Audiovisual work: czech legal regulation, czech and french comparaison, legal regulation of EU. This work is focused on the phenomen of the audiovisual work. This copyright subject-matter is a very specific one.- in the character of it's creative process, plurality of the persons participating on it, the necessity of high level of the organisation and usually high investment concerning their production.It has dimension in other domain too- it's role in the cultural industry rise more then ever. All these factors have contributed to the legal situation of this issue as we know it today. The work is divided into three chapters. The first chapter treats the czech legal regulation of the audiovisual work in the private law. The regulation is studied via three main institutes - the object of the protection, authorship and the regime of the copyright on the audiovisual work. This chapter includes also a history of czech regulation. The theme of the second chapter is the comparaison of the national legal regulation in Czech republic and France. Both coming from the continental perception of the copyright, both members of European union, they have lot of points in common- However the regulations of audiovisual work differs one from another in many ways, such as it's classification, qualification of the person of...

The Application of Copyright in the Film Production (Abstract) This diploma thesis on a general basis describes and analyses the application of copyright in the film production. Because the copyright regulating the relationships coming from the process of production and exploitation of audiovisual work is the part of a broader group of norms comprised within the transbranchial "film law", this paper also indicates what other legal enactments - of civil law as well as of public law origin - have to be respected in the film production. The first part of the paper specify the basic terms and concepts which could be found in the film law as well as in the practical film production itself governed by this law. First of all, the paper defines the main areas of the film law, meaning copyright and its neighbouring rights, unfair competition law, media law, advertising law and protection of personality rights. Further on, it is specified what could be understood in legal theory by terms film, film work, audiovisual work, cinematographic work and underlying work. Next, the paper briefly explains the process of film production, its function, stages and forms, as well as the following process of the film distribution. Finally, this part of the paper defines and explains the main professions which are to be found within...

Audiovisual Productions and Copyright - Summary The topic of this thesis are audiovisual productions in relation to copyright law and selected legal relations, which can take place during audiovisual productions. These legal relations are important mainly from the perspective of copyright law, but also overlaps into neighboring branches of law are mentioned, with regard to the civil code recodification. The first chapter is focused on defining key concepts. Firstly, there is defined the concept of audiovisual production as a type of business and the legal conditions for its performing. The concept of audiovisual work in the context of copyright law is defined next. The characteristic attributes of audiovisual work are defined and the specific conception of authorship is considered, followed by traditional division of audiovisual works and its perception through certain public-law norms. With regard to the specifics of audiovisual works, the character of works audiovisually used is also mentioned. In the end of the first chapter the term producer is defined, his relation to the author of audiovisual work and specific rights, to which is entitled by the copyright code. The main chapter deals with selected legal relationships, which take place in the audiovisual sector. It concerns primarily the concept of...

The aim of the thesis 'Development of on-demand portals. Netflix and his original programming extension' is to map the production, marketing and distribution strategies of Netflix, the largst on- demand platform in the world, in context with the current state of linear television broadcasting. It can be pressumed, that both the on-line distribution and original content programming of on-demand platforms will contitnue to grow. The thesis examines the programming of Netflix, in regard to other international platforms and also compares the business and marketing strategies of Netflix's biggest rival - cable television HBO. The last chapter reveals current environment of on-demand distribution in the Czech Republic, in contect with Netflix's expansion on the Czech market in the newt two years and its possible operation on local market.

The aim of this thesis Documentary Film from the Copyright Point of View is to explore and evaluate copyright specifics of documentary cinema. Chapter One describes documentary film as a culture phenomenon with peculiar relationship to reality. It shows possible definitions and classifications and outlines some of the ethical questions connected with the documentary cinema. Then follows a brief excursion into the history of copyright protection of audiovisual works (both in the Czech Republic and in the international context), with emphasis on speciality of documentary films protection. Chapter Three examines terms audiovisual work and authorship of an audiovisual work as defined in effective Czech Act No. 121/2000 Coll. on Copyright and Rights Related to Copyright and tries to mark boundaries of these terms and its possible interpretation especially in relation to the documentary and other non-fiction films. Next chapter deals with the legal nature of protagonists of documentary or social actors which differs from legal nature of the actors in fiction films, because social actors does not perform artistic performances as defined in Czech Copyright Act. Subsequent Chapter Five analyzes protection of personal rights of social actors in documentary films which is governed by general protection of...

