La diffusion sur les plateformes néomédiatiques d’œuvres audiovisuelles, comme les sites Internet des télédiffuseurs ou des webdiffuseurs, la vidéo sur demande, la télévision mobile ou la webdistribution, modifie les risques que les producteurs audiovisuels doivent gérer normalement sur les plateformes traditionnelles, comme la télévision. La mutation des risques découle de quatre sources en particulier, soit du marché, des pratiques d’affaires, des lois et règlements et des techniques elles-mêmes. Ces sources peuvent également induire des normes pouvant constituer un cadre juridique afin de moduler ou éliminer les risques. Le présent mémoire analyse les risques encourus lors de la diffusion sur les plateformes néomédiatiques d’œuvres audiovisuelles du point de vue des producteurs par l’entremise du processus de gestion de risques. Il identifie et recense ainsi les risques en mutation et les nouveaux risques auxquels les producteurs sont confrontés. Puis, les risques identifiés y sont définis et le cadre juridique est abordé dans le contexte de la mise en œuvre d’une stratégie de gestion de risques et des mesures afin d’atténuer ou d’éviter les risques encourus par les activités de production et d’exploitation des producteurs. / The broadcasting of audiovisual works over new media platforms (for example : broadcasters’ websites, video on demand, mobile television or the distribution over the Internet) alters the risks producers usually face when broadcasting over traditional platforms like television. The transformation of risks has four main sources: the market, the business practices, the laws and regulations and the technologies themselves. These sources may also engender standards to create a legal framework that can modulate or eliminate the risks. This thesis will analyze, from the point of view of audiovisual producers, the risks incurred by broadcasting audiovisual works over new media platforms. This analysis will be made under the theory of risk management. First, the modified risks will be identifying as well as the new risks the producers are confronted with. Then, these risks will be defining and the legal framework will be studied as well as the risk management strategy that could help producers limit or avoid risks incurred by their productions and their exploitation activities.

This thesis focuses on teaching Czech language to deaf Czech-signing children in the first five grades of elementary school. It analyses the use of videos with subtitles in language teaching. In the introductory chapters, the legislation regarding the education of deaf children is outlined, together with the terminology delimiting the target group for the thesis. The following part looks at the reasons why subtitles are added to audiovisual works, considering the language learning and the development of communication competence in Czech as a second/foreign language. Here, it is especially the reading competence that is stressed, and the process of reading is therefore also discussed here. Based on these, the thesis then lists the various components of an audiovisual work with subtitles and also the benefits that come from watching such a work. The condition for effective learning from the subtitles is the relevancy of the subtitles for their addressees. The subtitles have to fulfill certain requirements, both on the technical level and the appropriate language demands. Supported by relevant research literature, this thesis explains the time limitations of subtitles (speed of the subtitles aimed at children, minimal and maximal duration of the projection, breaks between the subtitles, etc.) and...

The aim of the diploma thesis "Non- standard photography methods in audiovisual journalism" is to present image and production methods that are used in television news and journalism - particularly those ones that defy standard methods. These methods appear, considering technological development and the endeavour of making neutral visual space of television journalism, more attractive. First chapter of the thesis presents television news, its history, characteristics, elements and typology of television news production. Next chapter deals with the visual aspects of audiovisual works. The audiovisual language, its expressive elements and specific aspects of the image in television are presented. Main part of the thesis focuses on the photography methods in television journalism. Based on the literature and interviews with creative workers from the Czech television it presents photography methods and especially non- standard methods that use small sports action cameras, unmanned air devices or hidden cameras. The thesis mentions also production methods videojournalism and mobile journalism (MoJo) that uses standard mobile devices for professional news production. Particular examples from the broadcasting of the Czech televison are presented in the final chapter.

