This brief covers issues affecting the Caribbean Cultural Sector under the CARIFORUM-EC Economic Partnership Agreement (EPA), which was concluded on December 16, 2007, and signed in October 15, 2008.
The EPA agreement between Cariforum and the EU contains comprehensive rules on services and investment. It liberalizes over 90% of sectors for EU investment in Cariforum states and provides opportunities for Caribbean professionals to supply services in the EU. Notably, the EU has opened its entertainment services sector to CSS from Cariforum without quotas. The agreement also includes a protocol on cultural cooperation to facilitate movement of artists between the regions. While Cariforum's commitments are more limited in scope, most states have opened key business services sectors. The agreement establishes dispute settlement procedures for violations of commitments.
AS Media Ownership of the UK Radio Industry - Olivia Garneroliviagarnerasmedia
The Office of Communications (Ofcom) regulates radio broadcasting in the UK and oversees licensing. It examines complaints about content on licensed stations to determine if broadcasting codes were breached. The BBC, which is publicly funded through television license fees, owns the national BBC Radio stations and aims to serve the public interest through independent management. Other national stations are owned by large media companies, while regional and local stations are owned by both large corporations and smaller independent operators.
The television industry produces programming for various channels like BBC and Sky. The document discusses three major UK television channels - BBC One, Sky, and ITV. BBC One is the flagship channel of the BBC, launched in 1936 as the first regular TV service. Sky launched in 1982 as the oldest non-terrestrial TV channel in the UK. ITV was previously separate regional channels but is now the ITV Network brand in England, Wales and the Channel Islands. The document also briefly describes common TV industry jobs like camera operators and directors, and notes that Ofcom is the regulatory body for broadcasting in the UK.
Radio broadcasting involves transmitting audio data using radio to communicate information to the public. The BBC offers both national and local radio stations in the UK covering a wide variety of genres. BBC national stations include BBC Radio 1 for popular music aimed at youth, BBC Radio 2 for adult music, and BBC Radio 4 for spoken word programs. BBC regional stations provide local content for areas like Scotland, Wales and Northern Ireland. The BBC World Service broadcasts news in over 28 languages internationally. Funding the World Service through the television license fee provides a stable source of funding to plan future activities.
Radio broadcasting involves transmitting audio data using radio waves to communicate information to the public. The BBC offers both national and local radio stations in the UK covering a wide variety of genres. BBC national stations include Radio 1 for popular music aimed at youth, Radio 2 for adult music, and Radio 3 for classical and world music. BBC stations are funded through television licensing fees and provide public service broadcasting without commercials. The BBC World Service broadcasts news and discussions internationally in over 28 languages.
The BBC operates several television networks and stations in the UK. It broadcasts major channels like BBC One, BBC Two, BBC Three, and BBC Four, as well as specialty channels focused on news, parliament, children's programming, and more. The BBC is funded primarily through television licensing fees paid by the public. Licensing fees make up the bulk of the BBC's income, which is then used to fund its television, radio, and online services.
The document discusses radio broadcasting and the BBC's radio services in the UK. It provides details on:
1) The BBC's national radio stations, including Radio 1 for popular music, Radio 2 for adult music, and Radio 3-5 for news, talk and various music genres.
2) The BBC's digital-only stations like Radio 1Xtra for urban music and Radio 6 for alternative music.
3) The BBC World Service which broadcasts news in 28 languages worldwide on shortwave radio, internet and satellites.
4) The BBC's regional radio stations in various areas and nations of the UK like Radio Scotland and Radio Wales.
5) The advantages of funding the BBC World Service
The document discusses radio broadcasting and the BBC's radio services. It provides details on:
1) The BBC's national radio stations including BBC Radio 1 for popular music, Radio 2 for adult music, and Radio 3-5 for news, talk and other genres.
2) The BBC's digital-only stations like BBC Radio 1Xtra for urban music and BBC 6 Music for alternative music.
3) The BBC World Service which broadcasts news in 28 languages worldwide on shortwave radio, internet and satellites.
4) The BBC's regional radio stations in the UK nations and English regions which provide local content.
The EPA agreement between Cariforum and the EU contains comprehensive rules on services and investment. It liberalizes over 90% of sectors for EU investment in Cariforum states and provides opportunities for Caribbean professionals to supply services in the EU. Notably, the EU has opened its entertainment services sector to CSS from Cariforum without quotas. The agreement also includes a protocol on cultural cooperation to facilitate movement of artists between the regions. While Cariforum's commitments are more limited in scope, most states have opened key business services sectors. The agreement establishes dispute settlement procedures for violations of commitments.
AS Media Ownership of the UK Radio Industry - Olivia Garneroliviagarnerasmedia
The Office of Communications (Ofcom) regulates radio broadcasting in the UK and oversees licensing. It examines complaints about content on licensed stations to determine if broadcasting codes were breached. The BBC, which is publicly funded through television license fees, owns the national BBC Radio stations and aims to serve the public interest through independent management. Other national stations are owned by large media companies, while regional and local stations are owned by both large corporations and smaller independent operators.
The television industry produces programming for various channels like BBC and Sky. The document discusses three major UK television channels - BBC One, Sky, and ITV. BBC One is the flagship channel of the BBC, launched in 1936 as the first regular TV service. Sky launched in 1982 as the oldest non-terrestrial TV channel in the UK. ITV was previously separate regional channels but is now the ITV Network brand in England, Wales and the Channel Islands. The document also briefly describes common TV industry jobs like camera operators and directors, and notes that Ofcom is the regulatory body for broadcasting in the UK.
Radio broadcasting involves transmitting audio data using radio to communicate information to the public. The BBC offers both national and local radio stations in the UK covering a wide variety of genres. BBC national stations include BBC Radio 1 for popular music aimed at youth, BBC Radio 2 for adult music, and BBC Radio 4 for spoken word programs. BBC regional stations provide local content for areas like Scotland, Wales and Northern Ireland. The BBC World Service broadcasts news in over 28 languages internationally. Funding the World Service through the television license fee provides a stable source of funding to plan future activities.
Radio broadcasting involves transmitting audio data using radio waves to communicate information to the public. The BBC offers both national and local radio stations in the UK covering a wide variety of genres. BBC national stations include Radio 1 for popular music aimed at youth, Radio 2 for adult music, and Radio 3 for classical and world music. BBC stations are funded through television licensing fees and provide public service broadcasting without commercials. The BBC World Service broadcasts news and discussions internationally in over 28 languages.
The BBC operates several television networks and stations in the UK. It broadcasts major channels like BBC One, BBC Two, BBC Three, and BBC Four, as well as specialty channels focused on news, parliament, children's programming, and more. The BBC is funded primarily through television licensing fees paid by the public. Licensing fees make up the bulk of the BBC's income, which is then used to fund its television, radio, and online services.
The document discusses radio broadcasting and the BBC's radio services in the UK. It provides details on:
1) The BBC's national radio stations, including Radio 1 for popular music, Radio 2 for adult music, and Radio 3-5 for news, talk and various music genres.
2) The BBC's digital-only stations like Radio 1Xtra for urban music and Radio 6 for alternative music.
3) The BBC World Service which broadcasts news in 28 languages worldwide on shortwave radio, internet and satellites.
