Film copyright in EU

Cover......Page 1
Half-title......Page 3
Series-title......Page 5
Title......Page 7
Copyright......Page 8
Contents......Page 9
Foreword......Page 23
Preface......Page 25
Acknowledgments......Page 27
Abbreviations......Page 28
1. The audiovisual industry and film protection in the information age......Page 31
2. International tensions over film copyright......Page 33
3. European harmonisation of copyright......Page 34
4. The impact of new technologies......Page 35
5. The structure of this book......Page 37
6. The birth of an industry......Page 39
7. Questions raised by ‘photo-plays’ and ‘cinematograph films’......Page 40
9. Early protection in the UK......Page 41
10. Early protection in France and countries influenced by French law......Page 44
11. Germany and countries influenced by German law......Page 47
13. The Berne Convention......Page 48
14. The separation of copyright and authors’ rights approaches......Page 51
15. Film protection under the UK 1911 Act: indirect protection as a series of photographs and as dramatic work......Page 52
16. Articulation of the two protections......Page 53
17. The subject-matter of protection under the heading of dramatic work: the distinction between script and final…......Page 54
18. The difficult question of film authorship under the 1911 Act......Page 56
19. The influence of new technologies......Page 59
21. Influence of the 1911 Act......Page 61
22. The 1956 Act: a specific subject-matter for film protection......Page 62
24. The 1988 Act: continuation or departure from the 1956 Act?......Page 65
25. A protection of audiovisual works as dramatic works under the 1988 Act......Page 66
26. The situation in Ireland......Page 67
27. Overview......Page 68
28. The evolution of film protection in France......Page 69
29. The French Law of 11 March 1957......Page 72
30. The French Act of 3 July 1985 and the new Intellectual Property Code......Page 74
32. The specifics of Italian copyright......Page 75
33. The Italian Act of 22 April 1941......Page 76
34. The evolution of German film copyright......Page 77
36. Austria......Page 79
37. The Netherlands......Page 80
38. Scandinavian countries......Page 81
39. Other European countries......Page 82
40. The European harmonisation of copyright......Page 83
41. The Rental Directive of 19 November 1992......Page 84
44. The Directive on Copyright and Related Rights in the Information Society of 22 May 2001......Page 85
45. National implementations of the EC copyright directives......Page 86
46. Further harmonisation......Page 87
47. Introduction......Page 89
48. The determination of the subject-matter for film protection......Page 90
49. Definition of the subject-matter for protection at the international and regional levels......Page 91
50. The requirement of a double protection under the EC copyright directives......Page 93
52. Direct versus indirect protection......Page 95
53. The law in the UK: a protection through the audiovisual recording (the ‘film’)......Page 96
55. Films as dramatic works: the question before Norowzian......Page 97
56. The Norowzian case......Page 99
57. What films are protected as dramatic works?......Page 101
59. The situation in Ireland......Page 104
61. National definitions......Page 105
62. The originality criterion......Page 107
63. The absence of a requirement of fixation......Page 108
65. Multimedia works and videogames......Page 109
66. Altered or remastered films......Page 110
68. Copyright protection of formats......Page 111
69. Misappropriation of formats and unfair competition......Page 113
70. Presentation......Page 114
71. The problem raised by the double protection of audiovisual works......Page 115
72. The neighbouring right of film producers in the EC copyright directives......Page 117
74. The definition of the ‘film’ under the 1988 Act......Page 118
75. Range of works covered by the definition......Page 119
77. The protection of film frames......Page 122
78. The difficult question of film soundtracks......Page 124
79. The absence of the originality criterion......Page 126
80. Originality and the question of derivative films......Page 127
81. The ‘film’ under the Irish Copyright and Related Rights Act 2000......Page 129
83. National definitions of the right of the film producer......Page 130
84. Main underlying works in film production......Page 132
85. Characters......Page 133
86. Titles......Page 135
88. The Rome Convention of 1961......Page 137
89. The TRIPs Agreement......Page 138
91. Council of Europe......Page 139
92. Protection of broadcasts and cable programmes in the EC copyright directives......Page 140
94. Protection in the UK......Page 142
Wireless two-ways and interactive systems......Page 144
Video-on-demand and on-line delivery of films......Page 145
96. The protection in Ireland......Page 146
97. Protection in authors’ rights countries......Page 147
98. The EC Directive of 11 March 1996 and films......Page 148
99. The extended duration for audiovisual works......Page 150
100. Implementation in the UK......Page 152
102. The problem of war extensions......Page 154
104. Ownership of revived copyright......Page 155
105. Use during the time the work was in the public domain......Page 156
106. Ownership and exercise of extended rights......Page 158
107. Authorship, ownership and authorial rights......Page 160
108. Authorship of films in the Berne Convention......Page 161
109. The dichotomy between copyright and authors’ rights systems......Page 162
