Film Copyright In The European Union (Cambridge Intellectual Property and Information Law, Series Number 2)

Intellectual property issues in the film industry are highly complex and rapidly evolving. In the first book on this subject, Kamina analyzes film protection in the fifteen member states of the European Union, giving special emphasis to the U.K. and France. He addresses key aspects of film copyright, including the main features of domestic legislation of protection of film works within the EU in the context of European harmonization of copyright laws. He also considers important new developments on contracts and moral rights. Of interest to practitioners, academics and students. 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

A treatment of copyright issues relating to the film industry, with emphasis on the UK and France.

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Since 1992, the European Commission has set about eliminating differences in national copyright legislation related to film in the Single Market. Kamina (U. of Poitiers, France) examines the process the EC legislation has begun in the national systems, as well as some of the legal history preceding the EC directives. The bulk of the material is devoted to the current legal regime governing the main aspects of film protection: the question of authorship and initial ownership; the regime of copyright transfers; the exclusive rights granted to film authors; the limitations of and exemptions from these rights; the question of moral rights; the regime of performers' rights; and the protection of foreign film works. Annotation c. Book News, Inc., Portland, OR (booknews.com)

"Intellectual property issues in the film industry are often highly complex and in today's world are evolving rapidly. In the first book on this subject, Pascal Kamina unravels the complexities of film protection in the fifteen Member States of the European Union, giving special emphasis to the United Kingdom and France. As well as addressing key aspects of film copyright, Pascal Kamina also deals with the protection of film works within the European Union in the context of European harmonisation of copyright laws. He details the main features of the domestic legislations of EU Member States, and identifies the difficulties awaiting a further harmonisation of copyright and neighbouring rights in this field. This book will interest practitioners, academics and students. The developments on contracts and moral rights will be of particular interest to lawyers outside continental Europe."--BOOK JACKET Intellectual property issues in the film industry are often highly complex and in today's world are evolving rapidly. In the first book on this subject, Pascal Kamina unravels the complexities of film protection in the fifteen member states of the European Union, giving special emphasis to the United Kingdom and France. As well as addressing key aspects of film copyright, Kamina also deals with the protection of film works within the European Union in the context of European harmonisation of copyright laws. He details the main features of the domestic legislations of EU member states, and identifies the difficulties awaiting a further harmonization of copyright and neighbouring rights in this field. This book will interest practitioners, academics and students. The developments on contracts and moral rights will be of particular interest to lawyers outside continental Europe. In the first book on this subject, Kamina analyses film protection in the fifteen member states of the EU, with emphasis on Britain and France. He addresses key aspects of film copyright, including the protection of film works within the EU in the context of European harmonization of copyright laws