tion country does not grant a right to remunera droit a remuneration semblable, en ce qui tion, similar in scope and duration to that pro conceme I'etendue et la duree, a celui prevu a vided by section 19, tbr the performance in l'article 19, pour l'execution en public ou la public or the communication to the public of a communication au public d'un enregistrement sound recording whose maker, at the date of its sonore dont Ie producteur, lars de la premiere

tirst fixation, was a Canadian citizen or penlla fixation, soit est un citoyen canadien ou un rew nent resident within the meaning of subsection sident pemlanent au sens du paragraphe 2( 1) de 2(1) ofthe Immigration and Refugee Protection la Loi srw l'immigmtio1l et fa protection des re Act or, if a corporation, had its headquarters in fugifJs, soit, s'il s'agit d'une personne morale, a Canada, the Minister may, by a statement pub son siege social au Canada, Ie ministre peut, en lished in the Canada Ga=ette. limit the scope publiant tine declaration dans la Gazette du and duration ofthe protection for sound record Canada, limiter l'etendue et la duree de la pro ings whose tirst fixation is done by a maker tection qui sera accordee dans Ie cas des el1re who is a citizen or pemlanent resident of that gistrements sonores dont la premiere fixation country or, ifa corporation, has its headquarters est etl'ectuee par un producteur citoyen ou re in that country. sident pennanent de ce pays ou, s'il s'agit d'nne personlle morale, ayant SOl1 siege social dans ce pays.

Exception (3) Ifso requested by a country that is a par (3) Sur demande d"ill pays partie aI'Accord Exceplion ty to the North American Free Trade Agree de libre-echange nord~americain, Ie ministre ment, the Minister may, by a statement pllb~ peut, en publiant nne declaration dans la Ga lished in the Canada Gazette, grant the right to :efte du Canada, aecorder les avantages cOllfe remuneration conferred by section 19 to per res par I'article 19 aux artistes-interpretes ou fomlers or makers who are nationals of that producteurs ressortissal1ts de ce pays dont les country and whose sound recordings embody enregistrements sonores sont cOllstitues dramatic or literary works. d'reuvres dnllnatiques ou liueraires.

Appliclltion of (4) Where a statement is published nnder (4) En cas de declaration pnbliee en vertn dn Applicllfion de secrion 19 subsection (3), section i9 applies paragraphe (3), i'article 19 ,'applique: I'onicle 19 (a) in respect of nationals ofa country men a) aux ressortissants du pays vise dans la de tioned in that statement, as if they were citi~ claration comme si ceux-ci etaient citoyens zens of Canada or, in the case of corpora~ du Canada OU, s'il s'agit de personnes mo tions, had their headquarters in Canada; and rales, avaient leur siege social au Canada.:

26 21

Droit d'auteur- 21 septembre 2011

(b) as if the tixations made for the purpose b) comme si les fixations realisees en vue de of their sound recordings had been made in la contection de leurs enregistrements SaM Canada. nores avaient ete realisees au Canada. R.S., 1985. c. C·42, s. 20: 1994. c. 47. s. 59; 1997. c. 24. s. L.R. (1985), ch. C-42, art. 20; 1994, ch. 47. art. 59; 1997. 14; 1001. c. 27. s. 238. eh. 24, art. 14: 2001, ell. 27, 3rt, 238.

RIGHTS OF BROADCASTERS DRoITS DES RADIODlFFUSEURS

Copyright in 21. (I) Subject to subsection (2), a broad· 21. (I) Sous reserve du paragraphe (2), Ie Droit d'nmenr cOllllDuniclltion caster has a copyright in the conununicatiol1 radioditIuseur a un droit d'auteur qui comporte sur Ie sip.nal de $ignals commnnicatioll signals that it broadcasts, consisting of the sole Ie droit exclusif, al'egard du signal de commu right to do the following in relation to the COIll nication qu'U emet au de toute partie impor munication signal or any substantial part there tante de celui-ci: of: a) de Ie fixer; (a) to fix it, b) d'en reproduire toute fixation faite sans (b) to reproduce any fixation of it that was son autorisation; made without the broadcaster's consent, c) d'autoriser un autre radioditTuseur a Ie re (c) to authorize another broadcaster to re transmettre au public simultanement a son trall&1llit it to the public simult:1neously with emission; its broadcast, and d) d'executer en public un signal de commu (d) in the case of a television communica~ nication televisuel en un lieu accessible au tion signal, to pertt1rm it in a place open to public moyennant droit d'entree. the public on payment ofan entrance fee, It a aussi Ie droit d'autoriser les actes vises nux and to authorize any act described in paragraph alineas a). b) et d). (a), (b) or (d).

Conditioll$ for (2) Subsection (I) applies only if the broad· (2) Pour rapplication du paragraphe (I), Ie Conditions copyright caster radiodiffuseur doit, au moment de l'emission, avoir son siege social au Canada au dans un (a) at the time of the broadcast, had its head· pays partie la Convention de Rome ou quarters in Canada, in a country that is a a membre de rOMC, et emettre Ie signal de com WTO Member or in a Rome Convention munication partir de ce pays. country; and a (b) broadcasts the conununication signnl from that country.

Exception (3) Notwithstandiug subsection (2), if the (3) Toutefois, lorsqu'il est d'avis que Ie pays Exception Minisler is ofthe opinion that a Rome Conven partie a13 Convention de Rome ou membre de tion country or a country that is a WTO Mem· rOMC oli se situe Ie siege social dn radiodiffu· ber does not grant the right mentioned in para seur ne prevoit pas Ie droit prevu it l'aHnea graph (I)(d), the Minister may, by a statement (I)d), Ie ministre peut, en publiant une declara published in the Canada Gazelfe, declare that tion dans la Gazetle dll Canada, etablir que ce broadcasters that have their headquarters in that radiodiffuseur ne peut beneficier d'un tel droit. country are not entitled to that right. L.R. (1985). ell. C-42. art. 21; 1994. cll. 47, art. 59: 1997, R.s., 1985, c. C-42. s. 21; 1994, c. 47. s. 59; 1997, c. 24. s. ch. 24, art. 14. 14.

RECIPROCITY RECIPROCITE

Reciprocity 22. (l) Where the Minister is ofthe opinion 22. (I) Lorsqu'j) est d'avis qu'un pays, Reciprocile that a country other than a Rome Convention autre qu'un pays partie a la Convention de country grants or has undertaken to grant Rome, accorde ou s'est engage aaccorder, par traite, cOllvention, contrat au loi, aux artistes- interpretes et aux producteurs d'enregistre-

27 22

Droit d'outeur- 21 septembre 2011

the Canadian Radio~television and Telecommu cence de radiodiffusion delivree par Ie Couseil nications Commission under that Act. de Ia radiodiffusion et des teleconllmmications 1997, c. 24. s. 18. canadiennes en vertu de cette loi. 1997, ch. 24, art. 18.

Retransmission Retrcmsmissiol1

Interpretation 31. (1) In this section, 31. (I) Les definitions qlli suivent s'ap Definitions pliquent au present article. "De\',' media "new media retransmitter" means a person rell'llnSOliller" {( relrol/smetlellr whose retransmission is lawful under the «(euvre» ffiuvre litteraire, dramatique, musi 'I aU\'le» au TlOljW'III~ Broadcasting Act only by reason of the Exemp cale ou artistique. F rCllch \'el-s;arl only medias ,) tion Order for New lW.edia Broadcasting Un dertakings issued by the Canadian Radio-tele «retransmetteup> Personne, autre qu'un re· 'I relranSlJlel· transmetteur de nouveaux medias, dont l'activi leur). vision and Teleconullunications Conunission as "reh'Oll.rwillel·" Appendix A to Public Notice CRTC 1999-197, te est comparable a celie d'un systeme de re as amended from time to time.: transmission par fit

"retnmsmilter" "retransmitter" means a person who performs a «retransmetteur de nouveaux medias» Per ,j relrausmetteur de IlOU\'enux " rlltl'OrlSmllf· sorme dont la retransmission est legale selon les function comparable to that of a cable retrans medias ,. le1/r" mission system, but does not include a new me dispositions de la Lai sur fa radiodiffusiol1 uni "l1InvmediQ 1'IJ/rorlsnJitter" dia retransmitter: quement en raison de l'Ordonnance d'exemp~ tion relative aux entrepl'ises de radiodiffusion "signal" "signal" means a signal that carries a literary, de nouveaux medias rendue par Ie Conseil de la «signol.) dramatic, musicfll or artistic work and is trans radiodiffusion et des telecommunications cana mitted for free reception by the public by a ter dielUles it l'Annexe A de son avis public restrial radio or terrestrial television station. 1999-197, tel que modifie de temps iI autre.

«signal» Tout signal porteur d'une reuvre « ~iguIII). transmis atitre gratuit au public par une station ".tigl/a" terrestre de radio ou de television.

Relrouslllissioll (2) It is not au infringemeut ofcopyright for (2) Ne constitlle pas une violation dll droit Relrausulission ofloea! and a retransmirter to conulltmicate to the public by d'auteur tait, pour Ie retransmetteur, de com d\lII sigUllllOC11I distant signals Ie 011 eloign\! teleconunullication any literary, dramatic, mu w muniqueI' une reuvre au public par telecommu sical or artistic work if nication si, ala fois: (a) the communication is a retransmission of a) la communication consiste en la retrans a local or distant signal; mission d'lIn signal local ou eloigne, selon Ie cas; (b) the retransmission is lflwful under the Broadcasting Act: b) la retransmission est lieite en vertu de la Loi sur/a radiodiffusion; (c) the signal is retransmitted simultaneous ly and without alteration, except as otherwise c) Ie signal est retransmis, saufobligation ou required or pennitted by or under the laws of pennission legale ou reglementaire, simulta Canada; nement et sans modification; (d) in the case ofthe retransmission ofa dis d) dans Ie cas de In retransmission d'un si tant signal. the retransmitter has paid any gnal eloigne, Ie retmnsmetteur a acquitte les royalties, and complied with any temlS and redevances et respecte les modalites fixees conditions, fixed IDlder this Act; and SOllS Ie regime de Ia presente loi; (e) the retraasmitter complies with the appli e) Ie retransmetteur respecte les conditions cable conditions, if any, referred to in para applicables, Ie cas echeant, visees iI I'alinea graph (3 )(b). (3) b).

Regnlolions (3) The Govemor in Council may make reg (3) Le gouverneur en conseil peut, par regle Ri:g1eltlenls ulations ment:

49 23

Copyrighl- September 21, 20ll

(0) delining "local signal" and "distant sig a) definir « signal local» et « signal eloi nal" for the purposes ofsubsection (2); and gne » pour I'application du paragraphe (2); (b) prescribing conditions for the purposes b) tixer des conditions ponr I'application de of paragraph (2)(e), and specifying whether I'alinea (2) e) et, Ie cas echeant, prevoir si any such condition applies to all retransmit elles s'appliquent it I'ensemble des retrans· lers or only to a class of retransmitter. metteurs au it une catt~gorie de ceux-ci. R,S" 1985. c. ('·42. s. 31: R.S.• 1985. c. 10 (4th Supp.), s. L.R. (1985), eh. C~42, art. 31: L.R. (1985), ell. 10 (4 e sup- 7~ 1988. c. 65. s. 63: 1991.c. ::!.4, SS. 16, 52(F)~ 2002, c. 26. pl.), art. 7; 1988. eh. 65. art. 63; 1997, cIt. 24. art. 16 et s.2. 52(F); 2002, eh. 26. art. 2.

Persons with Percepfllal Disabilities Personnes ayant des deficiences percepruelles

Reproduction in 32. (I) It is not an infringement of copy 32. (I) Ne constitue pas une violation du Production d'Wl n!tenmte fonnal right for a person, at the request of a person droit d'auteur Ie fait pour une personne agissallt exempillire sur lUlIlUl:re suppon with a perceptual disability, or lor a non-profit a In demande d'une personne ayant une deti organization acting for his or her benefit, to cience perceptuelle, ou pour un organisrne sans but lucratif agissant dans I'interet de cette der (0) make a copy or sound recording of a lit erary, musical, artistic or dramatic work, oth niere, de se livrer a rune des activites er than a cinematographic work, in a fonnat suivantes: specially designed for persons with a percep a) la production d'un exemplaire au d'uD tual disability; enregistrement sonore d'une reuvre litteraire, (b) translate, adapt or reproduce in sign lan drmllatique - sauf cinematographique -, guage a literary or dramatic work, other than musicale ou artistique sur un support destine a cinematographic work, in a fonnat special aux persomles ayant une deficience percep ly designed for persons with a perceptual dis~ tuelle; ability; or b) 1a traduction, !'adaptation ou la reproduc tion en langnge gestuel d'une reuvre litteraire (c) perfofi1 in public a literary or dramatic work. other than a cinematographic work, in au dramatique - saufcinemntographique sign language. either live or in a fonnat spe tixee sur un support pouvant servir nux per· sannes ayant une deficience perceptuelle; cially designed for persons with a perceptual disability. c) !'execution en public en langage gestuel d'Wle reuvre litteraire. dramatique - saufci nematographique - ou I'execution en public d'une telle reuvre fixee sur un support pou vant servir aux personnes ayant une deti cieuce percephlelle.

Limitlltion (2) Subsection (I) does not authorize the (2) Le paragraphe (I) n'a pas pour effet de ExcepTion making ofa large print book. pennettre la production d'un livre imprime en gros caracteres.

Limitlltion (3) Subsection (1) does not apply where the (3) Le paragraphe (I) ne s'applique pas si Exislence work or sound recording is commercially avail rceuvre ou l'enregistrement sonore de l'reuvre d'exenlploires sur Ie lIlorchi able in a fonnat specially designed to meet the est accessible sur Ie marche sur un tel support, needs of any person referred to in that subsec selon rnlinea a) de la definition « accessible tion, within the meaning ofparagraph (0) ofthe sur Ie mnrche ». definition "commercially available". L.R. (t985), ,h. C-42, ,rt. 32: L.R. (1985), ,h, to (4' R.S., 1985, c. C-42, s. 32; R.S., 1985. c. 10 (41h Supp.), s. suppl.). art. 7: 1997, eh. 24, art. 19. 7: 1997, c. 24, s. t9.

