TV RATINGS RETURNED TO PRE-PANDEMIC LEVEL

Czech viewers spent an average of 3 hours and 25 minutes in front of the screen every day last year. This was almost the same as before the onset of the covid-19 pandemic.

The average daily television audience time (ATS) in the Czech Republic has returned to the pre-pandemic covid-19 level in 2022, according to a comparison by Atmedia, which based its data on the Czech market on ATO-Nielsen Admosphere data and also compared the development of audience in four countries in the Central European region.

At the time of the pandemic (2020-201), TV viewership was above average. Slovakia experienced a similar trend to the Czech Republic last year. However, in Hungary, viewership continued to stay on the higher side, and in contrast, in Poland it fell below the 2019 figures.

“Television viewership not only in the Czech Republic will grow to record levels in 2020 and 2021. The reason for this was, of course, the global pandemic covid-19 and the associated measures against its spread. Watching TV was one of the most frequent activities people spent time doing at home,” says Pavel Müller, Head of Research & Marketing at Atmedia.

According to him, 2022 saw a return to normal in terms of TV viewing, with people devoting a similar amount of time to watching TV as in the years before the pandemic. Last year, Czech viewers aged four and over spent an average of 3 hours and 25 minutes a day in front of their TV screens, just one minute less than in 2019. In the adult target group 15+, TV viewing averaged 3 hours and 44 minutes a day, which in turn was two minutes more than in 2019. On average, 68% of Czech TV viewers, or 6.5 million people, turned on the TV daily last year.

The situation is similar in neighbouring states. An example is Poland, where TV viewing among 15-24 year olds has fallen below 1 hour per day, as in the Czech Republic. The exception is again Hungary, where not only older age groups watched more TV last year compared to 2019, but also viewers aged 15-24, for example.

Source: mediaguru.cz

ANTI-PIRACY COALITION SHUTS DOWN FRANCE’S SECOND MOST POPULAR ILLEGAL STREAMER

Anti-piracy coalition Alliance for Creativity and Entertainment (ACE) says it has shut down Extreme-down, which it says is France’s second most popular illegal streaming and direct download site.  

ACE said it had located the operator in Houmt Souk, Tunisia, contacted the operator who subsequently ceased  operations and transferred all domains to ACE. The domains now redirect to the “Watch Legally” page on the ACE website.  The service had more than 14 million visitors each month.

“Thanks to ACE’s rapidly expanding global network, we are in a better position than ever to act decisively against illegal piracy operators in all markets across the world,”

said Jan van Voorn, Executive Vice President and Global Content Protection Chief of the Motion Picture Association and Head of ACE. “Extreme-down offered a large library of TV series and movies in French and original versions; we counted more than 40,000 movies and TV series episodes affecting ACE members. That library is now closed.”

French premium television channel providers and ACE members CANAL+ and France Televisions worked closely with ACE and local authorities on this action.

“CANAL+ Group has fought content piracy for years and, as a member of ACE, we are particularly pleased with the takedown of this notorious illegal website,” said Celine Boyer, Global Head of Content Protection at CANAL+ Group. “The elimination of this website is a massive success for the protection of rights holders in French-speaking countries.”

“The damaging effects of piracy cannot be overstated, especially for a global public service media company like ours,” said Nathalie Bobineau, Senior Vice President of International Development for France Televisions. “We applaud the efforts of ACE in their fight to defend copyright and successfully close down a piracy operation of this magnitude. ACE is currently the only organization able to give powerful and efficient support to our relentless fight against piracy worldwide, and we will continue to work with ACE to combat illegal operations that threaten legal content creators.”

Source: www.tvtechnology.com

PRIMA+ RUNS ON ITS OWN PLATFORM, IT WOULD LIKE TO HAVE 600,000 USERS, BUT IT CAN HANDLE EVEN MORE

The video service launched on Wednesday last week, the “first impression” came out last Friday and now it’s time for a few questions about the implementation and other plans. In addition, the streaming service is the first one to come up with a so-called hybrid subscription offer combining a certain amount of advertising and a cheaper subscription. With this tariff, the Prima group is here earlier than the multinational streaming services, and it additionally begins literally at zero!

