The 2014 Annual Report of CISAC's.

Rapport d’activité / Informe de actividad

ACTIVITY REPORT 2014 RAPORT ANNUEL

CONTENT

WHO WE ARE

WHAT WE DO

WITH OUR AUTHORS

P. 15 CISAC Activities

P. 26 Creators’ Councils Update

P. 20 Regional Overview

P. 28 Voice of the Creators

NOS ACTIVITÉS

AVEC NOS AUTEURS

P. 34 Présidence et Structure

P. 47 Les Activités de la CISAC

P. 58 En Direct des Conseils

P. 40 En Bref

P. 52 Tour d’Horizon Régional

P. 01 / 13

P. 02 Our Presidency and Structure

P. 08 Year at a Glance

P. 14 / 23

P. 24 / 32

P. 12 Global Collections

SOMMAIRE

and Trends

NOTRE IDENTITÉ P. 33 / 45

P. 46 / 55

P. 44 Perceptions Mondiales

P. 56 / 64

des Créateurs

P. 60 La Voix des Créateurs

CONTENIDOS

et Tendances

QUIÉNES SOMOS P. 65 / 77

P. 66 Nuestra Presidencia y estructura

P. 72 El año en breve P. 76 Recaudaciones

mundiales y tendencias

LO QUE HACEMOS

CON NUESTROS AUTORES

P. 79 Actividades de la CISAC

P. 90 Actualización sobre los

P. 78 / 87

P. 84 Panorama Regional

P. 88 / 96

Consejos de los Creadores

P. 92 La voz de los creadores

CISAC MEMBER SOCIETIES / 227 AUTHORS’ SOCIETIES IN 120 COUNTRIES / SOCIÉTÉS MEMBRES DE LA CISAC / 227 SOCIÉ STATUS WITHIN CISAC M = Member A = Associate P = Provisional

STATUT AU SEIN DE LA CISAC M = Membre A = Membre associé P = Membre provisoire

AFRICA AFRIQUE AFRICA

ESTATUS DENTRO DE LA CISAC M = Miembro A = Miembro asociado P = Miembro provisional

CANADA-USA CANADA-ÉTATS-UNIS CANADÁ-ESTADOS UNIDOS

SOCIETY SOCIÉTÉ SOCIEDAD

STATUS STATUT ESTATUS

REPERTOIRE RÉPERTOIRE REPERTORIO

COUNTRY/TERRITORY PAYS/TERRITOIRE PAÍS/TERRITORIO

ONDA

M

MU, AGP, AV, D, L

ALGERIA

ACCESS COPYRIGHT

M

L

CANADA

SADIA

M

MU, AV

ANGOLA

CARCC

M

AGP

CANADA

BUBEDRA

M

MU, AV, D, L

BENIN

CMRRA

M

MU

CANADA

BBDA

M

MU, AGP, AV, D, L

BURKINA FASO

CSCS

M

AV

CANADA

CMC

M

MU

CAMEROON

DRCC

M

AV

CANADA

SOCILADRA

M

D, L

CAMEROON

SARTEC

A

AV

CANADA

BCDA

M

MU

CONGO

SOCAN

M

MU

CANADA

SACERAU

M

MU

EGYPT

SODRAC

M

MU, AGP

CANADA

BGDA

M

MU, AV, L

GUINEA

SPACQ

A

MU

CANADA

BURIDA

M

MU

IVORY COST

AMRA

M

MU

UNITED STATES

MCSK

M

MU

KENYA

ARS

M

AGP

UNITED STATES

OMDA

M

MU, AV, D, L

MADAGASCAR

ASCAP

M

MU

UNITED STATES

COSOMA

M

MU, L

MALAWI

BMI

M

MU

UNITED STATES

BUMDA

M

MU, AGP, AV, D, L

MALI

DGA

A

AV

UNITED STATES

MASA

M

MU, L

MAURITIUS

NMPA

A

MU

UNITED STATES

BMDA

M

MU, D, L

MOROCCO

SESAC Inc.

M

MU

UNITED STATES

SOMAS

M

MU

MOZAMBIQUE

The Author's Registry Inc.

A

L

UNITED STATES

NASCAM

M

MU

NAMIBIA

VAGA

M

AGP

UNITED STATES

BNDA

M

MU, D, L

NIGER

WGA

A

AV, D

UNITED STATES

COSON

P

MU

NIGERIA

MCSN

M

MU

NIGERIA

BSDA

M

MU, AGP, AV, D, L

SENEGAL

SACS

P

MU

SEYCHELLES

DALRO

M

AGP, D, L

SOUTH AFRICA

SAMRO

M

MU

SOUTH AFRICA

COSOTA

M

MU

TANZANIA

BUTODRA

M

MU, D, L

TOGO

OTPDA

M

MU, D, L

TUNISIA

UPRS

M

MU

UGANDA

ZAMCOPS

M

MU

ZAMBIA

ZIMURA

M

MU

ZIMBABWE

ASIA-PACIFIC ASIE-PACIFIQUE ASIA-PACIFICO

SOCIETY SOCIÉTÉ SOCIEDAD

STATUS STATUT ESTATUS

REPERTOIRE RÉPERTOIRE REPERTORIO

COUNTRY/TERRITORY PAYS/TERRITOIRE PAÍS/TERRITORIO

LATIN AMERICA AND CARIBBEAN AMERIQUE LATINE ET CARAÏBES AMÉRICA LATINA Y EL CARIBE SOCIETY SOCIÉTÉ SOCIEDAD

STATUS STATUT ESTATUS

REPERTOIRE RÉPERTOIRE REPERTORIO

COUNTRY/TERRITORY PAYS/TERRITOIRE PAÍS/TERRITORIO

ARGENTORES

M

AV, D

ARGENTINA

DAC

M

AV

ARGENTINA

SADAIC

M

MU

ARGENTINA

SAVA

M

AGP

ARGENTINA

COSCAP

M

MU

BARBADOS

BSCAP

M

MU

BELIZE

SOBODAYCOM

M

MU

BOLIVIA

ABRAMUS

M

MU, D

BRAZIL

ADDAF

M

MU

BRAZIL

AMAR

M

MU

BRAZIL

ASSIM

M

MU

BRAZIL

AUTVIS

M

AGP

BRAZIL

SADEMBRA

M

MU

BRAZIL

SBACEM

M

MU

BRAZIL

SBAT

M

D, L

BRAZIL

SICAM

M

MU

BRAZIL

SOCINPRO

M

MU

BRAZIL

UBC

M

MU

BRAZIL

ATN

M

AV, D

CHILE

SOCIETY SOCIÉTÉ SOCIEDAD

STATUS STATUT ESTATUS

REPERTOIRE RÉPERTOIRE REPERTORIO

COUNTRY/TERRITORY PAYS/TERRITOIRE PAÍS/TERRITORIO

CREAIMAGEN

M

AGP

CHILE

AMCOS

A

MU

AUSTRALIA

SCD

M

MU

CHILE

APRA

M

MU

AUSTRALIA

SAYCO

M

MU, D

COLOMBIA

ASDACS

M

AV

AUSTRALIA

ACAM

M

MU, D

COSTA RICA

AWGACS

M

AV

AUSTRALIA

ACDAM

M

MU

CUBA

CAL

P

AGP, L

AUSTRALIA

ADAVIS

M

AGP

CUBA

VISCOPY

M

AGP

AUSTRALIA

SGACEDOM

M

MU

DOMINICAN REPUBLIC

BEAT

P

MU

BRUNEI DARUSSALAM

ARTEGESTION

M

AGP

ECUADOR

MCSC

M

MU

CHINA

SAYCE

M

MU

ECUADOR

CASH

M

MU

HONG KONG

SACIM, EGC

M

MU

EL SALVADOR

IPRS

M

MU

INDIA

AEI

M

MU

GUATEMALA

PAPPRI

A

MU

INDONESIA

AACIMH

M

MU

HONDURAS

WAMI

P

MU

INDONESIA

JACAP

M

MU

JAMAICA

APG-Japan

A

AGP

JAPAN

DIRECTORES

M

AV

MEXICO

JASPAR

P

AGP

JAPAN

SACM

M

MU

MEXICO

JASRAC

M

MU, D

JAPAN

SOGEM

M

AV, D, L

MEXICO

KOMCA

M

MU

KOREA (REPUBLIC OF)

SOMAAP

M

AGP

MEXICO

KOSA

M

AGP, L

KOREA (REPUBLIC OF)

NICAUTOR

M

MU

NICARAGUA

SACK

M

AGP

KOREA (REPUBLIC OF)

SPAC

M

MU

PANAMA

MACA

P

MU

MACAU

APA

M

MU, D

PARAGUAY

MACP

M

MU

MALAYSIA

APDAYC

M

MU, D

PERU

MOSCAP

P

MU

MONGOLIA

APSAV

M

AGP

PERU

CPSN

A

MU

NEPAL

ECCO

M

MU

SAINT-LUCIA

MRCSN

P

MU

NEPAL

SASUR

M

MU

SURINAME

FILSCAP

M

MU

PHILIPPINES

CCL

A

MU

TRINIDAD AND TOBAGO

COMPASS

M

MU

SINGAPORE

COTT

M

MU

TRINIDAD AND TOBAGO

MÜST

M

MU

TAIWAN, CHINESE TAIPEI

AGADU

M

MU, AGP, AV, D

URUGUAY

MCT

M

MU

THAILAND

LATINAUTOR

A

NA

URUGUAY

VCPMC

M

MU

VIETNAM

AUTORARTE

M

AGP

VENEZUELA

SACVEN

M

MU, D

VENEZUELA

TÉS D’AUTEURS DANS 120 PAYS / SOCIEDADES MIEMBROS DE LA CISAC / 227 SOCIEDADES DE AUTORES EN 120 PAISES REPERTOIRE MU = Musical AV = Audiovisual D = Drama L = Literature AGP = Visual Arts

REPERTORIOS MU = Música AV = Audiovisual D = Dramático L = Literario AGP = Artes gráficas, plásticas y fotográficas

N/A = Information not available, corresponding to association and guild members of CISAC that do not directly manage any repertoire.

