Opinion of the European Copyright Society on Certain Selected Aspects of Case C-227/23, Kwantum Nederland and Kwantum België

Mireille M. M. van Eechoud, Axel Metzger, J. Quintais, Ole-Andreas Rognstad
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The Dutch Supreme Court seeks clarity on whether EU law mandates a copyright limitation through reciprocity, especially for non-EU right holders. In EU law, the Design Directive and Design Regulation govern the relationship between copyright and design protection for works of applied art. Both instruments stress the possibility of the cumulation of rights, allowing registered designs to qualify for copyright protection. Judicial harmonisation, notably in Cofemel (C-683/17) and Brompton Bicycle (C-833/18), extended the originality requirements to all works – including works of applied art – and thus limited EU Member States’ autonomy. The proposed Design Directive and Design Regulation maintain the cumulation principle, aligning with CJEU case-law on originality. In this Opinion, the European Copyright Society (ECS) does not make any pronouncement on the desirability of cumulation. On the topic of material reciprocity, the CJEU ruled in RAAP that Art. 8(2) of the Rental and Lending Directive (RLD) prohibited a Member State from excluding non-EEA performers from equitable remuneration for communication to the public of their recordings. The Court clarified that limitations to this right could be introduced only by the EU legislature and had to comply with Art. 52(1) of the Charter of Fundamental Rights of the European Union (CFREU). Any limitation had to be clearly defined by law. The Court emphasised that any exclusion of non-EEA right holders from remuneration must be explicit, as the right fell within the fundamental right to intellectual property of Art. 17(2) CFREU. Additionally, the Court stated that Art. 8(2) RLD should not be interpreted as granting a remuneration right solely to the phonogram producer and excluding the performer who contributed to the phonogram. The ECS criticised the potential wider implications of RAAP, proposing an alternative interpretation of the remuneration right under Art. 4(2) of the WIPO Performance and Phonograms Treaty (WPPT), suggesting that it should apply only to performers towards whom a direct and unreserved obligation existed on the basis of the WPPT. The ECS also criticised the Court’s reliance on the CFREU, particularly insofar as the Court viewed harmonised rights as abstract rather than individual, thus creating uncertainty about limitations. The Court’s conclusion that only the EU legislature could limit the right for nationals of non-EU states raises concerns about the application of material reciprocity by Member States in the past, and the retroactive effects of the interpretation remain unclear, contributing to legal uncertainty. In RAAP, the CJEU interpreted the WPPT, emphasising compliance with TRIPS and the Berne Convention’s core provisions in EU law. The Court stressed that material reciprocity had to be explicit in statutory law, with only the EU legislature defining limitations under harmonised rules such as Art. 8(2) RLD. However, EU design legislation grants Member States autonomy despite harmonised concepts established in cases like Cofemel and Brompton Bicycle. Unlike in RAAP, the CJEU may have more flexibility in interpreting EU copyright law for applied art in the Kwantum case. Precedents like Cofemel and Brompton Bicycle allow the Court to interpret material reciprocity under Art. 2(7) Berne without legislative intervention. Two alternatives for the Court are to interpret Art. 2(7) as mandating material reciprocity, preventing internal market issues, or to declare Member