Guy Bono Report on the Cultural Industries in Europe - CULT Amendments
(The following is the provisional list of amendments for the Guy Bono report, which was compiled before the final vote on by the CULT committee of the European Parliament on December 22nd, 2007. The final list is now available
here in English (other languages are also available: amendments are listed in the second Bono document on this page.)
Paragraph 1
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| | | | | 1. Welcomes the fact that the Council and Commission are ready to recognise the central role played by culture and creativity as important factors in achieving the objectives of the Lisbon Strategy, as they will thus be seen as at the heart of the European project; |
| | | | | 1. Welcomes the fact that the Council and Commission are ready to recognise the central role played by culture and creativity as important factors in promoting European citizenship, bringing the arts closer to the European public and achieving the objectives of the Lisbon Strategy, as they will thus be seen as at the heart of the European project; |
| | | | | 1. Welcomes the fact that the Council and Commission are ready to recognise the central role played by culture and creativity as important factors in achieving the objectives of the Lisbon Strategy, (deletion) thereby bolstering still further their importance in the development of the European project; |
Paragraph 1a (new)
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| | | | | 1a. Stresses that, within the framework of today's 'post-industrial economy', the EU's competitiveness will have to seek support also in the sectors of culture and creativity; calls, within this framework, on the Commission and Member States to set as their priorities policies based not only on entrepreneurial innovation, but on the innovation of cultural actions and creative economies; |
Paragraph 2
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| | | | | 2. Calls on the Council and Commission to clarify what constitutes a European view of culture, creativity and innovation and to elaborate a structured policy for developing European creative industries, incorporating it in a proper European strategy for culture; |
| | | | | 2. Calls on the Council and Commission to clarify what constitutes a European view of culture, creativity and innovation and to elaborate structured political measures for practical implementation for developing European creative industries, incorporating it in a proper European strategy for culture; considers that to this end the identification of the sector of cultural industries and undertakings is a priority; |
| | | | | 2. Calls on the Council and Commission to clarify what constitutes a European view of culture, creativity and innovation and to elaborate (deletion) structured political measures for practical implementation for developing European creative industries, incorporating it in a proper European strategy for culture; |
| | | | | 2. Calls on the Council and Commission to clarify what constitutes a European view of culture, creativity and innovation and to elaborate a structured policy for developing European creative industries, incorporating it in a proper European strategy for culture; considers that to this end the identification of the sector of cultural industries and undertakings is a priority of overriding importance; |
Paragraph 3
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| | | | | 3. Accordingly calls on the Commission to arrange for the collection of systematic statistics in this area, so that the Union and the Member States can have consistent and comparable statistical data, as these are needed to elaborate suitable targeted policies for promoting the cultural and creative sector; |
Paragraph 3a (new)
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| | | | | Calls on the Commission and the High Representative for the Foreign and Security Policy to incorporate Europe’s cultural dimension, and specifically its cultural industries and creators, more fully and effectively into the European Union’s external relations, as well as into the European Neighbourhood Policy, and at the major forums for dialogue with other regions of the world; |
Paragraph 4
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| | | | | 4. Considers that flourishing cultural industries depend to a large extent on the opportunities for unimpeded cross-frontier mobility, and repeats the requests it set out in this connection in the above resolution on the social status of artists; |
| | | | | 4. Considers that flourishing cultural industries depend to a large extent on the opportunities for ensuring (deletion) cross-frontier mobility, and for this reason the problems of the European arrest warrant must be addressed and specific rules drawn up in this connection, and repeats the requests it set out in this connection in the above resolution on the social status of artists; |
| | | | | 4. deleted |
| | | | | 4.Considers that flourishing cultural industries depend to a large extent on the opportunities for ensuring (deletion) cross-frontier mobility, and repeats the requests it set out in this connection in the above resolution on the social status of artists; |
| | | | | 4. Considers that flourishing cultural industries depend to a large extent on the opportunities for unimpeded cross-frontier mobility for cultural operators, and repeats the requests it set out in this connection in the above resolution on the social status of artists; |
| | | | | 4. Considers that flourishing cultural industries depend to a large extent on the opportunities for unimpeded cross-frontier mobility, and for this reason the problems of the European arrest warrant must be addressed and specific rules drawn up in this connection, and repeats the requests it set out in this connection in the above resolution on the social status of artists; |
Paragraph 5
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| | | | | 5. Welcomes the idea of setting up an internal market for the people, goods and services of the creative industry, and calls on the Commission to present Parliament with a Green Paper on this subject; |
| | | | | 5. Welcomes the idea of promoting mobility for the people, goods and services of the creative industry, with due regard for the rules and principles laid down in the abovementioned UNESCO Convention, and calls on the Commission to present Parliament with a Green Paper on this subject, which does justice to the specificity of the sector as both a cultural and economic asset; |
| | | | | 5. Welcomes the idea of promoting mobility for the people, goods and services of the creative industry, and calls on the Commission to present (deletion) a Green Paper on this subject which does justice to the specificity of the sector as both a cultural and economic asset; |
| | | | | 5. Welcomes the idea of setting up an internal market for the people, goods and services of the creative industry, with due regard for the rules and principles laid down in the abovementioned UNESCO Convention, and calls on the Commission to present Parliament with a Green Paper on this subject; |
| | | | | 5. Welcomes the idea of setting up an internal market for the people, goods and services of the creative industry, and calls on the Commission to present Parliament with a Green Paper on this subject which will cover the impact on the internal market of the implementation of the UNESCO Convention on Cultural Diversity; |
Paragraph 5a (new)
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| | | | | 5a. Points to the need to develop a social and economic model which provides a suitable safety network for creative entrepreneurs, chiefly self-employed ones, in the sectors of culture and the creative economy, sectors where there have so far been a high percentage of partial employment and limited stability of working conditions; |
