Checklist voor het klaren van rechten/en: verschil tussen versies

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Regel 1: Regel 1:
<languages />It’s important to clear the rights for pieces of work in your archive and collections if you want to make them available to the public or reuse them.
<languages /><blockquote>
When you want to (re)use or make documents or image content from your archive publicly accessible, you first need to check whether they are subject to copyright.<br>
In this article, you’ll learn:
* When do you need to clarify and clear rights?
* What steps should you follow to clear rights?
</blockquote>
 
It’s important to clear the rights for pieces of work in your archive and collections if you want to make them available to the public or reuse them.
Clearing rights means establishing if a certain piece of work is subject to copyright, and obtaining permission from the rightsholder or their representative to include it in your archive and/or collections in accordance with the law.
Clearing rights means establishing if a certain piece of work is subject to copyright, and obtaining permission from the rightsholder or their representative to include it in your archive and/or collections in accordance with the law.
This checklist looks at the stages required to clear the rights that may be attached to certain items in your archive. The term ‘author’ is used here in a generic sense, and refers to the creator of all forms of work that are subject to copyright.  
This checklist looks at the stages required to clear the rights that may be attached to certain items in your archive. The term ‘author’ is used here in a generic sense, and refers to the creator of all forms of work that are subject to copyright.  
Regel 45: Regel 52:
If the author has incorporated other works in their work, cannot invoke the legal parody exemption, and has not clarified any rights for the intended use, you also need written permission for the intended use from the author of these other works or their representatives (if the author in question is still alive).  
If the author has incorporated other works in their work, cannot invoke the legal parody exemption, and has not clarified any rights for the intended use, you also need written permission for the intended use from the author of these other works or their representatives (if the author in question is still alive).  


Als de auteur andere werken in zijn werk heeft verwerkt, hierbij de wettelijke uitzondering van de parodie inroept of verzekert rechten te hebben geklaard voor het bedoelde gebruik, moet hij in de schriftelijke overeenkomst instemmen met vrijwaring tegen mogelijke claims van rechthebbenden van deze andere werken.
If the author has incorporated other works in their work, invokes the legal parody exemption or assures that rights have been clarified for the intended use, they must agree to indemnify against possible claims from the rightsholders of these other works in the written agreement.


*Als de auteur overleden is, hoe lang geleden is hij dan gestorven?
*If the author is deceased, how long ago did they die?


Is hij nog geen 70 jaar overleden, dan heb je een schriftelijke toestemming nodig van zijn erfgenamen of hun vertegenwoordiger(s) voor het beoogde gebruik.
If they have not yet been dead for 70 years, you need written permission for the intended use from their heirs or representatives.


===Stap 5: Heeft de auteur werk van meerdere andere auteurs in zijn werk verwerkt?===
===Step 5: Has the author incorporated work by multiple authors in their work?===  
*Is er meer dan één auteur? Ja / nee
*Is there more than one author? Yes / no
*Hoeveel auteurs zijn er?
*How many authors are there?
*Leven de auteurs nog? Ja / nee
*Are any of the authors still alive? Yes / no


Als deze andere werken meerdere auteurs hebben en ze leven nog, zal je voor het beoogde gebruik schriftelijke toestemming nodig hebben van al deze auteurs of hun vertegenwoordiger(s). Je dient hierbij rekening te houden met de langstlevende co-auteur.
If these other works have multiple authors who are still alive, you need written permission for the intended use from all these authors or their representatives. You need to take the longest-living co-author into account here.


*Als de auteurs overleden zijn: hoe lang geleden zijn zij dan gestorven?
*If the authors are deceased, how long ago did they die?


Zijn deze auteurs nog geen 70 jaar overleden, dan zal je voor het beoogde gebruik ook schriftelijke toestemming nodig hebben van hun erfgenamen of vertegenwoordiger(s). Je dient hierbij rekening te houden met de langstlevende co-auteur.
If these authors have not yet been dead for 70 years, you will also need written permission for the intended use from their heirs or representatives. You need to take the longest-living co-author into account here.