N/A = Information non disponible, correspondant aux associations et organisations membres de la CISAC ne gérant pas de répertoire directement.

N/A = Información no disponible, correspondiente a asociaciones y organizaciones miembros de la CISAC y que no administran un repertorio específico.

EUROPE EUROPE EUROPA

EUROPE EUROPE EUROPA

SOCIETY SOCIÉTÉ SOCIEDAD

STATUS STATUT ESTATUS

REPERTOIRE RÉPERTOIRE REPERTORIO

COUNTRY/TERRITORY PAYS/TERRITOIRE PAÍS/TERRITORIO

SOCIETY SOCIÉTÉ SOCIEDAD

STATUS STATUT ESTATUS

REPERTOIRE RÉPERTOIRE REPERTORIO

COUNTRY/TERRITORY PAYS/TERRITOIRE PAÍS/TERRITORIO

ARMAUTOR

M

MU, D

ARMENIA

ACUM

M

MU, L

ISRAEL

AKM

M

MU

AUSTRIA

TALI

M

AV

ISRAEL

AUSTRO-MECHANA

M

MU

AUSTRIA

SIAE

M

MU, AGP, AV, D, L

ITALY

BILDRECHT

M

AGP

AUSTRIA

KAZAK

M

MU, D, L

KAZAKSTAN

LITERAR-MECHANA

M

L

AUSTRIA

KYRGYZPATENT

M

MU, D

KYRGYZSTAN

VDFS

M

AV

AUSTRIA

AKKA-LAA

M

MU, AGP, AV, D, L

LATVIA

AAS

P

MU, D

AZERBAIJAN

LATGA

M

MU, AGP, AV, D, L

LITHUANIA

NCIP

M

MU, D

BELARUS

SACEMLUXEMBOURG

M

MU

LUXEMBOURG

GESAC

A

NA

BELGIUM

ZAMP - Macédoine

M

MU

MACEDONIA (FYROM)

SABAM

M

MU, AGP, AV, D, L

BELGIUM

AsDAC

M

MU, AGP, AV, D, L

MOLDOVA

SOFAM

M

AGP

BELGIUM

PAM CG

M

MU

MONTENEGRO

AMUS

P

MU

BOSNIA AND HERZEGOVINA

BUMA

M

MU

NETHERLANDS

SQN

M

MU

BOSNIA AND HERZEGOVINA

LIRA

M

AV, D, L

NETHERLANDS

FILMAUTOR

M

AV

BULGARIA

PICTORIGHT

M

AGP

NETHERLANDS

MUSICAUTOR

M

MU

BULGARIA

STEMRA

M

MU

NETHERLANDS

DHFR

P

AV

CROATIA

VEVAM

M

AV

NETHERLANDS

HDS-ZAMP

M

MU

CROATIA

BONO

M

AGP

NORWAY

DILIA

M

AV, L

CZECH REPUBLIC

TONO

M

MU

NORWAY

GESTOR

M

AGP

CZECH REPUBLIC

ZAIKS

M

MU, AGP, D, L

POLAND

OSA

M

MU

CZECH REPUBLIC

ZAPA

M

AV

POLAND

COPY-DAN BILLEDKUNST

M

AGP

DENMARK

SPA

M

MU, AGP, AV, D, L

PORTUGAL

KODA

M

MU

DENMARK

UCMR-ADA

M

MU

ROMANIA

NCB

M

MU

DENMARK

RAO

M

MU, AGP, D

RUSSIAN FEDERATION

EAU

M

MU, AGP, AV, D

ESTONIA

UPRAVIS

P

AGP

RUSSIAN FEDERATION

KOPIOSTO

M

AV

FINLAND

SOKOJ

M

MU

SERBIA

KUVASTO

M

AGP

FINLAND

LITA

M

AGP, AV, D, L

SLOVAKIA

TEOSTO

M

MU

FINLAND

SOZA

M

MU

SLOVAKIA

UFW

A

D, L

FINLAND

SAZAS

M

MU, AV, L

SLOVENIA

ADAGP

M

AGP

FRANCE

ZAMP Association of Slovenia M

L

SLOVENIA

SACD

M

AV, D

FRANCE

DAMA

M

AV

SPAIN

SACEM

M

MU

FRANCE

SGAE

M

MU, AV, D

SPAIN

SACENC

M

MU

FRANCE

VEGAP

M

AGP

SPAIN

SAIF

P

AGP

FRANCE

BUS

M

AGP

SWEDEN

SCAM

M

AGP, AV, L

FRANCE

STIM

M

MU

SWEDEN

SESAM

A

NA

FRANCE

PROLITTERIS

M

AGP, L

SWITZERLAND

SGDL

A

L

FRANCE

SSA

M

AV, D

SWITZERLAND

SNAC

A

NA

FRANCE

SUISA

M

MU

SWITZERLAND

GCA

M

MU, AGP, AV, D, L

GEORGIA

SUISSIMAGE

M

AV

SWITZERLAND

BILD-KUNST

M

AGP, AV

GERMANY

MESAM

M

MU

TURKEY

GEMA

M

MU

GERMANY

AEPI

M

MU

GREECE

SOPE

M

D

GREECE

MSG SETEM AuPO CINEMA

M M P

MU AV AV

TURKEY TURKEY UKRAINE

UFFICIO LEGALE

A

NA

HOLY SEE (VATICAN CITY STATE)

UACRR

M

MU, D

UKRAINE

ARTISJUS

M

MU, AGP, AV, L

HUNGARY

ACS

M

AGP

UNITED KINGDOM

FILMJUS

M

AV

HUNGARY

ALCS

M

AV, L

UNITED KINGDOM

HUNGART

M

AGP

HUNGARY

DACS

M

AGP

UNITED KINGDOM

STEF

M

MU

ICELAND

DIRECTORS UK

M

AV

UNITED KINGDOM

IMRO

M

MU

IRELAND

MCPS

M

MU, AV

UNITED KINGDOM

IVARO

M

AGP

IRELAND

PRS

M

MU

UNITED KINGDOM

SDCSI

P

AV

IRELAND

GAI UZ

P

MU, D

UZBEKISTAN

NB: The information concerning each society’s repertoire is based solely on the collection figures that the society provided to CISAC (I&E tool) NB: Les informations concernant le répertoire de chaque société sont basées uniquement sur les chiffres de perceptions fournis par cette société à la CISAC (outil P&C) NB: La información referente al repertorio de cada sociedad se basa en las cifras de recaudación facilitadas a la CISAC (herramienta I&G)

WHO WE ARE

SERVING AUTHORS WORLDWIDE CISAC, the International Confederation of Societies of Authors and Composers, is the leading worldwide network of collective management organisations. A not-for-profit, non-governmental organisation, CISAC unites 227 authors’ societies and associations in 120 countries.

Through our membership, we represent more than 3 million creators across all artistic repertoires including music, audiovisual, drama, literature and visual arts.

OUR PRESIDENCY JEAN MICHEL JARRE

COMPOSER - PRODUCER / PRESIDENT OF CISAC

This is a crucial moment in history for creators and cultural diversity.

With the increasing digital usage of creative works, the way in which art is consumed is changing fast. In this new digital era, the rights of creators are being eroded every day. I want to use my role as President of CISAC to sound the alarm, to make noise! To protect the future of creation and cultural diversity, creators must sit together with the major Internet players to develop new business models that fairly compensate creators for the use of their works in the digital world.

JAVED AKHTAR SCRIPTWRITER - POET - LYRICIST / VICE PRESIDENT

Authors should not be afraid to demand rules for fair play. Individual

artists are vulnerable against giant companies that hide behind the fig leaf of public good, pressuring governments to allow free access to music and movies while they make billions. Through our authors’ societies and CISAC we are building a unified, global voice to balance these formidable forces.

02 CISAC

ACTIVITY REPORT

ANGÉLIQUE KIDJO SINGER - SONGWRITER / VICE PRESIDENT

As an artist, strong authors’ societies have been crucial to my success. They are the ones that

fight for my rights and make sure I get paid when my music is played anywhere in the world. Unfortunately, many African artists are still not receiving royalties. We need to come together as a global community of creators, speak with one voice and raise all ships.

MARCELO PIÑEYRO FILMMAKER / VICE PRESIDENT

Incredible as it may sound, creators working in the film and television industries

do not always receive royalties for their work. Many writers and directors are forced to sign away their rights and thus receive nothing from the success of their work. These business practices are ingrained and hard to change, but with the power of the CISAC community I believe that we can make a difference.

OUSMANE SOW SCULPTOR / VICE PRESIDENT

The works of creators enrich our world in all senses of the word -

they elevate our human experience and create prosperity for many. But creators cannot live on air alone and their ability to create must be protected.

Creators share their gift with the world, so it is only fair that those who make money from their works share a portion of this wealth with authors.

03 CISAC

Interview

OLIVIER HINNEWINKEL DIRECTOR GENERAL

W

HAT WERE CISAC’S KEY ACHIEVEMENTS OVER THE PAST YEAR? It has been a very busy year for CISAC but the largest single achievement in the year 2013 would have to be our win in the so-called ‘CISAC Case’. This success was critical for the future of collective management organisations worldwide.

04 CISAC

international, regional and national levels to foster a legislative environment that is supportive of authors’ rights.