110. Determination of film co-authors......Page 164
111. The EC copyright directives......Page 165
113. The specifics of UK copyright......Page 167
115. The author of a film made before 1 July 1994......Page 168
116. The definition of the film producer......Page 169
118. The author of the film made on or after 1 July 1994......Page 170
120. Cases of creative authorship of films under UK copyright law......Page 171
121. Authorship and initial ownership: the relevance of authorship entitlement......Page 172
122. The determination of authorship and ownership under the relevant copyright rules......Page 173
124. The producer as creative author?......Page 174
126. Screenwriters as joint authors......Page 176
127. The musical composer......Page 178
129. The director of photography......Page 179
130. The art director and related contributors......Page 180
131. The main performers......Page 181
133. Conclusion: the co-authors of dramatic audiovisual works under joint authorship rules......Page 182
135. Historical development: the difficult road to creative authorship......Page 183
136. The rise of the film director......Page 185
137. Countries without a statutory list of co-authors......Page 186
138. Countries with a statutory list of co-authors......Page 188
139. The case of Luxembourg: the film producer as ‘author’......Page 190
140. Introduction......Page 191
141. International agreements and EC directives......Page 192
142. The law in the UK and Ireland......Page 194
143. The law in authors' rights countries......Page 195
144. Should the film producers be the initial owners of underlying rights?......Page 196
145. International agreements and EC directives......Page 198
147. The law in authors’ rights countries......Page 200
148. Introduction......Page 203
149. Scope of the study......Page 204
151. The existence of specific regimes for copyright and film production agreements......Page 205
152. The transmissibility of copyright: assignments and licences......Page 206
153. Transferability of copyright interest to a third party......Page 208
155. Limitation in time......Page 209
156. Writing requirements......Page 210
157. Registration/priority of transfers......Page 211
159. Statutory presumptions of grant in the UK and Ireland......Page 212
160. The presumption in France and Belgium......Page 213
161. The presumption in other authors’ rights countries......Page 215
162. Construction of grants......Page 217
163. Agreements relating to future works......Page 219
164. Uses not contemplated at the time of the agreement......Page 220
165. Duty to produce/distribute the film......Page 221
166. Other obligations of the film producer......Page 222
168. Applicable law......Page 223
170. Equitable remuneration at the international and regional levels......Page 225
171. Equitable remuneration in domestic laws......Page 227
172. Equitable remuneration in the UK and Ireland......Page 229
173. The law and practice in France......Page 230
Theatrical commercial exploitation outside France......Page 233
174. Authorial rights in other authors’ rights countries......Page 234
175. Collective licensing of film rights in Europe......Page 236
176. Introduction......Page 238
177. The definition of exclusive rights under national laws......Page 239
179. The reproduction right at the international level......Page 242
180. The reproduction right at the Community level......Page 244
181. Reproduction of film works in the UK and Ireland......Page 245
182. The right of reproduction in authors’ rights countries......Page 246
183. The adaptation right at international and Community levels......Page 247
184. Adaptation of ‘films’ in the UK and in Ireland......Page 249
185. Adaptation of audiovisual dramatic works in the UK and Ireland......Page 250
186. Adaptation of film works in authors’ rights countries......Page 253
187. Introduction......Page 256
188. Provisions of international agreements......Page 257
189. The right of communication to the public at the European level......Page 259
190. The right of communication to the public in the UK......Page 263
191. Dissemination over telecommunications networks......Page 264
192. The right of communication to the public in Ireland......Page 267
193. The right of communication to the public in authors’ rights Acts......Page 268
194. International protection......Page 270
195. European harmonisation......Page 271
196. The distribution of film works in the UK and Ireland......Page 273
197. The distribution of film works in authors’ rights countries......Page 275
198. Public lending of films......Page 277
200. Protection of technological measures and rights-management information in the international agreements......Page 278
202. Technological measures......Page 279
204. The Conditional Access Directive of 1998......Page 281
205. Introduction......Page 282
207. The EC Directive on Electronic Commerce of 8 June 2000......Page 283
209. Copyright exemptions and limitations at the international level......Page 286
210. European harmonisation before the Directive on Copyright and Related Rights in the Information Society......Page 288
211. The Directive on Copyright and Related Rights in the Information Society of 22 May 2001......Page 289
213. Exhaustion of rights......Page 293
214. Competition law......Page 294
215. Free speech......Page 296
216. Other doctrines......Page 298
218. Introduction......Page 299
219. Private copy......Page 300
220. Performance in restricted circles......Page 302
