Music Creators North America http://www.musiccreatorsna.org/
Launched in 2012, it was largely in response to legislative and legal setbacks for creators when it became clear that new approaches were needed, that individual and national solutions were no longer enough in an increasingly globalized environment for creators. Its charter states that its central purposes of MCNA shall be to serve as an independent and non-conflicted advocate and educator on behalf of the music creator community of North America, seeking the protection, enforcement and expansion of the rights and interests of music creators throughout the world. It stands by a number of core principles:
Through its membership of CIAM the MCNA works with sister alliances in Europe, Latin and South America, Asia and Africa to further the interests of music creators throughout the world
Fortunately, in some countries there is legal right that makes revenue payable to the talent after a work has been written or created. This rebalances the financial position to a limited extent by ensuring that, via a separate route, some revenue at least reaches the talent that made the creative work possible in the first place.
As a matter of practicality, this licence revenue is collected by a single body in each country from the film owners and all the users of the copyright works The usage information is then analysed and paid onward to the talent by these companies. The companies are known as collective management organizations (CMOs). Writers and directors are members of the audio-visual CMOs in Europe which hold data about the works their members have created. CMOs for film and television work across the EU on behalf of the writers and directors of film and television, administering their revenues and ensuring their rights are respected. The individual CMOs fight together for the common interests of their members.
SAA is the EU body that represents these EU CMOs working on behalf of the writers and directors of audio-visual works. SAA has 31 member CMOs in 23 European countries. Together with other parties, they fight to improve the economic and moral (reputational) position of writers and directors of audio visual works. SAA and its members take positions upon broadcast regulation, intellectual property rights enforcement, cross-border portability of creative works, media convergence and other issues that affect the interests of writers and directors.
SAA supports a right of the talent to share in the fruits of a film’s success. SAA supports the levy that means the talent can benefit when private copies are made of their work. They are lobbying in response to the digital copyright draft directive, seeking a legally enforceable, unwaivable right to remuneration for writers and directors from the exploitation of audio visual works. This is a fight for a more realistic share of revenues from the digital exploitation of audio-visual works as currently a vastly disproportionate share of the value is retained by the large digital companies.