StatHfory Obligations Obligations decoulanl de fa loi

Noillfringemenl 32.1 (1) It is not an infringement of copy- 32.1 (I) Ne constituent pas des violations Non·....iolatioll right for any person du droit d'auteur:

50 24

Droit d'aUfeur - 21 septembre 2011

Studies 66.8 The Board shall conduct such studies 66.8 A fa demande du ministre, la Commis Etudes with respect to the exercise of its powers as are sion effectue toute etude touchant ses attribu requested by the Minister. tions. R.S., 1985. c. 10 (4th Supp.), s. 12. L.R. (1985). ch. 10 (4esuppl.). art. 12.

Report 66.9 (I) The Board shall. not later than Au 66.9 (1) An plus tard Ie 31 aout, la Com RaPP011 gust 31 in each year, submit to the Governor in mission presente au gouverneur en couseH, par Council through the Minister on annuol report I'intennediaire du ministre, un rapport alUlUel on the Boord's activities for the preceding year de ses activites resumant les demandes qui lui describing briefly the applications made to the ont ete presentees et les conclusions auxquelles Board, the Board's decisions and any other elle est arrivee et toute autre question qu'elle matter that the Board considers relevant. estime pertinente.

Tabling: (2) The Minister shall canse a copy of each (2) Le ministre fait deposer Ie rapport de DePOI annual report to be laid before each Honse of vant chaque chambre du Parlement dans les Parliament on any of the first fifteen days on quinze premiers joms de seance de celle~ci sui which that House is sitting after the Minister vant sa reception. receives the report. L.R. (1985), ch. 10 W suppl.), art. 12. R.S .• 1985. c. 10 (4th Supp.), s. 12.

R~gulmions 66.91 The Governor in Council may make 66.91 Le gouverneur en conseil peut, par re Ri:~lemeIlIS regulations issuing policy directions to the glement, dOlUler des instructions sur des ques Board and establishing general criteria to be ap tions d'orientatioll a Ia Commission et etablir plied by the Board or to which the Board mnst les crileres de nature generale a suivre par have regard celle-ci, au a prendre en compte par celle~ci, dans les damnines suivants : (a) in establishing fair and eqnitable royal ties to be paid pursuant to this Act; and a) la fixation des redeval1ces justes et equi tables verser aux teones de Ia presente loi; (b) in rendering its decisions in any matter a within its jurisdiction. b) Ie prononce des decisions de la Commis

1997, c. 24. !J. 44. sion dans les cas qui relevent de la compe tence de celle-ci. 1997. ch. 14, art. 44.

COLLECTIVE Am.IINISTRATION OF PERFORMING GESTION COLLECTIVE DU DROIT D'EXECUTION ET DE RIGHTS AND OF COMMUNICATION RIGHTS COMMUNICATION

Public acce~s 10 67. Each collective society that carries on 67. Les societes de gestion chargees d'oc Demandes de repertQire.~ troyer des licences au de percevoir des rede fellseig:nemenfs (a) the business of granting licences or col vances pour I'execution en public au la com~ lecting royalties fbr the perfonnance in pub munication au public par telecommunication lic of musical works, dramatico-musical l'exclusion de la conununication visee au pa works, performer's performances of such a ragraphe 31(2) - d'reuvres musicales ou dra works, or sound recordings embodying such matico-musicales, de leurs prestations ou d'en works, or registrements sonores constitues de ces ceuvres (b) the business of granting licences or col ou prestations, selon Ie cas, sont teoues de re lecting royalties for the communication to pondre aux demandes de renseignements rai the public by telecommunication of musical sonnables du public concernant Ie repertoire de works, dramatico-musical works, per relies ceuvres Oll prestations Oll de tels enregis former's performances of such works, or trements d'execution courante dans un delai sound recordings embodying such works, raisonnable. other than the cOllullunication of musical L.R. (1985), ch. C-42, art. 67; L.R. (1985), ch. 10 (I"'" sup works or dramatico-muskal works in a man pl.), art. 1. ch. 10 (4e suppl.), art. 12: 1993. ch. 23. alt. 3; ner described in subsection 31 (2). 1997. ch. 14, art. 45.

85 25

must answer within a reasonable time all rea sonable requests from the public for informa tion about its repertoire of works, performer's perfonmmces or sound recordings, that are in current use. R.S.• 1985. c. C-4:!. s. 67; R.S., 1985. c. to (tst Supp.), s. 1. c. 10 (4th Supp.). s. 12; 1993, c. 23, s. 3; 1997, c. 24. s. 45.

Filing of 67.1 (I) Each collective society referred to 67.1 (I) Les societes visees a !'article 67 Depotd'un pl"oposed tariffs pl'ojel de I3rif in section 67 shall, 011 or before the March 31 sont tenues de deposer aupres de la Commis

immediately before the date when its last tarilT sion, au plus tard Ie 31 mars precedant 1a cessa h approved pursuant to subsection 68(3) expires, tion d'effet d'un tarifhomologue au titre dn pa tile with the Board a proposed tarin: in hoth of ragraphe 68(3), un projet de tarif. dans les deux ficial languages, of all royalties to be collected langues otlicielles, des redevances Ii percevoir. by the collective society.

Where 110 (2) A collective society referred to in sub (2) Lorsque les societes de gestion ne sont Societes non preYious lariff section (l) in respect of which no tariff has pas regies par un tarif homologue au titre du dgies pllf un ftlriflaomolos;ue been approved pursuant to subsection 68(3) paragraphe 68(3), Ie depot du projet de tarif au shall file with the Board its proposed tariff, in pres de la Commission doit s'etIectuer au plus both official languages, of all royalties to be tard Ie 3I marS precerlant la date prevue pour sa collected by it, on or before the March 31 im prise d'eflel. mediately before its proposed effective date.

EffectiY

ProhibitiOI\ of (4) Where a proposed tariff is notliled with (4) Le nOli-depOt du projet empeche, sauf Interdiction des enfotccJ\lelll respect to the work, perfomler's perfonuance autorisation ecrite du ministre, l'exercice de rolCOI1l'S or sound recording in question, no action may quelque recours que ce soit pour violation du be commenced, without the written consent of droit d'execution en public ou de communica the Minister, for tion au public par telecommunication vise a I'article 3 ou pour recouvrement des rede (a) tl,e infringement of the rights, referred to in section 3, to perform a work in public or vances visees aI'article 19. to communicate it to the public by telecom munication; or (b) the recovery of royalties referred to in section 19.

Publication of (5) As soon as practicable after the receipt (5) Des que possible, 10 COImllission publie Publication des proposed tariffs ofa proposed tariff filed pursuant to subsection dans la Ga=ette du Canada les projets de tarifet projels de tllrifs (I), the Board shall publish it in the Callada donne un avis indiquant que tout utilisateur Gazette and shall give notice that, within sixty eventuel interesse, au son representant, peut y days alier the publication of the tariff, prospec faire opposition en deposant aupres d'elle une tive users or their representatives may file writ declaration en ce sens li11lS les soixante jours ten objections to the tariff with the Board. suivant la publication. R.S.• 1985. c. 10 (4th Supp.), s. 12; 1997. c. :!4, s. 45; 2001. L.R. (1985). ch. 10 (4" supp1.), art. 12: 1997, ch. 24. art. 45: c. 34. s. 35(E). 2001, ch. 34, art. 3S(A). 67.2 and 67.3 [Repealed, 1997, c. 24, s. 45] 67.2 ot 67.3 [Abroges, 1997, ch. 24, art. 45]

Board to 68. (I) The Board shall, as soon as practica 68. (1) La Commissiou procede dans les Examendu consider hIe, consider a proposed tariff aud any objec- meilleurs delais a l'examen des projets de tarif projet de tarif pIopo"~ed lnriffs aud objections et, Ie cas echeant, des oppositions; elle pent

86 26

Droit d'aU/eur - 21 septembre 2011

tions thereto referred to in subsection 67.1(5) or egalement laire opposition allX projets. Elle raised by the Board, and communique Ii la societe de gestion en cause copie des oppositions et aux opposants les re~ (a) send to the collective society concerned ponses eventuelles de celle-ci. a copy of the objections so as to permit it to reply; and (b) send to the persons who filed the objec tions a copy ofany reply thereto.

Criteria Rnd (2) In examining a proposed tariff for the (2) Aux fins d'examen des projets de tarif ('3~ particuliers fnct(l1"S perfonnance in public or the communication to deposes pour l'execution en public ou la com~ the public by telecommunication ofperfonner's munication au public par telecommunication de performances of musical works, or of sound prestations d'ceuvres musicales ou d'enregistre~ recordings embodying such perfonner's perfor~ ments sonores constitues de ces prestations, In mances, the Board Commission: (a) shall ensure that a) doit veiller il ce que: (i) the tariiI applies in respect of per~ (i) les torifs ne s'appliquent oux presta fonner's perfonnances and sound record~ tions et enregistrements sonores que dans ings only in the situations referred to in les cos vises oux paragraphes 20(1) et (2), subsections 20( I) and (2), (ii) les tarif.:; n'nient pas pour etTet, en rai~ (ii) the tariff does not, because of Iinguis~ son d'exigences differentes concernant In tic and content requirements of Canada's langue et Ie contenu imposees par Ie cadre broadcasting policy set out in section 3 of de la politique canadienne de rndioditTu the Broadcasting Act, place some users sian etabli aI'article 3 de In Lo; sur 10 ra~ that are subject to that Act at a greater fi~ diodtffus;on. de desavantager sur Ie plan nancial disadvantage than others, and financier certains utilisateurs assttiettis a (iii) the payment ofroyalties by users pur cette loi, suant to section 19 will be made in a sin~ (iii) Ie paiement des redevances visees a gle payment; and I'article 19 par les utilisateurs soit fait en un versement unique; (b) may take into account any lactor that it considers appropriate. b) peut tenir compte de tout facteur qn'elle estime illdique.

Certification (3) The Board shon certify the tariffs as ap (3) Elle homologue les projets de tarif apres HOIUOIOiU'liOIl proved. with such alterations to the royalties avoir apporte aux redevallces et aux modalites and to the tenus and conditions related thereto afferentes les modifications qu'elle estime ne~ as the Board considers necessary, having regard cessaires compte tenu, Ie cas echeant. des oppo~ to sitions visees an paragraphe 67.1(5) et du para graphe (2). (a) any objections to the toriffs under sub section 67.1 (5); and (b) dre molters referred to in subsection (2).

Publicalion of (4) The Board shall (4) Elle publie des que possible dans la Ga Publication du approved tariffs fMifhomologu6 (a) publish the approved toriffs in the =ette du Canada les tacifs homologues; eUe en envoie copie, accompagnee des motifs de sa Canada Ga=elte as soon as practicable; and decision, a chaque societe de gestioll ayant de~ (b) send a copy of each approved tariff, to pose un projet de tacif et aux opposallts. gether with the reasons for the Board's deci~ L.R. (1985), eh. C-42. art. 68; L.R. (1985), eh. 10 (4e sian, to each collective society that filed a suppl.), art. 13: 1993, elt. 23, art. 5: 1997, eb. 24, art. 45.

87 27

proposed tariff and to any person wlto liled an objection. R.S., 1985, c. ('-42. s. 68: R.S.• 1985. c. 10 (4th Supp.). s. 13: 1993, c. 23, s. 5~ 1997. c. 24, s. 45.

Specialolld 68.1 (l) Notwithstanding the tariffs ap 68.1 (l) Par derogation aux tarifs homolo Tnrifs specinmc InlllsitioUIII proved by the Board under subsection 68(3) lor gues par la Commission confonnement au pa ellransiroires ro:rlllt), rilles the perfonnance in public or the communica~ ragraphe 68(3) pour l'execution en puhlic ou Ia tion to the puhlic by telecommunication of per communication au public par teleconununica fonner's perfonnances of musical works, or of lion de prestations d'reuvres musicales au d'en sound recordings embodying such perfonner's registrements sonores constitues de ces presta perfomlances, tions, les radiodiffuseurs: (a) wireless transmission systems, except a) dans Ie cas des systemes de transmission community systems and public transmission par ondes radioelectriques, a l'exclusion des systems, shall pay royalties as follows: systemes communautaires et des systemes de transmission publics: (i) in respect of eaclt year, $100 on the first 1.25 million dollars of aIillual adver (i) ne payent, cltaque annee, que 100$ de tising revenues. and redevances sur la partie de leurs recettes publicitaires annuelles qui ne depasse pas (ii) on any portion of annual advertising 1,25 million de dollars, revenues exceeding 1.25 million dollars, (ii) ne payent. sur toute partie de leurs re (A) for the first year following the coming into force of this section, thirty~ cettes publicitaires qui depasse 1,25 mil tlrree and one third per cent ofthe royal lion de dollars, la premiere annee suivallt I'entree en vigueur du present article, que ties set out in the approved tariff for tltat trente~trois et un tiers pour cent du tatif year, homologue, la denxieme amlee, soixante (B) lor the second year lollowing the six et deux tiers pour cent et payent cent coming into force of this section, sixty pour cent la troisieme annee, ces pourcen six and two thirds per cent ofthe royal tages etant calcules selon Ie tarif homolo ties set out in the approved tariff for that gue de l'atmee en cause; year, and b) dans Ie cas des systemes communau (C) for the tltird year tbllowing tlte taires, fie payent. chaque aImee, que 100$ de coming into force of this section, one redevances; hundred per cent of the royalties set out c) dans Ie cas des systemes de transmission in the approved tariff for that year; publics, ne payent, la premiere 31111ee suivant (b) community systems shall pay royalties l'entree en vigueur du present article, que of$1 00 in respect ofeach year; and trente-trois et un tiers pour cent du tari£ ho annt~e, (c) puhlic transmission systems shall pay mologue, la deuxieme soixante-six et royalties. in respect of each of the first three deux tiers pour cent et payent cent pour cent years following the coming into force ofthis Ia troisieme alUlee, ces pourcentages etant section, as follows: calcuh!s selon Ie tarif homologue de l'annee en cause. (i) for the first year following the coming into force of this section, thirty-three and one third per cent ofthe royalties set out in the approved tariff tbr that year, (ii) for the second year following the coming into force of this section, sixty-six and two thirds per cent of the royalties set out in the approved tarilIlbr that year, and

88 28

Droit d'auteur - 21 septembre 2011

(iii) lor the third year Illllowing the com ing into force of this section. one hundred per cent of the royalties set out in the ap proved tarifflor that year.

Effect ofpllying (2) The payment of the royalties set out in (2) Le paiement des redevances visees au Ef'fet du royallies subsection (I) Iilily discharges all liabilities of paragraphe (I) liber. ces systemes de toute res poiemelll des rede\'aDces the system in question in respect of the ap ponsabilite relative aux tarifs homologues. proved tariffs.