221. Information purpose, criticism, review and news reporting......Page 305
222. Parodies......Page 306
223. Incidental inclusion of copyright material......Page 308
225. Libraries and archives......Page 309
226. General view......Page 310
227. Example of national laws......Page 311
228. The treatment of foreign authors......Page 312
230. Understanding the moral right doctrine......Page 314
231. International and EC law aspects......Page 316
232. Compatibility with copyright doctrine......Page 318
233. Basic problems of moral rights protection in relation to films......Page 321
234. Structure......Page 322
236. The situation in the UK......Page 323
238. The co-directors......Page 324
240. Authors of underlying literary, dramatic, musical and artistic works......Page 325
244. The piecemeal approach to moral rights......Page 326
246. The objectionable treatments......Page 327
247. The test of derogatory treatment......Page 328
248. Exceptions and qualifications: certain works and reporting of current events......Page 329
251. Artistic and creative requirements......Page 330
253. Change in the story, action or characterisation......Page 331
254. Changes to the soundtrack......Page 332
257. Dubbing......Page 333
259. Insertion of advertisements, the broadcaster’s logo or other information into the film......Page 334
262. Panning and scanning......Page 335
265. The right of integrity in Ireland......Page 336
267. The right against false attribution as a ground to object to mutilations of film works?......Page 337
269. The right to be identified as author or director in the UK: definition and entitlement......Page 338
270. Form taken by the identification......Page 339
271. Exceptions and qualifications: employees' works, fair dealing, specific works, etc......Page 340
274. Consent and waiver of moral rights......Page 341
275. Form of the waiver/consent......Page 342
278. Remedies and offences for infringement of moral rights......Page 343
279. Transitional provisions: moral rights in old films......Page 344
281. Introduction......Page 346
282. General rules......Page 347
283. Film authors: moral rights and multi-authorship......Page 348
285. Conflict of moral rights between authors......Page 349
286. Moral rights for film producers......Page 350
289. Definitions......Page 351
290. Statutory adaptations to film productions......Page 352
292. General limitations......Page 354
295. Directions and artistic control......Page 355
296. Editing and modifications of the film......Page 356
298. Derogatory association......Page 357
301. Use of musical works......Page 358
303. Non-exploitation of the work......Page 359
305. The right of paternity......Page 360
307. Case law on the right of paternity......Page 361
308. The rights of divulgation and of reconsideration......Page 362
310. Other rights......Page 364
311. Waivers and consents......Page 365
313. The duration of moral rights in films......Page 366
315. Preservation of other causes of action......Page 367
317. The situation in the European Union before harmonisation......Page 368
318. European harmonisation......Page 370
319. The Rental Directive and the extension of the related right of performers......Page 371
321. The Satellite and Cable Directive......Page 372
323. The Directive on Copyright and Related Rights in the Information Society......Page 373
325. The Rome Convention of 1961......Page 374
327. The WIPO Performances and Phonograms Treaty of 1996......Page 375
329. Implementation of the EC directives......Page 377
331. Introduction......Page 378
332. The protected performances......Page 379
333. Exclusive rights......Page 381
334. Limitations and exemptions......Page 384
336. Ownership and transfers of exclusive rights......Page 385
337. Recording rights and other forms of protection......Page 389
338. Introduction......Page 390
339. Performers’ moral rights in Ireland......Page 391
340. Performers’ moral rights in continental Europe......Page 392
341. Confiicts between moral rights of performers and moral rights of authors......Page 393
342. Introduction......Page 395
343. Multilateral conventions in the field of copyright......Page 396
344. National treatment under the Berne Convention and TRIPs Agreement......Page 397
346. The law applicable to the definition of ‘author’......Page 399
347. The law applicable to the definition of the owner of copyright......Page 401
348. The definition of ‘publication’ under the Berne Convention......Page 403
349. General rules applicable to related rights (national treatment)......Page 404
351. Most-favoured-nation treatment under the TRIPs Agreement......Page 406
353. The protection of foreign film works in the UK......Page 407
Authorship......Page 408
Transitional provisions......Page 409
354. The law in droit d’auteur countries......Page 410
355. The rule of shorter term......Page 414
THE EUROPEAN UNION, THE EUROPEAN COMMUNITY AND THE EUROPEAN ECONOMIC AREA......Page 416
INSTITUTIONAL STRUCTURE......Page 418
SOURCES OF COMMUNITY LAW......Page 419
COUNCIL OF EUROPE......Page 420
Appendix 2: Principal national copyright legislation......Page 421
Appendix 3: EC copyright directives......Page 423
BERNE CONVENTION......Page 424
UNIVERSAL COPYRIGHT CONVENTION......Page 425
ROME CONVENTION......Page 426
GENEVA CONVENTION ON PHONOGRAMS......Page 427
BRUSSELS CONVENTION......Page 428
WIPO PERFORMANCES AND PHONOGRAMS TREATY 1996......Page 429
FRANCE......Page 430
LUXEMBOURG......Page 431
UNITED KINGDOM......Page 432
Index......Page 433