Two months later, our General Assembly elected Jean Michel Jarre as our new President, together with Angélique Kidjo, Javed Akhtar, Marcelo Piñeyro and Ousmane Sow who serve as Vice Presidents. Each quickly became a strong advocate for our cause and brought the voice of the creator to the world stage.

INTERNALLY, YOU SPEARHEADED A MAJOR RE-ORGANISATION OF CISAC. HOW WILL THIS NEW STRUCTURE INFLUENCE OPERATIONS? We have reorganised our committees to better align them with our mission.

We ensured that all working groups are project-based and we also simplified the flow of information throughout our organisation. As a result, our decisionmaking and project implementation processes have been significantly streamlined. Considering the speed with which the copyright world is changing, our ability to act quickly and decisively is paramount to our success.

In early 2014, we opened our new AsiaPacific regional office in Beijing, signalling a new era of co-operation with China.

We launched a new strategic plan for the development of collective management in Africa and continued to lobby hard at

WHAT IS THE KEY CHALLENGE FACING THE INDUSTRY TODAY? Distribution of creative works is rapidly shifting from physical to digital.

In this new digital era, the exponential consumption of works through digital

services that hardly compensate content creators is coming at the expense of the artist. The single biggest challenge for our cultural and creative industries today is to promote business models that require digital players to fairly remunerate authors for their creative works.

WHAT ARE CISAC’S STRATEGIC PRIORITIES FOR THE COMING YEAR? Obtaining fair remuneration for all creators remains our central objective.

To achieve this, we must establish new links between the creative community and the legislators, governments and institutions that develop policies related to authors’ rights. The campaign to promote the artist’s resale right is another key area of focus.

We will continue to place creators at the forefront of our activities, helping policymakers understand the added value that the creative and cultural industries bring to national economies.

ACTIVITY REPORT

BOARD OF DIRECTORS

3-YEAR TERM, ELECTED BY THE GENERAL ASSEMBLY IN JUNE 2013 Eric BAPTISTE

John LOFRUMENTO

Jochem DONKER

Guillermo OCAMPO

Chairperson

ASCAP

LIRA

SADAIC

United States

Netherlands

Argentina

Marisa GANDELMAN

Urban PAPPI

Sami BENCHEIKH EL HOCINE

Sipho DLAMINI

Vice Chair

BILD-KUNST

ONDA

SAMRO

Germany

Algeria

South Africa

SOCAN Canada

UBC Brazil

Javier GUTIÉRREZ VICÉN

Mike O’NEILL

Robert ASHCROFT

Natalia GARZÓN

Vice Chair

BMI

PRS for Music

SGAE

United States

United Kingdom

Spain

Harald HEKER

Janine LORENTE

Gaetano BLANDINI

VEGAP Spain

Brett COTTLE

APRA

GEMA

Australia

András SZINGER

ARTISJUS Hungary

SACD

SIAE

Germany

France

Italy

Mitsuo SUGAWARA

Jean-Noël TRONC

Karsten DYHRBERG NIELSEN*

JASRAC

SACEM

STIM

Japan

France

Sweden

MARISA GANDELMAN VICE CHAIR BOARD OF DIRECTORS “With a unique vantage point from the centre of a global community, the Board of Directors is committed to facing the deep structural changes that our business is going through today and to maintaining CISAC’s position as a world leader in the protection and promotion of authors’ rights.”

JAVIER GUTIÉRREZ VICÉN VICE CHAIR BOARD OF DIRECTORS “The one who does not defend himself lives unjustly.”

ERIC BAPTISTE CHAIRPERSON BOARD OF DIRECTORS “Rarely before in the history of creators’ rights has it been more important to be united in our stand for what’s fair and just.

CISAC’s world role to fight for the rights of creators and publishers in an ever-gathering storm of technology utopia; asymmetric relationships with giant, deeppocketed, corporate interests; and ever increasing speed of change is crucial.

I am proud to be a part of that challenge, both as the CEO of SOCAN and, now, as Chairperson of the CISAC Board of Directors, as we stand

* Alfons KARABUDA, acting CEO until August 2014; Karsten DYHRBERG NIELSEN, CEO starting August 2014.

on guard for what is fair and just for the creators who drive economies, stimulate national and regional pride, and bolster culture.

Our allied efforts in public policy, communications and sound governance will allow us to create solutions that equally benefit rights holders and users. These are among the most challenging and exciting times in the history of creative rights, and CISAC’s role has never been more integral to a fair future for those who create and those who benefit from their lasting achievements.”

05 CISAC

A NEW STRUCTURE With the goal of continuously improving efficiency across the organisation, CISAC introduced a sweeping reform to its committee structure and operations. Leaner and more proactive, CISAC is better poised than ever to lead the promotion of authors’ rights into the future.

Following a proposal by the Secretariat which was adopted by the Board, CISAC began to roll out a comprehensive structural reform that consolidated its committees and working groups, and re-focussed their mandates. The goal of the reform is to promote better efficiency across CISAC’s bodies and improve internal information flow within the organisation.

The new structure, adopted at the December Board meeting in Madrid, involves the elimination of a number of committees and the consolidation of others into cross-repertoire groups focussed on CISAC’s key areas of interest: governance, public affairs and communications, business and technical support, IT standards and development, and regional work.

This structure includes the following committees: Executive Governance Committee (EGC); Global Policy Committee (GPC), which will co-ordinate the Communications Expert Group that replaces the Communications Committee; Legal Committee (CJL); Internal Audit Committee (IAC); Information Systems Committee (ISC); CIS Supervisory Board (CSB); Business Technical Committee (BTC); Media Technical Committee (MTC); DLV Committee; the Regional Committees; and the International Councils of Creators (CIAM, Writers & Directors Worldwide, and CIAGP). All committees in the new structure report directly to the Board of Directors.

existing committees including the Data Policy and Practice Committee (DPPC); Finance Committee (FC); Governance & Compliance Committee (GCC); World Copyright Summit Advisory Committee (SUMMIT ADCOM); and Communication Committee (CT-COM).

Responding to the fast pace of change in the media and copyright environment, this reform will enhance CISAC’s capacity for quick and decisive action on all issues concerning authors’ rights and collective management.

With this new structure in place, the Board moved to dissolve a number of

THE PEOPLE BEHIND CISAC

General Counsel G. Oron

Director Finance and Governance A. Fortier

Director Informations Systems J. Macarro

Director Communications C. Roy

Director Repertoires and Creators S. Munich

Director General O. Hinnewinkel Regional Director Africa B. Ouattara

06 CISAC

Regional Director Asia-Pacific B. Ng

Regional Director Europe M. Chatalbashev

Regional Director Latin America and the Caribbean S. Schuster

ACTIVITY REPORT

CISAC COMMITTEES As part of CISAC’s structural reform, all committees in the new set-up re-focussed their mandates to better reflect CISAC’s mission.

International Council of Creators of Graphic, Plastic and Photographic Arts (CIAGP) CIAGP serves an advisory role on information, best practices and on the administration of visual authors’ rights.

International Council of Creators of Music (CIAM) CIAM serves an advisory role and also acts independently to broaden the representation of music creators worldwide.

Writers & Directors Worldwide (W&DW) Formerly known as CIADLV, Writers & Directors Worldwide serves an advisory role and is also a worldwide umbrella organisation addressing issues of importance for dramatic, literary and audiovisual authors.

Executive Governance Committee (EGC) The EGC deals with finance, governance and membership matters, and is responsible for developing the Board’s agenda.

Global Policy Committee (GPC) The GPC addresses and makes recommendations to the Board on international legal and political affairs, including lobbying, policy advocacy, and co-operation with other organisations. The GPC co-ordinates the Communications Expert Group.

Communications Expert Group (CEG) The Communications Expert Group advises the Global Policy Committee on communications strategy and projects.

Legal Committee (CJL) The Legal Committee provides a forum for exchange on information, updates, assistance and advice to CISAC’s members and statutory bodies on legal matters.

Business Technical Committee (BTC) The BTC is a cross-repertoire group responsible for creating, implementing and troubleshooting all standards and procedures related to documentation and distribution.

Media Technical Committee (MTC) The MTC is a cross-repertoire group responsible for addressing all issues related to licensing, both online and offline, including mechanical and performance rights.

Information Systems Committee (ISC) The ISC monitors common IT tools including CIS-Net programme definition, development and business implementation.

Dramatic, Literary and Audiovisual Committee (CTDLV) The CTDLV fosters information exchange between societies on administration of rights of DLV works and development of common tools.

OUR STRUCTURE (As of 15 May 2014)

General Assembly Board of Directors Dramatic, Literary and Audiovisual Committee (CTDLV)

International Councils of Creators

Legal Committee (CJL)

Global Policy Committee (GPC)

Communications Expert Group

Executive Governance Committee (EGC)

Internal Audit Committee (IAC)

Technical Committees Business (BTC) Media (MTC)

CIS Supervisory Board (CSB)

Information Systems Committee (ISC)

Regional Committees African Committee Asia-Pacific Committee

CIAM

European Committee

W&DW

Canada/USA Committee

CIAGP

Latin America and Caribbean Committee

07 CISAC

YEAR AT A GLANCE JULY

Creators take a stand against Brazilian law In response to a new bill, CISAC President Jean Michel Jarre and the Vice Presidents sent a letter to the President of Brazil. It expressed their concerns on the proposal and the hasty legislative process, and called for further consultation with creators. This was the first of numerous interventions on the part of CISAC’s President to promote favourable policies for creators.

AUGUST JUNE

The 4th World Creators Summit and a new Presidency The 4th edition of the biennial World Creators Summit, held in Washington, D.C. on June 4/5, attracted 750 delegates from 75 countries, including numerous US government officials and policymakers.