4) The BBC's regional radio stations in various areas and nations of the UK like Radio Scotland and Radio Wales.
5) The advantages of funding the BBC World Service
The document discusses radio broadcasting and the BBC's radio services. It provides details on:
1) The BBC's national radio stations including BBC Radio 1 for popular music, Radio 2 for adult music, and Radio 3-5 for news, talk and other genres.
2) The BBC's digital-only stations like BBC Radio 1Xtra for urban music and BBC 6 Music for alternative music.
3) The BBC World Service which broadcasts news in 28 languages worldwide on shortwave radio, internet and satellites.
4) The BBC's regional radio stations in the UK nations and English regions which provide local content.
The BBC is the British public service broadcaster. It operates several national and local radio stations across the UK. The national stations cover various genres of music and spoken word programs. They broadcast from bases in London and Salford but also produce content in other UK cities. The BBC also operates digital stations available online and through digital platforms. Additionally, the BBC World Service broadcasts news and programs internationally in 28 languages. The radio services are primarily funded through the television license fee paid by UK households.
This document discusses the EU Satellite and Cable Directive from 1993 (Directive 93/83) and its impact on the European audiovisual market and culture. Some key points:
1) The directive aimed to promote cross-border satellite broadcasting and cable retransmission within the EU market while removing obstacles from differences in national copyright laws. However, it only partially achieved its goals of creating a pan-European market as markets remained segmented along national borders.
2) The process of media convergence and digitalization has limited the directive's application as it is outdated and overlapped by newer directives addressing digital/online media.
3) When implemented, the directive's provisions attempting to prevent market fragmentation, such as defining where communication occurs
This document discusses a copyright case between ABS-CBN Broadcasting Corporation and Philippine Multi-Media System regarding PMSI's rebroadcasting of ABS-CBN channels without authorization. The key points discussed are:
1) ABS-CBN alleged that PMSI's rebroadcasting of its channels infringed on its broadcasting rights and copyright. PMSI claimed the rebroadcasting was allowed under the must-carry rule in NTC Memorandum Circular No. 04-08-88.
2) The IPO Director-General initially ruled in favor of PMSI, but ABS-CBN appealed. The Court of Appeals affirmed the IPO's decision.
3) ABS-CBN argues the must
Television broadcasting involves distributing audio and video content to a wide audience using electromagnetic waves, usually radio frequencies. In the UK, public service broadcasting refers to television and radio intended for public benefit rather than commercial interests, and certain broadcasters must fulfill public service requirements as part of their license. The BBC, as a public service broadcaster, produces television programs from its own studios and has operated a regular television service in the UK since 1936.
The document discusses television broadcasting in the UK. It notes that the industry is dominated by major broadcasters like the BBC, ITV, Channel 4, and Five. There are also many smaller independent production companies. The largest production companies have annual turnovers of £100-200 million. In 2008, the combined radio and TV industry contributed £3.2 billion to the UK economy, about 0.3% of total GDP. The BBC operates several international TV channels under its brand name through its commercial subsidiary BBC Worldwide. Domestically, the BBC operates 8 TV channels and over a dozen radio stations in the UK.
PUBLIC SERVICE BROADCASTING IN THE UNITED KINGDOM OF GREAT BRITAIN AND NORTHE...Ella Bo
Presentation on British public service broadcasting for module: Media Systems in an International Comparative Perspective as part of an MA in Journalism, Media, and Globalisation at Universität Hamburg.
Marc Kushin
The BBC operates numerous radio stations in the UK funded by an annual license fee. It aims to inform, educate, and entertain the public through stations tailored for different regions, cultures, music styles, and age groups. The BBC Trust oversees the BBC and ensures it fulfills its public service mandate. Those wanting to create a show for the BBC can pitch their ideas to the organization for potential commissioning.
The British Broadcasting Corporation (BBC) is the largest public service broadcaster in the world. It operates primarily through funding from an annual television licence fee paid by viewers in the UK. The BBC provides television and radio channels for the UK and operates several international broadcast operations. It is headquartered in London and has major production facilities in Salford Quays, Belfast, Birmingham, Bristol, Cardiff, and Glasgow.
Radio broadcasting involves transmitting audio data using radio waves to communicate information to the public. The BBC operates numerous national and local radio stations in the UK that cover a wide variety of genres. BBC radio stations are funded through television license fees paid by UK households rather than through advertisements. This allows the BBC to produce more specialized programming. The license fee also funds the BBC's domestic television and internet services.
Television broadcasting involves TV corporations broadcasting live TV regionally, nationally, or internationally. The TV license is a fee paid by UK residents that allows public service broadcasters like the BBC to operate without commercials. It costs £142 per year paid monthly or annually. The BBC operates several TV channels in the UK, including BBC One for general programming, BBC Two for documentaries and older audiences, and channels dedicated to news, politics, children's programming, and more. Channel 4 is publicly owned but funded through advertising rather than public funds or licenses. It has a remit to be innovative and distinctive in its programming across TV, film, and digital media. Commercial TV channels are funded through advertising sales, while public service TV is funded
The Canadian Radio-television and Telecommunications Commission (CRTC) regulates and supervises Canadian broadcasting and telecommunications. It was established in 1976 by combining the Canadian Radio and Television Commission and expanding its mandate to include telecommunications. The CRTC oversees broadcasting and telecom systems to ensure they serve the best interests of the Canadian public in both official languages. It licenses services, promotes Canadian content, and acts to ensure affordable access.
British Sky Broadcasting Group plc (Sky) is a UK-based satellite broadcasting, broadband, and telephone company headquartered in London. Formed through a 1990 merger, Sky is the largest pay-TV provider in the UK and Ireland with over 10 million subscribers. Sky produces their own TV shows like Mad Dogs and League of Their Own. Camera operators on set include camera men, directors, producers, and makeup/costume designers, while off set roles include writers and producers. A camera operator professionally operates film or video cameras.
The document discusses the television broadcasting industry in the UK. It notes that the industry is dominated by major broadcasters like the BBC, ITV, Channel 4, and Five. It also discusses the large number of independent production companies. The BBC operates several international television channels under the BBC brand like BBC America, BBC Canada, and BBC HD. Within the UK, the BBC operates free-to-air channels like BBC One, BBC Two, BBC Three, and BBC Four.
Commercial radio stations generate revenue through advertisements to fund operations and make a profit. While the BBC focuses on public needs over viewership, commercial stations like Capital FM prioritize large audiences. Capital FM and Classic FM are owned by Global while Real Radio is owned by Guardian Media Group.
Public service broadcasting through the BBC aims to inform, educate, and entertain audiences. The BBC uses stations like Radio 1 to appeal to youth through music and relevant news.
New technologies like the internet and mobile phones have increased radio listenership by allowing on-demand and mobile listening. This has benefited both the BBC and commercial stations.
Non-profit community radio stations like Bradford Community Broadcasting serve local audiences and are funded through local business advertisements
This document provides an overview of the radio industry, including the different types of radio stations and their funding models. It discusses commercial radio stations that are funded through advertising, public service broadcasting stations like the BBC that are funded by television licenses, and non-profit community stations. It also describes some of the major job roles in radio, such as presenters, producers, and sound engineers. Finally, it briefly outlines some of the professional bodies and new technologies that have impacted the radio industry.
