The World Intellectual Property Organization (WIPO), through its monthly report of last October, has included FESAAL (Federation of Societies of Latin American Audiovisual Authors) in its list of organizations with observer member status. The purpose of this appointment is to encourage the participation of non-governmental organizations and other groups of interests in debates on intellectual property issues. FESAAL has been included in this category together with three other

Last Thursday, November 4, a General Meeting was conducted, where the member societies of the FESAAL (Audiovisual Authors Societies Federation), delivered a report to their colleague authors commenting on the regional situation, the challenges and the achievements obtained during this year. The meeting, performed virtually through the Zoom platform, was attended by Alexandra Cardona Restrepo (President of REDES), Horacio Maldonado (General Secretary of FESAAL), Mario Mitrotti

The DGK (Directors Guild of Korea) society, the Russian Guild of Screenwriters and APASER (Pan-African Alliance of Screenwriters and Directors) will implement the AVSYS operating system. Delegations from the three regions will soon travel to AVACI (Audiovisual Authors International Confederation) countries already using the system for an AVSYS training. The AVACI member societies currently using AVSYS are: REDES and DASC (Colombia), ATN, (Chile), GEDAR and DBCA (Brazil) and D

The success of The Squid Game has opened the eyes of Korean society regarding the struggle for remuneration rights of Korean Audiovisual Authors. In 2019, Bong Joon Ho’s Korean film, Parasite, generated unprecedented audience and critical success for its country’s audiovisual culture, winning an Oscar for Best Picture for the first time for a non-English language film. This achievement positioned South Korea cinema as a new option for the general audiences around the world. T

Last Wednesday, September 29, the first seminar of GEDAR (Authors’ Rights Management of Screenwriters) was performed virtually under the title “The current scenario of the audiovisual market for Authors and Screenwriters and the importance of the collective management of rights.” The event, closed to invited Screenwriters and Writers, was attended by Sylvia Palma – Secretary General of GEDAR -, Marcílio Moraes – Screenwriter and President of GEDAR-, Miguel Ángel Diani - Scree

With an Ordinance issued by the Government of the Russian Federation on September 20, 2021, and under Code Number 2613-R, the Concept for the development of creative (artistic) industries was approved, as well as the mechanisms for the implementation of state support regarding large and mega urban agglomerations until 2030. It was signed by the Prime Minister of the Russian Federation, M. Mishustin, and approved according to the instructions of the Russian Federation Governme

During December, a delegation of APASER (Pan-African Alliance of Screenwriters and Directors) will travel to Buenos Aires for a training on the AVSYS operating system, and for the joint learning concerning the handling of a collective management society of authors’ rights. The training will be conducted by Daniel Di Napoli, IT Director of DAC – General Association of Audiovisual and Film Authors and Directors. AVSYS is an open code operating system created by Audiovisual Auth

The Association of Writers, Screenwriters, Playwrights and Audiovisual Directors of Panama (EDAP) has recently requested the collaboration of FESAAL (Latin American Audiovisual Authors Societies Federation) to implement within its country the new AVSYS open code operating system, recently released by AVACI (Audiovisual Authors International Confederation) free of charge, for the centralization of information concerning the authors’ rights of Audiovisual Authors around the wor

The National Audiovisual Space (Espacio Audiovisual Nacional - EAN) movement has announced a new draft bill which proposes, among other aspects, a tax on large streaming platforms of audiovisual content, in order to invest it in local productions. This arises within the context of a series of recent laws in different countries of the world (France, Spain and Switzerland, for example), which, during 2021, have imposed a tax on large audiovisual content corporations, such as Ne

Last Friday July 29, a huge fire broke out in a storage room of the Sao Paulo Cinematheque, which implied the destruction of four tons of material. It is estimated that around one million documents of the Brazilian film history were lost, among movie copies in filmic support and paper scripts. The incident, where no injured people were recorded, took place while a third-party company was performing maintenance tasks on air-conditioning units and destroyed, at least, two rooms

