International Comparison of Approaches to Online Copyright Infringement: Final Report

Total Page:16

File Type:pdf, Size:1020Kb

International Comparison of Approaches to Online Copyright Infringement: Final Report International Comparison of Approaches to Online Copyright Infringement: Final Report Research commissioned by the Intellectual Property Office, and carried out by: BOP Consulting with DotEcon This is an independent report commissioned by the Intellectual Property Office (IPO). Findings and opinions are those of the researchers, not necessarily the views of the IPO or the Government. © Crown copyright 2015 Intellectual Property Office is an operating name of the Patent Office 2015/40 ISBN: 978-1-910790-06-9 International Comparison of Approaches to Online Copyright Infringement: Final Report Published by The Intellectual Property Office February 2015 BOP Consulting specialises in the cultural, creative and digital 1 2 3 4 5 6 7 8 9 10 industries. We apply our expertise through research, evaluation, © Crown Copyright 2015 place-making, capital project planning, business strategy and training and events. We are interested in working with clients to You may re-use this information (excluding logos) free of charge in any format or medium, under the provide fresh insight, make things happen and deliver value for terms of the Open Government Licence. To view money. this licence, visit http://www.nationalarchives.gov. www.bop.co.uk uk/doc/open-government-licence/ or email: [email protected] DotEcon provides economic consultancy advice to companies, Where we have identified any third party copyright information you will need to obtain permission from governments and institutions on matters covering competition, the copyright holders concerned. regulation, public policy, market design and business strategy. DotEcon combines the ability to integrate rigorous economics with Any enquiries regarding this publication should be sent to: a thorough understanding of market realities to provide reliable, practicable and concise advice. The Intellectual Property Office www.dotecon.com Concept House Cardiff Road Newport NP10 8QQ Tel: 0300 300 2000 Fax: 01633 817 777 e-mail: [email protected] This publication is available from our website at www.ipo.gov.uk Contents Executive Summary ......................................................................................................1 Background and context ........................................................................................1 Target and purpose of measures ...........................................................................2 Who does what ......................................................................................................3 Legal system and traditions ....................................................................................4 Costs .....................................................................................................................4 Effectiveness ..........................................................................................................5 Demand-side .........................................................................................................5 Supply-side ............................................................................................................5 Cooperation versus coercion? ................................................................................6 Introduction ..................................................................................................................7 Methodology ..........................................................................................................7 Structure of the report ............................................................................................8 Background and context ........................................................................................8 Technological development ...................................................................................8 Legal online audio-visual content services ..............................................................11 The online ecosystem for copyright infringement ....................................................15 Comparative review of approaches................................................................................16 Overview ...............................................................................................................16 1. Impetus behind policy approaches .....................................................................16 2. Measures and their purposes .............................................................................17 3. Technological focus of enforcement ....................................................................18 4. Implementation and institutional aspects ............................................................19 5. Legal systems ....................................................................................................21 6. Pro-active or reactive? .......................................................................................22 7. Absolute cost .....................................................................................................22 8. Division of cost ...................................................................................................24 9. Effectiveness ......................................................................................................24 Conclusions ...........................................................................................................26 Canada .........................................................................................................................30 Overview of the Canadian approach ......................................................................30 Contextual factors ..................................................................................................30 Background and policy process .............................................................................32 Legal and regulatory basis of approach ..................................................................33 Enforcement process .............................................................................................34 Enforcement measures / sanctions ........................................................................35 Burden and standard of proof ...............................................................................36 Costs .....................................................................................................................37 