(Text only available in English) The FEDERATION OF EUROPEAN FILM DIRECTORS (Fédération Européenne des Réalisateurs ...
(English) FERA has always taken a close interest in the way its members are represented by their CMOs, often speaking up for directors when they feel badly treated. We strongly support legislation for greater transparency and accountability in collective rights management.
La version française des « Directors’ Contract Guidelines » sera bientôt disponible!
(English) Download the latest edition of the FERA Newsletter (English, French and German versions)
Photo: Director Michael Caton Jones on the set of « World Without End »
(English) FERA is delighted to announce that Alan Parker has been elected as the new President of FERA. We are honoured to have such a respected colleague take on an active role defending culture and directors’ rights in Europe.
(English) In 2002 the German Copyright Law was amended with the purpose of strengthening the contractual position of authors and performers by providing that copyright “serves to secure an equitable remuneration for utilization of his work”. Basically, the amendment consisted in giving creators the right to negotiate their remuneration.
(English) In every copyright debate in Brussels, however fierce, there always seems to be a touching consensus that legislation needs to be fair and balanced, and that artists should be paid. But even this basic principle is put to the test when push comes to shove.
(Anglais) In the past months the debate over film release windows – media chronology as the French call it – has intensified.
But even if we’d rather do business as usual, there is no denying that the world around us has changed. The virtual is a reality.
(Anglais) Politicians’ actions speak louder than their words, and as artists and activists we must hold them accountable – both on the national and European levels – and scrutinize what is now done in the name of austerity – which to some has become a pretext for implementing very dubious policies.
Our problem is no longer distribution, our problem is attention. How to get and keep and convert that attention in order to live as artists? With this open access, there is a glut of content and, as consumers, how to know what to watch and where to find it? It will be through friends or through the tribe and more and more we are finding this work online. There will be a mass of niches, not a mass audience.
film marketing and publicity strategist
We in Silicon Valley undermined copyright to make commerce become more about services instead of content — more about our code instead of their files. We haven’t just weakened Hollywood and old-fashioned publishers. We’ve weakened ourselves.