Copyright in Europe

Performers' and phonogram's rights

Para 4-069 & 4-070 The European Commission has adopted a proposal that the term of protection for recorded performances and the record itself be extended from 50 to 90 years. The reasoning for this appears to be based on the need to provide for performers' twilight years and assist the record producers.

Term Directive

A new directive which codifies the various changes to the Term Directive has been issued. It is Directive 2006/116/EC. It incorporates the changes made to the Term Directive via the Information Society Directive. The Articles in 2006/116 correspond to the articles in Directive 93/98.

Para 4-096. In C-240/07 Sony Music Entertainment v Falcon Neue Medien Vertrieb, the ECJ held that copyright could "revive" where such was protected in at least one Member State regardless whether the Member State in which it was protected was not the one in which protection was sought. Thus, in a case referred from the Bundesgerichtshof concerning proceedings brought in Germany for infringement of sound recording rights in various Bob Dylan recordings, although recordings of Bob Dylan had not been protected as of 1st July 1995 in Germany, such were protected in the United Kingdom. The ECJ held that such was sufficient for copyright to "revive".

However, there was a further complication. Under Art.7(2) Directive 2006/116, if the right holder of a sound recording right was not a Community national, then without prejudice to international obligations, the term of the right could be no longer than that which was applicable in the country of which the rightholder was a national. Thus, if the right holder was a national of country X and under the laws of country X, such granted protection which was 30 years from fixation/publication, the protection granted in the Community could not extend beyond 30 years absent international obligations being inconsistent with that. The ECJ effectively said that Art.10(2) and Art.7(2) were dealing with different situations. Thus, the ECJ ruled that provided that as of 1st July 1995, a right holder who was a national of a non-Member State was protected in at least one Member State, then the copyright was "revived" under Art.10(2). It is important to point out that the ECJ was not ruling on the inapplicability of Art.7(2) but merely stating that it was irrelevant to the interpretation of Art.10(2). Thus, it may be the case that copyright is revived under Art.10(2) but disapplied under Art.7(2) if the right holder who is a national of a non-Member State cannot demonstrate that he has commensurate equivalent protection in the country of which he is a national.

Database Directive.

In C-304/07 Directmedia GmbH v Albert-Ludwig Universitat Freiburg, the central issue was whether consultation and use of a database amounted to infringement even if where was no physical transfer of the contents of the database. Thus, the defendant, Directmedia, who had marketed a CD-ROM of an anthology (collection) of poems in the German language, admitted using the claimant's anthology as a guide as what to include and what not to include. However, it took the actual texts from its own digital resources and conducted its own critical analysis.

The ECJ rejected the technical submission that the "extraction right" must involve actual physical transfer of the content of the database. Rather, it said that a broader approach is called for, namely whether the defendant's acts harm the interests of the maker of the
database "in a manner comparable to the act of extraction based on such a process". Thus, the ECJ emphasised that what is important is whether, evaluated quantitatively and qualitatively, a substantial part of the database has been extracted.

From the author's view, the interesting part of this case is that an anthology of poems is generally accepted as being protected by the law of copyright as well as database right because such plainly satisfies the condition of "originality" for databases, namely that "by reason of the selection or arrangement of their contents, they constitute the author's own intellectual creation" (Art.3(1)). Yet, it is less obvious that a database right subsists in an anthology because of the need to show a "substantial investment" in "obtaining, verification or presentation". Thus, a list of "100 best poems" may take the author 30 minutes to come up without expenditure of any financial investment at all. In the Directmedia case, the evidence established that EUR 34,900 had been spent on creating the Claimant's anthology so such
appears not to have been in issue. Equally, it plainly is no defence to an allegation of infringement of copyright in an anthology of poems that one has not physically copied the poems. This is because copyright subsists not in the contents of the anthology but in their selection or
arrangement. Thus, a defendant who "copies" the selection but sources the poems themselves from third parties is plainly infringing. In Directmedia, the Court upheld a claim based on copyright. It is not clear from the authority what additional protection or remedies under German law the claim for infringement of database added to that of the copyright claim.

Finally, the Court emphasised that the above analysis was not affected by the fact that it was not an infringement merely to consult a database. Directmedia had argued that was ultimately all they had done. The Court disagreed because they had plainly taken the additional
step of transferring such to another database.

