Gathering around 500 directors, with 1,750 registered works, which represents the most consistent artistic and cultural GDP in Brazil, DBCA (Directors Brazil), a pioneer society in the defense of Authors’ Rights in the country, and the recent 53° Brazilian Film Festival in Brasilia (held between December 15th and 20th), historical moral and political trench of our cinema, reinforced in this edition, now closed, their mutual and live solidarity through the exchange of experiences on Collective Management Organizations (CMOs).
A coalition of 110 European organizations representing all cultural and creative sectors (CACs) have sent a letter to the president of the European Commision, Ursula von der Leyden, and to the national governments of the European Union, urging them to include the CACs in the national recovery and stimulus plans, which are projected to have a budget of 750 million Euros.
After an exemplary ruling by the Supreme Court of Chile confirming the unquestionable right of audiovisual authors to charge previously announced authors´ rights rates, cable TV companies have been the first to come to an agreement with authors.
The creation of the Audiovisual Authors International Confederation, which has been announced all over the world and approved by the general assembly of the Latin American Audiovisual Authors Societies Federation (FESAAL), continues to come closer to becoming a reality.
WIPO (Worldwide Organization for Intellectual Property) and FESAAL (Latin American Audiovisual Authors Societies Federation), in collaboration with DNDA (National Direction of Authors´ Rights) of Columbia, together with the CMOs REDES (Screenwriters of Colombia), and DASC ( Directors of Colombia), held an on-line debate about action taken to defend the rights of audiovisual authors in Colombia.
Nollywood, as the film industry in that country is commonly called, turns out more than 2500 movies annually and is only behind Hollywood as the biggest producer of movies in the world.
On this past September 11th. the highest court of the country ruled against the claim open TV channels had presented, gathered together in the National Television Association (ANATEL).
Audiovisual authors’ collective management associations in Latin America are threatened by related rights associations that intend to infringe audiovisual rights.
DBCA – Brazilian Film and Audiovisual Directors calls upon over 300 audiovisual authors and/or their heirs, in their territory, to collect the rights for the retransmission of their works in countries like Argentina or Spain.
The times the world is going through have placed REDES – Colombian Network of Audiovisual Writers – facing a challenge before which it continues to work day after day: to prove a Collective Management Society is so much more than just collecting fees – above every other consideration, it works to guarantee the wellbeing of audiovisual authors.