| | | | | 5a. Considers that well?organised collective cross-border management of copyright and related rights is essential to allowing creative potential to be exploited to the full; |
| | | | | 5a. Considers that well-organised collective cross-border management of copyright and related rights and business models respectful of the rights of all right-holders are essential to allowing creative potential to be exploited to the full whilst securing fair remuneration to all categories of right-holders; |
Paragraph 5b (new)
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| | | | | 5b. Reminds the Commission of its resolution of 13 March 2007 on collective cross-border management of copyright and related rights for legitimate online music services, and calls for a Community approach taking account of the specific nature of the digital era, the importance of safeguarding European cultural diversity, small stakeholders and local repertoires, on the basis of the principle of equal treatment; |
Paragraph 6
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| | | | | 6. Urges the Member States to step up the competences in the Treaty for creativity and to consider similar action for culture; |
| | | | | 6. deleted |
Paragraph 7
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| | | | | 7. Requests the Commission also to proceed as soon as possible with the full application of Article 151(4) of the EC Treaty, to ensure that culture and the cultural sector are taken into account in all the other Community policies; |
| | | | | 7. Requests the Commission, in the meantime, to systematically proceed as soon as possible with the full application of Article 151(4) of the EC Treaty, to ensure that culture and the cultural sector are taken into account in all the other Community policies, in particular those relating to the internal market, competition, trade, companies and research and development, and to take better account of the special nature of the cultural sector in implementing these policies as well as in external policy relating to the conclusion of international treaties in accordance with the UNESCO Convention on cultural diversity, and to play a proactive role and improve international cooperation; |
Paragraph 7a (new)
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| | | | | 7a. Calls on the Commission and Member States to inject new life into the UNESCO Convention on the Protection and Promotion of the Diversity of Cultural Expressions and fully to take into account the principles on which it is based in their internal and external policies; |
Paragraph 8
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| | | | | 8. Calls on the Commission to proceed with setting up a task force for culture and the creative economy, so as to explore more closely the relationship between culture, creativity and innovation in the context of the Community policies; |
| | | | | 8. Calls on the Commission to put in place a structure for strengthening coordination of activities and policies which have an impact on the cultural and creative sector and to set up a task force for culture and the creative economy, so as to explore more closely the direct contribution of culture and of creativity on innovation, economic growth and social development in the European Union; and to propose concrete measures in cooperation with the European Parliament in the context of the Community policies; |
| | | | | 8. Calls on the Commission to put in place a structure for strengthening coordination of activities and policies which have an impact on the cultural and creative sector and to set up a task force for culture and the creative economy, so as to explore more closely the relationship between culture, creativity and innovation, and to propose concrete measures in the context of the Community policies; |
| | | | | 8. Calls on the Commission to proceed with setting up a task force for culture and the creative economy, so as to explore more closely the direct contribution and the direct impact of culture and of creativity on innovation, economic growth and social development in the European Union; |
| | | | | 8. Calls on the Commission to proceed with setting up a task force for culture and the creative economy, so as to explore more closely the relationship between culture, creativity and innovation in the context of the Community policies, and in which the European Parliament should participate |
| | | | | 8. Calls on the Commission to proceed with setting up a task force for culture and the creative economy, so as to explore more closely the relationship between culture, creativity and innovation in the context of the Community policies; recommends also the creation of suitable conditions for the development of a European cultural internet which will be based, inter alia, on joint public-private corporate bodies, with the aim of strengthening cross-border cultural and creative action by bodies and undertakings, and improving dissemination of best practice and know-how; |
Paragraph 9
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| | | | | 9. Urges the Commission to rethink the critical issue of intellectual property from the cultural and economic point of view and to invite all those active in the sector to join forces and seek solutions equitable to all, in the interest of a balance between the opportunities for access to cultural events and content and intellectual property; draws Member States’ attention on this point to the fact that criminalising consumers so as to combat digital piracy is not the right solution; |
| | | | | 9. In the context of rapid technological and market evolutions, and with a view to ensuring that cultural industries and creators benefit from the development of digital platforms, urges the Commission to rethink the critical issue of intellectual property from the cultural and economic point of view and to invite all those active in the sector, involving notably telecom operators and Internet Service Providers, to join forces and seek solutions equitable for big and small actors, in the interest of a balance between the opportunities for access to cultural events and content and intellectual property that guarantee fair, effective remuneration to all categories of right holders, real choice for consumers, and cultural diversity ; draws attention on this point to the fact that criminalising consumers who do not act out of profit making purposes is not the right solution to combat digital piracy; |
| | | | | 9. Calls on the Commission to ensure that the acquis communautaire in the field of copyright and related rights is preserved and that it continues to be primarily oriented towards creators; |
| | | | | 9. Urges the Commission to rethink the critical issue of intellectual property from the cultural and economic point of view and to invite all those active in the sector to join forces and seek solutions equitable to all, in the interest of a balance between the opportunities for access to cultural events and content and intellectual property; (deletion) |
| | | | | 9. In the context of rapid technological and market evolutions, and with a view to ensuring that cultural industries benefit from the development of digital platforms, urges the Commission to rethink the critical issue of intellectual property from the cultural and economic point of view and to invite all those active in the sector, notably telecom operators and Internet Service Providers, to join forces and seek solutions equitable for big and small actors, in the interest of a balance between the opportunities for access to cultural events and content and intellectual property that guarantee effective remuneration to right holders and real choice for consumers; draws Member States’ attention on this point to the fact that criminalising consumers so as to combat digital piracy is not the right solution; |
| | | | | 9. Urges the Commission to rethink the critical issue of intellectual property from the cultural and economic point of view and to invite all those active in the sector to join forces and seek solutions equitable to all, ensuring that persons and businesses making a contribution to the creative sector are fairly remunerated; |
