Prof. Dr. Peggy Valcke Professor in Law - KU Leuven Interdisciplinary Centre for Law & ICT - iMinds
CMPF Summer School 2013 for Journalists and Media Practitioners
http://cmpf.eui.eu/training/summer-school-2013.aspx
The document discusses the scope and interpretation of the EU Audiovisual Media Services Directive (AVMSD).
1) It analyzes each of the seven criteria that define an "audiovisual media service" under the directive, such as having the principal purpose of providing programs to inform, entertain or educate the general public.
2) It examines how national regulators have interpreted ambiguous criteria, like whether video content on newspaper websites is considered ancillary or a separate service.
3) The document explores how the directive applies to new media services on converging platforms and whether traditional TV rules apply, given the directive's goal of technology neutrality.
The BBC receives most of its funding from television license fees paid by UK households. It also generates revenue from commercial activities like BBC Worldwide. The license fee model allows the BBC to operate independently without commercial pressures and produce a wide variety of programming for UK audiences. In contrast, other UK broadcasters like ITV and Channel 4 earn income from advertising, product placements, sponsorships and partnerships to supplement their funding. The BBC does not carry commercial advertising on its core public services.
- 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.
Maduf02 New Media Legal Implications Katrien Lefeverimec.archive
This document summarizes the legal implications of new media in Flanders. It discusses the key actors like network operators, broadcasters, and aggregators. It outlines the regulations for content providers under the Flemish Media Act and the EU Audiovisual Media Services Directive. The Flemish Media Act is moving towards a two-tiered regulation approach for linear vs non-linear services, inspired by the EU directive. There is a need to modernize the Flemish Media Act to address new problems from actors like aggregators and new technologies.
20101020 Broadband in Europe - Internet Hungary conferencegaalnorb
The document discusses the role of public funds and state aid in developing broadband networks and digital strategies from an EU perspective. It makes three main points: 1) The importance of comprehensive national broadband plans to meet EU 2020 targets. 2) Clarification of the role of public funds and state aid for broadband infrastructure. 3) Ensuring available EU funding is used to achieve digital agenda objectives. State aid is needed to achieve universal broadband coverage and accelerate next generation network deployment in areas where commercial investment is unlikely. The EU broadband guidelines provide rules for state aid to maximize consumer welfare while avoiding undue competition distortions.
Now TV is an IPTV service provider in Hong Kong that offers video on demand. It is owned by PCCW, Hong Kong's largest internet service provider, and delivers its IPTV service through PCCW's broadband lines. Now TV targets a wide audience with its variety of content including movies, sports, news, kids shows and more. It has exclusive rights to broadcast the English Premier League in Hong Kong and synergizes with King's Glory Education to provide educational content. Now TV promotes itself through advertisements and deals bundled with PCCW services.
The radio industry consists of commercial radio, funded by advertising; public service broadcasting like the BBC, funded by television licenses; and non-profit radio. Commercial radio stations employ 43% of the radio workforce and make money through advertising. The BBC employs nearly 11,000 people and has over half of all radio listening hours in the UK. New technologies allow radio to be accessed online, on mobile apps, and through podcasts. The industry is regulated by organizations like OFCOM and employs people in a variety of roles from producers and presenters to reporters. In the future, the radio industry will need a multi-skilled workforce that can create compelling content across different platforms.
The document discusses the scope and interpretation of the EU Audiovisual Media Services Directive (AVMSD).
1) It analyzes each of the seven criteria that define an "audiovisual media service" under the directive, such as having the principal purpose of providing programs to inform, entertain or educate the general public.
2) It examines how national regulators have interpreted ambiguous criteria, like whether video content on newspaper websites is considered ancillary or a separate service.
3) The document explores how the directive applies to new media services on converging platforms and whether traditional TV rules apply, given the directive's goal of technology neutrality.
The BBC receives most of its funding from television license fees paid by UK households. It also generates revenue from commercial activities like BBC Worldwide. The license fee model allows the BBC to operate independently without commercial pressures and produce a wide variety of programming for UK audiences. In contrast, other UK broadcasters like ITV and Channel 4 earn income from advertising, product placements, sponsorships and partnerships to supplement their funding. The BBC does not carry commercial advertising on its core public services.
- 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.
Maduf02 New Media Legal Implications Katrien Lefeverimec.archive
This document summarizes the legal implications of new media in Flanders. It discusses the key actors like network operators, broadcasters, and aggregators. It outlines the regulations for content providers under the Flemish Media Act and the EU Audiovisual Media Services Directive. The Flemish Media Act is moving towards a two-tiered regulation approach for linear vs non-linear services, inspired by the EU directive. There is a need to modernize the Flemish Media Act to address new problems from actors like aggregators and new technologies.
20101020 Broadband in Europe - Internet Hungary conferencegaalnorb
The document discusses the role of public funds and state aid in developing broadband networks and digital strategies from an EU perspective. It makes three main points: 1) The importance of comprehensive national broadband plans to meet EU 2020 targets. 2) Clarification of the role of public funds and state aid for broadband infrastructure. 3) Ensuring available EU funding is used to achieve digital agenda objectives. State aid is needed to achieve universal broadband coverage and accelerate next generation network deployment in areas where commercial investment is unlikely. The EU broadband guidelines provide rules for state aid to maximize consumer welfare while avoiding undue competition distortions.
Now TV is an IPTV service provider in Hong Kong that offers video on demand. It is owned by PCCW, Hong Kong's largest internet service provider, and delivers its IPTV service through PCCW's broadband lines. Now TV targets a wide audience with its variety of content including movies, sports, news, kids shows and more. It has exclusive rights to broadcast the English Premier League in Hong Kong and synergizes with King's Glory Education to provide educational content. Now TV promotes itself through advertisements and deals bundled with PCCW services.
The radio industry consists of commercial radio, funded by advertising; public service broadcasting like the BBC, funded by television licenses; and non-profit radio. Commercial radio stations employ 43% of the radio workforce and make money through advertising. The BBC employs nearly 11,000 people and has over half of all radio listening hours in the UK. New technologies allow radio to be accessed online, on mobile apps, and through podcasts. The industry is regulated by organizations like OFCOM and employs people in a variety of roles from producers and presenters to reporters. In the future, the radio industry will need a multi-skilled workforce that can create compelling content across different platforms.