===Stap 6: Bevat het werk een fotografische reproductie van een ander werk?===
===Step 6: Does the work include a photographic reproduction of another piece of work?===  
*Bevat het werk een fotografische reproductie van een ander werk? Ja / nee
*Does the work include a photographic reproduction of another piece of work? Yes / no
*Is er een schriftelijke toestemming van de auteur? Ja / nee
*Is there written permission from the author? Yes / no
*Leeft de auteur nog? Ja / nee
*Is the author still alive? Yes / no


Als je wil vertrekken van een bestaande fotografische reproductie van een werk, heb je voor het beoogde gebruik schriftelijke toestemming nodig van de auteur van deze reproductie of van zijn vertegenwoordiger. Leeft de auteur nog en je bezit de toestemming nog niet, dan zal je een schriftelijke overeenkomst met hem of zijn vertegenwoordiger moeten afsluiten.
If you want to use an existing photographic reproduction of a piece of work, you need written permission for the intended use from the author of this reproduction or their representatives. If the author is still alive and you don’t yet have this permission, you need to draw up a written agreement with them or their representatives.


*Als de auteur overleden is, hoe lang geleden is hij dan gestorven?
*If the author is deceased, how long ago did they die?


Als de auteur van de fotografische reproducties nog geen 70 jaar overleden is en je bezit zijn schriftelijke toestemming niet, zal je een schriftelijke overeenkomst voor het beoogde gebruik moeten afsluiten met zijn erfgenamen of hun vertegenwoordiger(s).
If the author of the photographic reproductions has not yet been dead for 70 years and you don’t have their written permission, you need to draw up a written agreement for the intended use with their heirs or representatives.


===Stap 7: Beeldt het werk een persoon af?===
===Step 7: Does the work portray a person?===  
*Beeldt het werk een persoon af? Ja / nee
*Does the work portray a person? Yes / no
*Is er een toestemming vereist van de afgebeelde persoon? Ja / nee
*Is permission required from the person portrayed? Yes / no
*Spelen er kwesties omtrent privacy? Ja / nee
*Are there any privacy issues? Yes / no


Is de afgebeelde persoon geen publiek persoon (politicus, kunstenaar, ...), dan zal je een schriftelijke overeenkomst met hem of zijn vertegenwoordiger moeten afsluiten. Gaat het om een publiek persoon en spelen er zaken mee zoals zijn privéleven, dan kunnen die niet zonder zijn toestemming publiek worden gemaakt. Voor commercieel gebruik van de afbeelding, zal je organisatie hoe dan ook een schriftelijke overeenkomst met hem moeten afsluiten, zelfs als het een publiek persoon betreft.  
If the person portrayed is not a public person (politician, artist, etc.), you need to draw up a written agreement with them or their representatives. If it concerns a public person and involves matters such as their private life, the work cannot be made public without their permission. For commercial use of the image, your organisation also needs to draw up a written agreement with them, even if it concerns a public person.  


===Stap 8: Bezit jij of je organisatie al een lopende of vereiste licentie of overeenkomst tot vervreemding voor het werk?===
===Step 8: Do you or your organisation already have a current or required licence or an alienation agreement?===  
*Valt het werk onder het auteursrecht: bezit jij of je organisatie dan een licentie of overeenkomst tot vervreemding? Ja / nee
*If the work is protected by copyright, do you or your organisation have a licence or an alienation agreement? Yes / no
*Zo ja, wat dekt deze licentie?
*If yes, what does this licence cover?


Als het werk onder auteursrechtelijke bescherming valt en je bezit al een licentie of overeenkomst tot vervreemding die het beoogde gebruik dekt, dan moet je geen nieuwe schriftelijke overeenkomst meer opmaken met de rechthebbende. Bezit je nog geen licentie of overeenkomst tot vervreemding voor het beoogde gebruik, dan moet wel alsnog een schriftelijke overeenkomst opgemaakt worden.
If the work is protected by copyright and you already have a licence or alienation agreement in its intended use, you no longer need to draw up a new written agreement with the copyright owner. If you do not yet have a licence or alienation agreement in its intended use, then a written agreement must be drawn up.


