Copyright Review Commission Report - ICT Law and Regulation ...

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KEY ITEMS BRAZIL FRANCE INDIA NORWAY SOUTH AFRICA SENEGAL SWITZERLAND UKk.Retention periodfor unclaimedroyalties5 years 10 years 3 years 3 years3 years forSAMRODetails notavailable5 years3 years for PRSand 6 years forPPLl.Utilisation ofunclaimedroyalties at theend of theretention periodDistributed toknown memberson the pro-ratabasisUtilised forsocial needs forthe benefit ofthe membersDistributed toknown memberson the pro-ratabasisDistributed toknown memberson the pro-ratabasisDistributed toknown memberson the pro-ratabases bySAMRO and notapplicable forSAMPRADetails notavailableDistributed toknown memberson the pro-ratabasisDistributed toknown memberson the pro-ratabasism.Who determinesthe tariffs?CollectingassociationsGroup ofcollectingsocieties andgroup of usersand endorsedby Minister ofArts andCultureRespectivecollectingsocietiesRespectivecollecting societieswithin thecompetition lawRespectivecollectingsocietiesBSDA(CollectingAgency)Collectingsocieties andassociations ofusers approved bythe ArbitrationCommissionRespectivecollectingsocieties andCopyrightTribunalStructure ofmusic collectingsocietiesPerformanceRightsMultipleassociationsSACEM IPRS TONO SAMRO BSDA SUISA PRSn.SoundRecording /NeighbouringRightsMultipleassociationsADAMi,SPEDIDAM,SCPP andSPPFPPLGRAMOSAMRO andSAMPRABSDA SWISSPERFORM PPLMechanicalRightsMultipleassociationsSACEM IPRS NCBNORM andSAMROBSDA SUISA MCPS- 96 -
KEY ITEMS BRAZIL FRANCE INDIA NORWAY SOUTH AFRICA SENEGAL SWITZERLAND UKo.Membershipcompetition bycollectingsocieties forperformanceand soundrecording rightsApproximately10 associationscompete formembershipmarketCompetition isin place forproducers(betweenSCPP andSPPF) andperformers(ADAMI andSPEDIDAM)None None None None None Nonep.Competition formusic users bythe collectingsocieties forperformance andsound recordingrightsNone None None None None None None Noneq.Local musiccontent (basedon the monetaryvalues)77%Details notavailable95% (for IPRS) 51% (for TONO)24% for localartists & 32% forpublishers(including foreigncomponent)Details notavailable62% (for SUISA) 74% (for PRS)r.Local musiccontentobligationNone None None NoneCommercialradio station is25% and publicradio stations40%NoneNoneLocal contentvaries based onthe licenceconditions.s.Sharing split forsound recordingsroyalty feesRecordcompanies =41,7%, featuredartist = 41,7%and non-featuredartist = 16,6%50% splitbetweenperformers andrecordingentities100% forrecordingentities50% split betweenperformers andrecording entitiesThe Act and theRegulations arevague on thismatter50% splitbetweenperformers andrecordingentities50% split betweenperformers andrecording entities50% splitbetweenperformers andrecording entities- 97 -
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TABLE OF CONTENTSLIST OF ABBREVIATI
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11.8 RECOMMENDATIONS ..............