Implementation, Monitoring and Effectiveness ........................................................38 Brazil ............................................................................................................................39 Overview of the Brazilian approach ........................................................................39 Contextual factors ..................................................................................................39 Background and policy process .............................................................................40 Legal and regulatory basis of approach ..................................................................41 Enforcement process .............................................................................................41 Enforcement measures / sanctions ........................................................................43 Burden and standard of proof ...............................................................................43 Costs .....................................................................................................................43 Implementation, Monitoring and Effectiveness ........................................................43 France ..........................................................................................................................44 Overview of the French approach ..........................................................................44 Contextual factors ..................................................................................................44 Background and policy process .............................................................................45 Legal and regulatory basis of approach ..................................................................46 Enforcement process .............................................................................................47 Graduated response ..............................................................................................47 ‘Notice and take down’ .........................................................................................48 Legal offer promotion .............................................................................................49 Enforcement measures / sanctions ........................................................................50 Burden and standard of proof ...............................................................................50 Costs .....................................................................................................................50 Implementation, Monitoring and Effectiveness ........................................................51 Graduated response ..............................................................................................51 ‘Notice and take down’ ..........................................................................................52 Italy...............................................................................................................................53
Recommended publications
  • Uila Supported Apps
    Uila Supported Applications and Protocols updated Oct 2020 Application/Protocol Name Full Description 01net.com 01net website, a French high-tech news site. 050 plus is a Japanese embedded smartphone application dedicated to 050 plus audio-conferencing. 0zz0.com 0zz0 is an online solution to store, send and share files 10050.net China Railcom group web portal. This protocol plug-in classifies the http traffic to the host 10086.cn. It also 10086.cn classifies the ssl traffic to the Common Name 10086.cn. 104.com Web site dedicated to job research. 1111.com.tw Website dedicated to job research in Taiwan. 114la.com Chinese web portal operated by YLMF Computer Technology Co. Chinese cloud storing system of the 115 website. It is operated by YLMF 115.com Computer Technology Co. 118114.cn Chinese booking and reservation portal. 11st.co.kr Korean shopping website 11st. It is operated by SK Planet Co. 1337x.org Bittorrent tracker search engine 139mail 139mail is a chinese webmail powered by China Mobile. 15min.lt Lithuanian news portal Chinese web portal 163. It is operated by NetEase, a company which 163.com pioneered the development of Internet in China. 17173.com Website distributing Chinese games. 17u.com Chinese online travel booking website. 20 minutes is a free, daily newspaper available in France, Spain and 20minutes Switzerland. This plugin classifies websites. 24h.com.vn Vietnamese news portal 24ora.com Aruban news portal 24sata.hr Croatian news portal 24SevenOffice 24SevenOffice is a web-based Enterprise resource planning (ERP) systems. 24ur.com Slovenian news portal 2ch.net Japanese adult videos web site 2Shared 2shared is an online space for sharing and storage.
    [Show full text]
  • The Future of Licensing Music Online: the Role of Collective Rights Organizations and the Effect of Territoriality, 25 J
    The John Marshall Journal of Information Technology & Privacy Law Volume 25 Issue 3 Journal of Computer & Information Law Article 1 - Summer 2008 Summer 2008 The Future of Licensing Music Online: The Role of Collective Rights Organizations and the Effect of Territoriality, 25 J. Marshall J. Computer & Info. L. 409 (2008) Neil Conley Follow this and additional works at: https://repository.law.uic.edu/jitpl Part of the Computer Law Commons, Entertainment, Arts, and Sports Law Commons, Internet Law Commons, and the Science and Technology Law Commons Recommended Citation Neil Conley, The Future of Licensing Music Online: The Role of Collective Rights Organizations and the Effect of Territoriality, 25 J. Marshall J. Computer & Info. L. 409 (2008) https://repository.law.uic.edu/jitpl/vol25/iss3/1 This Article is brought to you for free and open access by UIC Law Open Access Repository. It has been accepted for inclusion in The John Marshall Journal of Information Technology & Privacy Law by an authorized administrator of UIC Law Open Access Repository. For more information, please contact [email protected]. ARTICLES THE FUTURE OF LICENSING MUSIC ONLINE: THE ROLE OF COLLECTIVE RIGHTS ORGANIZATIONS AND THE EFFECT OF TERRITORIALITY NEIL CONLEYt I. INTRODUCTION The right to control the performance of a creative work' represents for most songwriters and music publishers ("rights holders")2 their great- est source of income.3 However, the current licensing regime practiced t The author will receive his LL.M. in intellectual property law at the George Wash- ington University Law School in August of 2008. I would like to thank Ralph Oman, my professor, for his guidance, suggestions, and edits.
