On the review of the EU copyright rules
Brussels, February 2014
(European Federation of Cinematographers)
EU-CODE ID 33723813886-15
IMAGO Authorship Committee
A Case Study of Gregg Toland and Citizen Kane
by PHILIP COWAN, University of South Wales
The artistic contribution of Directors of Photography to the films that they shoot, in narrative mainstream cinema, have been historically ignored in favour of the director-centred auteur theory. In order to address this imbalance a new approach to attributing authorship in film needs to be implemented, which acknowledges co-authorship in ... [Read More]
The Ukraine is one of few European countries where the authorship for cinematographers, alongside with directors and producers, is recognized as the law. However, though the Ukrainian cinematographers’ authorship is legally fixed, it is difficultly while to reach practical realization of this status. The rights remain declarative and the mechanism of their realization is not produced yet.
Contracts with employers do not include item on the royalty of DoP in the ... [Read More]
UK COPYRIGHT FOR CINEMATOGRAPHERS
Though the UK participates in copyright law for directors, actors, composers and writers there is no such law in relation to technicians. The UK shares much of its law in relation to film copyright with the USA and as that country is diametrically opposed to granting any rights to DP's or any other film technician (including for some auxiliary rights directors) the UK has followed suit. At the current time the UK government is totally ... [Read More]
Dear colleagues, friends.
In this note we tried to give brief information on situation with copyrights in Russia, made short historical digression and spoke about today’s condition of Russian moviemaking which directly dictates both position of cinematographers and realization of their authorship in modern conditions.
As it was found out the authorship of cinematographers existed in the USSR and then and in Russian Federation from immemorial time. ... [Read More]