International Survey on Private Copying
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International Survey on Private Copying
International Survey on Private Copying For more information contact WIPO at www.wipo.int Law & Practice 2 012 World Intellectual Property Organization 34, chemin des Colombettes 2012 International Survey on Private Copying – Law & Practice P.O. Box 18 CH-1211 Geneva 20 Switzerland Telephone: +4122 338 91 11 Fax: +4122 733 54 28 WIPO Publication No. 1037E ISBN 978-92-805-2271-6 International Survey on Private Copying Law & Practice 2012 Acknowledgement and thanks for front cover illustrations (Image of headphones courtesy of: www.publicdomainpictures.net/view-image.php?image=2133&picture=headphones by Anna Langova and all other images courtesy of www.copyright-free-images.com) Table of Contents EXECUTIVE SUMMARY 2 1. REVENUES PER CAPITA 12 2. TARIFFS ON BLANK CARRIERS 13 3. TARIFFS ON DEVICES (ALL THE AMOUNTS IN THIS REPORT ARE IN EUROS [€].) 14 4. AUSTRIA 15 5. BELGIUM 20 6. BULGARIA 25 7. BURKINA FASO 30 8. CANADA 33 9. CROATIA 37 10. CZECH REPUBLIC 41 11. CZECH REPUBLIC 45 12. DENMARK 48 13. FINLAND 51 14. FRANCE 56 15. GERMANY 61 16. GREECE 65 17. HUNGARY 69 18. ITALY 74 19. JAPAN 80 20. LATVIA 86 21. LITHUANIA 90 22. NETHERLANDS 97 23. NORWAY 102 24. PARAGUAY 104 25. POLAND 107 26. PORTUGAL 112 International Survey on Private Copying 27. ROMANIA 114 28. RUSSIA 118 29. SLOVAKIA 121 Law & Practice 2012 30. SLOVENIA 124 31. SPAIN 127 32. SWEDEN 132 33. SWITZERLAND 136 34. TURKEY 141 1 35. UNITED STATES OF AMERICA 144 Executive Summary 1. Introduction The present Survey represents a collection of key data on private copying compensation systems around the world. -
Introduction to Digitization
IntroductionIntroduction toto Digitization:Digitization: AnAn OverviewOverview JulyJuly 1616thth 2008,2008, FISFIS 2308H2308H AndreaAndrea KosavicKosavic DigitalDigital InitiativesInitiatives Librarian,Librarian, YorkYork UniversityUniversity IntroductionIntroduction toto DigitizationDigitization DigitizationDigitization inin contextcontext WhyWhy digitize?digitize? DigitizationDigitization challengeschallenges DigitizationDigitization ofof imagesimages DigitizationDigitization ofof audioaudio DigitizationDigitization ofof movingmoving imagesimages MetadataMetadata TheThe InuitInuit throughthrough MoravianMoravian EyesEyes DigitizationDigitization inin ContextContext http://www.jisc.ac.uk/media/documents/programmes/preservation/moving_images_and_sound_archiving_study1.pdf WhyWhy Digitize?Digitize? ObsolescenceObsolescence ofof sourcesource devicesdevices (for(for audioaudio andand movingmoving images)images) ContentContent unlockedunlocked fromfrom aa fragilefragile storagestorage andand deliverydelivery formatformat MoreMore convenientconvenient toto deliverdeliver MoreMore easilyeasily accessibleaccessible toto usersusers DoDo notnot dependdepend onon sourcesource devicedevice forfor accessaccess MediaMedia hashas aa limitedlimited lifelife spanspan DigitizationDigitization limitslimits thethe useuse andand handlinghandling ofof originalsoriginals WhyWhy Digitize?Digitize? DigitizedDigitized itemsitems moremore easyeasy toto handlehandle andand manipulatemanipulate DigitalDigital contentcontent cancan bebe copiedcopied -
The Broadcast Flag: Compatible with Copyright Law & Incompatible with Digital Media Consumers
607 THE BROADCAST FLAG: COMPATIBLE WITH COPYRIGHT LAW & INCOMPATIBLE WITH DIGITAL MEDIA CONSUMERS ANDREW W. BAGLEY* & JUSTIN S. BROWN** I. INTRODUCTION Is it illegal to make a high-quality recording of your favorite TV show using your Sony digital video recorder with your Panasonic TV, which you then edit on your Dell computer for use on your Apple iPod? Of course it’s legal, but is it possible to use devices from multiple brands together to accomplish your digital media goal? Yes, well, at least for now. What if the scenario involved high-definition television (“HDTV”) devices? Would the answers be as clear? Not as long as digital-content protection schemes like the Broadcast Flag are implemented. Digital media and Internet connectivity have revolutionized consumer entertainment experiences by offering high-quality