1 Study on dubbing and subtitling needs and practices in the European audiovisual industry in partnership with Media Committee - 28 July 2008
2 Purpose of the study Assess the current dubbing and subtitling needs and practices in the 31 countries participating in the MEDIA 2007 Programme. According to the MEDIA 2007 Programme objectives Provide recommendations regarding measures to implement at European Community level in order to: Encourage linguistic diversity Reduce obstacle to the circulation of AV works in the international market
3 3 key questions Who are the market players and how is this market is structured? What are the problems and obstacles influencing the circulation of European works, as part of European linguistic diversity? How can the circulation of works be promoted, an essential tenet in the European cultural diversity and in the competitiveness of the audiovisual industries?
4 Part 1: The structure of the dubbing and subtitling market 631 dubbing and subtitling companies in EU 31 of which 160 are leader in Europe. Sector turnover: The 2006 turnover is estimated between 372 M euros and 465 M euros. Italy, France, the UK and Germany gather % of this turnover 30 % of this turnover is estimated to be realised on European audiovisual works
5 Tarification Dubbing for TV broadcasting tarification (voice and final mix included) Less than 80 /min: Eastern Europe Subtitling tarification (adaptation included) Less than 5 /min: Most of the Eastern European Countries Between 5 and 10 /min: Southern Europe (ES, IT, PT) and NO, IS, FI + PL, SI Between 80 and 200 /min: Western Europe Between 10 and 15 /min: NL, DK, SE More than 200 /min: big markets (IT, FR, DE, UK, ES) Between 15 and 20 /min: FR, DE and «dependent» countries
6 Average cost of a film : a 90 film with 900 subtitles, copy cost included Big market Countries (DE, ES, FR, IT): for subtitling; for dubbing North European Countries (NO, NL, FI, SE, DK): for subtitling; for dubbing Central and Eastern European Countries: for subtitling; for dubbing Island and Portugal do not fit in any category with costs respectively of and for subtitling and from to for dubbing.
7 According to our estimations: The Market demand Theatrical first releases: ENN films or hours of content (750 h for dubbing countries, h for subtitling countries). European TV channels broadcast h of dubbed or subtitled content ( h of which are European works).
8 Legal considerations Not many regulatory provisions exist for the dubbing/subtitling sector with the exception of some countries like FR, the UK, ES, DE and FI the sector being essentially governed by voluntary agreements between companies and professionals Only specific obligations for children's programmes do exist these have to be dubbed in all countries both in cinema and television the main motivations underpinning national legislations are as follows: Defending and Promoting the national language Addressing the Specific situation of linguistic minorities. Addressing the Specific situation of people with impairments.
9 International & EU legislation 2 professions take centre stage: the dubbing actor the audiovisual translator/adapter At international level: The Berne International Convention The Rome Convention At European level: Directive 92/100/EEC (19 November 1992) amended by Directive 2006/115/EC harmonizes provisions regarding rental rights and lending rights, and certain rights related to copyright in the field of intellectual property Directive 93/98/EEC (29 October 1993) harmonizing the term of protection of copyright and certain related rights, amended and replaced by the directive 2006/226/EC Directive 2001/29/EC (22 May 2001) on the harmonisation of certain aspects of copyright and related rights in the information society But legal regimes widely vary from one Member State to another
10 Dubbing actors Significant differences in their legal status and regimes noted: Application or non-application of IP rules and the existence or non-existence of related rights in the form of a right to additional remuneration generated by the exploitation of their works.
11 Audiovisual translators / Adapters The Berne International Convention stipulates that translators are to be considered authors meaning that their revenue is linked to author s royalties All the countries in the study did sign the Convention. Yet, this concept is contested in many countries in the sense that only the technical aspect of the activity is taken into account, without acknowledging the creative value of the translation service.
