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How to Make a Living in the Creative Industries © WIPO, 2017

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When content published by WIPO, such as images, graphics, trademarks or logos, is attributed to a third- party, the user of such content is solely responsible for This booklet was written by BOP Consulting clearing the rights with the right holder(s). on behalf of the World Intellectual Property Organization. BOP is an international consultancy To view a copy of this license, please visit specializing in and the creative economy. https://creativecommons.org/licenses/by/3.0/igo/ Established for 20 years, it is a leading authority on mapping and evaluating the socio-economic Printed in Switzerland impact of the cultural and creative industries. Table of contents

1. Introduction 4

2. What is and why does it matter? 4

3. Protecting and exploiting your rights 5 What rights do you own? 6 Identifying yourself as the rights holder 6 Exploiting your rights 6 Licensing and assignment 7 Protecting your copyright 7

4. The creative industries 8 Defining the creative industries 8 Diversity of the creative industries 9 What is the global value of the creative industries? 9 Employment in the creative industries 10 Copyright in the digital age 10

5. How do different creative sectors use IP? 13 13 and 13 Music 14 14 Video 15 Monetization of copyright assets by creative enterprises 15 Managing creative enterprises 16

6. Final remarks 16

7. Additional reading 17 1. Introduction 2. What is copyright and why does it matter? Making a living in the creative industries means many different things to different Intellectual property (IP) refers to creations people. For some it represents an ideal of of the mind, such as inventions; literary creative freedom, for others a business and artistic works; ; and symbols, strategy. Individual motivations and names and images used in commerce. The roles are as varied as the activities that creators of those works can protect them make up the creative industries – a sector and control their use. Copyright, that includes a range of activities from rights, patents and registered trademarks to production of video games. are all recognized ways for creatives to secure their rights. Whatever creative role interests you, and whatever your motivation, Copyright is particularly important for the intellectual property (IP) is crucial. This creative industries. It protects the creative booklet explains why. It has been produced or artistic expression of an idea, not the by the World Intellectual Property idea itself. Copyright law allows the owner Organization (WIPO), the global forum of the rights in literary or artistic works for IP services, policy, information and to control how those works are used. The cooperation, and it is aimed at people who copyright owner has the exclusive right to already in the cultural and creative use or lend the work or to permit others to industries or who may be contemplating reproduce or adapt the work for commercial a career in them, as well as policymakers, gain. Copyright protects every original work, academics and business support agencies regardless of its literary or artistic merit. working in the field. The , skill and talent of literary This booklet explains simply and clearly and artistic creators is also their main how copyright helps creative people to means of creating wealth and jobs. By earn money from their original works. It compensating and rewarding creators’ has been written to be accessible to non- effort and creativity, copyright acts as an specialists or newcomers to the subject of incentive to continue to create new work. copyright and intellectual property rights. By striking the right balance between the If you want more detail, this booklet also interests of creators and the wider public lists some useful and introduces interest, copyright law aims to foster some other WIPO publications that offer an environment in which creativity and more insight into the role of IP within can flourish. particular subsectors of the creative industries. This booklet looks at the different ways in which copyright can help all kinds of creative individuals make a living from their original literary and artistic works.

4 In addition to copyright there are other 3. Protecting and intellectual property rights that relate to specific areas of : exploiting your rights • Design rights protect the unique shape, What rights do you own in your work? How configuration, color or composition of can you ensure that you are identified as 2D and 3D designs. its creator? What does it mean to “exploit” • Patents apply to the technological a literary or artistic work? What does invention or innovation behind an idea, “protection” mean? rather than its inclusion in an original creative work. Irrespective of which creative sector you work in, there are four main steps to • Trademarks reflect brand value and can managing your IP: be registered in relation to particular products or services. They include: • Understand what rights you own in ƧƧ business names, logos, your original work. product names and other signs; • Ensure that you have taken all ƧƧ distinctive packaging; necessary steps to identify yourself as ƧƧ graphic symbols, screen displays, the creator and rights holder. graphical user interfaces (GUIs) and web pages; and • Put in place a plan for the exploitation ƧƧ slogans and sounds. of your IP, including consideration of licensing and assignment of your rights • Trade secrets are confidential and appointment of agents to represent business information which in some you and your work where this is likely countries provides an enterprise with a to produce the best return. competitive edge. • In the event that someone infringes Artists, authors, , musicians and your intellectual property rights, you other creators all rely to a greater or lesser need to understand what steps you extent on the commercial exploitation of IP. can take to make them stop and what Together, these individuals and companies kind of compensation you can get. and their IP rights make up the creative Depending on the nature of the breach, industries. and the attitude of the other party, that may be as straightforward as writing a letter to ask them to desist, or agreeing a licensing fee or royalty. In other cases, it may result in more formal action requiring specialist legal advice. You should be aware of the various options available to you, and their cost, before taking your work to market.