portable content.1 Yet these attractive formats also are fueling a copyright infringement onslaught through a proliferation of unauthorized Internet piracy via peer-to-peer (“P2P”) networks.2 As a result, lawmakers,3 administrative agencies,4 and courts5 are confronted * Candidate for J.D., University of Miami School of Law, 2009; M.A. Mass Communication, University of Florida, 2006; B.A. Political Science, University of Florida, 2005; B.S. Public Relations, University of Florida, 2005 ** Assistant Professor of Telecommunication, University of Florida; Ph.D. Mass Communica- tions, The Pennsylvania State University, 2001 1 Andrew Keen, Web 2.0: The Second Generation of the Internet has Arrived. It's Worse Than You Think, WEEKLY STANDARD, Feb. 13, 2006, http://www.weeklystandard.com/ Con- tent/Public/Articles/000/000/006/714fjczq.asp (last visited Jan. -
Rethinking Private Copyinc in the Digital Age: an Analysis of the Canadian Approach to Music
RETHINKING PRIVATE COPYINC IN THE DIGITAL AGE: AN ANALYSIS OF THE CANADIAN APPROACH TO MUSIC BY John Davidson A thesis submitted in conformity with the requirements for the degree of Master of Laws Graduate Department of the Faculty of Law University of Toronto O By John Davidson 2001 National Library Bibliothèque nationale du Canada Acquisitions and Acquisitions et Bibliogmphic Services services bibliographiques 395 Wellington Street 395. rue Wellington mwa ON K1A ON4 OtlawaON K1AW canada Canada The author has granted a non- L'auteur a accordé une licence non exclusive licence allouwing the exclusive permettant à la National Library of Cana&. to Biblothèque nationale du Canada de reproduce, loan, distribute 9r seil reproduire, prêter, distribuer ou copies of diis thesis in microform, vendre des copies de cette îhèse sous paper or electronic formats. la forme de microfiche/fïlm, de reproduction sur papier ou sur format électronique. The author retains ownership of the L'auteur conserve la propriété du copyright in this thesis. Neither the droit d'auteur qui protège cette thèse. thesis nor substantial extracts fkom it Ni la thése ni des extraits substantiels may be printed or otherwise de celle-ci ne doivent être imprimés reproduced without the author's ou autrement reproduits sans son permission. autorisation. RETHINKING PRIVATE COPYING IN THE DIGITAL AGE: AN ANALYSIS OF THE CANADIAN APPROACH TO MUSIC John Davidson B.Comm. (U. Syd.), LL.B. (Hons.) (U. Syd.) Admitted to Practice Law in New South Wales, Australia Master of Laws Faculty of Law University of Toronto 200 1 ABSTRACT Digital technotogy and the Internet in particular have fundamentally altered the dynamics of private copying. -
Private Copying and Fair Compensation: an Empirical Study of Copyright Levies in Europe
Private Copying and Fair Compensation: An empirical study of copyright levies in Europe Martin Kretschmer Centre for Intellectual Property Policy & Management www.cippm.org.uk Bournemouth University [email protected] WIPO, 15 February 2012 EC levy definition (2006) A private copying levy is a form of indirect remuneration for right holders, based on the premise that some acts of private copying cannot be licensed for practical purposes by the relevant right holders. A copyright levy is typically attached to certain products (equipment or blank media) that can serve to reproduce audio, audio-visual and textual material such as music, films or books. Policy context ESRC Fellowship at UK IPO (2010/11) – UK: What position on EU wide regulation? – UK: Can a private copying exception be introduced without providing compensation? Limitations and exceptions – Are exceptions just a response to market failure? – What activities should be possible without permission? – If without permission, requirement to pay? Empirical approach: If we don’t know how a “regulated” market works, we can’t intervene. Levy history in the EU – 1965: Germany UrhG §53 – 2001: Info Soc Directive (“fair compensation”) – 2006: EC recommendation (almost) – October 2010: ECJ Padawan (“uniform interpretation”, “calculation based on harm”) – May 2011: EC announces “comprehensive legislative action” regarding private copying levies (+ “mediator”) – August 2011: UK commitment to introduce private copying exception without compensation (“Hargreaves”) – [Norway], Finland, -