Definition of (3) TIle Board may. by regulation. define (3) Pour I'application du paragraphe (I), la Defulliion de "ad~·ertising "advertising revenues" for the purposes of sub Conunission peut, par reglement, definir «re ({ recenes revenues" publicilaires» section (I). cettes publicitaires ».

Prefereutilll (4) The Board shall. in certi(ying a tarilT as (4) Lorsqu'elle procede iI I'homologation rarifs royAlty rotes approved under subsection 68(3), ensure that prevue au paragraphe 68(3), la Commission preferemiels there is a preferential royalty rate for small ca fixe un tarif preferelltiel pour les petits sys~ ble transmission systems. temes de transmission par fit.

RegulAtions (5) The Governor in Council may make reg (5) Le gouverneur en conseil peut, pour Rigletnems ulations defining "small cable transmission sys I'application du present article, definir par re tem", "conununity system", "public transmis glement « petit systeme de transmission par sion system" and "wireless transmission til », « systeme communautaire ». « systeme de system" for the purposes ofthis section. transmission par ondes radioelectriques » et 1997. c. 24. s. 45. « systeme de transmission public ». 1997, ch. 24. art. 45.

Effect of fixing 68.2 (1) Without prejudice to any other 68.2 (I) La societe de gestion peut, pour Ia Ponee de rOyAlties remedies available to it, a collective society periode mentionnee an tarif homologue. perce 1'lioIDoloSllTion may. for the period specified in its approved voir les redevances qui y figurent et, indepen tariff, collect the royalties specified in the tariff danunent de tout autre recours, Ie cas echeant. and, in default of their payment, recover them en poursuivre Ie recouvrement en justice. in a court ofcompetent jurisdiction.

Proceedings (2) No proceedings may be brought lor (2) II ne peut etre intente aueun recours pour b,terdiclioll des barred if violation des droits d'execution en public ou de recours royallies (a) tl,e infringement of the right to perform conummication au public par telecormmmica tendered or paid in public or the right to communicate to the public by telecommunication, referred to in tion vises a "article 3 ou pour recouvrement section 3, or des redevances visees a l'article 19 contre qui conque a paye ou otTert de payer les redevances (b) the recovery of royalties referred to in figurant au tarifhomologue. section 19 against a person who has paid or offered to pay the royalties specified ill an approved tarift:

ContinuAtion of (3) Where a collective society files a pro (3) Toute personlle visee par lUl tarif concer Mainlien des rights posed tariff in accordance with subsection nant les ceuvres, les prestatiolls ou les enregis droits 67.1(1), trements sonores vises iJ. l'article 67 pent, mal la cessation d'effet du tarif, les executer en (a) any person entitled to perlonn in public gre public ou les communiquer au public par tele or communicate to the public by telecommu nication those works, performer's perfor connnlUlication des lors qu'un projet de tarif a ete depose conformement au paragraphe mances or sound recordings pursuant to the 67.1(1), et ce jusqu'a I'homologation d'un nou previous tariff may do so, even though the veau tarif. Par ailleurs, la societe de gestion in royalties set out therein have ceased to be in teressee peut percevoir les redevances pn!vues etTect. and

89 29

Droit d'all1ellr- 21 sepfemhre 201 J

(a) copyright in perfonner's performances, munication et au droit a remuneration des ar sound recordings or commuuication signals, tistes-interpretes et producteurs n'Ol1t pas pour or eiIet de porter atteinte aux droits conferes par 1a partie I et n'ont. par elles-memes, aueun effet (b) the right of performers or makers to re muneration negatif sur la fixatiQI1 par la Commission des rcdevances afterentes. shnll be construed ns prejudicing nuy rights 1997. ch. 24. art. SO. conferred by Part lor, in and of itself, as preju dicing the amount of royalties that the Board may tix in respect of those rights. 1997, c. 24. s. 50.

Adherence 10 91. The Governor in Councii shnlltnke such 91. Le gouvemeur en eonseil prend les me- lou'ienlions de Deme and Rome measures as me necessary to secure the adher sures necessaires I'adhesion du Canada: Beme el de C....:lUVo!'lItiolis a Rome ence ofCanada to a) it la Convention pour la protection des (a) the Convention for the Protection of Lit reuvres litteraires et artistiques, conclue it erary and Artistic Works concluded at Bente Beme Ie 9 septembre 1886. dans sa version on Septemher 9, 1886, ns revised by the revisee par I'Acte de Paris de 1971; Pnris Act of 197i; nnd b) II la Convention il1temationale sur la pro (b) the International Convention for the Pro~ tection des artistes il1terpretes ou executants, tection of Perfonners, Producers of Phono des producteurs de phonogrammes et des or grams and Broadcasting Organisations, done ganismes de radiodiffusion, conclue it. Rome at Rome on October 26, 1961. ie 26 octobre 1961. 1991. c. 24. s. 50, 1991. ch. 24. art. 50.

Rcwiew ofAct 92. (l) Within five years nller the coming 92. (1) Dnns ies cinq ans suivnnt In dnte de Exnmen into force of this section, the Minister shall I'entree en viglleur dll present article, Ie mi cause to be laid betore both Houses of Parlia nistre presente au Senat et a la Chal11bre des ment a report on the provisions -and operation cOlmnunes un rapport sur In presente loi et les of this Act, including any recommendations for consequences de son application, dans tequel il amendments to this Act. fait etat des modit1cations qu'il juge souhai tnbies.

Reference 10 (2) The report stnuds referred to the commit (2) Les comites de la Chnmbre des com Ren\'oi en pllriiamenlllry tee ofthe House ofCommons. or ofboth Hous munes ou mixtes designes ou constitues it cette c(lmile COllllDillee es of Parliament, that is designated or estab fin sont saisis d'otlice du rapport et procedent lished for that purpose. which shall dans les meilleurs delais aI'ctude de celui-ci de meme qu'a I'analyse exhaustive de la presente (0) as soon as possible thereafter, review the report and undertake a comprehensive re loi et des consequences de son application. Its view of tlle provisions and operation of this presentent un rapport it. la Chambre des com Act; and munes au nux deux chambres du Parlement, se lonle cas. dans i'nnOl!e suivnnt ie depot du rap (b) report to the Hunse of Commons, or to port vise nu paragraphe (1) ou dans Ie delni both Houses of Parliament, within one year superieur accorde par celles~ci. after the laying of tlle report of the Minister 1991. cb. 24. art. 50. or any further time that the House of Com mons, or both Houses ofParliament, may au thorize. 1997. c. 24. s. 50.

109 30

45-46 ELIZABETH II 45-46 ELIZABETH II

CHAPTER 24 CHAPITRE24

An Act to amend the Copyright Act Loi modifiant la Loi sur Ie droit d'auteur

[Assented to 25th April, 1997] [Sanctionnee Ie 25 avril 1997]

R.s.• c. C-42; Her Majesty. by and with the advice and Sa Majeste, sur I'avis et avec Ie consente L.R•• eh. R.S .. c. 10 (1st C·42:LR.. Supp.). ce. I. consent of the Senate and House of Commons ment du Senat et de la Chambre des commu ch.IO(lcr 41 (3rd ofCanada. enacts as follows: nes du Canada, Miete : suppJ.), ch. I. Supp.). c. 10 41 (3C (41h Supp.); suppl.),ch. 1988. c. 65; 10 (4" 1990. c. 37: ~uppl.); 1988, 1992.c. I: ch.65: 1990. 1993, ce. IS. ch.37; 1992. 23. 44; 1994. ch. I; 1993. c.47; 1995. c. J ch. IS, 23. 44; 1994, ch. 47: 1995, ch. I 1. (1) The definitions "delivery". "Her 1. (1) Les definitions de "debit ", " oeu Majesty's Realms and Territories" and vre de sculpture" et " royaumes et territoi "work of sculpture" in section 2 of the res de Sa Majeste ", aI'article 2 de la Loi sur CopyrightAct are repealed. Ie droit d'auteur, sont abrogees. 1993, c. 44, (2) The definitions "book", "cinemato (2) Les definitions de "contrefa~on ", 1993, ch. 44, ,. 53(2). (3); par. 53(2), 1994, c. 47, graph", "infringing", "maker", "perfor " livre ", " oeuvre cinematographique '" (3); 1994.ch. ,. 56(I). (3) mance", "performer's performance" and 47, par. " planche ", "prestation ", "producteur" 56(1). (3) "plate"'in section 2 of the Act are replaced et " representation ", " execution" ou " au by the following: dition ", a I'article 2 de la meme loi, sont "book" "book" means a volume or a part or division respectivement remplacees par ce qui suit: .. /il'rr .. of a volume, in printed form. but does not « contrefa~on » « contre fll'jon lf include a) A I'egard d'une oeuvre sur laquelle "infringing" (a) a pamphlet, existe un droit d'auteur. toute reproduc tion, y compris I'imitation deguisee. qui (b) a newspaper. review, magazine or a ete faite contrairement i\ la presente loi other periodical, ou qui a fait I'objet d'un acte contraire i\ (c) a map, chart. plan or sheet music la presente loi; where the map, chart. plan or sheet music b) i\ I'egard d'une prestation sur laquelle is separately published, and existe un droit d'auteur, toute fixation ou (d) an instruction or repair manual that reproduction de celle-ci qui a ete faite accompanies a product or that is supplied contrairement i\ la presente loi ou qui a as an accessory to a service; fait I'objet d'un acte contraire i\ la "cinemato presente loi; graphic "cinematographic work" includes any work work" expressed by any process analogous to cine c) i\ l'egard d'un enregistrement sonore " oeUl're dnimato matography. whether or not accompanied sur lequel existe un droit d'auteur. toute graphiqut .. by a soundtrack; reproduction de celle-ci qui a ete faite 32

2 C.24 Copyright 45-46 ELlZ. II

"infringing" "infringing" means contrairement a la pn!sente loi ou qui a « contn· fOfon ,. (a) in relation to a work in which fait I'objet d'un acte contraire a la copyright subsists, any copy, including presente loi; any colourable imitation, made or dealt d) a I'egard d'un signal de communica with in contravention of this Act, tion sur lequel existe un droit d'auteur, (b) in relation to a performer's perfor toute fixation ou reproduction de la mance in respect of which copyright fixation qui a ete faite contrairement a la subsists, any fixation or copy of a fixation presente loi ou qui a fait I'objet d'un acte of it made or dealt with in contravention contraire a la presente loi. of this Act, La presente definition exclut la reproduc (c) in relation to a sound recording in tion - autre que celie visee par l'alinea respect of which copyright subsists, any 27(2)e) et I'article 27.1 - faite avec Ie copy of it made or dealt with in con consentement du titulaire du droit d'auteur travention of this Act, or dans Ie pays de production. (d) « livre» Tout volume ou toute partie ou divi « livre. in relation to a communication signal "book" in respect of which copyright subsists, sion d'un volume presentes sous forme im any fixation or copy of a fixation of it primee, a l'exclusion: made or dealt with in contravention of a) des brochures; this Act. b) des journaux, revues, magazines et The definition includes a copy that is imported autres periodiques; in the circumstances set out in paragraph c) des feuilles de musique, cartes, graphi 27(2)(e) and section 27.1 but does not other ques ou plans, s'i1s sont publies separe wise include a copy made with the consent of men!; the owner of the copyright in the country where the copy was made; d) des manuels d'instruction ou d'entre "maker" "maker" means tien qui accompagnent un produit ou sont «prodllctellr ,. fournis avec des services. (a) in relation to a cinematographic work, the person by whom the arrangements « oeuvre cinematographique »Y est assimilee « oeuvre ci~ma(o necessary for the making of the work are toute oeuvre exprimee par un procede ana graphiquc '" undertaken, or logue a la cinematographie, qu'elle soit ac "ciMtnalo graphic (b) in relation to a sound recording, the compagnee ou non d'une bande sonore. work" person by whom the arrangements neces « planche» Sont assimiles a une planche toute .. planche,. "plole" sary for the first fixation of the sounds are planche stereotypee ou autre, pierre, matri undertaken; ce, transposition et epreuve negative, et tout "performance" "performance" means any acoustic or visual moule ou cliche, destines a \'impression ou « reptisen· iI la reproduction d'exemplaires d'une oeu lotion It 011 representation of a work, performer's per «alcNtion ,. formance, sound recording or communica vre, ainsi que toute matrice ou autre piece tion signal, including a representation made destinees a la fabrication ou a la reproduc by means of any mechanical instrument, ra tion d'enregistrements sonores, de presta dio receiving set or television receiving set; tions ou de signaux de communication, se Ion Ie cas. "performer's "performer's performance" means any of the performance" « prestation» Selon Ie cas, que l'oeuvre soit .. preslation ,. «prestation » following when done by a performer: "performer's encore protegee ou non et qu'elle soit deja performance" (a) a performance of an artistic work, fixee sous une forme materielle quelconque dramatic work or musical work, whether ou non: a) I'execution ou la representation d'une oeuvre artistique, dramatique ou musica le par un artiste-interprete; 33

1996-97 Droit d' auteur ch.24 3

or not the work was previously fixed in b) la recitation ou la lecture d'une oeuvre any material form. and whether or not the litteraire par celui-ci; work's term of copyright protection un c) une improvisation dramatique, musi der this Act has expired, cale ou litteraire par celui-ci, inspiree ou (b) a recitation or reading of a literary non d'une oeuvre preexistante. work, whether or not the work's term of « producteur» La personne qui effectue les .. producteur .. "maker" copyright protection under this Act has operations necessaires Ala confection d'une expired, or oeuvre cinematographique, ou Ala premie (c) an improvisation of a dramatic work, re fixation de sons dans Ie cas d'un enregis musical work or literary work, whether or trement sonore. not the improvised work is based on a « representation» ou « execution» Toute « represen pre-existing work; tation .. ou execution sonore ou toute representation vi « execution .. "plate" "plate" includes suelle d'une oeuvre, d'une prestation, d'un "performance" «planche .. (a) any stereotype or other plate, stone, enregistrement sonore ou d'un signal de block, mould, matrix, transfer or nega communication, selon Ie cas, y compris tive used or intended to be used for I'execution ou la representation A I'aide printing or reproducing copies of any d'un instrument mecanique, d'un appareil work,and recepteur de radio ou d'un appareil recep teur de television. (b) any matrix or other appliance used or intended to be used for making or reproducing sound recordings, perform er's performances or communication signals;

1993. c. 44. (3) The definitions "artiste interIirete" (3) Les definitions de «artiste interpre 1993. ch. 44. s. 53(2); par. 53(2); 1994. c. 47, and "oeuvre artistique" in section 2 of the te,. et «oeuvre artistique ,., a I'article 2 de 1994. ch. 47. ,. 56(4) French ver.sion of the Act are replaced by la version fran~aise de la meme loi, sont par. 56(4) the following: respectivement remplacees par ce qui suit:

Ie artiste « artiste-interprete» Tout artiste-interprete ou « artiste-interprete» Tout artiste-interprete ou 0( artiste inlerprele .. intcrprete 10 French executant. executant. Fnnch version only version only

.. oeuvre «oeuvre artistique» Sont compris parmi Jes « oeuvre artistique» Sont compris parmi les .. oeuvre anistique .. anistique lot "artistic oeuvres artistiques les peintures, dessins. oeuvres artistiques les peintures, dessins, "artistic work" sculptures, oeuvres architecturales, gra sculptures, oeuvres architecturales, gravu work" vures ou photographies, les oeuvres artisti res ou photographies, les oeuvres artisti ques dues Ades artisans ainsi que Jes graphi ques dues Ades artisans ainsi que les graphi ques, cartes, plans et compilations ques, cartes, plans et compilations d'oeu d'oeuvres artistiques. vres artistiques.

