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Curriculum Vitae
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| Stef van Gompel is op 16
maart 2011 gepromoveerd aan de Universiteit van
Amsterdam op het proefschrift getiteld Formalities in
Copyright Law: An Analysis of their History, Rationales
and Possible Future (Kluwer Law International). Daarvoor studeerde hij Nederlands
Recht aan de Universiteit van Amsterdam (2005, cum
laude) en de kort-HBO opleiding Music Management aan de
Fontys Bedrijfshogeschool in Tilburg (1999). Hij is
gespecialiseerd in het intellectuele eigendomsrecht, met
name het nationale en internationale auteursrecht. Hij is secretaris van
de Commissie Auteursrecht, die de Minister van Justitie
adviseert over auteursrechtelijke aangelegenheden.
Ook is hij lid van de redactie van AMI
(Tijdschrift voor Auteurs-, Media- & Informatierecht) en
van de Studiecommissie geschiedenis
van het auteursrecht van de Vereniging voor Auteursrecht
(VvA).
Bij het IViR werkt Stef
momenteel als postdoc onderzoeker aan het HERA project
Of Authorship and Originality,
waarvoor hij het auteursrechtelijk werkbegrip ('The Work
as Creative Expression') analyseert.
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Publicaties
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The Orphan Works Chimera and How to
Defeat It: A View From Across the Atlantic,
Berkeley Technology Law Journal,
2013-3, p. 1347-1378.
This article contends that the
orphan works problem (the problem of unknown or
untraceable right owners) is a generic problem. It
is not specific to a certain form of use, but has
implications across the copyright spectrum. Yet, it
manifests itself in different ways, depending on the
type of use that is made of these works. The article
consists of three parts. Employing the metaphor of
the Chimera, a three-headed she-monster in ancient
Greek mythology, Part I introduces the different
ways in which the problem manifests itself and
describes the legal uncertainty that the different
categories of users of orphan works experience.
Next, Part II argues that there is not one best
approach to address the orphan works problem.
Rather, it suggests adopting a multifaceted approach
that would provide adequate relief for the different
categories of users of orphan works. Part III
concludes.
26.03.2013
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(met R. van der Noll,
L. Guibault, J. Weda,
J. Poort, I. Akker &
J.M. Breemen)
Flexible Copyright: The Law and Economics of Introducing
and Open Norm in the Netherlands, rapport in opdracht
van het Ministerie van Economische Zaken, Landbouw en
Innovatie, SEO-rapport nr. 2012-60, Amsterdam, augustus
2012.
This study analyses the law and
economics of introducing flexibility in the system
of exceptions and limitations in Dutch copyright
law. Flexibility would exist in an open norm, on the
basis of which the courts can decide whether certain
uses of copyrighted material are permissible or not,
instead of explicitly defining this in the law. The
report assesses problem areas where the lack of
flexibility creates legal disputes and potential
barriers to innovation and production. The core of
the study concerns the analysis of the economic
rationale and effects of introducing flexibility in
the Dutch legal order in the form of an open norm.
Zie ook
aanbiedingsbrief Tweede Kamer.
01.11.2012
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(met R. van der Noll)
Flexibel auteursrecht, presentatie gegeven op
het symposium
Auteursrecht en economie, 16 oktober 2012.
01.11.2012
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(met J. Weda, R. van der Noll, I. Akker,
J. Poort en J.
Leenheer)
Digitale drempels: Knelpunten voor legaal digitaal
aanbod in de creatieve industrie, rapport in opdracht
van het Ministerie van Economische Zaken, Landbouw en
Innovatie, SEO-rapport nr. 2012-41, Amsterdam, juni
2012.
Dit rapport
beschrijft de knelpunten bij het tot stand komen van
een volwaardige markt voor digitale distributie en
exploitatie van muziek, films en series, games en
boeken. Onderscheid wordt gemaakt tussen
economische, juridische en technische knelpunten.
10.07.2012
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Het
richtlijnvoorstel verweesde werken: Een kritische
beschouwing, AMI, 2011-6, p. 205-218.
Op 24 mei 2011
heeft de Europese Commissie een voorstel ingediend
voor een richtlijn inzake bepaalde toegestane
gebruikswijzen van verweesde werken. Hiermee beoogt
de Commissie rechtszekerheid te creëren met
betrekking tot het digitaliseren en online
toegankelijk maken van verweesde werken door
bepaalde - specifiek aangewezen - culturele
organisaties. Het voorstel voorziet in een aanpak
die is gebaseerd op een zorgvuldige zoektocht naar
rechthebbenden en op de wederzijdse erkenning van
nationale oplossingen voor verweesde werken. Dit
artikel bespreekt de achtergrond en inhoud van het
richtlijnvoorstel. Geconcludeerd wordt dat het zowel
qua reikwijdte als qua inhoud tekort schiet.
