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

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LIST OF TABLESTable 1: Cases of Non-Compliance to the Regulations by SAMPRA ................................................................................ 45Table 2: Examples Where Corporate Governance Failed SARRAL .................................................................................. 47Table 3: Areas of Non-Compliance with King III Requirements ......................................................................................... 49Table 4: Total Music Royalties Collected via Collecting Societies ..................................................................................... 54Table 5: Radio Stations Tariffs for Performance Rights .................................................................................................... 59Table 6: Radio Stations Tariffs for Radio Stations with at least 70% Music Airspace and at least R30 million AnnualRevenue .............................................................................................................................................................. 60Table 7: Radio Stations Tariffs for Sound Recording Rights ............................................................................................. 61Table 8: Combined Radio Stations Tariffs with 70% Music Airspace or at least R30 Million Annual Revenue ................. 61Table 9: Comparative Analysis Performed by NAB on Radio Stations Tariffs Charged by Different Collecting Societiesin 2008 ................................................................................................................................................................ 63Table 10: Comparison of TV Stations Tariffs ..................................................................................................................... 63Table 11: Comparative Study Performed by NAB on TV Channels .................................................................................. 64Table 12: Community Radio Stations Tariffs ..................................................................................................................... 64Table 13: Ringtones Tariffs ............................................................................................................................................... 64Table 14: Music on Hold Tariffs for 100 Lines ................................................................................................................... 65Table 15: Tariffs for Departmental Stores for 2 000 Square Meters .................................................................................. 65Table 16: Utilisation of Royalty Collections ....................................................................................................................... 70Table 17: Cash Distributed by SAMRO ............................................................................................................................. 71Table 18: Comparison Analysis of Cost-to-Royalty Income Ratio Among Collecting Societies......................................... 72Table 19: Social and Cultural Contributions ...................................................................................................................... 72Table 20: Non-Royalty Income for 2010 ............................................................................................................................ 73Table 21: Foreign Distributions versus Foreign Collections .............................................................................................. 75Table 22: SAMRO’s Unclaimed Royalties versus Unclaimed Royalties Written Back after Three Years .......................... 76Table 23: ICASA’s Targets Versus Achievements by Public Radio Stations in 2010 ........................................................ 82Table 24: ICASA’s Targets versus Achievements by Commercial Radio Stations in 2010 ............................................... 83Table 25: ICASA’s Requirements with Regard to the TV Stations .................................................................................... 84Table 26: Recommendations for Local Music Content ...................................................................................................... 85Table 27: Key Government Role Players in the Copyright Environment ........................................................................... 91Table 28: Comparative Study’s Key Findings .................................................................................................................... 94- vi -
LIST OF ABBREVIATIONSABRAMUS Associacao Brasileira de Musica e ArtesADAMiAdministration des droits des artistes et musiciens interpretesARIPOAfrican Regional Intellectual Property OfficeAPRAThe Australasian Performing Right AssociationASAMIAssociation of the South African Music IndustryBIEMBureau International des Societies Gerant Les Droits D’enregistrement et De ReproductionMecaniqueBSDABureau Senegalaise Du Droit D’AuteurCIGSCultural Industries Growth StrategyCIPROCompanies and Intellectual Property Registration OfficeCIPCCompanies and Intellectual Property CommissionCISACInternational Confederation of Societies of Authors and ComposersCRCCopyright Review CommissionCTSThe Centre for Technology and SocietyDACDepartment of Arts and CultureDACSTDepartment of Arts, Culture, Science and TechnologyDALRODramatic, Artistic and literary Rights Organisation (Pty) LtdDOCDepartment of CommunicationsDRMDigital Rights ManagementECADEscritorio Central de Arrecadacao e DistribuicaoEC Act The Electronic Communication Act 36 of 2005ECT Act Electronic Communications and Transactions Act 25 of 2002FIA Federation Federations of International ActorsFTEFull Time EquivalentGRAMOThe Norwegian Joint Collecting Society For Performing Artists And ProducersIPRSIndian Performance Right Society LimitedICASA Authority Independent Communications Authorities of South AfricaICTInformation Communications TechnologyIFPIInternational Federation of Phonographic IndustriesIFRROInternational Federation of Reproduction OrganisationILOInternational Labour OrganisationIPOIndependent Producers AssociationISOInternational Standard OrganisationISPAInternet Service Providers AssociationISPsInternet Service ProvidersMCPSMechanical Copyright Protection SocietyMITTMusic Industry Task TeamMNOMobile Network OperatorNABNational Association of BroadcastersNCBNordisk Copyright BureauNHCNational Heritage Council- 1 -
Page 2 and 3: TABLE OF CONTENTSLIST OF ABBREVIATI
Page 4 and 5: 11.8 RECOMMENDATIONS ..............