The radio industry consists of commercial radio, funded by advertising, public service broadcasting like the BBC funded by television licenses, and non-profit community radio. Commercial radio stations employ over 40% of the radio workforce and are owned by large companies like Global and Bauer. The BBC employs around 11,000 people and has over half of all radio listening. New technologies allow radio to be accessed online, on mobile apps, and through podcasts. The industry is regulated by organizations like OFCOM and employs people in a variety of roles from producers and presenters to reporters. Freelance work is also common in the radio sector.
The radio industry consists of commercial radio, funded by advertising, public service broadcasting like the BBC funded by television licenses, and non-profit community radio. Commercial radio stations employ over 40% of the radio workforce and are owned by large companies like Global and Bauer. The BBC employs around 11,000 people and has over half of all radio listening. New technologies allow radio to be accessed online, on mobile apps, and through podcasts. The industry is regulated by organizations like OFCOM and employs people in a variety of roles from producers and presenters to reporters. Freelance work is also common in the radio sector.
The radio industry consists of commercial radio, funded by advertising; public service broadcasting like the BBC, funded by licenses; and non-profit radio. Commercial radio stations employ 43% of the industry and make money through advertising. The BBC employs over 11,000 people across its national and local stations. Radio is accessible through various platforms like mobile apps, websites and podcasts. The industry is regulated by organizations like OFCOM and employs people in a variety of roles like producers, presenters and reporters. Degrees are not always required for jobs in radio. In the future, the industry will need a multi-skilled workforce with both breadth and depth of knowledge and specialization.
The radio industry consists of commercial radio, funded by advertising; public service broadcasting like the BBC, funded by television licenses; and non-profit radio. Commercial radio stations employ 43% of the radio workforce and make money through advertising. The BBC employs nearly 11,000 people and has over half of all radio listening hours in the UK. New technologies allow radio to be accessed online, on mobile apps, and through podcasts. The industry is regulated by organizations like OFCOM and employs people in a variety of roles from producers and presenters to reporters. In the future, the radio industry will need a multi-skilled workforce that can adapt to changes in technology.
This document discusses funding and ownership models in the UK TV and film industry. It outlines that the BBC is publicly funded through television licenses, with its purposes being to sustain citizenship, promote education, stimulate creativity, and represent the UK. Commercial channels are funded through advertising, sponsorships, and private investors. An assignment asks students to create a vlog comparing and critiquing public service companies like the BBC versus commercially funded channels.
The British Board of Film Classification (BBFC) is an independent body established in 1912 to classify films shown in UK cinemas. Local authorities can overrule BBFC classifications but rarely do. In 1985 the BBFC also became responsible for classifying videos and DVDs. The British Video Association represents UK video publishers and rights owners. The Film Distributors' Association is the UK trade body for film distributors that release films to cinemas. Ofcom regulates TV, radio, telecoms and wireless transmissions in the UK. Trading Standards aims to protect consumers and encourage honest business. The Press Complaints Commission enforces the Editors' Code of Practice for newspapers and magazines.
The document summarizes key aspects of the BBC's operating model and executive structure. It discusses that the Executive Board, led by the Director-General, is responsible for operational management and strategy. The Board includes both internal BBC executive directors and external non-executive directors. It also outlines partnerships with other organizations focused on digital skills and arts programs. Additionally, it explains that the BBC is funded by television licenses rather than advertising to maintain independence from commercial interests.
The document summarizes key milestones and stakeholders involved in Netherlands' transition from analog to digital broadcasting. It discusses the objectives and interests of participating groups like government ministries, public broadcasters, cable operators, and issues that arose around frequency coordination, funding, and network ownership. Effective coordination through a taskforce was important to address conflicts, finalize frequency plans, and ensure a successful switchover.
- The document discusses the market potential for mobile video services in the Middle East and North Africa region.
- It notes that while the mobile market is large with 175 million subscribers, mobile data and video services currently represent a small portion of revenues.
- For mobile video to succeed, operators must improve the user experience, lower prices to encourage adoption, and create appealing exclusive content to attract audiences. Operators also need to adopt more of a media company approach to programming and promoting content.
The document defines and describes the major media industry sectors, including:
- The film industry, comprised of production companies, studios, filmmakers, and actors. Major film companies include Disney, Warner Bros., and 20th Century Fox.
- The radio industry, consisting of public service broadcasters funded by licenses/government and commercial broadcasters funded by advertising. Regulator Ofcom also oversees community radio stations.
- The television industry, which transmits moving images and sound, and generates billions in revenue each year in the UK from pay TV and advertising. Viewers spend about 4 hours per day watching TV.
- The print industry, which prints books, magazines, labels, posters and other products
This PPT gives a general overview on the landscape of mobile TV. It also gives a discussion on the business opportunity and buisness model of broadcast mobile TV.
This document provides an overview of the history and models of public service broadcasting and commercial broadcasting in the UK. It discusses the founding of the BBC in 1922 based on John Reith's principle that broadcasting should be protected from commercial pressures and serve the whole community. The introduction of ITV in 1954 and Channel 4 in 1982 provided alternatives but were still subject to public service obligations. Sky Television launched in 1998 as the first commercial subscription service not bound by a public service remit. Students are then asked to debate the advantages and disadvantages of the two models and consider whether the UK should keep the television license fee.
Ofcom is the regulator of television in the UK. It has a duty to ensure a wide range of programming appeals to diverse tastes, protects viewers, and uses spectrum effectively. Channel 4 is a publicly-owned but commercially-funded broadcaster with a remit for innovation, experimentation, and distinctiveness. The documentary series 999: What's Your Emergency? films emergency services in Blackpool, highlighting social issues through realistic techniques like handheld camera. Episodes focus on changing gender roles and alcohol's impacts, representing issues in Blackpool.