FEP Report of Activities 2011 - 2012 3 4 FEP Report of Activities 2011 - 2012 Foreword by Fergal Tobin, FEP President
Report of Activities May 2011 – May 2012 Table of Content Table of Content Foreword by Fergal Tobin, FEP President . 5 DG Internal Market & Services . 25 25. Review of the Enforcement Directive27 FEP . 7 26. Effective Enforcement of copyright 28 28. Directive on orphan Works 30 FEP Meets 29. out-of-commerce Dialogue 31 FEP in Brussels and in Europe 30. viP stakeholders Dialogue 32 FEP Networks 31. collective Management 33 FEP statistics 32. Levies 34 DG Culture & Education . 9 DG Justice . 33 9. Multilingualism 33. Data protection 35 10. European cultural platforms Green Paper on 35. Brussels i Regulation cultural industries 11. European Union Prize for Literature 12. High level expert group on literacy DG Home Affairs . 36 36. Data retention DG Entreprise . 13 13. Toy Safety DG Research & Innovation . 38 DG Environment . 15 DG Taxation . 39 15. Eco-label 16. Obligations of operators who place timber and 39. Reduced rates of vAt timber products on the market 41. vAt on books in the member countries DG Health & Consumers . 17 DG Trade . 42 17. Review of the consumer Acquis 42. Anti-counterfeiting trade Agreement (ACTA) 43. External EU actions against piracy and counterfeiting DG Information Society & Media. 19 19. task force for the coordination of the Media The Publications Office of the European Union 20. European Digital Library - Europeana (publications office) . 45 21. ARROW – ARROW + 22. Revision of the directive 2003/98/Ec on the re- use of public sector information 24 23. Net Neutrality 25 FEP REPoRt oF ActivitiEs 2011 - 2012 3 4 FEP REPoRt oF ActivitiEs 2011 - 2012 Foreword by Fergal Tobin, FEP President Ebook, epublishing, elibraries, ebookshops… if the word of them are developing digital works, innovative tools to that defines you does not start with an e, you are pretty access them, tailor-made licences for all types of users. -
English and Collections Stream
ANNUAL REPORT 2018 Content President’s foreword by Jean-Michel Jarre CISAC is a unique “united nations” of creators 02 Foreword by Eric Baptiste Pushing for a creators-centric agenda 03 Introduction by Gadi Oron Building a better future for creators of all repertoires 04 CISAC Vice Presidents Champions for creators’ rights internationally 06 Key data The world of CISAC in numbers 08 Key figures 09 CISAC work programme in review 10 Special features Pingyao International Film Festival 29 UNESCO & CISAC team up on transfer of value 30 Algiers Creators Conference 31 CISAC structure and committees CISAC key services CISAC’s structure and committees Transfer of value campaign 32 at a glance 46 Bringing fairness to authors Education in the digital world Public education and raising awareness 48 Audiovisual campaign 34 Creators Councils Fair remuneration for film directors and screenwriter CIAM: Extending international influence 49 Resale right campaign 36 W&DW: New leadership, new frontiers 50 Fair royalties for visual artists CIAGP: Action and transition at the top 51 Private copying campaign 38 Regional Reports A key collections source for creators Asia Pacific 52 Technology and innovation 40 Africa 54 Developing effective data Latin America & the Caribbean 56 management tools Canada/USA 58 Governance 42 Europe 60 Strengthening collective management worldwide CISAC Members 62 Management team and Board 64 Publications 44 Authority, information, awareness Credits 65 CISAC ANNUAL REPORT # 2018 / 1 President’s foreword by Jean-Michel Jarre CISAC is a unique “united nations” of creators As the “United Nations” of creators, CISAC has a unique voice – one which speaks for the whole world, for five repertoires and for four million creators. -
History of the Early Days of Ampex Corporation