5 What rights do you own? Identifying yourself as the rights holder

Copyright is not a single right. It allows the Under the terms of the Berne Convention, holder to do a number of things, including: the first international treaty on copyright, • prevent others from making copies of creators do not need to formally register the work; works in order to benefit from copyright protection; rather, copyright exists • make and distribute copies of protected automatically as soon as the work is works; created and fixed in a tangible form. This • authorize live and recorded performances; rule applies in most of the world’s countries. • broadcast the work; • communicate it to the public, including However, you should take steps to identify making work available online and on yourself as the copyright owner of any work demand; that you create, for example by including a copyright notice. Many countries also • rent or lend physical or digital copies of operate systems for registering copyright, the work; and in some countries your ability to • modify a work, or permit others to modify enforce your copyright may be limited if it, to create a new work in another art you do not register it. form (e.g., adapt a novel into a film); and • authorize the publication of a translation. Exploiting your rights

This is not an exhaustive list. These and Intellectual property rights have little other forms of intellectual property rights value on their own; they gain value by that can be transferred to others, by successfully securing economic benefit for licensing or assignment, for financial gain the owner in the marketplace. So copyright are known as “economic rights”. is a mechanism which helps creators earn a living. Exploitation of copyright is the process Copyright also includes rights that stay by which creators achieve the market value with the creator and are not transferable. of their works. Content creators must be These are known as “moral rights”, and sufficiently compensated for their literary or generally there are two types: artistic work, or they will cease to produce it and be forced to find alternative employment. • The right of integrity allows creators to challenge any change to their work that “Content is king” in many parts of the would negatively affect their reputation. creative industries; that is to say, original • The right of paternity gives creators the content is the driving force of new value right to be named or credited if their and profit. Creative industries are growing work is used or played in public. quickly across the world, driven by the ever- expanding possibilities of digital creation, In some countries there are other moral copying, and consumption of rights available to creators. cultural content.

6 Licensing and assignment • “One-stop shops” offer users a centralized source through which Creative industries include a number of authorizations, particularly for sectors with large, complex, multinational rights, can be obtained structures. In many cases, it is impractical quickly and easily from a coalition of for an individual to deal with all aspects of different CMOs. such structures while also focusing on their creative work: Further details of CMOs for individual art forms can be found in WIPO’s webpage • Some rights – performing rights, on Collective of Copyright streaming rights and others – are and Related Rights and in the Collecting collected at an industry and Societies Handbook. payments are distributed according to a calculation that relates to the volume Protecting your copyright and value of all transactions, rather than an individual negotiation. We have seen how IP is inseparable from • Access to distribution (for , for ideas of value in the creative industries. example) will sometimes require that individuals assign their rights to a Adequate legal enforcement of copyright single individual or entity. laws is necessary to protect those industries and to make international copyright In these situations, the creator’s interests agreements credible and effective. There are are best protected and exploited by some important caveats, however: licensing or assigning their rights to third • Intellectual property only has value parties, whether commercial or collective. insofar as you can defend it. So • By licensing their rights, an individual matching your rights to the use that creator maintains of their you intend to make of the material copyright and related rights, but sells must be an important part of your the authority for a third party to use business strategy. these rights under clear conditions. • Despite a common reliance on IP as • By assigning their rights, an individual the basis of their earnings, not all creator gives full ownership of their creative industries share the same copyright to the third party, typically business model. Different rights for a carefully considered value. holders have different views of the best way to protect and exploit IP, in • Collective management part determined by the branch of the (CMOs) use collective bargaining power creative industries in which they work. to negotiate and manage rights and collect and distribute payments to • The growth of digital creation, copying creators for the use of their work. and distribution of cultural products presents new challenges for copyright enforcement.