Daarnaast laat het voorstel nog veel vragen
onbeantwoord.
13.01.2012
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'Ten geleide', in: C. Schriks, Canon van het
uitgevers- en auteursrecht. Een route in vijftig data
[1450-1950], Deventer: Kluwer 2011, p. XI-XIII.
13.01.2012
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Formalities in
Copyright Law: An Analysis of Their History, Rationales
and Possible Future,
Information Law Series 23, Alphen aan den
Rijn: Kluwer Law International 2011. Verkrijgbaar bij
Wolters Kluwer.
At present,
copyright is ‘automatic’. From the moment an
original work is created, the author enjoys all the
benefits that copyright protection entails, without
the need to complete a registration, deposit the
work, mark it with a copyright notice, or comply
with any other statutorily prescribed formality.
However, the digital revolution has caused a
paradigm shift in the way copyright-protected works
are created and consumed. Copyright law is now
facing significant challenges arising from the need
to establish legal certainty over copyright claims,
improve rights clearance, and enhance the free flow
of information. Inevitably, proposals to introduce
formalities in copyright law (or reintroduce them,
as the absence of formalities has not always been
the norm) have risen to prominence in legal debate.
This book examines whether reintroducing copyright
formalities is legally feasible. Based on a
comprehensive and thorough analysis of copyright
formalities, it sets out to establish the extent to
which the current copyright system allows for their
reintroduction. To this end, the author describes
the role and functions of formalities, revisits the
history of formalities at the national and
international levels, examines the scope of the
international prohibition on formalities, and
scrutinizes the rationales behind this prohibition,
including an in-depth examination of the validity of
the argument that copyright is a ‘natural right’ and
therefore should be protected independently of
formalities.
The author skilfully evaluates and contrasts the
conflicting theories according to which formalities,
on the one hand, add legal certainty to claims on
the ownership of property, and, on the other, hamper
individual authors from seeking adequate protection
for their works. This book makes an important
contribution to legal science by answering questions
that so far have been neglected or only marginally
addressed. To the degree that current copyright law
permits reintroducing formalities, the author posits
the specifications that will determine to a great
extent what role and functions they may eventually
fulfil: depending on the aims to be achieved,
lawmakers must choose which types of formalities
shall be imposed, and what their legal consequences
shall be. This book goes a long way towards
reinforcing the foundation for those decisions.
24.08.2011
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(met
L. Guibault)
Collective Management in the European Union,
in Daniel Gervais (red.), Collective Management of
Copyright and Related Rights, tweede druk, Alphen
aan den Rijn: Kluwer Law International, 2010, p.
135-167.
This chapter
examines efforts to regulate the collective
management of copyright at the European level. It is
divided in three main parts. First, the chapter
describes the current state of the law concerning
collective rights management organizations (CMOs) in
Europe, as pronounced over the past few decades in
decisions of the European Court of Justice and the
European Commission in competition matters. Second,
the chapter discusses the recent efforts deployed by
the European lawmakers toward the establishment of a
legal framework governing the activities of CMOs in
Europe, and more specifically the multi-territorial
licensing of online music services. The third part
analyses the actual and potential impact on the
market for the cross-border collective management of
legitimate online music services of the most recent
measures adopted by the European bodies. The chapter
critically concludes on the overall state of the law
in Europe pertaining to CMOs.
13.07.2011
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(met
M.M.M. van Eechoud,
L. Guibault,
B. van der Sloot &
P.B. Hugenholtz)
Report of the Netherlands for ALAI 2011 Study Days
(Dublin).
19.05.2011
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(red. met S.
Nikoltchev en
C.J.
Angelopoulos) Digitisation and Online
Exploitation of Broadcasters' Archives, IRIS Special,
Strasbourg: European Audiovisual Observatory 2010.
The archives of
many television broadcasters now contain materiel
which includes more than half a century of
contemporary, documentary and entertainment history
and are of immense cultural and economic value.
Digitisation has created an entirely new technical
basis for making these assets available to a wide
audience, and there are a whole range of projects
aimed at opening up audiovisual archives (including
those of broadcasters). However, many projects to
open up broadcasters' archives and exploit them
online generally run up against serious problems
when it comes to clearing the rights for these
archived works. These problems arise, firstly, due
to a contractual practice that developed in the
pre-digital era and to aspects of copyright law that
do not really meet the needs of the digital age.
Secondly, the very large number of works stored in
archives constitutes a challenge that is not easily
overcome. The aim of this IRIS Special is to discuss
the subject from a number of different perspectives.
The team of authors involved is accordingly made up
of representatives of many different interests:
copyright holders and those who look after their
interests, television broadcasters, lawyers and
copyright experts.
