Showing posts with label lionel bently. Show all posts
Showing posts with label lionel bently. Show all posts

Saturday, 30 September 2017

Waiting for the approval of the EU Directive on copyright in the Digital Single Market

By Eleonora Rosati writing on the IPKat
Roman Kats
A little over a year ago the European Commission released its proposal for a Directive on copyright in the Digital Single Market [Katposts here], which is currently being discussed in the European Parliament.

The content of the proposed directive has attracted substantial commentary, particularly with regard to provisions intended to introduce a new neighbouring right for press publishers (Article 11) and obligations for hosting providers in the context of what has come to be known as the ‘value gap’ problem (Article 13).

Last week Professor Lionel Bently (University of Cambridge) and Associate Professor Valeria Falce (Università Europea di Roma) were in Rome to discuss the content of the proposed directive.

Here’s what they think:

“After a tortuous journey and conflicting opinions amongst the EU institutions (the Commission, the Committees of the European Parliament, the Council), the approval of the draft Directive on copyright in the Digital Single Market is around the corner.

The goals are sound: to adapt copyright to the digital ecosystem and the challenges of new technologies; to strengthen the effectiveness of rights and to promote an enriched relationship between the authors/publishers and the general public; to safeguard a "free and pluralistic press" and to guarantee "quality journalism and easy access to information for all".

The key challenges are shared by the different parties: addressing the radical changes brought by the digital economy, which overwhelm the publishing industry and requiring adaptation of traditional business models; facilitating circulation of works and the licensing system; and allowing publishers and authors to participate with “equal arms” in the value chain.

The proposed solutions to these problems are however controversial, as the Commission, Council and Parliament swing between compromise attempts and sudden reevaluations.

Lionel Bently
The divisions are most pronounced in relation to two provisions of the proposed Directive: i) Article 11 — with which the European Commission proposes to introduce a new right in favour of press publishers to ensure the sustainability of the sector against new forms of exploitation promoted by aggregators and online operators; and ii) Article 13 — through which it is intended to control platforms and Internet Service Providers (ISPs) that host and make available content.

Article 11 is inspired by similar rules recently introduced in Germany and Spain. Experience with these regimes as yet does not suggest that the proposed reform will do much to sustain newspaper publishing or the quality of local journalism. Outside Italy, the point has been made that many of the difficulties facing publishers can be more proportionately solved by a presumption that they hold rights in the content of their publications, rather than through the creation of a new “ancillary right” in any “fixation of a collection of literary works of a journalistic nature”, with the uncertainty necessarily attendant on ascertaining the scope of such right. From an Italian perspective, Article 11 does not add much to the legal framework.

Different difficulties arise from the current wording of article 13 and its associated recitals. Many of these difficulties derive from the fact that the proposal seeks to intervene in a complex legal ecosystem, where there are established instruments (the 2000 eCommerce Directive, the 2001 InformationSociety Directive, the 2004 Enforcement Directive and a raft of jurisprudence of the Court of Justice of the European Union (CJEU) which has interpreted these through the lens of fundamental rights as recognized in the EU Charter.

First and foremost, the definition of legal entities to which the new obligations apply, is hopelessly uncertain. Article 13 refers to “information society service providers that store and provide to the public access to large amounts of works or other subject matter uploaded by their users,” and thus hands over to the CJEU the unenviable task of identifying whether “large” implies 200 items or 200,000  or somewhere in between. The draft JURI Committee Report sensibly seeks to replace “large amounts” with a criterion relating to the character of the activities rather than the volume of content. That amendment would limit the application of the provision to information society service providers that are actively and directly involved in the making available to the public of user uploaded content and where this activity is not of a mere technical, automatic and passive nature.

Valeria Falce
Secondly, the proposed Directive states that these operators "should take appropriate and proportionate measures to ensure the protection of such works (…) for example through the use of effective technologies." The provision refers to the filtering and content tracking techniques already used in other industries, such as the music industry. However, the CJEU has already held (twice) that such technologies are incompatible with Article 15 of the eCommerce Directive and fundamental rights and freedoms of the platforms and their users (including their personal data). For this reason, amendments in several of the Parliamentary Committees and in the Council Working Party would delete specific reference to filtering technology, which appears to be the only acceptable way forward.

Thirdly, the proposal uses the terms “communication to the public” without clearly referencing Article 3 of the Information Society Directive, where it relates to a distinct concept. Implicitly insisting on the conclusion that any service provider that stores and provides access to the public to subject matter uploaded by their users is “communicating to the public,” Recital 38 ignores the CJEU’s instruction that every case should be assessed on its facts. Nor can any assumption be drawn from the recentPirate Bay decision [see here] that hosts that store largely lawful material, but also some unlawfully uploaded subject matter (prior to receiving take down notices) are liable of copyright infringement for communicating the unlawful material to the public. Indeed, the CJEU has stated that communication depends on an awareness of the effects of an intervention (a criterion that is hard to fulfill when the host is unaware of the material that has been uploaded).