7 A well-thought-through IP strategy can 4. The creative help literary and artistic creators to minimize the risks and costs associated industries with protecting and exploiting an original work. In the event that IP rights are Defining the creative industries breached, there are also different ways in which the rights holder can either try to The creative industries include a diverse stop their work being used without their group of activities, all of which rely to a permission or ensure payment of unpaid greater or lesser degree on the contribution of remuneration. original work and its protection through vari- ous IP rights. They link important elements of our shared artistic and with a future based around the digital transfer of ever-increasing amounts of information and content. Those connections are illustrated in Figure 1, below.

Core Copyright Cultural Industries Creative Industries Industries , Databases & Computer Press & Literature, Games Music, Theater, Operas

Heritage Design

Production / Dissemination / Creation Consumption Distribution

Figure 1: Mapping the creative industries

Note: the core copyright industries here represent WIPO’s definition, while the cultural industries are derived from the United Nations Economic, Scientific and Cultural Organization (UNESCO) (2009) and the creative industries from the Department for Culture, Media and (DCMS) (2011).

8 Diversity of the creative industries What is the global value of the creative industries? The make-up of the creative industries differs from place to place, reflecting the WIPO regularly surveys the value of different cultural histories and market copyright in the world economy. opportunities that present themselves across the world. Some places with strong Having been barely recognized as an higher systems and access industrial sector at the turn of the century, to large markets, such as Finland and the creative industries are now acknowledged Bulgaria, both members of the European as a driver of economic growth. Growth in the Union, demonstrate strengths in more creative industries is on average three times explicitly commercial areas such as that of the economy as a whole. software development. Other regions may have different traditions – the strong legacy In three-quarters of countries surveyed of 20th-century South American literature using WIPO evaluation guidelines, the is reflected in Peru’s creative industries, in creative industries made a contribution to which press and literature form the biggest GDP of between 4 percent and 6.5 percent. sub-sector. Notably, countries which have recently experienced rapid economic growth These differences are illustrated in Figure typically have an above-average share of 2, below. GDP attributed to the creative industries.

100 Press & Literature 90 Music, Theatrical Productions, Operas 80

70 Motion Picture & Video 60 & TV 50

40

30 Software & Databases 20

10 Visual & Graphic

(%) 0 Advertising Agencies & Services Peru China Latvia Kenya Finland Canada Bulgaria Hungary Jamaica Panama Copyright Collective Thailand Slovenia Malaysia Lithuania Indonesia Singapore

Philippines Management Organizations Netherlands Republic of Korea Brunei Darussalam Trinidad and Tobago

Figure 2: The creative DNA

Source: WIPO Studies on the Economic Contribution of the Copyright Industries 2014.

9 But the economic contribution of the individuals to take part in this socially creative industries is not evenly distributed and economically important sector of the among different countries, and the size of economy. a country is not an accurate guide to the strength of its creative industries. Figure An important aspect of the creative 3 (right) shows the difference between the economy is that it involves individuals relative economic contributions of the and small businesses as well as larger creative industries in different countries. multinational companies.