1993. c. 44. (4) Paragraph (b) of the definition "dra (4) L'alinea b) de la definition de "drama 1993, ch. 44, ,. 53(2) par. 53(2) matic work" in section 2 of the English tic work", aI'article 2 de la version anglaise version of the Act is replaced by the de la meme loi, est remplace par ce qui suit: following: (b) any cinematographic work, and (b) any cinematographic work, and

(5) Section 2 of the Act is amended by (5) L'article 2 de la meme loi est moditie adding the following in alphabetical order: par adjonction, selon I'ordre alphabetique, "broadcaster" "broadcaster" means a body that,' in the de ce qui suit : « radiodifJil sellr,. course of operating a broadcasting under- 34

4 C.24 Copyright 45-46 ELIZ. II

taking, broadcasts a communication signal «accessible sur Ie marche» S'entend, en ce « accessible sur Ie in accordance with the law of the country in qui conceme une oeuvre ou de tout autre ob marchC. which the broadcasting undertaking is car jet du droit d'auteur "commercially available" ried on, but excludes a body whose primary a) qU'i1 est possible de se prOCurer, au activity in relation to communication sig Canada, a un prix et dans un delai nals is their retransmission; raisonnables, et de trouver moyennant "collective "collective society" means a society, associa des efforts raisonnables; society" « sociitlde tion or corporation that carries on the busi b) pour lequel iI est possible d'obtenir, a gestion ,. ness of collective administration of copy un prix et dans un delai raisonnables et right or of the remuneration right conferred moyennant des efforts raisonnables, une by section 19 or 81 for the benefit of those licence octroyee par une societe de who, by assignment, grant of licence, ap gestion pour la reproduction, I'execution pointment of it as their agent or otherwise, en public ou la communication au public authorize it to act on their behalf in relation par telecommunication, selon Ie cas. to tharcollective administration, and « bibliotheque, musee ou service d'archives» « bibliothC: (a) operates a licensing scheme, applica que, mush S'entend: ou service ble in relation to a repertoire of works, d'archives ,. performer's performances, sound record a) d'uo etablissement dote ou non de la "library, personnalite morale qui: archive Of' ings or communication signals of more mllSellm" than one author, performer, sound record (i) d'une part, n'est pas constitue ou ing maker or broadcaster, pursuant to administre pour realiser des profits, ni which the society, association or corpora ne fait partie d'un organisme constitue tion sets out classes of uses that it agrees ou administre pour realiser des profits, to authorize under this Act, and the ni n'est administre ou contrOJe directe royalties and terms and conditions on ment ou indirectement par un tel which it agrees to authorize those classes organisme, of uses, or (ii) d'autre part, rassemble et gere des (b) carries on the business of collecting collections de documents ou d'objets and distributing royalties or levies pay qui sont accessibles au public ou aux able pursuant to this Act; chercheurs; "commercially "commercially available" means, in relation b) de tout autre etablissement but non available" a fI accessible to a work or other subject-matter, lucratif vise par reglement. s"r Ie marchl. (a) available on the Canadian market « deficience perceptuelle» Deficience qui « deficience percep within a reasonable time and for a empeche la lecture ou I'ecoute d'une oeu lucile_ reasonable price and may be located with vre Iitteraire, dramatique, musicale ou artis "perceptllOJ disability" reasonable effort, or tique sur Ie support original ou la rend diffi cile, en raison notamment : (b) for which a licence to reproduce, perform in public or communicate to the a) de la privation en tout ou en grande public by telecommunication is available partie du sens de I'oure ou de la vue ou de from a collective society within a reason I'incapacite d'orienter Ie regard; able time and for a reasonable price and b) de I'incapacite de tenir ou de manipu may be located with reasonable effort; ler un livre; "communica ..communication signal" means radio waves tion signal" c) d'une insuffisance relative a la com « signal de transmitted through space without any arti prehension. commllll;ca· ficial guide, for reception by the public; t;OIl» 35

1996-97 Droit d' auteur ch.24 5

"copyright" «distributeur exclusif" S'entend, en ce qui « dislribu "copyright" means the rights described in leur

6 C.24 Copyright 45-46 ELIZ. II

(ii) the only distributor of the bOok in b) etablissement sans but lucratif place Canada or any part of Canada in sous I'autorite d'un conseil scolaire regi respect of a particular sector of the par une loi provinciale et qui dispense des market, and coors d'education ou de formation per manente, technique ou professionnelle; (b) meets the criteria established by regulations made under section 2.6, c) ministere ou organisme, quel que soit and, for greater certainty, if there are no I'ordre de gouvemement, ou entite sans regulations made under section 2.6, then no but lucratif qui exerce une autorite sur person qualifies under this definition as an I'enseignement et la formation vises aux "exclusive distributor"; alineas a) et b); "library. "library, archive or museum" means d) tout autre etablissement sans but archive or lucratif vise par reglement. museum" (a) an institution, whether or not incorpo « bibllotM· rated, that is not established or conducted « locaux» S'iI s'agit d'un etablissement d'en .. Iocaux» que, mllSllt OM "premises" sltrncl! for profit or that does not form a part of, seignement, Iieux oil celui-ci dispense I'en d'archiu » or is not administered or directly or seignement ou la formation vises a la defi-. indirectly controlled by, a body that is nition de ce terme ou exerce son autorite sur established or conducted for profit, in eux. which is held and maintained a collection «pays» S'entend notamment d'un territoire. f( pays ... of documents and other materials that is . "country" open to the public or to researchers, or « pays partie la Convention de Rome» Pays .. pays partie a ala (b) any other non-profit institution pre partie a la Convention intemationale sur la Convention protection des artistes interpretes ou execu de Rome» scribed by regulation; "Rome tants, des producteurs d'enregistrements Conventioll "perceptual "perceptual disability" means a disability country" disabiUty" sonores et des organismes de radiodiffu « dijidence that prevents or inhibits a person from read- sion, conclue aRome Ie 26 octobre 1961. percep- ing or hearing a literary, musical, dramatic tuelle ,. .« radiodiffuseur» Organisme qui, dans Ie ca « radiodiffu or artistic work in its original format, and scur ,. includes such a disability resulting from dre de I'exploitation d'une entreprise de ra "broadcaster" diodiffusion, emet un signal de communi (a) severe or total impairment of sight or cation en conformite avec les lois du pays hearing or the inability to focus or move oil iI exploite cette entreprise; est exclu de one's eyes, la presente definition I'organisme dont I'ac (b) the inability to hold or manipulate a tivite principale, Iiee au signal de commu book, or nication, est la retransmission de celui-ci. (c) an impairment relating to comprehen « sculpture» Y sont assimiIes les moules et « l;culplure ,. "sculptuu" sion; les modeles. "plaintiff" "plaintiff" includes an applicant; «signal de communication» Ondes radio « signal de Version communica angklise electriques diffusees dans I'espace sans gui lion_ seulemelll de artificiel, aux fins de reception par Ie pu "communica· tion signallt "premises" "premises" means, in relation to an educa blic. .locala :It tional institution, a place where education « societe de gestion » Association, societe ou Oll;oci~le de geslion ,. or training referred to in the definition personne morale autorisee - notamment "collective "educational institution" is provided, con par voie de cession, licence ou mandat - a society" trolled or supervised by the educational se Iivrer a la gestion collective du droit institution; d'auteur ou du droit aremuneration confere par les articles 19 ou 81 pour I'exercice des activites suivantes : a) I'administration d'un systeme d'octroi de licences portant sur un repertoire 37

1996-97 Droit d'auteur ch.24 7

"Rome "Rome Convention countty" means a countty d'oeuvres, de prestations, d'enregistre Convention country" that is a party to the International Conven ments sonores ou de signaux de commu «pays partie tion for the Protection of Perfonners, Pro nication de plusieurs auteurs, artistes-in .Iu Convention de ducers of Phonograms and Broadcasting terpretes, producteurs d'enregistrements Rome,. Organisations, done at Rome on October sonores ou radiodiffuseurs et en vertu 26, 1961; duquel eUe etablit les categories d'utili "sculpture" "sculpture" includes a cast or model; sation qu'eUe autorise au titre de la «SClllptilU It presente loi ainsi que les redevances et "sound "sound recording" means a recording, fixed modalites afferentes; recording" « enregistre in any material fonn, consisting of sounds, b) la perception et la repartition des ment sonore )0 whether or not of a perfonnance of a work, redevances payables aux tennes de la but excludes any soundtrack of a cinemato presente loi. graphic work where it accompanies the cin ematographic work; 2. The Act is amended by adding the 2. La m@me loi est modiflee par adjonc following after section 2.1: tion, apres "article 2.1, de ce qui suit: Definition of 2.11 For greater certainty, the arrangements 2.11 II est entendu que pour l'application de Dl!finition de "maker" « prOdueteur .. referred to in paragraph (b) of the definition I'article 19 et de la definition de « producteur "maker" in section 2, as that tenn is used in admissible" ~ I'article 79, les operations section 19 and in the definition "eligible necessaires visees ~ la definition de « produc maker" in section 79. include arrangements teur" ~ I'article 2 s'entendent-des operations for entering into contracts with perfonners, Iiees ~ la conclusion des contrats avec les financial arrangements and technical arrange artistes-interpretes, au financement et aux ments required for the first fixation of the services techniques necessaires ~ la premiere sounds for a sound recording. fixation de sons dans Ie cas d'un enregistre ment sonore. Definition of 2.2 (I) For the purposes of this Act, 2.2 (I) Pour I'application de la presente loi, ~finl(ion de "publication" • publica· "publication" means « publication" s'entend: lion ,. (a) in relation to works, a) ~ I'egard d'une oeuvre, de la mise ~ la (i) making copies of a work available to disposition du public d'exemplaires de the public, I'oeuvre, de I'edification d'une oeuvre architecturale ou de !'incorporation d'une (ii) the construction of an architectural oeuvre artistique ~ ceUe-ci; work, and b) ~ I'egard d'un enregistrement sonore, de (iii) the incorporation of an artistic work la mise ~ la disposition du public d'exem into an architectural work, and plaires de celui-ci. (b) in relation to sound recordings, making Sont exclues de la publication la representa copies of a sound recording available to the tion ou I'execution en public d'une oeuvre Iit public, . teraire, dramatique, musicale ou artistique ou but does not include d'un enregistrement sonore, leur communica (c) the performance in public, or the tion au public par telecommunication ou I'ex communication to the public by telecom position en public d'une oeuvre artistique. munication, of a literary, dramatic, musical or artistic work or a sound recording, or (d) the exhibition in public of an artistic work. 38

16 C.24 Copyright 45-46 ELiz. II 14. The Act is amended by adding the 14. La m@me ioi est modiliee par adjonc following after section 14.2: lion, apres I'article 14.2, de ce qui suit :

PART II PARTIE II

COPYRIGHT IN PERFORMER'S DROIT D'AUTEUR SUR LES PERFORMANCES, SOUND PRESTATIONS, ENREGISTREMENTS RECORDINGS AND COMMUNICATION SONORES OU SIGNAUX DE SIGNALS COMMUNICATION

PERFORMERS' RIGHTS DROITS DE L'ARllSTE-INTERPRETE Copyrilht in 15. (I) Subject to subsection (2), a perfonn 15. (I) Sous reserve du paragraphe (2), Droit performer's d'autcur sur performance er has a copyright in the perfonner's perfor I'artiste-interprete a un droit d'auteur qui la preslation mance, consisting of the sole right to do the comporte Ie droit exc1usif, a I'egard de sa following in relation to the perfonner's per prestation ou de toute partie importante de fonnance or any substantial part thereof: celle-ci : (a) if it is not fixed, a) si elle n'est pas deja fixee : (i) to communicate it to the public by (i) de la communiquer au public par telecommunication, telecommunication, (ii) to perfonn it in public, where it is (ii) de I'executer en public lorsqu'elle est communicated to the public by telecom ainsi communiquee autrement que par munication otherwise than by commu signal de communication, nication signal, and (iii) de la fixer sur un support materiel (iii) to fix it in any material form, quelconque; (b) if it is fixed, b) d'en reproduire : (i) to reproduce any fixation that was (i) toute fixation faite sans son autorisa made without the perfonner's authoriza tion, tion, (ii) 10rsqu'i1 en a autorise la fixation, (ii) where the perfonner authorized a toute reproduction de celle-ci faite a des fixation, to reproduce any reproduction fins autres que celles visees par cette of that fixation, if the reproduction being autorisation, reproduced was made for a purpose other (iii) lorsqu'une fixation est pennise en than that for which the perfonner's vertu des parties III- ou VIII, toute au thorization was given, and reproduction de celle-ci faite a des fins (iii) where a fixation was pennitted under autres que celles prevues par ces parties; Part III or VIII, to reproduce any repro c) d'en touer I'enregistrement sonore. duction of that fixation, if the reproduc tion being reproduced was made for a II a aussi Ie droit d'autoriser ces actes. purpose other than one pennitted under Part III or VIII, and (c) to rent out a sound recording of it, and to authorize any such acts. ConditioM (2) Subsection (I) applies only if the (2) La prestation visee au paragraphe (I) COnditions perfonner's perfonnance doit etre, selon Ie cas : (a) takes place in Canada or in a Rome a) executee au Canada ou dans un pays Convention country; partie a la Convention de Rome; (b) is fixed in 39