The operation of Writers, Screenwriters, Playwrights and Audiovisual Directors of Panama (EDAP), was approved last Friday, August 20, by the National Authors’ Rights Authority of such country. It was so announced by its Board of Directors through a release in which EDAP expresses its gratitude to the movement of Audiovisual Authors for their support to the association. The creation of EDAP has the aim to ease the management of authors’ rights for Audiovisual Authors, recogniz

Through an open letter, a coalition composed of Creators and Performers from different disciplines of the United Kingdom, supported the creation of the Smart Fund for an “economic and cultural renewal” of the country. Through a tax of 1% to 3% on the sale of electronic devices, such as mobile phones and laptops, this fund might collect up to 300 million pounds a year, which would be allocated to creative industries, “providing technology companies a direct way to invest in cu

Since July 1st, on demand audiovisual content platforms, such as Netflix, Disney+, Amazon Prime Video, HBO Max or Apple TV, must assign between a fifth and a quarter of their revenue to French local production. A new decree in France forces large audiovisual content streamers to pay a significant tax: “They shall allocate at least 20% of the billing they perform in France in order to finance the production of European audiovisual and cinematographic works or in French languag

Within the project of the new Audiovisual Law of Spain, it has been proposed that on demand audiovisual content companies, such as Netflix, HBO, Amazon Prime, Disney+ or YouTube, assign 1.5% of their annual revenue in order to finance the RTVE State Station (Spanish Radio-Television) as from 2022. Such proposal has been submitted to public hearing for the second time and it is expected to be treated by the Chamber of Deputies at the beginning of next year. This new issue has

European Commissioner for Innovation, Research, Culture, Education and Youth MariyaGabriel launched on June 17 in Lisbon the Creative Europe 2021-2027 programme that will provide the European creative sector with an injection of €2.5 billion over the next seven year. Mariya Gabriel (Photo: Christophe Licoppe) The new programme, which has doubled in budget over the previous programme (€1.47 billion for 2014-2020), comes at a critical time for the creative sector, emerging from

The new operating system, active in several countries of Latin America for the declaration of works, as well as for the collection and distribution, was presented live at the 1st. AVACI Annual Congress. Last Wednesday June 9, during the First Congress of AVACI – Audiovisual Authors International Confederation –, Daniel Di Napoli, Systems Director of DAC – Directors Argentina– and developer of the new AVSYS Operating System, made a live presentation, through the Zoom platform,

The annual event was attended by Audiovisual Screenwriters and Directors representing the five continental alliances which are part of the International Confederation Last Wednesday June 9, the Audiovisual Authors International Confederation – AVACI – carried out its Annual Congress, a meeting which gathered Directors and Screenwriters from all over the world and was conducted through the Zoom platform. It is important to highlight that this is the first time a Congress of Au

Streaming content platforms shall pay 4% of their incomes in order to foster the audiovisual production of such country. At the beginning of June 2021, the Council of Swiss States approved the “Netflix Tax”, which requires audiovisual content platforms to invest at least 4% of their revenues in the local film production. That way, it sets a worldwide precedent, since it is the second country in allocating part of its revenues from a “streaming giant” to the national cinema. T

The official Platform is already available at AVACI’s Website, Audiovisual Authors International Confederation. As of today, the Audiovisual Authors International Confederation (AVACI) – the organization that brings societies all around the world together for the defense of Audiovisual Authors’ rights- presents its online platform at www.audiovisualauthors.org. The Website, designed for an agile and intuitive use, is available in nine different languages (Spanish, English, Fr

It shall take place on June 9 and representatives of the five alliances that are part of the Confederation shall attend it. The Audiovisual Authors International Confederation – AVACI-, shall hold its first Congress on June 9. Representatives of the five continental alliances that are part of AVACI shall attend this event: FESAAL –Latin American Audivisual Authors Societies Federation -, Pan-African Alliance of Screenwriters and Directors-, Asia-Pacific, Eurasia and Europe. T