Collective management of copyright and related rights / editor, Daniel Gervais.
2010
K1420.5 .C65 2010 (Map It)
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Title
Collective management of copyright and related rights / editor, Daniel Gervais.
Published
Alphen aan den Rijn : Kluwer Law International, 2010.
Distributed
Frederick, MD : Sold and distributed in North, Central and South America by Aspen Publishers
Call Number
K1420.5 .C65 2010
Former Call Number
Comp 673 C685 2010
Edition
Second edition.
ISBN
9789041127242
9041127240
9041127240
Description
xxix, 495 pages ; 25 cm
System Control No.
(OCoLC)610832092
Bibliography, etc. Note
Includes bibliographical references.
Record Appears in
Table of Contents
Introduction
xxiii
ch. 1
Collective Management of Copyright: Theory and Practice in the Digital Age / Daniel Gervais
1
1.
Introduction
1
2.
Collective Management in Historical Perspective
3
3.
How Collective Management Operates
6
4.
Theoretical Approaches
10
4.1.
Fragmentation
10
4.2.
The Copyright Paradox
13
4.3.
CMOs and the Two Worldviews
14
5.
CMOs and the Internet
15
5.1.
The Challenges
15
5.2.
The Defragmentation of Digital Uses
18
5.3.
The Extended Repertorie system and Internet Uses
21
6.
Conclusion
27
ch. 2
Collective Management of Copyright and Related Rights from the Viewpoint of International Norms and the Acquis Communautaire / Dr Mihaly Ficsor
29
1.
Introduction
29
2.
WIPO'S Activities in Recognition of the Growing Improtance of Collective Management from the Viewpoint of the International Treaties on Copyright and Related Rights
30
2.1.
Joint WIPO-UNESCO Programmes to Address the Issues Raised by New Technologies in the 1970s and 1980s
30
2.2.
Organizational Aspects of Collective Management Organizations
33
2.3.
Analysis of the Various Legal Issues of Collective Management
34
2.4.
The Issues of Collective Management Discussed in the Framework of the Preparation of the WIPO Ìnternet Treaties'
37
2.5.
Seville International Forum
38
2.6.
Collective Management in WIPO's Development Cooperation Programme
39
3.
Scope of Right in Which Collective Mangement May Be Justified; its Impact on the Nature of the Rights Concerned
40
4.
Mandatory Collective Management
42
4.1.
Mandatory Collective Management and the International Treaties
42
4.1.1.
Limited Scope of Exclusive Rights for Which the Prescription of Mandatory Collective Mangement is Allowed
42
4.1.2.
Mandatory Collective Management of Right to Remuneration
44
4.2.
Mandatory Collective Management under the Acquis Communautaire
45
4.2.1.
Rental Directive
45
4.2.2.
Satellite and Cable Directive
46
4.2.3.
Resale Right Directive
48
4.3.
Theories on General Applicability of Mandatory Collective Management of Exclusive Right
48
4.4.
Exclusive Rights in the Case of Which the International Treaties Do Not Allow Prescription of Mandatory Collective Management
59
5.
Presumption-Based and Extended Collective Mangement
60
5.1.
Considerations from the Viewpoint of the International Treaties
60
5.2.
Extended Collective Mangement under the Acquis Communautaire
62
5.2.1.
Satellite and Cable Directive
62
5.2.2.
Copyright Directive
63
6.
Other Issues Identified in the WIPO Study as Relevant from the viewpoint of Compatibility of Collective Mangement systems with the International Treaties
64
6.1.
Introductory Remarks
64
6.2.
Governmental Regulation and Supervision Guaranteeing Proper Operation of Collective Management Systems
65
6.3.
Governmental Intervention into the Operation of Collective Management Systems for Competition and Ànti-trust' Reasons
69
6.4.
Collective Mangement and National Treatment
72
ch. 3
Collective Management of Copyrights and Human Rights: An Uneasy Alliance Revisited / Prof. Laurence R. Helfer
75
1.
