POSICIONAMIENTO TERAPÉUTICO DE LOS MEDICAMENTOS Adaptado de Calderón B, Puigventós F.
LOS CRITERIOS PARA EL POSICIONAMIENTO TERAPÉUTICO
Films and other audio-visual content should be easily accessible in schools; this is, unfortunately, not always the case, unless an agreement is in place, as it grants legitimate access to films etc. License agreements may have several formats and use different platforms for access. They may also be granted to individual titles, though it is more common for them to be for a film catalogue. DVD is the predominant form but online content streaming is increasingly present in schools. Other audio-visual content such as TV- programmes are acquired online.
According to the schools survey, access to content comes through the following channels (see figure page 47).
More than 60% of respondents indicate “teachers’ own resources” as a source of audio-visual material. Together with school video libraries, these resources are likely to be DVDs. In both cases , especially in the case of “teachers’ own resources” there is a very high probability that no screening licenses have been obtained for these DVDs and it is likely that teachers are unaware of how screening rights could be acquired.
Online access to films in schools is still generally rare in aggregated terms in Europe, essentially due to the lack of the necessary bandwidth which would allow a minimum quality picture. Where such levels do exist (and excluding here the undeclared and immeasurably illegal downloading of films) online access can be via VOD or SVOD (Video on Demand
Does your company in any way collaborate with schools by providing practical or theoretical teaching programs for film education?
40,4%
6%
53,2%
Does your company produce any educational aids/materials for use in film education in schools?
56,5%
10,9%
be a most recommendable method as it combines a pre-selected catalogue intended for school usage with the corresponding licensing scheme in support of that usage. While we do describe several of such cases[20], it cannot yet be considered to be a
generalised scheme in Europe. In technical terms, as well as in relation to the questions posed in terms of rights clearance, this option is not too distinct from the possibility of a single school developing a video platform for its students, which can eventually be accessed from their own computers at home. It must be noted that there are significant differences between the statistics of each member state. Furthermore the fact that license agreements and access to film catalogues (either DVDs or online) are common in several countries, especially in Northern Europe, whereas they remain more rare in others.
20 Austria – Film ABC; Filmmuseum Wien; Belgium – Lessen in Het Donker; MOOV; Ecran large sur le tableau noir; Czech Rep.- Jeden Svte na skolách; Denmark – CFU; AVU Media; Filmcentralen; Finland – Koulukino; Valve Film School; France – Institut Jean Vigo; Italy – Schermi e lavagne; Latvia – Splendid Palace; Netherlands – Movie Zone – EYE; Natioanl Film Festival for Students, NFFS; Cinekid; Poland – Filmoteka Szkolna; UK – Into Film; BFI Education & Research. For details see Annex 1.
or Streaming VOD) of commercial access, web platforms including HD quality videos, OTT devices[19],
or specialised platforms through which audio-visual content is made available specifically to schools and their students.
“EuroVod”, the association of European independent online film distributors, has formally collaborated with this report to provide information regarding some of their members’ relevant activities. They have repeatedly communicated their availability for general agreements to educational and film authorities, which would provide direct access to their catalogues for schools and those viewers entitled by schools. However, such proposals have yet to be transformed into generalised schemes, and in more than one case their members recall donating free catalogue access codes to schools, which had still not been used many months after the launch of the plan.
Web platforms such as YouTube, Vimeo, Daily Motion, etc. are identified as important sources of content. As it is well known, the streaming of content (downloading from those platforms is not possible in principle, unless specific software is used to alter the platforms’ original state) from these sites is free and not subject to licensing. The possible implications of such content being illegally uploaded into these websites exceed the aim of this report. However it is natural to assume that in these cases good faith will push teachers and schools to believe, sometimes in error, that all content available through “legitimate” platforms must therefore be legitimate as well, and can be shared without any further consideration to rights or educational exceptions.
We must also consider online platforms which are specifically set up for school usage. This appears to 19 Over-the-top video or OTT is a general term for entertainment services accessible over a network that is not offered by a network operator. Increasingly, DVD players, video game consoles, “smart” TVs and other devices include built-in wireless connectivity which, using an available wireless network, pull content from the Internet and deliver it to the TV set or to a projector. The provider may be aware of the contents of the IP packets but it is not responsible for, nor able to control, the viewing abilities, copyright, and/or other redistribution of the content. Any content suited for TV can be delivered via these OTT applications, which typically include video platforms as YouTube or Dailymotion; catch up TV; and access to one or several SVOD movie services. Schools can have this access too, and often will, as it is progressively just a built-in offer of new connected devices.
From where do schools acquire films and other audiovisual material?