Film theft in the UK - Future of Copyright

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The UK Film Council is the lead agency for film in the UK ensuring that the economic, cultural and educational aspects of film are effectively represented at home and abroad. creativity encouraging the development of new talent, skills, and creative and technological innovation in UK film and assisting new and established filmmakers to produce successful and distinctive British films enterprise supporting the creation and growth of sustainable businesses in the film sector, providing access to finance and helping the UK film industry compete successfully in the domestic and global marketplace imagination promoting education and an appreciation and enjoyment of cinema by giving UK audiences access to the widest range of UK and international cinema, and by supporting film culture and heritage We want to ensure there are no barriers to accessing our printed materials. If you, or someone you know, would like a large print, Braille, disc, or audiotape version of this paper, please contact us at the address below: Communications Department UK Film Council 10 Little Portland Street London W1W 7JG Tel: + 44 (0) 20 7861 7861 Fax: + 44 (0) 20 7861 7862 Email: communications@ukfilmcouncil.org.uk Web: www.ukfilmcouncil.org.uk
Contents 1 Chair’s foreword . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4 2 Executive summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6 3 Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9 4 Film theft in the UK: the current climate . . . . . . . . . . . . . . . . . . . . . .10 The business of film . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10 Film piracy in the UK . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .12 Physical piracy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .12 Internet piracy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .19 Pay-TV piracy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .24 UK piracy in a European picture . . . . . . . . . . . . . . . . . . . . . . . . . . . .26 The future digital home . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .27 5 Combating film theft . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .28 The demographics of piracy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .28 Legal framework for combating piracy . . . . . . . . . . . . . . . . . . . . . . .29 Copyright protection in the UK . . . . . . . . . . . . . . . . . . . . . . . . .29 International harmonisation: the WIPO Treaties and TRIPS . . . . .32 Copyright protection in the US and EU . . . . . . . . . . . . . . . . . . .34 Enforcement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .35 Enforcement at a local level . . . . . . . . . . . . . . . . . . . . . . . . . . . .37 The need for international co-operation . . . . . . . . . . . . . . . . . .40 Security measures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .41 The filmmaking process . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .41 Controlling content in the digital domain . . . . . . . . . . . . . . . . .42 Education and consumer awareness . . . . . . . . . . . . . . . . . . . . . . . .43 The needs of educational institutions . . . . . . . . . . . . . . . . . . . .44 Developing new business models . . . . . . . . . . . . . . . . . . . . . . . . . . .46 6 Consumer issues . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .48 7 Recommendations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .51 The UK Government . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .51 The film industry . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .54 Government-backed and other film sector stakeholders . . . . . . . . . .55 Action plan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .58 Appendices (See following page) . . . . . . . . . . . . . . . . . . . . . . . . . . . .62 Footnotes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .85 Film theft in the UK | 1
Page 1: Film theft in the UK Anti-Piracy Ta
Page 6 and 7: 4 1 Chair’s foreword The pirate i
Page 8 and 9: 6 2 Executive summary The ability t
Page 10 and 11: 8 enforcement strategy remains suff
Page 12 and 13: 10 4 Film theft in the UK: the curr
Page 14 and 15: 12 around 80% of total customers),
Page 16 and 17: 14 DVD plants are capable of manufa
Page 18 and 19: 16 12.0 10.0 8.0 6.0 4.0 2.0 0.0 po
Page 20 and 21: 18 calculated. Some sources quote l
Page 22 and 23: 20 argue that, while most music con
Page 24 and 25: 22 more than two weeks before its o
Page 26 and 27: 24 subsequently reduced this activi
Page 28 and 29: 26 Piracy in the UK in a European c
Page 30 and 31: 28 5 Combating film theft There are
Page 32 and 33: 30 Patents Act 1988 (CDPA) (as amen
Page 34 and 35: 32 has made profits from the infrin
Page 36 and 37: 34 measures, special requirements r
Page 38 and 39: 36 a notice is served for infringin
Page 40 and 41: 38 screened in their cinemas. Howev
Page 42 and 43: 40 the local authority order to cea
Page 44 and 45: 42 successfully stop suspects tryin
Page 46 and 47: 44 WARNING FROM THE FEDERATION AGAI
Page 48 and 49: 46 Developing new business models N
Page 50 and 51: 48 6 Consumer issues What some educ
Page 52 and 53:
50 Enforcement Group (IEG) 61 , has
Page 54 and 55:
52 judge would then be able to awar
Page 56 and 57:
54 The film industry In the short t
Page 58 and 59:
56 focusing on the links between pi
Page 60 and 61:
58 Action plan Implementation date
Page 62 and 63:
60 Action plan (continued) Implemen
Page 64 and 65:
62 Appendices Appendix i: Lessons f
Page 66 and 67:
64 enable them to jump into any bus
Page 68 and 69:
66 lodged by Test-Achats. Aside fro
Page 70 and 71:
68 against hundreds of large-scale
Page 72 and 73:
70 files for an annual fee. While a
Page 74 and 75:
72 charges in a similar DeCSS case
Page 76 and 77:
74 Appendix iii: Copyright and Rela
Page 78 and 79:
76 technological measures, dealing
Page 80 and 81:
78 Appendix v: Signatories of the M
Page 82 and 83:
80 recording device that stores pro
Page 84 and 85:
82 However, it has endeavoured to m
Page 86 and 87:
84 of Warner Bros. Pictures Inc. Th
Page 88 and 89:
86 13 See http://www.iipa.com/pdf/2
Page 90 and 91:
88 Member States to ensure the conf
Page 94:
10 Little Portland Street London W1
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