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Europeana Sounds and Copyrights

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Europeana Sounds and Copyrights: The Need for and Challenges in Licensing Archival Materials (December 2015) Author: Dr. Simone Schroff Institute for Information Law, University of Amsterdam 1 How can cultural heritage institutions tackle the barriers to online access within the EU, and what policy recommendation at EU and institutional level can be made to bring down the barriers? Content Executive Summary ................................................................................................................................. 6 1. Introduction ..................................................................................................................................... 9 1.1 Objectives .............................................................................................................................. 10 1.2 Methodology ......................................................................................................................... 10 1.3 Outline ................................................................................................................................... 11 2. Background .................................................................................................................................... 12 2.1 What is the object of protection? ......................................................................................... 12 2.2 The Exclusive Rights............................................................................................................... 14 2.3 Ownership ............................................................................................................................. 16 2.3.1 Rights Ownership in Special Circumstances .................................................................. 17 2.3.1.1 Subject Matter Created in the Course of Employment ............................................. 17 2.3.1.2 Subject Matter Created by Public Authorities ........................................................... 19 2.3.1.3 Commissioned Works ................................................................................................ 20 2.3.1.4 Summary .................................................................................................................... 21 2.3.2 The Creative Market ...................................................................................................... 22 2.3.3 Summary ........................................................................................................................ 25 2.4 Conclusion ............................................................................................................................. 25 3. The Music Industry and Copyright ................................................................................................ 27 3.1 Phase 1: The Underlying Work .............................................................................................. 27 3.1.1 Musical Works ............................................................................................................... 27 3.1.2 Literary and Oral Works ................................................................................................ 30 3.1.3 Summary ........................................................................................................................ 31 3.1.4 Ownership ..................................................................................................................... 31 3.1.4.1 Summary .................................................................................................................... 33 3.1.5 Industry Practice ............................................................................................................ 34 3.1.6 Conclusion ..................................................................................................................... 34 3.2 Phase 2: The Performance of the Work ................................................................................ 35 3.2.1 Ownership ..................................................................................................................... 38 3.2.2 Conclusion ..................................................................................................................... 39 3.3 Phase 3: The Fixation of the Performance ............................................................................ 40 3.3.1 Phonogram .................................................................................................................... 40 3.3.2 Conclusion ..................................................................................................................... 43 2 3.4 Phase 4: Packaging and Distributing the Subject Matter for Consumer Market .................. 43 3.4.1 Art Works ....................................................................................................................... 44 3.4.1.1 Ownership ................................................................................................................. 46 3.4.1.2 The Art Industry ......................................................................................................... 47 3.4.1.3 Summary .................................................................................................................... 48 3.4.2 Broadcast ....................................................................................................................... 49 3.4.2.1 Ownership ................................................................................................................. 50 3.4.2.2 Summary .................................................................................................................... 51 3.4.3 Conclusion ..................................................................................................................... 51 3.5 Adaptations of Musical Works .............................................................................................. 52 3.5.1 Performance on Stage ................................................................................................... 52 3.5.1.1 Ownership ................................................................................................................. 54 3.5.1.2 Summary .................................................................................................................... 54 3.5.2 Audio- Visual Subject Matter......................................................................................... 55 3.5.2.1 UK .............................................................................................................................. 56 3.5.2.2 Germany .................................................................................................................... 57 3.5.2.3 The Audio- Visual Industry ........................................................................................ 59 3.5.2.3.1 Producing a Feature Film..................................................................................... 59 3.5.2.3.2 Producing a Work for TV ..................................................................................... 60 3.5.2.4 Conclusion ................................................................................................................. 61 3.6 Conclusion: Copyright and the Music Business ..................................................................... 61 4. Licensing Works ............................................................................................................................. 65 4.1 Licensing Requirements: Europeana in the Context of Copyright Law ................................. 65 4.1.1 In- Copyright Subject Material ...................................................................................... 65 4.1.2 Identifying Subject Matter in the Public Domain .......................................................... 67 4.2 The Licensing System ............................................................................................................. 67 4.2.1 CMOs and the Collective Management System ............................................................ 68 4.2.2 Issues with CMO clearance ............................................................................................ 71 4.2.2.1 Membership Representativeness .............................................................................. 71 4.2.2.2 Rights Fragmentation ................................................................................................ 73 4.2.2.3 Territorial Scope of Rights ......................................................................................... 74 4.2.2.4 Summary .................................................................................................................... 78 4.3 Licensing Copyright- Relevant Subject Matter in Practice .................................................... 78 4.3.1 Rights Clearance via CMOs ............................................................................................ 79 4.3.1.1 Summary .................................................................................................................... 80 4.3.2 Rights Clearance via the Commercial Intermediaries ................................................... 82 3 4.3.2.1 Summary .................................................................................................................... 85 4.3.3 Rights Clearance via Individual Right Holders ..............................................................
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