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Pastiche – "Sleeping Beauty" or Future-Proof Safe Harbor for Artistic Takeovers of Works?

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"Pastiche – 'Sleeping Beauty' or Future-Proof Safe Harbor for Artistic Takeovers of Works?" is the subject of an article written by Christiane Stuetzle and Susan Bischoff for the renowned German publication Zeitschrift für Urheber- und Medienrecht ["Journal for Copyright and Media Law"].

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"Pastiche – 'Sleeping Beauty' or Future-Proof Safe Harbor for Artistic Takeovers of Works?" is the subject of an article written by Christiane Stuetzle and Susan Bischoff for the renowned German publication Zeitschrift für Urheber- und Medienrecht ["Journal for Copyright and Media Law"].The pastiche-copyright-exemption, which had been set forth under the InfoSoc Directive (2001/29/EC) back in 2001, was only transposed into the German Copyright Act (its Sec. 51a UrhG) in 2022. Based on the first final judgement on the new pastiche-copyright-exemption, which <a href="/resources/news/220318-morrison-foerster-helps-renowned-painter" target="_self">MoFo won for the renowned Berlin painter Martin Eder</a>, the article outlines the importance of the pastiche for a free artistic adoption of pre-existing content and thereby for the Freedom of the Art.Read the <a href="http://beck-online.beck.de/default.aspx?vpath=bibdata/zeits/ZUM/2022/cont/ZUM.2022.683.1.htm" target="_blank">full article</a> in German (accessible via the database beck-online).

Pastiche – "Sleeping Beauty" or Future-Proof Safe Harbor for Artistic Takeovers of Works?

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Christiane Stuetzle is a partner in Morrison Foerster's office in Berlin and Co-Chair of the firm's Global Film & Entertainment Practice. She is a Certified Specialist for Copyright and Media Law & Arbitrator on the International Arbitration Panel of the IFTA (Independent Film & Television Alliance, Los Angeles).Her practice focuses on all matters in the field of film, music & entertainment as well as legal and strategic advice and lobbying support at all stages of the development, financing, production, and distribution of audiovisual products and at the intersection of content and technology.In regards to production of audiovisual content, she advises several major Hollywood studios, independent producers, and gaming and toy companies on the development, financing, production, and distribution of films, series, and other content. For some clients, she also functions as their contact for external business & legal affairs in Germany. She is the go-to lawyer when it comes to aligning standards between the United States and Germany. Christiane’s projects include the TV series “Queen’s Gambit”, “Berlin Station,” and “Homeland,” and international feature films such as “The French Dispatch,” “Without Remorse,” “The Grand Budapest Hotel,” “Cure for Wellness,” “Book Thief,” “Monuments Men,” “Hitman: Agent 47,” and “Big Business,” among others. Berlin newspaper “Der Tagesspiegel” calls her “Hollywood’s lawyer in Berlin”.Another significant part of her work is the ongoing legal advice relating to the distribution and available of content, including the ongoing advice to TV channels, streaming services, social media, and other online platforms on all distribution--related matters from regulatory requirements, youth protection, statutory film levies, holdbacks, user terms, rights clearance as well as negotiations with rightsholders.Based on the increasing impact of the EU legislation to multi-territorial businesses, Ms. Stuetzle is also closely monitoring current and upcoming EU legislation, such as the EU Copyright Directive, and is assisting multiple clients with legal and lobbying support, strategic advice on alignment of their business model, and products with these new legal requirements and corresponding risk mitigation strategies.Christiane Stuetzle is the founder and organizer of the Berlin office's annual entertainment panel & reception held and co-hosted by the US Embassy to Berlin and the Motion Picture Association of America (MPA) for high-ranking guests from the creative industry, the finance sector and politicsChristiane Stuetzle is active in an organization for the top women in the German media industry and is a board member of the Female Supervisory Board of Hypo Vereinsbank/Unicredit. She regularly holds lectures on Copyright, Film, and Media Law at the Epi Media Institute in cooperation with the University of Potsdam and is Christiane Stuetzle is co-author of the Munich Handbook of Copyright and Media Law.<h4>Representative Experience</h4><ul><li>Several Hollywood studios and film production companies on the development, financing (including available film subsidies), production and distribution of series and films, including “Queen’s Gambit,” “Homeland,” “The French Dispatch,” “Without Remorse,” “Berlin Station,” etc.</li><li>Handling of business and legal affairs for the local language division of a major studio, handling of local language (co-)productions, e.g., “Heilstaetten,” “Golden Twenties,” “Antonio im Wunderland,” “Rico, Oskar und die Tieferschatten,” “Rico, Oskar und das Herzgebreche,” “Rico, Oskar und der Diebstahlstein,” “Doktorspiele,” “What a Man,” “Schlussmacher,” etc.</li><li>Toy company on the production and distribution of digital content (series, apps, games, lottery games), user-generated content and music rights clearance including GEMA</li><li>Streaming service on license and exploitation related matters and youth protection, including rights clearance of a film library for distribution on a worldwide family entertainment-related streaming service, youth protection aspects, including the app to the service, contractual questions, German statutory film levy, and music licenses and available film subsidies for new productions</li><li> Social media platform on the EU Copyright Directive and its European implementation process, including the extended liability for online content sharing service providers, strategic advice on alignment of the business model and its products with these new legal requirements</li><li>Pay-TV channels on the application for a German broadcasting license, German age rating for films and series, advertising and product placement regulations, EU content quota, etc.</li><li>Film library evaluation and due diligence.</li></ul>

