Film theft in the UK - Future of Copyright

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56 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
operators to exploit media content to help grow their subscription businesses). (See Chapter 4, sub-heading: ‘Internet piracy’, Chapter 4, main-heading: ‘The future digital Home’, and Chapter 5, sub-heading: ‘Controlling content in the digital domain’.) The recommendations should be read in conjunction with the action plan on the following pages, which sets out the timetable to which the recommendations will be delivered. The Task Force, with additional members, will remain in existence for a further year, working with industry and Government to take forward the action plan. Specific recommendations falling to the Government will be delivered in partnership with the new intellectual property rights forum recently announced by DCMS/DTI. Film theft in the UK | 57
Page 1 and 2:
Film theft in the UK Anti-Piracy Ta
Page 3:
Contents 1 Chair’s foreword . . .
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 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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