Immediately after the Summit, CISAC’s General Assembly elected French electronic music pioneer Jean Michel Jarre as its new President. He is supported in his mission by four exceptional Vice Presidents representing all creative repertoires: Beninese singer-songwriter Angélique Kidjo; Senegalese sculptor Ousmane Sow; Indian poet, scriptwriter and lyricist Javed Akhtar; and Argentinean filmmaker Marcelo Piñeyro.

08 CISAC

In Panama, CISAC delegation supports SPAC A delegation led by CISAC and signatories of the Memorandum of Understanding (MoU) of Mexico travelled to Panama to support CISAC member SPAC in lobbying and negotiations with local broadcasters, television stations and cable operators.

A follow-up visit was organised in January 2014.

ACTIVITY REPORT

SEPTEMBER

OCTOBER

In Latin America, CISAC and the heads of copyright offices and societies in Bolivia, Colombia, Chile, Ecuador, Paraguay, Peru and Uruguay met in Montevideo to develop an ambitious working plan that will train government officials on CISAC’s Professional Rules and build stronger support for collective management.

In Africa, at its meeting in Malawi, the African Committee adopted a new strategic plan for the development of collective management.

In Europe, CISAC joined with EVA, GESAC and its visual arts members to launch an online petition demanding the universal adoption of the resale right.

The International Council of Dramatic, Literary and Audiovisual Creators voted to rename itself “Writers & Directors Worldwide” as part of a larger transformation intended to bring the creators’ voice to political and public debates on copyright.

Also this month, CISAC’s Director General and Regional Director for Europe embarked on a major mission to Ukraine to lobby for a proper collective management framework that would result in one-stop-shop licensing solutions.

New plans in Africa and Latin America

Introducing Writers & Directors Worldwide

NOVEMBER

On TV in Trinidad and Tobago As part of a delegation of Anglo-American societies and English-speaking Caribbean societies attending the “Fair Value for Music Within the Caribbean” conference in Trinidad and Tobago, CISAC’s Director General teamed up with songwriter Angela Hunte for a series of press events that included a widely-viewed television show.

In Europe, representatives of 15 state supervisory bodies joined nearly 100 society participants for the 10th annual Budapest Seminar for Central and Eastern Europe, which focussed on good governance.

DECEMBER

Resale right campaign gains traction in Geneva The artist’s resale right global campaign kicked into high gear during the WIPO Standing Committee on Copyright (SCCR) when creators, CISAC and EVA representatives, and society CEOs made the case for an international treaty on the right at a special event in Geneva. In Africa, CISAC’s Director General toured Burkina Faso and Ivory Coast to rally support amongst government officials for the development of authors’ societies and a pro-copyright agenda. On 11 December 2013, renowned Senegalese sculptor and CISAC Vice President Ousmane Sow was made Associate Foreign Member of the French Académie des Beaux-Arts.

09 CISAC

YEAR AT A GLANCE JANUARY 2014

CISAC’s new Asia-Pacific regional office opens in Beijing

On 15 January, CISAC opened its new Asia-Pacific regional office in Beijing with a reception.

Nearly 180 guests, including high-level officials, Chinese creators, renowned academics, Asian publishers, diplomats and representatives of nearly all of CISAC’s Asia-Pacific authors’ societies, attended the opening ceremony and subsequent seminar on copyright and collective management.

In his keynote address, CISAC President Jean Michel Jarre thanked the Chinese government for its support, saying, “we are encouraged by the positive collaboration we’ve had thus far and are excited to partner with China as it unlocks the huge potential of its creative economy.” Over 40 journalists from major Chinese and foreign news outlets covered the events.

10 CISAC

ACTIVITY REPORT

FEBRUARY

MIDEM 2014 At MIDEM 2014, CISAC organised a number of panels, events and speeches on the most pressing issues facing creators and their collective management organisations.

The highlight was CISAC President Jean Michel Jarre’s impassioned keynote during which he demanded a fair share for creators in the digital economy.

In Brussels, at a reception organised by the European Commission, visual artist and CIAGP President Hervé Di Rosa signed a document on the management of the resale right on behalf of CISAC. In Geneva, a meeting was held between a CISAC delegation led by Jean Michel Jarre and WIPO’s Director General and senior officials.

MARCH

Commission consultation In response to the European Commission’s public consultation on the review of copyright rules in Europe, CISAC filed its position paper reflecting the common view of its global network of 227 authors’ societies.

The response emphasised the importance of adequate protection and fair remuneration for creators in all artistic fields. CISAC urged the 3 million creators it represents around the world to voice their views by signing an online petition.

APRIL

New role for creators’ councils To boost the voice of creators internationally and secure a position for them in international copyright debates, an observer position at WIPO was successfully secured for CIAM, CIAGP and W&DW. This formal status will allow representatives of the three creators’ councils to participate in the Standing Committee on Copyright sessions and lobby government delegations.

11 CISAC

GLOBAL COLLECTIONS AND TRENDS Gross royalty collections reached a new record high of €7.8 billion, while the digital sector has started to break through.

In January 2014, CISAC published its report on global royalty collections for the year 2012. According to the published figures, worldwide collections rose to a record high of €7.8 billion in 2012, up 2% compared to 2011. This is in line with a decade-long period of steady growth that has seen an overall increase of 27% in global collections since 2003.

With initial indicators pointing to a similar increase in 2013, the outlook for collective licensing of rights is one of moderate growth.

GROWTH IN EMERGING MARKETS In 2012, Europe’s share of total royalties represented nearly 59% of global collections. Asia-Pacific and Latin American authors’ societies registered significant increases in collections.

The Asia-Pacific region accounted for nearly half (46%) of total growth in performance/communications rights in 2012 and, for the first time ever, surpassed USA/Canada to become the number two region for royalty collections. Representing 18.6% of the total income, this growth was driven primarily by gains in collections from television and radio in Australia, Japan, China and Korea.

Latin America had another dynamic year, contributing 27.6% to global growth in performance rights. Here, increased revenues came from a variety of sources including cable and satellite, live music and theatrical rights. CISAC’s regional offices, as well as an international focus on the BRICS markets, will continue to build on this momentum in the coming years.

DIVERSIFYING REVENUE STREAMS A key to securing future growth in royalty collections worldwide is ensuring that all media and uses, whether for live performance, traditional broadcasting or digital streaming, 12 CISAC

are effectively licensed. Although rights collected for digital uses rose by 7% to €301 million in 2012, they still only represent 4% of global collections.

In the coming years, CISAC and its members are dedicated to unlocking the full potential of digital revenue streams for creators by continuing to develop flexible, cross-border licensing solutions. While direct licensing deals have increased in some markets, such as in the USA, collective management remains the most efficient system to ensure that creators receive fair remuneration in the digital age.

Radio and television still represent the predominant source of royalties, although their share dropped from 39% in 2011 to 37% in 2012. Growth in cable and satellite (particularly in the USA and Canada), live music and theatre (especially in Latin America and Europe), and audiovisual rights (Asia-Pacific) largely compensated for the drop.

THE ECONOMIC VALUE OF ROYALTIES CISAC’s 2014 Global Economic Report, titled Sustaining Creativity, revealed important figures demonstrating the royalty market’s vital impact on the greater economy. An analysis of the advertising market, which is a close cousin to the royalty market, reveals that growth in digital distribution of music, films and television programmes is driving new platforms and formats for digital advertising.

Specifically, mobile advertising income reached over €11 billion in 2013, an increase of nearly 60% over 2012.

Online streaming services, on-demand channels, and tablet and mobile applications are also driving up advertising revenues. With people living in ‘the golden age of television’, audiences are flocking to

a diverse array of channels to catch blockbuster TV shows. Underneath all of the technological advances, the single most powerful driver of these services is the quality content they provide.

In 2012, growth in global collections kept pace with the global increase in GDP. In 68 countries, growth in collections actually surpassed growth in GDP, attesting to the positive impact that a strong creative market has on a country’s national economy.

OUTLOOK The cultural and creative industries can expect to thrive as economic growth consolidates, particularly as the growing middle classes in emerging economies see their disposable income rise. However, the explosion of data and microtransactions require real investments in efficient technologies that track royalty collections and manage distribution back to the rights holders.

ACTIVITY REPORT

€7.8

billion

+2%

87%

59%

75%

46%

€301 M

BASED ON 2012 FIGURES

Music accounted for 87% of overall collections (€6.8bn)

Asia-Pacific made up nearly half of global growth in performing rights

CISAC 2013 ACCOUNTS (ALL FIGURES IN €000S)

Total collections

by CISAC member societies

(€4.6bn) of total collections came from Europe

In digital collections, representing 4% of total collections

€6,995

Total income including Member subscription and CIS services invoiced to Members

Growth in total collections year-on-year

(€5.9bn) Collections from performance/ communication rights

2.5%

Forecast increase in global royalty collections in 2013 based on data from 20 of CISAC’s largest member societies

€6,532

Total expenses including operating expenses and provision & depreciation

13 CISAC

WHAT WE DO

14 CISAC

ACTIVITY REPORT

PRESIDENCY LOBBYING ACTIVITIES CISAC’s President Jean Michel Jarre and the organisation’s four Vice Presidents play a leading role in CISAC’s efforts to promote the value of authors’ rights to policymakers and the public.

In June 2013, CISAC’s General Assembly unanimously elected electronic music pioneer and champion of creators’ rights Jean Michel Jarre as CISAC’s President. Together with a quartet of exceptionally talented Vice Presidents including Indian writer Javed Akhtar, Beninese singersongwriter Angélique Kidjo, Argentinian filmmaker Marcelo Piñeyro and Senegalese sculptor Ousmane Sow, Jarre has infused CISAC’s advocacy work with charismatic vitality.

For their part, the Vice Presidents, who together represent all creative genres and regions, support Jarre’s global campaigns and work side-by-side with CISAC’s Secretariat and regional offices on issues pertaining to their specific expertise.