| | | | | 9. Urges the Commission to ensure that the treatment of copyright and related rights issues is primarily creator-oriented and to invite all those active in the sector to join forces and seek solutions equitable to all, in the interest of a balance between the opportunities for access to cultural events and content and intellectual property; draws Member States’ attention on this point to the fact that criminalising consumers so as to combat digital piracy is not the optimal solution; |
| | | | | 9. Urges the Commission to rethink the critical issue of intellectual property and copyright from the cultural and economic point of view and to invite all those active in the sector to join forces and seek solutions equitable to all, in the interest of a balance between the opportunities for access to cultural events and content and intellectual property; draws Member States’ attention on this point to the need to legislate against piracy while also taking into account the right of users freely to access culture via new technologies, when this is not for profit-making purposes; |
| | | | | 9. Urges the Commission to rethink the critical issue of intellectual property from the cultural and economic point of view and to invite all those active in the sector to join forces and seek solutions equitable to all, in the interest of a balance between the opportunities for access to cultural events and content and intellectual property. Calls on the Commission and Member States to provide a strong legal environment, based on the protection of intellectual property including measures which oblige Internet service providers to cooperate in the fight against online piracy; |
| | | | | 9. Urges the Commission to rethink the critical issue of intellectual property from the cultural and economic point of view and to invite all those active in the sector to join forces and seek solutions equitable to all, in the interest of a balance between the opportunities for access to cultural events and content and intellectual property; calls on the Commission also to emphasise more clearly the value of creative achievements, since artists are entitled to appropriate remuneration for their achievements; draws Member States’ attention on this point to the fact that criminalising consumers so as to combat digital piracy is not the right solution; |
| | | | | 9. Urges the Commission to rethink the critical issue of intellectual property from the cultural and economic point of view and to invite all those active in the sector to join forces and seek solutions equitable to all, in the interest of a balance between the opportunities for access to cultural events and content and intellectual property that guarantee effective remuneration to rightholders; draws Member States’ attention on this point to the fact that criminalising consumers so as to combat digital piracy is not the right solution; |
| | | | | 9. Urges the Commission to rethink the critical issue of intellectual property from the cultural and economic point of view and to invite all those active in the sector to join forces and seek solutions equitable to all, in the interest of a balance between the opportunities for access to cultural events and content and intellectual property, ensuring that rights holders are remunerated; draws Member States’ attention on this point to the fact that penalties for 'professional pirates' would be the most appropriate response to digital piracy offences; |
| | | | | 9. Urges the Commission to rethink the critical issue of intellectual property from the cultural and economic point of view and to act as regards the increasing problem of protection of intellectual property against piracy. Intellectual property is the cornerstone of the cultural industries and the means by which the people and the enterprises who contribute to creativity can be remunerated. Calls on the Commission and the Member States to provide a strong legal environment, based on the protection of intellectual property and to put in place all the necessary means to ensure the respect of intellectual property; |
Paragraph 9a (new)
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| | | | | 9a. Calls on the Commission to recognise that, as a result of the Internet, traditional ways of using cultural products and services have completely changed and that it is essential to ensure unimpeded access to online cultural content and to the diversity of cultural expressions, over and above what is driven by an industrial and commercial logic, ensuring moreover, fair remuneration (deletion) for all categories of rights holders; |
| | | | | 9a. Urges the Commission to oblige all those active in the sector to join forces and seek solutions equitable to all with the aim to develop the offer of legitimate online content and to make sure that all the involved stakeholders act responsibly. In the event that adequate solutions have not been found within a reasonable period of time that should not exceed 1 year, calls on the Commission and the Member States to adopt legislative measures obliging Internet service providers to cooperate in the fight against online piracy. This cooperation of Internet service providers should include the use of filtering technologies to prevent their networks being used to infringe intellectual property, the removal from the networks or the blocking of content that infringes intellectual property, and the enforcement of their contractual terms and conditions, which permit them to suspend or terminate their contracts with those subscribers who repeatedly or on a wide scale infringe intellectual property; draws Member States’ attention on this point to the fact that legislative measures which oblige Internet services providers to cooperate in the fight against online piracy would be more effective than the legal pursuit of users who infringe intellectual property; |
| | | | | 9a. Calls on the Commission to propose a directive designed to protect artists who risk seeing their work fall within the public domain in their lifetime, and to consider the competitive disadvantage posed by less generous protection terms in Europe than in the United States; |
| | | | | 9a. invites the Commission to take measures on prevention, education and awareness-raising among consumers, especially among young people in schools on the value of intellectual property and creativity in general and to encourage consumers to respect intellectual property; |
| | | | | 9a. Calls on the Commission in particular to support efforts to introduce new business models in the digital age that enable the consumer to reap the full benefits of new technologies and at the same time preserve the legitimate right to payment for artistic and cultural creation; |
| | | | | 9a. Calls on the Commission to recognise that, as a result of the Internet, traditional ways of using cultural products and services have completely changed and that it is essential to ensure unimpeded access to online cultural content and to the diversity of cultural expressions, over and above what is driven by an industrial and commercial logic, ensuring moreover, fair remuneration that is equitably divided between all categories of rights holders; |
| | | | | 9a. Is of the opinion that a reform of intellectual property rights is vital for promoting creativity and encouraging the development of cultural works; recommends the Paris Accord as a proposal for a fair interest balance between creatives and consumers; |
| | | | | 9a. Calls on the Commission and the Member States to provide the necessary resources to ensure that intellectual property rights are respected and protected; |
Paragraph 9b (new)
