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Copyright in the digital single market

22-03-2019

The European Commission presented a legislative package for the modernisation of the EU copyright rules, including a new directive on copyright in the digital single market on 14 September 2016. Stakeholders and academics have been strongly divided on the proposal. In February 2019, after more than two years of protracted negotiations, the co-legislators agreed on a new set of copyright rules including two controversial provisions: 1) the creation of a new right that will allow press publishers to ...

The European Commission presented a legislative package for the modernisation of the EU copyright rules, including a new directive on copyright in the digital single market on 14 September 2016. Stakeholders and academics have been strongly divided on the proposal. In February 2019, after more than two years of protracted negotiations, the co-legislators agreed on a new set of copyright rules including two controversial provisions: 1) the creation of a new right that will allow press publishers to claim remuneration for the online use of their publications (Article 11), and 2) the imposition of content monitoring measures on online platforms such as YouTube, which seeks to resolve the 'value gap' and help rights-holders to better monetise and control the distribution of their content online (Article 13). Furthermore, in addition to the mandatory exception for text and data mining for research purposes proposed by the Commission in its proposal, the co-legislators agreed to enshrine in EU law another mandatory exception for general text and data mining (Article 3a) in order to contribute to the development of data analytics and artificial intelligence. In February 2019, Coreper endorsed the compromise text on behalf of the Member States, and the Legal Affairs Committee (JURI) approved it. The political agreement must now be voted in plenary by the European Parliament and formally adopted by the Council to finalise the legislative procedure. Fourth edition. The 'EU Legislation in Progress' briefings are updated at key stages throughout the legislative procedure.

Regulating online TV and radio broadcasting

22-03-2019

In December 2018, the co-legislators reached an agreement on a European Commission proposal for facilitating the cross-border provision of online TV and radio content. The co-legislators agreed to extend the 'country of origin' principle to a limited set of online services, and to facilitate the licensing of retransmission services over the internet under certain conditions. Furthermore, at the request of the European Parliament, the compromise text contains new rules on 'direct injection', a process ...

In December 2018, the co-legislators reached an agreement on a European Commission proposal for facilitating the cross-border provision of online TV and radio content. The co-legislators agreed to extend the 'country of origin' principle to a limited set of online services, and to facilitate the licensing of retransmission services over the internet under certain conditions. Furthermore, at the request of the European Parliament, the compromise text contains new rules on 'direct injection', a process used increasingly by broadcasters to transmit their programmes to the public. The compromise also includes a change of the instrument from a regulation into a directive in order to leave flexibility to the Member States to implement the new rules on 'direct injection'. The Member States' negotiators and the Legal Affairs Committee (JURI) endorsed the political agreement in January 2019. The compromise text must now gain the approval of the European Parliament during the March II plenary session. Second edition. The ‘EU Legislation in Progress’ briefings are updated at key stages throughout the legislative procedure.

Politica audiovisiva e dei media

01-04-2018

La politica audiovisiva nell'UE è disciplinata dagli articoli 167 e 173 del trattato sul funzionamento dell'Unione europea (TFUE). L'atto normativo fondamentale in questo settore è la direttiva sui servizi di media audiovisivi, attualmente in fase di revisione (2018). Il principale strumento dell'Unione teso ad assistere l'industria (soprattutto cinematografica) è il sottoprogramma MEDIA di Europa creativa. La Carta dei diritti fondamentali dell'Unione europea chiede il rispetto della libertà dei ...

La politica audiovisiva nell'UE è disciplinata dagli articoli 167 e 173 del trattato sul funzionamento dell'Unione europea (TFUE). L'atto normativo fondamentale in questo settore è la direttiva sui servizi di media audiovisivi, attualmente in fase di revisione (2018). Il principale strumento dell'Unione teso ad assistere l'industria (soprattutto cinematografica) è il sottoprogramma MEDIA di Europa creativa. La Carta dei diritti fondamentali dell'Unione europea chiede il rispetto della libertà dei media e del loro pluralismo.