12 Widely varying legislations In countries where the legislation is relatively ambiguous without any specific provisions, it leads to the creation of grey areas characterized by fixed and final tarifs as well as the buying out of rights. In such cases, it is generally assumed that the rights of the dubbing actors and audiovisual translators are transferred without any other options available to them. Important to note that the presence of a collective management society in the country for audiovisual translators and dubbing actors guarantees the collection of a certain percentage from the utilization of the translation and/or the dubbed work
13 Accessibility Issues The differences between MS should be reduced by the transposition of the AMS Directive and its article 3 b) Member States shall encourage media service providers under their jurisdiction to ensure that their services are gradually made accessible to people with a visual or hearing disability. not binding but enlarges the scope of the recommendation for some MS to visually-impaired or blind persons. In MS where associations play an active role in increasing accessibility to hearing/visually-impaired persons, the regulatory framework is more developed, and there are more measures to encourage accessibility to television programs and cinemas.
14 Accessibility Issues For broadcasters, current obligations can be grouped into the following categories: Laws for minorities and disabled persons. Laws for broadcasting on television and radio. Public service contract. TV channels internal regulations. For cinema, the few existing provisions are very general: Void of any practical or technical dimension. They vary considerably from country to country, no harmonization of accessibility techniques. Most of the measures result from initiatives taken by associations and/or exhibitors in order to make up for legislative shortcomings.
15 Map of language-transfer practices for cinema works screened in Europe
16 Map of language-transfer practices for television works broadcast in Europe
17 Part II. Problems and obstacles influencing the circulation of EU works The quality of audiovisual translation Problems are often the result of deadlines, budget and volume or of non-professionals and no quality control through re-reading. An unsolvable equation: volume/deadlines/price The volume in hours to be translated is increasingly high and continue to grow as with the number of channels broadcasting Unregulated workers competition and delocalisation contribute to the downward pressure on budgets Shortening of deadlines proposed by clients. Training: a real question? Number of training courses available are sufficient for some companies and not for others.
18 Problems relating to the circulation of children s programmes and animation Expensive practice for countries using subtitles for all other kinds of films Linguistic transfer is necessary for the circulation of non-national AV works but is not enough Depends on the vested interests of the main players in the system. Territoriality of rights often slow the intra-european circulation of works. Linguistic areas are to be considered Foreign countries belonging to the same linguistic area are privileged territories in commercial relations contributing to the fact that most non-national works do not circulate on TV.
19 The impact of the MEDIA Plus policy on dubbing and subtitling The results of the MEDIA Plus support confirms the tendencies observed in the principal dubbing markets, which are gradually opening up to distribution of original subtitled versions of films 4 dubbing territories (DE, IT, ES, FR) concentrate most of MEDIA Plus support in financial terms while, in terms of projects, the sharing is more balanced and many territories benefit from the release campaigns of supported films During the period , the 5 big countries represented 39% of projects aided (362 projects out of a total of 928 supported) while in the year 2004 the support to the big countries projects represented only 29% of the total (79 projects out of 241). The impact of MEDIA Plus is significant in terms of supported national release campaigns, particularly in the smaller countries and the new Member States.
20 Problems relating to accessibility In the Cinema Isolated initiatives supported by concerned organisations and the state. lack of funding to equip the cinemas and the limited supply of films using special subtitles and audio-description. In TV broadcasting Accessibility policies vary enormously between channels. Impossible to have accurate statistics on the volume of hours made accessible for handicapped audiences. Accessibility policy, where it exists, is aimed especially at hearingimpaired audiences. The only channel that regularly provides programming with audiodescription is the BBC (8%) European countries do not have the same technical norms when producing versions for the hearing- and visually-impaired.