This document discusses the Smart Radio Initiative (Euro-Chip) which aims to make broadcast radio accessible on smartphones through hybrid solutions using both broadcast and broadband. The goals are to future-proof radio, develop partnerships between public and private entities, establish open global standards, and provide a consistent and brilliant consumer experience across devices. The Universal Smartphone Radio Project would develop common user experience guidelines, broadcaster standards, and APIs to make broadcast radio work like an app. Broadcast radio provides widespread reliable coverage at low cost compared to relying solely on mobile networks. The initiative argues for incorporating broadcast radio capabilities into smartphones to improve the user experience, battery life, and bandwidth availability.
Introduction to hyper local media, part one: audience data, definitions and U...Damian Radcliffe
12" pack broken into three, due to file size. This is part one which looks at audience data, definitions, and different UK examples.
Comments, feedback and suggestions are very welcome.
UK television broadcasting was introduced by the BBC in the 1920s and has since expanded to include multiple channels from various broadcasters, with the BBC remaining the largest public service broadcaster, producing a wide variety of programming across genres which it distributes through television, radio, online and commercial services both domestically and internationally. The BBC is primarily funded through television license fees and governed by the BBC Trust to ensure its independence, producing content through a system of channels, regions, and production processes both filmed and live.
Television broadcasting involves the distribution of audio and video content to audiences using electromagnetic waves. In the UK, public service broadcasters like the BBC are required to fulfill certain requirements in exchange for their license to broadcast. The average TV screen size has increased to 33 inches wide in the last 10 years. The BBC began television broadcasts in 1936 and operates numerous national and regional channels across different platforms. Digital terrestrial television in the UK includes channels from the BBC as well as Channel 4. The television license fee in the UK helps fund the BBC's television, radio, and online services.
Crowdfunding involves attracting funds from many people online for charitable projects and social good. It allows designers, scientists, musicians and others to get funding for projects in areas like art, comics, dance, fashion, theater, music and photography. Popular crowdfunding platforms like Kickstarter, Indiegogo and GlobalGiving allow people around the world to fund projects. Crowdfunding is growing in popularity as more people and platforms get involved in funding social entrepreneurship and causes through small donations online. Statistics show crowdfunding has raised over $32 million for projects in just two years.
The document discusses several EU frameworks related to digital television:
1. The regulatory framework for electronic communications which includes rules on spectrum assignment and competition.
2. The Audiovisual Media Services Directive which establishes rules for audiovisual content across different platforms.
3. Radio spectrum policies set by the Radio Spectrum Policy Group to advise the EU Commission on spectrum issues.
4. The policy to accelerate the transition from analogue to digital broadcasting by 2012, including coordination of member state plans and freeing up spectrum for new services.
5. The legal framework for mobile TV networks and services which aims to impose no unnecessary obligations while ensuring efficient spectrum use.
The radio industry consists of commercial radio, funded by advertising, public service broadcasting like the BBC funded by television licenses, and non-profit community radio. Commercial radio stations employ over 40% of the radio workforce and are owned by large companies like Global and Bauer. The BBC employs around 11,000 people and has over half of all radio listening. New technologies allow radio to be accessed online, on mobile apps, and through podcasts. The industry is regulated by organizations like OFCOM and employs people in a variety of roles from producers and presenters to reporters. Freelance work is also common in the radio sector.
The radio industry consists of commercial radio, funded by advertising, public service broadcasting like the BBC funded by television licenses, and non-profit community radio. Commercial radio stations employ over 40% of the radio workforce and are owned by large companies like Global and Bauer. The BBC employs around 11,000 people and has over half of all radio listening. New technologies allow radio to be accessed online, on mobile apps, and through podcasts. The industry is regulated by organizations like OFCOM and employs people in a variety of roles from producers and presenters to reporters. Freelance work is also common in the radio sector.
The radio industry consists of commercial radio, funded by advertising; public service broadcasting like the BBC, funded by licenses; and non-profit radio. Commercial radio stations employ 43% of the industry and make money through advertising. The BBC employs over 11,000 people across its national and local stations. Radio is accessible through various platforms like mobile apps, websites and podcasts. The industry is regulated by organizations like OFCOM and employs people in a variety of roles like producers, presenters and reporters. Degrees are not always required for jobs in radio. In the future, the industry will need a multi-skilled workforce with both breadth and depth of knowledge and specialization.
The radio industry consists of commercial radio, funded by advertising; public service broadcasting like the BBC, funded by television licenses; and non-profit radio. Commercial radio stations employ 43% of the radio workforce and make money through advertising. The BBC employs nearly 11,000 people and has over half of all radio listening hours in the UK. New technologies allow radio to be accessed online, on mobile apps, and through podcasts. The industry is regulated by organizations like OFCOM and employs people in a variety of roles from producers and presenters to reporters. In the future, the radio industry will need a multi-skilled workforce that can adapt to changes in technology.
This document discusses funding and ownership models in the UK TV and film industry. It outlines that the BBC is publicly funded through television licenses, with its purposes being to sustain citizenship, promote education, stimulate creativity, and represent the UK. Commercial channels are funded through advertising, sponsorships, and private investors. An assignment asks students to create a vlog comparing and critiquing public service companies like the BBC versus commercially funded channels.
The British Board of Film Classification (BBFC) is an independent body established in 1912 to classify films shown in UK cinemas. Local authorities can overrule BBFC classifications but rarely do. In 1985 the BBFC also became responsible for classifying videos and DVDs. The British Video Association represents UK video publishers and rights owners. The Film Distributors' Association is the UK trade body for film distributors that release films to cinemas. Ofcom regulates TV, radio, telecoms and wireless transmissions in the UK. Trading Standards aims to protect consumers and encourage honest business. The Press Complaints Commission enforces the Editors' Code of Practice for newspapers and magazines.
The document summarizes key aspects of the BBC's operating model and executive structure. It discusses that the Executive Board, led by the Director-General, is responsible for operational management and strategy. The Board includes both internal BBC executive directors and external non-executive directors. It also outlines partnerships with other organizations focused on digital skills and arts programs. Additionally, it explains that the BBC is funded by television licenses rather than advertising to maintain independence from commercial interests.