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| | | | | 9b. Invites the Commission to fund campaigns on prevention, education and awareness-raising among consumers, especially among youngsters, on the value of intellectual property and creativity in general, and to encourage consumers to respect intellectual property. This should include incorporating educational programmes on intellectual property and the value of creativity into the schools’ curriculum; |
| | | | | 9b. Urges the Commission, in the fight against piracy, to make all parties, including consumers, aware of their responsibilities and to put in place awareness?raising and education campaigns; |
| | | | | 9b. Takes the view, therefore, that the Commission should consider establishing close consultations between the industry, Internet access providers, consumers, P2P website designers and all categories of rights holders and all other parties in order to more openly examine the new forms of consumption and the resulting uses, with the aim of putting in place permanent, legal models for the distribution and use of new online products and services; |
Paragraph 10
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| | | | | 10. Considers it essential to have adequate funding for the cultural and creative industries, and calls on the Council, the Commission and the Member States to take the action required, recommending methods of funding from the public and public-private sectors, and setting up a regulatory and fiscal framework that favours the cultural industries; |
| | | | | 10. Considers it essential to have adequate funding for the cultural and creative industries as well as creative communities, and calls on the Council, the Commission and the Member States to take the action required, recommending mixed methods of funding and financial security, and promoting a regulatory and fiscal framework that favours the cultural industries as well as creative communities, and more particularly the application of tax credits and reduced rates of VAT to all cultural products, including online works; |
| | | | | 10. Calls on the Council, the Commission and the Member States to promote methods of funding from the public and public-private sectors, and to consider setting up a regulatory and fiscal framework for the cultural industries; |
| | | | | 10. Considers it essential for the cultural and creative industries to have adequate funding, and calls on the Council, the Commission and the Member States to take the action required, recommending mixed methods of funding and financial security from the public and public-private sectors, and setting up a regulatory and fiscal framework that favours the cultural industries; |
| | | | | 10. Considers it essential to have adequate funding for the cultural and creative industries as well as creative communities, and calls on the Council, the Commission and the Member States to take the action required, recommending methods of funding from the public and public-private sectors, and setting up a regulatory and fiscal framework that favours the cultural industries and creative communities; |
| | | | | 10. Considers it essential to have adequate funding for the cultural and creative industries, and calls on the Council, the Commission and the Member States to take the action required, recommending methods of funding from the public and public-private sectors, and promoting a regulatory and fiscal framework that favours the cultural industries, and more particularly the application of tax credits and reduced rates of VAT to all cultural products, including online works; |
| | | | | 10. Considers it essential to have adequate funding for the cultural and creative industries, and calls on the Council, the Commission and the Member States to take the action required, recommending methods of funding from the public and public-private sectors, and setting up a regulatory and fiscal framework that favours the cultural industries; in particular by providing for tax credits on their investments. In addition, calls on the Commission and the Member States to eliminate the current VAT discrimination of different cultural products by applying a reduced VAT rate to all cultural products; |
Paragraph 10a (new)
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| | | | | 10a. Stresses the significance of free information infrastructures such as the WorldWideWeb, which are based on open participation models and open standards, for the European creative sector and asks the Commission to put forward a strategy for more open and interoperable information infrastructures; |
| | | | | 10a. Considers that flourishing cultural industries depend to a large extent on the opportunities for unimpeded cross-frontier mobility, and reiterates the calls which it made in this connection in the abovementioned resolution on the social status of artists; |
Paragraph 11
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| | | | | 11. Considers it necessary for the Structural Funds to give pride of place to development of the cultural and creative industries, and repeats its request for the Commission to put forward a study on the impact of funding from the Structural Funds for the cultural sector; |
| | | | | 11. Considers it necessary for the Structural Funds, programmes for SMEs and the seventh research and development framework programme' to give pride of place to development and sufficient funding of the cultural and creative industries, including small and medium-sized and individual artists undertakings in the field, and repeats its request for the Commission to put forward a study on the impact of funding from the Structural Funds, and the research and development funds, for the cultural and educational sectors; |
| | | | | 11. Considers it necessary for the Structural Funds to contemplate development of the cultural and creative industries, and repeats its request for the Commission to put forward a study on the impact of funding from the Structural Funds for the educational and cultural sector; |
| | | | | 11. Considers it necessary for the Structural Funds, programmes for SMEs and the seventh research and development framework programme to give pride of place to development of the cultural and creative industries, and repeats its request for the Commission to put forward a study on the impact of funding from the Structural Funds, and the research and development funds, for the cultural sector; |
| | | | | 11. Considers it necessary for the Structural Funds to give pride of place to development and sufficient funding of the cultural and creative industries, including small and medium-sized undertakings in the field, and repeats its request for the Commission to put forward a study on the impact of funding from the Structural Funds for the cultural sector; |
Paragraph 11a (new)
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| | | | | 11a. Calls on the Commission to promote access to the cultural industries in connection with technical assistance programmes for third countries, in particular China and India and also Latin America; |
| | | | | 11a. points the Commission to the recent threat to internet communication in Burma and urges the Commission to take appropriate measures to preserve the diversity of media channels and to develop wireless mesh networks as to contribute to the defence of an open society; |
Paragraph 11b (new)
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| | | | | 11b.Calls on the Commission to encourage and support partnerships between the cultural industries sector and the information and communication technology sectors in order to promote synergies between creativity and innovation within the context of the Lisbon strategy; |
Paragraph 12
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| | | | | 12. Calls on the Commission to look into the possibility of setting up a programme similar to the MEDIA Programme tailored for the music and publishing industries; |