Zie
hier voor meer informatie over deze publicatie.
14.01.2011
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Formalities in the digital era: an obstacle or
opportunity?, in: L. Bently, U. Suthersanen & P.
Torremans (eds.), Global Copyright: Three Hundred
Years Since the Statute of Anne, from 1709 to Cyberspace,
Cheltenham: Edward Elgar 2010, p. 395-424.
This paper, which was
presented at the 2009 ALAI conference in London,
examines the possible reintroduction of copyright
formalities against the background of the challenges
that copyright law faces in the digital era. It does so
by contrasting the current calls for reintroducing
formalities with the legal-historical reasons for their
abolition. The paper concludes that, while, in the
pre-digital era, the objections against copyright
formalities were real, in the light of the changes
caused by the advent of digital technologies, there is
now sufficient reason to reconsider subjecting copyright
to formalities.
20.10.2010
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Les formalités sont mortes, vive les formalités!
Copyright formalities and the reasons for their decline
in nineteenth century Europe, in: R. Deazley, M.
Kretschmer & L. Bently (eds.),
Privilege and Property:
Essays on the History of Copyright, Cambridge: Open Book
Publishers 2010, pp. 157-206.
Modern copyright law is
based on the premise that copyright originates from
original authorship and exists independently from
formalities. This was different in the past, when
copyright law was fully occupied with formalities. This
paper examines the development of copyright formalities
against the background of the upcoming national rights
thinking and some conceptual innovations in copyright
law in nineteenth century Europe (France, Germany, the
Netherlands and the UK). Among other things, this paper
concludes that, from a historical perspective,
formalities are not as incompatible with the natural
rights view as is commonly believed. This may cast new
light on the possible reintroduction of copyright
formalities, which is increasingly called for in the
current digital era.
01.09.2010
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(met
P.B. Hugenholtz)
The Orphan Works Problem: The Copyright Conundrum of
Digitizing Large-Scale Audiovisual Archives, and How to
Solve it, Popular Communication - The
International Journal of Media and Culture, 2010-1,
p. 61-71.
This article examines
the problem of 'orphan works' against the background of
various projects for mass-digitization of audiovisual
content. Orphan works are works for which the copyright
owners cannot be identified or located. The fact that a
particular work is 'orphaned' makes it impossible to
clear the rights and to legally reutilize the work. This
article describes and evaluates six different possible
regulatory solutions to the orphan works problem,
including extended collective licensing and compulsory
licensing. The article concludes that if one wants to
make the vast European audiovisual cultural heritage
available for future usage, regulatory intervention is
indispensable.
03.03.2010
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(met
M.M.M. van Eechoud,
P.B. Hugenholtz,
L. Guibault en
N. Helberger)
Harmonizing European Copyright Law: The Challenges of
Better Lawmaking, Information Law Series 19, Alphen
aan den Rijn: Kluwer Law International 2009.
Nobody likes today’s
copyright law. Widespread unauthorized use of copyright material proliferates
with impunity, while citizens and users protest that intrusive copyright
and related rights law stifle cultural expression. Equipment manufacturers
and intermediaries complain about yet more ’security’ features
that complicate their products and services and encumber marketing, while
content owners desperately want enforcement to work. And of course it is
crucial that whatever regulatory instruments come into play must not age
prematurely in Internet time.
The European Union faces the daunting challenge of articulating coherent
copyright policies that satisfy these contradictory multiple demands. Yet
the legal framework must conform to the European Union’s remit of fostering
economic growth in a common market, while respecting the national traditions
of its still growing family of Member States. Clearly, an extraordinary balancing
act is called for if justice is to be done to all of the private and public
interests affected.
So how has the European acquis communautaire scored on these issues so far?
In this groundbreaking study the Institute for Information Law of the University
of Amsterdam brings its extensive academic expertise to bear on this question.
The authors scrutinize the present law as laid down in the seven copyright
and related rights directives, against the background of the relevant international
standards of the Berne Convention, the TRIPs agreement, and the WIPO Internet
Treaties. They map out in detail the degree to which certain areas of copyright
have been harmonized as they expose the gaps and inconsistencies in the acquis
and the urgent unresolved issues that persist. They identify the EU’s
ambitions in relation to its present and future competences (following the
Lisbon Reform) to regulate copyright, and to its Better Regulation agenda.
Following a comprehensive analysis of almost two decades of regulatory intervention,
they move on to the salient current trends that point toward a more coherent
and balanced European copyright law.
13.10.2009
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Another
45 miles to go? Kritisch commentaar op het
richtlijnvoorstel duurverlenging naburige rechten, AMI,
2008-6, p. 169-180.