The document summarizes key milestones and stakeholders involved in Netherlands' transition from analog to digital broadcasting. It discusses the objectives and interests of participating groups like government ministries, public broadcasters, cable operators, and issues that arose around frequency coordination, funding, and network ownership. Effective coordination through a taskforce was important to address conflicts, finalize frequency plans, and ensure a successful switchover.
- The document discusses the market potential for mobile video services in the Middle East and North Africa region.
- It notes that while the mobile market is large with 175 million subscribers, mobile data and video services currently represent a small portion of revenues.
- For mobile video to succeed, operators must improve the user experience, lower prices to encourage adoption, and create appealing exclusive content to attract audiences. Operators also need to adopt more of a media company approach to programming and promoting content.
The document defines and describes the major media industry sectors, including:
- The film industry, comprised of production companies, studios, filmmakers, and actors. Major film companies include Disney, Warner Bros., and 20th Century Fox.
- The radio industry, consisting of public service broadcasters funded by licenses/government and commercial broadcasters funded by advertising. Regulator Ofcom also oversees community radio stations.
- The television industry, which transmits moving images and sound, and generates billions in revenue each year in the UK from pay TV and advertising. Viewers spend about 4 hours per day watching TV.
- The print industry, which prints books, magazines, labels, posters and other products
This PPT gives a general overview on the landscape of mobile TV. It also gives a discussion on the business opportunity and buisness model of broadcast mobile TV.
This document provides an overview of the history and models of public service broadcasting and commercial broadcasting in the UK. It discusses the founding of the BBC in 1922 based on John Reith's principle that broadcasting should be protected from commercial pressures and serve the whole community. The introduction of ITV in 1954 and Channel 4 in 1982 provided alternatives but were still subject to public service obligations. Sky Television launched in 1998 as the first commercial subscription service not bound by a public service remit. Students are then asked to debate the advantages and disadvantages of the two models and consider whether the UK should keep the television license fee.
Ofcom is the regulator of television in the UK. It has a duty to ensure a wide range of programming appeals to diverse tastes, protects viewers, and uses spectrum effectively. Channel 4 is a publicly-owned but commercially-funded broadcaster with a remit for innovation, experimentation, and distinctiveness. The documentary series 999: What's Your Emergency? films emergency services in Blackpool, highlighting social issues through realistic techniques like handheld camera. Episodes focus on changing gender roles and alcohol's impacts, representing issues in Blackpool.
This document discusses the Smart Radio Initiative (Euro-Chip) which aims to make broadcast radio accessible on smartphones through hybrid solutions using both broadcast and broadband. The goals are to future-proof radio, develop partnerships between public and private entities, establish open global standards, and provide a consistent and brilliant consumer experience across devices. The Universal Smartphone Radio Project would develop common user experience guidelines, broadcaster standards, and APIs to make broadcast radio work like an app. Broadcast radio provides widespread reliable coverage at low cost compared to relying solely on mobile networks. The initiative argues for incorporating broadcast radio capabilities into smartphones to improve the user experience, battery life, and bandwidth availability.
Introduction to hyper local media, part one: audience data, definitions and U...Damian Radcliffe
12" pack broken into three, due to file size. This is part one which looks at audience data, definitions, and different UK examples.
Comments, feedback and suggestions are very welcome.
UK television broadcasting was introduced by the BBC in the 1920s and has since expanded to include multiple channels from various broadcasters, with the BBC remaining the largest public service broadcaster, producing a wide variety of programming across genres which it distributes through television, radio, online and commercial services both domestically and internationally. The BBC is primarily funded through television license fees and governed by the BBC Trust to ensure its independence, producing content through a system of channels, regions, and production processes both filmed and live.
Television broadcasting involves the distribution of audio and video content to audiences using electromagnetic waves. In the UK, public service broadcasters like the BBC are required to fulfill certain requirements in exchange for their license to broadcast. The average TV screen size has increased to 33 inches wide in the last 10 years. The BBC began television broadcasts in 1936 and operates numerous national and regional channels across different platforms. Digital terrestrial television in the UK includes channels from the BBC as well as Channel 4. The television license fee in the UK helps fund the BBC's television, radio, and online services.
Crowdfunding involves attracting funds from many people online for charitable projects and social good. It allows designers, scientists, musicians and others to get funding for projects in areas like art, comics, dance, fashion, theater, music and photography. Popular crowdfunding platforms like Kickstarter, Indiegogo and GlobalGiving allow people around the world to fund projects. Crowdfunding is growing in popularity as more people and platforms get involved in funding social entrepreneurship and causes through small donations online. Statistics show crowdfunding has raised over $32 million for projects in just two years.
The document discusses several EU frameworks related to digital television:
1. The regulatory framework for electronic communications which includes rules on spectrum assignment and competition.
2. The Audiovisual Media Services Directive which establishes rules for audiovisual content across different platforms.
3. Radio spectrum policies set by the Radio Spectrum Policy Group to advise the EU Commission on spectrum issues.
4. The policy to accelerate the transition from analogue to digital broadcasting by 2012, including coordination of member state plans and freeing up spectrum for new services.
5. The legal framework for mobile TV networks and services which aims to impose no unnecessary obligations while ensuring efficient spectrum use.
This document discusses open data and e-government initiatives in Ukraine led by the nonprofit SocialBoost. SocialBoost has organized numerous hackathons around Ukraine to develop apps using open government data. Through these events, they have helped create over 10 apps, engaged over 800 volunteers, and launched national open data and e-government portals. SocialBoost also works with the government to identify high-demand public services that can be converted to digital services using an API-based approach. Their goal is to promote open data and e-government through civic engagement and public-private partnerships to develop useful digital services for citizens.
Open Data in Ukraine (@Kyiv School of Economics)Denis Gursky
This document discusses open data and the work of SocialBoost, an organization that promotes civic engagement through open data initiatives. It summarizes three of SocialBoost's programs: 1) Helping civic startups develop apps based on open data and funding 10 projects, 2) Networking volunteers and developing local teams in 3 partner cities, and 3) Creating an open data portal and law to make cities smarter and more open through open data. The document outlines how open data can improve public services and transparency when governments make their data available through APIs and when civic groups and developers create apps and services based on this data.