    [Show full text]
  • Android App for Free Music Downloads Top 10 Free Music Download Apps for Android to Download Free Music
    android app for free music downloads Top 10 Free Music Download Apps for Android to Download Free Music. Along with the rapid development of internet and Smartphone, you can handily enjoy your favorite music on mobile devices at any time, rather than listen to music with your old CD or MP3 player. Just a music app on your phone, can totally replace all your music devices. However, nowadays, you may easily find out that lots of free music download apps for Android no longer enable you to download songs free. No matter how deep you love music, you won't pay money for every song you like and downloaded. Because you like all kinds of music types, you fancy too many singers. So many times, free music download apps for Android can be the biggest saviors for you. In this article, we will show you 10 great Android apps for you to free stream and download mp3 songs. Let's look at the top free music apps for Android to download free music. 1. Gaana Music - One-stop solution music download app for Android. Gaana is an excellent free music downloading app on Android for you to download music for free. It provides you with free and unlimited access to all your favorite songs, no matter where you are. Based on the India's largest online music broadcasting service, Gaana can be the one-stop solution for all your music needs. Gaana carries huge collection of Bollywood movie songs. So if you like listening to Hindi music, it can be your best choice to free download MP3 songs.
    [Show full text]
  • Marketing Plan
    ALLIED ARTISTS MUSIC GROUP An Allied Artists Int'l Company MARKETING & PROMOTION MARKETING PLAN: ROCKY KRAMER "FIRESTORM" Global Release Germany & Rest of Europe Digital: 3/5/2019 / Street 3/5/2019 North America & Rest of World Digital: 3/19/2019 / Street 3/19/2019 MASTER PROJECT AND MARKETING STRATEGY 1. PROJECT GOAL(S): The main goal is to establish "Firestorm" as an international release and to likewise establish Rocky Kramer's reputation in the USA and throughout the World as a force to be reckoned with in multiple genres, e.g. Heavy Metal, Rock 'n' Roll, Progressive Rock & Neo-Classical Metal, in particular. Servicing and exposure to this product should be geared toward social media, all major radio stations, college radio, university campuses, American and International music cable networks, big box retailers, etc. A Germany based advance release strategy is being employed to establish the Rocky Kramer name and bona fides within the "metal" market, prior to full international release.1 2. OBJECTIVES: Allied Artists Music Group ("AAMG"), in association with Rocky Kramer, will collaborate in an innovative and versatile marketing campaign introducing Rocky and The Rocky Kramer Band (Rocky, Alejandro Mercado, Michael Dwyer & 1 Rocky will begin the European promotional campaign / tour on March 5, 2019 with public appearances, interviews & live performances in Germany, branching out to the rest of Europe, before returning to the U.S. to kick off the global release on March 19, 2019. ALLIED ARTISTS INTERNATIONAL, INC. ALLIED ARTISTS MUSIC GROUP 655 N. Central Ave 17th Floor Glendale California 91203 455 Park Ave 9th Floor New York New York 10022 L.A.
    [Show full text]
  • Digital-Music-Report-2015
    CONTENTS 4 25 Introduction Moving to a global release day in 2015 Plácido Domingo, chairman, IFPI Frances Moore, chief executive, IFPI 27 Country case studies 6 Brazil: a top performing market Market overview China: moving towards paid services An evolving portfolio business Germany: streams grow, CDs resilient Regional picture 32 10 Music and the wider economy Most popular artists and global bestsellers of 2014 The broader effect of investment in artists IFPI Global Recording Artist of the Year 2014 Music helps drive social media Top selling global albums & singles of 2014 Music and economic growth How streaming is changing the charts Tomorrow’s world 14 34 Key recording industry trends in 2014 Labels working with artists: four case studies Subscription drives the music portfolio David Guetta: using data intelligently New global services, more reach Lucas Lucco: artist and digital native Smartphones and partnerships drive growth Sam Smith: innovative promotion Getting subscription to the mass market Wakin Chau: interactive digital promotion Streaming revenue models Streaming services compete on curation 38 Payment options diversify Tackling digital piracy Downloads decline Consumer attitudes towards piracy Video streaming surges Website blocking Search engines 20 Advertising and payment providers New IFPI data shows artist payments Piracy and apps as share of revenues are up IFPI’s content protection work 22 41 Fixing the ‘value gap’ in digital music Digital music services worldwide Cover Taylor Swift photo by Sarah Barlow + Stephen Schofield Robin Schulz photo by Geturshot.com Wakin Chau photo courtesy of Rock Group One Direction photo by RJ Shaughnessy Lucas Lucco photo by Guto Costa Ed Sheeran photo by Ben Watts Katy Perry photo by Cass Bird This report includes new findings from a consumer study carried out by IPSOS in January 2015 across 13 of the world’s leading music markets (Australia, Brazil, Canada, France, Germany, Great Britain, Italy, Japan, Mexico, South Korea, Spain, Sweden, United States), www.ifpi.org commissioned by IFPI.