In C-545/07 Apis-Hristovich v Lakorda A/S, the Bulgarian courts referred to the ECJ various questions concerning how the Database Directive (96/9) should be interpreted. Proceedings had been brought by the owner of a legal legislation and case law database against a company (Lakorda) who, it was claimed, had extracted without its consent, much of the contents of its database. Lakorda claimed that its database was the fruit of a substantial, independent investment. Thus, the defence was one of independent creation. The Bulgarian court referred a number of questions concerning the interpretation of the directive.In many respects, by the nature of the questions, the court was seeking "hands on" help in how to decide the issue of infringement.
The ECJ took the opportunity to provide guidance on the interpretation of Art.7 of the directive (the infringement provisions). In some respects, such guidance appears to have been the statement of the obvious.

Thus, the Court held the distinction between "permanent transfer" and "temporary transfer" lay in the duration of storage on another medium of materials extracted from the original database. A temporary transfer indicated that the materials were stored for a limited period on another medium such as the operating memory of a computer whereas a permanent transfer was whether the materials are stored in a permanent manner.

The Court confirmed that the purpose of the transfer is immaterial for determining whether an infringement has taken place or not. It did not matter whether it was for the purpose of creating another database or not.

The ECJ also confirmed that the existence of common physical and technical characteristics in the databases may be evidence of extraction unless such a coincidence can be explained by other external factors. This echoes the approach taken to infringement of copyright in computer software where evidence of the replication of redundant or non-functional features is often seen as good evidence of copying because such features are not dictated by specifications.

Many readers may think that the above is not exactly ground-breaking. Perhaps more interestingly is the Court's observations on whether the evaluation of the concept of extraction of a "substantial part" should be interpreted by reference to the entire database of the claimant's database or by reference to modules within that database. The Court confirmed its previous case law that the determination of whether a substantial part has been extracted is by
reference to the claimant's database and not the defendant's database.
The Court then said that if the modules themselves constitute a database within the meaning of the directive, then the issue is whether there has been extraction of a substantial part of that module. If the module did not itself qualify for database protection, then the comparison would be of the whole database. Thus, it is plainly in the interests of database owners to rely upon and plead infringement of database rights in modules as it would be easier for them to establish extraction of "a substantial part". However, if the modules are very small, the claimant may run the risk that such does not qualify for database right. The database owner is thus advised to plead infringement of the entire database and relevant modules.

Finally, the Court emphasised that when considering whether there had been extraction of a "substantial part", such was not affected by considerations relating to whether the contents of the database were accessible from the public domain or not. However, as the COurt said, the fact that such material is not accessible from the public domain will affect the assessment as to whether there has been a substantial investment in "obtaining" the material and such will consequently influence whether a substantial part, evaluated qualitatively, of the contents has been extracted. Thus, as was discussed in Fixtures Marketing, the concept of "substantial investment" and "substantial part" are two sides of the same coin. This has echoes in the case law in English copyright law, where it has often been said that there will be infringement where a substantial part of the skill, labour and effort of the author which went into creating the copyright work has been incorporated by the defendant into the alleged infringing work.

Although not ground-breaking, the ECJ's decision in Apis is to be welcomed as providing another valuable layer to the case law on database rights.

Remedies

para.4-125. In C-275/06 Productores de Música de España (Promusicae) v Telefónica de España SAU, an organisation of publishers and producers of audio and audiovisual recordings sought an order against Telefonica, an internet service provider, to provide names and contact information concerning persons using a peer-to-peer file sharing program, KazAa, which is widely used for the purpose of its users uploading and downloading infringing sound recordings. The Spanish court ordered the disclosure. However, Telefonica sought a preliminary ruling from the ECJ on the grounds that such interfered with, inter alia, the rights of individuals under the various data protection laws. The ECJ rather ducked the issue saying that national courts must strike a "fair balance" between the competing rights, namely the right of musical publishers to be able to prevent infringement of their copyright and individuals' right to privacy.

Artist's Resale Right Directive

para 4-129. A report by the Intellectual Property Institute into the impact of the resale royalty rights directive in the United Kingdom (where it was feared that it would cause the UK to become uncompetitive compared to non-EU countries) points out that the effect of the directive has been more limited than had been expected. The report shows that £2.5million royalties are collected annually in UK with the average median payment being £256. Generally, administration costs have not been excessive but a minority has reported that it has been burdenson. The report can be viewed at www.ipo.gov.uk/study-droitdesuite.pdf