1996-97 Droit d'auteur ch,24 17

(i) a sound recording whose maker, at the b) fixee au moyen d'un enregistrement time of the first fixation, sonore dont Ie producteur, lors de la premie (A) if a natural person, was a Canadian re fixation, soit est citoyen canadien ou citizen or permanent resident of Cana resident permanent du Canada au sens de la da within the meaning of the Immigra Loi sur /'immigration ou citoyen ou resi tion Act, or a citizen or permanent dent permanent d'un pays partie a la resident of a Rome Convention coun Convention de Rome, soit, s'il s'agit d'une try,or personne morale, a son siege social au Canada ou dans un tel pays, ou fixee au (B) if a corporation, had its headquar~ moyen d'un enregistrement sonore publie ters in Canada or in a Rome Conven pour la premiere fois au Canada ou dans un tion country, or pays partie a la Convention de Rome en (ii) a sound recording whose first publi quantite suffisante pour satisfaire la deman cation in such a quantity as to satisfy the de raisonnable du public; reasonable demands of the public oc c) transmise en direct par signal de commu curred in Canada or in a Rome Conven nication emis a partir du Canada ou d'un tion country; or pays partie ala Convention de Rome par un (c) is transmitted at the time of the perform radiodiffuseur dont Ie siege social est situe er's performance by a communication sig dans Ie pays d'emission. nal broadcast from Canada or a Rome Convention country by a broadcaster that has its headquarters in the country of broadcast. Publication (3) The first publication is deemed to have (3) Est repute avoir ete publie pour la Prem~re pubUcadon occurred in a country referred to in paragraph premiere fois dans un pays vise al'alinea (2)b) (2)(b) notwithstanding that it in fact occurred I'enregistrement sonore qui y est publie dans previously elsewhere, if the interval between les trente jours qui suivent sa premiere those two publications does not exceed thirty publication dans un autre pays. days. Contractual 16. Nothing in section 15 prevents the 16. L'article 15 n'a pas pour effet d'em¢ arrangements performer from entering into a contract gov cher I'artiste-interprete de prevoir, par erning the use of the performer's performance contrat, les modalites d'utilisation de sa for the purpose of broadcasting, fixation or prestation aux fins de radiodiffusion, de retransmission. fixation ou de retransmission. Cinemato 17. (I) Where the performer authorizes the 17, (1) Des lors qu'il autorise I'incorpora Oeuvre graphic works CiMl1WJo embodiment of the performer's performance tion de sa prestation dans une oeuvre cinema IfIIlhlque in a cinematographic work, the performer may tographique, I'artiste-interprete ne peut plus no longer exercise, in relation to the perfor exercer, a l'egard de la prestation ainsi mance where embodied in that cinemato incorporee, Ie droit d'auteur vise au paragra graphic work, the copyright referred to in phe 15(1). subsection 15(1). Right to (2) Where there is an agreement governing (2) Lorsqu'une teUe incorporation fait I'ob Droit a remuneration ~mu~ralion the embodiment referred to in subsection (1) jet d'un contrat qui prevoit un droit aremune and that agreement provides for a right to ration pour la reproduction, l'execution en remuneration for the reproduction, perfor public ou la communication au public par mance in public or communication to the telecommunication de l'oeuvre cinematogra public by telecommunication of the cinemato phique, l'artiste-interprete peut revendiquer graphic work, the performer may enforce that ce droit aupres de I'autre partie contractante right against ou de tout cessionnaire du contrat ou aupres de 40

18 C.24 Copyright 45-46 ELiz. II

(a) the other party to the agreement or, if toute autre personne qui est titulaire du droit that party assigns the agreement, the assign d'auteur en ce qui touche la reproduction, ee"and I'execution en public ou la communication au (b) any other person who public par telecommunication de I'oeuvre et qui, de fait, reproduit ou execute en public (i) owns the copyright in the cinemato I'oeuvre ou la communique au public par graphic work governing the reproduction telecommunication; cette partie contractante of the cinematographic work, its perfor ou ce cessionnaire et ce titulaire du droit mance in public or its communication to d'auteur sont solidairement responsables en the public by telecommunication, and vers I'artiste-interprete du paiement de la (ii) reproduces the cinematographic remuneration afferente au droit d'auteur vise. work, performs it in public or communi cates it to the public by telecommunica tion, and persons referred to in paragraphs (a) and (b) are jointly and severally liable to the per former in respect of the remuneration relating to that copyright. Application of (3) Subsection (2) applies only if the (3) Le paragraphe (2) s'applique si la Application s~bseclion (2) du performer's performance is embodied in a prestation de I'artiste-interprete est incorpo paragraphe prescribed cinematographic work. ree dans une oeuvre cinematographique qui (2) est une production definie par reglement. Exception (4) If so requested by a country that is a (4) Sur demande d'un pays partie a I' Ac Exception party to the North American Free Trade cord de libre-echange nord-americain, Ie Agreement, the Minister may, by a statement ministre peut, en publiant une declaration published in the Canada Gazette, grant the dans la Gazette du Canada, accorder, aux benefits conferred by this section, subject to conditions qu'j] peut preciser dans cette any terms and conditions specified in the declaration, les avantages conferes par Ie statement, to performers who are nationals of present article aux artistes-interpretes - res that country or another country that is a party sortissants de ce pays ou d'un autre pays partie to the Agreement or are Canadian citizens or aI'Accord, ou citoyens canadiens ou residents permanent residents within the meaning of the permanents du Canada au sens de la Loi sur Immigration Act and whose performer's per /'immigration - dont les prestations sont in formances are embodied in works other than corporees dans des oeuvres cinematographi the prescribed cinematographic works re ques qui sont des productions non visees par Ie ferred to in subsection (3). paragraphe (3).

RIGHTS OF SOUND RECORDING MAKERS DROITS DU PRODUCTEUR D'ENREGISTREMENT SONORE Copyright in 18. (I) Subject to subsection (2), the maker 18. (1) Sous reserve du paragraphe (2), Ie Droit sound d'aulcur sur recordings of a sound recording has a copyright in the producteur d'un enregistrement sonore a un I'cnregislre sound recording, consisting of the sole right to droit d'auteur qui comporte Ie droit exclusif, ment!'lonorc do the following in relation to the sound a I'egard de la totalite ou de toute partie recording or any substantial part thereof: importante de I'enregistrement sanore : (a) to publish it for the first time, a) de Ie publier pour la premiere fois; (b) to reproduce it in any material form, and b) de Ie reproduire sur un support materiel (c) to rent it out, quelconque; and to authorize any such acts. c) de Ie louer. 11 a aussi Ie droit d'autoriser ces actes. 41

1996-97 Droit d' auteur ch.24 19

Conditions for (2) Subsection (l) applies only if (2) Le paragraphe (1) s'applique unique- Cond;'ion, copyright (a) the maker of the sound recording was a ment lorsque, selon Ie cas: Canadian citizen or permanent resident of a) Ie producteur, lors de la premiere fIxa Canada within the meaning of the Immigra tion, soit est citoyen canadien ou resident tion Act, or a citizen or permanent resident permanent du Canada al\ sens de la Loi sur of a Berne Convention country, a Rome l'immigration ou citoyen ou resident per Convention country or a country that is a manent d'un pays partie ala Convention de WTO Member, or, if a corporation, had its Berne ou a la Convention de Rome ou headquarters in one of the foregoing coun membre de I'OMC, soit, s'il s'agit d'une tries, personne morale, a son siege social au (i) at the date of the fIrst fIxation, or Canada ou dans un tel pays, ou, si la premiere fIxation s'etend sur une periode (ii) if that fIrst fIxation was extended over considerable, en a ete citoyen ou resident a considerable period, during any sub permanent ou y a eu son siege social stantial part of that period; or pendant une partie importante de cette (b) the fIrst publication of the sound record periode; ing in such a quantity as to satisfy the b) l'enregistrement sonore est publie pour reasonable demands of the public occurred la premiere fois en quantite suffisante pour in any country referred to in paragraph (a). satisfaire la demande raisonnable du public dans tout pays vise aI'a\inea a). Publication (3) The fIrst publication is deemed to have (3) Est repute avoir ete publie pour la Publication occurred in a country referred to in paragraph premiere fois dans tout pays vise a I'alinea (2)(a) notwithstanding that it in fact occurred (2)a) l'enregistrement sonore qui y est publie previously elsewhere, if the interval between dans les trente jours qui suivent sa premiere those two publications does not exceed thirty publication dans un autre pays. days.

PROVISIONS APPLICABLE TO BOTH PERFORMERS D1sPGsmONs COMMUNES AUX AND SOUND RECORDING MAKERS ARTlSTES-INTERPRETEs ET AUX PRODUCTEURS D'ENREGISTREMENTS SONORES Right 10 19. (I) Where a sound recording has been 19. (I) Sous reserve de I'article 20, I'artiste Droitl remuneration remun6ration published, the performer and maker are en interprete et Ie producteur ont chacun droit a titled, subject to section 20, to be paid une remuneration equitable pour I'execution equitable remuneration for its performance in en public ou la communication au public par public or its communication to the public by telecommunication - a I'exclusion de toute telecommunication, except for any retrans retransmission - de I'enregistrement sonore mission. publie. Royalties (2) For the purpose of providing the remu (2) En vue de cette remuneration, quicon Redevantes neration mentioned in subsection (I), a person que execute en public ou communique au who performs a published sound recording in public par telecommunication l'enregistre public or communicates it to the public by ment sonore publie doit verser des redevan telecommunication is liable to pay royalties ces: (a) in the case of a sound recording of a a) dans Ie cas de l'enregistrement sonore musical work, to the collective society d'une oeuvre musicale, a la societe de authorized under Part VII to collect them; gestion chargee, en vertu de la partie VII, de or les percevoir; 42

20 C.24 Copyright 45-46 ELiz. II

(b) in the case of a sound recotding of a b) dans Ie. cas de l'enregistrement sonore literary work or dramatic work, to either the d'une oeuvre Iitteraire ou d'une oeuvre maker of the sound recording or the per dramatique, soit au producteur, soit a I'ar former. tiste-interprete. Division of (3) The royalties, once paid pursuant to (3) Les redevances versees en application Partage des royahies redevances paragraph (2)(a) or (b), shall be divided so that de I'alinea (2)a) ou b), selon Ie cas, sont (a) the performer or performers receive in partagees par moitie entre Ie producteur et aggregate fifty per cent; and l'artiste-interprete. (b) the maker or makers receive in aggre gate fifty per cent. Conditions 20. (I) The right to remuneration conferred 20. (I) Le droit a remuneration confere par Conditions by section 19 applies only if l'article 19 ne peut etre exerce que si, selon Ie (a) the maker was, at the date of the first cas : fixation, a Canadian citizen or permanent a) Ie producteur, a la date de la premiere resident of Canada within the meaning of fixation, soit est citoyen canadien ou resi the Immigration Act, or a citizen or perma dent permanent du Canada au sens de la Loi nent resident of a Rome Convention coun sur /'immigration ou citoyen ou resident lIy, or, if a corporation, had its headquarters permanent d'un pays partie a la Convention in one ofthe foregoing countries; or de Rome, soit, s'i1 s'agit d'une personne (b) all the fixations done for the sound morale, a son siege social au Canada ou recotding occurred in Canada or in a Rome dans un tel pays; Convention country. b) toutes les fixations realisees en vue de la confection de I'enregistrement sonore ont eu lieu au Canada ou dans un pays partie a la Convention de Rome. Exccption (2) Notwithstanding subsection (I), if the (2) Toutefois, s'i1 est d'avis qu'un pays Exception Minister is of the opinion that a Rome partie ala Convention de Rome n'accorde pas Convention counlly does not grant a right to de droit a remuneration semblable, en ce qui remuneration, similar in scope and duration to conceme l'etendue et la duree, a celui prevu a that provided by section 19, for the perfor I'article 19, pour I'execution en public ou la mance in public or the communication to the communication au public d'un enregistrement public of a sound recotding whose maker, at sonore dont Ie producteur, lors de 1a premiere the date of its first fixation, was a Canadian fixation, soit est citoyen canadien ou resident citizen or permanent resident of Canada permanent du Canada au sens de la Lai sur within the meaning of the Immigration Act or, /'immigration, soit, s'il s'agit d'une personne if a corporation, had its headquarters in morale, a son siege social au Canada, Ie Canada, the Minister may, by a statement ministre peut, en publiant une declaration published. in the Canada Gazette, limit the dans la Gazette du Canada, limiter l'etendue scope and duration of the protection for sound et la duree de la protection qui sera accordee recotdings whose fIrst fIxation is done by a dans Ie cas des enregistrements sonores dont maker who is a citizen or permanent resident la premiere fixation est effectuee par un of that country or, if a corporation, has its producteur citoyen ou resident permanent de headquarters in that counlly. ce pays ou, s'il s'agit d'une personne morale, ayant son siege social dans ce pays. Excepdon (3) If so requested by a counlly that is a (3) Sur demande d'un pays partie a l'Ac Exception party to the North American Free Trade cord de Iibre-echange nord-americain, Ie Agreement, the Minister may, by a statement ministre peut, en publiant une declaration published in the Canada Gazette, grant the dans la Gazette du Canada, accorder les 43

1996-97 Droit d' auteur ch.24 93

(e) the need to deter persons from failing to e) la necessite de creer un effet dissuasif en pay levies. ce qui touche Ie non-paiement des redevan ces.