Introduction
75
2.
Introduction a Human Rights Framwork for Intellectual Property
79
2.1.
The ICESCR Committee's General Comment No. 17
81
2.2.
Developing a Distinctive Human Rights Framwork for Creators' Rights
83
3.
Human Rights and the Collective Administration of Copyright: A Preliminary Assessment
87
3.1.
CMO Activities That Enhabnce the Human Rights of Creators and Users
87
3.2.
CMO Activities That Detract from the Human Rights of creators and Users
90
4.
Two Human Rights Concerns of Collective Administration: Mandatory Membership and Promoting National Culture
92
4.1.
Should Membership in CMOs be Mandatory or Voluntary?
93
4.2.
Should CROs Promote National Culture?
98
5.
Conclusion: The Practical Consequences of a Human Rights Framwork for the Collective Administration of Copyright
102
ch. 4
Multi-territorial Licensing and the Evolving Role of Collective Management Organizations / Tanya Woods
105
1.
Introduction
105
2.
Current State of Play
107
2.1.
Copyright Licensing and Its Territorial Roots
107
2.2.
Technology and Its Uncanny Ability to Uproot Tradition
110
2.3.
Forging New Paths to Meet Everyone's Needs
112
3.
Collective Management and Multi-Territorial Licensing
115
3.1.
The Approach to Date
115
3.1.1.
Benefits Derived from the Failure of the Sanigao Agreement
118
3.2.
Selling Points
118
3.2.1.
Permission Requests
119
3.2.2.
Certainty
119
3.2.3.
Acknowledging Copyright Owners' Interests
120
3.3.
Drawbacks
121
3.3.1.
Bargain Shopping: The Race to the Bottom
121
3.3.2.
Enforcement
122
3.3.3.
Competition
124
4.
Moving Forward...Creatively Stepping Outside of the Box
126
4.1.
Clarity
127
4.2.
Cooperation
128
4.3.
Control
130
4.4.
Consistency
131
5.
Conslusion
132
ch. 5
Collective Management in the European Union / Stef van Gompel
135
1.
Introduction
135
2.
Control of CMOs through Competition Law
138
2.1.
Relationship with Memebers
139
2.2.
Relationship with Memebers
139
2.3.
Reciprocal Agreements between CMOs
143
2.3.1.
IFPI Simulcasting Decision
144
2.3.2.
CISAC Decision
146
3.
European Regulatiory Framework Relating to CMOs
149
3.1.
Resolution of the European Parliament
150
3.2.
Communication from the Commission
151
3.3.
Study on Cross-Border Collective Management of Copyright
153
3.4.
Recommendation of 2005 on Cross-Border Licensing of Online Music Services
155
3.5.
Reactions of the European Parliament
158
4.
Impact of Recent Measures on the Market for Cross-Border Licensing of Rights
160
5.
Conslusion
165
Chpater 6
Collective Management in France / Nathalie Piaskowski
169
1.
Introduction
169
2.
History and Nature of Collective Management in France
170
2.1.
History of Collective Societies in France
170
2.1.1.
The Birth of Copyright Collective Societies
171
2.1.2.
The Birth of Collective Societies for Neighbouring Rights
172
2.2.
Existing Collective Societies
173
2.2.1.
Primary Management Collective Societies
174
2.2.1.1.
Authors' Societies
174
2.2.1.1.1.
SACEM
174
2.2.1.1.2.
SACD
175
2.2.1.1.3.
SCAM
175
2.2.1.1.4.
ADAGP
175
2.2.1.1.5.
SOFIA
176
2.2.1.2.
Neighbouring Rights Societies
176
2.2.1.2.1.
The Sound Recording Producers' Societies (SCPP and SPPF)
176
2.2.1.2.2.
Performers' Societies (ADAMI and SPEDIDAM)
178
2.2.1.2.3.