    [Show full text]
  • ACTA and the Specter of Graduated Response
    American University Washington College of Law Digital Commons @ American University Washington College of Law Joint PIJIP/TLS Research Paper Series 9-2010 ACTA and the Specter of Graduated Response Annemarie Bridy University of Idaho College of Law, [email protected] Follow this and additional works at: https://digitalcommons.wcl.american.edu/research Part of the Intellectual Property Law Commons, and the International Trade Law Commons Recommended Citation Bridy, Annemarie. 2010. ACTA and the Specter of Graduated Response. PIJIP Research Paper no. 2. American University Washington College of Law, Washington, DC. This Article is brought to you for free and open access by the Program on Information Justice and Intellectual Property and Technology, Law, & Security Program at Digital Commons @ American University Washington College of Law. It has been accepted for inclusion in Joint PIJIP/TLS Research Paper Series by an authorized administrator of Digital Commons @ American University Washington College of Law. For more information, please contact [email protected]. ACTA AND THE SPECTER OF GRADUATED RESPONSE Annemarie Bridy 1 ABSTRACT This article considers the evolution of ACTA’s “digital environment” provisions in the context of concerns raised early in the negotiations that the agreement would require signatories to mandate graduated response regimes for online copyright enforcement (à la France’s controversial HADOPI system). The Consolidated Text of ACTA released in October 2010, following the final round of negotiations in Japan, contains no provision mandating the adoption of graduated response. Such regimes are tacitly endorsed in the agreement, however, through language in the preamble and the digital environment provisions concerning the promotion of greater cooperation between rights owners and service providers.
    [Show full text]
  • Services Who Have Paid 2016 Annual Minimum Fees Payments Received As of 07/31/2016
    Services who have paid 2016 annual minimum fees payments received as of 07/31/2016 License Type Service Name Webcasting 181.FM Webcasting 3ABNRADIO (Christian Music) Webcasting 3ABNRADIO (Religious) Webcasting 70'S PRESERVATION SOCIETY Webcasting 8TRACKS.COM Webcasting A-1 COMMUNICATIONS Webcasting ABERCROMBIE.COM Webcasting ACAVILLE.COM Webcasting ACCURADIO.COM Webcasting AD ASTRA RADIO Webcasting AD VENTURE MARKETING DBA TOWN TALK RADIO Webcasting ADAMS RADIO GROUP Webcasting ADDICTEDTORADIO.COM Webcasting AGM BAKERSFIELD Webcasting AGM NEVADA, LLC Webcasting AGM SANTA MARIA, L.P. *SoundExchange accepts and distributes payments without confirming eligibility or compliance under Sections 112 or 114 of the Copyright Act, and it does not waive the rights of artists or copyright owners that receive such payments. Services who have paid 2016 annual minimum fees payments received as of 07/31/2016 Webcasting AIBONZ Webcasting AIR ALUMNI Webcasting AIR1.COM Webcasting AIR1.COM (CHRISTMAS) Webcasting AJG CORPORATION Webcasting ALL MY PRAISE Webcasting ALLWEBRADIO.COM Webcasting ALLWORSHIP.COM Webcasting ALLWORSHIP.COM (CONTEMPORARY) Webcasting ALLWORSHIP.COM (INSTRUMENTAL) Webcasting ALLWORSHIP.COM (SPANISH) Webcasting ALOHA STATION TRUST Webcasting ALPHA MEDIA - ALASKA Webcasting ALPHA MEDIA - AMARILLO Webcasting ALPHA MEDIA - AURORA Webcasting ALPHA MEDIA - AUSTIN-ALBERT LEA Webcasting ALPHA MEDIA - BAKERSFIELD *SoundExchange accepts and distributes payments without confirming eligibility or compliance under Sections 112 or 114 of the Copyright
    [Show full text]