PART IX PARTIE IX

GENERAL PROVISIONS DIsposmONS GENERALES No copyright, 89. No person is entitled to copyright 89. Nul ne peut revendiquer un droit Revendica etc., except by tion d'un statute otherwise than under and in accordance with d'auteur autrement qu'en application de la droit d'auteur this Act or any other Act of Parliament, but presente 10i ou de toute autre 10i federale; Ie nothing in this section shall be construed as present article n'a toutefois pas pour effet abrogating any right or jurisdiction in respect d'empecher, en cas d'abus de confiance, un ofa breach of trust or confidence. individu de faire valoir son droit ou un tribunal de reprimer I'abus. ]nlerpreta~ 90. No provision of this Act relating to 90. Les dispositions de la presente loi R~gle tion d'inle~ (a) copyright in performer's performances, relatives au droit d'auteur sur les prestations, lalion sound recordings or communication sig les enregistrements sonores ou les signaux de nals, or communication et au droit Aremuneration des artistes-interpretes et producteurs n'ont pas (b) the right of performers or makers to pour effet de porter atteinte aux droits confe remuneration res par la partie I et n'ont, par elles-memes, shall be construed as prejudicing any rights aucun effet negatif sur la fixation par la conferred by Part lor, in and of itself, as preju Commission desredevances afferentes. dicing the amount of royalties that the Board may fix in respect ofthose rights. Adherence to 91. The Governor in Council shall take such 91. Le gouverneur en conseiJ prend les Conventions Bcmeand de Berneet Rome measures as are necessary to secure the mesures necessaires AI' adhesion du Canada: dcRomc Conventions adherence of Canada to a) A la Convention pour la protection des (a) the Convention for the Protection of oeuvres litteraires et artistiques, concJue A Literary and Artistic Works concluded at Berne Ie 9 septembre 1886, dans sa version Beme on September 9, 1886, as revised by revisee par I'Acte de Paris de 197I; the Paris Act of 1971; and b) A la Convention internationale sur la (b) the International Convention for the protection des artistes interpretes ou ex6cu Protection of Performers, Producers of tants, des producteurs de phonogrammes et Phonograms and Broadcasting Organisa des organismes de radiodiffusion, conclue A tions, done at Rome on October 26, 1961. Rome Ie 26 octobre 1961. Review of Act 92. (1) Within five years after the coming 92. (I) Dans les cinq ans suivant la date de Examen into force of this section, the Minister shall l'entree en vigueur du present article, Ie cause to be laid before both Houses of ministre presente au Senat et Ala Chambre des Parliament a report on the provisions and communes un rapport sur la presente loi et les operation of this Act, including any recom consequences de son application, dans lequel mendations for amendments to this Act. il fait etat des·modifications qu'il juge soohai tables. keference to (2) The report stands referred to the com (2) Les comites de la Chambre des commu Renvoi en parliamen. camitl! lary mittee of the House of Commons, or of both nes ou mixtes designes ou constitues Acette fin conunittee Houses of Parliament, that is designated or sont saisis d'office du rapport et procedent established for that purpose, which shall dans les meiJIeurs delais il I'etude de celui-ci (a) as soon as possible thereafter, review the de meme qu'il I'analyse exhaustive de la report and undertake a comprehensive re- presente loi et des consequences de son 44

Copyright Act 1956 (U.K.), 4 & 5 Eliz. 2 45

S/Gt.~: 1711$ U ,h. orifinO/,..rrlOff (tu II WCU' orlgillolly 'nGCI.). 17r/~ it"" o/l.gUldllo." "CWTWnr1yQnly tM2;/Qb1. in it: orlp,QI!ormof.

Copyright Act 1956

1956 CHAPTER 74

An Act to make new provision in respect of copyright and related matters, in substitution for the provisions of the Copyright Act, 1911, and other enactments relating thereto; to amend the Registered Designs Act, 1949, with respect to designs related to artistic works in which copyright subsists, and to amend the Dramatic and Musical Performers' Protection Act, 1925; and for purposes connected with the matters aforesaid [5th November, 1956] BE. IT ENACIEDby the Queen's most Excellent Majesty, by and with the advice and consent of the Lords Spiritual and Thmporal, and Commons, in this presenl Parliament assembled, and by the authority ofthe same, as follows:-

PART I

COPYRIGHT IN ORIGINAL WORKS

1 Nature ofcopyright under this Act (I) In this Act " copyright" in relation to a work (except where the context otherwise requires) means the exclusive right, by virtue and subject to the provisions ofthis Act, to do, and to authorise othcr persons to do, certain acts in relation to that work in the United Kingdom or in any other country to which the relevant provision of this Act extends. The said acts, in relation to a work ofany description, are those acts which, in the relevant provision of this Act, are designated as the acts restricted by the copyright in a work ofthat description. (2) Inaccordance with the preceding subsection, but subject to the following provisions of tbis Act, the copyright in a work is infringed by any person who, not being the owner of the copyright, and withOUl the licence oftbe owner thereof, does, or authorises another person to do, any of the said acts in relation to the work in the United Kingdom or in any other country to which the relevant provision of this Act extends. 46

Copyright Ad /956 (C'. 74) IS Port 11- C'0}JYrl,Ir, in SaliM RICOJTJi"p. Cl"~JtQrorraph Filnu. BlTNderu/8. ,ft', Do~"mm'am.roT,J: lOIl~Ol·JJ SIlIhll: tift.r is fir. orlr/nal WrsfOff (ol II Il'CI orip,ally MactaJ). 171;, itar0/legis/odolf is CJlnT1II/y onfytn'Gl!abJ. in 11$ original/anno',

(3) In this Act" work ofjoint authorship" means a work produced by the collaboration of two or more authors in which Ihe contribution ofeach author is not separate from the contribution ofthe other author or authors.

PARI' II

COPYRIGHT IN SOUND RECORDINGS, CINEMATOGRAPH FILMS, BROADCASTS, ETC.

11 Copyrightin sound recordings (I) Copyright shall subsist. subject to tbe provisions of this Act. In every sound recording ofwhich the maker was a qualified person at the time when the recording was made. (2) Without prejudice to the preceding subsection, copyright shall subsist. subject to the provisions ofthis Act. in every sound recording which has been published, ifthe first publication of the recording took place in the United Kingdom or in another country to which this section extends. (3) Copyright subsisting in a sound recording by virtue of this section shall continue to subsist until the end of the period of fifty years from the end of the calendar year in which the recording is first published, and shall then expire. (4) Subject to the provisions of this Act, the maker ofa sound recording shall be entitled to any copyright subsisting in the recording by viItUe ofthis section: Provided that where a person commissions the makingofasound recording, and pays or agrees to pay for it in money or money's worth, and the recording is made in pursuance ofthat commission, that person, in the absence ofany agreement to the contrary, shall, subject to the provisions ofpan VI ofthis Act. be entitled to any copyright subsisting in the recording by viItUe ofthis section. (S) The acts restricted by the copyright in a sound recording are the following, whether a record embodying the recording is utilised directly or indirectly in doing them, that is to 53y,- (a) making a record embodying the recording ; (b) causing the recording to be heard in public; (c) broadcasting the recording. (6) The copyright in a sound recording is not infringed by a person who does any ofthose acts in the United Kingdom in relation to asound recording, or panofasound recording, if- (a) records embodying that recording, or that pan ofthe recording, as the case may be, have previously been issued to the public in the United Kingdom. and (b) at the time when those records were" so issued, neither the records nor the containers in which they were so issued bore a label or other mark indicating the year !D which the recording was fIrSt puhlished: Provided that this subsection shall not apply ifit is shown that the records in question were not issued by or with the licence ofthe owner ofthe copyright, or that the owner of the copyright had taken all reasonahle steps for securing that records embodying the recording or pan thereofwould not be issued 10 the public in the United Kingdom without such a label or mark either on the records themselves or on their containers. 47

16 Copyrl,1tt.4,,' /9$6 (c. 14) PQrt 11-Copyrigh' f" SDtmJ R«onll"". ClnmalttgrYIph Film•• BIWIJetUUo .tc, DOC1lm.", G.n.rated: J01J-OJ-JI S/(lIII,: Tlti.;, th, orlrtnd'''nlarr (tI' it M'Af orlglnaU; .nacMJ). 17ru itm a/T.p/tllIIJ" I. currwntly onlyllwllildbl. ill ill origintSl!o""a,.

(7) Where a sound recording is caused to be heard in public>- (a) at lilly premises where persons reside or sleep, as part ofthe amenities provided exclusively or mainly for residents or inmales therein, or (b) as part of the activities of, or for the benefit of, a club, society or other organisation which is not established or conducted for profit and whose main objects are charitable or are otherwise concerned with the advancement of religion, education or social welfare, the act ofcausing it to be so heard shall not constitute an infringement ofthe copyright in the recording; Provided that this subsection shall not apply- (i) in the case ofsuch premises as are mentioned in paragraph (a) ofthis subsection, ifa special cl!arge is made for admission to the part ofthe premises where the recording is to be heard; or (Ii) in the case ofsuch an organisation as is mentioned in paragraph (b) of this subsection, ifa charge is made for admission to the place where the recording is to be heard, and any ofthe proceeds ofthe charge are applied otherwise than for the purposes ofthe organisation. (8) For the purposes ofthis Act a sound recording shaI1 be taken to be made at the lime when the first record embodying the recording is produced, and the maker ofa sound recording is the person who owns that record at the time when the recording is made. (9) In this Act" sound recording" means the aggregate of the sounds embodied in, and capable of being reproduced by means of, a record of any description, other than a sound-track associated with a cinematograph film; and " publication in relation to a sound recording, means the issue to the public ofrecords embodying the recording or any part thereof.

13 Copyright in dnematognpb films (I) Copyright shall subsist, subject to the provisions of this Act, in every cinematograph film ofwhich the maker was a qualified person for the whole or a substantial part of the period during which the film was made. (2) Without prejudice to the preceding subsection, copyright sball subsist, subject to the provisions ofthis Act, in every cinematograpb film which bas been publisbed, ifthe first publication ofthe film took place in the United Kingdom or in another country to which this section extends. (3) Copyright subsisting in a cinematograph film by virtue ofthis section-- (a) in the case ofa film which is registrable under Part ill of the Cinematograph Films Act, 193g, sball continue to subsist until the film is registered thereunder, and thereafter until the end of the period of fifty years from the end of the calendar year in which it is so registered; (b) in the case ofa film which is DOt so registrable, shall continue until the film is pUblisbed. and thereafter until the cnd ofthe pcrind of fifty ycars from the end ofthe calendar year which includes the date ofits first publication, or, if copyright in the film subsists by virtue only ofthe last preceding subsection, shall continue as from the date offtrst publication until the end ofthe period of fifty years from the end ofthe calendar year which includes that date, and shall then expire: 48

COYJ'rlghldd /956 (~. 7.f) 17 Part 11- CoW.,.lg'" i" SOlmi RKOItilnp, CrnalflJ'0J"lpb FlfrM, Bl'OlJdttUt~ .te. Donrmm,G_ral,J: 20ll-0J-Jl Statim nil il tlr. oririnGJ \..r:10II (as /lwei orl,lnrd1)l.mJcteJ). T1Ih ItUII a/I.p/odolf u romnl"only t1\vl/a61. t" l/.r original/amId.

Provided that if the Parliament ofNorthern Ireland passes legislation for purposes similar to those ofPart illofthe said Act of1938. then, inthe case ora cinematograph film which is registered under that legislatioD, at a time when it bas not been registered under the said Part ill. the copyright shall continue to subsist until the end ofthe period of fifty years from the end ofthe calendar year which includes the date on which the film is registered under that legislation. 'and shall then expire. (4) Subject to the provisions ofPart VI ofthis Act, the maker ofacinematograph film shaH be entitled to any copyright subsisting in the film by virtue of this section. (S) The acts restricted by the copyright in a cinematograph film ar~ (a) making a copy ofthe film; (b) causing the film, in so far as it consists ofvisual images, to be seen in public, or. in so far as it consists ofsounds, to be heard in public; (c) broadcasting the film; (d) causing the film to be transmitted to subscribers to a diffusion service. (6) The copyright in a cinematograph film is not infringed by making a copy olit for the purposes ofa judicial proceeding, or by causing it to be seen or heard in pUblic for the purposes ofsuch a proceeding. (7) Where byvirtue ofthis section copyright bas subsisted in acinematograph film, aperson who. after that copyright has expired, causes the film to be seen. or to be seen and heard, in public does not thereby infringe any copyright subsisting by virtue ofPart I ofthis Act in any literary, dramatic, musical or artistic work. . .(8) In the case ofany such film as is mentioned in paragraph (a) ofsection thirty-five ofthe Cinematograph FilmS Act, 1938 (which relates to newsreels), the copyright in the film is not infringed by causing it to be seen or heard in public after the end ofthe period of fifty years from the end ofthe calendar year in which the principal events depicted in the film occurred. (9) For the purposes ofthis Act a cinematograph film shal1 be taken to include the sounds embodied in any sound-track associated with the film. and references to a copy of a cinematograph film shall be conslrUed accordingly: Provided that where those sounds are also embodied in a record, other than such a sound-tr1Ick or a record derived (directly or indirectly) from such a sound-tr1Ick, the copyright in the film is not infringed by any use made ofthat record. (10) In this Act- " cinematograph film" means any sequence of visual images recorded on material ofany description (whether translucent or not) so as to be capahle, hy the use ofthat material.- (a) ofbeing shown as a moving picture, or (b) ofbeing recorded on other material (whether translucent or not), hy the use ofwhich it can be so shown; "themaker", in relation to a cinematograph film, means the person by whom the arrangements necessary for the making ofthe film are undertaken ; " publication ", in relation to a cinematograph film, means the sale, letting on hire, or offer for sale or hire, ofcopies ofthe film to the public; "copy". in relation to a cinematograph film, means any print. negative. tape or other atticle on which the film or pan of it is recorded, and references in this Act to a sound-track associated with a cinematograph film are references to 49

18 COpyrlghtAd 1956 (c. 74) Porl /1- Copyright 1ft So,mJ R«tHYiin,.. C/nUlGtogrtlp/t Film., BroaJ&~ ,~. DocJtmml a.nUUIH: 2011·0/·31 St.,.,: i1If" ,,, til. originlll ,ynfrm (0$ it 'II'd.1 orlginQ/ty mtlmr/). T1!1I lIar ojl.pllllk'" U c"rnlnrly on17 tn'tJllobJ. in ill orlKitulljQrmm.

any record ofsounds which is incorporated in any print, negative, tape or other article on which Ibe film or part ofit, in so far as it consists ofvisual images, is recorded, or which is issued by the maker ofthe film for use in conjunction with such an article. (11) References in litis section to Part ill of the Cinematograph Films Act, 1938, shaH be construed as Including references to any enaCbDents for the time being in force amending or substituted for the provisions ofthe said Pan ill.