Audiovisual Producers' Societies (ANGOA and PROCIREP)
178
2.2.2.
Intermediary Collective Societies
179
2.2.2.1.
SDRAM
179
2.2.2.2.
SESAM
179
2.2.2.3.
Copie France and Sorecop
180
2.2.2.4.
CFC
180
2.2.2.5.
SOPRE
181
3.
Collective Management and Oversight of Collective Societies in France
181
3.1.
Constitution and Status of Royalty Collection and distribution Societies
181
3.1.1.
Legal Form
182
3.1.2.
Legal Bases for Activity
182
3.1.2.1.
Approval
182
3.1.2.2.
Assignment or Mandates
183
3.1.2.2.1.
Assignment Contributions
184
3.1.2.2.2.
Mandates
184
3.2.
Collection of Remuneration
185
3.2.1.
Collection of coyright Royalties
186
3.2.2.
Collection of Neighbouring Rights
187
3.2.2.1.
Collection of Royalties Arising from Exclusive Rights
187
3.2.2.2.2.
The Collection of Remuneration from Non-Voluntary Licenses
189
3.2.2.2.1.
Collection of ̀Fair Remuneration'
189
3.2.2.2.2.
Collection of Remuneration for Private Copying
190
3.3.
Distribution of Remuneration
190
3.3.1.
Sums Distributed
190
3.3.1.1.
The Distribution Formulas
190
3.3.1.2.
Levies on Monies Collected
191
3.3.2.
Sums That It Was Not Possible to Distribute
192
3.3.2.1.
The Nature of Undeistributed Funds
192
3.3.2.1.1.
The Undistributed Sumsd Collected under a Legal License
192
3.3.2.1.2.
Undistributed Sums Collected under Obligatory Management
193
3.3.2.2.
Appropriation of Sums That It Has Been Impossible to Distribute
193
3.3.3.
Prescription of Actions in Payment
194
3.4.
Oversight of Collective Societies
195
3.4.1.
Internal Oversight
195
3.4.1.1.
Oversight by Statutory Auditors
195
3.4.1.2.
Monitoring by the Members
198
3.4.2.
Mechanisms for External Audit
198
3.4.2.1.
Audit by Public Authorities
199
3.4.2.1.1.
Audit through the Right to Information
199
3.4.2.1.2.
When RCDSs Are Formed
199
3.4.2.1.3.
At Key Times in the Life of a Collective Society
200
3.4.2.1.4.
Surveillance of the Formulation of Certain Kinds of Remuneration
201
3.4.2.2.
La Commission Permanente de Controle
202
4.
Challenges and Issues for Collective Manangement in France
203
4.1.
Life without Reciprocal Agreement?
204
4.1.1.
Cancellation of the Santiago Agreement
204
4.1.2.
Development of Paneuropean Licenses
205
4.2.
CSPLA's Works Relating to Collective Management
205
4.2.1.
CSPLA Working Group on Simplification of Collective Management
205
4.2.2.
CSPLA Working Group on Orphan Works
206
4.3.
Zelnik Report
207
5.
Conslusion
207
ch. 7
Collective Rights Management in Germany / Dr Jorg Reinbothe
215
1.
Introduction
215
2.
The History of Copyright Collecting Societies in Germany
216
2.1.
The Origins
216
2.2.
The Developments from 1903 to 1965
218
2.3.
The Developments after 1965
219
2.3.1.
Collective Rights Management in the German Copyright Reform of 1965
219
2.3.2.
Existing Collecting Societies in Germany
221
3.
Today's Regulatory Framework for Collecting Societies
224
3.1.
The General Principle Enshrined in the German Law on Collective Rights Managemetn (LACNR)
224
3.2.
The Provisions of the LACNR
224
Chapter1 3.2.1
The Authorization/Establishment of Collecting Societies (Articles 1-5 of the LACNR)
224
3.3.1.1.