We informed you in detail about the new video service and especially about its content in a report from its launch in January (link below) and also in a recent first short introduction. The ambition of Prima+ is not to compete with established global video services, but to attract a specific Czech viewer.

Our questions are answered by Josef Beneš, director of VoD Prima, and Nguyen Hung, director of online technology development.

According to you, the platform on which the Prima+ video service is built is in-house. What led you to not reach for something already established? The Czech Republic, as with anti-virus programs, is a superpower in this respect.

NH: We have strategically divided the overall platform into functional units or components, in which we have prioritized sections that we have worked on with our internal team due to synergies with our TV broadcast. But at the same time, we also developed some solutions with external suppliers. For example, mobile apps, Smart TV apps and HbbTV.

Tell us, how scalable is your platform? For example, what is the optimal range of its use in terms of the overall number of users and the number of users using it at the same time?

The platform infrastructure is built on a global cloud solution so that we can flexibly respond to current needs while thinking about future product development.

What targets do you have set in terms of audience numbers?

JB: We don’t have fixed benchmarks, but we would like to have 500,000 users in the Free version where people can watch content for free. And ideally around 100,000 paying users. We estimate these numbers based on the number of ad-free iPrima user registrations and video rentals on iPrima.cz so far.

Will Prima+ expand to other countries?

JB: Our target is the Czech market, as the Prima group also targets the Czech viewer. The website primaplus.cz will of course be available abroad as well, but the app will only be available in the Czech Republic. The formats based on the original theme of the Prima group can be played by users from all over the world. Acquisition and licensing videos can only be watched in the Czech Republic.

Where did you get your inspiration for the user interface?

JB: We looked for inspiration at home and abroad. Our goal was to offer Czech viewers a modern and user-friendly interface that is easy to navigate for every member of the family. This is where multinational streaming services in particular have high standards.

Have the defects of most current VoDs been eliminated, such as language mutations that are not visible before you watch the show, or the total number of episodes for a new series not being shown one at a time?

JB: We are working hard on the availability of the language versions and they will be available in the coming weeks. A range of original languages with subtitles combined with dubbing will be available.

For original productions, will you go the “one episode a week” route or will you occasionally release everything at once?

JB: Like other streaming services, we have a different strategy each time we deploy Prima+ Originals premium formats. Whereas with Bodyguards (Bodyguardi) and Midnight Confession (Půlnoční zpověď), you’ll be able to watch all episodes at launch, with Seven Steps to Power (Sedm schodů k moci) we’ve decided to deploy two new premiere episodes a week for a month at a time.

The original Bodyguards series (Bodyguardi) is available to watch in its entirety right from the launch of the service.

Is Prima+ coming up with something special or outright unique within the user interface? For example, will they be able to filter shows by age, sound quality, etc.?

JB: What is unique is our “recommendation” system, which will offer content based on viewership, trending shows or user preferences, for each profile separately. The content offering will also be dynamically filtered by user account, differently for Free and Paid tariffs.

You talked about family profiles. Will it be possible to create a purely children’s profile? How do you ensure that content is filtered by age? Do you use domestic age limits, including 15+ and 18+, or do you rely on foreign or American ones?

JB: Each registered user can create up to five family personalized profiles with customized content recommendations. In the next phase of the site’s development, we definitely want to focus on safe viewing of shows for the little ones and ensure that children’s profiles are set up to allow children to view safe content.

Affordable subscription packages are a strong point of the new video service, and it even has a world premiere at that! Given the number of ads being aired, though, we’d guess that there will be more than a hundred thousand people interested in the paid service…

Is there anything else about your video platform that you’d like to highlight that hasn’t come up?

JB: We would definitely like to emphasize that Prima+ is the only flexible video service on the Czech market. It allows users to consume content based on a choice of three tariffs.

  • The basic Free offer, which allows access to the Prima Group’s video archive of programmes, is free. Registered users will also be able to watch live broadcasts of all Czech Prima Group stations. All in SD quality and with advertising.
  • The extended Light offer for CZK 99 per month will also offer users previews of their favourite shows and series up to seven days before the TV broadcast, more than two thousand Czech and foreign titles and exclusive Prima+ Originals content. And all this in HD quality and with half the volume of advertising.
  • The Premium tariff for CZK 149 per month includes the complete offer in Full HD quality and completely ad-free.