A similar objection can be made in relation to the manner in which Recital 38 appears to promote a particular interpretation of Article 14 of the eCommerce Directive, which offers certain hosts immunity from financial liability as regards illegal material. While the CJEU has emphasized the importance of knowledge and control over then content as the key matters that transform a host into someone to whom the immunity is inapplicable, the Commission controversially implies that the immunity vanishes as soon as a host is involved in any “optimization of the presentation of materials or promotion of such.”

Ultimately, while the Commission appears to pursue a clear objective (reviewing the set of responsibilities) through a bold framework, because the proposed Directive lies within a network of pre-established instruments Article13 is likely to become a legislative bull in a fragile legal china-shop. It will at the very least introduce “large amounts” of uncertainty, or, worse, obscure the obligations of the subjects involved.”


Posted By Eleonora Rosati to The IPKat

Thursday, 4 September 2014

The CopyKat - Bently blocked in bizarre bite sized ball battle

Research from the Motion Picture Association Of America (MPAA) claims that web-blocking in the UK is proving a substantial deterrent to online piracy - even where proxy sites enable users to access blocked services. An internal MPAA report , seen by Torrentfreak, shows that that visits to infringing sites UK sites that had been blocked declined by more than 90% in total during the measurement period or by 74.5% when proxy sites are included. The research is referenced in a report being prepared for the Australian government which is currently considering new anti-piracy measures, including web-blocking. Though Torrentfreak wonders if the fact the MPAA is conducting research of this kind suggests that it is planning on pushing for web-blocking in the US once again.

And UK Culture Secretary Sajid Javid has warned internet search engine companies legislation could be introduced if they do not make "real progress" in clamping down on links to pirate websites. He told the Annual General Meeting of the record label's trade association the BPI that he and Business Secretary Vince Cable had written to leading firms such as Google requesting they work with record firms in finding a way to stop giving easy access to sites which violate copyright saying  " No industry - and no Government - can let this level of infringement continue on such a massive, industrial scale" noting that without enforceable copyright there would be “no A&R, no recording studios, no producers, no session musicians, no publicity, no artwork. None of the vital ingredients that take the music created made by talented artists and turn it into something the whole world can enjoy. It’s what our past success was built on, and it’s what our future success depends on” adding "Copyright infringement is theft, pure and simple".

"The next generation of wars over knowledge, culture, drawings, information, and data is just around the corner, and it’s going to get much uglier with more stakes involved on all sides. We have gotten people elected to parliaments (and stayed there) on the conflict just as it stands now. As this divide deepens, and nothing suggests it won’t, then people will start to pay more attention. And maybe, just maybe, that will be the beginning of the end of these immoral and deeply unjust monopolies known as copyrights and patents." An interesting article. 


The UK's Copyright Licensing Agency and the China's Written Works Copyright Society have signed an agreement which will, for the first time, place numerous Chinese written works in the British market, including books, articles in newspapers and magazines and academic papers. Yan Xiaohong, deputy chief of the Chinese National Copyright Administration, said the agreement marks a milestone in copyright protection for Chinese works in overseas markets saying "It will encourage more Chinese writers and publishers to produce more high-quality copyright works appealing to foreigners, and guarantee their economic benefits" adding "Also, it will serve as a trailblazer for more agreements of its kind to be signed with copyright collective management agencies in other countries and regions of the world. Eventually, this kind of cooperation will boost Chinese cultural exports." The CWWCS is the only valid organization approved by the National Copyright Administration to collectively manage and operate copyright in China. Richard Mollet, chair of the UK Publisher's Association and the UK Alliance for Intellectual Property, and UK Minister for Intellectual Property Baroness Lucy Neville-Rolfe also attended the signing ceremony.

And finally ..... and with echoes of Lawrence Lessig's tussle with Liberation Music over the use of a clip of a Phoenix track in a presentation on cultural and technological innovation - comes news that Professor Lionel Bently has similarly had a video temoved from YouTube - because the English Football Association Premier League claimed that it infringed their copyrights. TechDirt reports that the clip was used by Professor Bently at the Institute for Information Law (IViR) July Information Influx event, which included a panel discussion on "Who Owns the World Cup?" discussing the very question of copyright and sports clips.


It is reported (though this Kat can't confirm) that Professor Bently was arguing in favour of better copyright protection for sporting events - an area where the FAPL have struggled in their battle to prevent unauthorised broadcasts with courts finding that only certain elements of live match transmisisons protectable (logos, anthems and clips from past matches). In the Lessig case, Liberation Music reached a settlement with Lessig. The settlement included an admission that Lessig had the right to use a track by the band Phoenix, and Liberation admitted Lessig's use of the song was protected by fair use - and Liberation agreed to adopt new policies around issuing takedown notices. I wonder if, in the different regime of fair dealing, and with the newly revised S30A "quotation" exception not yet in place in the UK (due 1st October 2014 I believe), the Premier League will take the same approach in the UK - or maybe just apply some common sense? Whatever the FAPL do or don't do, the phrase that most springs to my mind (and others it must be said) is 'own goal'.  

There is more on this story on the Kluwer Copyright Blog  "Premier League claims copyright on football matches shown in copyright debat"  by Thomas Margoni, Institute for Information Law (IViR)