21 Problems relating to multilingualism Illiteracy and audiovisual consumption No correlation whatever the indicators used. Multilingualism, cinema and television TV does not play an important role in learning languages, apart through intra-linguistic subtitles. The profile of the average multilingual is not the same as the profile of the average TV viewer, who is older, more female and more socially isolated. Living in a country that favours TV dubbing does not correspond with a lower level of linguistic proficiency
22 Recent digital contributions to dubbing and subtitling According to the technical companies surveyed in the bigger countries (DE, ES, FR) Technical aspects and work methods will change the most Creative aspects (adaptation, translation and dubbing actors) will remain the same except maybe for translation software. Digitisation will bring productivity gains at administration levels Digital cinema will give distributors and exhibitors interesting new opportunities, both in terms of choice for audiences and in terms of cost reduction. Digitisation above all means equipping cinemas which implies investment that is prohibitively expensive for smaller exhibitors. The situation for TV channels varies a lot depending on the country. Some broadcasters believe it will have an impact sooner on subtitling than on dubbing where the human factor of the actors will remain. Technical procedures will be affected by digital developments. Advantages in accessibility to programmes for visually- and hearing-impaired viewers In terms of supply and choice, possibilities of double versions and multilingual versions.
23 Part III. Conclusions and recommendations Conclusions regarding the quality of the audiovisual translation Threatened by pressure on the structural variables of the market: price, volume, deadlines. Conclusions regarding the circulation of works Language transfer is a necessary but insufficient condition Technical issues when going from one medium to another in some EU countries (i.e.: film subtitled for cinema release that requires a dubbed version for TV broadcast) Within linguistic areas, the choice of distributors and broadcasters is determined by the language choices made by the leader countries. In several countries, European films are underrepresented in children's films library.
24 Conclusions regarding the accessibility of European audiovisual works Volume of programs available to hearing/visually-impaired persons is very low. Level of accessibility does not meet the recommendations of the AMS Directive to be adopted at the end of Current business model incompatible with the requirements which are related to the implementation of this Directive. Absence of harmonization between technical standards is an obstacle to the productivity and circulation of these versions within linguistic areas. Conclusions regarding technological research and multilingualism Absence of dialogue between research on digital technologies, notably as part of the FP7, and on multilingualism, which penalizes the perspectives of future technological innovation, whereas the two fields converge as regards audiovisual broadcasting.
25 Quality of audiovisual translations Recommendations 1. Encourage the setting-up of a European reference (normalization of professional practices, standardization, quality labelling). 2. Provide more information on professions related to translating, and on available resources. In particular, encourage dialogue between all concerned parties from the various European countries in order to define European standards pertaining to training for audiovisual translation. 3. Provide more information on innovative technologies such as automatic audiovisual translation which will make it possible to federate the three determining variables (volume of hours, tariffs, deadlines) by enabling translators/adapters to once again play a central role in the quality of the finished text. 4. Provide more information on the language versions already available by supporting, for example, the development of databases inventorying the availability of rights to subtitled versions for programs.
26 Recommendations Circulation of works 1. Support the creation of packages of linguistic versions (dubbed + subtitled versions in national language or main languages of the country) produced from the post-production phase in order to optimize the potentialities of digital broadcasting. This support could be granted to sales agents and/or film distributors as well as to vendors of audiovisual programs for fictions and youth programs. 2. Systematically create an international version (Music & Effects band) in order to facilitate sales to broadcasters in countries where the dubbed version is expected, thereby enlarging the perspectives of international circulation of European works, especially those of smaller countries. 3. Consider a modification of the MEDIA guidelines, by authorizing independent distributors already receiving support for subtitling of a given work to re-invest the MEDIA aid in the dubbing of the same work for subsequent television broadcasting
27 Recommendations 4. Expand the scope of the MEDIA Distribution/Sales agents support to include language versions tailored to specific regions in order to encourage the selling of European programs, in particular to broadcasters since they guarantee, de facto, purchases made by distributors. 5. Set up inside MEDIA, an automatic mechanism encouraging cable and satellite TV channels of the main countries, and encouraging the large TV channels of smaller countries, to invest in the creation of dubbed or subtitled versions of non-national European works. This could also include the promotion and broadcasting of these programs at times of high viewership. 6. Set up a special support mechanism for the distribution of European animation and youth programs, or else create a special module in the automatic distribution, notably a special grant for the dubbing of such works.