| | | | | 12. Calls on the Commission to look into the possibility of setting up a programme similar to the MEDIA Programme, to complete the procedures for implementing the initiative for the European digital library, to stimulate and support the music, theatre and publishing industries, in order to facilitate transnational distribution of works, and, as a preliminary step, to set up a mechanism under the 'Culture' programme for allowing non-audiovisual cultural industries to have access to Community funding for measures to promote books (joint stands at book fairs, etc), and also measures to promote music and professional training; |
| | | | | 12. Calls on the Commission to look into the possibility of setting up a programme similar to the MEDIA Programme tailored for the music and publishing industries, in order to facilitate transnational distribution of works, and, as a preliminary step, to set up a mechanism under the 'Culture' programme for allowing non?audiovisual cultural industries to have access to Community funding for measures to promote books (joint stands at book fairs, etc), and also measures to promote music and professional training; |
| | | | | 12. Calls on the Commission to look into the possibility of setting up a programme similar to the MEDIA Programme tailored for the music and publishing industries and a programme similar to the ERASMUS Programme for the mobility of artists and cultural experts and to complete the procedures for implementing the initiative for the European digital library; |
| | | | | 12. Calls on the Commission to look into the possibility of setting up a programme to stimulate and support the music and publishing industries based on the experience of the MEDIA programme; |
| | | | | 12. Calls on the Commission to look into the possibility of setting up a programme similar to the MEDIA Programme tailored for the music, theatre and publishing industries; |
Paragraph 13
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| | | | | 13. Calls on the Member States to increase the amount of aid for translation, as the budgets allocated to the European cultural programmes are not sufficient to enable the ambitious aims that they describe to be fulfilled; |
| | | | | 13. Calls on the Commission and the Member States to increase the amount of aid for translation, as the budgets allocated to the European cultural programmes are not sufficient to enable the aims that they describe to be fulfilled; |
| | | | | 13. deleted |
| | | | | 13. Calls on the Commission and the Member States to increase the amount of aid for translation, as the budgets allocated to the European cultural programmes are not sufficient to enable the ambitious aims that they describe to be fulfilled; |
| | | | | 13. Calls on the Member States to increase the amount of aid for translation, as the budgets allocated to the European cultural programmes are not sufficient to enable the (deletion) aims that they describe to be fulfilled; |
Paragraph 14
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| | | | | 14. Considers that there is a need to encourage the cultural and creative industries’ sector by improving qualification, apprenticeship and training systems; |
| | | | | 14. Considers that there is a need to encourage the cultural and creative industries’ sector by improving qualification, apprenticeship and training systems, in particular by seeking to provide students at all levels of education in the cultural and artistic disciplines with training that will prepare them for professional life, as well as by encouraging better synergy between businesses in the sector and schools and encouraging closer ties between schools and institutions in Member States that are already working towards that end; and to make further progress towards the mutual recognition of diplomas in art industry studies. |
| | | | | 14.Considers it essential for the various instruments in support of culture and the cultural industries to focus to a large extent on improving the qualification, apprenticeship and training of artists and other professionals associated with the cultural sector; |
| | | | | 14. Considers that there is a need to encourage the cultural and creative industries’ sector by improving qualification, apprenticeship and training systems, in particular by seeking to provide students in the cultural and artistic disciplines with training that will prepare them for professional life, as well as by encouraging better synergy between businesses in the sector and schools and encouraging closer ties between schools and institutions in Member States that are already working towards that end; |
| | | | | 14. Considers that there is a need to encourage the cultural and creative industries’ sector by introducing artistic and cultural education at all levels of education, and by improving qualification, apprenticeship and training systems; |
| | | | | 14. Considers that there is a need to encourage the cultural and creative industries’ sector by improving qualification, apprenticeship and training systems for artists and creators, and to make further progress towards the mutual recognition of qualifications and realisation of the Bologna objectives, in order to achieve a genuine European Area of Education; |
| | | | | 14.Considers that there is a need to encourage the cultural and creative industries’ sector by improving qualification, apprenticeship and training systems and social recognition of diplomas in art industry studies; |
Paragraph 14a (new)
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| | | | | 14a. Emphasises the special nature of certain professions or crafts and skills in the cultural, creative and craft sectors, the continuity of which must be safeguarded by means of appropriate mechanisms for passing on knowledge; |
Paragraph 14b (new)
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| | | | | 14b.Calls on the Commission and the Member States to take appropriate steps to enhance the status of traditional skills in order to encourage mobility and facilitate access to employment for those occupied in the relevant sectors in the EU; |
Paragraph 15
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| | | | | 15. Calls on the Member States and their local authorities to develop services for business management consultancy, financial consultancy, information and training for small businesses, entrepreneurs and workers in the cultural and creative sector; |
| | | | | 15. Calls on the Member States and their local authorities to ensure a better communication between the creative industries and the financiers with the development of services for business management consultancy, financial consultancy, information and training for small businesses, entrepreneurs and workers in the cultural and creative sector; |
Paragraph 15a (new)
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| | | | | 15a. Urges the Commission to carry out a review of competition policies and consider new guidelines, taking into account the specificities of the creative and cultural sector, in particular the key role of smaller actors and the need to ensure that there is a level playing field to provide market access for all actors regardless of size to facilitate fair and equitable access of production, dissemination, distribution and enjoyment of cultural expressions; |
Paragraph 16
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| | | | | 16. Suggests that the Council and Commission look into the advisability of setting up a bank for the creative industries; |
| | | | | 16. deleted |
| | | | | 16. Suggests that the Council and Commission maximise the use of funding provided by the European Investment Bank and the European Investment Fund and also look into the advisability of setting up a bank for the creative industries specialising in investment in cultural and creative businesses; |
Paragraph 16a (new)
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| | | | | 16a. Reminds the Commission and Member States of their position so far on audiovisual services within the framework of international trade talks and calls upon them to continue in future neither to make deregulation offers for the audiovisual services within the framework of the WTO-GATS negotiations nor to make deregulation demands and to exempt these services from the application of most favoured nation treatment; |
