MUSIC IN FRANCE

Profile the structure of one communication's sector: music? in France

Profile the structure of one communication's sector:

Cultural Development Policy and Industry Lobbying

Since the 80s? when President Mitterand's socialist government increased to power? France has relished a powerful heritage development policy. Culture Minister Jack Lang has emphasized creativity? decentralisation (from Paris) and a right to distinction (leading to a more up to designated day notion of heritage diversity). Various support programmes have been established? concentrated on boosting the nation's reside melodies view and its non-mainstream melodious genres. (David? 1995? 221-223) Within this structure? and as compact computer disc sales boomed? the commerce started petitioning the Ministry of Culture on matters such as VAT? rights' defence? wireless quotas? levies on bare tapes? and lifting capital for aimed at commerce initiatives. Encouraged by the government's answer in these localities? the commerce furthermore lobbied for support for exporting melodies? producing in a powerful joint project with the Foreign and Trade Ministries. (David? 2003? 86-91)

 

1. The Artist Status and the Intellectual Property

 

Artists Rights Protection and Social Status

Various French lawful ciphers - such as the municipal cipher? penal cipher? work cipher? thoughtful house cipher - supply a structure of defence for any French civilian? encompassing artists. Since the establishment of Sacem? author's and composers (as creators) have relished one of the world's strongest schemes of privileges protection. (David? 1995? 221-223)

 

1985's “Neighbouring Rights” Law? a New Support Tool for Industry Development

The 1985 Act allocated new privileges to performers? manufacturers of phonograms and video grams and broadcasting organisations: these privileges encompass an equitable remuneration to reimburse for the compulsory permit on their accomplishing privileges? as well as a levy on bare tapes. (David? 2003? 86-91) Various commerce bodies (the SCPP and SPPF for manufacturers? ADAMI and SPEDIDAM for vocalists and instrumentalists? SACEM for authors? composers and publishers) organise the Rights with an obligation to re-inject 100% of un-redistributed assembled cash and 25% of personal exact replicate levies into general interest programmes? creative plans? reside melodies? trade items? teaching? etc.

F.C.M. (Fund for Musical Creation) is a non-profit administration organising some of these redistributed capital through a private-state joint project? with the Ministry of Cultural and Communication. The Fund carries creative plans? creative individual's teaching? the dwellers view as well as melodies exports. F.C.M. is not only a grant source? it is furthermore a around table where the public and melodies professionals can lift and talk about diverse lawful? commerce and heritage issues. (David? 1995? 221-223)

 

2. The Lobby to Lower VAT on Records

Until 1987? the VAT on notes in France was 33.3 %? the identical as on luxury goods such as perfume. At this time? unaligned marks were impelling for a smallest compact computer disc retail cost as an expanding number of discount shopping centres were charge out the market and impelling out lesser? unaligned retailers. The Minister of Culture acquiesced to smaller the VAT on notes to 18.6%? supplied that the commerce reciprocates by inserting assesses to prop up other commerce flaws? namely circulation diversification and ...