Commercial radio stations are privately owned companies that began broadcasting in the UK in 1973. They generate revenue through advertisements played during broadcasts. Capital FM is an example of a large commercial radio station, with over 7.5 million weekly listeners. It is owned by Global Radio. Public service radio in the UK is provided by the BBC across numerous stations funded by television license fees. Community radio stations are not-for-profit and focus on local content and audiences. Independent production companies produce radio, television and film programs and fund projects independently or through private investors.
The document discusses television broadcasting by the BBC in the UK. It provides information on various BBC TV channels including BBC One, BBC Two, BBC Three, BBC Four, and specialty channels like BBC Alba and S4C. It also discusses commercial TV channels in the UK like Channel 4 and Channel 5. The BBC is funded by television licenses rather than commercials, allowing it to provide programming without commercial interruption.
1) A system of territorial exclusivity for broadcasting football matches that prohibits viewers from watching broadcasts from other member states using decoder cards violates EU law.
2) The screening of football broadcasts containing copyrighted works like videos or music in a pub requires authorization from the copyright holders.
3) Exclusive licensing agreements that prohibit supplying decoder cards to viewers outside the territory violate EU competition law by partitioning markets between members.
Radio broadcasting involves the transmission of audio over radio waves to reach a wide audience. There are various forms of radio broadcasting including AM, FM, commercial, and non-commercial stations. In the UK, the main national radio stations are BBC Radio 1 (popular music), BBC Radio 2 (popular music and talk), BBC Radio 3 (classical music), BBC Radio 4 (news and talk), and BBC Radio 5 Live (sports news). Local BBC radio stations serve specific regions of the UK. BBC World Service broadcasts news and discussions in many languages worldwide without advertisements. The BBC is largely funded by annual television licence fees paid by UK households watching live TV.
The document provides an overview of various marketing strategies and tactics, including networking, social media, website optimization, public relations, market research, creative marketing ideas, and evaluating marketing effectiveness. Specific recommendations and resources are given for tools like Facebook, LinkedIn, analytics, stock photos, and design platforms.
This brief covers Trade Related issues (TRI) under the CARIFORUM-EC Economic Partnership Agreement (EPA), which was concluded on December 16, 2007, and signed in October 15, 2008.
The BBC is the British public service broadcaster. It operates several national and local radio stations across the UK. The national stations cover various genres of music and spoken word programs. They broadcast from bases in London and Salford but also produce content in other UK cities. The BBC also operates digital stations available online and through digital platforms. Additionally, the BBC World Service broadcasts news and programs internationally in 28 languages. The radio services are primarily funded through the television license fee paid by UK households.
This document discusses the EU Satellite and Cable Directive from 1993 (Directive 93/83) and its impact on the European audiovisual market and culture. Some key points:
1) The directive aimed to promote cross-border satellite broadcasting and cable retransmission within the EU market while removing obstacles from differences in national copyright laws. However, it only partially achieved its goals of creating a pan-European market as markets remained segmented along national borders.
2) The process of media convergence and digitalization has limited the directive's application as it is outdated and overlapped by newer directives addressing digital/online media.
3) When implemented, the directive's provisions attempting to prevent market fragmentation, such as defining where communication occurs
This document discusses a copyright case between ABS-CBN Broadcasting Corporation and Philippine Multi-Media System regarding PMSI's rebroadcasting of ABS-CBN channels without authorization. The key points discussed are:
1) ABS-CBN alleged that PMSI's rebroadcasting of its channels infringed on its broadcasting rights and copyright. PMSI claimed the rebroadcasting was allowed under the must-carry rule in NTC Memorandum Circular No. 04-08-88.
2) The IPO Director-General initially ruled in favor of PMSI, but ABS-CBN appealed. The Court of Appeals affirmed the IPO's decision.
3) ABS-CBN argues the must
Television broadcasting involves distributing audio and video content to a wide audience using electromagnetic waves, usually radio frequencies. In the UK, public service broadcasting refers to television and radio intended for public benefit rather than commercial interests, and certain broadcasters must fulfill public service requirements as part of their license. The BBC, as a public service broadcaster, produces television programs from its own studios and has operated a regular television service in the UK since 1936.
The document discusses television broadcasting in the UK. It notes that the industry is dominated by major broadcasters like the BBC, ITV, Channel 4, and Five. There are also many smaller independent production companies. The largest production companies have annual turnovers of £100-200 million. In 2008, the combined radio and TV industry contributed £3.2 billion to the UK economy, about 0.3% of total GDP. The BBC operates several international TV channels under its brand name through its commercial subsidiary BBC Worldwide. Domestically, the BBC operates 8 TV channels and over a dozen radio stations in the UK.
PUBLIC SERVICE BROADCASTING IN THE UNITED KINGDOM OF GREAT BRITAIN AND NORTHE...Ella Bo
Presentation on British public service broadcasting for module: Media Systems in an International Comparative Perspective as part of an MA in Journalism, Media, and Globalisation at Universität Hamburg.
Marc Kushin
The BBC operates numerous radio stations in the UK funded by an annual license fee. It aims to inform, educate, and entertain the public through stations tailored for different regions, cultures, music styles, and age groups. The BBC Trust oversees the BBC and ensures it fulfills its public service mandate. Those wanting to create a show for the BBC can pitch their ideas to the organization for potential commissioning.
The British Broadcasting Corporation (BBC) is the largest public service broadcaster in the world. It operates primarily through funding from an annual television licence fee paid by viewers in the UK. The BBC provides television and radio channels for the UK and operates several international broadcast operations. It is headquartered in London and has major production facilities in Salford Quays, Belfast, Birmingham, Bristol, Cardiff, and Glasgow.
Radio broadcasting involves transmitting audio data using radio waves to communicate information to the public. The BBC operates numerous national and local radio stations in the UK that cover a wide variety of genres. BBC radio stations are funded through television license fees paid by UK households rather than through advertisements. This allows the BBC to produce more specialized programming. The license fee also funds the BBC's domestic television and internet services.
Television broadcasting involves TV corporations broadcasting live TV regionally, nationally, or internationally. The TV license is a fee paid by UK residents that allows public service broadcasters like the BBC to operate without commercials. It costs £142 per year paid monthly or annually. The BBC operates several TV channels in the UK, including BBC One for general programming, BBC Two for documentaries and older audiences, and channels dedicated to news, politics, children's programming, and more. Channel 4 is publicly owned but funded through advertising rather than public funds or licenses. It has a remit to be innovative and distinctive in its programming across TV, film, and digital media. Commercial TV channels are funded through advertising sales, while public service TV is funded
The Canadian Radio-television and Telecommunications Commission (CRTC) regulates and supervises Canadian broadcasting and telecommunications. It was established in 1976 by combining the Canadian Radio and Television Commission and expanding its mandate to include telecommunications. The CRTC oversees broadcasting and telecom systems to ensure they serve the best interests of the Canadian public in both official languages. It licenses services, promotes Canadian content, and acts to ensure affordable access.