14 Copyrigbt In television broadcnt! and sound broadcasts (I) Copyright shall subsist, subject to the provisions ofthi! Act,- (a) in every television broadcast made by the Britisb Broadcasting Corporation (in Ibis Act referred to as " the Corporation'') or by the Independent Television Authority (in this Act referred to as " the Authority ") from aplace in the United Kingdom or in any olber country to which this section extends, and (b) in every sound broadcast made by the Corporation or the Authority from such a place. (2) Subject to the provisions of litis Act, !he Corporation or the Authority, as the case may be, shall be entitled to any copyright subsisting in a television broadcast or sound broadcast made by them; and any such copyright shall continue to subsist Wltil the end ofthe period offifty years from the end ofthe calendar year in which the broadcast is made, and shaJllben expire. (3) In so far as a television broadcast or sound broadcast is a repetition (whether the first or any subsequent repetition) ofa television broadcast or sound broadcast previously made as mentioned in subsection (I) ofthis section (whether by Ibe Corporation or by the Authority), and is made by broadcasting material recorded on film. records or otherwise,- (a) copyright shall not subsist therein by virtue ofthis section ifit is made after Ibe end ofthe period offifty years from !he end ofthe calendar year in which the previous broadcast was made; and (b) ifit is made before the end ofthat period, any copyright subsisting therein by virtue ofthis section shall expire at the end ofthai period. (4) The acts restricted by the copyright in a television broadcast or sound broadcast aro (a) in the case ofa television broadcast in so far as it consists ofvisual images, making, otherwise than for private purposes, a cinematograph film ofit or a copy ofsuch a film ; (b) in the case of a sound broadcast, or of a television broadcast in so far as it consists of sounds, making, otherwise than for private purposes, a sound recording ofit or a record embodying such a recording; (c) in the case ofa television broadcast, causing it, in so far as it consists ofvisual images, to be seen in public, or, in so far as it consists ofsounds, to be heard in public, ifit is seen or heard by a paying audience; (d) in lbe case either of a television broadcast or of a sound broadcast, re broadcasting it. (S) The restrictions imposed by virtue of the last preceding subsection in relation to a lelevision broadcast or sound broadcast made by the Corporation or by the Authority shall apply whether the act in question is done by the reception ofthe broadcast or by 50

Copyright Act 1968 (Cth)(Australia) 51

Copyright Act 1968

Act No. 63 ofl968 as amended

This compilation was prepared on 7July 20 I0 taking into account amendments up to Act No. 94 of2010

The text ofany ofthose amendments not in force on that dare is appended in the Notes section

The operation ofamendments that have been incorporated may be affected by application provisions that are set out in the Notes section

Prepared by the Office ofLegislative Drafting and Publishing, Attorney-General's Department, Canberra 52

An Act relating to copyright and the protection of certain performances, and for other purposes Part I-PreUminary

1 Short title [m Note lJ This Act may be cited as the Copyright Act 1968.

Z Commencement[mNotoll This Act shall come into operation on a date to be fixed by Proclamation.

4 Extension to external Territories This Act extends to every extemal Tenitoty.

5 Exclusion orImperial Copyright Act, 1911 (I) This Act operates to the exclusion ofthe Copyright Ac~ 1911. (2) For the purposes ofsection 8 ofthe Act. Interpretation Act 1901-1966, the Copyright Act, 1911 shall be deemed to be an Act passed by the Parliament ofthe Commonwealth and to be repealed by this Act, and tbe enact:meDt ofPart Xl shall not be Iaken to affect the operntion ofsection 8 ofthe Acta Illterprefatian Act 1901-1966 as it operates by virtue ofthis subsection in relation to malters to which that Part does not apply.

6 Repeal ofCopyrightActs The following Acts are repealed: Copyright Act 1912; Copyright Ac11933; Copyright Ac11935; Copyrighl Ac11963.

f'np.l'rlght .4c11968 1 53

Part II Interpretation

Section 23

sound recording ofa /il'~ p~rformanc~ means a sound recording, made at the time ofthe live performance, consisting of, or including, the sounds ofthe performance.

23 Sound recnrdings and records (I) For the purposes ofthis Act, sounds embodied in a sound-track associated with visual images forming part ofcinematograph film shall be deemed not to be a sound recording. (2) A reference in this Act to a record ofa work or other subject-matter shall, unless the contrary intention appears, be read as a reference to a record by means ofwhicb the work or other subject-matter can be perfbrmed.

24 References to sounds and visual imal:es embodied in an article For the purposes ofthis Act, sounds or visual images shall be taken to have been embodied in an article or thing ifIhe article or thing has been so treated in relation to those sounds or visual images that those sounds or visual images are capable, with or without the aid ofsome other device, ofbeing reproduced from the article or thing.

25 Provisions relahnll: to broadcasting

(I) A reference in this Act to broadcasting shall, unless the contrary intention appears, be read as a reference to broadcasting whether by way ofsound broadcasting or oftelevision. (2) A reference in this Act to the doing ofan act by the reception ofa television broadcast or sound broadcast shall be read as a reference 10 the doing ofthat act by means ofreceiving a broadcast: (a) from the transmission by which the broadcast is made; Dr (b) from a transmission made otherwise than by way of broadcasting, but simnllnDeDusly with the transmission referred to in the last preceding paragraph; whether the reception ofthe broadcast is directly from the transmission concerned or from a re-transmission made by any person from any place. (3) Where a record embodying a sound recording or a copy ofa cinematograph film is used for the purpose ofmaking a broadcast (in this subsection referred to as th~ primlll'Y broadcasf), a person

34 Copyright o4ct/96/1 54

International Convention for the Protection ofPerfonners, Producers of Phonograms and Broadcasting Organizations (Rome Convention) 55

~ WIPO Database oflntellectaal Property WIPO ~ Legislative Tex/.<

ROME CONVENTION, 1961

INTERNATlONAL CONVENTION FOR THE PROTECTION OF PERFORMERS, PRODUCERSOFPHONOGRAMSAND BROADCASTING ORGANISATIONS

Done at Rome on October 26, 1961

TABLE OF CONTENTS' Article t: Sateguard of Copyright Proper Article 2: Protection given by the Convention. Definition of National Treatment Articl..:: 3: Definitions: (a) Perfonners: (b) Phonogram; (e) Producers of Phollograms; (d) Publication; (e) Reproduction: (f) BrO::ldcmlting; (g) Rebroadcasting Artic1c4: Pcrfommnccs Protected. Points ofAttachment tor Perfomlcrs Article 5: Protected Phonograms: 1. Point~ ofAttachment for Producers of Phonograms; 2. Simultaneous Publication; 3. Powcr to cxcludc certain Criteria Article 6: Protected Broadcasts: 1. Points ofAttachment for Broadcasting Organizations; 2. Power to Rcserve Article 7: Minimum Protection for Perfonners: 1. Particular Rights: 2. Relations bct\veen Perfonners and Broadcasting Organizations Article 8: Pcrfonners acting jointly Article 9: Variety and Circus Artists Al1ic1c to: Right ofReproduction for Phonogmm Producers Article ( I: Fonnalitics for Phonograms Article 12: Secondary Uses of Phonogmms Article 13: Minimum Rights for Broadcasting Organizations Article 14: Minimum Duration ofProteetion Article 15: Permitted Exceptions: I. Specific Limitations; 2. Equivalents with copyright Article 16: Reservations Article 17: Certl:lin countries applying only the "fixation" criterion Article 18: Withdmwal of reservations Article 19: Perfonners' Rights in Films Article 20: Non--retroactivity Article 2J: Protection by other means Article 22: Special agrecment'\ Article 23: Signature and deposit Alticlc 24: Bccoming Party to tbe Convention A11ic1c 25: Entry into force Article 26: hnplementution ofthe Convention by the Provision ofDomestic Law Article 27: Applicability oflhe Convention to Ccrtuin Tcrritories Article 28: Dcnunciation ofthe Convention Article 29: Revision ofthe Convention Article 30: Settlement ofdisputes Article J I: Limit~ on Reservations Article 32: Intergovernmental Committec Article 33: Languages Article 34: Notifications

The Contracting States, movcd by the desire to protect the rights ofperformers, producers of phonograms, and broadcasting organisations. Have agreed as follows:

'" This Table ofContcnt~ is added for the convenience ofthc reader. It docs not appear in the original text ofthe Convcntion.

W0024EN page 1/9 56 ~ WIPO Database oj'lntellectaal Property WIPO • Legislative Texts

Article I [Safeguard ofCopyright Proper'] Protection granted under this Convention shall leave intact and shall in no way afteet the protection of copyright in literary and artistic works. Consequently, no provision ofthis Convention may be interpreted as prejudicing such protection.

Article 2 [Protection given by the Convention. Definition ofNational Treatment] I. For the purposes ofthis Convention, national treatment shall mean the treatment accorded by the domestic law ofthe Contracting State in which protection is claimed: (a) to performers who are its nationals, as regards performanccs taking place, broadcast, or first fixed, on its territory; (h; to producers ofphonograms who are its nationals, as regards phonograms first fixed or first publishcd on its territory; (cj to broadcasting organisations which have their headquartcrs on its tcrritory, as regards hroadcasts transmitted from transmitters situated on its territory. 2. National treatment shall bc subject to the protection spccifically guaranteed, and the limitations specifically provided for, in this Convcntion.

Article 3 [Definitions: (a) Performers; (b) Phonogram; (c) Producers ofPhonograms; (d) Publication; (e) Rcproduction; (I) Broadcasting; (g) Rebroadcasting] For the purposes ofthis Convention: (a) "pcrfomlcrs" means actors. singers. musicians, dancers, and other persons who act, sing, deliver, dcclaim, play in, or otherwise perform literary or artistic works; (b) "phonogram" means any exclusively aural fixation ofsounds ofa perfonllance or ofother sounds; (c) "producer ofphonograms" means the person whn, or the legal entity which, first fixes the sounds ofa pcrformance or other sounds; (d) "publication" means the offering ofcopies ofa phonogram to the public in reasonable quantity; (ej "reproduction" means the making ofa copy or copies ofa fixation; (j) "broadcasting" means the transmission by wireless means for public reception ofsounds or of images and sounds; (g) "rebroadcasting" means the simultaneous broadcasting by one broadcasting organisation ofthe broadcast ofanother broadcasting organisation.

Article 4 [Performances Protected. Points ofAttachment for Perfollllers] Each Contracting State shall grant national treatment to performers ifany ofthe following conditions is met: (a) the pertollllance takes place in another Contracting State; (b) the performance is incorporated in a phonogram which is protected under Article 5 ofthis Convention; (ej the performance, not being fixcd on a phonogram, is carried by a broadcast which is protected by Article 6 ofthis Convention.

• Alticlcs have been given titles to facilitate their identification. There arc no titles in the signed text.

W0024EN page 2/9 57 ~ WIPO Database I1fIntellectl/al Prl1perly WIPO • Legislative Texts

Article 5 [Protected Phonograms: l. Points ofAttachment for Produccrs ofPhonograms; 2. Simultaneous Publieation; 3. Power to exclude certain Criteria] l. Each Contracting State shall grant national treatment to producers ofphonograms ifany ofthe following conditions is met: (a) the producer of the phonogram is a national ofanother Contracting State (criterion ofnationality); (b) the first fixation ofthe sound was made in another Contracting Stale (criterion offixation); (e) the phonogram was first published in another Contracting State (criterion ofpublication). 2. Ifa phonogram was first published in a non--contracting Statc but ifit was also published, within thirty days of its lirst publication, in a Contracting State (simultaneous publication), it shall be considered as first published in thc Contracting State. 3. By mcans of a notilication depositcd with the Seeretary-General ofthe United Nations, any Contracting State may declare that it will not apply the eriterion ofpublieation or. alternatively, the criterion of lixation. Such notification may be deposited at the time ofratifieation, aeceptance or accession, or at any time therealler; in the last case, it shall become effective six months aller it has been deposited.

Article 6 [Protected Broadcasts: I. Points ofAttachmcnt for Broadcasting Organizations; 2. Power to Reserve] I. Each Contracting State shall grant national treatment to broadcasting organisations ifeither ofthe following conditions is mct: (a) the headquartcrs ofthe broadcasting organisation is situated in another Contracting State; (h) thc broadcast was transmittcd from a transmittcr situated in another Contracting State. 2. By means of a notification deposited with the Secretary-General of the United Nations, any Contracting State may declarc that it will protect broadcasts only ifthe headquarters ofthe broadcasting organisation is situated in another Contracting Statc and the broadcast was transmitted from a transmitter situated in the same Contracting State. Such notilication may be deposited at the time ofratification, acceptancc or accession, or at any time thercafter; in the last case, it shall become effective six months aller it has been deposited.

Article 7 [Minimum Protection for Perfornlers: 1. Particular Rights; 2. Relations betwecn Perfornlers and Broadcasting Organizations] I. The protection provided for perfornlers by this Convcntion shall include the possibility of preventing: (a) the broadcasting and the eommunication to the public, without their consent, oftheir perfonnance, except where the performance used in the broadcasting or the public communication is itselfalready a broadcast performance or is made from a lixation; (b) the fixation, without their consent, oftheir unfixed performance; (e) the reproduction, without their consent, ofa fixation oftheir performance: (i) ifthe original fixation itself was made without their consent; (ii) ifthe reproduction is made lor purposes different from those lor which the performers gave their consent; (iii) iftlle original fixation was made in accordance with the provisions of Article 15, and the reproduction is made for purposes ditTerent from those refen'ed to in those provisions. 2. (I) Ifbroadcasting was consented to by the performers, it shall be a malter for the domestic law ofthe Contracting State where protection is claimed to regulate the protection against rebroadcasting, fixation for broadcasting purposes and the reproduction ofsuch lixation for broadcasting purposes. (2) The terms and conditions governing the use by broadcasting organisations of fixations made for broadcasting purposes shall be determined in accordance with the domestic law ofthe Contracting State where protection is claimed.

W0024EN page 3/9 58 e.~i!I WIPO Database ofIntellectual Property WIPO o Legislative Texts

(3) However. the domestic law referred to in sub-paragraphs (I) and (2) ofthis paragraph shall not operate to deprive performers ofthe ability to control. by contract, their relations with broadcasting organisations.

Article 8 [Performers acting jointly] Any Contracting State may, by its domestic laws and regulations, specifY the manner in which performers will be represented in connection with the exercise oftheir rights ifseveral ofthem participate in the same performance.

Article 9 [Variety and Circus Artists] Any Contracting State may, by its domestic laws and regulations, extend the protection provided for in this Convention to artists who do not perform literary or artistic works.

Article 10 [Right of Reproduction for Phonogram Producers] Producers ofphonograms shaH enjoy the right to authorize or prohibit the direct or indirect reproduction ofthcir phonograms.

Article 11 [Formalities for Phonograms] If, as a condition of protecting thc rights of producers ofphonograms, or ofperfonners, or both, in relation to phonograms. a Contracting State, under its domestic law. requires compliance with formalities, these shall be considered as fulfilled ifall the copics in commerce of thc published phonogram or their containcrs bear a noticc consisting ofthe symbol (P). accompanied by the year date ofthc first publication, placed in such a manner as to give reasonable notice ofclaim ofprotection; and ifthe copies or tlleir containers do not idcntifY the producer or thc licensee ofthe producer (by carrying his name, trade mark or other appropriate designation). the notice shall also include the name ofthe owner ofthe rights ofthe producer; and, furthermore, ifthe copies or their containers do not identifY the principal performers, the notice shall also include the name ofthe person who, in the country in which the fixation was effected. owns the rights ofsuch performers.