28 Recommendations Accessibility of European audiovisual works 1. Encourage the harmonization of technical standards (signs, colours, positions) in the creation of subtitled works for deaf and hearing-impaired persons, as well as in audio-description. A common utilization code could be created, thereby meeting the requirements of distributors and viewers alike. This harmonization should also take place at legal and regulatory levels (including the Application of intellectual property rules which would vary depending on the types of access service) and via constructive dialogue with other groups of sector players. 2. Expand European research programs to include questions of accessibility of audiovisual works in order to encourage the development of suitable software applications.
29 Recommendations Technological research and multilingualism 1. Encourage synergies and convergence between European research programs and developments in the digital sector. 2. Carry out research into potential co-relations between subtitling and the development of multilingualism.
STUDY ON DUBBING AND SUBTITLING NEEDS AND PRACTICES IN THE EUROPEAN AUDIOVISUAL INDUSTRY Final Report 14 November 2007!"## $!"#! %% &'( )*+,!-"./ 0$""#&!1& Final Report 14 November 2007 1 Notice This document
EUROPEAN COMMISSION SECOND CALL FOR COMMENTS ON FAIR COMPENSATION FOR ACTS OF PRIVATE COPYING FERA Contribution April 2008 The Federation of European Film Directors (FERA - Fédération Européenne des Réalisateurs
Free access to information and culture: between freedom of expression and commercial interest Copyright law Access to public events 27 May 2014, Bucharest Prof. Dr. Stephan Ory Conclusion There is no European
GRAN CANARIA FILM TAX INCENTIVE 2015 1. Introduction Gran Canaria has one of Europe s most attractive tax incentives for film and audio visual production. With a special tax system of their own, validated
CREATIVE EUROPE - MEDIA Distribution and Sales Agents KEY ELEMENTS To increase competitiveness of European companies and European films in global market To encourage circulation of European films across
SURVEY ON THE TRAINING OF GENERAL CARE NURSES IN THE EUROPEAN UNION This survey serves as a background document for the discussion of the Commission's legislative proposal to modernize the minimum requirements
Public Consultation on the Review of the EU Satellite and Cable Directive I. General Information on respondents I m responding as: What is your nationality? What is your name? What is your e-mail address?
Road Map on the Common Space of Research and Education, Including Cultural Aspects Approved on May 10, 2005 in Moscow by President of Russia Vladimir Putin, Prime Minister of Luxembourg Jean-Claude Juncker,
Information Analytics Expertise SEPTEMBER 2014 THE FUTURE OF TELEVISION IN EUROPE An assessment of the changing nature of television in Europe, and what is shaping the transformation Ben Keen: IHS Technology
Briefing note Survey of environmental liability insurance developments June 2014 Introduction This paper responds to the consideration by the European Commission (EC) of a possible EU-wide compulsory insurance
REGULATIONS CONCERNING CO-PRODUCTION SUPPORT FOR FULL-LENGTH FEATURE FILMS, ANIMATIONS AND DOCUMENTARIES 1 ELIGIBILITY CRITERIA 1.1. General provisions 1.1.1. Projects for feature films, animations and
Strasbourg, 02/04/2015 Regulations 2015-2016 Distribution Support Programme Introduction The aim of the distribution support programme is to reinforce the distribution of European 1 defined in the regulations
Digital Single Market portability and crossborder access proposals the story so far Digital Single Market portability and cross-border access proposals the story so far My aim for 2017 no roaming charges,
The Consumer Voice in Europe PROPOSAL FOR A REGULATION ON ENSURING CROSS- BORDER PORTABILITY OF CONTENT SERVICES BEUC position Contact: Agustín Reyna email@example.com BUREAU EUROPÉEN DES UNIONS DE CONSOMMATEURS