  • Music Streaming Services, Functions and Users Civilekonomprogrammet, 240 Hp 240 Civilekonomprogrammet
    Civilekonomprogrammet, 240 hp KANDIDAT Music Streaming Services, functions and users UPPSATS Billy Nilsson Bachelor thesis, 15hp 2013-05-23 !1 Halmstad University Academy of economics, engineering and science Bachelor thesis Klaus Solberg-Søilen Music Streaming: Services, Functions and Users Billy Nilsson 890413 !2 Preface This bachelor dissertation were written in Copenhagen and at Halmstad Universtiy during the spring of 2015. I would like to thank all the respondents who answered my survey, my opponent group during my work, my friends and family who supported me through some challenging times and last but not least Klaus Solberg Søilen for inspiration and advice. My hope for this study is to shine a light on how people actually wants to use music streaming services. Billy Nilsson, Halmstad, May-2015 !3 Abstract While the music business finally is starting to turn into a profitable market again, and the streaming services are seen as one of the main saviours they seem to struggle turning their free users into paying customers, and thereby making a profit. The freemium business model where a small percentage of paying customers are supposed to finance the whole service, and thereby the free customers, does not cut it and services are struggling turning a profit. The first part of this study is a function mapping of existing music streaming services, which presents a new view on the functions of music streaming services. The second part is a quantitative survey based on the function mapping, and studies the usage of said functions. This study shows that many of the functions offered by the services are not used by a majority of the users.
    [Show full text]
  • Isabelle Dessureault
    Media contact only: Youann Blouin Corporate Communications Advisor Telephone: 514 380-7069 PRESS RELEASE For immediate release Unlimited Music brings Napster and Tidal on board Montréal, December 6, 2016 – A few days after announcing the addition of another music streaming service to its catalogue, Videotron’s Unlimited Music service has announced two more additions, Napster and global music and entertainment platform, Tidal, bringing the total number of supported apps to 17. Unlimited Music lets Videotron Mobile customers stream music using popular music apps without using up any of their data plan. Recently added apps include Apple Music, Radio Tunes, Band Camp, Slacker, Jango, Analekta, Digitally Imported, Rock Radio and Jazz Radio. “These additions to Unlimited Music will allow music-lovers to enjoy their fill of an even wider selection of music from Québec and around the world,” said Bertrand Hébert, Vice-President, Marketing, Videotron. “We are very pleased to be able to bring our customers the benefits of these new agreements with key industry players. We are particularly proud to be offering the streaming apps that customers are requesting on social media.” Unlimited Music is available across Videotron’s LTE network, which covers nearly 90% of Québec’s population and supports speeds of up to 150 Mbps. It is a free service for all subscribers to a Premium mobile plan. Videotron (www.videotron.com), a wholly owned subsidiary of Quebecor Media Inc., is an integrated communications company engaged in cable television, interactive multimedia development, Internet access, cable telephone and mobile telephone services. Videotron is a leader in new technologies with its illico interactive television service and its broadband network, which supports high-speed cable Internet access, analog and digital cable television, and other services.