Este documento resume los principales conceptos y procedimientos de la contratación pública en España, incluyendo los principios básicos, tipos de contratos, umbrales de importe, órganos competentes y las fases del procedimiento general de contratación que comprende la preparación del expediente, selección del proveedor y adjudicación, y ejecución y recepción.
On February 17, a roundtable was held devoted to support to producers of audio visual and film production, best European practices and perspectives of development in Ukraine. The round table was held upon initiative of the National Television and Radio Broadcasting Council of Ukraine in context of the Joint Programme of the European Union and the Council of Europe “Strengthening Information Society in Ukraine”. Representatives of public authorities, film industry, production studios and the public discussed possible mechanisms for facilitating production of Ukrainian television and film pictures. During the event, the experts of the Council of Europe from the United Kingdom and Slovenia presented the European experience and practice regarding support of the national support to audiovisual and television production.
This document provides an overview of key factors for a successful deployment of digital radio based on case studies from Norway, Switzerland, and the UK. The main points are:
1) Successful digital radio requires collaboration between all stakeholders, including broadcasters, network operators, regulators, governments, consumer electronics manufacturers, and the automotive industry. An industry body can help coordinate efforts.
2) Policy and regulation play an important role by providing incentives for broadcasters to participate, such as extending analogue licenses or reducing fees. Regulations should also provide a clear timeline for switchover.
3) Content for digital radio needs to have clear added value over analogue services, targeting new audiences with more choice of stations. Coverage of digital
1) The document discusses innovations in interactive television through HbbTV by rbb Innovation Projects. It introduces HbbTV as a European standard for integrating broadcast and web content on televisions.
2) rbb Innovation Projects has developed several innovative HbbTV applications including an interactive science TV show allowing viewers to vote, interactive subtitles, and an interactive news service linking TV content to additional information on second screens.
3) The document concludes by discussing the FP7 project HBB-NEXT, which rbb Innovation Projects coordinates, and which aims to prototype novel hybrid television applications and functionalities to contribute to the successful adoption of HbbTV.
The document discusses the changing definition of television from a tangible device to a flow of content, and the rise of the active television viewer due to increased connectivity and on-demand options. It notes that while contents were traditionally the main driver of subscriptions, they may be losing value as content becomes more widely available online. The author conducted qualitative interviews and a user test of Netflix to understand how viewers value connected services and user experience in order to determine if this could justify subscription fees for traditional pay-TV providers competing with services like Netflix.
The research, final thesis for the MSc in Media Management at Bocconi, aims to define peculiar business models for web TV, still an almost unexplored ground inside the economic theory, despite technological progress and a steady growing audience made it recently so attractive in terms of investments for both entrepreneurs and advertisers.
Amendments to the AVMS Directive were approved by the European Parliament and “no deal” option is expected so far in EU / UK relations after Brexit. See key changes on our presentation for broadcasters and media providers.
LinkedTV is an EU funded project aiming to seamlessly interlink the TV and Web experiences. This presentation summarizes the results and achievements by the end of the project's second year, covering media analysis, annotation, linking, personalisation and interactive playout, based on two scenarios: Hyperlinked Documentary and Linked News.
For more, visit www.linkedtv.eu
The document discusses Deutsche Welle (DW), a German public international broadcaster. It provides information on DW's mission to communicate German and other perspectives internationally while promoting understanding. The document also summarizes several key trends in media consumption, such as increased citizen media and mobile viewing. It outlines challenges for international broadcasters in this shifting landscape and describes DW's strategy to distribute content across multiple platforms.
This document provides a legal overview of media pluralism in the EU. It discusses key cases and directives that have established the legal framework, including the 1974 Sacchi Case, 1980 Debauve Case, 1989 Television Without Frontiers Directive, 2007 Audiovisual Media Services Directive. It also covers public service broadcasting and the role of fundamental rights and the European Convention on Human Rights in the legal framework.
This document discusses how European broadcasters are responding to the challenges posed by connected TV. It notes that connected TV allows new entrants access to revenue streams and potentially vertically integrated global players to control parts of the distribution chain. This raises regulatory questions as connected TV may undermine the notion of editorial responsibility over all on-screen content. Broadcasters should remain open to new distribution forms while protecting their signals, anti-piracy provisions, and commercial control over scheduling. Ultimately consumers will decide the winners and losers in this transition to connected TV.
Open Licenses and Public Service Media: Challenges and StrategiesDobusch Leonhard
This document discusses challenges public service media organizations face in using open licenses for their content. It notes that restrictive licenses do not prevent manipulation but give implicit consent. Many rights holders and remuneration rules make archival licensing difficult. Free licenses could violate EU competition law. However, partnering with Wikipedia could be mutually beneficial, as they have complementary goals and audiences. Providing content to Wikipedia may help public media reach more users and move licensing policies toward openness over time.
Digital TV : French production funding system & cultural exception Séverine LAURENT
A quick overview on the french funding system for audiovisual content within the context of DTT. Focus on the "Cultural exception" concept and on the organization of french speaking countries in Africa. Slides realized with the kind support of Eve-Lise Blanc-Deleuze
The European perspective – an EU update
The EU Collective Rights Management Directive is now being implemented, and the EU #digitalsinglemarket project – pre-Brexit - includes a review of the satellite and cable directive as well as a copyright and safe harbours review. Since the beginning of 2015, more than four consultations have been conducted, three communications delivered, one resolution by the European Parliament adopted, and one new regulation has been drafted.
Where is this all going? What are the new rules, the latest discussions and the implications?
Sophie Goossens, August Debouzy and acting for the European Commission cross-sector consultation on the future EU Funding programs in music
LinkedTV - an added value enrichment solution for AV content providersLinkedTV
Linked Television is offering a solution for audiovisual content owners to semi-automatically enrich media with links to additional information and content related to objects and topics in the program and build client applications which access this data and provide new added value services to consumers.