Article 1 of the LACNR (Requirement of Prior Authorization)
225
3.3.1.2.
Article 2 of the LACNR (Application for Authorization)
226
3.3.1.3.
Article 3 of the LACNR (Denial of Authorization)
226
3.3.1.4.
Article 4 of the LACNR (Repeal of the Authorization)
226
3.2.1.5.
Articel 5 of the LACNR (Publication of the Authorization)
227
3.2.2.
Chapter2 (First Part): The Rights and Obligations of Collecting Societies (Articles 6-13c of the LACNR)
227
3.2.2.1.
Article 6 of the LACNR (Rights Management Obligation toward Rightholders)
227
3.2.2.2.
Article 7 of the LACNR (Distribution of Revenues)
229
3.2.2.3.
Article 8 of the LACNR (Social Assistance and Funding)
230
3.2.2.4.
Article 9 of the LACNR (Accounting Rules)
230
3.2.2.5.
Artile 10 of the LACNR (Right of Information)
231
3.2.2.6.
Article 11 of the LACNR (Obligation to Grant Exploitation Rights)
231
3.2.2.7.
Article 12 of the LACNR (Umbrella Agreements with Users)
232
3.2.2.8.
Article 13 of the LACNR (Tariffs)
233
3.2.2.8.1.
Rules on Tariff Transparency
234
3.2.2.8.2.
Rules on the Fairness of Tariffs
234
3.2.2.9.
Article 13a of the LACNR (Tariffs for Recording Equipment and Storage Devices)
234
3.2.2.10.
Article 13b of the LACNR (Obligations of Users and Organizers)
236
3.2.2.11.
Article 13c of the LACNR (Presumption of Legitimacy
237
3.2.3.
Chapter 2(Second Part): The Arbitration Board and Access to the Courts (Articles 14-17a of the LACNR)
238
3.2.3.1.
Article 14 of the LACNR (Arbitration Board)
239
3.2.3.1.1.
The Mandate of the Arbitration Board
239
3.2.3.1.2.
The Composition of the Arbitration Board
240
3.2.3.1.3.
Consideration of Economic Facts and Stakholders' Views
240
3.2.3.2.
Articles 14a, 14b, 14c, 14d and 14e of the LACNR (Proposal for Agreement)
241
3.2.3.2.1.
Article 14a of the LACNR
241
3.2.3.2.2.
Article 14b of the LACNR
242
3.2.3.2.3.
Article 14c of the LACNR
242
3.2.3.2.4.
Article 14d of the LACNR
242
3.2.3.2.5.
Article 14e of the LACNR
243
3.2.3.3.
Article 15 of the LACNR (Rules of Procedure of the Arbitartion Board)
243
3.2.3.4.
Article 16 of the LACNR (Access to the Courts)
243
3.2.3.5.
Article 16(4) and 17 of the LACNR (Competent Court)
244
3.2.3.6.
Article 17a of the LACNR (Voluntary Arbitration)
244
Chapter3 3.2.4
The Control over Collecting Societies (Article 18-20 of the LACNR)
244
3.2.4.1.
Article 18 of the LACNR (Supervising Authority)
245
3.2.4.2.
Article 19 of the LACNR (Supervision)
245
3.2.4.3.
Article 20 of the LACNR (Procedural) Obligations of Collecting Societies)
246
Chapter4 3.2.5
The Transitional and Final Provisions (Articles 21-28 of the LACNR)
246
3.3.
Conclusions
247
4.
Future Perspectives for Collective Rights Management in Germany
248
ch. 8
Collective Management in the United Kingdom (and Ireland) / Dr Paul L.C. Torremans
251
1.
Introduction
251
2.
History and Nature of Collective Management
252
2.1.
History
252
2.2.
Existing Collecting Societies in the United Kingdom
254
2.2.1.
Reprographic Rights Societies
255
2.2.1.1.