*Wat wil je (aanvullend) dekken met een licentie?
*What (else) do you want a licence to cover?
**Digitalisering?
**Digitisation?
**Toegang door een geautoriseerde gebruiker via een beveiligd netwerk?
**Access for authorised users via a secure network?
**Vrije online toegang via een open netwerk?
**Free online access via an open network?


Het is belangrijk om in de nieuwe schriftelijke overeenkomst (of in de aanvulling op een bestaande schriftelijke overeenkomst) het beoogde gebruik te specifiëren. Om te vermijden dat nadien nog een aanvulling moet gebeuren, raden we aan het beoogde gebruik zo ruim mogelijk te definiëren en meteen een overeenkomst af te sluiten voor zowel digitalisering als voor toegang via een beveiligd netwerk en een open netwerk.
It is important to specify the intended use in the new written agreement (or the addendum to an existing written agreement). In order to prevent a further addendum being required at a later date, we recommend defining the intended use as broadly as possible from the outset and drawing up an agreement for both digitisation and access via a secure network and an open network.


===Stap 9: Wie is/zijn de auteur(s), rechthebbende(n) of zijn/hun vertegenwoordiger?===
===Step 9: Who is/are the author(s), rightsholder(s) or their representative(s)?===  
Wie vertegenwoordigt de auteur bij het sluiten van een overeenkomst?
Who represents the author when drawing up an agreement?
*De auteur zelf? Ja / nee
*The author themselves? Yes / no
**Is de auteur zeker dat hij rechten niet heeft afgestaan? Ja / nee
**Is the author certain they have not ceded their rights? Yes / no
*Vertegenwoordiger van erfgenamen? Ja / nee
*A representative of the heirs? Yes / no
*Vennootschap voor collectief rechtenbeheer? Ja / nee
*A collective rights management company? Yes / no


Het is belangrijk om te achterhalen met wie je een schriftelijke overeenkomst moet opmaken. De auteur of zijn erfgenamen kunnen hun rechten in beheer hebben gegeven aan een collectieve beheersvennootschap. In dat geval sluit je geen rechtstreekse overeenkomst af met de auteur of erfgenamen, maar met deze vennootschap.  
It’s important to ascertain who you need to draw up a written agreement with. The author or their heirs may have given their rights to a collective management company. In this case, you do not make a direct agreement with the author or their heirs, but with this company.  


Bij opmaak van een schriftelijke overeenkomst met de auteur of zijn erfgenamen, moet gegarandeerd worden dat de rechten niet zijn afgestaan. In de schriftelijke overeenkomst moeten zij instemmen met een vrijwaring tegen mogelijke claims van beheersvennootschappen. In de overeenkomst kan je zelfs een clausule opnemen waarin de licentiegever verplicht wordt het lidmaatschap met de beheersvennootschap op te zeggen als deze een claim indient.
When drawing up a written agreement with the author or their heirs, it must be guaranteed that the rights have not been ceded. They must agree to indemnify against possible claims by management companies in the written agreement. You can even include a clause in the agreement to oblige the licensor to terminate membership with the management company if they make a claim.


===Stap 10: Aandachtspunten bij het sluiten van overeenkomsten bij specifieke werken===
===Step 10: Points for attention when drawing up agreements for specific works===  
====Bibliografische werken of werken die bibliografische werken bevatten====
====Bibliographical works or works that contain bibliographical works====
Een bibliografisch werk wordt vaak uitgegeven door een uitgever aan wie de auteur de uitgaverechten heeft overgedragen. Niet de auteur, maar de uitgever zal dan de toelating moeten verlenen.
Bibliographical works are often published by publishers that the author has transferred the publishing rights to. In this case, it is not the author but the publisher who must grant permission.


====Muzikale werken of werken die muziek bevatten====
====Musical works or works that contain music====  
Een muziekwerk wordt vaak uitgegeven door een muziekuitgever aan wie de auteur de uitgaverechten heeft overgedragen. De muziekuitgever kan dan toelating verlenen in naam van de auteur.
Musical works are often published by music publishers that the author has transferred the publishing rights to. The music publisher can then grant permission in the name of the author.