PAPER History of The Early Days of Ampex Corporation As recalled by JOHN LESLIE and ROSS SNYDER Alexander M. Poniatoff founded Ampex in 1944, primarily to manufacture small motors and generators for military applications. When WWII ended, the military contracts dropped off, and Alex had to search for a new line of business to continue his company’s existence. He and his small group of engineers heard a demonstration of a Magnetophon, a German magnetic tape recorder used by Hitler during WWII. The demonstration quickly convinced Alex to redirect his company and soon it was designing and manufacturing professional-quality magnetic tape recorders. Bing Crosby was a great help in Ampex’s early years. The company grew quickly and, within a short time, dominated the magnetic tape recorder market in radio, television, the record industry, and industrial and military markets for instrumentation recorders . Alex was born in Russia in 1892. His father was well-to- 0 INTRODUCTION do, and sent Alex to Germany for an education in engineering. After college, he returned to Russia only to see his country It has been amazing how many people today are asking become engaged in a civil war. Alex escaped to China, where questions about Ampex and the Company’s contribution to the he went to work for the Shanghai Power Company. He music recording industry, the radio and television broadcast immigrated to the United States in 1927 where he worked for industry and the stereophonic home entertainment field. There General Electric, Pacific Gas & Electric, and the Dalmo Victor is no question that Ampex was a major factor in each of these Corporation in San Carlos, California. -
FAQ – Extending the Private Copying Levy to MP3 Players
FAQ – Extending the Private Copying Levy to MP3 Players Why should the private copying levy be extended to MP3 players like the iPod? The private copying levy exists to provide fair compensation to songwriters, composers, music publishers, recording artists, musicians and recording companies for private copies made of their music. Currently, the levy only applies to CD-Rs. The time has come to extend the levy to reflect how private copies of music are actually made today – not how they were made a decade ago. Of the 1.9 billion songs copied annually in Canada, 62% are copied onto MP3 players like the iPod. Modernizing the levy by extending it to MP3 players will bring the current copyright legislation in line with the way people use and copy music today. Why is this so “urgent”? MP3 players have become the method of choice for copying music. The percentage of private copies being made on to CD-Rs is decreasing significantly. Revenue from the current levy has dropped 68% since 2008 and is drying up quickly. Rights holders are no longer being compensated for the majority of private copies being made of their music. Canadians have changed the technology used to copy music – our copyright law needs to change also, so that artists, songwriters and other rights holders can continue to receive the compensation to which they are entitled. Isn’t this just another tax? No. The private copying levy is not a tax. It is a royalty paid to music rights holders. Unlike a tax, which is collected by the government, the private copying levy is collected by the Canadian Private Copying Collective (CPCC) to provide remuneration to rights holders for private copying. -
Strategic Maneuvering and Mass-Market Dynamics: the Triumph of VHS Over Beta
Strategic Maneuvering and Mass-Market Dynamics: The Triumph of VHS Over Beta Michael A. Cusumano, Yiorgos Mylonadis, and Richard S. Rosenbloom Draft: March 25, 1991 WP# BPS-3266-91 ABSTRACT This article deals with the diffusion and standardization rivalry between two similar but incompatible formats for home VCRs (video- cassette recorders): the Betamax, introduced in 1975 by the Sony Corporation, and the VHS (Video Home System), introduced in 1976 by the Victor Company of Japan (Japan Victor or JVC) and then supported by JVC's parent company, Matsushita Electric, as well as the majority of other distributors in Japan, the United States, and Europe. Despite being first to the home market with a viable product, accounting for the majority of VCR production during 1975-1977, and enjoying steadily increasing sales until 1985, the Beta format fell behind theVHS in market share during 1978 and declined thereafter. By the end of the 1980s, Sony and its partners had ceased producing Beta models. This study analyzes the key events and