This document presents a report on mobile TV by Sumit Kumar Biswas. It begins with an introduction on mobile TV and then covers technical aspects such as delivery via 3G cellular networks and broadcast networks. It discusses a mobile TV pilot program in Helsinki and commercial launches of mobile TV in countries like South Korea and Japan. It also covers video services via mobile networks, industry collaboration, business models, consumer expectations, and the advantages of DVB-H. Applications of mobile TV discussed include commuting on public transportation and watching important news and shows. The conclusion discusses business models and increasing versatility and integration of mobile TV into everyday routines over time.
UK Spectrum Policy Forum – Greg Bensberg, Digital 3&4 - Public and Social val...techUK
UK Spectrum Policy Forum
Cluster 3 Meeting – 17 September 2014
Greg Bensberg, General Manager, Digital 3&4
Public and Social value of DTT & PMSE services
More information at: http://www.techuk.org/about/uk-spectrum-policy-forum
All rights reserved
LinkedTV results at the end of the 3rd yearLinkedTV
The document summarizes the results of the LinkedTV project at the end of its third year. It describes three scenarios developed for the LinkedTV applications and how the LinkedTV system works by analyzing video, audio and text to link content to related concepts and information. It also addresses comments from previous reviews by prioritizing core components and defining potential business models and exploitation strategies.
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New Media Services: between the AVMS Directive and the E-Commerce Directive
1. New Media Services: between
the AVMS Directive and the E-
Commerce Directive
Prof. Dr. Peggy Valcke
Professor in Law - KU Leuven
Interdisciplinary Centre for Law & ICT - iMinds
Centre for Media Pluralism and Media Freedom
Summer School for Journalists and Media Practitioners
13 May 2013
6. OVERVIEW OF RELEVANT LEGAL
FRAMEWORKS
ICT
IPR Privacy
Transmission:
E-Coms
TV content:
AVMS
Internet
services: E-
Commerce
7. OVERVIEW OF RELEVANT LEGAL
FRAMEWORKS
A. Audiovisual Media Services Directive
• Linear and non-linear media services directed to the general public
• Origin: MEDIA law (radio broadcast, television, ...) - °1989
• http://ec.europa.eu/avpolicy/reg/index_en.htm
B. Electronic Communications Directives
• Electronic communications networks and services
• Origin: TELECOMMUNICATIONS law (telephony, data transport...) -°1988
• http://ec.europa.eu/information_society/policy/ecomm/eu-
rules/index_en.htm
C. Information Society Services Directive (E-Commerce)
• Interactive electronic services
• Origin: INTERNET (commercial websites, ...) - °2000
• http://ec.europa.eu/internal_market/e-commerce/directive_en.htm
D. Data Protection Legislation (Directive 95/46/EC – under revision)
E. Intellectual Property Legislation (Directives on copyright (enforcement),
software protection, database protection…)
8. KEY QUESTION
Do traditional rules for TV
services / providers apply to
such new media services?
(= Do they fall within scope of
AVMS Directive?)
9. Directive 2010/13/EU of 10 March 2010 on the coordina-
tion of certain provisions laid down by law, regulation or
administrative action in Member States concerning the
provision of audiovisual media services (codifies Directive
89/552/EC of 3 October 1989, amended by Directive 97/36/EC of 30 June
1997 and Directive 2007/65/EC of 11 December 2007)
= The directive formerly known as “Television without Frontiers”
(TVWF) ** !! http://ec.europa.eu/avpolicy/reg/tvwf/index_en.htm !! **
Objectives
• Free movement of broadcasting / audiovisual media services within the
internal market: HOME COUNTRY CONTROL;
• Preservation of certain public interest objectives (incitement to hatred,
accessibility for people with disabilities, access to major events, protection
of minors, consumer protection);
• Promotion of the distribution and production of European audiovisual
programmes
Minimum harmonisation!
“Traditional rules”: WHERE?
10. “Traditional rules”: WHAT?
• Identification of media service provider
• Prohibition of incitement to hatred in programmes
• Protection of minors: content harmful to minors
cannot be included or only under specific conditions
• Promotion and distribution of European works
• Access to major events on TV; short news reporting
• Commercial communications: rules for
sponsoring, advertising, product placement…
• Accessibility for people with disabilities
→ monitored and sanctioned by media authorities
15. AVMS Directive: Scope
• DOES AMVSD COVER NEW MEDIA SERVICES?
AVMSD covers audiovisual services that comply with the definition
in Art. 1(a), irrespective of the platform used to deliver the service
(terrestrial, CATV, satellite, IPTV, Internet, tablets, mobile
phones…)
(and that are transmitted by a media service provider under the
jurisdiction of a Member State, read: who is established in a
Member State – except for derogations).
16. AVMS Directive: Scope
“Audiovisal media service”: 7 cumulative criteria
1. Service as defined by Art. 56-57 TFEU
2. Under editorial responsibility of a media service provider
3. The principle purpose of which is
4. The provision of programmes
5. In order to inform, entertain or educate
6. To the general public
7. Via electronic communications networks
17. AVMS Directive: Scope
Either television broadcast (art. 1(1)(e)): provision of programmes at a
scheduled time and watched simultaneously by viewers
or on-demand AVMS (“ODS” or “ODPS”; (art. 1(1)(g)): programmes users
select from a catalogue offered by the media service provider, to watch
at their own convenience
(+ Audiovisual commercial communication)
18. Scope - Analysis: 1) ‘economic service’
“Audiovisual media service”: 7 cumulative criteria
• Service as defined by Art. 56-57 TFEU
Economic services (= normally provided for
remuneration)
21. Scope - Analysis: 1) ‘economic service’
• National implementation/interpretation:
– Example (1): IT
• Monetary threshold: 100.000 EUR on annual basis
– Example (2): NL
• Relevant criteria: does it contain ads, sponsoring;
does it promote a brand, product or service; is it
offered in return for payment – may also include
self-promotion, even in case of non-profit
organisations.
22. Scope - Analysis: 2) ‘editorial responsibility’
“Audiovisual media service”: 7 cumulative criteria
• Under editorial responsibility of a media service provider
exercise of effective control over selection of
programmes & organisation in chronological schedule
(linear) or catalogue (on-demand)
= in principle prior control
BUT: exclusively prior, or also some form of ‘reactive’
editorial control (i.e. taking down from website
programmes not in conformity with provider’s terms of
use)?