Les rapports entre l’oeuvre audiovisuelle et les droits dérivés présentent deux tendances contraires. La première de ces tendances est celle de l’autonomie. En effet, certaines exploitations dérivées ont pour objet des oeuvres telles que les titres et les personnages qui bénéficient d’une protection indépendante de l’oeuvre audiovisuelle. Ce mouvement s’accentue lorsque les titres et les personnages font l’objet de dépôts de marques, car la finalité de la marque diffère de celle du droit d’auteur. La protection cumulative crée des interactions entre les droits, tant dans leur existence que dans leur exercice. Une dernière manifestation de cette autonomie réside dans l’exclusion des droits dérivés du champ de la présomption de cession des droits d’exploitation au producteur, cette exclusion se justifiant par le fait que les droits dérivés ont pour objet la création et l’exploitation d’oeuvres nouvelles. La seconde de ces tendances est celle du rattachement des droits dérivés à l’oeuvre audiovisuelle. Tout d’abord, la propriété commune de l’oeuvre audiovisuelle implique un consentement de l’ensemble des coauteurs à son adaptation. Ensuite la liberté de l’adaptateur est limitée par le droit au respect de l’oeuvre qui fait obstacle à la dénaturation de l’oeuvre audiovisuelle. Enfin, la pratique révèle que le producteur s’érige en personnage pivot de l’exploitation de l’oeuvre audiovisuelle en lui assurant une unité organique. A l’origine des investissements consentis en vue de la création initiale, il va ainsi chercher à participer le plus largement possible aux fruits de l’exploitation en se faisant céder les droits dérivés et en concluant des sous-contrats d’exploitation. / The connection between the audiovisual work and the derivative rights sets out two opposing trends. The first of these trends is that of autonomy. Indeed, some derivative exploitations involve works such as titles and characters that are granted an independent protection of the one granted to the audiovisual work. This movement becomes more pronounced when titles and characters are subject to trademark applications, because the function of the trademark is different from that of copyright. The cumulative protection creates interactions between the rights, both in their existence and in their exercise. A final expression of this autonomy is the exclusion of the derivative rights from the scope of the presumption of assignment of exploitation rights in the audiovisual work to the producer. This exclusion is mainly justified by the fact that the purpose of derivative rights is to authorize the creation and the exploitation of new works. However, and its the second trend, derivative rights remain in many ways related to the audiovisual work. First, the common property of the audiovisual work implies consent of all the joint authors to its adaptation. Then, the freedom of the adapter is limited by the moral right of integrity which forbids the distortion of the audiovisual work’s substance. Finally, the practice reveals that the producer stands as a pivotal character of the exploitation of the rights in the audiovisual work. Taking the initiative of investing in the creation, the producer, in order to extend the field of profit-making, will seek to obtain from the authors the transfer of derivative rights and conclude sublicence agreements with third parties.

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Submitted by Rodrigo Kopke Salinas (rksalinas@uol.com.br) on 2016-10-11T14:01:26Z No. of bitstreams: 1 Versão Depositada.pdf: 2201041 bytes, checksum: 0c0a56b72cfd85a3af79275bdefb1100 (MD5) / Rejected by Renata de Souza Nascimento (renata.souza@fgv.br), reason: Rodrigo, boa tarde Para que possamos aceitar seu trabalho junto à biblioteca, será necessário realizar alguns ajustes. Segue abaixo: Na capa: Retirar a acentuação do nome Getúlio. Retirar Mestrado Profissional que consta abaixo do nome da Escola. Na contra capa: Constar somente o nome da sua orientadora (Prof. Monica), a segunda opção de orientador não se aplica aos Mestrados Profissionais. Na folha de assinaturas: Incluir o nome de todos os professores participantes de sua banca (que foram 4 membros) Na página dos agradecimentos: Incluir o título AGRADECIMENTOS. Após alterações, realizar uma nova submissão. Grata. on 2016-10-11T17:41:28Z (GMT) / Submitted by Rodrigo Kopke Salinas (rksalinas@uol.com.br) on 2016-10-12T15:38:33Z No. of bitstreams: 1 Versão Depositada Corrigida.pdf: 2176319 bytes, checksum: dfa8905aaada81b58aa60e93118e71ad (MD5) / Approved for entry into archive by Renata de Souza Nascimento (renata.souza@fgv.br) on 2016-10-13T16:21:34Z (GMT) No. of bitstreams: 1 Versão Depositada Corrigida.pdf: 2176319 bytes, checksum: dfa8905aaada81b58aa60e93118e71ad (MD5) / Made available in DSpace on 2016-10-13T17:16:53Z (GMT). No. of