Paragraph 17
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| | | | | 17. Instructs its President to forward this resolution to the Council, the Commission, the governments and parliaments of the Member States, Unesco and the Council of Europe. |
Recital A
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| | | | | A. whereas culture is both a public benefit and an end in itself for the fulfilment of the individual and society and a means towards economic growth, employment and social cohesion and regional and local development, as recent research has shown, particularly the KEA study on the economy of culture, |
| | | | | A. whereas culture is both a public benefit and an end in itself for the fulfilment of the individual and society and a means towards economic growth, employment and social cohesion and regional and local development, as recent research has shown, particularly the study carried out by KEA European Affairs for the Commission on the economy of culture in Europe, |
Recital Aa (new)
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| | | | | Aa. Whereas the cultural industries could not exist nor add to European cultural and economic value without an ongoing input of new content from a thriving creative community of creators, in all fields of art, such as film makers, composers, authors, visual artists and designers, |
Recital B
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| | | | | B. whereas cultural industries are industries which give intellectual works additional economic value that at the same time generates new values for individuals and society, traditional industries such as the film, music and publishing industries, the media and industries in the creative sector (fashion and design), tourist, arts and information industries, |
| | | | | B. whereas cultural industries are industries which give intellectual works additional economic value that at the same time generates new values for individuals and society, including traditional industries such as the film, music and publishing industries and also the video games industry, |
| | | | | B. whereas cultural industries are industries which give intellectual works additional economic value that at the same time generates new values for individuals and society, traditional industries such as the film, theatre, music and publishing industries, the media and industries in the creative sector (fashion and design), tourist, arts and information industries, |
Recital Ba (new)
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| | | | | Ba. whereas creative sector industries are industries whose products are not cultural goods as such but have a strong cultural component, including activities in the fashion, design, product design, architecture and publicity sectors; whereas the importance of other sectors which are not creative industries but which bear similarities to them, such as tourism and sport, should also be stressed, |
| | | | | Ba. whereas, according to the definition given by UNESCO, cultural industries encompass all sectors that combine the creation, production and marketing of goods and services, the distinctive character of which lies in contents which are intangible and cultural in nature, contents typically protected by copyright, |
Recital C
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| | | | | C. whereas, however, greater recognition and greater support are needed to help the cultural and creative industries deliver their full contribution to the objectives of the Lisbon Strategy, |
| | | | | C. whereas, however, greater recognition, the securing of a special legal status and greater support for the entire cultural and creative industries, including micro businesses and SMEs as well as individual artists, are needed to help these sectors achieve their full potential and to contribute also to the objectives of the Lisbon Strategy, |
| | | | | C. whereas, however, greater recognition, the securing of a special legal status and greater support are needed to help the cultural and creative industries deliver their full contribution to the objectives of the Lisbon Strategy, |
| | | | | C. whereas, however, greater recognition of and greater support for the entire cultural and creative industries, as well as individual artists, are needed to help these sectors deliver their full contribution to the objectives of the Lisbon Strategy, |
| | | | | C. whereas, however, greater recognition and greater support are needed to help the cultural and creative industries achieve their full potential and to contribute also to the objectives of the Lisbon Strategy, |
| | | | | C. whereas, however, greater recognition and support is needed to help the cultural and creative industries to deliver their full contribution to the objectives of the Lisbon Strategy, in particular micro businesses and SMEs because of the recognised role they play as drivers of growth, job creation and innovation, |
| | | | | C. whereas, however, greater recognition and greater support are needed to help the cultural and creative industries deliver their full contribution to the objectives of the Lisbon Strategy, which demands significantly higher investments with clear objectives, as well as an increase in incentives to access and undertake action in these areas, |
Recital D
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| | | | | D. whereas the cultural industries produce and disseminate a wide range of content to inform, educate and entertain the public, and on which the European Union should play its part as regulator, |
| | | | | D. whereas the cultural industries produce and disseminate a wide range of content to inform, educate and entertain the public, based increasingly on new technologies and new digital and audiovisual formats, in which the Member States and European Union must play their part as a promoter and regulator, guaranteeing that just and adequate economic rewards accrue to the creators of original content through ensuring adequate and efficient protection of copyright and related rights, thereby securing the sustainability of European cultural industries, |
| | | | | D. whereas the cultural industries produce and disseminate a wide range of content to inform, educate and entertain the public, (deletion) on which the European Union should play its part as regulator, guaranteeing that just and adequate economic rewards accrue to the creators of original content through ensuring adequate and efficient protection of copyright and related rights, thereby securing the sustainability of European cultural industries, |
| | | | | D. whereas the cultural industries produce and disseminate a wide range of content to inform, educate and entertain the public, based increasingly on new technologies and new digital and audiovisual formats, in which the European Union should play its part as a promoter and regulator, |
| | | | | D. whereas the cultural industries produce and disseminate a wide range of content to inform, educate and entertain the public, in which the Member States and European Union must play their part as regulators, |
Recital E
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| | | | | E. whereas new forms of production, distribution and consumption are emerging in the contemporary information society and they are generating new cultural goods and services that need protection from piracy, |
| | | | | E. whereas new forms of production, distribution and consumption are emerging in the contemporary information and digital technology society and they are generating new cultural goods and services that need protection from piracy, but also more generally the finding of suitable entrepreneurial and economic models to ensure the accessibility, opening-up and diversity of products with a cultural content while preserving their specific nature as compared to ordinary commercial products and granting fair remuneration to all categories of rightholders for the use made of copyright-protected cultural content, |