Each registered user can also create up to five family profiles with tailored content recommendations. It is also possible to register up to five devices in the home (Smart TV or HbbTV, phone, computer or tablet), and three Prima+ streams can be watched simultaneously.

Source: televizniweb.cz

VOD COALITION MAKES PIRACY STATEMENT

The European VOD Coalition has issued a statement on the recently announced EU Commission Recommendation on Piracy of Live Content and ahead of its publication.

In the statement, it lists the following points:

1. Fighting piracy should be an important policy priority for Europe. Piracy harms every part of the European economy and hampers the competitiveness of our sector and the economic and consumer benefits we bring.

2. Existing Notice and Action procedures should be tightened to make sure pirate content is taken down immediately after being flagged. The latter is easily identifiable and, without near-real-time takedown, the economic value of our rights can be seriously damaged. This is especially true for all time-sensitive content.

3. Trusted flagger mechanisms should be expanded beyond online platforms, with the same immediate take down requirement as above.

4. The varied interpretation and application of existing tools in some Member States, such as Poland and Germany, at national level, needs to be addressed. As an example on one key tool: dynamic injunctions under Article 8(3) of the Information Society Directive are one of the most powerful tools for rights holders across the Member States.

5. Because a pirate whose operations are disrupted by the suspension of one server will rapidly cycle to another, hosting providers should be required to introduce Know-YourBusiness-Customer obligations.

6. Criteria determining the effectiveness of the Recommendation ought to be listed in an Annex accompanying the document. Over the years, our sector has built considerable expertise in analysing piracy trends, which we hope to be able to share.

7. Setting a specific period after which the EU Commission is to decide based on facts and data on whether to introduce binding rules. This would incentivise online intermediaries to put in place efficient piracy-mitigation measures in place sooner rather than later and to work better with the content sector.

The statement concludes by saying that the Coalition and its members remain available to meet and discuss any of the points raised and encourage the Commission to effectively tackle all forms of piracy.

Source: broadbandtvnews.com

DIGITAL CONTENT PIRACY IS ON THE RISE

Film and TV piracy increased in 2022 compared with the previous year, according to a research MUSO.

Digital piracy is on the rise and isn’t expected to slow down any time soon, according to a report from piracy-focused research firm MUSO that was published in Variety in early February.
In 2022, pirating films increased by about 39%, compared with 2021, while visits to piracy websites to watch TV shows rose by about 9%, the report said. Piracy is also expected to continue to rise throughout 2023.

“This trend continues to be a major issue for the industry, significantly impacting the revenues and livelihoods of all involved — particularly smaller, independent creators — and damaging the wider economy,” the report said.

In 2019, the US Chamber of Commerce’s Global Innovation Policy Center reported that piracy costs the US film and TV industry between $29 billion and $71 billion, annually.
MUSO attributes the rise in piracy to a few factors, including economic pressures. In 2022, many streaming platforms, like Netflix and Disney Plus, increased their prices. Netflix also announced that it would start cracking down on password sharing after it reported losing nearly 1 million subscribers in the second quarter.

A 2019 study by the New Zealand-based Vocus Group NZ found that making content cheaper and easier to access helps stop piracy, not new laws and regulations.

“These two options were by far ahead of other options, at 57 and 48 percent respectively,” Taryn Hamilton, consumer general manager at Vocus Group NZ, said. “Punitive measures, such as prosecution for pirates and censorship of pirate sites, were only thought likely to be effective by 33 and 22 percent of people, respectively.”

For more, check out how to save money on some streaming services and how the party’s over for streaming TV.

Source: www.cnet.com

 

MEDIA FIND THEIR WAY IN THE COOKIE-FREE ERA: CASHBACK AND FIRST-PARTY DATA

Selling online advertising will soon have to do without third-party cookies. The media are therefore looking for ways to maintain or even improve the quality of ad space and make the most of it. This was discussed at the SAS meeting.

The ending of third-party cookie support and the need to focus on first-party data may bring new opportunities for publishers and online content providers to collaborate, making them more “resilient to the power of global players”. This is one of the conclusions discussed at a meeting hosted by SAS, the platform through which domestic media houses handle online advertising.