The Copyright Licensing Agency Ltd
255
2.2.1.2.
The Muic Publishers' Association Ltd
256
2.2.1.3.
Design and Artistis Copyright Society Ltd
256
2.2.1.4.
The Argtists' Collecting Society
257
2.2.1.5.
The Newpaper Licensing Agency Ltd
257
2.2.2.1.
The Mechanical Copyright Protection Society Ltd
259
2.2.3.
Licensing Bodies for Off-Air Recording
260
2.2.3.1.
The Educational Recording Agency Ltd
260
2.2.3.2.
Open University Educational Enterprises Ltd
261
2.2.4.
Performing Right Societies
261
2.2.4.1.
The Performing Right Society Ltd
261
2.2.4.2.
Phonographic Performance Ltd
262
2.2.4.3.
The Performing Artists Media Rights Association/The Association of United Recording Artists
263
2.2.4.4.
The British Equity Collecting Society Ltd
264
2.2.5.
Multi-Purpose Collecting Societies
264
2.2.5.1.
Authors' Licensing and Collecting Society Ltd
264
2.2.5.2.
Video Performance Ltd
264
2.2.5.3.
Directors UK
265
2.2.5.4.
Compact Collections Ltd
265
3.
The Current Regulatory Framwork
266
3.1.
Licensing Schemes and Licensing Bodies in General
266
3.2.
Provisions on Schemes and Licenses for Reprographic Copying
269
3.3.
Reprographic Copying by Educational Establishments
270
3.4.
The Power to Extend the Coverage of a Scheme
270
3.5.
Is a New Scheme or a New License Required?
271
3.6.
The Certification of Licensing Schemes
272
4.
Collective Management in the Republic of Ireland
273
4.1.
The Legal Framwork
273
4.2.
The Irish Music Rights Organisation
277
4.3.
The Mechanical-Copyright Protection Society (Ireland) Ltd
278
4.4.
The Irish Copyright Licensing Agency
279
4.5.
The Irish Visual Artists Rights Organisation
279
4.6.
Phonographic Performance Ireland
279
5.
Conslusion
280
ch. 9
Collective Management in the Nordic Countries / Tarja Koskinen-Olasson
283
1.
Introduction
283
2.
History and Short Overview of Collective Management
284
2.1.
Performing and Mechanical Rights of Musical Works
284
2.2.
Related Rights in the Field of Music
285
2.3.
Visual Arts and Photography
285
2.4.
Rights in Literary Works
286
2.5.
Reprograhy and Certain Digital Uses
286
2.6.
Secondary Use of Audiovisual works
287
2.7.
Private Copying Remuneration
288
2.8.
Summary of Main Nordic Collective Management Organizations
289
3.
Main Elements of an Extended Collective License
290
3.1.
History of the System
290
3.2.
Rationale and Basic Elements
291
3.3.
Benefits
292
3.4.
Alaternatives to an Extended Collective License
292
4.
Extended Collective Licenses and Government Oversight
293
4.1.
Representativeness Criterion
293
4.2.
Guarantee for Non-represented Right Holders
294
4.3.
Meaures to Ensure that Collective Agreements are Concluded
295
4.4.
Approval by Public Authorities
296
5.
Practical Examples from Nordic Countries
296
5.1.
Broadcasting in Finland
296
5.2.
Reprography and Certain Digital Uses in Denmark
297
5.2.1.
Reproduction in Educational Activities
298
5.2.2.
Reproduction by Institutions, Organizations and Business Enterprises
298
5.2.3.
Reproduction in Public Libraries
299
5.2.4.
Situation in Other Nordic Countries
299
5.3.
Retransmission of Broadcasts in Norway
301
5.3.1.
Retransmission in Norway
301
5.3.2.
Situation in Other Nordic Countries
302
6.
Challenges and Possibilities
302
6.1.
Applicability of the ECL in the Digital Environment
302
6.2.
Danish Novelty
303
6.3.