| | | | | E. whereas new forms of production, distribution and consumption are emerging in the contemporary information and digital technology society and they are generating new cultural goods and services that need protection from piracy, but also more generally the finding of suitable entrepreneurial and economic models to ensure that products with a cultural content are not transformed into ordinary commercial products, thereby losing their specificity as public assets, |
| | | | | E. whereas new forms of production, distribution and consumption offering new opportunities to enhance access to and the opening-up and diversity of content are emerging in the contemporary information society and they are generating new cultural goods and services that need protection from piracy, |
Recital Ea (new)
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| | | | | Ea. whereas cultural products and services have special characteristics which distinguish them from other products and services, and which must be taken into account in drawing up and implementing European Union policies, |
| | | | | Ea. whereas appropriate and effective protection of copyright and related rights is an essential instrument for creators in terms of enabling them to be fairly remunerated for their creative efforts, and within the context of the commercial exploitation of their works, and whereas this protection is therefore indispensable to the survival of the cultural industries, |
Recital F
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| | | | | F. whereas the cultural industries have a contribution to make to promoting cultural diversity, democratising access to culture, and to the identity and integration of Europe, |
| | | | | F. whereas cultural industries and the creative community have a vital contribution to make to promoting cultural diversity, to ensuring consumer choice, increasing diversity of entrepreneurship, democratising access to culture, to European identity and integration and to intercultural dialogue, |
| | | | | F. whereas the cultural industries and the creative community have a contribution to make to promoting cultural diversity, democratising access to culture, and to the identity and integration of Europe, |
| | | | | F. whereas the cultural industries have a vital contribution to make to promoting cultural diversity, democratising access to culture, and to the identity and integration of Europe, |
| | | | | F. whereas cultural industries have a contribution to make to promoting cultural diversity, to ensuring consumer choice, increasing diversity of entrepreneurship, democratising access to culture, to European identity and integration and to intercultural dialogue, |
| | | | | F. whereas the cultural industries have a contribution to make to promoting cultural diversity and the intercultural dialogue, democratising access to culture, and to the identity and integration of Europe, |
| | | | | F. whereas the cultural industries have a contribution to make to promoting cultural diversity, democratising access to culture, and to the identity and integration of Europe, as well as to the economy, |
Recital Fa (new)
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| | | | | Fa. whereas the cultural industries contribute significantly to local and regional development and cohesion, since they are a magnet for tourist investments, create new categories of commercial products and services 'of a local nature' and, by creating new jobs and economic development opportunities, prevent the social marginalisation of remote or disadvantaged regions, |
| | | | | Fa. whereas authors play a fundamental part in the activities of the cultural industries and should therefore be provided with an economic, legal and social environment that will enable the development of their creative potential, |
Recital G
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| | | | | G. whereas there is a need to ally culture closely to education and training in order to increase the cultural sector’s productive and creative capacity, |
| | | | | G. whereas there is a need to ally culture closely to education and training in order to increase the cultural sector’s productive and creative capacity, and the expectations of trained professionals in that sector may be somewhat frustrated if on completion of their arts studies there is insufficient demand for their skills, |
Recital H
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| | | | | H. whereas experience with the ‘European Capitals of Culture’ has shown in practical terms how the cultural sector contributes to the economic and social life of the city and the enrichment of its inhabitants, |
Recital I
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| | | | | I. whereas state aid and subsidies for the creative sector should be seen as an investment and not a luxury, |
| | | | | I. whereas state aid and subsidies for the creative sector should be seen as an investment and not a luxury and must be evaluated equally in accordance with the EU rules on competition, the Amsterdam Protocol of the Treaty of Amsterdam on the system of public broadcasting in the Member States and Article 151 of the EC Treaty and the UNESCO Convention on the Protection of Cultural Diversity, |
| | | | | I. whereas European and state aid, as well as measures to promote and support the creative sector are an essential – though not the sole – part of the policies to assist the creative sector in Europe, |
| | | | | I. whereas state aid and subsidies for the creative sector should be seen as an investment and not a luxury and must be evaluated equally in accordance with the EU rules on competition and Article 151 of the EC Treaty and the UN Convention on the Protection of Cultural Diversity, |
| | | | | I. whereas state aid and subsidies for the creative sector should be seen as an investment and not a luxury, in particular because they protect and promote creators and their works, |
| | | | | I. whereas state aid and subsidies for the creative sector should be seen as an investment and not a luxury, and as an added value for society, |
| | | | | I. whereas state aid and subsidies for the creative sector should be seen as an investment in human capital and not as expenditure with no return, |
Recital J
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| | | | | J. whereas there is a need for further support for small and micro-businesses and for the individual workers who contribute hugely to creating wealth in an economy whose growth does not necessarily require the existence of large-scale organisations, with their tendency to focus on the most profitable activity, namely cultural distribution (publishing, distribution and marketing), but rather calls for the proliferation of less complex structures and the stimulation of their networks, |
| | | | | J. whereas state aid and subsidies for the creative sector should be seen as an investment and not a luxury and must be evaluated equally in accordance with the EU rules on competition, the Amsterdam Protocol of the Treaty of Amsterdam on the system of public broadcasting in the Member States and Article 151 of the EC Treaty and the UN Convention on the Protection of Cultural Diversity, |
| | | | | J. whereas there is a need for further support for small and micro-businesses, and for the promotion of their networks, and for the individual workers who contribute hugely to creating wealth (deletion), |
| | | | | J. whereas there is a need for further support for small and micro-businesses and for self-employed workers who contribute (deletion) to creating wealth in an economy whose growth does not necessarily require the existence of large-scale organisations, with their tendency to focus on the most profitable activity, namely cultural distribution (publishing, distribution and marketing), and which therefore also calls for the proliferation of less complex structures and the stimulation of their networks, |