CONTRACTUAL PROCESSES IN MOVIE LAW - ABSTRACT Thesis Contractual Processes in Movie Law revolves around the phenomenon of audiovisual works. Its purpose is to familiarize the reader with the process of creation of an audiovisual work from a legal perspective as well as to describe basic contractual relationships arising during that process. This thesis consists of two parts. The first focuses on basics of Copyright Law and its legal sources. It further contains an analysis of law concerning audiovisual production and Movie Law along with an overview of applicable terminology. The second part elaborates on contractual obligations originating within the process of creation of an audiovisual work. The following types of contracts are described thoroughly: licence agreement, contract of employment, contract of services, contract of work and fixed job contract. KEY WORDS: Audiovisual work, Movie Law, Copyright related contracts

The aim of this thesis entitled "The application of product placement in music videos and its perception by target groups" to contribute to the understanding of the product placement in the music industry and to analyze the attitude of the target group to it. The theoretical part includes the various forms of marketing communication and definition of product placement. The brief history of this tool and its advantages and disadvantages are also described, including its legal definition and ethical aspects. There is also the classification of forms of product placement, where more attention is paid to the importance of product placement in music videos. Another part of the theory is an analysis of the effectiveness of product placement with a focus on the factors affecting its effectiveness. The practical part is based on the analysis of music videos and interviews in focus group. Conclusion should bring confirm or refute the hypothesis, that there is a likelihood of changes in audience perceptions and attitude towards the brand after seeing a video, which contains product placement. Also, the aim is to determine whether this discovery may even affect consumer behavior.

L’examen des dispositions de la loi libanaise n.75 du 3 avril 1999 sur la propriété littéraire et artistique relatives aux oeuvres audiovisuelles nous permet de déterminer le cadre juridique relatif à ce type de création. Pour accéder à la protection par le droit d’auteur, l’oeuvre audiovisuelle doit bénéficier d’un certain degré d’originalité mais aussi elle doit répondre à la définition légale de l’oeuvre audiovisuelle consacrée à l’article 1 de la loi libanaise. Une fois les conditions d’accès à la protection déterminées, on peut étudier le régime juridique applicable à ce type de création. Les oeuvres audiovisuelles sont qualifiées par l’article 9 de la loi libanaise d’oeuvres collectives. Cette qualification nous permet de déterminer le régime juridique applicable. Ceci implique la détermination des différents "acteurs" de l’oeuvre audiovisuelle, leurs droits et les modes d’exploitation de ces droits. / The examination of the provisions of Lebanese law number 75 dated on April 3, 1999 concerning the literary and artistic property for audiovisual works allow us defining the legal framework for this type of creation. Therefore, to reach the copyright protection, any audiovisual work shall benefit from a certain degree of originality and shall also meet the legal definition of an audiovisual work stipulated in article one of the Lebanese law. Once the necessary conditions for an audiovisual work protection are defined, we can proceed with the study of legal regulations applicable to this kind of creation. Audiovisual works are qualified by article 9 of the Lebanese law on collective works. Based on the audiovisual work qualification, we can define the applicable legal regulations. This involves identifying the different “actors” of audiovisual work, their rights and ways of exploiting these rights.

The significant part of the diploma thesis is oriented on the aspects of audiovisual content copyright law and the illegal usage in two countries, such as Czech Republic and Russia. The main task is to concentrate on pros and cons of their copyright law protection against content rights infringing, i.e. piracy. For deeper analysis, Czech and Russian laws investigation in details is to be made in relation to the law enforcement to the audiovisual content. Then the comparison of the punishments for the copyright law infringement is to be provided and the results of antipiracy activities within appropriate organizations in mentioned countries is to be considered. Subsequently the theoretical part is to be applied in concrete cases of court practices and finally the conclusion of the whole work is to be made. The value of the diploma thesis lies in the attempt of answering the questions, why piracy still exists in the chosen countries. This question is connected to antipiracy actions and their possible obstructions.

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.