It is not surprising to see that they As Figure 4 (p.12) shows, the contribution represent a relatively large share of GDP of the creative industries to national in the United States of America, a country employment is slightly higher than their with very well-developed creative sectors, contribution to GDP, with three-quarters a large domestic market and control of of the countries showing a contribution to much international distribution of creative national employment of between 4 percent content in the form of films, television, and 7 percent. music and games. Copyright in the digital age Developing nations, even ones with large populations and strong international The and growing digital trade links such as Turkey, may have connectivity have created new forms of less developed creative sectors than creative work as well as a new distribution much smaller countries. Nor is there any system for more traditional creative consistency within regions; neighboring works. There has been fast growth in countries may have very different shares of electronic media and in creative GDP. recent years, with the rapid development of wireless devices such as smartphones But the fact is that the creative industries and tablet computers which are now now make up over 5 percent of the world becoming ubiquitous. This provides new economy, a share that is growing all the opportunities for people in the creative time. industries to exploit their IP – the sale of digital cultural such as e-, Employment in the creative music, videos and games generated industries USD 66 billion in 2013 – but it also places new demands on the regulation and Employment is the most important social administration of IP rights. indicator of the importance of the creative industries. The growth of the creative economy, and the protection offered by international structures to protect IP and the interests of the creator, have extended the opportunity to many more

10 Figure 3: Contribution of the creative industries to GDP

0.00 2.00 4.00 6.00 8.00 10.00 12.00 (%)

USA Republic of Korea Saint Lucia Hungary Philippines France Australia Saint Kitts and Nevis China Panama Singapore Russian Federation Netherlands Malaysia Saint Vincent and the Grenadines Romania Bhutan Lithuania Canada Kenya Slovenia Latvia Finland Jamaica Trinidad and Tobago Mexico Lebanon Ethiopia Argentina Serbia Grenada United Republic of Tanzania Bulgaria Thailand Pakistan Croatia South Africa Indonesia Malawi Dominica Republic of Moldova

Colombia Average 5.16 % Ukraine Turkey Peru Jordan Brunei Darussalam

Source: WIPO Studies on the Economic Contribution of the Copyright Industries 2014 Figure 4: Contribution of the creative industries to employment

0.00 2.00 4.00 6.00 8.00 10.00 12.00 14.00 (%)

Philippines Mexico Bhutan Netherlands USA Australia Malaysia Russian Federation France Hungary Slovenia China Republic of Korea Singapore Colombia United Republic of Tanzania Latvia Canada Turkey Finland Trinidad and Tobago Lithuania Bulgaria Saint Vincent and the Grenadines Dominica Croatia Peru Lebanon Saint Lucia Ethiopia Romania South Africa Serbia Indonesia Pakistan Grenada Republic of Moldova Malawi Kenya Brunei Darussalam Panama Saint Kitts and Nevis Average 5.36 % Jamaica Argentina Jordan Thailand Ukraine

Source: WIPO Studies on the Economic Contribution of the Copyright Industries 2014 5. How do different business models, and so is responsible for funding a large proportion of original web creative sectors use IP? content. At the same time, the Internet and digital have created new WIPO has published a series of tools for potential problems for rights holders because some of the largest creative sectors. of the ease and speed with which advertising content can be copied, assembled, reshaped These are comprehensive guides to the and distributed worldwide. history, structure, operating principles and rights management arrangements of For more information, see Managing entire industries, from inception of creative Intellectual Property in the Advertising ideas to the ways in which individual Industry. consumers interact with those ideas now and for the future. We highlight some of Film and television these tools below. All of them are available to download free of charge from WIPO’s Film and television are online publications collection: global businesses; it is likely www.wipo.int/publications. that every country has a film whose Advertising creative talent connects FROM SCRIPT TO SCREEN with people in a distinctive THE IMPORTANCE OF COPYRIGHT IN THE DISTRIBUTION OF FILMS Advertising links creativity Creative industries – No. 6 way, linking its cultural with all other commercial heritage with audiences FROM SCRIPT TO SCREEN - THE IMPORTANCE OF COPYRIGHT IN THE DISTRIBUTION OF FILMS - Creative industries – No. 6 sectors and offers a case across the world. At the study in the importance of same time, the film and television managing IP effectively. industries are undergoing a period of Managing Intellectual Property in the Creative Industries - Booklet No.5 The variety of innovative radical restructuring that is increasing digital advertising opportunities for producers and techniques in the online distributors alike while offering new environment has created challenges. New business models and new opportunities for companies to expand digital technologies are challenging the advertising beyond its traditional dominant models of financing and supporting role for goods or services. This distribution. One thing that does not places an increasing premium on the role of change is the value of quality and creativity. creativity as a way to differentiate between It is crucial to properly document copyright competing brands, and agencies and clients transactions, give to the authors and are looking to increase the leverage and properly compensate all parties. value of their IP assets, from brands and packaging to slogans and trademarks. In this, the chain of title is key. Most audiovisual works have multiple copyright Advertising revenue now represents the main holders; writer(s), composer(s) and the or only source of income in many online director may all have copyright in the title,