Recital Ja (new)
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| | | | | Ja. whereas private and public investment as well as patronage should be encouraged in the cultural sector , |
| | | | | Ja.whereas the fragmentation of the creative sector in Europe, which can only partially be justified by reasons of language and national identity, and the absence of any genuinely European-scale cultural industries, are liable to hinder Europe’s cultural role in the world, |
Recital Jb (new)
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| | | | | Jb. whereas concentration in the cultural industries sector poses risks for diversity and the supply of cultural goods to consumers, |
Recital Jc (new)
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| | | | | Jc. whereas creativity is a condition for the development of innovation in Europe and European technology companies would benefit from working in symbiosis with creators within 'clusters', |
Recital Jd (new)
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| | | | | Jd. whereas aesthetics are important in the development of new industrial products, |
Recital Je (new)
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| | | | | Je. whereas there is a need for further support for small and micro-businesses and for the individual workers who contribute hugely to creating wealth in an economy, and whereas creators should be assisted in pursuing training as creative entrepreneurs and encouraged to live from their creativity, |
Recital Jf (new)
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| | | | | Jf.whereas economic growth does not necessarily depend on the existence of large-scale organisations, with their tendency to focus on the most profitable activity, namely cultural distribution (publishing, distribution and marketing), but rather calls for the proliferation of less complex structures and the promotion of their networks, |
Citation 1
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| | | | | –having regard to Article 151 of the EC Treaty, |
Citation 2
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| | | | | –having regard to the United Nations Educational, Scientific and Cultural Organisation (Unesco) Convention of 20 October 2005 on Protection and Promotion of the Diversity of Cultural Expressions, |
Citation 2a (new)
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| | | | | -having regard to its resolution of 13 Marcy 2007 on collective cross-border management of copyright and related rights for legitimate online music services, |
Citation 3
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| | | | | –having regard to the conclusions of the Education, Youth and Culture Council of 13 and 14 November 2006 and 24 and 25 May 2007, and Council document No 9021/07, |
| | | | | -having regard to the conclusions of the Education, Youth and Culture Council of 13 and 14 November 2006 and 24 and 25 May 2007, and Council document No 9021/07, and the vote by the Council of 16 November 2007 on the European agenda for culture (document 14485/07), |
Citation 3a (new)
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| | | | | -having regard to the Council decision of 18 May 2006 on the conclusion of the Convention on the Protection and Promotion of the Diversity of Cultural Expressions (UNESCO Convention on Cultural Diversity), |
Citation 4
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| | | | | –having regard to the Commission communication on a European agenda for culture in a globalising world (COM(2007)0242 and the accompanying Commission working document (SEC(2007)0570), |
Citation 5
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| | | | | –having regard to its resolution of 4 September 2003 on cultural industries [1],
[1] OJ C 75E, 25.3.2004, p. 247. |
Citation 5a (new)
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| | | | | -having regard to its resolution of 15 January 2004 on a Community framework for collective management societies in the field of copyright and neighbouring rights, |
Citation 6
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| | | | | –having regard to its resolution of 7 June 2007 on the social status of artists [2],
[2] Texts adopted of that date, P6_TA(2007)0236 |
Citation 7
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| | | | | –having regard to Rule 45 of its Rules of Procedure, |
Citation 8
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| | | | | –having regard to the report of the Committee on Culture and Education (A6?0000/2007), |
ITRE Paragraph 1
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| | | | | 1. Notes that cultural industries are key providers of value-added services, which are the basis of a dynamic, knowledge-based economy and should thus be recognised as an important contribution to competitiveness in the European Union; |
ITRE Paragraph 2
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| | | | | 2. Considers that cultural industries, which are an important source of job creation in the EU, particularly need to harness creative talent; urges the Member States to encourage new, innovative types of life-long learning that foster creative talent; |
ITRE Paragraph 3
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| | | | | 3. Recognises, in the context of Lisbon agenda, that cultural industries stimulate growth and create jobs; considers, therefore, that emphasis needs to be placed on skills development in the creative sectors and supporting innovation in these sectors; calls on the Commission to ensure that sufficient resources are made available for cultural industries across the Member States; |
ITRE Paragraph 4
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| | | | | 4. Attributes great importance to the amended proposal for the Directive of the European Parliament and of the Council amending Council Directive 89/552/EEC on the coordination of certain provisions laid down by law, regulation or administrative action in Member States concerning the pursuit of television broadcasting activities ("Audiovisual media services without frontiers Directive") [1] and calls on the Member States in due course to ensure its timely transposition and on the Commission to provide it with information on the implementation of that directive;
[1] COM(2007)0170. |
ITRE Paragraph 5
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| | | | | 5. Emphasises the opportunities created by far reaching, high-speed broadband and by new wireless technologies in the development and dissemination of new innovative cultural services and content across both rural and urban areas in each of the 27 Member States; furthermore, calls on the Member States to give priority to the development of broadband network in rural and peripheral areas in order to overcome the digital divide; notes that technological advances enable consumers to access cultural content more quickly; |
ITRE Paragraph 6
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| | | | | 6. Reiterates the enormous opportunities for cultural industries offered by the digital switchover in terms of the advantages of innovative services provided via digital broadcasting, such as lower costs, better quality, greater diversity and more competition; calls for a regulatory framework which would provide greater flexibility to use the spectrum; |
ITRE Paragraph 7
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| | | | | 7. Is of the opinion that the robust protection of intellectual property rights is central to the competitiveness of cultural industries and is vital if the EU is to attract, foster and develop creative talent and cultural content; recognises that individual consumers would benefit from this, as decreasing levels of piracy would result in lower prices and consumers would be able to purchase more creative products of higher quality; |
ITRE Paragraph 8
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