New tools for booking advertising are emerging in European countries, for different types of media – not only online, but also digital outdoor or TV. Predrag Ristić, Digital Sales Lead for Central Europe at SAS, cited the example of the UK commercial TV group ITV, which is itself creating the second largest programmatic network in the UK market, enabling it to offer its largest clients and agencies custom data in every booking. It is also a premium content creator, and thanks to its network it is not dependent on the big technology players to sell advertising. “Booking tools are owned by publishers, so they have control of the data. It’s a great opportunity for media houses to manage their ad space themselves. Their main competition is Google, not the local media players,” he explained. He added that GAMA companies (Google, Apple, Meta, Amazon) control about half of the ad space, from which they manage to pull up to 80% of the ad money.

Also, according to Rickard Ebersjo, co-founder and CEO of Adssets, a change in the market is coming because the new legislation introduces stricter conditions for the handling of personal data. “A lot of publishers are entering the market and working with data in their own ecosystems,” he mentioned. However, he also believes that publishers are undervaluing their premium inventory, which he believes is underrepresented in ecosystems. At the same time, buying ad space should not be complicated and should not fill too much time. “Still, about half of ad space management time is spent on administration,” he said. He then sent encouragement to publishers of print titles that by combining print and digital ad sales, the decline in ad revenue in print editions can be significantly reduced.

The ensuing discussion included the expected development of retail media in the Czech market (more here), which most of the panelists identified as a big financial and data opportunity.

Internet operators will then have to cope with the emerging transformation of the entire ecosystem. It is mainly caused by the discontinued or soon to be discontinued support for third-party cookies, which is forcing publishers to switch to a new way of working with first party data. The first steps in this direction have already been taken by CPEx in cooperation with Seznam.cz, which has experience in selling part of its inventory using first-party cookies. “It is already possible to buy from us on the basis of first party data and l

Source: mediaguru.cz

THE FIRST MONTH OF THIS YEAR WAS A GOOD ONE FOR NEWS STATIONS, INCREASED THEIR SHARES

The first month of this year was a good one for news stations. Both CT24 and CNN Prima News increased their shares the most year-on-year of all domestic stations.

Czech Television remained the strongest domestic TV group in the 15+ audience category in the first month of the year. It achieved an aggregate share of 32.15%. It was also the best performer in prime time 15+ and in all-day broadcasting in the 15-69 group. This is according to the official ATO-Nielsen Admosphere audience measurement data.

Both major commercial TV groups improved year-on-year. The Prima group remained just ahead of the Nova group in the 15+ audience group in all-day broadcasting at the beginning of the year. In contrast, Prima finished behind Nova in prime time 15+. The Nova group confirmed its strongest position in the 15-54 audience category (all-day and evening broadcasts) and also in prime time in 15-69.

Atmedia and Television Seznam also performed better than last January, ending this January with a 1.27% (all day, 15+).

News stations posted the highest year-on-year gains in January thanks to the coverage of the presidential election. CT24 improved its position by 1.26 percentage points compared to last January and its overall share reached 5.80% (full day, 15+). CNN Prima News improved by one percentage point year-on-year and achieved an overall share of 2.18% (full day, 15+) in January.

The overall share of Czech TV stations was affected by the closure of CT3, which will not broadcast from the beginning of January 2023.

Source: mediaguru.cz

 

THE EUROPEAN PARLIAMENT ADOPTS ITS REPORT ON POLITICAL ADVERTISING

On February 2nd, MEPs expressed their support for the negotiating position proposed by the lead Committee IMCO thus giving the rapporteur a mandate to start the talks in trilogues. Despite welcomed amendments reinforcing the distinction between editorial content and advertising, the text presents important shortcomings for the media. The adopted definition of political advertising remains too broad; the approach endorsed in Council should be favoured moving forward.

Source: europarl.europa.eu egta regulatory insider

TV PIRACY CAUSES ANNUAL ECONOMIC LOSS OF €1.8BN IN GERMANY

Watching illegal live content on TV was still widespread in Germany in 2022 and has increased in recent years, according to a new study consulting and research group Goldmedia compiled for industry association VAUNET.

A total of 5.9 million people regularly watched illegal live TV streams in Germany in 2022, according to the study. In most cases, live TV piracy replaces the use of legal TV services. The main live TV genres watched illegally are drama, sports and documentaries.