13 as well as other licensed use. It is important of the transistor radio through to the to establish a comprehensive list of all the Walkman, this was an art form that rights, licenses and assignments so that the we were already used to carrying with end product can be distributed or exhibited us. Digitization brought the potential with due regard for each individual rights to carry not just a single album, but a holder. This is also critical to ensure that whole record collection, in a pocket-sized rights holders are protected from the threat device. In the digital marketplace, where of injunction by any other individual with a micro-payments for streaming individual marginal claim on any part of the title. tracks are superseding royalties from of physical products, collective WIPO’s 2011 publication From Script to management organizations assume Screen: The Importance of Copyright in an increasingly important role. But the the Distribution of Films introduces this changes in the commercial environment complex topic. have also reasserted the importance of live performance and a strong repertoire of Music original material, and globalization means that music is arguably more vibrant and WIPO’s How to Make a Living diverse than it has ever been. from Music offers a comprehensive guide to the Publishing commercial . It is a complex interaction of publishing companies’ How to Make a Living rights in the content (songs), greatest economic assets from Music By David Stopps Creative industries – No. 4 their carrier (recordings), are the intellectual distribution (radio, TV or property rights they own online) and live performance. and control: the expression Managing Intellectual Property in the Book Publishing Industry For many years, the recording industry A business-oriented information booklet of an idea – the content – in Creative industries – Booklet No. 1 dominated, not only as a distribution channel a book. In order to sell but also as a rights holder: more often than books free of the risk that not, a record label would own the “master” unauthorized copies will right in artists’ recordings. Success involved undermine their market position, being signed by a record label and securing a publishers need to determine whether or music publisher to promote the artist’s not there is a regulatory framework to repertoire. Receipts were collected through a assist in the production, dissemination, range of well-established collective administration (i.e. collection of royalties) management organizations for performing and enforcement of IP rights. and “mechanical” rights (i.e., rights in recorded music). The promotion and protection of book publishers’ IP assets encourage the creation Music was in many ways the first content of new literary and artistic works. In a industry to undergo the process of global marketplace, this promotes the digital disruption. From the invention supply of diversified cultural products.

14 This is of great significance to a country’s protect trade secrets is often reflected in cultural traditions and market. Copyright clauses in the contract of employment that underpins the role of publishers as cultural also assign to the employer the copyright in agents and transmitters of ideas, secures original literary and artistic work carried their investment in new talent and allows out under that agreement. them to reward successful writers. WIPO’s publication Mastering The : More detail on this topic can be found in Business and Legal Issues for Managing Intellectual Property in the Book Developers is a comprehensive guide to Publishing Industry. issues of IP, finance and distribution in this sector. Video games Monetization of copyright assets by In just a few decades, the Total width of maze blue lines should not exceed 224 pixels creative enterprises

Total height including characters should not exceed 288 pixels (upper text may vary) has grown to rival the size of Every individual creator and

NOTICE: Maze. - Please use this version as a reference for accurate position of characters when developing artwork based on the Pac-man 80s Arcade Game ACTION SCENE 4 - In addition, note that text/titles do not need to follow any exact position or pixel size and that the examples above are style references. (DRAMATIC SCENE) - Character artwork shall not exceed 16pixels x 16pixels. - Black areas should exist surrounding the maze.

