Uppsatsens syfte är att ta reda på hur STIM:s insamlings- och fördelningsregler ser ut och ta reda på varför det är på det sättet, samt att undersöka ifall det finns några brister och hur de i sådant fall kan åtgärdas. För att få fram orsaken till utformningen av de insamlings- och fördelningsregler STIM använder har vi valt en kvalitativ studie där vi intervjuat STIM. Vi har även intervjuat olika aktörer, exempelvis musikförlag, som har kontakt med STIM, för att belysa eventuella brister. Totalt har vi gjort sju intervjuer. Vi har dessutom använt sekundära källor så som årsredovisning och material från STIM:s hemsida till beskrivandet av insamlings- och fördelningsreglerna. STIM:s insamlings- och fördelningsregler är utformade av styrelsen och baseras på olika faktorer. Bland annat har STIM krav från upphovsrättssällskap i världen att hålla sina administrativa kostnader nere. De administrativa kostnaderna är centrala för hur noggrann insamling och fördelning STIM driver. De brister som framkommit är bland annat att STIM ligger efter den tekniska utvecklingen och de nya användningsområdena för musik som detta innebär. STIM är bra för de stora upphovsmännen som figurerar frekvent i radio och TV. Dock är de mindre upphovsmännen inte lika uppmärksammade då STIM inte fokuserar på att samla in småpengar från mindre områden där mindre upphovsmän eventuellt figurerar. STIM:s monopolställning på den svenska marknaden bidrar till att det inte finns någon direkt press på dem att förändra verksamheten. En mindre konkurrent som skulle fokusera på nya marknader och mindre marknader som är eftersatta i STIM:s verksamhet, är behövlig. / The purpose of this case study is to find out how STIM:s collecting and distribution activities operate and why they do so. Also we intend to investigate possible scarcities and how they can be taken care of. To find out how STIM’s collecting and distribution actions function we used a qualitative study in which we did interviews with STIM. We also interviewed various people involved in the subject e.g. music publishers. These interviews helped us finding scarcities within STIMS operations. We made a total of seven interviews. Also we used secondary sources such as financial rapports and STIM’s webpage to describe the collecting and distribution activites. The rules which STIM uses to collect and distribute royalties are developed by STIM’s board and are based on various elements such as pressure brought on from foreign collecting societies to keep the administrative costs low. These administrative costs have great influence on the accuracy of the collecting and distributing activities. STIM is far behind the new technology and the new use of music that this technology offers. STIM doing a great job towards successful originators whose songs are frequently played on the radio and the TV. However the less successful originators do not get the same attention from STIM because they don’t focus on collecting smaller amounts of money from smaller districts where some of these less successful originators appear. The monopoly status STIM has on the Swedish market contributes to the non existing pressure to make them change their operations. A smaller competitor whose main focus would be the new and the smaller market for music is necessary.

<p>Uppsatsens syfte är att ta reda på hur STIM:s insamlings- och fördelningsregler ser ut och ta reda på varför det är på det sättet, samt att undersöka ifall det finns några brister och hur de i sådant fall kan åtgärdas.</p><p>För att få fram orsaken till utformningen av de insamlings- och fördelningsregler STIM använder har vi valt en kvalitativ studie där vi intervjuat STIM. Vi har även intervjuat olika aktörer, exempelvis musikförlag, som har kontakt med STIM, för att belysa eventuella brister. Totalt har vi gjort sju intervjuer. Vi har dessutom använt sekundära källor så som årsredovisning och material från STIM:s hemsida till beskrivandet av insamlings- och fördelningsreglerna.</p><p>STIM:s insamlings- och fördelningsregler är utformade av styrelsen och baseras på olika faktorer. Bland annat har STIM krav från upphovsrättssällskap i världen att hålla sina administrativa kostnader nere. De administrativa kostnaderna är centrala för hur noggrann insamling och fördelning STIM driver.</p><p>De brister som framkommit är bland annat att STIM ligger efter den tekniska utvecklingen och de nya användningsområdena för musik som detta innebär. STIM är bra för de stora upphovsmännen som figurerar frekvent i radio och TV. Dock är de mindre upphovsmännen inte lika uppmärksammade då STIM inte fokuserar på att samla in småpengar från mindre områden där mindre upphovsmän eventuellt figurerar. STIM:s monopolställning på den svenska marknaden bidrar till att det inte finns någon direkt press på dem att förändra verksamheten. En mindre konkurrent som skulle fokusera på nya marknader och mindre marknader som är eftersatta i STIM:s verksamhet, är behövlig.</p> / <p>The purpose of this case study is to find out how STIM:s collecting and distribution activities operate and why they do so. Also we intend to investigate possible scarcities and how they can be taken care of.</p><p>To find out how STIM’s collecting and distribution actions function we used a qualitative study in which we did interviews with STIM. We also interviewed various people involved in the subject e.g. music publishers. These interviews helped us finding scarcities within STIMS operations. We made a total of seven interviews. Also we used secondary sources such as financial rapports and STIM’s webpage to describe the collecting and distribution activites.</p><p>The rules which STIM uses to collect and distribute royalties are developed by STIM’s board and are based on various elements such as pressure brought on from foreign collecting societies to keep the administrative costs low. These administrative costs have great influence on the accuracy of the collecting and distributing activities.</p><p>STIM is far behind the new technology and the new use of music that this technology offers. STIM doing a great job towards successful originators whose songs are frequently played on the radio and the TV. However the less successful originators do not get the same attention from STIM because they don’t focus on collecting smaller amounts of money from smaller districts where some of these less successful originators appear. The monopoly status STIM has on the Swedish market contributes to the non existing pressure to make them change their operations. A smaller competitor whose main focus would be the new and the smaller market for music is necessary.</p>