Update from the European Audiovisual Observatory Susanne Nikoltchev Executive Director European Audiovisual Observatory 43rd EPRA Meeting - Barcelona, 25-27 May 2016 1 Latest from the organisation Accession
Collective Rights Management and Extended Collective Licensing - a prerequisite for mass usage of Audio-visual Works? 2013-04-05 Jerker Rydén Senior Legal Adviser National Library of Sweden A Digital Single
Provisions re Professional Services in Cariforum-EC EPA Ramesh Chaitoo Head, Services Trade Unit CRNM - www.crnm.org firstname.lastname@example.org email@example.com Structure of Title II - Investment, Trade in Services
Appendix C National Subscription Television Regulations Australia At least 10% of annual programme expenditure on pay TV drama services must be on new eligible (Australian) Same requirements as cable television
EN EN EN EUROPEAN COMMISSION Brussels, 15.11.2010 COM(2010) 636 final COMMUNICATION FROM THE COMMISSION TO THE EUROPEAN PARLIAMENT, THE COUNCIL, THE EUROPEAN ECONOMIC AND SOCIAL COMMITTEE AND THE COMMITTEE
Non-domestic TV channels: proposals to modify access service obligations Consultation Publication date: Closing date: 14 October 2015 16 December 2015 About this document This document invites views on:
D Public Service Broadcasting Charter Published by: Department of Communications, Marine and Natural Resources Adelaide Road Dublin 2 June 2004 Contents Guiding Principles 2 Public Service Remit 2 Regional
Audiovisual and Media Policy The EU experience International Seminar on Electronic Communications and Media Convergence Brasilia, 8/9 November 2010 Harald TRETTENBREIN European Commission DG Information
Special Eurobarometer 366 BUILDING THE DIGITAL SINGLE MARKET CROSS BORDER DEMAND FOR CONTENT SERVICES REPORT Fieldwork: April - May 2011 This survey has been requested by the European Commission, Directorate-General
COU CIL OF THE EUROPEA U IO EN Council Conclusions on the development of legal offers of online cultural and creative content and the prevention and combating of piracy in the digital environment 2905th
JPI - HDHL A healthy diet for a healthy life European Commission Directorate-General for Research and Innovation Laura Alexandrescu Unit E3 - Food, Health and Well-being Directorate E - Food, Agriculture
5 September 2015 WHERE ARE THE WOMEN DIRECTORS IN EUROPEAN CINEMA? FIRST FINDINGS OF EWA S PAN EUROPEAN RESEARCH PROJECT Saturday 5 September 2015, h 12:00-13:30 Italian Pavilion - Sala Tropicana Hotel
Infosession EU Perspective Robert Pochmarski Postal and Online Services European Paper Week, 27 November 2013, BRUSSELS 2008 2009-2011 2012-2013 2014-4 th Application Report 5 th Application Report Application
Authorship & Ownership Prof. Tanya Aplin King s College London firstname.lastname@example.org Importance of authorship Owner of economic rights Holder of moral rights Calculating term of protection Point of attachment
SPEECH/07/154 Viviane Reding Member of the European Commission responsible for Information Society and Media Mobile TV: The time to act is now Mobile TV Conference, International CeBIT Summit Hannover,
The British Film Industry by Numbers Alex Tosta The Bigger Picture Global revenue of the film industry in 2013 was 57 billion UK accounts for 1% of the world s population, but accounts for 7% of global
POLICY ON CABLE RE-TRANSMISSION AND THE CABLE COPYRIGHT EXEMPTION 2016 1 Page 2016 SCREEN PRODUCERS IRELAND Policy on Cable Re-transmission and the Cable Copyright Exemption Screen Producers Ireland is
Network for the Internationalization of Music Producers in Europe (NIMPE) NIMPE BACKGROUND AND PROJECT NEEDS Culture and creative sector has problems to export their productions and to internationalize