Orphan Works
304
6.4.
Library Digitization Project in Norway
305
6.5.
Broadcasters' Archives Avaiable in Denmark
305
6.6.
Radio and Televison Channels Go Mobile in Finland
305
7.
Concluding Remarks
306
ch. 10
Collective Management in Commonwealth Jurisdictions: Comparing Canada with Australia / Mario Bouchard
307
1.
Introduction
307
2.
A Brief History of Collective Management in Canada and Australia
308
3.
Candadian CMOs: Markets, Structures, Practices
311
3.1.
Spheres of Activity
311
3.1.1.
Music
311
3.1.2.
Reprography
313
3.1.3.
Retransmission of Distant Radio and Television Signals
314
3.1.4.
Private Copying
314
3.1.5.
Audiovisual and Multimedia
314
3.1.6.
Off-Air Programme Taping
315
3.1.7.
Collective Management in Other Areas
315
3.2.
Characteristics and Practices of Canadian CMOs
316
3.2.1.
Corporate Structure and Business Practices
316
3.2.2.
Nature and Extent of the Repertoire
317
3.2.3.
Pricing Practices, Administrative Expenses and Royalty Distributions
318
3.2.4.
Interaction between CMOs
319
3.3.
Canadian and Australian CMOs: Some Comparisons
321
4.
Government Oversight of Canadian CMOs
324
4.1.
Oversight by Competition Law Authorities
324
4.2.
Oversight by the Competition Law Authorities
324
4.2.1.
The Structure of the Copyright Board
324
4.2.2.
Regulatory Regimes Administered by the Board
325
4.2.3.
Procedures before the Copyrigh Board
328
4.2.4.
The Powers of the Board
328
4.3.
Comparing CMO Oversight in Canada and Australia
330
5.
Conslusion
336
ch. 11
Copyright Collectives and Collecting Societies: The United States Experience / Glynn Lunney
339
1.
Introduction
339
2.
The Copyright Collectives: ASCAP, BMI and SESAC
342
2.1.
A Brief Discription of the Collectives
343
2.1.1.
ASCAP
343
2.1.2.
BMI
344
2.1.3.
SESAC
344
2.2.
The Legal Right at Issue: Public Performances Under United States' Law
345
2.3.
The Antitrust Challenges to the Collectives and the Resulting Consent Decrees
348
2.4.
The New CMO on the Block: SoundExchange
365
2.5.
Conclusion: Trying to Cage the Beast
369
3.
The Copyright Collecting Society: The CCC
370
3.1.
A Brief Description of Copyright Collecting Societies
370
3.2.
Of Chickens and Eggs, Markets and Rights
371
4.
A New CMO Rising: The Google Book Settlement
373
5.
Conclusion: Some Normative Thoughts on Collective Rights Management
379
ch. 12
Collective Management of Copyright and Neighbouring Rights in Japan / Koji Okumura
383
1.
Introduction
383
2.
History of Collective Management
384
2.1.
Whirlwind of Plage
384
2.2.
Enactment of the Act on Intermediary Business Concerning Copyrights
384
2.3.
Outline of the Intermediary Business Act
385
2.3.1.
Regulated Business
385
2.3.2.
License
385
2.3.3.
Supervision, Etc.
386
2.3.4.
Licensed Intermediaries
386
2.4.
Review of the Intermediary Business Act
387
2.4.1.
1967 Copyright Council Recommendation
387
2.4.2.
Report by the Collective Right Management Subcommittee of the Copyright Council
387
3.
Current Legal Framwork for Collective Management
388
3.1.
Outline of the Management Business Act
388
3.1.1.
Regulated Business
388
3.1.2.
Registration
389
3.1.3.
Notification
390
3.1.4.
Other Major Regulations
390
3.1.5.
Supervision, Etc.
390
3.1.6.
Current Operators of Management Businesses
391
3.2.