    [Show full text]
  • The Graduated Response Takes Centre Stage
    http://reference.sabinet.co.za/sa_epublication_article/ju_samlj_v24_n2_a1 http://reference.sabinet.co.za/webx/access/electronic_journals/ju_samlj/ju_samlj_v24_n2_a1.pdf Articles Copyright Enforcement: The Graduated Response Takes Centre Stage SA Mercantile Law Journal = SA Tydskrif vir Handelsreg Vol. 24, Issue 2 ©2012 (2012) 24 SA Merc LJ By: CAROLINE B NCUBE*, University of Cape Town http://carolinebncube.wordpress.com/ (p. 133) Abstract A significant portion of copyright infringement in the digital environment is carried out through file sharing. Litigation by copyright-holders against individuals and the providers of online file sharing or peer-to-peer (P2P) platforms has failed to stem the tide of large-scale infringement. The pursuit of individuals has been nothing short of a 'public relations disaster' because of the disproportionate remedies sought. For example, in the United States, Jamie Thomas-Rasset's case, based on her sharing of 24 songs, resulted in a fine of US$1.92 million in 2009, which was reduced to US$54 000 in January 2010 and then fixed at US$1.5 million by a third jury trial in November 2010. Thereafter it was reduced to US $54 000 in July 2011. An appeal was filed against that reduction in August 2011, oral arguments were heard on 12 June 2012 and judgment is still pending as at 10 July 2012. Introduction A significant portion of copyright infringement in the digital environment is carried out through file sharing.1 Litigation by copyright-holders against individuals and the providers of online file sharing or
    [Show full text]
  • Billboard on Pandora
    Billboard on Pandora: If it monetizes listening like AM/FM, it's sustainable Pandora's ratio of revenue to its share of radio listening means earnings potential, says Billboard Posted by: Paul Maloney Labels and performers critical of Pandora's efforts to lower the royalties it pays often say the webcaster should simply sell more ads and generate more revenue. Billboard says its analysis of Pandora's business model indicates it is, in fact, "well-positioned to turn its massive listening audience into profits." It's simply a matter of monetizing its audience at the same rate as broadcast radio, according to the analysis. "Pandora had roughly a 7% share of U.S. radio listening in June," writes Billboard's Glenn Peoples. "A 7% share of the $16 billion radio advertising market is worth $980 million to broadcast radio. Pandora’s revenue during the last four quarters was just $417 million. That implies Pandora’s current market share could generate an additional $563 million." Morgan Stanley analyst Scott Devitt predicted a 15% share of radio listening for Pandora by 2015, which at its current montetization would amount to half a billion in ad revenue. Billboard reasons that if Pandora squeezed the same revenue out of its inventory as radio, it would be four times that ($2 billion). So, would Pandora need to load up on ads like so many local broadcasters, with several 6- or 8-minute spot breaks per hour? Wouldn't that substantially affect audience? Or would superior ad-targeting mean Pandora could charge advertisers a substantially higher rate
    [Show full text]
  • Ifpi-Digital-Music-Report-2015.Pdf
    CONTENTS 4 25 Introduction Moving to a global release day in 2015 Plácido Domingo, chairman, IFPI Frances Moore, chief executive, IFPI 27 Country case studies 6 Brazil: a top performing market Market overview China: moving towards paid services An evolving portfolio business Germany: streams grow, CDs resilient Regional picture 32 10 Music and the wider economy Most popular artists and global bestsellers of 2014 The broader effect of investment in artists IFPI Global Recording Artist of the Year 2014 Music helps drive social media Top selling global albums & singles of 2014 Music and economic growth How streaming is changing the charts Tomorrow’s world 14 34 Key recording industry trends in 2014 Labels working with artists: four case studies Subscription drives the music portfolio David Guetta: using data intelligently New global services, more reach Lucas Lucco: artist and digital native Smartphones and partnerships drive growth Sam Smith: innovative promotion Getting subscription to the mass market Wakin Chau: interactive digital promotion Streaming revenue models Streaming services compete on curation 38 Payment options diversify Tackling digital piracy Downloads decline Consumer attitudes towards piracy Video streaming surges Website blocking Search engines 20 Advertising and payment providers New IFPI data shows artist payments Piracy and apps as share of revenues are up IFPI’s content protection work 22 41 Fixing the ‘value gap’ in digital music Digital music services worldwide Cover Taylor Swift photo by Sarah Barlow + Stephen Schofield Robin Schulz photo by Geturshot.com Wakin Chau photo courtesy of Rock Group One Direction photo by RJ Shaughnessy Lucas Lucco photo by Guto Costa Ed Sheeran photo by Ben Watts Katy Perry photo by Cass Bird This report includes new findings from a consumer study carried out by IPSOS in January 2015 across 13 of the world’s leading music markets (Australia, Brazil, Canada, France, Germany, Great Britain, Italy, Japan, Mexico, South Korea, Spain, Sweden, United States), www.ifpi.org commissioned by IFPI.
    [Show full text]