British Sky Broadcasting Group plc (Sky) is a UK-based satellite broadcasting, broadband, and telephone company headquartered in London. Formed through a 1990 merger, Sky is the largest pay-TV provider in the UK and Ireland with over 10 million subscribers. Sky produces their own TV shows like Mad Dogs and League of Their Own. Camera operators on set include camera men, directors, producers, and makeup/costume designers, while off set roles include writers and producers. A camera operator professionally operates film or video cameras.
The document discusses the television broadcasting industry in the UK. It notes that the industry is dominated by major broadcasters like the BBC, ITV, Channel 4, and Five. It also discusses the large number of independent production companies. The BBC operates several international television channels under the BBC brand like BBC America, BBC Canada, and BBC HD. Within the UK, the BBC operates free-to-air channels like BBC One, BBC Two, BBC Three, and BBC Four.
Commercial radio stations generate revenue through advertisements to fund operations and make a profit. While the BBC focuses on public needs over viewership, commercial stations like Capital FM prioritize large audiences. Capital FM and Classic FM are owned by Global while Real Radio is owned by Guardian Media Group.
Public service broadcasting through the BBC aims to inform, educate, and entertain audiences. The BBC uses stations like Radio 1 to appeal to youth through music and relevant news.
New technologies like the internet and mobile phones have increased radio listenership by allowing on-demand and mobile listening. This has benefited both the BBC and commercial stations.
Non-profit community radio stations like Bradford Community Broadcasting serve local audiences and are funded through local business advertisements
This document provides an overview of the radio industry, including the different types of radio stations and their funding models. It discusses commercial radio stations that are funded through advertising, public service broadcasting stations like the BBC that are funded by television licenses, and non-profit community stations. It also describes some of the major job roles in radio, such as presenters, producers, and sound engineers. Finally, it briefly outlines some of the professional bodies and new technologies that have impacted the radio industry.
Commercial radio stations are privately owned companies that began broadcasting in the UK in 1973. They generate revenue through advertisements played during broadcasts. Capital FM is an example of a large commercial radio station, with over 7.5 million weekly listeners. It is owned by Global Radio. Public service radio in the UK is provided by the BBC across numerous stations funded by television license fees. Community radio stations are not-for-profit and focus on local content and audiences. Independent production companies produce radio, television and film programs and fund projects independently or through private investors.
The document discusses television broadcasting by the BBC in the UK. It provides information on various BBC TV channels including BBC One, BBC Two, BBC Three, BBC Four, and specialty channels like BBC Alba and S4C. It also discusses commercial TV channels in the UK like Channel 4 and Channel 5. The BBC is funded by television licenses rather than commercials, allowing it to provide programming without commercial interruption.
1) A system of territorial exclusivity for broadcasting football matches that prohibits viewers from watching broadcasts from other member states using decoder cards violates EU law.
2) The screening of football broadcasts containing copyrighted works like videos or music in a pub requires authorization from the copyright holders.
3) Exclusive licensing agreements that prohibit supplying decoder cards to viewers outside the territory violate EU competition law by partitioning markets between members.
Radio broadcasting involves the transmission of audio over radio waves to reach a wide audience. There are various forms of radio broadcasting including AM, FM, commercial, and non-commercial stations. In the UK, the main national radio stations are BBC Radio 1 (popular music), BBC Radio 2 (popular music and talk), BBC Radio 3 (classical music), BBC Radio 4 (news and talk), and BBC Radio 5 Live (sports news). Local BBC radio stations serve specific regions of the UK. BBC World Service broadcasts news and discussions in many languages worldwide without advertisements. The BBC is largely funded by annual television licence fees paid by UK households watching live TV.
The document provides an overview of various marketing strategies and tactics, including networking, social media, website optimization, public relations, market research, creative marketing ideas, and evaluating marketing effectiveness. Specific recommendations and resources are given for tools like Facebook, LinkedIn, analytics, stock photos, and design platforms.
This brief covers Trade Related issues (TRI) under the CARIFORUM-EC Economic Partnership Agreement (EPA), which was concluded on December 16, 2007, and signed in October 15, 2008.
Isabel describes her daily routine which includes waking up at 8am, washing her face and hands, having breakfast, brushing her teeth, going to school, coming home, swimming, doing homework, having lunch, playing computer games, reading a book, and going to bed at 10pm. She expresses her love for her teacher and friends.
Communication with our clients
The Topic are:
-Conference call
-Intro
-Role Play (to understand and ilustrate problems)
-Process
-Language
-Showing disagreement
-Conclusion
This brief covers the Treatment of Regional Tourism within the CARIFORUM-EC Economic Partnership Agreement (EPA), which was concluded on December 16, 2007, and signed in October 15, 2008.
This document provides a 3-paragraph summary of an article about understanding international trade from the perspective of Eastern Caribbean countries. It discusses how Caribbean countries have had to adjust their economies in response to changing trade conditions imposed by the European Union. Specifically, it notes that preferences and arrangements that Caribbean countries negotiated for exports like bananas and sugar are no longer secure due to EU commitments to liberalize trade. It also emphasizes the need for Caribbean countries to pursue economic reform, structural adjustment, and diversification in order to adapt to new trading environments within the EU and emerging free trade agreements in the Americas.
Presentation by Private Sector Sector Specialist at a Business Luncheon hosted by SVG EPA Implementation Unit in Collaboration with SVG Chamber of Industry and Commerece
- There needs to be clarification of the objectives and scope of future European audiovisual policy, including consideration of access to information, cultural diversity, and media pluralism, not just the internal market.
- A consistent regulatory framework is required for television and new interactive audiovisual services, though a graduated approach may be needed.
- The notion of co-regulation shows promise in some areas like advertising and protecting minors, but it needs clear definition, especially regarding cross-border issues.
This document is an agreement between the British Secretary of State for Culture, Media and Sport and the British Broadcasting Corporation (BBC) that establishes the framework for the BBC's operations and obligations. Some key points:
- It defines the BBC's public purposes and outlines obligations around its UK public services, commercial services, funding, regulatory standards, and more.
- It requires the BBC to apply a "Public Value Test" when considering significant changes to its UK public services to assess public value and competitive impact.
- It addresses the BBC's role in supporting the UK's transition to digital television, referred to as "Digital Switchover," and related obligations.
- It outlines rules for the BBC around fair trading
DWS16 - TV and Video Forum - Florence Le Borgne, IDATE DigiWorldIDATE DigiWorld
The document discusses obstacles to creating a digital single market in Europe, focusing on copyright and geo-blocking. It notes that territorial copyright laws and difficulties clearing rights have limited cross-border access to digital content. While most online brands and services are available across multiple countries, they are locally adapted in each market. The European Commission has proposed reforms to address geo-blocking and facilitate cross-border licensing to help develop the digital single market, including ensuring portability of online services and making it easier for broadcasters and video on demand services to obtain licenses for cross-border distribution. However, factors like language costs, regulatory differences, and infrastructure issues also present challenges beyond just copyright and geo-blocking.