A basic tenet and challenge of copyright law is the need to balance the interests of a range of stakeholders, from authors and performers to publishers, producers, broadcasters, intermediaries, service providers and the general public. To ensure that this balancing act takes place, policymakers involve organisations representing these stakeholders in the development of policy and the drafting of legislation in several ways, including through meetings, public consultations, and stakeholder dialogues. However, the process by which stakeholders steer the course and substance of copyright law and policy, their behaviour, as well as the varying extent to which they impact and characterise the copyright policy framework, have rarely been the specific focus of empirical research in IP. The present thesis examines creators’ organisations (COs) as participants and shapers of copyright policy. Through a socio-legal study into the workings of The Society of Authors, the Authors’ Licensing and Collecting Society, the Musicians’ Union, and the Performing Right Society on several contemporary policy issues, the thesis observes how two types of organisations: trade unions and collective management organisations, across the music and publishing industries, engage in policy work. Through in-depth analysis of primary data obtained from interviews with CO representatives as well as documentary data (public consultation responses, policy briefings, press releases, reports, academic studies, and more), the thesis captures and discusses differences in the behaviour of these actors and argues that these differences are not fully understood by policymakers. It illustrates how factors such as an organisation’s mandate, resources, membership composition, political power, and self-concept, influence an organisation’s policy proactivity. Some actors may be more concerned with influencing the copyright policy agenda itself, while others primarily seek to shape its outcomes. The thesis also identifies power dynamics and imbalances between the COs and argues that some actors are in a better position to effectively participate in policy compared to others. Furthermore, it discusses the effects of the plurality of actors with varying interests and priorities, as well as the competition of policy issues that this provokes. In this context, the thesis illustrates the complex structure of the copyright policy environment and, in particular, the role of umbrella organisations and ad-hoc coalitions in the furtherance of a particular policy issue or position. It concludes that as a result of complex stakeholder dynamics, power imbalances, and policymakers’ insufficient understanding of these phenomena, certain creators’ issues will not surface onto copyright policy agendas and will thus remain unaddressed by copyright law. The thesis further concludes that complex stakeholder dynamics challenge the objective of developing evidence-based policy and render the copyright policy process unclear and its outcomes unpredictable. Given the disparity of views and positions on many copyright law issues, policymakers often attempt to shape law and policy outcomes as a compromise between different stakeholder interests. However, this does not always produce sound or appropriate results for copyright law.

The introduction of a regulatory framework in the area of collective management of rights in Nigeria must have been intended to strengthen the creative industry. Unfortunately, it has thrown this industry and in particular the music and film industries into a battle of a regulated against a non-regulated collective administration sector for upward of twenty (20) years. My choice of research on this topic could be attributed to the interest I developed while administering the collective administration desk at the Nigerian Copyright Commission. Serving on that desk afforded the opportunity to see the frustration of right owners who were being deprived the fruit of their labor, as the societies meant to collect and distribute royalties on their behalf were enmeshed in litigations and in the process, rarely paid any royalties to authors. Within this context, this research seeks to explore whether there is any merit in the continued existence of the current regulatory framework for collective management in Nigeria, and what the best operational framework for collective administration in Nigeria would be. A methodological approach entailing literature review of books, articles, journals, legislation, cases, reports of committees and interviews with experts was adopted, with critical analysis carried out on particularly the Nigerian Copyright Act, the Nigerian Copyright (collective management organisation) regulation, the South African Copyright Act, the South African Performers’ Protection Act, the South African Collecting Societies Regulation, as well as judicial decisions challenging certain provisions in the Nigerian legislation. It is hoped that this research will spur a desire for the need for supervisory and regulatory agencies of government to seek the national interest above all others in taking and making decisions that affect the collective administration of copyright and related rights. / Mercantile law / LL.M. (Intellectual Property)

No description available.

The introduction of a regulatory framework in the area of collective management of rights in Nigeria must have been intended to strengthen the creative industry. Unfortunately, it has thrown this industry and in particular the music and film industries into a battle of a regulated against a non-regulated collective administration sector for upward of twenty (20) years. My choice of research on this topic could be attributed to the interest I developed while administering the collective administration desk at the Nigerian Copyright Commission. Serving on that desk afforded the opportunity to see the frustration of right owners who were being deprived the fruit of their labor, as the societies meant to collect and distribute royalties on their behalf were enmeshed in litigations and in the process, rarely paid any royalties to authors. Within this context, this research seeks to explore whether there is any merit in the continued existence of the current regulatory framework for collective management in Nigeria, and what the best operational framework for collective administration in Nigeria would be. A methodological approach entailing literature review of books, articles, journals, legislation, cases, reports of committees and interviews with experts was adopted, with critical analysis carried out on particularly the Nigerian Copyright Act, the Nigerian Copyright (collective management organisation) regulation, the South African Copyright Act, the South African Performers’ Protection Act, the South African Collecting Societies Regulation, as well as judicial decisions challenging certain provisions in the Nigerian legislation. It is hoped that this research will spur a desire for the need for supervisory and regulatory agencies of government to seek the national interest above all others in taking and making decisions that affect the collective administration of copyright and related rights. / Mercantile law / LL.M. (Intellectual Property)