bitstreams: 1 Versão Depositada Corrigida.pdf: 2176319 bytes, checksum: dfa8905aaada81b58aa60e93118e71ad (MD5) Previous issue date: 2016-09-09 / This work investigates the audiovisual co-production agreements in the context of a network of connected contracts. The investigation is grounded on a specific concept of contractual networks. In the legal structures of audiovisual production one may observe two distinct levels of contractual connections, one of them more intense and the other one less intense. The level of more intense connections, which corresponds to the contractual arrangements for financing, may be explained by the concept of contractual networks. In the stage of financing the paradox between competition and cooperation displays its largest intensity. We investigate whether there is a normative concept of coproduction as well as which is the anatomy of the coproduction contract. We describe the legislative history of the statutes that introduced the coproduction concept in Brazil. We consider the coproduction contract as cooperative in its nature as opposed to a bilateral arrangement. We identify the following essential elements of the coproduction contract: the separation of obligations for producing the common audiovisual work as well as the sharing of benefits and control on the coproduced work. The copyright on an audiovisual work means a share on the work’s control – the distribution rights – and a split of revenues – the sharing of economic benefits. Audiovisual production results in copyrights of a diverse range of artistic works, which entails distinct economic values with respect to the coproduced audiovisual work itself, and this dynamics has influence on the coproduction contracts. We classify the copyrights according to their economic function and importance to the co-production contracts. Tensions are conflicting situations between coproducers caused by inherent contradictions of the economic networks. We analyze tensions resulting from (i) sharing of control and benefits among co-producers of the co-produced audiovisual works; (ii) liability in case of contractual default as well as recovery of damages; (iii) statutory asymmetries of copyright protection. We examine contractual clauses whose design may either intensify or calm down tensions. In conclusion we provide recommendations for the design of contractual clauses and regulations that can mitigate, control or manage possible tensions in co-production contracts. / Este trabalho investiga o contrato de coprodução audiovisual no contexto de uma rede contratual. O trabalho se baseia num conceito específico de redes contratuais. Na estruturação jurídica da produção audiovisual é possível observar dois níveis distintos de coligação contratual, um mais intenso e outro menos intenso. O nível de coligação contratual mais intenso, que corresponde aos arranjos contratuais para o financiamento à produção, pode ser explicado pelo conceito de redes contratuais. Na etapa de financiamento à produção audiovisual o paradoxo entre competir e cooperar assume a sua maior intensidade. Investigamos se há um conceito normativo de coprodução e o desenho da anatomia do contrato de coprodução. Descrevemos a história legislativa das normas que introduzem a coprodução no Brasil. Consideramos que o contrato de coprodução é um contrato cooperativo e não bilateral. Identificamos como elementos essenciais do contrato de coprodução: a divisão das responsabilidades para a realização da obra comum e o compartilhamento dos benefícios e do controle sobre a obra audiovisual coproduzida. Os direitos autorais sobre uma obra audiovisual resultam na divisão de controle sobre a obra – o exercício dos direitos de distribuição – e na divisão das receitas – o compartilhamento dos resultados econômicos. A produção audiovisual produz direitos autorais sobre obras artísticas variadas, os quais terão valor econômico distinto em relação ao direito autoral sobre a obra audiovisual coproduzida, e essa dinâmica irá se refletir no desenho dos contratos de coprodução. Classificamos esses direitos autorais de acordo com a sua função econômica e importância para os contratos de coprodução. As tensões são situações de conflito entre os coprodutores causadas pelas contradições inerentes aos arranjos econômicos em rede. Analisamos as tensões decorrentes de (i) compartilhamento de controle e benefícios dos coprodutores sobre as obras audiovisuais coproduzidas; (ii) responsabilidade em caso de inadimplemento e reparação de danos; (iii) assimetrias legislativas quanto à proteção de direitos autorais. Examinamos cláusulas contratuais cujo desenho pode agravar as tensões ou mitigá-las. Em conclusão, realizamos recomendações para o desenho de cláusulas contratuais e de regulação que podem mitigar, administrar ou controlar possíveis tensões.