actions that make up the history of this rivalry while examining the context -- a mass consumer market with a dynamic standardization process subject to "bandwagon" effects that took years to unfold and were largely shaped by the strategic maneuvering of the VHS producers. INTRODUCTION The emergence of a new large-scale industry (or segment of one) poses daunting strategic challenges to innovators and potential entrants alike. Long-term competitive positions may be shaped by the initial moves made by rivals, especially in the development of markets subject to standardization contests and dynamic "bandwagon" effects among users or within channels of distribution. -
Digitizing Video for Long-Term Preservation: an RFP Guide And
Digitizing Video for Long-Term Preservation: An RFP Guide and Template Barbara Goldsmith Preservation & Conservation Department New York University Libraries, 2013 Funded by The Andrew W. Mellon Foundation Contributors: Paula De Stefano Kimberly Tarr Melitte Buchman Peter Oleksik Alice Moscoso Ben Moskowitz Table of Contents I. Preface 1 II. Acknowledgements 4 III. Request for Proposals (RFP) Guide and Template 5 1: Introduction 5 2: Technical Requirements 5 3: Vendor Information 13 4: Schedule and Turnaround Time 17 5: Delivery of Completed Work 17 6: Failures 19 7: Special Instructions 20 8: Sub-Contracting 20 9: Insurance 20 10: Details of Proposal Deliverables 21 Appendices Appendix A: Sample Request for Proposals (RFP) 24 Appendix B: Sample Metadata Schema 37 Appendix C: Sample Transfer Notes 39 Appendix D: A Glossary of Terms and Concepts 40 Appendix E: Selected Resources 48 ii I. Preface Digitizing Video for Long-Term Preservation: An RFP Guide and Template is intended to take an institution step-by-step through the process of drafting a Request for Proposals (RFP) for the transfer of analog video formats to digital carriers for preservation. This template can be used by libraries, archives, and other cultural heritage institutions and submitted to qualified transfer vendors. Funded by The Andrew W. Mellon Foundation, the Digitizing Video for Long-Term Preservation publication is part of the Video at Risk project undertaken by New York University and two partner institutions, Loyola University New Orleans and the University of California, Berkeley. The authors of this publication set out to create a template that would identify the key elements integral to the transfer of the video and audio signal from Standard Definition VHS to a preservation-quality digital file. -
International Survey on Private Copying
International Survey on Private Copying For more information contact WIPO at www.wipo.int World Intellectual Property Organization Law & Practice 2015 34, chemin des Colombettes P.O. Box 18 CH-1211 Geneva 20 Switzerland Telephone: +4122 338 91 11 Fax: +4122 733 54 28 WIPO Publication No. 1037E/16 ISBN 978-92-805-2707-0 Acknowledgement and thanks for front cover illustrations Acknowledgement and thanks for front right image courtesy of Carlos Porto at FreeDigitalPhotos.net Top image courtesy of Stuart Miles at FreeDigitalPhotos.net centre Top right image courtesy of tungphoto at FreeDigitalPhotos.net Top Lower left Image courtesy of stockimages at FreeDigitalPhotos.net image courtesy of xedos4 at FreeDigitalPhotos.net Lowewr centre Lower right image courtesy of watcharakun at FreeDigitalPhotos.net International Survey on Private Copying Law & Practice 2015 International Survey on Private Copying Law & Practice 2015 International Survey on Private Copying Law & Practice 2015 Table of Contents PREFACE 2 EXECUTIVE SUMMARY 3 1. Introduction 3 2. Methodology and Scope 3 3. Legal background for private copying remuneration 4 4. Practical implementation of compensation systems 7 5. Liability 10 6. Collection and distribution 11 7. Revenue trends 13 8. Conclusion 22 9. Annex 24 1. AUSTRIA 30 2. BELGIUM 37 3. BURKINA FASO 44 4. CANADA 46 5. CROATIA 51 6. CZECH REPUBLIC 56 7. DENMARK 60 8. ESTONIA 64 9. FINLAND 68 10. FRANCE 74 11. GERMANY 81 12. GREECE 85 13. HUNGARY 90 14. ITALY 97 15. JAPAN 103 International Survey on Private Copying 16. LATVIA 109 17. LITHUANIA 112 18. NETHERLANDS 118 19. NORWAY 123 Law & Practice 2015 20.