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Abstract:
On August 1, 2006 the French Parliament passed the law on copyright and related rights, known as DADVSI (loi relative au Droit d'Auteur et aux Droits Voisins dans la Societe de l'Information), which implements the European Copyright Directive of 2001. The main feature of the law is the legalisation of technical protection measures for copyrighted works (also known as TPMs or DRMs) and the introduction of legal mechanisms to protect and enforce these technical measures. Such steps, aimed at combating digital piracy, should have been welcomed unreservedly by all involved in the media industry, from artists and producers to distributors, especially online content distributors such as Apple and Sony. However, the legalisation and protection of technical measures came with a few twists from French lawmakers. These twists have unnerved Apple, the market leader in music media players and online content distribution with its iPod player and iTunes distribution platform respectively.

The DADVSI law introduces the requirement of interoperability for technical measures meaning that all DRM-protected music file must be playable on any device, irrespective of its brand or of the software used to read it. Such requirement of compatibility between competing DRMs threatens Apple's exclusive DRM technology. In doing so, the law threatens the umbilical cord between the iPod player and the music sold on iTunes, and thus Apple's dominance in both markets. This paper will describe how French lawmakers have managed to put in place an original and, so far, unique legal framework based around a new independent body in charge of implementing DRM interoperability and of ensuring that technical measures do not upset the balance between the interests of the rightholders and those of the consumers.

DADVSI, France, copyright, DRM, TPM, private copying, exception, ARMT, Autorite de Regulation des Mesures Techniques, regulation

Abstract:
National consumer protection laws, some of which date back to the 19th century and many of which date back to the 1960s and 1970s, often fail to address any of the new problems facing consumers as a result of rapid technological innovation and the rapid expansion of ICT product markets. In order to meet these challenges, new consumer protection laws that differ not merely in substance but in form may be required. One such new form might result from the formal, explicit harmonization of ICT standards developed by private parties responding to global market forces with national consumer protection laws. The conflict of interests between copyright owners in using "digital rights management" or "technical protection measures" to prevent unauthorized copying by end users and the interest of consumers in enjoying the full benefits of limitations on the rights of copyright owners (such as "fair use" under US copyright laws) is one area where such a new form of consumer protection law might be introduced. An analysis of the 2006 French law "Loi sur le Droit d'Auteur et les Droits Voisins dans la Societe de l'Information" (DADVSI) suggests what the costs and benefits of such an approach might be.

consumer protection, standards, digital rights management, technical protection members, ICT

Abstract:
Dailymotion, a French video-sharing website, recently received bad news on the judicial front. This summer, it was sentenced by a Paris court to pay 23,001 Euros ($33,400) in damages for the copyright infringement of the movie "Joyeux Noel", an unauthorized copy of which had been made available on the website by an internet user. The court asserted that the hosting provider, because it had enabled and thrived on mass piracy, was under a general obligation to implement technical means to prevent unlawful activities. This controversial decision is worrying as it greatly expands the duties of Dailymotion with regards to piracy. Dailymotion has appealed the decision but face more judicial woes. It has also been sued for copyright infringement by a French comedian and could face another lawsuit from a French television broadcaster. Dailymotion would find little comfort in the fact that other video-sharing websites have not fared better in France. Internet giants Google, YouTube and MySpace also face copyright lawsuits. The "Joyeux Noel" case is symptomatic of the resolve of content producers in holding websites accountable for internet piracy. It also illustrates the challenges faced by the courts in defining the obligations of websites with regards to copyright infringement. In all, Dailymotion can expect protracted legal battles with users of the media industry over copyright issues.

Yet, things might not be as grim as they appear. Every cloud has a silver lining. Looking through the prism of judicial activity gives an incomplete and distorted picture of Dailymotion's relationship with the media industry. Dailymotion has been taking a series of measures to accommodate rightholders, both before and since the "Joyeux Noel" decision. It has been implementing filtering technology to prevent piracy and has actively been seeking partnerships with content producers. This strategy has shown promising results. Dailymotion has entered revenue-sharing deals with many media companies to broadcast their content. It has also managed to position itself as a global champion for copyright.

These proactive measures towards copyright compliance and the links built with many content producers should help Dailymotion maintain the number of future copyright lawsuits at a level that would not jeopardize its survival. Such optimistic outlook might partly explain why, despite ongoing litigations, the financial backers of Dailymotion have been willing to invest a further 25 million to help the Paris-based start-up grow and compete on the global stage.

Dailymotion, copyright, liability, France, YouTube, Myspace, Web2.0, UGC

Abstract:
In 2007, France created the Regulatory Authority for Technical Measures (l’Autorité de Régulation des Mesures Techniques or ARMT), an independent regulatory agency charged with promoting the interoperability of digital media distributed with embedded “technical protection measures” (TPM), also known as “digital rights management” technologies (DRM). ARMT was established in part to rectify what French lawmakers perceived as an imbalance in the rights of copyright owners and end users created when the European Copyright Directive (EUCD) was transposed into French law as the “Loi sur le Droit d’Auteur et les Droits Voisins dans la Société de l’Information” (DADVSI). ARMT is both a traditional independent regulatory agency and a novel attempt to develop a new governance structure at the national level to address global information economy challenges. The fear that other national governments might follow suit seems to have helped to cool enthusiasm for TPM among some businesses. This Article notes parallels between the limitations imposed on ARMT and those imposed on the first modern independent regulatory agencies that emerged in the United States in the late nineteenth and early twentieth centuries. Using history as a guide, it is not surprising that the ARMT’s exercise of authority has been limited during its early years; it remains possible that ARMT may become a model for legislation in other countries.It took decades before the first American independent regulatory agencies exercised real authority, and their legitimacy was not established beyond question until Roosevelt’s “New Deal.” Even though information society institutions may evolve quickly, national governments are sure to require more time to develop effective, legitimate ways to ensure that global information and communication technology (ICT) standards conform to their national social policies.

DRM, ICT, interoperability, DADVSI, ARMT, HADOPI, TPM, ICC, administrative authority, France