De producent van een muziekopname heeft daarnaast afzonderlijke (naburige) rechten (50 jaar na de eerste vastlegging) en moet ook instemmen. Indien de opname aan het publiek wordt meegedeeld binnen de 50 jaar na vastlegging, wordt die termijn verlengd met 70 jaar te tellen vanaf het moment van de publieke openbaarmaking.  
The producer of a musical recording also has separate (related) rights (for 50 years after it was first recorded) and also needs to agree. If the recording has been shared with the public within 50 years of it first being recorded, this period is extended by 70 years from the moment of public release.  


Ook '''muzikanten''' hebben afzonderlijke (naburige) rechten op een muziekopname. Indien de opname binnen de eerste 50 jaar na creatie publiek openbaar wordt gemaakt, wordt de beschermingstermijn van hun naburige rechten verlengd met 70 jaar te tellen vanaf het moment van de publieke openbaarmaking. Zij moeten dus eveneens toestemmen. In de praktijk dragen muzikanten hun rechten echter vaak over aan de producenten van de muziekopname.
'''Musicians''' also have separate (related) rights for a musical recording. If the recording is made available to the public within the first 50 years after creation, the period of protection from their related rights is extended by 70 years from the moment of public release. They therefore also need to agree. In practice, however, musicians often transfer their rights to the producers of the musical recording.


====Audiovisuele werken of werken die een audiovisueel werk bevatten====
====Audiovisual works or works that contain audiovisual work====  
De wet gaat ervan uit dat, tenzij anders afgesproken, de '''filmregisseur''' en anderen die een creatieve inbreng hebben gehad bij de realisatie van de film, hun vermogensrechten hebben overgedragen aan de producent. In vele gevallen zal dus de toestemming van de producent vereist zijn in plaats van die van bijvoorbeeld de filmregisseur.  
The law assumes that, unless agreed otherwise, the ‘film director’ and others with a creative input in making the film have transferred their property rights to the producer. In many cases, permission is therefore required from the producer rather than the film director, for example.  


De '''producent''' van een audiovisueel werk zelf heeft ook afzonderlijke (naburige) rechten (tot 50 jaar na de eerste registratie) en moet dus altijd toelating verlenen – zelfs als werd afgesproken dat de filmregisseur en de anderen die een creatieve inbreng hebben gehad bij de realisatie van de film, hun vermogensrechten niet aan hem overdragen.  
The '''producer''' of an audiovisual work also has separate (related) rights (for 50 years after the first registration) and so always needs to grant permission – even if it has been agreed that the film director and others who had a creative input in making the film will not transfer their property rights to them.  


Als het werk afkomstig is van een uitzending, moet ook de '''omroep''' toestemming geven. Acteurs hebben in dat geval ook afzonderlijke (naburige) rechten (tot 50 jaar na de eerste uitzending) en moeten ook toelating verlenen. In de praktijk dragen acteurs vaak hun rechten over aan filmproducenten.
If the work originates from a broadcast, the '''broadcaster''' also needs to grant permission. In this case, actors also have separate (related) rights (for 50 years after the first broadcast) and also need to grant permission. In practice, actors often transfer their rights to film producers.


Voor zowel producenten van audiovisueel werk als voor omroepen geldt dat hun naburige rechten met 50 jaar verlengd worden wanneer het werk binnen de eerste 50 jaar na creatie publiek openbaar wordt gemaakt. De termijn van de verlenging gaat in vanaf het moment van openbaarmaking.
The related rights for both producers of audiovisual work and broadcasters is extended by 50 years if the work is made public within the first 50 years of creation. This extension starts from the moment it is made public.


==Meer lezen==
==Read more==  
Specifiek voor teksttheater in de amateurkunsten creëerde de theaterbib van OPENDOEK dit [https://www.opendoek.be/theaterbib/auteursrecht-een-stuk-spelen stappenplan rond auteursrechten].
OPENDOEK theatre library has created this [https://www.opendoek.be/en/information/copyrights step-by-step guide for copyrights] specifically for theatre texts in the amateur arts.