Jarre and the Vice Presidents sent numerous letters to decisionmakers and governments, and helped fight detrimental legislative proposals in Spain, Belgium and Brazil, among others.

Since his election, Jarre has spoken forcefully and passionately about authors’ rights on a variety of occasions including the opening ceremony of CISAC’s new AsiaPacific regional office in Beijing, the Avignon Forum, MIDEM, Brussels, WIPO and others. In China, Jarre not only delivered a keynote speech but also participated in the accompanying seminar on the future of collective management in the Asia-Pacific region. He was interviewed by numerous media outlets on authors’ rights and a special show was recorded and aired on CCTV, China’s major broadcaster. At MIDEM, Jarre called for sustainable business models during a wellattended Q&A session. His pointof-view was relayed in leading international publications, including The Guardian and Libération.

In addition to these events, Jarre made numerous radio and television appearances.

15 CISAC

GLOBAL POLICY AND LEGAL AFFAIRS With the creation of the Global Policy Committee (GPC) and increased focus on lobbying, CISAC is maximising its influence in international, regional and local policymaking.

GADI ORON

General Counsel

INTERNATIONAL INFLUENCE Recognising that the success of collective management relies on the level of protection afforded to creators, CISAC has focussed its lobbying and government relations work on bringing creators’ interests to the fore of the discussion.

CISAC monitors international developments and actively participates in negotiations on new treaties and other copyrightrelated initiatives. Together with fellow rights holder organisations, CISAC lobbied in the context of the Marrakesh Treaty on Exceptions for the Blind to ensure that the first-ever international treaty on copyright exceptions is balanced and does not set an unfavourable precedent.

CISAC also weighed in on other treatyrelated discussions taking place in Geneva and organised meetings with senior WIPO staff in an effort to increase co-operation between the organisations.

In a high level meeting held in February 2014, a CISAC delegation of creators’ representatives led by our President Jean Michel Jarre met with WIPO’s Director General, Francis Gurry, to agree on joint projects and promote increased visibility for creators within WIPO. 16 CISAC

RESALE RIGHT CAMPAIGN Together with EVA, GESAC and visual arts societies, CISAC has been campaigning for universal implementation of the artist’s resale right. Efforts focus on promoting a new international treaty that would remedy existing shortfalls and introduce the resale right as a mandatory element of copyright protection.

In December 2013, CISAC co-organised a well-attended event during the WIPO Standing Committee on Copyright (SCCR), raising the need for such a treaty. Efforts also focus on China, where the right is under consideration in the context of pending amendments to the law.

CISAC also participated in the EU stakeholder dialogue which concluded with the publication of “Key Principles and Recommendations”, a follow-up to the 2001 Resale Right Directive intended to improve its functioning.

STUDIES & STATISTICS CISAC strives to provide policymakers with empirical evidence on the value of authors’ rights and collective management. A study on the potential of the BRICS markets for creators is being finalised and a new study on the economic value of collective management was launched in October 2013 in collaboration with WIPO. CISAC also works to promote exchange of information across its membership.

One such project was a survey of the experiences that audiovisual societies have had with competition law authorities. This study benefitted from the input of many CISAC members and was circulated to all audiovisual societies.

Another project looked at the treatment of musical adaptations, and issues related to the protection and distribution of local versions of foreign songs.

REGIONAL WORK CISAC continues to follow legal and policy developments at the local and regional level, and intervenes when it can make an impact. This past year, we were involved in two key EU processes: the first phase of the Consultation on Copyright Rules, which ended in March 2014, and the new Directive on Collective Management, which deals with the governance of societies and cross-border licensing of digital music. With respect to the Consultation, CISAC built a consensus position among its members of different repertoires and encouraged creators to respond to the questionnaire.

LITIGATION CISAC continued to support creators in India as they fight for their right to be paid royalties by broadcasters in a pending court case. Alliances with fellow rights holder organisations led to statements of support from music publishers (ICMP) and the Worldwide Independent Network (WIN) of record producers, which significantly boosted CISAC’s position in the proceedings. In the USA, CISAC and other rights holder organisations joined forces on an amicus brief submitted to the US Supreme Court in the Aereo case, which deals with the protection of content re-transmitted online.

ACTIVITY REPORT

GOVERNANCE Building trust in our work is essential to fair and efficient remuneration for authors. CISAC demands the highest professional standards from its members through its Professional Rules and Binding Resolutions (Code of Conduct) that provide quantifiable criteria emphasising transparency and efficiency; impeccable service to creators; expedited and fair licensing for users; and accurate, timely distribution of royalties.

These rules guarantee smooth transactions amongst societies, and with commercial content users, publishers and creators. Each year, randomly selected societies are subjected to onsite compliance reviews.

This has two benefits: it provides a guarantee of seamless, accurate licensing, collection and distribution to societies, creators and content users; and builds trust amongst industry partners, policy-makers and the public by clarifying the inner workings of the collective management system.

NEW RULES Each year, CISAC hones its governance measures to ensure that societies are held accountable as well as offered the support they need to achieve excellence in governance.

In June 2013, CISAC’s General Assembly endorsed new governance rules designed to promote: • Greater financial transparency: CISAC members must provide a yearly description of their treatment and management of undistributed and

ANNE FORTIER

Director of Finance and Governance

its random selection process. CISAC will also conduct annual compliance reviews of five societies that have failed to completely report their governance declarations. Independent expert consultants will undertake the reviews for the mid- and large-sized societies to ensure objectivity and allow CISAC’s regional directors to devote time to smaller authors’ societies.

The Binding Resolutions have been extended and adapted to dramatic societies.

unidentified royalties as well as their financial and non-copyright income.

• Stronger corporate governance: A new rule defines the separation of management and supervisory bodies to strengthen societies’ corporate decision processes.

• More efficient technical protocols: Several new binding resolutions for musical societies relate to: debit and credit payment adjustments, unidentified uses, use of the International Repertoire Node for foreign works used in a society’s own territory, attribution of ISWC to works managed by Mechanical Rights Organisations, and insufficient documentation processes.

• More effective compliance reviews: The reformed compliance review process introduces a size criterion into

CISAC’s Professional Rules are very effective in fostering better management and increasing transparency in the operations of authors’ societies.

Compliance with CISAC’s professional standards enables creators to feel confident that the rights entrusted to ZAIKS are managed in a highly

professional way.

MAREK HOJDA, SONGWRITER / VICE PRESIDENT OF BOARD, ZAIKS (POLAND)

In 2010, Sociedad de Autores y Compositores de Mexico (SACM) was audited in depth by CISAC, revealing the efficiency and transparency of its operations, which are fully compliant with CISAC’s Professional Rules.

We totally support CISAC´s initiative to foster best practices in collective management.

We believe that audit results should be published for the legitimate benefit of

the authors and rights holders we represent.

ROBERTO CANTORAL ZUCCHI, DIRECTOR GENERAL, SACM (MEXICO) 17 CISAC

TECHNOLOGICAL LANDSCAPE CISAC is leading a global initiative to streamline the management of rights data through standard identifiers, smart metadata and cross-industry collaboration. is working to determine how it can function for authors’ societies and creators.

JOSÉ MACARRO

Director of Information Systems

INTERNATIONAL STANDARDS ORGANISATION (ISO) • ISWC (International Standard Musical Work Code) With the technical platform in place, contracts are being finalised for ISWC dissemination to select aggregators and online service providers. The use of ISWC by third parties is a major milestone. The ISWC as an ISO standard is also undergoing the regular five-year revision.

• ISNI (International Standard Name Identifier) After extensive legal evaluation of data privacy issues associated with populating the ISNI database with Interested Party Information (IPI) data, CISAC decided to halt the matching process. Societies remain free to decide on an individual basis whether they wish to continue to populate ISNI with IPI data or not. CISAC nevertheless continues to support this valuable identifier and 18 CISAC

• ISAN (International Standard Audiovisual Number) With nearly 913,000 ISAN attributed, ISAN is a useful identifier for streamlining the data processes linked to audiovisual content.

It is currently being linked to the International Documentation on Audiovisual works (IDA) database, which now contains more than one million registered AV works.

• Interoperability between ISAN and the Entertainment Identification Registry (EIDR) EIDR, an implementation of the Digital Object Identifier (DOI) standard widely used in the USA, and ISAN are collaborating to achieve a good level of interoperability. In November 2013, supporting a formal collaboration between the two systems, the European Union issued a declaration recommending “the systematic registration of all newly produced audiovisual works” as well as “interoperability”.

AV INDEX Publishers and societies have been working together to improve the functionality of the AV Index, a reference database of cue sheets (lists of musical works used in audiovisual productions), by linking translated titles to original titles.

IDENTIFIER STUDY In March 2014, CISAC launched a study of the identifiers landscape.

After collecting details on how the standard identifiers work within the context of both societies and third parties, CISAC technology experts

will perform a gap analysis of actual use compared to original goals.

Publication is anticipated in the summer of 2014.

LINKED CONTENT COALITION (LCC) CISAC will likely join the Linked Content Coalition (LCC), a UK-based consortium dedicated to demonstrating a crossindustry infrastructure incorporating all identifiers, common formats, and protocols related to copyright management in the creative industries.

The LCC’s Rights Reference Model (RRM) maps out a comprehensive Digital Identifier Network for rights data using pre-existing standards and tools.

The LCC is now testing existing standards and protocols for a functional model that prioritises interoperability and data capture.