Flash Eurobarometer CROSS-BORDER ACCESS TO ONLINE CONTENT REPORT Fieldwork: January 2015 Publication: August 2015 This survey has been requested by the European Commission, Directorate-General for Networks,
Pan-European Launch Presentation Summary May 2012 Presentation Agenda 1. Introduction Background Coverage and Methodology 2. Findings The Media Evolution Internet everywhere by any means Media multi-tasking
Eurobarometer INNOBAROMETER 2015 - THE INNOVATION TRENDS AT EU ENTERPRISES REPORT Fieldwork: February 2015 Publication: September 2015 This survey has been requested by the European Commission, Directorate-General
THE INSTITUTE OF BUSINESS ADVISERS LONDON BRANCH Creative Industries Workshop Key IPR Issues Dr Rosanna Cooper, Principal, RT Coopers Telfords Yard, 6/8 The Highway London, E1W 2BS Tel: +44 207 488 2985
Study on pan-european market for premium rate services for the European Commission Public workshop Brussels, June 8, 2005 Slide 1 Introduction 2 objectives: Recommendations for a pan-european PRS market
Mobile TV in Europe Regulation and Business Models Morten Falch, Anders Henten, Reza Tadayoni, Knud Erik Skouby Center for communication, Media and Information Technologies, CMI Aalborg University Copenhagen
Employment and national GDP impacts of music, book publishing and film and television in New Zealand This study highlights the economic contribution of New Zealand s music, book publishing and film and
TTIP AND CULTURE In 2013, the European Union (EU) started negotiations for a free trade agreement (FTA) the Transatlantic Trade and Investment Partnership or TTIP with the United States (US), the largest
Multi-Territory Licensing of Audiovisual Works in the European Union Final Report Prepared for the European Commission, DG Information Society and Media October 2010 The opinions expressed in this study
Television Access Services for People with Sensory Impairments July 2010 Department for Culture, Media and Sport Our aim is to improve the quality of life for all through cultural and sporting activities,
Executive Agency, Education, Audiovisual and Culture Vocational Training on Sustainable Buildings Maintenance and Refurbishment Progress Report Public Part 539465-LLP-1-2013-1-PT-LEONARDO-LMP Project information
The European CYberSecurity cppp ECYS Draft Proposal 12 April 2016 The urgency to act We cannot miss the window opportunity for budgetary reasons: create a synergy among the different EC budgets via the
SUBMISSION FROM PACT Introduction 1) Pact is the trade association which represents the commercial interests of the independent television, film and digital media production sector in the UK. 2) The UK
EUROPEAN COMMISSION Brussels, XXX [ ](2015) XXX draft COMMUNICATION FROM THE COMMISSION TO THE EUROPEAN PARLIAMENT, THE COUNCIL, THE EUROPEAN ECONOMIC AND SOCIAL COMMITTEE AND THE COMMITTEE OF THE REGIONS
DIGITAL STREAMING DISTRIBUTION: TV & VoD THE FILM DISTRIBUTION MARKET IN RUSSIA Study carried out by: Senior Analyst, Nevafilm Research: Analysts, Nevafilm Research: Xenia Leontyeva Valeria Boiko Eleonora
7 April 2016 Position Paper Cable Europe position paper on the review of the Satellite and Cable Directive Executive Summary The 1993 Satellite and Cable Directive facilitates the clearing of copyright
LATVIA S PENSION SYSTEM: CURRENT SITUATION AND FUTURE PROSPECTS Monika Queisser Directorate for Employment, Labour and Social Affairs, OECD Demographic challenges Major demographic trends in Latvia Declining
The UK-Canadian Film Co-production agreement, which was signed in 1975, was amended by Exchange of Letters in July 1985 and by Protocol in 1991. The full text of the amended agreement is given below. FILMS
Preparation of a new EU Disability Strategy 2010-2020 Summary of the main outcomes of the public consultation European Commission 2 Table of Contents 1. Background of the public consultation...5 2. Questionnaire...5