Legal Frameworks Related to Collective Management
391
3.2.1.
Collection of secondary use Fees
391
3.2.2.
Collection of Remuneration for Rental
392
3.2.3.
Designated Associations
392
3.2.4.
Collection of Compensation for Private Digital Sound Recordings
392
3.2.5.
Collection of Compensation for Private Digital Visual Recordings
393
4.
Important Regulations on Collective Management Organizations
393
4.1.
Regulations on Tariffs
394
4.2.
System of Designated Operators of Management Businesses
394
4.2.1.
Background to Introduction
394
4.2.2.
Outline of System
395
4.2.3.
Number of Designated Operators of Management Businesses
397
4.3.
Rescission of Registration of Operators of Management Businesses
397
5.
Major Operators of Management Businesses
397
5.1.
Japanese Society for Rights of Authors, Composers and Publishers
397
5.2.
Writer Guild of Japan
398
5.3.
Japan Reprographic Rights Center
398
5.4.
Japan Reprographic Rights Center
398
5.5.
Recording Industry Association of Japan
399
5.6.
Japan Council of Performers' Organizations
399
5.7.
Rental Rights Administration Center for Publications
400
6.
Issues Relating to Collective Management
400
6.1.
Review of the Management Business Act
400
6.2.
Issues about Competition
401
6.3.
Òne-stop Shopping'
402
6.3.1.
Portal Site for Right Holders' Databases
402
6.3.2.
Copyright Data Clearinghouse
402
6.3.3.
Secondary use of Broadcast Programmes
403
6.4.
Weaknesses of and a System Complementary to Collective Management
403
6.4.1.
Merits of Collective Management
403
6.4.2.
Weaknesses of Collective Management
404
6.4.3.
Contract Approach
405
6.4.4.
Copymart
405
6.4.5.
Mutual Complementing
406
ch. 13
Collective Management in Asia / Ang Kwee-Tiang
409
1.
Introduction
409
1.1.
Industry Infrastructure
410
1.2.
Late Arrival of Collective Management of Copyright to Asia
411
2.
The Collective Management of Rights in Asia
411
2.1.
The ASEAN countries
411
2.1.1.
Singapore
411
2.1.1.1.
The Collective Management of Right in Musical Works in Singapore
412
2.1.1.2.
Collective Management of Rights in Sound Recordings in Singapore
414
2.1.1.3.
Collective Management of Reprographic Rights in Singapore
415
2.1.2.
Malaysia
417
2.1.2.1.
Collective Management of Musical Works in Malaysia
417
2.1.2.2.
The Collective Management of the Rights in Sound Recordings
420
2.1.2.3.
Performers and Artistes Rights (M) Sendiran Berhad (PRISM)
420
2.1.2.4.
The Collective Management of the Rights in Literary Works in Malaysia
421
2.1.3.
Thailand
421
2.1.3.1.
Collective Management of Rights in Musical Works in Thailand
422
2.1.3.2.
The Collective Management of Rights in Muscial Works in Thailand
423
2.1.3.3.
The Collective Management of Rights in Sound Recordings
424
2.1.4.
The Philippines
425
2.1.4.1.
Collective Management of Rights in Musical Works in the Phillippines
425
2.1.4.2.
Collective Management of Other Rights in the Philippines
428
2.1.5.
Indonesia
429
2.1.5.1.
The Collective Management of Rights in Musical Works in Indonesia
430
2.1.6.
Brunei
431
2.1.7.
Vietnam
432
2.1.7.1.
Collective Management of Rights in Musical Works in Vietnam
432
2.1.8.
Cambodia
433
2.1.9.
Myanmar
434
2.2.
The East Asian Countries
434
2.2.1.
China
434
2.2.1.1.
Regulations Governing the Collective Management of Rights
436
2.2.1.2.
The Collective Management of the Rights in Musical workds in China
437
2.2.1.3.
Administration of Sound Recordings in China
438
2.2.1.4.