23. Scope - Analysis: 2) ‘editorial responsibility’
NOT COVERED
A posteriori control
24. Scope - Analysis: 2) ‘editorial responsibility’
COVERED
– UK (BNPtv: ATVOD Scope Determination, 29.11.2010)
• “coherent and distinct editorial proposition”
• Does not entirely exclude ‘reactive’ editorial control, but scope
for prior editorial oversight is decisive.
“contribute”
25. Scope - Analysis: 3) ‘principal purpose’
“Audiovisual media service”: 7 cumulative criteria
• The principal purpose of which is
26. Scope - Analysis: 3) ‘principal purpose’
NOT COVERED
Video content is only ancillary
27. Scope - Analysis: 3) ‘principal purpose’
NOT COVERED
Video content is only ancillary
28. Scope - Analysis: 3) ‘principal purpose’
• National implementation/interpretation: what if video is
part of broader consumer offering?
– Example (1): NL:
• Relevant: organised in catalogue of searchable videos; can be
consumed as “stand alone”; marketing strategy; audience
perception.
• Not relevant: ‘usual suspect’ or not
– Example (2): UK (ATVOD Guidance):
• AVMS if: programmes grouped together in distinct area and
presented as a catalogue of viewing options which could exist
as a coherent consumer offering
• No AVMS if: programmes included as integral and ancillary
element of broader offering, e.g. video used to provide
additional material relevant to text-based news story
30. Scope - Analysis: 3) ‘principal purpose’
• Sun TV case (UK)
Publishers argue they are not ODPS because:
─ AVMS recital 28: “should not cover electronic versions of newspapers
and magazines”
─ Video library is integral and ancillary parts of the newspaper/magazine
web offerings; i.e. ‘principal purpose’ is not provision of video
─ Video library does not offer TV-like material; AV items are more like
YouTube (not ‘programmes’ in sense of AVMS)
ATVOD ruled:
─ Single website or domain may contain more than one service; video
library is service in its own right
─ Comparable to form and content of programmes normally included in TV
─ Principal purpose of video library is to provide these TV-like programmes
Ofcom overruled ATVOD Determination
─ ATVOD failed to consider the Sun’s website as a whole
31. Scope - Analysis: 3) ‘principal purpose’
• “Principal Purpose”: Sun TV case (UK)
32. Scope - Analysis: 3) ‘principal purpose’
• N.B. Swedish Broadcasting Commission (SBC) decided
29.10.2012 that video sections on newspaper websites were
to be considered as audiovisual media services under the
Swedish Radio and Television Act (Helsingborgs Dagblad,
Aftonbladet, Dagens Nyheter and Norran):
– part of the video programmes on the concerned newspapers’ websites
was not insignificant compared to other content;
– video sections were separate services in relation to the other content
on the websites;
– programmes were available to the general public where users could
choose the time when to watch the programme;
– programmes were organized in catalogues such as “Sports” and
“News”.
=> Hence, SBC ruled that the video sections on the newspapers’
websites qualified as on-demand TV and were covered by the Swedish
Radio and Television Act.
33. Scope - Analysis: 4) ‘programmes’
“Audiovisual media service”: 7 cumulative criteria
• The provision of programmes
Moving images with or without sound constituting
individual item in a schedule or catalogue
35. Scope - Analysis: 4) ‘programmes’
NOT COVERED
Text
Cf. recital 28: “The scope of this Directive should not cover
electronic versions of newspapers and magazines.”
36. Scope - Analysis: 4) ‘programmes’
“Audiovisual media service”: 7 cumulative criteria
• The provision of programmes
Moving images with or without sound constituting
individual item in a schedule or catalogue
Recital 24: to be interpreted in a dynamic way
On-demand AVMS: ‘television-like’
• they compete for the same audience as television
broadcasts,
• the same means of access as television broadcasts
• the user can reasonably expect regulatory protection
within the scope of the AVMS Directive
37. Scope - Analysis: 4) ‘programmes’
National implementation/interpretation
Demand Adult and Climax 3 (UK)
www.climax3.co.uk/uncut - www.demandadult.co.uk
Source: P. DAVIES (OFCOM), “Exploring regulatory boundaries – Defining VOD
Services in the UK”, Presentation at EPRA Meeting, 25-27 May 2011, Ohrid
38. Scope - Analysis: 4) ‘programmes’
Demand Adult and Climax 3 (UK)
Playboy argued:
─ VOD services consisted of explicit works of sexual
material prohibited on linear TV services
─ Hence: no ODPS because content not
‘normally included in TV programme services’
ATVOD disagreed because (24.09.2010):
─ Law requires content of ODPS to be ‘comparable’,
not ‘identical’, to TV programmes
─ Content comparable to ‘soft’ pornography which can
be broadcast on UK linear channels with restrictions
Ofcom upheld ATVOD Determination (13.05.2011)
Ofcom imposed fine of 100,000£ for failing to provide
effective systems to protect children (16.1.2013)
39. Scope - Analysis: 4) ‘programmes’
• National implementation/interpretation
• Top Gear YouTube (UK)
40. Scope - Analysis: 4) ‘programmes’
• “TV-like character”: Top Gear YouTube (UK)
BBC argues it is not ODPS because not ‘TV-like’:
─ Only short clips, not comparable to programmes normally included in television
programme services (duration = key characteristic)
─ Clips often viewed on the move or during quick breaks in the working day (<-> TV
programmes viewed at home, in comfort on the sofa - longer duration).
─ YouTube channel is not in competition with television for viewers (unlike services
such as 4OD and Demand Five which include full length programming).
ATVOD ruled (03.05.2011):
─ Short programming may form only small part of TV schedule (as does longer
programming eg. over two hours) but is nonetheless ‘normally included’ (nearly 1
in every 30 programmes on 5 main channels).
─ Looking at particular form & content of programmes on Top Gear YouTube, these
resemble linear TV programmes.
