1. Learn Engage Create Module: IPR for the Creative Industries "Intellectual property is an important legal and cultural issue. Society as a whole has complex issues to face here: private ownership vs. open source, and so on." - Tim Berners-Lee This project has been funded with support from the European Commission under the Lifelong Learning Programme. This publication reflects the views only of the author, and the Commission cannot be held responsible for any use which may be made of the information contained therein.

2. The Disclaimer! This training material concerns intellectual property and business strategies only in general terms. This training material should not be relied upon when taking specific business or legal decisions. Rather, professional advice should be obtained which suits the circumstances in question.

3. IPR for the creative industries Introduction Case study: the making of a documentary – Copyright – Confidentiality Case study: clearing rights - Trade marks - Licensing - Collective Licensing Societies Enforcement

4. Introduction: IPR for the creative industries What are the creative industries? Why is IP so important for this sector?

5. IPR for the creative industries Introduction Case study: the making of a documentary – Copyright – Confidentiality Case study: clearing rights - Trade marks - Licensing - Collective Licensing Societies Case study: designs Enforcement

6. Case study: The making of a documentary Production company film maker film archive broad caster PR agency Product designer collective licensing societies

7. Case study: The making of a documentary film maker Film concept Production company Copyright? Confidential!

8. What is copyright? Copyright is always automatic and in most jurisdictions doesn’t need to be registered. Works covered by copyright must be original. Copyright doesn’t protect ideas only the fixation or expression of ideas. Copyright grants the author or creator of an original work the right to copy, distribute and adapt the work (economic rights) Copyright grants the author moral rights

9. Copyright: What is protected? Original works: literary, artistic, dramatic or musical works Derivative works: i.e. films, photographs, translations, editions, collages, adaptations etc. Others: typographical arrangements, sound recordings, broadcasts, performances

10. Copyright: stop thief! It can be protected! Sign-post your work with a copyright notice In case of dispute, businesses need to show evidence they were the original creators of the work Other preventative measures: e.g. booby traps

11. Confidentiality Concerned with secrets – does not apply to information already in the public domain. Can apply to any type of IP or know-how, eg: drawings, techniques, formulae, and data of all types. Circumstances must suggest an obligation of confidence. Simply marking a document with ‘PRIVATE AND CONFIDENTIAL’ is not enough. Gisela Giardino under Creative Commons licence

12. Establishing confidentiality Can be imposed via agreement, but is also implied into many relationships. Agreements should be put in place with third parties before work starts. Be careful when sending ideas by email! Orkboi under Creative Commons licence

13. Breach of confidentiality Breach if other party uses information for own benefit or discloses without consent. Penalties: injunction and (financial) damages.

14. Important clauses Define the confidential information. Explain clearly the purpose of disclosure. Limit sharing outside meetings. Non-disclosure and non-compete clauses. Set clear parameters for what is and what isn’t to be kept confidential. 10ch under Creative Commons licence

15. IPR for the creative industries Introduction Case study: the making of a documentary – Copyright – Confidentiality Case study: clearing rights - Trade marks - Licensing - Collective Licensing Societies Case study: designs Enforcement

16. Case study: The making of a documentary film maker Film archives Clearing rights Film clips/sound Collective licensing societies licenses

17. Case study: Clearing rights Copyright: ownership and length of protection Consider exceptions Trade mark (registered and unregistered) Get a license for the use of all IP protected elements in the film Collective Licensing Societies Orphan works

18. Copyright: ownership and length of protection The author or creator of an original work automatically owns copyright – even if the work was commissioned. The employer owns copyright if the work was created in the course of the employment In general, in the EU, the term of protection is the life of the author + 70 years; or for anonymous works, 70 years from publication or creation (if unpublished).

19. Case study: Clearing rights Copyright: ownership and length of protection Consider exceptions Trade mark (registered and unregistered) Get a license for the use of all IP protected elements in the film Collective Licensing Societies Orphan works

20. Copyright: You may – with caution!! Permitted acts: Fair dealing Research and private study (non-commercial) Criticism or review (with sufficient acknowledgment) Reporting of current events Others: Incidental inclusion Images of public buildings and sculptures

21. Case study: Clearing rights Copyright: ownership and length of protection Consider exceptions Trade mark (registered and unregistered) Get a license for the use of all IP protected elements in the film Collective Licensing Societies Orphan works

22. Trade mark (registered and unregistered) A trade mark has to be capable of distinguishing the goods or services of one competitor from another. Being represented graphically.

23. Examples of conventional trade marks

24. Examples of unconventional trade marks

25. Registered trade marks It’s registered so you don’t have to prove you are the rightful owner You can enforce it. Use ® to show it’s registered. No limit of protection Use it or lose it.