12 the motion picture every manager of a creative Last version: S/S 20 ©NAMCO BANDAI Games Inc. industry – which has been business faces the challenge MASTERING THE GAME around since the 1880s – of putting the right value on Business and Lea Issues or ideo Gae Deveoers Creative industries – No. 8 and to surpass the even their original IP. The MONETIZATION OF older music industry in COPYRIGHT ASSETS increasing penetration of BY CREATIVE ENTERPRISES terms of overall revenue. Creative Industries – Booklet No. 7 digital technologies and the

Even in this short time, the business model MONETIZATION OF COPYRIGHT ASSETS CREATIVE BY ENTERPRISES - Creative industries – No. 7 Internet also means that for the sector, and therefore models of they have to make decisions exploiting IP, have evolved constantly and about streaming and licensing their content dramatically. in a way that will “future proof” its value. WIPO’s Monetization of Copyright Assets by Video games is not the first creative industry Creative Enterprises offers insights and to emerge from a marriage of creativity practical advice on how to get the most from and – but it is the one in which your original content. It introduces the technology is most embedded within the concept of an “IP Audit” looking at the value experience of the art. This is maybe why of copyright over time. it refers to its new products as “IP”. And businesses in the sector are acutely aware of It demonstrates a number of different the importance of establishing IP protection. approaches to valuing copyright assets, and gives examples of a range of tools and The expense and complexity of video game agreements. Bringing “external” factors such production, particularly in the console as the value of a brand and the enforceability market, is reflected in a lot of “work for of any rights into the estimation of what hire” for artists and technologists; in other creative content is worth, this is an essential words, creative individuals often work reference document for individual creators under contract to an employer. The need to and managers alike.

15 Managing creative enterprises 6. Final remarks

Running a creative business The creative economy, of which copyright is about more than just and creative industries are a part, describes managing IP assets. Creative an entire system of relationships in the individuals and enterprises post-industrial, knowledge-based economy need to make good choices where creativity is an essential feature Managing Creative Enterprises Creative industries – Booklet No. 3 about financing, pricing and and driving factor for competitiveness their work. and economic growth. It represents a new, Managers in the sector need global awareness of the role of creativity to understand how to and innovation. This model is entirely incentivize and get the best out of teams of underpinned by intellectual property rights creative individuals with distinctive skills and their contribution to economic, social and strong views about their own value. and cultural development.

The creative sector is mostly made up of This dynamic environment is full of risks as very large numbers of individuals and well as opportunities. There are significant micro-businesses (employing no more than structural differences between creative 10 people). Such small enterprises may not industries and other, more traditional have the capacity to deal effectively with the sectors of the economy. The future of the accelerating pace of change in their business creative sector is also interwoven with and legal environment; they may lack the an exponential increase in the amount resources to buy in specialist advice. of digital content and data produced on a daily basis all around the world. Legal One resource that creators and managers authorities, creators and managers alike can turn to for guidance is WIPO’s need to determine how IP structures publication Managing Creative Enterprises. and agreements can accommodate the This is a practical guide to the wide and use of new technologies and “trust based” complex subject of business management. forms of exchange, such as Blockchain, to It looks at how creative products, markets reinforce trust in individual copyright in and networks combine to create value for a way that will complement and underpin individual creators and owners of creative existing legislation. businesses. It gives advice on how to nurture and enhance the skills of individuals, and These challenges highlight the critical how to bring them together in teams. role of IP in providing a stable and Importantly, it describes the different kinds predictable environment in which a better of finance available, and explains how to understanding of the value of copyright can establish which is most appropriate for your further accelerate the growth of economies creative enterprise. It concludes with a look and employment by: into the future, and considers the limitations, exceptions and technological • standardizing measures and aligning that affect the value of creative IP. IP legislation;

16 • increasing wealth creation through 7. Additional reading recognition and protection of the rights of the individual author or creator; Bunce, A (2014). “British Invasion: • recognizing the value of trade in IP in Importing the United Kingdom’s orphan electronic and physical goods as well as works solution to United States copyright services; and law.” Northwestern Law Review