Collective Management of Rights in Literary Works in China
439
2.2.2.
Chinese Taipei
439
2.2.2.1.
The Copyright Intermediary Organization Act
441
2.2.2.2.
Musical Copyright Intermediary Society of Chinese Taipei
442
2.2.2.3.
Musical Copyright Association of Taiwan (MCAT)
443
2.2.2.4.
Collective Management of the Rights in Sound Recordings
444
2.2.2.5.
Collective Management of Rights in Literary Works
444
2.2.3.
Hong Kong
445
2.2.3.1.
Collective Management of Rights in Musical Works
446
2.2.3.2.
Collective Management of the Rights in Sound Recordings in Hong Kong
448
2.2.3.3.
Collective Management of the Rights in Literary Works in Hong Kong
448
2.2.4.
Macau
449
2.2.5.
South Korea
449
2.2.5.1.
The Collective Management of Rights in Musical Works in South Korea
451
2.2.5.2.
Collective Management of Other Rights in South Korea
453
2.2.5.3.
Korea Reprographic and Transmission Rights Association (KRTRA)
453
2.2.5.4.
Korean Television and Radio Writers Association (KTRWA)
453
2.2.5.5.
Korea Scenario Writers Association
453
2.2.5.6.
Federation of Korea Art Performers Association (PAK)
453
2.2.5.7.
Korean Association of Phonogram Producers (KAPP)
453
2.2.5.8.
Korean Broadcasting Performers Association
454
2.2.6.
North Korea
454
2.2.7.
Mongolia
454
2.2.7.1.
The Collective Management of Rights in Musical Works in Mongolia
454
2.3.
The SAARC Countries
455
2.3.1.
Bangladesh
455
2.3.2.
Bhutan
455
2.3.3.
India
456
2.3.3.1.
Collective Management of Rights in Musical Works
457
2.3.3.2.
Collective Management of Rights in Sound Recordings
459
2.3.3.3.
Collective Management of Rights in Literary Works
460
2.3.3.4.
Droit de Suite
460
2.3.4.
Nepal
460
2.3.4.1.
Collective Management of Copyrights
460
2.3.5.
Pakistan
461
2.3.6.
Sri Lanka
461
2.3.6.1.
Collective Management of Rights in Musical Works in Sri Lanka
462
2.3.6.2.
Sri Lanka Performing Rights Society (SLPRS)
462
2.3.6.3.
Creative Value Protection Society (CVPS)
463
2.3.6.4.
Outstanding Song Creators Association (OSCA)
463
3.
Concluding Remarks
464
ch. 14
Collective Management of Copyright in Latin America / Karina Correa Pereira
465
1.
Introduction
465
2.
CMOs throughout Latin America
466
2.1.
Brazil
466
2.1.1.
Effective Associations
468
2.1.2.
Administered Associations
469
2.1.3.
Other Associations
470
2.2.
Argentina
471
2.3.
Mexico
472
2.4.
Peru
474
2.5.
Vevezuela
474
2.6.
Uruguay
475
2.7.
Chile
476
2.8.
Costa Rica
476
3.
Legal Framwork and Its Application
478
3.1.
Brazil
479
3.2.
Argentina
479
3.2.1.
The National Intellectual Property Register
480
3.3.
Mexico
482
3.3.1.
The National Intellectual Property Register
485
3.4.
Peru and Venezuela
485
3.4.1.
Peru
485
3.4.1.1.
The National Intellectual Property Register
487
3.4.2.
Venezuela
488
3.4.2.1.
The National Intellectual Property Register
489
3.5.
Uruguay
489
3.6.
Chile
489
3.7.
Costa Rica
490
4.
Challenges Faced by CMOs in Latin America
491
4.1.
Piracy
491
4.2.
Lack of Awareness
491
4.3.
Organizational Problems
493
4.4.
New Technologies
494
5.
Conclusion
494