Page 8 and 9: NORMOSPsPOSAPPLPPL (India)ProLitter
Page 10 and 11: These problems are addressed in the
Page 12 and 13: xxi.The report considers developmen
Page 14 and 15: 1.3.8. Determine whether all money
Page 16 and 17: 1.4.9. The CRC derived considerable
Page 18 and 19: 2.3 SUBMISSION BY THE DEPARTMENT OF
Page 20 and 21: Aspects of Intellectual Property Ri
Page 22 and 23: (1) Subject to the provisions of th
Page 24 and 25: Copyright Tribunal or an arbitrator
Page 26 and 27: society, the South African Recordin
Page 28 and 29: 3.2.14. With the liquidation of SAR
Page 30 and 31: the final rate or rates to be appli
Page 32 and 33: (a)that payment is to be made to th
Page 34 and 35: information as to their use to enab
Page 36 and 37: The WCT and WPPT oblige members to
Page 38 and 39: Once the handset technology changed
Page 40 and 41: 4.3.16. In 2009, in what was coined
Page 42 and 43: 4.4.6. In exchange for the above li
Page 44 and 45: operators are licensed by NORM to p
Page 46 and 47: 5.2 FUNCTIONING OF COLLECTING SOCIE
Page 48 and 49: the grant of licences. Article 17 o
Page 50 and 51: 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
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King IIIPrincipleKing IIIRequiremen
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King IIIPrincipleKing IIIRequiremen
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8 COLLECTION OF MUSIC ROYALTIES8.1
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8.1.4.2. Needletime royalties are n
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8.1.7.4. For the past five years, V
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PRS (UK)SPRE (FRANCE)SUISA(SWITZERL
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DetailsPerformance RightsSound Reco
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8.2.7 Comparative Study Performed b
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y a collecting society. A rights ho
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agency, its rights being derived fr
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Mr Robinson said DALRO assumed the
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10.1.6. The distribution to publish
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10.4.4. Most of the other collectin
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10.6.3.4. South African English-lis
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10.10 CONTRACTUAL RELATIONSHIPS BET
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10.12.2. The Regulations should rec
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licence that the licensee comply wi
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11.4.6. The details of ICASA’s ta
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RecommendationsTimelines for Recomm
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enterprises. There was a suggestion
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Copyright as it relates to copyrigh
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13.4 DEPARTMENT OF ARTS AND CULTURE
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Table 28: Comparative Study’s Key
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KEY ITEMS BRAZIL FRANCE INDIA NORWA
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KEY ITEMS BRAZIL FRANCE INDIA NORWA
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about 30%, which is the highest amo
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15.1.3. The Copyright Tribunal’s
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15.1.20. Local music content requir
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for the selected artists. The outco
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King III Report by Institute of Dir
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Paranagua Pedro, “Strategies to I
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Copyright Amendment Act of 1984Copy
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APPENDIX 1(B): SUMMARY OF ORAL REPR
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Due to the fact that the existing c
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Mr BrottelProtection of copyright m
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1.1.3. LIST OF ENTITIES VISITED AND
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In the 2009 Annual Report of ABRAMU
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The implementation of this law led
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ecordings. In respect of audio-visu
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In 1995, ECAD distributed 72% of it
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niches in the market to ensure fair
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Proprietary rights allow authors to
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International royalty distribution
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3.2. Relevant LegislationsThe prese
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IPRS uses the standard tariffs in r
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Ad-hoc workshops on copyright are c
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meaningful living out of their crea
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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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