Ofcom overruled (18.01.2013)
• “form and content of audiovisual material on the Service, provision of which is its
principal purpose, is not comparable to the form and content of linear TV”
41. Scope - Analysis: 4) ‘programmes’
• “TV like”: BBC Top Gear You Tube (UK)
(cf. BBC Food You Tube case)
43. Scope - Analysis: 5) ‘inform, entertain or
educate’
“Audiovisual media service”: 7 cumulative criteria
• In order to inform, entertain or educate
Impact on the way people form their opinions
NOT COVERED
Webcams (merely registering)
44. Scope - Analysis: 6) ‘general public’
“Audiovisual media service”: 7 cumulative criteria
• To the general public
Mass media character
NOT COVERED
Narrowcasting
46. Scope - Analysis: 6) ‘general public’
• National implementation/interpretation
– Example (1): NL
• Mass media = receivable with standard consumer equipment…
• …even if in practice only used by very few people.
• BUT: media with very small audience and provided by non-
commercial institutions (churches, town halls, hospitals) should be
excluded (usually no economic activity).
– Example (2): DE (Interstate Treaty)
• NOT: if service cannot be simultaneously used by +500 persons.
– Example (3): IT
• Linear services: excluded if provided on the Internet (WebTV, IPTV,
mobile TV) with a schedule of less than 24 weekly hours and
services not intended for the wide public, such as company TV
services, and cable TV services in restricted areas, such as railway
stations, airports, etc.
50. Scope - Analysis: 7) ‘electronic
communications networks’
NOT COVERED
DVD (in the past)
51. Scope: Major Borderline Cases
• Services on UGC platforms
– Distinction between content created by users
& professional content offered on UGC platforms.
• AV services offered by electronic/online versions of
newspapers or magazines (blurring boundaries AVMS – newspapers)
– Sports newspapers online
versus sports channels websites
− Newspapers online
versus all news portals/news channels websites
− Fashion magazines online
versus fashion videos online
− Cooking magazines online
versus cooking videos online
− Aggregator sites
52. E-Commerce Directive 2000/31/EC :
“any service normally provided for remuneration, at a distance, by
electronic means and at the individual request of a recipient of services”
• Harmonises rules on:
– jurisdiction (establishment of service providers)
– commercial communications
– electronic contracts
– liability of intermediaries (mere conduit, caching, hosting)
– codes of conduct
– out-of-court dispute settlements, court actions and cooperation
between Member States
– BUT: no “media content regulation” (N.B. general laws at Member
State level - e.g. rules on obscenity, defamation, anti-discrimination
and hate speech rules… - may still apply)
What if services do not fall under
AVMS Directive?
53. • Certain on-demand AVMS also qualify as “information society
services” in the sense of the “E-Commerce Directive”.
• See Art. 4(8), Rec. 17 & 25 AVMSD (“lex specialis”).
What if services fall under both
directives?
54. Concluding remarks
• “The identification criteria that were easy to apply in the
traditional media world are now facing a moment of
crisis” (R. Viola & M. Cappello, AGCOM, IRIS Special, p.51)
• “Media Regulation 2020”: which services?
☼ Technology-neutrality
– …or user perception? (‘regulation in context’; cf. M. Ariño)
☼ Mediatypes (TV, internet, newspapers, magazines, radio…)
– …or functions? (information, entertainment, education…)
☼ Editorial responsibility:
– …from selection to search & navigation?
– …from ex ante to ex post?
• EC launched public consultation: Green Paper ‘Preparing
for a Fully Converged Audiovisual World’ (24 April 2013);
http://ec.europa.eu/digital-agenda/en/connectedTV
55. References & Reading
• Website of the European Commission on the AVMS Directive :
http://ec.europa.eu/avpolicy/reg/tvwf/index_en.htm (European Commission First
Report on the application of Directive 2010/13/EU “AVMS Directive”, May 2012,
COM(2012) 203 final)
• National Transpositions of AVMS Directive - Project of Prof. Mark Cole, Université
de Luxembourg:
http://wwwen.uni.lu/research/fdef/media_law/audiovisual_media_services_directive/
project_description
• Website of the European Platform of Regulatory Authorities:
http://www.epra.org/content/english/index2.html
• IRIS special, The Regulation of On-demand Audiovisual Services: Chaos or
Coherence?, Council of Europe/European Audiovisual Observatory, 2011, 100 p.
• Emmanuelle Machet, “Content Regulation and new Media: Exploring Regulatory
Boundaries between Traditional and new Media”, Background document Plenary
session 33rd EPRA meeting, Ohrid, 26-27 May 2011,
http://www.epra.org/content/english/press/papers/Ohrid/paper_session1_final_revis
ed.pdf.
56. References & Reading (ctd.)
• R. Craufurd Smith, “Determining Regulatory Competence for Audiovisual Media
Services in the European Union”, Journal of Media Law (2011) 3(2) 263-285
• M. Ariño, “Content Regulation and New Media: A Case Study of Online Video
Portals”, Communications & Strategies (2007), n° 66, 115-135
• Ofcom, Protecting audiences in the era of convergence and Connected TV: Ofcom
Research, Deliberative Research Report (+ Appendices), 25 Jan. 2012,
http://stakeholders.ofcom.org.uk/market-data-research/tv-research/protecting-
audiences/?utm_source=updates&utm_medium=email&utm_campaign=protecting-
audiences
• Commissariaat voor de Media, Policy guidelines for commercial on-demand media
services 2011 - Beleidsregels classificatie commerciële mediadiensten op
aanvraag 2011, http://www.cvdm.nl/content.jsp?objectid=CVDM:12335 (English
version in preparation)
• AGCOM, Web-radio and Web-TV: F.A.Q.,
http://www.agcom.it/default.aspx?message=contenuto&DCId=495
• P. VALCKE, K. LEFEVER & J. AUSLOOS (2013). “Audiovisual Media Services 3.0:
(Re)Defining the Scope of European Broadcasting Law in a Converging and
Connected Media Environment.” In: K. DONDERS, C. PAUWELS & J. LOISEN,
Handbook on European Media Policy, Palgrave (forthcoming)
57. Thank you for your attention
Peggy Valcke
[peggy.valcke@law.kuleuven.be]
http://www.law.kuleuven.be/icri – http://www.iminds.be
http://www.law.kuleuven.be/icri/psiml/