With its partners from the Fair Internet coalition, FIM has been working relentlessly and continuously for four years now to promote performers’ interests with members of the European Parliament, the Commission and the Council.
Our priority aim was to introduce a remuneration mechanism enabling all performers to receive a fair share of the revenue generated online by the exploitation of their recordings, including after the transfer of their exclusive rights. Read full post
The final conference of the Creative Skills Europe project took place on 5 February 2019 in Göteborg (Sweden). It has opened the way to enhanced technical cooperation between the various national skills councils in the performing arts and audiovisual sectors, but also at the level of European social dialogue.
Participants suggested future European initiatives aimed at meeting needs in skills. Exchanges addressed the following issues in particular: – developing e-learning – sharing contents to foster and facilitate skills development where freelance workers are concerned – creating mechanisms for better recognition of qualifications and skills at the European level. Read full post
Forum on unionization of atypical workers in the media and entertainment sectors (Rotterdam, 30–31 October 2018)
On 30 and 31 October 2018 in Rotterdam, FIM, FIA, UNI-MEI and EFJ held a forum devoted to unionization of so-called “atypical” workers attended by some fifty union representatives from Europe. The term “atypical” is today in current use and refers to the working relationship of professionals who, in our trades, are generally called “freelance”. The precariousness which characterizes these forms of work results in particular from European rules in the field of competition law. Read full post
This result is a genuine success for performers, achieved after considerable efforts and against a globally hostile backdrop. In reality, the European Commission’s initial proposal fell way short of our expectations, entirely leaving to one side, for example, the central issue of artists’ remuneration where streaming was concerned. Read full post
On 8 and 9 September 2016, the final conference took place in Brussels of the joint FIM, FIA, UNI-MEI and EFJ project focusing on the future of work and atypical working in the arts, entertainment and media sector. It was held in the European Parliament and the premises of the European Economic and Social Committee.
Besides representatives from the four organising federations, the conference welcomed European and national parliamentarians, representatives of the European Commission, the International Labour Office (ILO) and the European Trade Unions Confederation (ETUC) as well as jurists specialized in social law.
Following on four thematic workshops, the conference was an opportunity for presentations and opinions of both legal and political nature from numerous speakers. The whole of the work carried out constitutes a solid documentary basis for future initiatives from FIM and its partners with regard to ETUC and ILO on the issue of non-standard forms of employment, a major concern for the trade union movement at global level.
Synthesis report in English (report presenting works of reflection and analysis carried out during the 18 months of the project. Translation is currently underway into French, Spanish and Italian).
Workplaces in the live performance sector are challenged by very diverse health and safety risks. These stem from a broad range of activities such as stage performances, chemical substances used in special effects, the presence of an audience and environmental aspects such as lighting and temperature.
Specific risk assessment strategies are vital to prevent accidents and ill-health in the sector. The OiRA tools are developed to support small enterprises in better dealing with these challenges.
The EU social partners from the Live Performance sector : the European Arts and Entertainment Alliance (EAEA, composed of FIM, FIA and UNI MEI) and Pearle* have released a video on their Online interactive Risk Assessment (OiRA) tools. The tools are made for assessing health and safety risks in venues and production companies, especially in small ones.
Social partners in the audiovisual sector issue a joint opinion highlighting the needs of the film and TV industry for reliable and updated statistics on economy and employment market.
At its meeting today the EU social partners in the European audiovisual sector adopted a joint opinion on the role of the European Audiovisual Observatory. Employers and unions call on the Observatory and its stakeholders including the European Commission, Member States to endeavour to add economic and employment statistics to the Observatory’s range of statistical and data aggregation activities.
The AV SDC recognises the pivotal role of the European Audiovisual Observatory in providing reliable and independent statistics for the benefit of the EU audiovisual sector as well as for public authorities. The AV SDC also wishes to stress the potential contribution of such statistics in throwing light on the elements at stake in current and future European political debates affecting the audiovisual sector.
After several years of uncertainty and series of fresh developments, the European Directive extending the term of protection for performers’ rights in respect to sound recordings has finally just been adopted by the European Council on Monday 12 September 2011.
Against an international backdrop which is largely unfavourable to copyright issues, this initiative has, for several years, had to face often radical opposition from various lobbies, often underlain by arguments that were either inconsistent or simply in bad faith. FIM’s lobbying efforts also encountered resistance from the industry when it came to ensuring that the text really benefitted musicians and not just record producers.
The text adopted represents an historic step forward. It does not just extend the term of protection of neighbouring rights from 50 to 70 years but also includes provisions aimed at correcting imbalances affecting contractual relationships between performers and producers. From this point of view, the text is firmly innovative and, may, we hope, provide a basis for further headway.
All FIM European members are invited to get closely involved in the process of transposing the directive into national legislations. Trade unions from other regions are also encouraged to draw inspiration from the text’s most favourable provisions in order to continue to make worldwide headway where musicians’ rights are concerned.
Conference on “Creative industries: Innovation and Growth” – Brussels, April 20th, 2011
Organised by Confrontations and CSPH-International, this conference focused on the crucial importance of Intellectual property for all industries based on creation and innovation. The IAEA welcomed the contribution of Commissioner Michel Barnier (Internal Market) who reiterated the commitment of the Commission to tackle the issue of counterfeiting and piracy, recalling their negative impact on jobs. Mr. Barnier also insisted on the need to increase the online legal offer and involve ISPs, while avoiding unnecessary criminalisation of citizens.
IAEA Secretary, Benoît Machuel, expressed the support of the Alliance to the recently adopted Gallo report. He also stated that IAEA would welcome amendments to the Enforcement directive currently under review, that would allow for effective measures directed at those who make of copyright infringement their business, thus promoting illegal behaviours and consciously damaging the jobs and welfare of all those who create and perform. The Commission should ensure that effective, speedy and costless remedies are made available in all Member States for this purpose. “It is not acceptable that offshore platforms based in no-law zones establish their commercial success and wealth on deliberate illicit appropriation of protected contents, while creative workers hardly make a living from their craft”, he said.
He also stressed that most artists were not getting a fair share of the revenues generated by the exploitation of their works and performances. “This is primarily a matter for social dialogue and collective bargaining, which must be encouraged and facilitated. This can also be a matter for the legislator, should such social dialogue remain unsuccessful.”
“The artistic and social dimensions of cultural contents must be systematically taken into account when decisions impacting the creative chain are being discussed and considered, so as to make sure that the issue of the remuneration of creative workers is properly addressed”, he added.