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The European Commission has just authorised the measure adopted by the French Parliament at the end of 2013 and notified to the Commission on 1 April 2014 for adopting certain changes in the scheme of cinema and audiovisual tax credits. In addition to extending the tax credits until 31 December 2017, the Commission has authorised the increase in the rate of the credit from 20 to 30% for films with a budget of less than 4 million euros. The new rate does not affect the audiovisual tax credit. Otherwise, the accumulation of aid for cinematographic works remains unchanged, at 50% of the total cost...

The Centre National du Cinéma (national cinema centre - CNC) has announced changes in support of the production of documentaries (audiovisual support fund, COSIP), which has remained unchanged since 2004. In recent years, the CNC has substantially increased its support for such productions, which remain the leading audiovisual genre receiving support. The changes are the result of the consultation carried out in collaboration with professionals in the sector, which began in mid-2012 after the report entitled Le Documentaire dans Tous ses États had been submitted to the Minister for Culture. The...

On 1 October the Conseil Supérieur de l’Audiovisuel (audiovisual regulatory authority - CSA) adopted a new deliberation reorganising the broadcasting of excerpts of sport events. According to Article L. 333-7 of the Sport Code, it is for the CSA to “lay down the conditions for broadcasting short excerpts [of sport competitions] after consulting the French National Olympic Committee and organisers of sport events referred to in Article L. 331-5”. In January 2013, the CSA adopted a deliberation laying down the conditions for broadcasting short excerpts of sport competitions and other events of major...

On 10 October the regional court in Paris delivered an interesting judgment which recalled how problematic it can be to have tv formats protected by copyright. In the case at issue, a man said he had sent an audiovisual production company two plans for broadcasts, the name and summary of which had been deposited with a copyright society online. When he discovered that a television channel had broadcast a programme entitled “On ne demande qu'à en rire” produced by the same production company, which he considered infringed his copyright in respect of the programme projects, he instigated court proceedings...

After a court decision under the urgent procedure early last year (see IRIS 2014-4/15), it was the turn of the regional court in Paris to deliberate on the merits of the Intime Conviction case. The dispute arose as a result of the broadcasting by channel “Arte”, in February 2014, of a cross-media programme entitled Intime Conviction. This consisted of three parts: a television film following the course of the investigation into the death of the wife of a forensic doctor, “Dr Villers”; a web series reconstituting the court proceedings against the doctor, including the deliberations, in video format;...