UK draft gambling (licensing & advertising) bill presented to parliament by t...Market Engel SAS
The Government is committed to strengthening the regulation of remote gambling to ensure that effective consumer protection measures are afforded to all British based consumers. Currently, consumers based in Great Britain face different consumer protection arrangements, and have to deal with a myriad of different regulators, depending on where the remote gambling they are taking part in is regulated. This problem is growing as more countries permit online gambling. At the same time, it is unfair to GB-licensed gambling operators that overseas competitors benefit from access to the market in Great Britain without necessarily bearing a fair share of the costs of regulation, or of research, education and treatment of problem gambling. This draft Bill allows for the amendment of the Gambling Act 2005 so that remote gambling is regulated predominantly on a point of consumption basis. Consequently, all operators selling into the British market, whether based here or abroad, will be required to hold a Gambling Commission licence to enable them to transact with British consumers and to advertise in Great Britain. Such operators will consequently be subject to the provisions of the Gambling Act 2005, its regulations and the Gambling Commission’s social responsibility and technical standards requirements. These operators will also be required to pay Operating Licence fees, and to contribute to research, education and treatment in relation to British problem gambling and regulatory costs These proposals are an important measure to help address concerns about problem gambling and to bridge a regulatory gap, by ensuring that British consumers will enjoy consistent standards of protection, no matter which online gambling site they visit. For example, previous work by the Gambling Commission has highlighted deficiencies in some remote operators’ arrangements for preventing underage play, and, for the first time, overseas operators will be required to inform the UK regulator about suspicious betting patterns to help fight illegal activity and corruption in sports betting. Finally, these reforms will ensure consistency and a level playing field as all overseas operators will be subject to the same regulatory standards and requirements as British-based operators. We look forward to hearing your views, and those of the Culture, Media & Sport Select Committee who have been invited to carry out pre-legislative scrutiny. We trust that this process will ensure that the Bill is well prepared for introduction to Parliament.
This document discusses the conflict between copyright law's principle of territoriality and the EU's goal of a single market, in the context of territorial licensing practices for audiovisual broadcasts. Specifically:
- Copyright is territorial in nature, limited to national boundaries, while licenses can be multi-territorial or EU-wide. Broadcast licenses are predominantly national in scope.
- This territorial licensing strategy partitions the audiovisual market and conflicts with the single market objective. Recent challenges call for a resolution of this conflict.
- The document examines how EU directives and case law have addressed this, finding no satisfactory resolution. New challenges include the UK football rights case before the CJEU and the Commission's proposals advocating pan-
The document discusses several regulatory bodies that govern different aspects of media in the UK:
- The Press Complaints Commission regulates newspapers and magazines and deals with complaints about their editorial content.
- Ofcom regulates television, radio, telecommunications and wireless transmissions.
- The Department for Digital, Culture, Media and Sport is responsible for culture, media and creative industries in the UK.
- Other bodies mentioned include the BBC Trust, Advertising Standards Authority, organizations that collect royalties like MCPS and PRS, and the British Board of Film Classification.
This brief covers the Treatment of Professional Services within the CARIFORUM-EC Economic Partnership Agreement (EPA), which was concluded on December 16, 2007, and signed in October 15, 2008.
Communication from the commission to the institutions december2015Greg Sterling
This document discusses the need to modernize EU copyright rules to adapt to the digital environment. It notes that while the internet has increased access to creative content, EU copyright laws have not kept pace and fragmentation remains. The document proposes actions to ensure wider access to content across EU borders by addressing issues like "portability" and territorial licensing that currently limit the cross-border availability of online content within the EU single market. The overall goal is to develop a more unified European copyright framework that benefits both content creators and consumers.
A Legal Analysis of the Service Directive 2006 123 EC and its impact in Euro ...Tiffany Daniels
The document provides an analysis of the impact of the 2006 Services Directive in the Euro zone. It begins with an introduction that outlines the purpose and structure of the paper. It then discusses the history and background of the Services Directive, including its aims to remove barriers to cross-border trade in services. The key sectors covered by the directive are also examined, such as retail, professional services, tourism, and education. Excluded sectors like healthcare, transport, and gambling are also noted. Finally, the legal basis of the directive in articles 3, 49 and 56 of the TFEU relating to free movement are reviewed as the foundation for establishing the single market in services across the EU.
Framework of EU Funding Instruments, EuropeAid Contracts and their Financial ...NİHAN GELİS
1. The document discusses EU funding instruments and financial benefits for contractors working on EU projects in Turkey. It explains that since 2007, the EU provides funds and contracts to candidate countries like Turkey to help them achieve EU standards and facilitate accession.
2. It outlines the eligibility rules for grants and participation in EU EuropeAid projects, noting that tenders are open to individuals and companies based in EU member states, candidate countries, and European Economic Area states. Proposals can also be submitted by business partnerships or consortiums.
3. The most significant financial advantage for contractors is a tax exemption certificate that exempts them from income tax, corporate tax, VAT and other taxes on goods, services, and works provided under the
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Brief: Provisions on The Cultural Sector In The EPA
1. Jamaica Office Barbados Office Brief No.:
2nd Floor, JAMPRO Building, 3rd Floor, Mutual Building,
18 Trafalgar Road, Kingston 5, JAMAICA Hastings, Christ Church, BARBADOS 3200.3/EPA-03[08]
Tel: (876) 946-2329 Fax: (876) 978 4360 Tel: (246) 430-1670 Fax: (246) 228-9528
Email: jamaica.office@crnm.org Email: barbados.office@crnm.org
EPA Brief
The Cariforum-EC Economic Partnership
Agreement (EPA)
Provisions on the Cultural Sector in the EPA
1. Background to the EPA
The recently concluded negotiations on an Economic Partnership Agreement (EPA) will result in a treaty
that covers trade in goods and services, investment and trade related issues (competition, innovation,
sustainable development, etc.) between the 27 members of the European Union on the one hand and
the 15 members of the CARIFORUM group (CARICOM and the Dominican Republic) on the other. It is
expected to come into effect later this year. The EPA was negotiated to replace the trade provisions of
the Cotonou Agreement which currently governs trade and economic and development relations
between the EU and African, Caribbean and Pacific (ACP) countries. The EPA will liberalize trade in
goods and investment between the two regions on a reciprocal basis, and the EC will provide special
development support to build the capacity of firms and other entities to take advantage of the market
access and other provisions in the EPA. Since the CA was signed, the EU has been enlarged with the
addition of 10 new members as well as Bulgaria and Romania more recently.
2. Culture in the Cotonou Agreement
In the Cotonou Agreement (CA) culture was treated in a traditional sense of merely cooperation between
nations and did not really address market access for cultural products and services. The CA contains
very limited provisions most of which are largely general or hortatory.
Article 27 of the Cotonou Agreement addresses cultural development and states that Cooperation in the
area of culture shall aim at:
a) integrating the cultural dimension at all levels of development cooperation;
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b) recognising, preserving and promoting cultural values and identities to enable inter-cultural
dialogue;
c) recognising, preserving and promoting the value of cultural heritage;
d) supporting the development of capacity in this sector; and
e) developing cultural industries and enhancing market access opportunities for cultural goods and
services.
Similarly, Article 41 of the CA states that: “The Community shall support the ACP (African Caribbean and
Pacific) States' efforts to strengthen their capacity in the supply of services. Particular attention shall be
paid to services related to labour, business, distribution, finance, tourism, culture and construction and
related engineering services with a view to enhancing their competitiveness and thereby increasing the
value and the volume of their trade in goods and services.”
