The press release of DG Competition on the proposals for licensing musical pan-European and the report prepared by the European Commission make possible to assess the differences between the allocation of rights in the audiovisual sector (contract) and in the music (collecting = monopoly). It is under competition, i.e. the control of monopolies (which is historically perhaps the first jurisdiction of the European Commission),which the Commission controls the management companies of collective music. The Commission will not relax its vigilance in the control of monopolies in the new phase of digital development. It also announced a draft revision of the Guidelines on vertical restraints for the summer. In the audiovisual sector, the question arises, therefore, otherwise taking into account that there is no collective management constituting monopolies (except for residual activities cable, satellite and private copying) in exercising rights and therefore cannot be harassed in the same way as music. This is only true in relative terms, especially for U.S. studios, which,without a dominant market position (UIP case), have enormous catalogs alsovalid for online use. The tension that we may know is not related to an action under the competition, but under the information society, the right of consumers and the Internal Market. Ms Reding (Information Society) and Ms Kuneva (consumer protection) are determined to improve the flow of works online. The idea of the circulation of works is not new, but it reveals a singular importance in the digital environment, in theory without borders.
Source: World Cinema Alliance
Showing posts with label Pan-European licenses. Show all posts
Showing posts with label Pan-European licenses. Show all posts
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