Christiane Stützle ist Partnerin des deutschen Büros von Morrison Foerster in Berlin und Co-Chair der globalen Film & Entertainment Praxisgruppe von Morrison Foerster. Sie ist Fachanwältin für Urheber- und Medienrecht und Schiedsrichterin am internationalen Schiedsgericht der IFTA (Independent Film & Television Alliance).Ihr Beratungsschwerpunkt liegt im Bereich Transaktionen für Film und Entertainment sowie rechtliche und strategische Beratung in allen Stadien der Filmproduktion, vom Development, der Finanzierung, Herstellung und dem Vertrieb von audiovisuellen Produkten. Mit ihrem Team berät sie Hollywood Studios und Produzenten bei der Finanzierung, Durchführung und dem Vertrieb von Film- und Fernsehproduktionen und agiert häufig als Bindeglied zwischen Hollywood und europäischen Partnern.Ihre Produktionsprojekte beinhalten die TV Serien „Berlin Station” und „Homeland”, die die ersten internationalen TV Serien sind, die in Deutschland gedreht worden sind sowie internationale Kinofilme wie z. B. „The Grand Budapest Hotel”, „Cure for Wellness”, „Die Bücherdiebin”, „Monuments Men”, „Hitman: Agent 47”, „Big Business” etc.Chrsitiane Stützle agiert ferner als Business & Legal-Affairs Ansprechpartnerin für die deutsche Produktionsniederlassung eines Hollywood-Filmstudios. Zu den von ihr betreuten Projekten gehören „Rico, Oskar und der Diebstahlstein”, „Antonio, ihm schmeckt’s nicht”, „Doktorspiele”, „Der Schlussmacher” etc.Weiterhin berät Christiane Stützle zahlreiche Filmverleiher bei der Verhandlung und Gestaltung von Lizenzverträgen für den Kino-, Video- und Fernsehvertrieb, einschließlich Output-Deals. Darüber hinaus ist sie als Beraterin für verschiedene  Radio- und Fernsehsender im Bereich Medienrecht tätig. Dies beinhaltet die Beratung bei urheberrechtlichen und medienkonzentrationsrechtlichen Themen sowie bei Fragen des Jugendschutzes, des unlauteren Wettbewerbs, Presse- und Markenrecht sowie bei der Prozessführung.Christiane Stützle ist Begründerin des seit 2002 stattfindenden jährlichen Filmproduktions- und Filmfinanzierungspanels von Morrison Foerster, Fördermitglied der Deutschen Filmakademie und der Produzentenallianz. Frau Stützle hat umfangreich zu medienrechtlichen Themen publiziert und ist Mitglied einer Organisation für führende Frauen in der deutschen Medienbranche sowie des Frauenbeirats der Hypo Vereinsbank.<h4>Referenzen</h4><ul><li>Beratung verschiedener U.S. Filmstudios mit der Strukturierung und der Umsetzung von internationalen in Deutschland gedrehten Fernsehserien, wie zum Beispiel, „Homeland”, „Berlin Station”.</li><li>Beratung verschiedener Hollywood-Studios zur Strukturierung und Umsetzung von internationalen Koproduktionen, wie zum Beispiel „Cure for Wellness”, „The Other Side of the Door”, „Big Business”, „Hitman: Agent 47”, „The Grand Budapest Hotel”, „The Book Thief” etc.</li><li>Business & Legal-Affairs Ansprechpartnerin für die deutsche Produktionsniederlassung eines großen Filmstudios, Betreuung von deutschsprachigen Ko-Produktionen, wie zum Beispiel „Antonio im Wunderland”, „Rico, Oskar und die Tieferschatten”, „Rico, Oskar und das Herzgebreche”, „Rico, Oskar und der Diebstahlstein”, „Doktorspiele”, „What a Man,” „Schlussmacher” etc. </li></ul><ul><li>Beratung der Kino- und Home Entertainment Sparte eines großen U.S.-Filmstudios bezüglich des Kinofilmverleihs, sowie des Video- und DVD-Vertriebs in Europa, einschließlich von Digitalisierungsstrategien, kartellrechtlichen Themen und Fragen zu Produktpiraterie.</li><li>Beratung des deutschen Verbands der Filmverleiher VdF im Zusammenhang mit dem Digitalisierungsvertrag für sogenannte Kriterienkinos.</li><li>Rechtliche Beratung des History Channel zu in Deutschland produzierten dokumentarischen Formaten für seine deutschen Fernsehsender.</li><li>Bewertung der Filmbibliothek und Due Diligence u.a. der Filmbibliothek von KirchMedia und der Bibliothek der ehemaligen Kinowelt.</li><li>Beratung von NBC Universal Pay-TV Kanälen bei Lizenz- und Vertriebsfragen.</li></ul>