TRENDS OF THE EUROPEAN FILM AND VoD MARKETS «Film and Internet: Friends with Benefits?» (Cannes, 18 May 2013) André Lange Head of Department for Information on Markets and Financing European Audiovisual
STANDARD RECOUPMENT POLICY IN EFFECT AS OF APRIL 1, 2010 This policy applies to the CMF s equity investments in television components of projects in the Convergent Stream. The policy relating to the Experimental
EU Intellectual Property Law and Ownership in Employment Relationships Sanna Wolk 1 Introduction....... 420 2 Different Approaches in Different Law Systems..... 421 3 Ownership and Harmonisation Efforts
Community Charter of the Fundamental Social Rights of Workers Whereas, under the terms of Article 117 of the EEC Treaty, the Member States have agreed on the need to promote improved living and working
PROJECT PROPOSAL: PROTECTION OF INTELLECTUAL PROPERTY RIGHTS AND FIGHT AGAINST COUNTERFEITING IN THE T/C SECTOR Protecting intellectual property and dealing with counterfeiting are vital to the textiles
A General Certificate of Secondary Education June 2015 Media Studies (Double Award) Unit 3 Exploring Media Industries 48103 Insert Text for use with SECTION B Data taken from The National Careers Service
Overview of VoD services in the EU & Future developments Europa International Athens, 23 rd November 2013 Christian Grece European Television and On-demand Audiovisual Markets Analyst The European On-Demand
EUROPEAN COMMISSION Brussels, 9.12.2015 COM(2015) 626 final COMMUNICATION FROM THE COMMISSION TO THE EUROPEAN PARLIAMENT, THE COUNCIL, THE EUROPEAN ECONOMIC AND SOCIAL COMMITTEE AND THE COMMITTEE OF THE
EUROPEAN COMMISSION Brussels, 14.9.2016 COM(2016) 593 final 2016/0280 (COD) Proposal for a DIRECTIVE OF THE EUROPEAN PARLIAMENT AND OF THE COUNCIL on copyright in the Digital Single Market (Text with EEA
[Type here] Using Television and Radio programme for teaching BOB Box of Broadcasts This workshop is for anyone who would like to use television and radio recordings in teaching and research, and takes
INTELLECTUAL PROPERTY LAW IN POLAND FOR FOREIGN INVESTORS October 2015 a member of CONTENTS I. General overview 5 II. Copyright protection 6 1. Overview 6 2. Moral and economic rights 6 3. Computer programs
File Ref: CTB(CR) 9/6/10(04) Pt. 5 LEGISLATIVE COUNCIL BRIEF RENEWAL OF DOMESTIC PAY TELEVISION PROGRAMME SERVICE LICENCE OF HONG KONG CABLE TELEVISION LIMITED INTRODUCTION At the meeting of the Executive
Flash Eurobarometer THE ROLE OF PUBLIC SUPPORT IN THE COMMERCIALISATION OF INNOVATIONS REPORT Fieldwork: January February 2014 Publication: May 2014 This survey has been requested by the European Commission,
European Social Dialogue: Work programme 2012-2014 SD results a few examples European Social Dialogue Academy Brussels, 17 November 2014 Juliane Bir, ETUC I - Work programme 2012-2014 Objectives Outcomes
The market for on-demand audiovisual services in the EU Overview & Trends Christian Grece Analyst On-Demand Audiovisual Markets European Audiovisual Observatory New ways of distribution Creative Europe
Unclassified DAF/COMP/GF/WD(2013)19 DAF/COMP/GF/WD(2013)19 Unclassified Organisation de Coopération et de Développement Économiques Organisation for Economic Co-operation and Development 22-Jan-2013 English
EUROPEAN AREA OF SKILLS AND QUALIFICATIONS REPORT Fieldwork: April - May 2014 Publication: June 2014 This survey has been requested by the European Commission, Directorate-General for Education and Culture
WHERE ARE THE WOMEN DIRECTORS? Report on gender equality in the European film industry European Women s Audiovisual Network 2006-2013 The European Women s Audiovisual Network (EWA) report, WHERE ARE THE
REMIX AGREEMENT Concluded on the day indicated below between Name/Firm:... Address:... Telephone number:... Email address:... Bank account:... referred to hereafter in short as the label, and Name/Firm:...