We at BMAT are very proud of being the first entity that has committed to receiving and using the ISWC standard in its reports to CISAC societies. This is a great achievement for all of us, and for the creators and

our clients in particular. ÀLEX LOSCOS, BMAT CEO

ACTIVITY REPORT

COMMUNICATIONS STRATEGY CISAC’s newly defined communications strategy revolves around three objectives: establish CISAC as the go-to resource for information on authors’ rights, increase the visibility of the CISAC brand internationally, and raise the voice of the creators globally.

CÉCILE ROY

RE-BRANDING Responding to the dominance of digital communications today, CISAC carried out a complete overhaul of its brand identity.

By using the same emblematic red colour and font style, CISAC retained a link to its heritage whilst optimising the logotype for digital use. The new identity came complete with a new set of document templates and graphic standard guidelines.

CONGRUOUS COMMUNICATIONS In October 2013, a standard overview presentation was created that can be used across the organisation to congruously convey its mission, objectives and key messages.

In November 2013, CISAC launched NewsLine, a new quarterly e-newsletter.

Every quarter, NewsLine updates members on CISAC’s activities worldwide as well as on key industry trends.

In January 2014, CISAC released a short, dynamic video called Who we are, what we do, what we stand for that presents its core activities and values.

EXPERT POSITION CISAC’s two annual publications, the Global Collections Report and Activity Report have been completely re-designed.

The 2014 Global Collections report, released in January under the title Sustaining Creativity, provides a detailed analysis of CISAC member societies’ collections.

The 2014 Activity Report was re-vamped to highlight the voice of creators. It includes many quotes from renowned authors from around the world

speaking in favour of authors’ rights and fair remuneration.

CREATORS AT THE FORE In the USA, around 40 creators took to the stage at the 2013 edition of the World Creators Summit (WCS), which attracted 750 delegates from 75 countries, including numerous US government officials and policymakers. It also yielded a great deal of press.

In China, Jean Michel Jarre was a featured speaker at the opening ceremony of our new Asia-Pacific regional office, which was attended by 180 guests, including government officials, IP office representatives, Chinese creators, academics, publishers, diplomats and delegates from nearly all Asian authors’ societies. A major step forward in the relationship between creators and China, this event was widely covered in major Chinese and foreign news outlets, including China’s national newspaper, The People’s Daily, and the nation’s largest national broadcasting network, China Central Television (CCTV), with a viewership of over one billion.

Director of Communications

In France, CISAC had a strong presence at MIDEM 2014, the global music industry event that drew more than 6000 participants and 185 journalists from around the world. In a keynote address, Jarre urged his fellow creators to “make noise!” and stated unequivocally that, “right now, we are definitely not getting a fair share in the digital market”, a message that was subsequently repeated in media reports across the globe.

PROACTIVE MEDIA RELATIONS Beyond these major international events, CISAC is leveraging each executive visit or presidential speaking opportunity into positive media coverage.

So far, Jarre’s interventions have earned features in numerous news outlets including The Guardian, Libération and CCTV. Director General Olivier Hinnewinkel’s tours to the Caribbean and to Burkina Faso and Ivory Coast also produced a great deal of positive TV, radio and press coverage on CISAC, collective management and authors’ rights.

19 CISAC

REGIONAL OVERVIEW AFRICA

W

ith a new strategic plan adopted in September 2013, CISAC’s 32 African societies are focussed on generating more royalties for African creators.

In 2012, public performance royalty collections by African societies rose by 10.5% yet still only represent 0.6% of global collections worldwide. The strategic plan focusses on building the internal capacity of societies, improving legislation and driving public support for authors’ rights.

CAPACITY BUILDING Africa is suffering from a lack of expertise in collective management.

To help professionals better manage collective management organisations, CISAC’s Regional Office in Burkina Faso has created training materials, such as technical guides on documentation, licensing and distribution to be delivered to all African societies in 2014.

CISAC and the African Committee also created a sponsorship program that pairs established societies with developing ones to facilitate the transmission of knowledge, techniques and tools. In 2013, technical sponsoring plans for CMC (Cameroon), BUMDA (Mali) and UPRS (Uganda) were drawn up by ONDA (Algeria), BSDA (Senegal) and SAMRO (South Africa), respectively.

Other partnerships will address financial and digital rights management.

The programme strengthens the skills of individual authors’ societies while building solidarity across the region.

CISAC has also proposed the creation of an International Training Centre for Collective Management in Burkina Faso.

The proposal was met with enthusiasm

by Burkinabe officials and is planned to open within the next two years.

CISAC is also working with societies on private copying, the development of new societies in underserved territories such as Ghana and the construction of a pan-African information database.

PUBLIC & POLITICAL ADVOCACY Authors’ rights generally receive little attention from policymakers and the public. To rally support for new initiatives, CISAC’s Director General Olivier Hinnewinkel met with several high-level government officials in December 2013 in Burkina Faso and Ivory Coast. The meetings enabled CISAC to garner support for the aforementioned International Training Centre.

Other initiatives include the creation of an Authors’ Rights Day (a full day of instruction on authors’ rights and collective management for all secondary school and university students), an open house event at CISAC member BBDA, and a campaign to put authors’ rights on the agenda of the African Union’s Executive

I appreciate CISAC’s efforts to strengthen the protection of authors’ rights and collective management organisations.

I urge it to lend more support to Africa in order to make collective management across the continent

a reality and an instrument of development.

BABA HAMA, MINISTER OF CULTURE AND TOURISM, BURKINA FASO 20 CISAC

BALAMINE OUATTARA

Regional Director-Africa

Council in 2015. Hinnewinkel participated in numerous television and radio broadcasts during the trip.

The African Regional Office carried out an analysis of 40 laws in 40 countries as a first step toward creating action plans to effect legislative changes in key markets across the region.

CISAC is preparing specific guides on copyright and collective management for national policymakers, creators and users.

PACSA, the Pan-African Composer and Songwriters Alliance, renewed its commitment to advocacy work and elected a new Chair, Cameroonian songwriter Sam M’bende.

ACTIVITY REPORT

REGIONAL OVERVIEW ASIA-PACIFIC

W

ith major increases in revenue from radio and television in several key markets, the AsiaPacific region made up nearly half (46%) of global growth in performing rights in 2012. Meanwhile, China is beginning to unlock its enormous potential as a licensing market.

WIN, the international organisation of independent record labels, and ICMP, the international music publishers’ organisation. To increase pressure on India, CISAC and GESAC jointly approached the European Commission’s DG Trade and DG Internal Market to seek their support.

A NEW ASIA-PACIFIC REGIONAL OFFICE IN BEIJING In 2013, CISAC worked on gaining support from the Chinese government and copyright industry stakeholders to set up a new regional office in Beijing.

The Beijing office was proposed during a discussion in June between CISAC and the National Copyright Administration of China (NCAC) on the pending copyright law revision.

DEVELOPMENT WORK The Asia-Pacific regional office also worked with individual societies to improve operations and boost collections. It benefits from good relationships with the copyright policy authorities in various Asian countries, and sought support from the European Commission and US government to ensure that legislative and policy developments in Asia-Pacific are in the interest of the creators.

With the support of Chinese authorities, the new Asia-Pacific regional office opened in January 2014. The ceremony was attended by over 180 guests, including high-level Chinese officials, IP office representatives, creators, academics, publishers, diplomats and nearly all Asia-Pacific member societies.

A well-attended seminar on copyright and collective management took place the following day. Both events generated tremendous media coverage in Chinese and international media.

In addition to Professional Rules compliance reviews, the regional office supported licensing negotiations in Macau and Indonesia. It assisted FILSCAP’s application to the Intellectual Property Office of the Philippines to become the first accredited copyright CMO in the country. It continued to help get new societies off the ground in Japan (visual arts society JASPAR) and Indonesia (WAMI), and it offered legal assistance and mediation in the

BENJAMIN MING SHU NG

Regional Director-Asia-Pacific

litigations against Thai broadcaster True Visions and Macau casino City of Dreams. CISAC is also trying to work with FILVADRO, the Philippines-based visual arts society, to promote the resale right in the Philippines.

A new mentorship program pairs established societies with developing ones to share knowledge and tools on collective management, as well as best practices. Initial “teams” include FILSCAP (Philippines) mentored

by COMPASS (Singapore) and WAMI (Indonesia) mentored by MACP (Malaysia).

CISAC continues to ensure that authors’ rights are respected in the amendments to the law, including a functional framework for collective management and the implementation of the artist’s resale right. A meeting between CISAC, CIAM and the Chinese Federation of Literary and Art Circles (CFLAC) was an important first step in mobilising Chinese creators at the international level.

ACTION IN INDIA India is another key legislative battleground. An appeal pending before the Supreme Court seeks to reverse a decision that denies authors the ability to collect royalties from broadcasters. CISAC’s expert opinions obtained statements of support from

We are grateful that MACA has recently granted its first casino licence. It could not have happened

without the great support of CISAC. UNG KUOC IANG, CHAIRMAN OF THE MACAU ASSOCIATION OF COMPOSERS AUTHORS & PUBLISHERS (MACA) 21 CISAC

REGIONAL OVERVIEW EUROPE took place in November 2013. It was attended by 100 member society delegates and, for the first time, by 15 representatives of government supervisory bodies. A CISAC delegation highlighted the need for good governance and vocalised its support for the accreditation system in Russia during an IP Week conference.

The CISAC governance model also figured on the agenda of the joint WIPO/CISAC seminar in Armenia.

MITKO CHATALBASHEV

Regional Director-Europe

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epresenting nearly 60% of global royalty collections, Europe comprises close to 100 societies in all repertoires from Iceland to Kazakhstan.

This year, CISAC’s Regional Office in Budapest has focussed on helping societies across Europe comply with CISAC’s Professional Rules through a combination of on-site compliance visits, a region-wide seminar on good governance and targeted lobbying actions.