As a result, the media companies affected by piracy lose annual revenues totalling €1.1 billion, according to the study. The overall loss of revenue when upstream and downstream stages of the value chain are taken into account amounts to €1.8 billion annually. In return, the state loses taxes and social security contributions totalling around €390 million every year.

“The results of the study clearly show that the illegal consumption of live TV signals remains a mass phenomenon with serious economic and social consequences. Once again, we therefore appeal to the government and regulators: Live content needs live protection on the internet. We see no clear sign of support from Brussels or the German government, and demand changes be made promptly,” said Frank Giersberg, Managing Director of VAUNET.

According to the study, the amount of illegal use has increased since 2018. In 2022, 72% of those streaming live TV illegally did so at least once a week, up from 54% in 2018. The largest group is men aged between 24 and 33. However, use of illegal live TV streams was observed among the entire population between 24 and 63, the share of older users rising particularly strong in comparison to 2018. On average, those watching illegal linear TV streams in 2022 did so for an average of around 73 minutes per day.

The devices most commonly used were smartphones, PCs and laptops, along with apps and software installed on streaming sticks and boxes. Compared to 2018, access to illegal live content using apps and software has increased rapidly. Over half of those watching illegal streams in 2022 did so in one of these ways (2018: 36%).

An English-language summary of the Television Piracy Study 2022/2023 can be downloaded as a PDF here.

  1. Source: broadbandtvnews.com

EUROPEAN DATA PROTECTION AUTHORITIES REFLECT ON THE PRACTICE OF COOKIE BANNERS

In the context of the work of the European Data Protection Board (EDPB), national Data Protection Authorities (DPA) presented their positions concerning the practice of cookie banners. While there does not seem to be a common European approach on all matters, all bodies agree that the wording ‘continue without accepting’ or ‘refuse’ does not constitute a valid alternative to granting consent, when it is the only other option and in the absence of sufficient visual support to draw the user to this choice. These positions do not prejudge DPAs’ decisions on each complaint regarding each websites.

Source: europarl.europa.eu egta regulatory insider

THE EUROPEAN PARLIAMENT MAKES PROGRESS ON THE AVMS DIRECTIVE IMPLEMENTATION REPORT

CULT MEPs drafted their amendments to the European Parliament’s own initiative AVMSD implementation report. Among other interesting suggestions, amendments 43, 44 and 52 express the need for more regulatory symmetry between TV channels and VOD services, and video-sharing platforms when it comes to rules pertaining to advertising, while amendment 147 includes a call to the European Commission to act upon influencer marketing. The vote in this committee will not take place before the month of March 2023.

Source: europarl.europa.eu egta regulatory insider

AMENDMENT TO THE COPYRIGHT ACT

On 21 December 2022, Amendment to Act No. 121/2000 Coll., on Copyright and Related Rights and on Amendments to Certain Acts, as amended (the “Copyright Act” and the “Amendment”) was published in the Collection of Laws. The Amendment implements Directive (EU) 2019/789 of the European Parliament and of the Council laying down rules on the exercise of copyright and related rights applicable to certain online transmissions of broadcasting organisations and retransmissions of television and radio programmes (the “OSC Directive”) and Directive (EU) 2019/790 of the European Parliament and of the Council on copyright and related rights in the Digital Single Market (the “DSM Directive”).

The Amendment reflects the wording of the first amendment to the Copyright Act prepared by the Ministry of Culture in November 2020. While the OSC and DSM Directives have already been partially implemented in our current legislation, the remaining new rules will be incorporated by the Amendment. Apart from major innovations, such as new types of statutory licences or stricter rules and liability for online platform providers, the Amendment also brings some controversies and vague solutions to some copyright issues and situations.

The following article specifies how the protection of the rights of publishers of press publications is being extended, what the new stricter rules and responsibilities for providers of certain online platforms are, or what new statutory licences should be taken into consideration.