Politica audiovisiva e dei media

01-11-2017

La politica audiovisiva nell'UE è disciplinata dagli articoli 167 e 173 del trattato sul funzionamento dell'Unione europea (TFUE). L'atto normativo fondamentale in questo settore è la direttiva sui servizi di media audiovisivi, attualmente in fase di revisione (2017). Il principale strumento dell'Unione teso ad assistere l'industria (soprattutto cinematografica) è il sottoprogramma MEDIA di Europa creativa. La Carta dei diritti fondamentali dell'Unione europea chiede il rispetto della libertà dei ...

La politica audiovisiva nell'UE è disciplinata dagli articoli 167 e 173 del trattato sul funzionamento dell'Unione europea (TFUE). L'atto normativo fondamentale in questo settore è la direttiva sui servizi di media audiovisivi, attualmente in fase di revisione (2017). Il principale strumento dell'Unione teso ad assistere l'industria (soprattutto cinematografica) è il sottoprogramma MEDIA di Europa creativa. La Carta dei diritti fondamentali dell'Unione europea chiede il rispetto della libertà dei media e del loro pluralismo.

Modernisation of EU copyright rules: Initial Appraisal of a European Commission Impact Assessment

21-12-2016

The IA clearly defines the underlying problems and the objectives of the proposed initiatives. It relies on various recent external studies, reviews and evaluations. The Commission consulted widely and the IA appears to have analysed a broad range of options and their impacts on all relevant stakeholders. However, the IA, which is very dense, is based on limited quantitative data, which the Commission openly acknowledges. It would also perhaps have benefited from a more detailed assessment of social ...

The IA clearly defines the underlying problems and the objectives of the proposed initiatives. It relies on various recent external studies, reviews and evaluations. The Commission consulted widely and the IA appears to have analysed a broad range of options and their impacts on all relevant stakeholders. However, the IA, which is very dense, is based on limited quantitative data, which the Commission openly acknowledges. It would also perhaps have benefited from a more detailed assessment of social impacts and impacts on fundamental rights. Moreover, with regard to the third general objective of achieving a well-functioning marketplace for copyright, it would seem that some specific issues were not addressed: concerning the use of right holders' content by online services, it appears the Commission changed its preferred option following the issuing of the RSB opinion, since a negotiation obligation is no longer included in the final IA. The IA could also have given more guidance on the coherence of the proposed acts with the E-Commerce Directive. Finally, concerning rights in (press) publications, it would have been useful if the IA had provided more thorough reasoning regarding the new ancillary right.

Creative Europe Programme

14-09-2015

Creative Europe, which brings together under one roof three different culture and media-related programmes from the previous 2007-13 funding period, is designed to support the activities of the cultural and audiovisual sectors in participating countries, and generate synergies between the two sectors. Its €1.46 billion budget represents a 9% increase on the total spent in the various sub-programmes in 2007-13. Of this envelope, 31% is earmarked for culture, 56% for media and 13% for the cross-sectoral ...

Creative Europe, which brings together under one roof three different culture and media-related programmes from the previous 2007-13 funding period, is designed to support the activities of the cultural and audiovisual sectors in participating countries, and generate synergies between the two sectors. Its €1.46 billion budget represents a 9% increase on the total spent in the various sub-programmes in 2007-13. Of this envelope, 31% is earmarked for culture, 56% for media and 13% for the cross-sectoral strand, including a Guarantee Facility to be launched in 2016.

Entertainment x.0 to Boost Broadband Deployment

15-10-2013

We explore the definition of broadband and explain its interaction with European policy goals; analyse available data in order provide a detailed, objective and realistic picture of the broadband deployment, adoption, and usage situation in the EU from a number of different perspectives; and assess the drivers of broadband today, with particular emphasis on audiovisual and entertainment services. Measures to promote demand in general and the distribution of IPbased audiovisual content in particular ...

We explore the definition of broadband and explain its interaction with European policy goals; analyse available data in order provide a detailed, objective and realistic picture of the broadband deployment, adoption, and usage situation in the EU from a number of different perspectives; and assess the drivers of broadband today, with particular emphasis on audiovisual and entertainment services. Measures to promote demand in general and the distribution of IPbased audiovisual content in particular, would appear to be warranted.

Autore esterno

Scott Marcus (WIK-Consult GmbH), Ilsa Godlovitch(WIK-Consult GmbH), Pieter A Nooren (TNO), Dieter Elixmann(WIK-Consult GmbH) and Bram van den Ende (TNO) , with the support of Jonathan Cave (RAND Europe)

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