EN EN EN COMMISSION OF THE EUROPEAN COMMUNITIES Brussels, 10.12.2008 COM(2008) 845 final COMMUNICATION FROM THE COMMISSION TO THE EUROPEAN PARLIAMENT, THE COUNCIL, THE EUROPEAN ECONOMIC AND SOCIAL COMMITTEE
European judicial training 2014 Justice Europe Direct is a service to help you find answers to your questions about the European Union. Freephone number (*): 00 800 6 7 8 9 10 11 (*) Certain mobile telephone
99333 EU- INOGATE programme, project Support to Energy Market Integration and Sustainable Energy in the NIS (SEMISE) European best practice regarding to the licensing in the energy sector The content of
About SPEEECH In the face of continuous globalization, businesses need to adapt the way they communicate with a multilingual market - an ever more complex challenge. Their message needs to be produced,
Gesellschaft für musikalische Aufführungs- und mechanische Vervielfältigungsrechte European Commission International Market Directorate General, Unit D-1 Rue de Spa 2 Office 06/014 1049 Brussels Belgium
REGULATIONS ON SUPPORT FOR AUDIOVISUAL PRODUCTIONS [FOR-2009-09-07-1168] Delivered by the Royal Norwegian Ministry for Cultural and Church Affairs on 7 September 2009 with legal base in Parliament s annual
economic developments box 8 unemployment developments in the euro area The situation in euro area s has worsened significantly since the start of the economic and financial crisis in 28. After reaching
Joint Oireachtas Committee on Jobs, Enterprise and Innovation Job creation, innovation and balanced economic development in the creative economy 28 th April 2015 Opening Statement by Brian Dalton, Managing
Presentation to the European Parliament by London Economics 25 January 2012 1 Presentation outline Basic facts and benefits 2 and benefits Background Access to basic banking is essential in modern society,
Independent Produc June 2013 Independent Production Sector Financial Census and Survey 2014 July 2014 A report by Oliver & Ohlbaum Associates Ltd for Pact Contents Section 1: Summary Section 2: Revenue
Copyright Bulletin October 2003 DOCTRINE COLLECTIVE MANAGEMENT OF COPYRIGHT AND RELATED RIGHTS AT A TRIPLE CROSSROADS: SHOULD IT REMAIN VOLUNTARY OR MAY IT BE EXTENDED OR MADE MANDATORY? Dr. Mihály Ficsor
Mobile TV advertising: principles and opportunities from an European perspective Gian Paolo Balboni Telecom Italia email@example.com Contents TIM TV service outline Business models for
RETRANSMISSION SEPTEMBER 2014 POLICY BRIEF KEY POINTS The existing retransmission regime in Australia works effectively in the interests of the consumer and the underlying rights holders in the programs
Television channels required to provide television access services in 2015 Statement Publication date: 17 July 2014 About this document This document explains which TV channels licensed by Ofcom are required
June 2016: After the Vote:What will Brexit mean for film and TV businesses operating in the UK? After the Vote:What will Brexit mean for film and TV businesses operating in the UK? With the country voting
GUIDELINES AND REGULATIONS for FILMCAMP AS CONTRIBUTION IN FILM- AND TV-PRODUCTIONS 1 GUIDELINES AND REGULATIONS FOR FILMCAMP AS CO-PRODUCTION COMPANY FOR FEATURE FILMS Av 26.11.09 The company FilmCamp
Your consent to our cookies if you continue to use this website.