Not surprisingly, little activity of benefit to the Caribbean took place on the cultural front under the CA so
far, except for some ACP-wide cultural forums.
2. Treatment of Cultural Industries and the Entertainment Sector in the EPA
The cultural sector and entertainment services in particular are addressed through two instruments in the
EPA. These are as follows:
(i) Market access commitments by 26 European states for entertainment services from
CARIFORUM states that are governed by the rules of the Services and Investment chapter and
the general provisions of the EPA.
(ii) A special Protocol on Cultural Cooperation.
In the case of the EPA’s market access provisions, it is important to note that in addition to allowing
Caribbean firms to invest in entertainment activities in Europe1, for the first time, the EC and its Member
States granted legally binding and significant market access for the supply of entertainment services
through the temporary entry of natural persons for up to six months. This is categorized as Contractual
Service Suppliers (CSS) under the EPA for the following activities:
CPC 9619 Entertainment services (other than audio-visual)
96191 Theatrical producer, singer group, band and orchestra entertainment services
96192 Services provided by authors, composers, sculptors, entertainers and other individual artists
96193 Ancillary theatrical services n.e.c.
96194 Circus, amusement park and similar attraction services
96195 Ballroom, discotheque and dance instructor services
96199 Other entertainment services n.e.c.
1 All of the EU, except nine of the new members mainly from Eastern Europe.
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Under the EPA chapter on Services, Contractual Service Suppliers (CSS) are defined as follows:
Natural persons (individuals) of the EC Party or of the Signatory CARIFORUM States employed by a
juridical person (company or firm) of that EC Party or Signatory CARIFORUM State which has no
commercial presence in the territory of the other Party and which has concluded a bona fide contract to
supply services with a final consumer in the latter Party requiring the presence on a temporary basis of its
employees in that Party in order to fulfil the contract to provide services.
All EU Member States except Belgium undertook commitments in the entertainment sector for CSS. It is
hoped that eventually Belgium will do so as well. The commitments of the EC-15 come into effect once the
EPA is provisionally applied in 2008, but those of the newer states (EC 10)2 will come into effect in three
years, and Bulgaria and Romania in five years.
Access granted to Caribbean entertainers, artists and other cultural practitioners may be subject to
qualification requirements and are subject to economic needs tests.3 But when CARIFORUM states get
their artists and cultural practitioners registered and/or certified across the region, a case can be made for
the EU states to accept that as qualification. The economic needs tests (ENTs) condition was in exchange
for a full commitment to market opening by the EU without quotas. But the ENTs are not new; this has
been in practice in several states for a long time.4 The EPA grants legally binding access to practically all
of the EU and in significant markets such as France where the culture-trade interface is a contentious and
very sensitive issue. Furthermore, this level of market access in the entertainment sector by so many EU
states has never been granted before to any other country or regional grouping.
This commitment offers those in the creative sector the same basis for entry as Caribbean business
professionals. Caribbean artists, musicians, and other cultural practitioners and their crews who are
registered as businesses will also be able to send their members or employees and they will benefit from
the same conditions as traditional professionals to supply entertainment services under the category of
contractual service suppliers (CSS). Artists (or bands) who are self-employed artists who create a
company which they own or not, and which has only one employee (themselves), are to be considered
contractual service suppliers, and are therefore covered by EC commitments on Entertainment in the EPA,
once they are considered employees of this company (if they receive a salary from the band).
It should be noted that the EU commitments in the EPA did not add any new requirements for Caribbean
musicians or other entertainers who previously benefited from discretionary access to certain European
countries such as the United Kingdom. Such access may still be granted to those persons; but to take
2 Cyprus, Czech Republic, Estonia, Hungary, Latvia, Lithuania, Malta, Poland, Slovak Republic and Slovenia.
3 The main criteria for economic needs tests will be the assessment of the relevant market situation in the Member State or the
region where the service is to be provided, including with respect to the number of, and the impact on, existing services suppliers.
4For instance, in the case of the United Kingdom see, Work Permits Sports and Entertainment: Guidance for Employers, 19
November 2007 – 30 March 2008.
(www.bia.homeoffice.gov.uk/workingintheuk/workpermits/workpermitarrangements/sportsandentertainments/)
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advantage of the legally guaranteed market access that was granted under the EPA by 26 EU states,
persons supplying any of the entertainment services indicated above are expected to meet the stipulated
conditions in the EPA.
In order to take advantage of market access under the EPA, the following conditions that were agreed by
both sides for contractual service suppliers will apply to any natural person (entertainer or artist):
a) The natural persons (individuals) are engaged in the supply of a service on a temporary basis as
employees of a juridical person (firm or company), which has obtained a service contract for a
period not exceeding 12 months.
b) The natural persons entering the other Party should be offering such services as an employee of
the juridical person supplying the services for at least the year immediately preceding the date of
submission of an application for entry into the other Party. In addition, the natural persons must
possess, at the date of submission of an application for entry into the other Party, at least three
years professional experience 5 in the sector of activity which is the subject of the contract.
c) The natural person shall not receive remuneration for the provision of services other than the
remuneration paid by the contractual service supplier during its stay in the other Party.
d) The temporary entry and stay of natural persons within the Party concerned shall be for a
cumulative period of not more than six months or, in the case of Luxembourg, 25 weeks, in any
twelve month period or for the duration of the contract, whatever is less.
e) Access accorded under the provisions of this Article relates only to the service activity which is the
subject of the contract; it does not confer entitlement to exercise the professional title of the Party
where the service is provided.
f) The number of persons covered by the service contract shall not be larger than necessary to fulfill
the contract, as it may be decided by the laws, regulations and requirements of the European
Community and the Member State where the service is supplied. (In other words, if a music band
consists of 8 persons, it cannot expect work permits for 20 persons on a tour).
While most developing countries can supply services competitively through the temporary entry of natural
persons, all developed countries are very reluctant to allow this. Temporary entry is a very contentious
and politically charged issue and authorities all want to maintain discretion in terms of access.
Governments are willing to allow the supply of entertainment services through other means (especially
investment or commercial presence) but due to immigration and other concerns they restrict temporary
entry (or Mode 4 in trade jargon). For instance, while the United States signed far-reaching trade
agreements with Central America, the Dominican Republic and several Andean countries, none of these
FTAs have provisions on temporary entry of service suppliers.
In the case of the European Union, it is the first time that a comprehensive offer was made in
entertainment services because this is usually considered part of the cultural sector which is a very
5 Obtained after having reached the age of majority.
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sensitive sector in many EU states. Some CARIFORUM states did not undertake commitments for
contractual service suppliers from the EU. But Caribbean artists, musicians, and other cultural
practitioners and their crews who are registered as businesses will have a legal right to send their
members or employees to almost all EU states to supply entertainment services once they get a contract
from clients in those EU states and the meet the normal immigration requirements.