States’ application compatible with EU law, whether they apply material reciprocity or offer unreserved national treatment to works of applied art on the basis of Art. 19 Berne. Comparing RAAP and Kwantum, material reciprocity differs under Art. 4(2) WPPT and Art. 2(7) Berne. RAAP dealt with a conditional exception, while Art. 2(7) Berne is a mandatory rule, implying that countries of the Union must deny copyright protection to works protected solely as designs and models in their country of origin. While countries can choose to set aside material reciprocity under Art. 19 Berne, if the CJEU views Art. 2(7) Berne as limiting copyright as an intellectual property right under Art. 17(2) CFREU, the requirements in Art. 52(1) CFREU are already fulfilled without legislative intervention. Applying these considerations to the Kwantum case, it is noted that Dutch law provides no more protection than Art. 2(7) Berne. Given Art. 2(7)’s precedence over domestic law in the Dutch legal order, Dutch courts must apply the material reciprocity clause unless EU law dictates otherwise. In our view, the CJEU could either recognise material reciprocity as a requirement of EU law or declare Member State rules that mirror Berne’s reciprocity clause to be compatible with EU law. In conclusion, Kwantum reflects the uncertainty stemming from RAAP. The ECS advocates for a nuanced approach to the international application of EU copyright and related rights, giving due consideration to the regulations of international conventions as part of the EU legal order. In the case of copyright protection of works of applied art, the CJEU could, as a first step, either apply the reciprocity rule set out in Art. 2(7) Berne directly, or leave it to the Member States to decide on material reciprocity or national treatment, in accordance with the principles of the Berne Convention. As a second step, the EU legislature would be well advised to address the questions raised by RAAP and Kwantum at a more fundamental level through legislative intervention.","PeriodicalId":21855,"journal":{"name":"SSRN Electronic Journal","volume":null,"pages":null},"PeriodicalIF":0.0000,"publicationDate":"2024-07-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"SSRN Electronic Journal","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.2139/ssrn.4795933","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
引用次数: 0

Abstract

The Berne Convention underscores the national treatment of foreign authors, allowing countries of the Union to protect designs through various means. Article 2(7) of the Convention (Berne) introduces a material reciprocity test, limiting copyright protection for works of applied art not protected in their country of origin. The Kwantum case (C-227/23), involving a dispute over a work of design or applied art, questions the application of the reciprocity test in the light of harmonised copyright law and the decision by the Court of Justice of the European Union (CJEU) in RAAP (C-265/19). The Dutch Supreme Court seeks clarity on whether EU law mandates a copyright limitation through reciprocity, especially for non-EU right holders. In EU law, the Design Directive and Design Regulation govern the relationship between copyright and design protection for works of applied art. Both instruments stress the possibility of the cumulation of rights, allowing registered designs to qualify for copyright protection. Judicial harmonisation, notably in Cofemel (C-683/17) and Brompton Bicycle (C-833/18), extended the originality requirements to all works – including works of applied art – and thus limited EU Member States’ autonomy. The proposed Design Directive and Design Regulation maintain the cumulation principle, aligning with CJEU