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Eurojar Feature - The Euromed Audiovisual programme enters its third phase
11-12-2009
On 23, 24 and 25 November 2009, the European Union organized a Euromed Audiovisual Programme workshop in Brussels on the progress of the programme’s legal database as well as on the safeguard of the cultural diversity in the Euro-Mediterranean region. Main discussion topics are detailed in this report.
Nour Eddine Al-Faridi - Brussels, Al-Hayat
Experts from the audiovisual sector insisted on the value of the “legal database” which impacts positively the development of the audiovisual Euromed market. During a workshop which brought together representatives of audiovisual national authorities from 9 Euro-Mediterranean countries (Algeria, Egypt, Jordan, Israel, Lebanon, Morocco, Palestinian Authority, Syria and Tunisia) and the European Commission on 23, 24 and 25 November 2009 in Brussels, legal expert to the Euromed Audiovisual programme Michel Gyory stressed on the importance of this meeting, as it preceded the launch of the Euromed Audiovisual programme - third phase. Gyory also underlined the vital importance of the legal database, whereas each of the partner countries has made a huge effort to facilitate creating legal information. And this proves the existence of a political will to stimulate the development of the cinematographic industry and to protect intellectual rights. According to Michel Gyory, all Mediterranean countries are endeavoring to reinforce the protection of intellectual property, to adapt and translate concerned laws and instruments related to these rights.
In an interview with “Al-Hayat”, Euromed Audiovisual II Programme Manager Chrystelle Lucas said that the Europen Union is putting the final touch on the third phase of the Euromed Audiovisual programme. Scheduled to be implemented at the beginning of 2010, the third phase will constitute a continuation of initiatives and networks implemented during the first two phases, both in the private and public sectors.
Cultural diversity
In view of the debate between participating experts, the Euromed countries seem to be intensifying their efforts to develop their legislation in order to meet the needs of Euro-Mediterranean professionals and audiovisual industries. Lucas affirms that the European Commission will go on supporting initiatives that aim at developing the audiovisual sector. In addition, discussions were about information technology and the necessity of updating professionals’ qualifications, so they could eventually depend on themselves. According to Lucas, the second phase of the programme allowed building an audiovisual common space between the two shores of the Mediterranean, and developing cultural exchanges in the Euromed region. The European Commission’s aim is to enhance dialogue between partner countries on one hand, and between Southern and Northern Mediterranean countries on another hand. The EC provided producers and distributors with training and support,. Funding could cover training for script writers but also for producers, and that way, the EC would be supporting cultural and cinematographic activities, as well as film distribution market on a regional level, in film festivals, in Cannes, Berlin, Cairo, etc. The help provided by the EC has not intended to replace private sector initiatives. Chrystelle Lucas ensured that the European Union is promoting and providing support for production works which reflect cultural diversity by putting together partners from several parts of the Euro-Mediterranean region as well as from other regions.
For his part, Michel Gyory said that the modernization of laws on piracy does not attract great attention, though it constitutes a solid basis for the protection of intellectual rights. Thereby, all Euromed Audiovisual programme activities are effectively helping enhance cultural dialogue and mutual understanding between people. According to Michel Gyory, the Euromed Audiovisual legal database includes the integral texts of each law in force in the field of cinema and authors’ rights in the countries participating to the program, which are made available on the Internet both in French and English languages. These texts are also classified by concepts (around 500 concepts), through an index which enables to search for audiovisual works and their legal status, national & international legal provisions and European instruments (directives and regulations) related to each copyright concept in the field of audiovisual works. Experts are also planning on updating the database content on a regular basis and complete it by jurisprudence, official comments and doctrine articles. However, the legal database does not allow searching for partners. But, on the opposite side, it includes laws pertaining to joint-venture audiovisual works. All this highlights the existence of an Audiovisual Euro-Mediterranean market.
Southern audiovisual market
Speaking about the collection of ongoing laws created in order to enhance and develop cinematographic industry with European partner countries, deputy director of legal studies at the Algerian Ministry of Culture, Nadia Boursas, said that training is essential for the development and prosperity of the Algerian cinema.
For his part, representative of Egypt, head of Copyright Department, Mohamed Nour Farahat, talked about the value of the Egyptian film industry, in which are reflected "the main historical changes that the country witnessed in the 50’s and the 60’s.” He added that “film production is subject to the same developments the Arab region is witnessing. The Egyptian government is currently providing great support to wide-ranging movies. But, the private sector is still not giving effective attention to the movie sector.” According to Mohamed Nour Farahat, judicial judgments on intellectual property in Egypt go back to 1907 and they are based on natural property rights. Several laws on commercial relations and intellectual rights were established during the past century.” Farahat explained that “the new intellectual property law which entered into force in 2002 in Egypt stipulates the importance of coordination between all concerned parties”, adding that “the government is working on implementing coordination committees between all the Ministries in charge of promoting the protection of intellectual property. The Egyptian Ministry of Foreign Affairs has also created a National committee for the intellectual property, in order to strengthen cooperation with the International community in this field.” Mohamed Nour Farahat said it is highly important to draft an “equitable contract-model”, as “it will help protect the rights of writers, actors, photographers, musicians and other audiovisual professionals.” In 2007/2008, the Egyptian Ministry of Culture provided 16 narrative films and 4 documentaries with 20 million Egyptian Pounds. “Egypt is currently giving also special attention to international film production. For instance, each foreign movie will be now allowed to be available in 10 copies, in order to increase its accessibility to the Egyptian public”, concluded Mohamed Nour Farahat.