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LIST OF TABLESTable 1: Cases of Non
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NORMOSPsPOSAPPLPPL (India)ProLitter
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These problems are addressed in the
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xxi.The report considers developmen
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1.3.8. Determine whether all money
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1.4.9. The CRC derived considerable
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2.3 SUBMISSION BY THE DEPARTMENT OF
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Aspects of Intellectual Property Ri
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(1) Subject to the provisions of th
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Copyright Tribunal or an arbitrator
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society, the South African Recordin
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3.2.14. With the liquidation of SAR
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the final rate or rates to be appli
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(a)that payment is to be made to th
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information as to their use to enab
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The WCT and WPPT oblige members to
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Once the handset technology changed
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4.3.16. In 2009, in what was coined
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4.4.6. In exchange for the above li
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operators are licensed by NORM to p
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5.2 FUNCTIONING OF COLLECTING SOCIE
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the grant of licences. Article 17 o
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6.1.3. The CRC’s assessment of th
Page 52 and 53: 6.3.3. SAMPRA should be given one y
Page 54 and 55: Corporate Governance GapsKing II Re
Page 56 and 57: King IIIPrincipleKing IIIRequiremen
Page 58 and 59: King IIIPrincipleKing IIIRequiremen
Page 60 and 61: 8 COLLECTION OF MUSIC ROYALTIES8.1
Page 62 and 63: 8.1.4.2. Needletime royalties are n
Page 64 and 65: 8.1.7.4. For the past five years, V
Page 66 and 67: PRS (UK)SPRE (FRANCE)SUISA(SWITZERL
Page 68 and 69: DetailsPerformance RightsSound Reco
Page 70 and 71: 8.2.7 Comparative Study Performed b
Page 72 and 73: y a collecting society. A rights ho
Page 74 and 75: agency, its rights being derived fr
Page 76 and 77: Mr Robinson said DALRO assumed the
Page 78 and 79: 10.1.6. The distribution to publish
Page 80 and 81: 10.4.4. Most of the other collectin
Page 82 and 83: 10.6.3.4. South African English-lis
Page 84 and 85: 10.10 CONTRACTUAL RELATIONSHIPS BET
Page 86 and 87: 10.12.2. The Regulations should rec
Page 88 and 89: licence that the licensee comply wi
Page 90 and 91: 11.4.6. The details of ICASA’s ta
Page 92 and 93: RecommendationsTimelines for Recomm
Page 94 and 95: enterprises. There was a suggestion
Page 96 and 97: Copyright as it relates to copyrigh
Page 98 and 99: 13.4 DEPARTMENT OF ARTS AND CULTURE
Page 100 and 101: Table 28: Comparative Study’s Key
Page 104 and 105: KEY ITEMS BRAZIL FRANCE INDIA NORWA
Page 106 and 107: about 30%, which is the highest amo
Page 108 and 109: 15.1.3. The Copyright Tribunal’s
Page 110 and 111: 15.1.20. Local music content requir
Page 112 and 113: for the selected artists. The outco
Page 114 and 115: King III Report by Institute of Dir
Page 116 and 117: Paranagua Pedro, “Strategies to I
Page 118 and 119: Copyright Amendment Act of 1984Copy
Page 120 and 121: APPENDIX 1(B): SUMMARY OF ORAL REPR
Page 122 and 123: Due to the fact that the existing c
Page 124 and 125: Mr BrottelProtection of copyright m
Page 126 and 127: 1.1.3. LIST OF ENTITIES VISITED AND
Page 128 and 129: In the 2009 Annual Report of ABRAMU
Page 130 and 131: The implementation of this law led
Page 132 and 133: ecordings. In respect of audio-visu
Page 134 and 135: In 1995, ECAD distributed 72% of it
Page 136 and 137: niches in the market to ensure fair
Page 138 and 139: Proprietary rights allow authors to
Page 140 and 141: International royalty distribution
Page 142 and 143: 3.2. Relevant LegislationsThe prese
Page 144 and 145: IPRS uses the standard tariffs in r
Page 146 and 147: Ad-hoc workshops on copyright are c
Page 148 and 149: meaningful living out of their crea
Page 150 and 151: 4.1.3. LICENSING AND LEGAL REGIMESI
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Ballet teachers; Teachers in the fi
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It was founded in 1928 by the Norwe
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6.2. STRUCTURE OF COLLECTING SOCIET
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6.5. COLLECTION OF MUSIC ROYALTIEST
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1957, when the Managing Director of
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16.4.14 SWISSPERFORM: CHF4 millionI
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Cross-border licensing of digital r
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algorithm could be used to determin
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Collecting societies in the UK all
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APPENDIX 3: RECOMMENDATIONS BY MITT
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1.PREAMBLEThe Music Industry Task T
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The environment in which the music
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3.1.3 IMPLEMENTATION AND ACCESSION
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In this regard, the Minister should
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3.5.6 OMBUDSMANThe music industry s
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RECOMMENDATION 23:The MITT recommen
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The MITT further recommends that DA
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APPENDIX 4A: EXTRACTS FROM COPYRIGH
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(f)(g)doing, in relation to an adap
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(i)requiring notice of any intended
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(b)any organization claiming to be
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PERFORMERS’ PROTECTION ACTNO. 11
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the parties may agree to refer the
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ANNEXURE 5: COPY OF SARRAL’S CONT
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ANNEXURE 6: SARRAL’S AUDIT REPORT
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TERMS OF REFERENCESNO’SREQUIREMEN
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