A PRIORITY: GOVERNANCE Since CISAC’s Professional Rules were enacted in 2009, 34 European societies across all creative genres have been selected for compliance reviews, more than in any other CISAC region. The majority of societies have demonstrated high levels of corporate governance, transparency and technical compliance with respect to their development level.

Nevertheless, two European societies, ALBAUTOR in Albania and SADH in Greece, which did not meet CISAC’s strict governance standards, were expelled for one year, and another society, TEATERAUTOR in Bulgaria, was expelled permanently.

Considering the significant challenges faced by societies in the volatile region of Central and Eastern Europe, CISAC’s regional office concentrated its educational and lobbying activities on professional standards. “Good governance” was the theme of the 10th Annual Budapest Seminar, which 22 CISAC

TARGETED ADVOCACY AND LEGAL SUPPORT In the legislative arena, CISAC supported local societies and lobbied lawmakers in Bulgaria, Georgia, Russia, Serbia, Slovenia, Turkey and Turkmenistan to obtain the legislative frameworks necessary for efficient collective management structures.

In Serbia, a resolution issued by CISAC’s European Committee combined with direct talks with lawmakers facilitated a revision of the Serbian Copyright Law, which had recently been amended to the detriment of creators. A CISAC delegation visited Bulgaria in April 2013 to highlight concerns over proposed amendments to the copyright law and to support local societies in their fight to get certain telecom users to pay royalties.

In October, a CISAC delegation traveled to Ukraine to lobby for a proper collective management framework that would result in one-stop-shop licensing solutions.

This mission was extremely important as there are currently 14 registered CMOs operating in Ukraine, many of whom do not have the capacity to effectively administer rights. Thus, CISAC’s member UACRR has been working hard to strengthen its business capacity. CISAC supported its efforts by meeting with the Chairman of the State IP Service of Ukraine and with local music publishers.

CISAC’s Regional Director also met with new AV society CINEMA to discuss future co-operation and assistance.

Finally, CISAC (together with BIEM and GESAC) continued its lobbying efforts to improve copyright laws in Turkey, under the IP Dialogue between the EU Commis-

sion and the Turkish Government.

The Regional Office closely monitored the implementation of the agreement between CISAC members MESAM and MSG, calling for more efficient and transparent collective management in Turkey.

We very much appreciate the active role CISAC is playing in promoting international best practices in copyright in the Russian Federation.

We have witnessed with satisfaction how beneficial CISAC membership is for Russian CMOs – RAO and UPRAVIS. We hope CISAC will further collaborate with us in other creative sectors. I was also very pleased with my participation in the excellent seminar on good governance organised in Budapest in November 2013. There is hardly anyone better placed than CISAC to promote and implement high professional standards in collective management

of rights.

GRIGORY IVLIEV, DEPUTY MINISTER OF CULTURE, RUSSIAN FEDERATION

ACTIVITY REPORT

REGIONAL OVERVIEW LATIN AMERICA AND THE CARIBBEAN

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It held many press events including a widely viewed television interview of CISAC’s Director General Olivier Hinnewinkel, together with Ms. Hunte.

oyalty collections in Latin America and the Caribbean have been soaring over the past three years with the region’s 47 societies making up over a quarter of global growth in performing rights. CISAC’s dynamic strategy in the region focusses on best practices, international co-operation, audiovisual and visual arts rights, and other targeted actions.

BEST PRACTICES Through the 17 Professional Rules compliance visits carried out by CISAC’s Regional Office for Latin America and the Caribbean since 2010, CISAC is building excellence in governance amongst its members and fostering best practices across operations.

PARTNERSHIPS & CO-OPERATION Linking key allies drives many of CISAC’s Latin American activities.

In 2013, CISAC, under the leadership of CLC’s Chairman Alexis Buenseñor, and the heads of Copyright Offices and societies in Bolivia, Colombia, Chile, Ecuador, Paraguay, Peru and Uruguay (also known as ‘the Montevideo Group’) agreed to an ambitious working plan to train government officials on CISAC’s Professional Rules, build strong support for collective management and assist smaller authors’ societies.

SANTIAGO SCHUSTER

Regional Director-Latin America and the Caribbean This is the latest in a series of co-operation agreements in the region.

In 2012, Anglo-American societies and English-speaking Caribbean societies signed the Memorandum of Understanding (MoU) of St. Lucia, a three-year business plan that targets technical solutions, financial control, negotiations and lobbying.

In November 2013, CISAC and the St. Lucia societies gathered in Trinidad & Tobago, together with Grammy-winning songwriter Angela Hunte. The delegation participated in the “Fair Value for Music Within the Caribbean” conference organised by Trinidadian society COTT.

A Copyright Office can do its job better if it can join forces with organisations that share our primary task of promoting authors’ rights. That is what we are doing in Latin America with CISAC, particularly in Paraguay, and we hope

to deepen these bonds.

CARLOS GONZÁLEZ RUFFINELLI, DIRECTOR GENERAL OF AUTHORS’ RIGHTS, NATIONAL DIRECTORATE OF INTELLECTUAL PROPERTY, ASUNCIÓN, PARAGUAY

In April 2013, a similar co-operation plan was signed as the result of the MoU of Mexico between six Central American societies, and seven sponsoring societies from Argentina, Mexico, Spain, USA and UK. With visits to Panama in August 2013 and January 2014, the group supported SPAC in its negotiations with local broadcasters, television stations and cable operators.

Societies also joined forces with publishers to address common technical issues via the CISAC LATAM-ICMP Task Force.

This collaboration, supported by CISAC’s regional office, led to a digital onestop-shop, for which LATINAUTOR was designated intermediary negotiator.

AUDIOVISUAL & VISUAL ARTS CISAC is also expanding the reach of collective management of rights to other artistic genres.

Together with European and Latin American audiovisual societies, Vice President and filmmaker Marcelo Piñeyro, and Writers & Directors Worldwide, CISAC launched a regional action plan to promote AV rights and worked to open DASC, a new society in Colombia, sponsored by DAC-Argentina.

In visual arts, the regional office helped link to OLA, Europe’s visual arts online licensing hub, which welcomed the integration of Latin American societies.

SUPPORT TO SOCIETIES In addition to an international mobilisation led by Jean Michel Jarre to address the legislative crisis in Brazil, CISAC’s Regional Director for Latin America and the Caribbean met with officials in the Dominican Republic, Colombia, Ecuador, Bolivia and Peru, and nearly all other countries in the region to advocate for authors’ rights in policy proposals.

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WITH OUR AUTHORS

024 CISAC

ACTIVITY REPORT

VOICE OF THE CREATORS

25 CISAC

CREATORS’ COUNCILS UPDATE

CIAM

LORENZO FERRERO, COMPOSER/CHAIR

WRITERS & DIRECTORS WORLDWIDE YVES NILLY, SCREENWRITER/CHAIR

The idea behind fair remuneration is not that we are demanding a set ‘dream’ sum that will destroy the entire distribution system. Of course, we don’t want that! We want people to enjoy our creative works. Our stance is about building a sustainable model that strikes a balance that does not yet exist.

CIAM, the International Council of Music Creators, has been taking on an increasingly influential role as the umbrella organisation for a network of continental alliances that are involved in local copyright debates and developments. Since some of its members participated in the creation of ECSA, CIAM has supported the establishment of PACSA in Africa, ALCAM in Latin America and MCNA in North America. In January 2014, CIAM Chair Lorenzo Ferrero had a successful meeting with the China Federation of Literary and Art Circles (CFLAC), a nonprofit group of Chinese creators. CIAM’s goal is to establish an alliance for Asia-Pacific next year.

In 2013, CIAM met with Ecuador’s Minister of Culture and successfully campaigned to improve the new copyright law. In April, it held a press conference to raise its concerns over draft legislation that would be detrimental to authors in Costa Rica.

The press conference was attended by important Costa Rican creators and members of Parliament. CIAM also met with Peruvian copyright authorities, fully supported the European Trade Ministers Council’s decision to preserve the so-called ‘cultural exception’, campaigned to uphold private copying in Italy, and opposed legislative changes in several countries including Brazil and Spain.

In June, CIAM launched Fair Trade Music, a powerful project aimed at ensuring high standards of transparency and fair compensation for music creators. The project aims to raise the public’s awareness of how the money flows when people purchase music, particularly digital formats. It calls for a ‘certification’ that would inform consumers whether a given player in the music industry adheres to those standards.

Finally, CIAM is carrying out an in-depth survey of moral and constitutional rights of creators around the world. MCNA is also conducting an economic study, in the context of the Fair Trade Music project, on the digital music market.

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As creators, we want to be able to write new works and make our next films, and for people around the world to see them.

We also want other creators in other countries to be able to do the same. We have to unite as many creative voices as possible so that we speak for the diverse community of artists we represent.

Representing a major shift in focus from a discussion forum to an action-driven advocacy group, the council dedicated to dramatic, literary and audiovisual creators (formerly known as CIADLV) adopted a new name, Writers & Directors Worldwide, in October 2013.

This new name aptly reflects the working group’s objective, which is to guarantee fair remuneration for all writers and directors across the globe.

Writers & Directors Worldwide has been very active in Latin America, following a new law in Argentina that recognised the moral and economic rights of directors. Together with CISAC’s Regional Office for Latin American and the Caribbean, Writers & Directors Worldwide and the newly created ADAL (Latin American Audiovisual Directors Alliance) contributed to the development of a regional action plan that promotes audiovisual rights in the region.

As a first accomplishment, DASC, a new AV society, was established in Colombia. Writers & Directors Worldwide will continue to help strengthen AV rights in all countries across the region, beginning with Panama, Chile and Peru.

Writers & Directors Worldwide is also calling for a new AV society in India, where screenwriters were just recognised as rights holders in a positive new law, and for the creation of a regional alliance in Africa.