Dit artikel zet kritisch uiteen waarom het
richtlijnvoorstel dat door de Europese Commissie is
ingediend om de beschermingsduur van naburige rechten op
fonogrammen en de daarop vastgelegde uitvoeringen te
verlengen van 50 naar 95 jaar, onwenselijk is en de
problemen waarmee de fonogrammenindustrie en uitvoerende
kunstenaars te maken hebben niet, of nauwelijks, oplost.
10.12.2008
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(met N.
Helberger, N. Dufft & P.B.
Hugenholtz)
Never
Forever: Why Extending the Term of Protection for Sound
Recordings is a Bad Idea, E.I.P.R., 2008-5, p.
174-181.
This article critically
examines the arguments put forward in favour of a term
extension of related rights of phonogram producers. The
authors conclude that there are no convincing reasons to
extend the existing term of protection. The article also
explains why the popular argument that a term extension
would improve the situation of performers is probably a
fallacy.
04.06.2008
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Unlocking
the Potential of Pre-Existing Content: How to Address the
Issue of Orphan Works in Europe?, IIC
International Review of Intellectual property and
Competition Law, Vol. 38 (2007), No. 6, p. 669-702.
04.06.2008
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Audiovisual
Archives and the Inability to Clear Rights in Orphan Works,
IRIS plus (Supplement to IRIS - Legal Observations of
the European Audiovisual Observatory), 2007-4.
Dit artikel behandelt
het vraagstuk van de zogenaamde 'verweesde werken'
(orphan works). Verweesde werken zijn werken waarvan de
rechthebbenden niet geïdentificeerd of gelokaliseerd
kunnen worden. Het feit dat een rechthebbende onvindbaar
is, maakt het onmogelijk om toestemming te verkrijgen en
het werk op een legale manier te hergebruiken. Om het
potentieel te kunnen ontsluiten van de vele bestaande
werken die zijn opgeslagen in audiovisuele archieven is
het noodzakelijk dat juridische oplossingen worden
gevonden die dit probleem op een adequate manier
aanpakken. In dit artikel worden een aantal oplossingen
beschreven die mogelijkerwijs geïntroduceerd zouden
kunnen worden op Europees of nationaal niveau.
20.04.2007
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| (met
L. Guibault)
Collective
Management in the European Union, ook gepubliceerd in:
Daniel Gervais (red.), Collective Management of
Copyright and Related Rights, The Hague, Kluwer Law
International, 2006, p. 117-152.
20.03.2007
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(met P.B.
Hugenholtz, M.M.M. van Eechoud
et al.)
The
Recasting of Copyright & Related Rights for the
Knowledge Economy, rapport aan de Europese Commissie,
DG Interne Markt, november 2006, 308 p.
Zie ook de executive
summary.
Study carried out by
the Institute for Information Law for the European
Commission (DG Internal Market). Chapters 1 and 2
describe and examine the existing 'acquis communautaire'
in the field of copyright and related (neighbouring)
rights, with special focus on inconsistencies and
unclarities. Chapters 3-6 deal with distinct issues that
were identified a priori by the European Commission as
meriting special attention: possible extension of the
term of protection of phonograms (Chapter 3), possible
alignment of the term of protection of co-written
musical works (Chapter 4), the problems connected to
multiple copyright ownership, including the issue of
'orphan works' (Chapter 5), and copyright awareness
among consumers (Chapter 6). Chapter 7 provides an
overall assessment of the benefits and drawbacks of the
fifteen years of harmonisation of copyright and related
rights in the EU and dwells on regulatory alternatives.
10.01.2007
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De
vaststelling van de thuiskopievergoeding, AMI,
2006-2, p. 52-62.
In dit artikel wordt
beschreven hoe in Nederland de thuiskopievergoedingen
worden vastgesteld. Een sleutelrol is daarbij weggelegd
voor de SONT, waarbinnen rechthebbenden en
betalingsplichtigen onderhandelen over de vast te
stellen vergoeding. Gekeken wordt in hoeverre bij de
vaststelling rekening gehouden wordt met de voorwaarden
uit de Auteurswet en de Auteursrechtrichtlijn. Daarnaast
wordt aan de orde gesteld of de zelfregulering tussen de
marktpartijen werkt. Geconcludeerd wordt dat beide
aspecten te wensen over laten en dat het daarom
passelijk zou zijn als de wetgever aanvullend of
corrigerend op zou treden.
18.04.2006
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| (met N.
Helberger, N. Dufft, K. Kerényi, B. Krings, R.
Lambers, C. Orwat en U. Riehm)
‘Digital
Rights Management and Consumer Acceptability: A
Multi-Disciplinary Discussion of Consumer Concerns and
Expectations’, State-of-the-Art
Report, INDICARE, december 2004.
03.02.2006
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Bijgewerkt
26.03.2013
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