4. The Protocol on Cultural Cooperation
The Services chapter and market access commitments in the EPA provide access for cultural
practitioners who are selling their services in Europe. The Protocol on Cultural Cooperation facilitates
those who are not in commercial transactions but who wish to enter Europe for other cultural activities
including collaborating with Europeans. (See Annex)
The market access granted by the EU in Entertainment is complemented with a historic and innovative
Protocol, which provides for bilateral cooperation on all cultural fronts and with special provisions on the
audiovisual sector. In terms of objectives, the Protocol aims to improve the conditions governing the
exchanges of cultural activities, goods and services and redressing the structural imbalances and
asymmetrical patterns which may exist in trade in these between CARIFORUM states and the EU. The
Protocol’s starting point is the UNESCO Convention on the Protection and Promotion of the Diversity of
Cultural Expressions.
While the historical tradition and EU-wide policy in Europe does not allow market access commitments in
the audio-visual sector in any trade agreement whatsoever, the EPA Protocol on Cultural Cooperation
provides ample room for collaboration in order to allow access for Caribbean audio-visual material
through special mechanisms. In particular, co-produced audiovisual products and services involving
European and Caribbean creative teams (in a generous 80-20 percent formula for the production budget)
will qualify as domestic productions and meet the audiovisual content rules in all EU states and in the
Caribbean. When co-production treaties are completed between individual EU states and Caribbean
states or regions, it will also make it possible for Caribbean audiovisual producers to access funding for
creative projects.
Furthermore, through the Protocol, artists and other cultural practitioners (who are not involved in
commercial activities in the EU) will be able to enter the EU space to collaborate on projects, get training,
learn new techniques, engage in production, etc. And they will be allowed to stay in the EU for periods up
to 90 days in any 12-month period. Previous EU trade agreements had almost nothing on cultural
cooperation. The CARIFORUM-EU EPA is the first to have comprehensive provisions on culture that
allow for movement of artists, musicians, in this manner. This Protocol mechanism will be useful for the
smaller artists and entertainers and any cultural practitioners who do not yet operate as a firm; they can
enter EU states under the cooperation element and over time, develop contacts that can lead to
commercial contracts.
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The Protocol also provides for technical assistance through different measures, inter alia, training,
exchange of information, expertise and experiences, and counselling in elaboration of policies and
legislation as well as in usage and transfer of technologies and know-how. This support will include
cooperation between private companies, non-governmental organisations as well as public-private
partnerships.
5. Differences between Cotonou and the EPA
The new instruments regarding cultural activities under the EPA provide significant new market access
as well as a more developed and defined basis for cooperation and joint activities as well as
development support for cultural initiatives. But it does not mean that well-known artists or musicians who
previously were granted access in some EU states will now be prevented from doing so. The main
difference is that while previously access to the EU market was purely on a discretionary basis, the EPA
commitments now give legal certainty to suppliers of entertainment services from the Caribbean region.
And the big change is that there is a commitment by almost the entire EU to market access and to
cultural cooperation in a wide range of areas.
It is also important to note that the market access commitments on entertainment services and the
provisions of the Protocol on Cultural Cooperation in the EPA are subject to the wider goals of the
Agreement and the general provisions which include dispute settlement; so if our artists or cultural
practitioners find authorities in individual EU states reneging on their commitments or making it too
difficult for them to enter to supply services or do other activities, this can be formally challenged through
the dispute resolution process.
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Annex 1
Protocol III to the Economic Partnership Agreement
On Cultural Cooperation
The Parties and the Signatory CARIFORUM States,
Having ratified the UNESCO Convention on the Protection and Promotion of the Diversity of Cultural
Expressions adopted in Paris on 20 October 2005, which entered into force on 18 March 2007, or
intending to do so promptly;
Intending to effectively implement the UNESCO Convention and to cooperate within the framework of its
implementation, building upon the principles of the Convention and developing actions in line with its
provisions, notably its Articles 14, 15 and 16;
Recognizing the importance of the cultural industries and the multi-faceted nature of cultural goods and
services as activities of cultural, economic and social value;
Recognizing that the regional integration process supported by this Agreement forms part of a global
strategy aimed at promoting equitable growth and the reinforcement of economic, trade and cultural
cooperation between the Parties;
Recalling that the objectives of this Protocol are complemented and supported by existing and future
policy instruments managed in other frameworks, with a view to:
a) integrating the cultural dimension at all levels of development cooperation and, in
particular, in the field of education;
b) reinforcing the capacities and independence of the Parties' cultural industries;
c) promoting local and regional cultural content;
Recognising that protecting and promoting cultural diversity is a condition for a successful dialogue
between cultures;
Recognising, protecting and promoting cultural heritage, as well as promoting its recognition by local
populations and recognising its value as a means for expressing cultural identities;
Stressing the importance of facilitating cultural cooperation between the Parties and for that purpose to
take into account, on a case by case basis, inter alia, the degree of development of their cultural
industries, the level and structural imbalances of cultural exchanges and the existence of preferential
schemes for the promotion of local and regional cultural content, agree as follows:
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Article 1
Scope, objectives and definitions
1. Without prejudice to the other provisions of this Agreement, this Protocol sets up the
framework within which the Parties shall cooperate for facilitating exchanges of cultural
activities, goods and services, including inter alia, in the audiovisual sector.
2. While preserving and further developing their capacity to elaborate and implement their
cultural policies, with a view to protecting and promoting cultural diversity, the Parties shall
collaborate with the aim of improving the conditions governing their exchanges of cultural
activities, goods and services and redressing the structural imbalances and asymmetrical
patterns which may exist in such exchanges .
3. The definitions and concepts used in this Protocol are those of the UNESCO Convention
on the Protection and Promotion of the Diversity of Cultural Expressions adopted in Paris
on 20 October 2005.
4. In addition, for the purpose of this Protocol, “artists and other cultural professionals and
practitioners” mean natural persons that perform cultural activities, produce cultural goods
or participate in the direct supply of cultural services.
Section 1- Horizontal provisions
Article 2
Cultural exchanges and dialogue
1. The Parties shall aim at fostering their capacities to determine and develop their cultural
policies, developing their cultural industries and enhancing exchange opportunities for
cultural goods and services of the Parties, including through preferential treatment.
2. The Parties shall co-operate to foster the development of a common understanding and
enhanced exchange of information on cultural and audiovisual matters through an EC-
CARIFORUM dialogue, as well as on good practices in the field of Intellectual Property
Rights protection. This dialogue will take place within the mechanisms established in this
Agreement as well as in other relevant fora as and when appropriate.
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Article 3
Artists and other cultural professionals and practitioners
1. The Parties and the Signatory CARIFORUM States shall endeavour to facilitate, in conformity with
their respective legislation, the entry into and temporary stay in their territories of artists and other
cultural professionals and practitioners from the other Party, or, as the case may be, the Signatory
CARIFORUM States, who cannot avail themselves of commitments undertaken on the basis of
Title II of the Agreement and who are either:
(a) artists, actors, technicians and other cultural professionals and practitioners from the
other Party involved in the shooting of cinematographic films or television
programmes, or
(b) artists and other cultural professionals and practitioners such as visual, plastic and
performing artists and instructors, composers, authors, providers of entertainment
services and other similar professionals and practitioners from the other Party
involved in cultural activities such as, for example, the recording of music or
contributing an active part to cultural events such as literary fairs, festivals, among
other activities,
provided that they are not engaged in selling their services to the general public or in
supplying their services themselves, do not on their own behalf receive any remuneration
from a source located within the Party where they are staying temporarily, and are not
engaged in the supply of a service in the framework of a contract concluded between a legal
person who has no commercial presence in the Party where the artist or other cultural
professional or practitioner is staying temporarily and a consumer in this Party.