''Auteurs: Bert Lemmens en Rony Vissers (PACKED vzw)''
Authors: Bert Lemmens and Rony Vissers (PACKED vzw)


[[Categorie:7. Rechten/en]]
[[Categorie: 7. Rechten/en]]
[[Categorie: Primaire Tools/en]]
[[Categorie: Primaire Tools/en]]

Huidige versie van 12 jun 2024 om 10:07

Andere talen:

When you want to (re)use or make documents or image content from your archive publicly accessible, you first need to check whether they are subject to copyright.
In this article, you’ll learn:

  • When do you need to clarify and clear rights?
  • What steps should you follow to clear rights?

It’s important to clear the rights for pieces of work in your archive and collections if you want to make them available to the public or reuse them. Clearing rights means establishing if a certain piece of work is subject to copyright, and obtaining permission from the rightsholder or their representative to include it in your archive and/or collections in accordance with the law. This checklist looks at the stages required to clear the rights that may be attached to certain items in your archive. The term ‘author’ is used here in a generic sense, and refers to the creator of all forms of work that are subject to copyright.

When to clear rights?

Rights must be clarified before you start (re)using pieces of work and documents and/or making them accessible. These rights need to be clarified for every possible use. It’s best to do this when creating the content, where possible, as this prevents potentially tricky searches for rightsholders at a later date. You will find an overview of the different types of rights in the You will find an overview of the different types of rights in the Types of rights tool. For more detailed information about clarifying rights, please see the ‘Clearing rights handbook’. tool. For more detailed information about clearing rights, please see the ‘Clearing rights handbook’.

How?

Step 1: Identify the work and author

  • What’s the title?
  • Who is the author?

The work first needs to be identified by title and author(s).

Step 2: Is the work original and is the author still alive?

  • Is the work original? Yes / no
  • Is the author still alive? Yes / no

If the work is original and the author is still alive, you need written permission from the author or their representative. The intended use always needs to be specified here. If the work is not original, it is not subject to copyright and you do not need any permission.

  • If the author is deceased, you need to know when they died.

If it’s an original piece of work and the author has not yet been dead for 70 years, you need written permission for the intended use from their heirs or representatives.

Step 3: Is there more than one author?

  • Is there more than one author? Yes / no
  • How many authors are there?
  • Are any of the authors still alive? Yes / no

If it’s an original piece of work with multiple authors, and at least one of these authors is still alive, you need written permission for the intended use from all the living authors or their representatives.

  • If the authors are deceased, how long ago did they die?

If it’s an original piece of work with multiple authors who have not yet been dead for 70 years, you need written permission for the intended use from all their heirs or representatives. You need to take the longest-living co-author into account here.

Step 4: Has the author incorporated work by a different author in their work?

  • Has the author incorporated other people’s work in their work? Yes / no
  • If yes, has the author of the work clarified the rights it is subject to for its intended use? Yes / no
  • If the rights have not been clarified, can the author of the work claim ‘parody’ when using the other works? Yes / no
  • Who is the author of the works that are incorporated in the work that you want to use?
  • Is the author still alive? Yes / no

If the author has incorporated other works in their work, cannot invoke the legal parody exemption, and has not clarified any rights for the intended use, you also need written permission for the intended use from the author of these other works or their representatives (if the author in question is still alive).

If the author has incorporated other works in their work, invokes the legal parody exemption or assures that rights have been clarified for the intended use, they must agree to indemnify against possible claims from the rightsholders of these other works in the written agreement.

  • If the author is deceased, how long ago did they die?

If they have not yet been dead for 70 years, you need written permission for the intended use from their heirs or representatives.

Step 5: Has the author incorporated work by multiple authors in their work?

  • Is there more than one author? Yes / no
  • How many authors are there?
  • Are any of the authors still alive? Yes / no

If these other works have multiple authors who are still alive, you need written permission for the intended use from all these authors or their representatives. You need to take the longest-living co-author into account here.

  • If the authors are deceased, how long ago did they die?

If these authors have not yet been dead for 70 years, you will also need written permission for the intended use from their heirs or representatives. You need to take the longest-living co-author into account here.

Step 6: Does the work include a photographic reproduction of another piece of work?

  • Does the work include a photographic reproduction of another piece of work? Yes / no
  • Is there written permission from the author? Yes / no
  • Is the author still alive? Yes / no

If you want to use an existing photographic reproduction of a piece of work, you need written permission for the intended use from the author of this reproduction or their representatives. If the author is still alive and you don’t yet have this permission, you need to draw up a written agreement with them or their representatives.