• boosting investment in capital and Department for Culture, Media and revenue support for the creative (DCMS) (2011). Creative Industries industries. Economic Estimates: Full Statistical Report 2011. www.gov.uk/government/uploads/ IP has always had to balance the interests system/uploads/attachment_data/ of the creator with society’s need for file/77959/Creative-Industries-Economic- continuing innovation. Copyright and Estimates-Report-2011-update.pdf access to information are central to the operation of a creative economy that is one Digital Millennium Copyright Act 1998. of the mainsprings of economic growth and opportunity for the 21st century. EY (2015). Cultural Times – The First Global Map of Cultural and Creative Industries

GNU General Purpose License: www.gnu. org/licenses/gpl.html

PRS for Music: www.prsformusic.com/ Pages/Rights.aspx

Sentric Music (2014). Just WTF is Music Publishing? http://sentricmusic.com/ blog/2014/just-wtf-is-music-publishing

United Nations Economic, Scientific and Cultural Organization (UNESCO) (2009). 2009 UNESCO Framework for Cultural Statistics. www.uis.unesco.org/culture/ Documents/framework-cultural-statistics- culture-2009-en.pdf

WIPO (1979). Berne Convention for the Protection of Literary and Artistic Works (as amended 28 September 1979) www.wipo. int/treaties/en/text.jsp?file_id=283698

17 WIPO (2005). Copyright-based Industries: WIPO (2013). Monetization of Copyright Assessing their Weight. www.wipo.int/wipo_ Assets by Creative Enterprises. www.wipo. magazine/en/2005/03/article_0012.html int/edocs/pubdocs/en/copyright/955/ wipo_pub_955.pdf WIPO (2006). Managing Intellectual Property in the Book Publishing Industry. WIPO (2013). Managing Intellectual www.wipo.int/edocs/pubdocs/en/ Property in the Advertising Industry. copyright/868/wipo_pub_868.pdf www.wipo.int/edocs/pubdocs/en/ copyright/1021/wipo_pub_1021.pdf WIPO (2006). Managing Creative Enterprises. www.wipo.int/edocs/pubdocs/ WIPO (2013). International Survey of Private en/copyright/938/wipo_pub_938.pdf Copying. www.wipo.int/edocs/pubdocs/en/ copyright/1037/wipo_pub_1037_2013.pdf WIPO (2007). Rights, , Action! IP Rights and the Film-Making Process. www. WIPO (2013) Study on the Economic wipo.int/edocs/pubdocs/en/copyright/869/ Contribution of the in wipo_pub_869.pdf Lebanon. www.wipo.int/export/sites/www/ copyright/en/performance/pdf/econ_ WIPO and National Copyright contribution_lb.pdf Administration of the People’s Republic of China (2010). Study on the Impact of WIPO and International Federation of Enhanced Copyright Protection on the Reproduction Rights Organisations (2014). Development of the Textile Market in International Survey on Text and Image Nantong, China. www.wipo.int/export/ Copyright Levies. www.ifrro.org/sites/ sites/www/copyright/en/performance/pdf/ default/files/levies_2014_online.pdf impact_textile_market.pdf WIPO Studies on the Economic WIPO (2011). From Script to Screen: The Contribution of the Copyright Industries: Importance of Copyright in the Distribution www.wipo.int/copyright/en/performance of Films. www.wipo.int/edocs/pubdocs/en/ copyright/950/wipo_pub_950.pdf WIPO (2015). Guide on the Economic Contribution of the Copyright WIPO (2013). How to Make a Living from Industries. www.wipo.int/edocs/pubdocs/ Music (second edition). www.wipo.int/ en/copyright/893/wipo_pub_893.pdf edocs/pubdocs/en/copyright/939/wipo_ pub_939.pdf WIPO webpage on Collective Management of Copyright and Related Rights: www.wipo. WIPO (2013). Mastering the Game: Business int/copyright/en/management and Legal Issues for Video Game Developers. www.wipo.int/edocs/pubdocs/en/ WIPO and Baker & McKenzie. copyright/959/wipo_pub_959.pdf Collecting Societies Handbook. www. collectingsocietieshb.com

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