Use of copyright-protected content to share content online

One of the significant changes is the tightening of rules for providers of online content sharing services. The providers have additional obligations and conditions to govern their liability for unauthorised communication of work to the public, i.e. liability for content illegally uploaded by users to their servers. These are providers of certain online platforms used to store and publish a wide range of content where the provider arranges and promotes such user-uploaded content for profit (such as Ulož.to and similar servers). These providers (as defined in the amended wording of Section 46 of the Copyright Act) will have to make their best efforts to obtain the relevant licence for the protected content, and also to immediately prevent access to the work or remove it from their websites upon reasonable notice from the author of the content, and to make their best efforts to prevent its re-upload. Simply put, the provider must not only delete the content reported in this way but also ensure that it is not re-uploaded in the future. The Amendment further specifies these obligations and determines the factors that will be taken into account when assessing whether or not a provider has complied with their obligations.

Minor providers offering these services for less than 3 years and having an annual turnover of less than EUR 10,000,000 are not subject to these new obligations in full: they will not have to deal with preventing the re-uploading of the work in the future but will only have to delete it after notification.

Greater protection of publishers’ rights

Another significant novelty, and a closely monitored change, is the establishment of new rights of publishers of press publications, representing the implementation of somewhat problematic Article 15 of the DSM Directive into the provisions of Section 87b of the Copyright Act. Pursuant to this Section, online service providers are obliged to maintain a fair, equitable and non-discriminatory approach towards the publisher of the press publication when negotiating the granting of the authorisation to exercise the right to use the press publication and to pay a reasonable remuneration to the publisher for the granting of the authorisation to exercise the right to use the press publication.

The existing legislation has encouraged unfair behaviour and practices on the part of large providers, especially multinational companies such as Google, Facebook or Apple, that could in fact legally parasitize the copyright-protected content of media houses and publishers. For example, providers displayed previews of protected publications on their servers, accompanied by advertising from which they benefited but without providing any remuneration to the publishers of the content. This practice will no longer be possible from the effective date of the Amendment, and providers will have to agree with copyright holders (or a collective manager) on the legal treatment of the remuneration and the licence under which they will publish even previews of protected content. Copyright protection under the Amendment will last for two years from the date on which the relevant publication is published.

It is no secret that the operators of large digital platforms are generally unwilling to negotiate licensing agreements, trying to circumvent the rights of publishers in every possible way. An example from abroad, namely France – one of the first Member States to impose this new obligation on providers – may serve as an illustration. Google tried to get around this obligation by giving the publisher a choice: either it would license Google to publish the articles for free, or Google would not offer the publisher’s articles in its search at all. The Antitrust Authority found this to be an abuse of dominance and ordered Google to agree a remuneration with the publishers. Nevertheless, the outcome of the agreement between Google and the publishers’ representatives was not exactly favourable for the publishers, according to many opinions.

Problematic concepts

The Amendment (unfortunately copying the DSM Directive in this respect) contains rather problematic and vague wording. Under Section 87b (8) of the amended Copyright Act (see above) “the right to use a press publication shall not apply to the use of single words or very short extracts from a press publication and to the insertion of hyperlinks”. Unfortunately, neither the Amendment nor the DSM Directive specify what constitutes “a short extract”. According to the Explanatory Memorandum, this concept will be interpreted on a case-by-case basis, in line with the ethos of the DSM Directive, which seems rather problematic, especially in the context of potential litigation before the court, and not conducive to the legal certainty that all legislative efforts should aim for. In this respect, the DSM Directive has not fulfilled its purpose of unifying the legislation of the Member States, more or less delegating to them the responsibility to ensure at least a minimum level of legal certainty for the right holders and service providers as well as for the users. Unfortunately, unlike France or Germany, Czech legislation has not responded to this issue, failing to provide any specification of the vague terminology.

Another rather fundamental deficiency of the Amendment is the so-called extended collective management (provisions of Section 97e et seq. of the amended Copyright Act), which will operate in an opt-out mode where the collective manager will represent all right holders unless they explicitly opt out. The above shortcomings open up a very wide scope of issues for potential litigation.