The legal database, which constitutes a significant communication tool between audiovisual professionals, is a continuation of the programme’s two first phases, mainly focused around training and meeting facilities between directors, producers and distributors from the two shores of the Mediterranean. In fact, since many years, the Euromed Audiovisual programme has been providing support for the movie industry in the region. And all activities implemented within its framework will inevitably positively influence and impact work opportunities, investments as well as technology and know-how exchanges.
In an interview with “Al-Hayat”, Euromed Audiovisual II Programme Manager Chrystelle Lucas said that the Europen Union is putting the final touch on the third phase of the Euromed Audiovisual programme. Scheduled to be implemented at the beginning of 2010, the third phase will constitute a continuation of initiatives and networks implemented during the first two phases, both in the private and public sectors.
Cultural diversity
In view of the debate between participating experts, the Euromed countries seem to be intensifying their efforts to develop their legislation in order to meet the needs of Euro-Mediterranean professionals and audiovisual industries. Lucas affirms that the European Commission will go on supporting initiatives that aim at developing the audiovisual sector. In addition, discussions were about information technology and the necessity of updating professionals’ qualifications, so they could eventually depend on themselves. According to Lucas, the second phase of the programme allowed building an audiovisual common space between the two shores of the Mediterranean, and developing cultural exchanges in the Euromed region. The European Commission’s aim is to enhance dialogue between partner countries on one hand, and between Southern and Northern Mediterranean countries on another hand. The EC provided producers and distributors with training and support,. Funding could cover training for script writers but also for producers, and that way, the EC would be supporting cultural and cinematographic activities, as well as film distribution market on a regional level, in film festivals, in Cannes, Berlin, Cairo, etc. The help provided by the EC has not intended to replace private sector initiatives. Chrystelle Lucas ensured that the European Union is promoting and providing support for production works which reflect cultural diversity by putting together partners from several parts of the Euro-Mediterranean region as well as from other regions.
For his part, Michel Gyory said that the modernization of laws on piracy does not attract great attention, though it constitutes a solid basis for the protection of intellectual rights. Thereby, all Euromed Audiovisual programme activities are effectively helping enhance cultural dialogue and mutual understanding between people. According to Michel Gyory, the Euromed Audiovisual legal database includes the integral texts of each law in force in the field of cinema and authors’ rights in the countries participating to the program, which are made available on the Internet both in French and English languages. These texts are also classified by concepts (around 500 concepts), through an index which enables to search for audiovisual works and their legal status, national & international legal provisions and European instruments (directives and regulations) related to each copyright concept in the field of audiovisual works. Experts are also planning on updating the database content on a regular basis and complete it by jurisprudence, official comments and doctrine articles. However, the legal database does not allow searching for partners. But, on the opposite side, it includes laws pertaining to joint-venture audiovisual works. All this highlights the existence of an Audiovisual Euro-Mediterranean market.
Southern audiovisual market
Speaking about the collection of ongoing laws created in order to enhance and develop cinematographic industry with European partner countries, deputy director of legal studies at the Algerian Ministry of Culture, Nadia Boursas, said that training is essential for the development and prosperity of the Algerian cinema.
For his part, representative of Egypt, head of Copyright Department, Mohamed Nour Farahat, talked about the value of the Egyptian film industry, in which are reflected "the main historical changes that the country witnessed in the 50’s and the 60’s.” He added that “film production is subject to the same developments the Arab region is witnessing. The Egyptian government is currently providing great support to wide-ranging movies. But, the private sector is still not giving effective attention to the movie sector.” According to Mohamed Nour Farahat, judicial judgments on intellectual property in Egypt go back to 1907 and they are based on natural property rights. Several laws on commercial relations and intellectual rights were established during the past century.” Farahat explained that “the new intellectual property law which entered into force in 2002 in Egypt stipulates the importance of coordination between all concerned parties”, adding that “the government is working on implementing coordination committees between all the Ministries in charge of promoting the protection of intellectual property. The Egyptian Ministry of Foreign Affairs has also created a National committee for the intellectual property, in order to strengthen cooperation with the International community in this field.” Mohamed Nour Farahat said it is highly important to draft an “equitable contract-model”, as “it will help protect the rights of writers, actors, photographers, musicians and other audiovisual professionals.” In 2007/2008, the Egyptian Ministry of Culture provided 16 narrative films and 4 documentaries with 20 million Egyptian Pounds. “Egypt is currently giving also special attention to international film production. For instance, each foreign movie will be now allowed to be available in 10 copies, in order to increase its accessibility to the Egyptian public”, concluded Mohamed Nour Farahat.
The legal database, which constitutes a significant communication tool between audiovisual professionals, is a continuation of the programme’s two first phases, mainly focused around training and meeting facilities between directors, producers and distributors from the two shores of the Mediterranean. In fact, since many years, the Euromed Audiovisual programme has been providing support for the movie industry in the region. And all activities implemented within its framework will inevitably positively influence and impact work opportunities, investments as well as technology and know-how exchanges.