case-law on originality. In this Opinion, the European Copyright Society (ECS) does not make any pronouncement on the desirability of cumulation. On the topic of material reciprocity, the CJEU ruled in RAAP that Art. 8(2) of the Rental and Lending Directive (RLD) prohibited a Member State from excluding non-EEA performers from equitable remuneration for communication to the public of their recordings. The Court clarified that limitations to this right could be introduced only by the EU legislature and had to comply with Art. 52(1) of the Charter of Fundamental Rights of the European Union (CFREU). Any limitation had to be clearly defined by law. The Court emphasised that any exclusion of non-EEA right holders from remuneration must be explicit, as the right fell within the fundamental right to intellectual property of Art. 17(2) CFREU. Additionally, the Court stated that Art. 8(2) RLD should not be interpreted as granting a remuneration right solely to the phonogram producer and excluding the performer who contributed to the phonogram. The ECS criticised the potential wider implications of RAAP, proposing an alternative interpretation of the remuneration right under Art. 4(2) of the WIPO Performance and Phonograms Treaty (WPPT), suggesting that it should apply only to performers towards whom a direct and unreserved obligation existed on the basis of the WPPT. The ECS also criticised the Court’s reliance on the CFREU, particularly insofar as the Court viewed harmonised rights as abstract rather than individual, thus creating uncertainty about limitations. The Court’s conclusion that only the EU legislature could limit the right for nationals of non-EU states raises concerns about the application of material reciprocity by Member States in the past, and the retroactive effects of the interpretation remain unclear, contributing to legal uncertainty. In RAAP, the CJEU interpreted the WPPT, emphasising compliance with TRIPS and the Berne Convention’s core provisions in EU law. The Court stressed that material reciprocity had to be explicit in statutory law, with only the EU legislature defining limitations under harmonised rules such as Art. 8(2) RLD. However, EU design legislation grants Member States autonomy despite harmonised concepts established in cases like Cofemel and Brompton Bicycle. Unlike in RAAP, the CJEU may have more flexibility in interpreting EU copyright law for applied art in the Kwantum case. Precedents like Cofemel and Brompton Bicycle allow the Court to interpret material reciprocity under Art. 2(7) Berne without legislative intervention. Two alternatives for the Court are to interpret Art. 2(7) as mandating material reciprocity, preventing internal market issues, or to declare Member States’ application compatible with EU law, whether they apply material reciprocity or offer unreserved national treatment to works of applied art on the basis of Art. 19 Berne. Comparing RAAP and Kwantum, material reciprocity differs under Art. 4(2) WPPT and Art. 2(7) Berne. RAAP dealt with a conditional exception, while Art. 2(7) Berne is a mandatory rule, implying that countries of the Union must deny copyright protection to works protected solely as designs and models in their country of origin. While countries can choose to set aside material reciprocity under Art. 19 Berne, if the CJEU views Art. 2(7) Berne as limiting copyright as an intellectual property right under Art. 17(2) CFREU, the requirements in Art. 52(1) CFREU are already fulfilled without legislative intervention. Applying these considerations to the Kwantum case, it is noted that Dutch law provides no more protection than Art. 2(7) Berne. Given Art. 2(7)’s precedence over domestic law in the Dutch legal order, Dutch courts must