14 Amendments of Ryszard Antoni LEGUTKO related to 2020/2261(INI)
Amendment 15 #
Motion for a resolution
Recital B
Recital B
B. whereas the CCSI mainly comprise small and medium-sized enterprises (SMEs), freelancers and self-employed entrepreneurs, who often draw on irregular and mixed incomes from different sources, and do not benefit from social security schemes, such as pension, unemployment and healthcare;
Amendment 29 #
Motion for a resolution
Recital D a (new)
Recital D a (new)
D a. whereas it has been conclusively proven that cultural content distributed during the COVID-19 lockdown periods greatly improved the psychological condition of European citizens and prevented a worsening of mental health issues caused by the prolonged isolation;
Amendment 77 #
Motion for a resolution
Recital M a (new)
Recital M a (new)
M a. whereas the COVID-19 pandemic and lockdowns severely limited the possible revenue streams for the vast majority of artists, performers and cultural workers; whereas ongoing income from authors’ and adjacent rights remained one of the few remaining revenue sources; whereas in many Member States such rights are not properly respected by distribution platforms, who pressure rights holders into relinquishing their rights, sometimes in perpetuity, as part of their contracts, thus severely limiting their ability to sustain themselves from their work;
Amendment 91 #
Motion for a resolution
Recital P
Recital P
P. whereas public grants are considered the most effective form of financial support for the CCSI, but are often difficult to access, locked behind multiple layers of bureaucracy, which especially discourages young, aspiring artists and creators from applying;
Amendment 94 #
Motion for a resolution
Recital P a (new)
Recital P a (new)
P a. whereas freelancers suffer from the highest level of uncertainty with regards to access to both social schemes and to national and EU grants, funds and other financing opportunities;
Amendment 109 #
Motion for a resolution
Recital S a (new)
Recital S a (new)
S a. whereas the crisis led to a boom of online distribution of cultural content, including the streaming of audio-visual works from international platforms, such as Netflix and Spotify; whereas these streaming companies are predominantly US-based and apply US law when entering contractual relations with European artists, performers and other cultural workers for the creation of content; whereas such contracts do not afford the same level of respect for and protection of authors’ and adjacent rights, as guaranteed under EU law;
Amendment 114 #
Motion for a resolution
Recital S b (new)
Recital S b (new)
S b. whereas streaming services based outside of the EU have increased their investments in Member States’ CCS infrastructures, for the purposes of creating further content destined for online distribution;
Amendment 120 #
Motion for a resolution
Recital T a (new)
Recital T a (new)
T a. whereas there is no single, universally accepted definition for what encompasses being an ‘artist’; whereas such definitions are subject to national and regional specificities and must remain within the purview of each Member State; whereas, nevertheless, many workers in the cultural and creative industries, including but not limited to writers, literary translators, producers, technicians, etc, suffer from uncertainty due to the lack of consistent definition of their status;
Amendment 121 #
Motion for a resolution
Recital T b (new)
Recital T b (new)
T b. whereas the state of national aid programmes during the crisis, particularly aid to CCS workers who do not fall under national definitions of artists, including but not limited to freelancers such as writers and authors, was and continues to be fragmented;
Amendment 157 #
Motion for a resolution
Paragraph 5
Paragraph 5
5. Calls on the Member States to transposeaccelerate the transposition of Directive (EU) 2019/790 on copyright in the digital single market and, in particular, to guarantee fair remuneration for authors and performers;
Amendment 176 #
Motion for a resolution
Paragraph 6 a (new)
Paragraph 6 a (new)
6 a. Urges the Commission and Member States to limit the predatory practice of buyout contracts that prevents artists and workers in the CCS from receiving royalties; highlights that this could be successfully achieved by implementing Directive (EU) 2019/790 on copyright in the digital single market, which gives transparency rights to authors;
Amendment 226 #
Motion for a resolution
Paragraph 12 a (new)
Paragraph 12 a (new)
12 a. Highlights the importance of preserving the traditional European ecosystem in the cultural and creative industries as a whole and in particular the European model for creating cultural works; urges Member States who collaborate closely with large online streaming platforms to monitor their investments into CCS infrastructure; cautions against excessive transformation of national CCS infrastructures for the purposes of meeting the current high demand for online audio-visual content, which may lead to the transposition of the current global entertainment model on EU territory; underlines that such a model may be sustainable for larger and more robust national CCS, but would deny a level playing field for many Member States and their sectors; strongly opposes such a trend and considers it a threat to the traditional model of EU cultural diversity in CCS;
Amendment 229 #
Motion for a resolution
Paragraph 12 b (new)
Paragraph 12 b (new)
12 b. Underlines the need to protect European artists, performers, authors and workers in the CCS from the predatory Intellectual Property Rights (IPR) practices of large streaming platforms based outside the EU; calls, therefore, on Member States to reinforce their national IPR protection frameworks against such practices; further calls on the Commission to include measures for IPR protection in its upcoming actions as outlined by the IPR Action Plan;
Amendment 250 #
Motion for a resolution
Paragraph 15 a (new)
Paragraph 15 a (new)
15 a. Calls on the Commission and the Member States to gather and share reliable data on the best practices and methods for distributing aid to the CCS; furthermore calls for exchanging best practices on the most efficient ways to distribute recovery funding in the short and mid-term, in order to ensure maximum coverage of the CCS, so that no artist or cultural worker is left behind;