Article 12 [Secondary Uses of Phonograms] Ifa phonogram published for commercial purposes. or a reproduction ofsuch phonogram, is used directly for broadcasting or for any communication to the public, a single equitable remuneration shall be paid by the user to the performers, or to the producers ofthe phonograms, or to both. Domestic law may. in the absence ofagreement between these panics, lay down the conditions as to the sharing ofthis remuneration.

Article 13 [Minimum Rights for Broadcasting Organizations] Broadcasting organisations shall enjoy the right to authorize or prohibit: (a) the rebroadcasting oftheir broadcasts; (b) the fixation oftheir broadcasts; (c) the reproduction; (i) offixations, made without their consent, oftheir broadcasts; (ii) offixations, made in accordance with the provisions of Article 15, oftheir broadcasts, ifthe reproduction is made for purposes different from those referred to in those provisions;

W0024EN page 4/9 59 ~ WIPO Database ofIntellectual Property WIPO • Legislative Texts

(d) the communication to the public oftheir television broadcasts ifsuch communication is made in places accessible to the public against payment ofan entrance fee; it shall be a maller for the domestic law ofthe State where protection ofthis right is claimed to determine the conditions under which it may be exercised.

Article 14 [Minimum Duration ofProtection] The term of protection to be granted under this Convention shall last at least until the end ofa period of twenty years computed from the end ofthe year in which: (a) the fixation was made-for phonograms and for performances incorporated therein; (b) the performance took place-for performances not incorporated in phonograms; (c) the broadcast took place-for broadcasts.

Article 15 [Permilled Exceptions: I. Specific Limitations; 2. Equivalents with copyright] I. Any Contracting State may, in its domestic laws and regulations, provide for exceptions to the protection guaranteed by this Convention as regards: (a) private use; (b) use ofshort excerpts in connection with the reporting ofcurrent events; (e) ephemeral fixation by a broadcasting organisation by means of its own facilities and for its own broadcasts; (d) use solely for the purposes ofteaching or scientific research. 2. Irrespective ofparagraph I ofthis Article, any Contracting State may, in its domestic laws and regulations, provide for the same kinds oflimitations with regard to the proteetion ofperformers, producers of phonograms and broadcasting organisations, as it provides for, in its domestic laws and regulations, in connection widl the protection ofcopyright in literary and artistic works. However, compulsory licences may be provided for only to the extent to which they are compatible with this Convention.

Article 16 [Reservations] I. Any State, upon becoming party to this Convention, shall be bound by all the obligations and shall enjoy all the benefits thereot: However, a State may at any time, in a notification deposited with the Secretary-General ofthe United Nations, declare that: (a) as regards A11icle 12: (i) it will not apply the provisions ofthat Article; (ii) it will not apply the provisions ofthat Article in respect ofcertain uses; (iii) as regards phonograms the producer ofwhich is not a national ofanother Contracting State, it will not apply that Article; (iv) as regards phonograms the producer ofwhich is a national ofanother Contracting State, it will limit the protection provided for by that Article to the extent to which, and to the term for which, the laller State grants protection to phonograms first fixed by a national ofthe State making the declaration; however, the fact that the Contracting State ofwhich the producer is a national does not grant the protection to the same beneficiary or beneficiaries as the State making the declaration shall not be considered as a difference in the extent of the protection; (b) as regards Article 13, it will not apply item (d) ofthat Article; ifa Contracting State makes such a declaration, the other Contracting States shall not be obliged to grant the right referred to in Article 13, item (d), to broadcasting organisations whose headquarters are in that State. 2. Ifthe notification referred to in paragraph I ofthis Article is made after the date ofthe deposit ofthe instrument ofratification, acceptance or accession, the declaration will become effective six months after it has been deposited.

W0024EN page 5/9 60

6"~11 WIPO Database oflntelfectual Property WIPO • Legislative Text.<

Article 17 [Certain countries applying only the "fixation" criterion] Any State which, on October 26, 1961, grants protection to producers of phonograms solely on the basis ofthe criterion offixation may, by a notification depositcd with thc Secretary-General ofthe United Nations at the time ofratification, acceptance or accession, declare that it will apply, for the purposes of Article 5, the criterion offixation alone and, for the purposes ofparagraph I(a)(iii) and (iv) ofArticle 16, thc criterion offixation instead ofthe criterion ofnationality.

Article 18 [Withdrawal ofreservations] Any State which has deposited a notification under paragraph 3 ofArticle 5, paragraph 2 ofArticle 6, paragraph I ofA'ticle 16 or Article 17, may, by a further notification deposited with the Secretary-General ofthe United Nations, reduce its scope or withdraw it.

Article 19 [Performers' Rights in Films] Notwithstanding anything in this Convention, once a performer has consented to the incorporation of his performance in a visual or audio-visual fixation, Article 7 shall have no further application.

Artiele 20 [Non-retroactivity] I. This Convention shall not prejudice rights acquired in any Contracting State before the date of coming into force ofthis Convention for that State. 2. No Contracting State shall bc bound to apply the provisions ofthis Convention to performances or broadcasts whieh took place, or to phonograms which were fixed, before the date ofcoming into force of this Convention for that State.

Article 21 [Protection by other means] The protection provided for in this Convention shall not prejudice any protection otherwise secured to performers, producers ofphonograms and broadcasting organisations.

Article 22 [Special agreements] Contracting States reserve the right to enter into special agreements among themselves in so far as such agreements grant to performers, producers ofphonograms or broadcasting organisations more extensive rights than those granted by this Convention or contain other provisions not contrary to this Convention.

Artiele 23 [Signature and deposit] This Convention shall be deposited with the Secretary-General ofthe United Nations. It shall be open until June 30, 1962, for signature by any State invited to the Diplomatic Conference on the International Protection of Performers, Producers ofPhonograms and Broadcasting Organisations which is a party to the Universal Copyright Convention or a member ofthe [ntemational Union for the Protection ofLiterary and Artistic Works.

Article 24 [Becoming Party to the Convention]

J. This Convention shall be subject to ratification or acceptance by the signatory States.

W0024EN page 6/9 61

~ WIPO Database ofIntellectual Property WIPO • Legislative Text.<

2. This Convention shall be open for accession by any State invited to the Conference referred to in Article 23. and by any State Member of the United Nations, provided that in either case such State is a party to the Universal Copyright Convention or a member ofthe International Union for the Protection ofLiterary and Artistic Works. 3. Ratification, acceptance or accession shall be effected by the deposit ofan instrument to that effect with the Secretary-General ofthe United Nations.

Article 25 [Entry into force] I. This Convention shall come into force three months after the date ofdeposit ofthe sixth instrument of ratification, acceptance or accession. 2. Subsequently, this Convention shall come into force in respect ofeach State three months after the date ofdeposit of its instrument ofratification, acceptance or accession.

Article 26 [Implementation ofthe Convention by the Provision ofDomestic Law] I. Each Contracting State undertakes to adopt, in accordance with its Constitution, the measures necessary to ensure the application ofthis Convention. 2. At the time ofdeposit ofits instrument ofratification, acceptance or accession, each State must be in a position under its domestic law to give effect to the terms ofthis Convention.

Article 27 [Applicability ofthe Convention to Certain Territories] 1. Any State may, at the time of ratification, acceptance or accession, or at any time thereafter, declare by notification addressed to the Secretary-General ofthe United Nations that this Convention shall extend to all or any ofthe territories for whose international relations it is responsible, provided that the Universal Copyright Convention or the International Convention for the Protection ofLiterary and Artistic Works applies to the territory or tcrritories concerned. This notification shall take effect three months after the date of its receipt. 2. The notifications referred to in paragraph 3 ofArticle 5, paragraph 2 ofArticle 6, paragraph I ofArticle 16 and Articles 17 and 18, may be extended to cover all or any of the territories referred to in paragraph I ofthis Article.

Article 28 [Denunciation ofthe Convention] 1. Any Contracting State may denounce this Convention, on its own behalfor on behalfofall or any of the territories referred to in Article 27. 2. The denunciation shall be effected by a notification addressed to the Secretary-General ofthe United Nations and shall take effect twelve months after the date ofreceipt ofthe notification. 3. The right ofdenunciation shall not be exercised by a Contracting State before the expiry ofa period offive years from the date on which the Convention came into force with respect to that State. 4. A Contracting State shall cease to be a party to this Convention from that time when it is neither a party to the Universal Copyright Convention nor a member ofthe International Union for the Protection of Literary and Artistic Works. 5. This Convention shall cease to apply to any territory referred to in Article 27 from that time when neither the Universal Copyright Convention nor the International Convention for the Protection ofLiterary and Artistic Works applies to that territory.

W0024EN page 7/9 62 ~ WIPO Databuse ofIntellectual Property WIPO • Legislative Texts

Article 29 [Revision ofthe Convention] I. After this Convention has been in force for five years, any Contracting State may, by notification addressed to the Secretary-General ofthe United Nations, request that a conference be convened for the purpose ofrevising the Convention. The Secretary-General shall notify all Contracting States ofthis request. If, within a period of six months following the date ofnotification by the Secretary-General ofthe United Nations, not less than one halfofthe Contracting States notify him oftheir concurrence with the request, the Secretary-General shall inform the Director-General ofthe International Labor Office, the Director-General ofthe United Nations Educational, Scientific and Cultural Organization and the Director ofthe Bureau ofthe International Union for the Protection of Literary and Artistic Works, who shall convene a revision conference in co-operation with the Intergovernmental Committee provided for in Article 32. 2. The adoption ofany revision ofthis Convention shall require an affirnmtive vote by two-thirds ofthe States attending the revision conference, provided that this majority includes two-thirds ofthe States which, at the time ofthe revision conference, are parties to the Convention. 3. In the event of adoption ofa Convention revising this Convention in whole or in part, and unless the revising Convention provides otherwise: (a) this Convention shall cease to be open to ratification, acceptance or accession as from the date of entry into force ofthe rcvising Convention; (b) this Convention shall remain in force as regards relations between or with Contracting States which have not become partics to the revising Convention.

Article 30 [Settlement ofdisputes] Any dispute which may arise between two or more Contracting States concerning the interpretation or application ofthis Convention and which is not settled by negotiation shall, at the request ofany one ofthe parties to the dispute, be referred to the International Court ofJustice for decision, unless they agree to another mode ofsettlement.

Article 31 [Limits on Reservations] Without prejudice to the provisions ofparagraph 3 ofArticle 5, paragraph 2 ofArticle 6, paragraph I ofArticle 16 and Article 17, no reservation may be made to this Convention.

Article 32 [Intergovernmental Committee] I. An Intergovernmental Committee is hereby established with the following duties: (oj to study questions concerning the application and operation ofthis Convention; and (b) to collect proposals and to prepare documentation for possible revision ofthis Convention. 2. The Committee shall consist ofrepresentatives ofthe Contracting States, chosen with due regard to equitable geographical distribution. The number ofmembers shall be six ifthere are twelve Contracting States or less, nine ifthere are thirteen to eighteen Contracting States and twelve ifthere are more than eighteen Contracting States. 3. The Committee shall be constituted twelve months after the Convention comes into force by an election organized among the Contracting States, each ofwhich shall have one vote, by the Director General ofthe International Labor Office, the Director-General ofthe United Nations Educational, Scientific and Cultural Organization and the Director ofthe Bureau ofIhe International Union for the Protection of Literary and Artistic Works, in accordance with rules previously approved by a majority of all Contracting States. 4. The Committee shall elect its Chairman and officers. It shall establish its own rules ofprocedure. These rules shall in particular provide for the future operation ofthe Committee and for a method of

W0024EN page 8/9 63

~::I WIPO Database ofIntellectual Property WIPO • Legislative Text.< selecting its members for the future in such a way as to ensure rotation among the varions Contracting States. 5. Officials ofthe International Labor Office, the United Nations Educational, Scientific and Cultural Organization and the Bureau of the International Union for the Protection ofLiterary and Artistic Works, designatcd by the Directors-Gcncral and thc Dircctor thcreof~ shall constitute the Sccretariat ofthe Committee. 6. Meetings ofthe Committee. which shall be convened whenever a majority ofits members deems it necessary, shall bc held snccessivcly at the headquarters ofthe International Labor Office, the United Nations Educational, Scientific and Cultural Organization and the Bureau ofthe International Union for the Protection of Literary and Artistic Works. 7. Expcnscs ofmembers ofthe Committee shall bc borne by their rcspective Governmcnts.

Article 33 [Languages1 I. Thc prcsent Convention is drawn up in English, Frcnch and Spanish, thc three texts being equally authentic. 2. In addition, official texts ofthe present Convention shall be drawn up in German, Italian and Portuguese.

Article 34 [Notifications1 I. Thc Secretary-Gcncral ofthe United Nations shall notifY the States invitcd to thc Confcrcnce referrcd to in Article 23 and every State Member ofthe United Nations. as well as the Director-General ofthe Intcrnational Labor Office, the Director-Gcncral ofthe Unitcd Nations Educational, Scientific and Cultural Organization and thc Dircctor ofthe Bureau ofthe International Union for the Protection ofLiterary and Artistic Works: (a) ofthe deposit ofeach instrument ofratification, acccptance or accession; (b) ofthe date ofentry into force ofthe Convention; (c) ofall notifications, declarations or communications provided for in this Convention; (d) ifany ofthe situations referred to in paragraphs 4 and 5 ofArticle 28 arise. 2. The Secretary-General of the United Nations shall also notifY the Director-General ofthe International LaborOllice, the Director-General ofttle United Nations Educational, Scientific and Cultural Organization and the Director ofthe Bureau of the International Union for the Protection ofLiterary and Artistic Works of the requests communicated to him in accordance with Article 29, as well as ofany communication received from the Contracting States concerning the revision ofthe Convention.

IN FAITH WHEREOF, the undersigned, being duly authorised thereto, have signed this Convention.

DONE at Rome, this twenty-sixth day ofOctober 1961, in a single copy in the English, French and Spanish languages. Certified true copies shall be delivered by the Secretary-General ofthe United Nations to all the States invited to the Conference reterred to in Article 23 and to every State Member ofthe United Nations, as well as to the Director-General ofthe International Labor Ollice, the Director-General ofthe United Nations Educational, Scientific and Cultural Organization and the Director ofthe Bnreau ofthe International Union for the Protection ofLiteralY and Artistic Works.

W0024EN page 9/9