ACTIVITY REPORT

CREATORS AND CREATIVE ECONOMY

CIAGP

HERVÉ DI ROSA, VISUAL ARTIST/CHAIR

The role of authors’ societies is not only to look after our financial interests, but also to protect our images and creations. We cannot leave moral rights out of the equation. The resale right not only enables us to benefit financially from the increased value of our work, but it also preserves an essential bond between artists and their creative works after the initial sale.

In 2013, CISAC’s visual arts council mostly focussed on the artist’s resale right. As part of a multi-pronged, global campaign that involves CISAC’s Presidency, its partners and all of its visual art member societies, CIAGP has advocated to make the resale right compulsory under the Berne Convention. In March 2013, following CIAGP’s resolution that called on the EU and WIPO to support a new international treaty on the resale right, a campaign and a petition were launched, which has so far gathered 15,000 signatures. The council also helped create an informational booklet on the right, organised panel discussions with creators and society representatives during the WIPO Standing Committee on Copyright and Related Rights (SCCR) in December 2013 and March 2014, and supported targeted lobbying actions in the USA, China and Brussels. The resale right campaign has been successful, with resale right legislation now being considered in the US and China.

In February 2014, European stakeholders, including CISAC, signed an agreement (“Key Principles and Recommendations on the management of the Author Resale Right”) overseen by the European Commission to improve and harmonise the resale right within the European Union. CIAGP Chair Hervé Di Rosa represented CISAC at the signing ceremony with EU Commissioner Michel Barnier in Brussels. CIAGP also helped facilitate the licensing of works online through its Bank of Images project called IMAGES+RIGHTS and through the expansion of the visual arts licensing hub OLA (OnLineArt), which has become a leading international tool for managing the on-demand rights of visual art works.

REPERTOIRES AND CREATORS RELATIONS

SILVINA MUNICH, CISAC DIRECTOR OF REPERTOIRES & CREATORS RELATIONS

We are extremely grateful to our amazing core of creator advocates.

Their tireless efforts and selfless dedication have an enormous impact on our international campaigns that aim to ensure that all of CISAC’s 3 million creators benefit from the recognition of their rights and obtain fair remuneration for uses of their works.

Undertaken in addition to their creative work, their contribution to CISAC’s activities are invaluable.

The words of creators, expressed by the creators themselves, are the most powerful weapon in the fight for their rights. CISAC’s main task is therefore not to speak for the authors, but to create platforms where their voices can be heard to inform citizens about the reality of the creative process, the importance of fair remuneration for all authors, and the economic value of creative works.

Through its President and Vice Presidents, the international creators’ councils, and numerous international initiatives, CISAC is placing creators at the fore of its activities.

27 CISAC

BAZ LUHRMANN FILM DIRECTOR AUSTRALIA

Authors’ rights are really about respect. If one builds a house, at the very least, you would expect a knock on the door if someone wanted to stay.

ANGELA HUNTE SONGWRITER - TRINIDAD/TOBAGO & USA DIEGO DREXLER COMPOSER-BASSIST - URUGUAY

I compose songs and the fruit of these songs is how I make a living to support my family. These songs, which I have spent my life creating, are the only legacy that I am sure to be able to leave to my children. For me, that is why authors’ rights are so important.

Creators are real people with real lives. We give our souls to the creative process every day. We do what we love and love what we do, but we must be protected or the creative process will cease to exist.

MONNÉ BOU VISUAL ARTIST IVORY COAST

Authors’ rights are the salary of the creator. As a member of BURIDA’s Board, I have fought for laws that allow for effective management of artists’ rights. As visual artists, we cannot individually collect our royalties. The law on literary and artistic property must be adapted so that authors’ societies can manage rights for all creators.

Otherwise, if things stay the same, entire sectors will say that it’s something only for musicians.

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ACTIVITY REPORT

KAZUHIKO FUKUOJI PAINTER - JAPAN

As a director of JASPAR and as an artist, I am wishing many more successful years for JASPAR that will lead to a firmer protection of both the rights and the ‘hearts’ of fine artists.

I urge Japan to prolong the protection period from 50 to 70 years and introduce the resale right without further delay to bring it in line with international standards. I believe that CISAC’s support in these matters is essential.

ANTÓN PATIÑO PAINTER - SPAIN

Protect, invent, transmit: the future of culture depends on authors’ rights.

ANDRÉS WOOD FILM DIRECTOR, SCREENWRITER, PRODUCER - CHILE

The protection of authors and the respect of their rights are the foundation for preserving creative freedom, which also translates to the respect and protection of audiences.

SUPER8 & TAB COMPOSERS, PRODUCERS, DJS - FINLAND

Being a musician and DJ is mostly about creativity, but being a professional musician means there’s a business side as well. Therefore it’s essential to have someone looking after our rights.

Furthermore, our local authors’ society in Finland, TEOSTO, has the capability to distribute the revenue directly to the writers of songs we play at our DJ gigs.

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ANDRZEJ WAJDA FILM DIRECTOR - POLAND

The need to respect copyright results from the need to give authors a minimum of independence and creative freedom. By his very nature, there is no one more dependent than a film director. He depends on the people with whom he makes the film. He depends on the people for whom he makes the film. Not only the audience, but also on those who make the film possible.

SÔNIA MENNA BARRETO VISUAL ARTIST - BRAZIL

RICHARD BONA SONGWRITER - CAMEROON

For me, authors’ rights are an imperative for finding balance in my creative activity. It is thus important to use all means necessary to ensure their protection and survival.

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The laws of society play a crucial role in the protection of authors’ rights.

Something that I believe is very important to remember – and that is not well known amongst art consumers – is that the author holds the exclusive right of reproduction for his works. My work is the result of much research and knowledge I’ve accumulated throughout my career, plus a lot of labour.

Beyond creating physical beauty, these activities make it possible for an artist to be a unique individual, with each object imbued with our personalities. This has to be respected, and, for the artist whose life is focussed on the creation of his art, having laws to preserve those rights is basic for his peace of mind.

ACTIVITY REPORT

AGNIESZKA HOLLAND FILM/TV DIRECTOR - POLAND

Copyright ensures the existence of authors. Creativity has associated rights, which must be protected. I support modern technology, thanks to which we can reach an ever-growing number of people, but without respecting copyright, there will be no opportunity for cultural growth, whether local, European or the world at large.

IDAN RAICHEL COMPOSER - ISRAEL

My work is an emotion that travels thousands of miles to become a meeting point between cultures and is in constant search of peace between nations. Knowing that my rights are protected all over the world allows me to do what I love: music.

TAHIROU TASSERE OUEDRAOGO FILM DIRECTOR, SCREENWRITER, PRODUCER - BURKINA FASO

When I receive remuneration as a right holder, I immediately invest these proceeds in another work.

It is recognition of my work as a creator. As a member of BBDA, I am proud that this society succeeds in distributing royalties because in Africa works are often used without the creators being remunerated.

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JACQUES STENKA VISUAL ARTIST - IVORY COAST

For us painters, resale right becomes very important when we become famous. Without this right, the creator is nothing! My paintings are scattered across the world and when these paintings are resold, I receive nothing. Is there any artist who is able to travel around demanding his royalties? For this, I think that collective management is a good thing.

LEI LEI COMPOSER, MEMBER OF THE STANDING COMMITTEE OF CPPCC, VICE CHAIR OF MCSC - CHINA

Collective management of copyright establishes a bridge between creators and users, making communication and co-operation possible. It protects the music creators’ ability to receive the remuneration that we deserve in the most efficient and cost effective manner possible. It also helps us to earn the public’s respect.

SEUNG O LEE CERAMIC ARTIST - SOUTH KOREA

Artists’ copyright can be easily neglected without continuing interest and support, but collective management helps me to protect my own rights without major difficulty and it also enables me to concentrate more on my works. Furthermore, for an artist, it is satisfying to know that artists everywhere can be treated fairly through worldwide management.

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lll Photos and Credits : Direction de la Communication/CISAC : Á. García/Delpozo films, A. Midoriko, A. Sadurskas, ABRAMUS/D. Gurgel, Achat d’art, ADAGP/C. Ramonbordes, ADAGP/J. C. Breton, ASDACS, B. Azmi, B. de Lima, B. Soulé/Roger-Viollet, Best images, C. A. Nikiema/Paparassi, C. Patiño, C. Toffolo /SABAM for Culture, CISAC, COSOMA, COTT/K. Ramoo, DACS/B. Benson, D. Kouame, D. Swartz, Desjardins Image & Co, Directors UK/The Philm Company, E. Díaz, E. Pueyo, E. Rafaeli, European Commission, G. A. Nikiema/Paparassi, H. Pietkiewicz, J. Quaile, Jan Jenmark, K. Poryzała/HBO, L. Faraig, Lei Lei, M. Menna Barreto, Ministry of Culture of the Russian Federation (MCRF), N. Elderkin, P. Demarchelier, P. Swartz, PAPARASSI, R. Bona/B. Richard, S. de Bourgies, SABAM/ WPG, SACD, SACM, Saulo Jaramillo, SCAM/M. Raffard, Seung-O-Lee/SACK, Shi Xiaoguang, State Intellectual Property Service of Ukraine (SIPS), Su Dan, Ung Kuoc Iang, V. Vallhonrat, Wang Qingqin, WIPO, Wood family, YG Entertainment, ZAIKS. lll Conception et réalisation : 01 55 76 11 11 lll 12623 • Juin 2014. lll Special thanks to Aéro Productions, Cecil Offley, Hélène Caruyer, Paz Juan Gutiérrez, Amanda MacBlane and Marco Foley/652 South.

CISAC

Confédération Internationale des Sociétés d’Auteurs et Compositeurs France • Burkina Faso • Chile • China • Hungary www.cisac.org