26. Unregistered trade marks ‘Common law’ trade marks Arise automatically on creation Little harmonisation in the EU Protection is limited What it protects Duration

27. Case study: Clearing rights Copyright: ownership and length of protection Consider exceptions Trade mark (registered and unregistered) Get a license for the use of all IP protected elements in the film Collective Licensing Societies Orphan works

28. Licensing All IP rights are assets that have a value Like any other property, they can be sold, rented, left in a will, given away… License agreements are contracts between the owner of the property (the “licensor”) and the party that is granted user rights (the “licensee”)

29. Licensing agreements are contracts verbal (informal) written (formal) implied (informal)

30. Key clauses Duration Exclusive/non-exclusive Territory Field of usage Payment Termination clause License Agreement Parties:……………… …………………… Definitions: ……………………… Obligations:………….. Royalties: ……………… Duration:…………… …

31. Some notes on licensing A licensee may use IP rights without infringing the licensor’s IP right Corporate copyright Mass licensing of software Cross-licensing Digital rights Compulsory license Creative Commons

32. Case study: Clearing rights Copyright: ownership and length of protection Consider exceptions Trade mark (registered and unregistered) Get a license for the use of all IP protected elements in the film Collective Licensing Societies Orphan works

33. Why do we need collective licensing societies? Make it easy for copyright work to be copied and used in public without infringing the right of the author. Authors are spared the hassle to collect licensing fees from individual members of the public, who would like to copy their work. They may play an important role in digital rights management in the future

34. Copyright: Collective Licensing Societies Collecting society Users (e. g. radio stations, book-editors, TV- Broadcast stations etc.) Right holders (e. g. authors, performers, publishers, producers, etc.) Transfer of rights management Grant of licences Remuneration Licence fees

35. What else do they do? Surveillance of users, legal measures against non- paying users. Protection and promotion of authors’/copyright owners’ rights. Social insurance for authors Compulsory levies on hardware and blank media (e.g. blank CDs, copy machines, faxes, PCs, etc.) for private and personal use (commercial use is charged extra)

36. Who needs to contact them? Companies Copyright holders

37. International umbrella organisations CISAC: Confédération Internationale des Sociétés d’ auteurs et Compositeurs BIEM: Bureau International des Sociétés gérant les Droits d’ Enregistrement et de Reproduction Mécanique IFPI: International Association of Records Industries GESAC: Groupement Européen des Sociétés d’ Auteurs et Compositeurs EVA: European Visual Artists

38. Case study: Clearing rights Copyright: ownership and length of protection Consider exceptions Trade mark (registered and unregistered) Get a license for the use of all IP protected elements in the film Collective Licensing Societies Orphan works

39. Work in copyright whose owner is unidentified or untraceable making it impossible to get consent to use the work Legislation yet to be defined Due diligence search necessary

40. Case study: The making of a documentary Film maker Production company Broad caster License agreements – don’t forget digital rights!

41. IPR for the creative industries Introduction Case study: the making of a documentary – Copyright – Confidentiality Case study: clearing rights - Trade marks - Licensing - Collective Licensing Societies Case study: designs Enforcement

42. Case study: The making of a documentary PR material Production company Broad caster PR Agency Ideas and designs

43. Trade marks: Protection step by step Research Examination for conflict Identify appropriate protection registration

44. Case study: The making of a documentary briefs Production company PR Agency Product designer Product designs

45. Design right: what is it? Protects outward appearance of a product – or a part of a product An asset with an economic value – and a right to stop others from copying Registered and unregistered rights, offering different levels and terms of protection

46. Ownership and enforcement Keep records – copying is difficult to prove. Owned by the designer unless created in the course of employment or, in some countries, when commissioned. Design rights can be licensed/exploited. As with copyright, infringement can be primary or secondary.

47. Should you register? Prolonged protection: up to 25 years for registered designs A monopoly right Commercial use

48. IPR for the creative industries Introduction Case study: the making of a documentary – Copyright – Confidentiality Case study: clearing rights - Trade marks - Licensing - Collective Licensing Societies Case study: designs Enforcement

49. Enforcement: Where to begin Registering or recognising IP rights is only part of the story You may also need to defend and enforce them – and that can cost money Litigation isn’t the only way Remedies Criminal vs civil

50. Enforcement: Avoiding problems Reduce the risk of infringement: – Register – monitor – Enforce Mitigate the consequences – Collect evidence – Work with customs (if counterfeiting applies)

51. References to Pearltrees Pearltrees is a visual and collaborative curation tool which will provide you with much more in-depth information on this module’s topic. Specifically please visit: http://www.pearltrees.com/learnengagecreate/intellectual-property-rights/id12742876 http://www.pearltrees.com/learnengagecreate/intellectual-property-rights/id12742876

52. Any questions whatsoever? 52

53. Thank you for your attention! Further extensive material, case studies, exercises, links and more can be found on www.lec-project.euwww.lec-project.eu This project has been funded with support from the European Commission under the Lifelong Learning Programme. This publication reflects the views only of the author, and the Commission cannot be held responsible for any use which may be made of the information contained therein.