2. This entry into and temporary stay in the territories of the EC Party or of the Signatory
CARIFORUM States, when allowed, shall be for a period of up to 90 days in any twelve
month period.
3. The Parties and the Signatory CARIFORUM States shall endeavour to facilitate, in conformity
with their respective legislation, the training of, and increased contacts between artists and
other cultural professionals and practitioners such as:
(a) Theatrical producers, singer groups, band and orchestra members;
(b) Authors, poets, composers, sculptors, entertainers and other individual
artists;
(c) Artists and other cultural professionals and practitioners participating in the
direct supply of circus, amusement park and similar attraction services, as
well as in festivals and carnivals;
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(d) Artists and other cultural professionals and practitioners participating in the
direct supply of ballroom, discotheque services and dance instructors;
(e) Mas performers and designers.
Article 4
Technical assistance
1. The Parties shall endeavour to provide technical assistance to Signatory CARIFORUM
States with the aim of assisting in the development of their cultural industries, development
and implementation of cultural policies, and in promoting the production and exchange of
cultural goods and services.
2. Subject to the provisions of Article 7 of the Agreement, the Parties agree to cooperate,
including by facilitating support, through different measures, inter alia, training, exchange
of information, expertise and experiences, and counselling in elaboration of policies and
legislation as well as in usage and transfer of technologies and know-how. Technical
assistance may also facilitate the cooperation between private companies, non-
governmental organisations as well as public-private partnerships.
Section 2 – Sectoral provisions
Article 5
Audio-visual, including cinematographic, cooperation
1. The Parties shall encourage the negotiation of new and implementation of existing co-
production agreements between one or several Member States of the European Union
and one or several Signatory CARIFORUM States.
2. The Parties and the Signatory CARIFORUM States, in conformity with their respective
legislation, shall facilitate the access of co-productions between one or several producers
of the EC Party and one or several producers of Signatory CARIFORUM States to their
respective markets, including through the granting of preferential treatment, and subject to
the provisions of Article 7 of this Agreement, including by facilitating support through the
organisation of festivals, seminars and similar initiatives.
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(a) Co-produced audiovisual works shall benefit from the preferential market access
referred to in paragraph 2 within the EC Party in the form of qualification as European
works in accordance with Article 1 n) (i) of Directive 89/552/EEC6 for the purposes of the
requirements for the promotion of audiovisual works as provided for by Articles 4(1) and
3i(1) of that Directive. Such preferential treatment shall be granted on the following
conditions:
(i) the co-produced audiovisual works are realised between undertakings which are
owned and continue to be owned, whether directly or by majority participation, by a
Member State of the European Union or a Signatory CARIFORUM State and/or by
nationals of a Member State of the European Union or nationals of a Signatory
CARIFORUM State;
(ii) the representative director(s) or manager(s) of the co-producing undertakings have
the nationality of a Member State of the European Union and/or of a Signatory
CARIFORUM State;
(iii) both (a) the total financial contributions of one or several producers of the EC Party
(taken together), and (b) the total financial contributions of one or several producers
of Signatory CARIFORUM States (taken together) shall not be less than 20 percent
and not more than 80 percent of the total production cost.
(b) The Parties will regularly monitor the implementation of paragraph (a) and report any
problem that may arise in this respect to the CARIFORUM-EC Trade and Development
Committee established under this Agreement.
(c) Where preferential schemes for the promotion of local or regional cultural content are
established by one or more Signatory CARIFORUM States, the Signatory CARIFORUM
States concerned will extend to the works co-produced between producers of the EC
party and of Signatory CARIFORUM States the preferential market access benefits of
such schemes under the conditions laid down in paragraph (a).
3. The Parties and the Signatory CARIFORUM States reaffirm their commitment to the use of
international and regional standards in order to ensure compatibility and interoperability of
audio-visual technologies, contributing therefore to strengthen cultural exchanges. They
shall cooperate towards this objective.
6
Directive 89/552/EEC of the European Parliament and of the Council of 3 October 1989 on the coordination of certain
provisions laid down by law, regulation or administrative action in Member States concerning the provision of audiovisual media
services (Audiovisual Media Services Directive) (Official Journal of the European Communities L 298, 17.10.1989, p. 23). Directive
as last amended by Directive 2007/65/EC (Official Journal of the European Communities L 332, 18.12.2007, p. 27).
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4. The Parties and the Signatory CARIFORUM States shall endeavour to facilitate rental and
leasing of the technical material and equipment necessary such as radio and television
equipment, musical instruments and studio recording equipment to create and record
audio-visual works.
5. The Parties and the Signatory CARIFORUM States shall endeavour to facilitate the
digitalisation of audio-visual archives in Signatory CARIFORUM States.
Article 6
Temporary importation of material and equipment for the purpose of shooting cinematographic
films and television programmes
1. Each Party shall encourage as appropriate the promotion of its territory as a location for
the purpose of shooting cinematographic films and television programmes.
2. Notwithstanding the provisions contained in Title I of the Agreement, the Parties and the
Signatory CARIFORUM States shall, in conformity with their respective legislation,
consider and allow the temporary importation, from the territory of one Party into the
territory of the other Party, of the technical material and equipment necessary to carry out
the shooting of cinematographic films and television programmes by cultural professionals
and practitioners.
Article 7
Performing arts
1. Subject to the provisions of Article 7 of this Agreement, the Parties agree to cooperate, in
conformity with their respective legislation, including by facilitating increased contacts
between practitioners of performing arts in areas such as professional exchanges and
training, inter alia participation in auditions, development of networks and promotion of
networking.
2. The Parties and the Signatory CARIFORUM States shall encourage joint productions in
the fields of performing arts between producers of one or several Member States of the
European Union and one or several Signatory CARIFORUM States.
3. The Parties and the Signatory CARIFORUM States shall encourage the development of
international theatre technology standards and the use of theatre stage signs, including
through appropriate standardisation bodies. They shall facilitate cooperation towards this
objective.
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Article 8
Publications
Subject to the provisions of Article 7 of this Agreement, the Parties agree to cooperate, in conformity with
their respective legislation, including by facilitating exchange with and dissemination of publications of the
other Party in areas such as:
(a) organisation of fairs, seminars, literary events and other similar events related to
publications, including public reading mobile structures;
(b) facilitating co-publishing and translations;
(c) facilitating professional exchanges and training for librarians, writers, translators,
booksellers and publishers.
Article 9
Protection of sites and historic monuments
Subject to the provisions of Article 7 of this Agreement, the Parties agree to cooperate, including by
facilitating support to encourage exchanges of expertise and best practices regarding the protection of
sites and historic monuments, bearing in mind the UNESCO World Heritage mission, including through
facilitating the exchange of experts, collaboration on professional training, increasing awareness of the
local public and counselling on the protection of the historic monuments, protected spaces, as well as on
the legislation and implementation of measures related to heritage, in particular its integration into local
life. Such cooperation shall conform with the respective legislation of the Parties and the Signatory
CARIFORUM States and is without prejudice to the reservations included in their commitments
contained in Annex IV of this Agreement.
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