Film theft in the UK - Future of Copyright

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focusing on the links between piracy and
organised crime, the illegal nature of piracy and
file-sharing; the threat to the development of
creativity and culture in the UK and the dangers
of unsuitable material becoming available to
children and teenagers younger than 18.
(See Chapter 5, main-heading: ‘Education and
consumer awareness’.)
24 Through the UK Film Council, forge links
with EFAD (the forum of European Film Agency
Directors) to further European co-operation in
the fight against copyright theft.
Building on EFAD discussions to date, this
should initially focus on information exchange
about activities in each country, but then also
encompass discussion about the best ways to
develop and maximise new forms of
distribution for European film (especially online
distribution).
(See Chapter 5.)
In the medium term
25 The UK Film Council to convene discussions
to consider ways to expand the financial
resources available for enforcement activities.
These could include mandatory levies on
companies receiving financial support via
schemes administered by the UK Film Council,
as well as the Industry Trust for IP Awareness
set up by the British Video Association.
(See Chapter 5, main-heading: ‘Enforcement’.)
26 Develop a ‘carrot and stick’ strategy to
combating piracy – such as ‘reward for
information’ schemes to incentivise the public
to provide information that may lead to piracy
convictions.
(See Chapter 5, sub-heading: ‘The
demographics of piracy’, and Chapter 5, subheading:
‘Understanding the consumer’.)
27 Consider the introduction of a reward
scheme to incentivise cinema staff to patrol
auditoria looking for unauthorised camcorder
usage. This should be done in conjunction with
the introduction of legislative measures to
make in-cinema camcording a criminal offence
(see recommendation 4). Such a scheme was
recently introduced in the US by the Motion
Picture Association of America and details of
this programme should be critically reviewed.
28 Develop innovative educational schemes to
teach young people the social and financial
implications of film piracy. For example, this
could include integration of an understanding
of copyright theft into the UK Film Council’s
First Light scheme for introducing eight-18year-olds
to filmmaking, as well as into wider
educational initiatives on media literacy. This
could build on Film Education’s initiative to
develop anti-piracy resources for primary and
secondary schools.
(See Chapter 5, main-heading: ‘Education and
consumer awareness’.)
29 Facilitate further dialogue between
educational institutions and film industry in an
effort to foster a spirit of co-operation in the
fight against piracy.
(See Chapter 5, sub-heading: ‘The needs of
educational institutions’.)
30 Establish new platforms and where
appropriate support existing platforms for
communication between the film industry and
technology companies, such as broadband
ISPs, consumer electronics manufacturers and
Internet technology firms. Closer dialogue is
crucial for the UK and European film industry to
become cognisant of developments in
technology that could pose future threats as
well as new technological opportunities and
counter measures. Decisions and information
on these matters should not be left solely to
US-based companies. These communication
platforms could help resolve potential business
interest conflicts that may facilitate film piracy
as well as build on areas of mutual interest (eg
the growing determination of broadband