New statutory licences

On the other hand, there are several benefits that the Amendment brings, comprising a number of new statutory licences allowing, inter alia, easier access to otherwise copyright-protected content for educational and cultural purposes:

Licences for automated text or data analysis – data mining

Automated analysis of texts or data occurs during data mining (the process of extracting data from a digital master). This process subsequently provides information about the interrelationships and correlations within the data. This information is usually further used not only for scientific but especially for commercial purposes. These analyses are also conducted for copyright-protected works (because it is an automated activity). The Amendment is intended to strengthen legal certainty for authors and copyright holders, as well as for miners, who until now have been operating in a “legal fog” without clear definitions and boundaries. The new licence to reproduce a work for the purpose of automated analysis of texts or data provided for in Section 39c of the Copyright Act aims to clearly define these boundaries and to strengthen legal certainty for all stakeholders.

The Amendment also stipulates special licences for scientific institutions, e.g. universities conducting scientific research as part of their activities, certain legal entities that meet the statutory conditions, and cultural heritage institutions (specified in more detail in Section 39d of the amended Copyright Act). If they make a reproduction of the work specifically for text and data mining for the purposes of scientific research, these institutions will not interfere with copyright under the circumstances.

Licence for the use of a work not available on the market

According to the conditions set out in the amended provision of Section 37b of the Copyright Act, an institution of cultural heritage (such as a museum, archive, etc.) will be able to communicate to the public or reproduce a work unavailable on the market that is in the institution’s collection for non-commercial purposes without infringing copyright. The institution will have to provide the name of the author, if known, as well as the title of the work and the source. The author of the work will be able to object to such disclosure or reproduction (even in advance).

Licence for digital learning

Another improvement is the possibility for schools and other educational institutions to use works that are otherwise protected by copyright for illustrative purposes in teaching free of charge under the conditions set out in the amended provision of Section 31a of the Copyright Act. This should not apply to works that are primarily intended for educational purposes and to sheet music or musical and musical-dramatic works.

Licence for pastiche

The Amendment also modified the provision of Section 38g of the Copyright Act (licence for caricature and parody), according to which the copyright will not be interfered with by those who use the work for the purposes of pastiche, i.e. an artistic work that creatively imitates the style or elements of the work, or the work of another artist or artists.

Like any exception to copyright protection, the new statutory licence for pastiches is subject to the test specified in Section 29 of the Copyright Act (i.e. even in this case there must be no conflict with the normal use of the work or unreasonable prejudice to the legitimate interests of the author).

Ancillary online broadcaster services

The Copyright Act newly regulates the so-called ancillary online services of the broadcaster (see Section 21a of the Copyright Act). These services will include simultaneous (parallel) broadcasting, catch-up viewing options and other supplementary broadcasting materials, such as trailers or reviews of the broadcast show. The country of origin principle will apply between broadcasters and copyright holders (or the collective manager, as these services are covered by the newly introduced extended collective management – see above); unless otherwise agreed, the use of the work will be deemed to take place in the territory of the EU/EEA Member State in which the broadcaster’s headquarters are located.

Conclusion

The DSM Directive and the subsequent Amendment to the Copyright Act were adopted to extend and strengthen the rights of copyright holders, to limit the exploitation of loopholes by large internet companies, and to improve the accessibility of copyright-protected works for meritorious purposes such as education and scientific work. One of the primary objectives was to provide better and fairer legal treatment of the issue of remuneration and protection of authors’ and publishers’ rights in the online environment. Innovative institutes and procedures are being introduced in an effort to straighten out the current internet environment and make it more predictable and fair, as it is an area that is constantly expanding in both its content and its reach, and in general, the agenda relating to the internet and internet platforms is becoming more and more complicated.

However, the Amendment was rather unfortunate in addressing some of the newly introduced institutes and concepts, failing to provide sufficiently clear definitions and frameworks of obligations; as such, in addition to the warm welcome from, for example, publishers, the Amendment raises quite justified concerns, especially from internet service providers. It remains to be seen how these controversies (in particular insufficient, vague or even absent definitions) will be addressed in practice. However, we can optimistically summarise that the changes introduced in this form and the move towards a comprehensive and coherent EU-wide copyright protection system are a step in the right direction.

 

Mgr. Tereza Dvořáková,
attorney-at-law

JUDr. Tadeáš Petr,
partner

PEYTON legal advokátní kancelář s.r.o.

Futurama Business Park
Sokolovská 668/136d
186 00 Praha 8 – Karlín

Tel.: +420 227 629 700
e-mail: info@plegal.cz

Source: epravo.cz

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