1,721,018 research outputs found
“Non, non, rien n’a changé”: Over vergoedingsaanspraken voor makers uit hoofde van exploitatiecontracten
No full textAuteurs en artiesten profiteren nog weinig van Wet Auteurscontractenrecht’, zo luidt de titel van het persbericht van het WODC bij de publicatie van het evaluatierapport van genoemde wet in oktober 2020. Makers geven onder meer aan dat zij hun aanspraak op een billijke vergoeding art. 25c lid 1 Aw of de aanvullende billijke vergoeding bij exploitatiesucces ..
Over passend inkomen en investeringen gesproken
No full textOver passend inkomen en investeringen gesproken Stef van Gompel Wat verbaast, is het gemak waarmee het Hof deze monetaire componenten in zijn uitspraak betrekt, zonder zich ogenschijnlijk af te vragen wat dit betekent voor de praktijk. Veronderstelt het Hof dat de synchronisatievergoeding voor de vastlegging van fonogrammen en daarop vastgelegde uitvoeringen in een audiovisueel werk nu volstaat om uitvoerende kunstenaars een passend inkomen te geven en fonogrammenproducenten..
Code of Best Practices on Creative Reuse for Documentary Filmmakers
No full textThis Code of Best Practices aims to help documentary filmmakers make informed decisions around the lawful reuse of existing materials in filmmaking. It is based on the views and statements collected through a series of workshops with documentary filmmakers from the UK and the Netherlands. While the legal considerations included in this document refer primarily to UK and Dutch copyright law, this Code is written in such a way that it aims to be relevant to other European jurisdictions too
MS5 Issue reports of how copyright exceptions and other permitted uses are understood and applied by documentary film makers and immersive digital heritage practitioners in the Netherlands and the UK
No full textMS5 aims to produce issue reports of how copyright exceptions and other permitted uses are understood and applied by documentary film makers and immersive digital heritage practitioners in the Netherlands and the UK. For this purpose, transcriptions or written accounts were made of the four online workshops that were undertaken for MS3. On the basis of these transcriptions and accounts, four issue reports were produced that describe the most pressing copyright issues that documentary film makers and immersive digital heritage practitioners face when making documentary films or creating immersive experiences, taken into account the existing copyright exceptions and other permitted uses in the Netherlands and the UK.These four issue reports have been directly and fully integrated in D4.10 – Issue reports on how copyright exceptions and other permitted uses that are relevant for documentary filmmakers and immersive digital heritage practitioners are understood in the Netherlands and the UK.As the executive summary of D4.10 explains, the issue reports offer an overview of the issues identified and discussed by the communities being examined in relation to copyright and the lawful reuse of audiovisual materials. The findings of the four online workshops – one for each community in the two jurisdictions under consideration – are systematised in each of the four issue reports contained in D4.10. Each issue report describes the creative and cultural practice of the workshops’ participants and the core copyright-related concerns they identified. The main points discussed by participants under each area of concern are reported. In addition to the four issue reports, D4.10 provides a snapshot of the copyright exceptions and limitations in UK and Dutch law which may cover the uses of protected content discussed by participants. Finally, D4.10 encompasses conclusive remarks and the next steps of the project
MS3 Four deliberative exercises to identify acceptable normative practices within a progressive interpretation of the legal framework
No full textTask 4.3 aims to produce four deliberative exercises to identify acceptable normative practices within a progressive interpretation of the legal framework in the Netherlands and the United Kingdom (UK). These were preceded by four workshops – described in this milestone report MS3 – to map issues encountered by two stakeholder groups.Task 4.3 Developing best practice codes for creative audiovisual re-use adopts a bottom-up, participatory research method in order to provide contextualised evidence and guidance on how copyright exceptions are being perceived and used in practice by specific AV sectors of certain countries. An established methodology for developing best practice codes1 is adapted to the European context in three steps. (1) Mapping of issues that specific communities encounter; (2) formal deliberative exercises; (3) drafting of codes. Each step involves co-production with creative and cultural practitioners in the relevant AV communities.As part of step 1 of the project, four online deliberative workshops were undertaken, one for each community of documentary filmmakers and of curators and creators of immersive experiences in the two jurisdictions under consideration. During these workshops, participants deliberated on the most pressing copyright issues they face when making documentary films or creating immersive experiences, respectively. The online workshops provided direct input for the four issue reports produced for MS5 and ultimately for D4.10 – Issue reports on how copyright exceptions and other permitted uses that are relevant for documentary filmmakers and immersive digital heritage practitioners are understood in the Netherlands and the UK. These four online workshops are a milestone towards D4.11 – two codes of best practices in relation to copyright in the AV selected sectors. Based on the issues identified through MS3, the next steps of Task 4.3 will be to engage in formal deliberation exercises using social science standards to identify shared principles and acceptable norms within the communities under consideration; and to draft sector-specific codes of best practices that reflect such principles and norms
D4.10 Issue reports on how copyright exceptions and other permitted uses that are relevant for documentary filmmakers and immersive digital heritage practitioners are understood in the Netherlands and the UK
No full textThis reCreating Europe deliverable D4.10 outlines the most pressing copyright-related issues and concerns faced by documentary filmmakers and by curators and creators of immersive experiences in the United Kingdom and the Netherlands. It is the main output of the first stage of Task 4.3 Developing best practice codes for creative audiovisual re-use, led by CREATe (University of Glasgow) and IViR (University of Amsterdam) as part of Work Package 4 Creative Industries.After a short introduction to the project and its methodology (Section 1), the document offers an overview of the issues identified and discussed by the communities being examined in relation to copyright and the lawful reuse of audiovisual materials. The findings of four online workshops – one for each community in the two jurisdictions under consideration – are systematised in four issue reports (Sections 2 and 3). Each issue report describes the creative and cultural practice of the workshops’ participants and the core copyright-related concerns they identified. The main points discussed by participants under each area of concern are reported. The copyright issues that documentary filmmakers reported as being the most worrying related to access (identifying and negotiating with right owners and archives), use (exceptions and limitations/fair dealing vs rights clearance) and distribution (territoriality of the law). The main copyright concerns raised by curators and creators of immersive digital heritage resolved around the questions of identifying, contacting and negotiating with rights holders, the uncertainties of knowing whether your use is fair/lawful or not, and responsibilities (for infringement and preservation). This was the same in both jurisdictions.Section 4 provides a snapshot of the copyright exceptions and limitations in UK and Dutch law which may cover the uses of protected content discussed by participants. Finally, Section 5 encompasses conclusive remarks and the next steps of the project
Code of Best Practices on Creative Reuse for Immersive Experiences
No full textThis Code of Best Practices aims to help digital heritage curators and creators make informed decisions around the lawful reuse of existing materials in immersive experiences or other experimental products. It is based on the views and statements collected through a series of workshops with creators and curators of immersive experiences from the UK and the Netherlands. While the legal considerations included in this document refer primarily to UK and Dutch copyright law, this Code is written in such a way that it aims to be relevant to other European jurisdictions too
- …