apply the material reciprocity clause unless EU law dictates otherwise. In our view, the CJEU could either recognise material reciprocity as a requirement of EU law or declare Member State rules that mirror Berne’s reciprocity clause to be compatible with EU law. In conclusion, Kwantum reflects the uncertainty stemming from RAAP. The ECS advocates for a nuanced approach to the international application of EU copyright and related rights, giving due consideration to the regulations of international conventions as part of the EU legal order. In the case of copyright protection of works of applied art, the CJEU could, as a first step, either apply the reciprocity rule set out in Art. 2(7) Berne directly, or leave it to the Member States to decide on material reciprocity or national treatment, in accordance with the principles of the Berne Convention. As a second step, the EU legislature would be well advised to address the questions raised by RAAP and Kwantum at a more fundamental level through legislative intervention.
欧洲版权协会关于 C-227/23 号案件(荷兰 Kwantum 和比利时 Kwantum)某些选定方面的意见
伯尔尼公约》强调了外国作者的国民待遇,允许联盟各国通过各种方式保护外观设计。伯尔尼公约》第 2(7)条引入了实质性互惠测试,限制对在原属国不受保护的应用艺术作品的版权保护。Kwantum 案 (C-227/23) 涉及对外观设计或应用艺术作品的争议,该案根据统一版权法和欧盟法院 (CJEU) 在 RAAP 案 (C-265/19) 中的裁决,对互惠测试的适用提出了质疑。荷兰最高法院试图澄清欧盟法律是否规定通过互惠来限制版权,尤其是对非欧盟权利人而言。在欧盟法律中,《外观设计指令》和《外观设计条例》规定了应用艺术作品的版权和外观设计保护之间的关系。这两项文书都强调了权利累积的可能性,允许注册外观设计有资格获得版权保护。司法协调,特别是在 Cofemel 案(C-683/17)和 Brompton Bicycle 案(C-833/18)中,将独创性要求扩展到所有作品,包括应用艺术作品,从而限制了欧盟成员国的自主权。拟议的《外观设计指令》和《外观设计条例》维持了累积原则,与欧盟法院关于独创性的判例法保持一致。在本意见书中,欧洲版权协会 (ECS) 没有对累积原则的可取性发表任何意见。关于物质互惠的问题,欧盟法院在 RAAP 案中裁定,《出租和出售著作权法》第 8(2)条规定出租和出借指令》(RLD)第 8(2)条禁止成员国将非欧洲经济区的表演者排除在向公众传播其录音制品的公平报酬之外。法院明确指出,对这一权利的限制只能由欧盟立法机构引入,并且必须符合《欧洲经济区宪章》第 52(1)条的规定。欧盟基本权利宪章》(CFREU)第 52(1)条。任何限制都必须由法律明确规定。法院强调,任何排除非欧洲经济区权利持有人获得报酬的规定都必须明确,因为该权利属于《欧盟基本权利宪章》第 17(2) 条规定的知识产权基本权利。17(2) CFREU。此外,法院还指出,《欧洲语言使用法》第 8(2) 条不应该将非欧洲经济区的权利人排除在报酬之外。此外,法院还指出,《版权法》第 8(2)条不应被解释为只赋予录音制品制作者报酬权,而将为录音制品做出贡献的表演者排除在外。欧洲文化协会批评了 RAAP 可能产生的更广泛影响,提出了对《世界知识产权组织法》第 4(2) 条规定的报酬权的另一种解释。欧洲唱片业协会批评了 RAAP 可能产生的更广泛的影响,提出了对《世界知识产权组织表演和录音制品条约》(WPPT)第 4 条第(2)款规定的报酬权的另一种解释,认为它只应适用于根据《世界知识产权组织表演和录音制品条约》对其负有直接和无保留义务的表演者。欧洲文化学会还批评了法院对《欧洲文化权利公约》的依赖,特别是法院将协调的权利视为抽象的而非个别的权利,从而造成了限制的不确定性。法院认为只有欧盟立法机构才能限制非欧盟国家国民的权利,这一结论引起了人们对成员国过去适用实质互惠的担忧,而且该解释的追溯效力仍不明确,从而加剧了法律的不确定性。在 RAAP 案中,欧盟法院对 WPPT 进行了解释,强调欧盟法律应符合《与贸易有关的知识产权协议》和《伯尔尼公约》的核心条款。法院强调,实质性互惠必须在成文法中明确规定,只有欧盟立法机构才能根据统一规则(如《欧盟知识产权法》第 8(2)条)界定限制。8(2) RLD。然而,尽管在 Cofemel 和 Brompton Bicycle 等案件中确立了统一的概念,欧盟的设计立法还是赋予了成员国自主权。与 RAAP 案不同的是,在 Kwantum 案中,欧盟法院在解释欧盟应用艺术版权法时可能会更加灵活。Cofemel 案和 Brompton Bicycle 案等先例允许法院根据《伯尔尼公约》第 2(7)条解释实质性互惠,而无需立法。2(7)伯尔尼条款下的实质性互惠,而无需立法干预。法院的两种选择是将第 2(7)条解释为规定实质性互惠。法院有两种选择,一是将伯尔尼公约第 2(7)条解释为强制实行实质互惠,防止出现内部市场问题;二是宣布成员国的适用符合欧盟法律,无论它们是实行实质互惠还是根据伯尔尼公约第 19 条为应用艺术作品提供无保留的国民待遇。19 伯尔尼公约。比较 RAAP 和 Kwantum,物质互惠在 WPPT 第 4(2)条和 WPPT 第 4(3)条下有所不同。4(2)条和伯尔尼公约第2(7)条。伯尔尼公约》第 2(7)条。RAAP 涉及的是有条件的例外,而《伯尔尼公约》第 2(7)条则是有条件的例外。伯尔尼公约》第 2(7)条是一项强制性规则,意味着联盟各国必须拒绝对仅在原属国作为外观设计和模型受到保护的作品提供版权保护。如果欧盟法院认为《伯尔尼公约》第如果欧盟法院认为《伯尔尼公约》第 2(7)条限制了版权作为《欧洲文化权利与自由公约》第 17(2)条规定的知识产权,则《欧洲文化权利与自由公约》第 52(1)条的要求将被取消。如果欧盟法院认为《伯尔尼公约》第 2(7)条限制了《欧洲自由贸易联盟》第 17(2)条规定的作为知识产权的版权,那么《欧洲自由贸易联盟》第 52(1)条的要求已经满足,无需立法干预。 将这些考虑因素应用到 Kwantum 案中,可以注意到荷兰法律提供的保护并不比伯尔尼公约第 2(7)条多。2(7) Berne.鉴于《伯尔尼公约》第 2(7)条在荷兰法律秩序中优先于国内法,荷兰法律提供的保护并不比《伯尔尼公约》第 2(7) 条多。鉴于第 2(7)条在荷兰法律秩序中优先于国内法,荷兰法院必须适用实质性互惠条款,除非欧盟法律另有规定。我们认为,欧盟法院可以承认实质性互惠是欧盟法律的要求,或者宣布反映伯尔尼互惠条款的成员国规则与欧盟法律一致。总之,Kwantum 反映了 RAAP 带来的不确定性。欧洲文化中心主张对欧盟版权和相关权利的国际适用采取细致入微的方法,适当考虑作为欧盟法律秩序一部分的国际公约的规定。就应用艺术作品的版权保护而言,欧盟法院可以首先直接适用《伯尔尼公约》第 2 条第(7)款规定的互惠规则,也可以直接适用第 2 条第(8)款规定的互惠规则。就应用艺术作品的版权保护而言,欧盟法院第一步可以直接适用《伯尔尼公约》第 2(7)条规定的互惠规则,或者由成员国根据《伯尔尼公约》的原则决定实质互惠或国民待遇。作为第二步,欧盟立法机构最好通过立法干预,在更根本的层面上解决 RAAP 和 Kwantum 提出的问题。
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