  • If the author is deceased, how long ago did they die?

If the author of the photographic reproductions has not yet been dead for 70 years and you don’t have their written permission, you need to draw up a written agreement for the intended use with their heirs or representatives.

Step 7: Does the work portray a person?

  • Does the work portray a person? Yes / no
  • Is permission required from the person portrayed? Yes / no
  • Are there any privacy issues? Yes / no

If the person portrayed is not a public person (politician, artist, etc.), you need to draw up a written agreement with them or their representatives. If it concerns a public person and involves matters such as their private life, the work cannot be made public without their permission. For commercial use of the image, your organisation also needs to draw up a written agreement with them, even if it concerns a public person.

Step 8: Do you or your organisation already have a current or required licence or an alienation agreement?

  • If the work is protected by copyright, do you or your organisation have a licence or an alienation agreement? Yes / no
  • If yes, what does this licence cover?

If the work is protected by copyright and you already have a licence or alienation agreement in its intended use, you no longer need to draw up a new written agreement with the copyright owner. If you do not yet have a licence or alienation agreement in its intended use, then a written agreement must be drawn up.

  • What (else) do you want a licence to cover?
    • Digitisation?
    • Access for authorised users via a secure network?
    • Free online access via an open network?

It is important to specify the intended use in the new written agreement (or the addendum to an existing written agreement). In order to prevent a further addendum being required at a later date, we recommend defining the intended use as broadly as possible from the outset and drawing up an agreement for both digitisation and access via a secure network and an open network.

Step 9: Who is/are the author(s), rightsholder(s) or their representative(s)?

Who represents the author when drawing up an agreement?

  • The author themselves? Yes / no
    • Is the author certain they have not ceded their rights? Yes / no
  • A representative of the heirs? Yes / no
  • A collective rights management company? Yes / no

It’s important to ascertain who you need to draw up a written agreement with. The author or their heirs may have given their rights to a collective management company. In this case, you do not make a direct agreement with the author or their heirs, but with this company.

When drawing up a written agreement with the author or their heirs, it must be guaranteed that the rights have not been ceded. They must agree to indemnify against possible claims by management companies in the written agreement. You can even include a clause in the agreement to oblige the licensor to terminate membership with the management company if they make a claim.

Step 10: Points for attention when drawing up agreements for specific works

Bibliographical works or works that contain bibliographical works

Bibliographical works are often published by publishers that the author has transferred the publishing rights to. In this case, it is not the author but the publisher who must grant permission.

Musical works or works that contain music

Musical works are often published by music publishers that the author has transferred the publishing rights to. The music publisher can then grant permission in the name of the author.

The producer of a musical recording also has separate (related) rights (for 50 years after it was first recorded) and also needs to agree. If the recording has been shared with the public within 50 years of it first being recorded, this period is extended by 70 years from the moment of public release.

Musicians also have separate (related) rights for a musical recording. If the recording is made available to the public within the first 50 years after creation, the period of protection from their related rights is extended by 70 years from the moment of public release. They therefore also need to agree. In practice, however, musicians often transfer their rights to the producers of the musical recording.

Audiovisual works or works that contain audiovisual work

The law assumes that, unless agreed otherwise, the ‘film director’ and others with a creative input in making the film have transferred their property rights to the producer. In many cases, permission is therefore required from the producer rather than the film director, for example.

The producer of an audiovisual work also has separate (related) rights (for 50 years after the first registration) and so always needs to grant permission – even if it has been agreed that the film director and others who had a creative input in making the film will not transfer their property rights to them.

If the work originates from a broadcast, the broadcaster also needs to grant permission. In this case, actors also have separate (related) rights (for 50 years after the first broadcast) and also need to grant permission. In practice, actors often transfer their rights to film producers.

The related rights for both producers of audiovisual work and broadcasters is extended by 50 years if the work is made public within the first 50 years of creation. This extension starts from the moment it is made public.

Read more

OPENDOEK theatre library has created this step-by-step guide for copyrights specifically for theatre texts in the amateur arts.

Authors: Bert Lemmens and Rony Vissers (PACKED vzw)

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