Category : BBC
Date : 26.05.2004
The BBC outlined
the broader scope of its Creative Archive initiative for the first time
today with the first meeting of a consultative external panel including
other broadcasters and public sector organisations.
Panel members include Channel 4; the British Film Institute;
the British Library; ITN; JISC (the Joint Information Systems Committee);
The National Archives; the Natural History Museum; the Museums, Libraries
& Archives Council; senior figures from the independent production
industry; BBC Worldwide and Stanford Law Professor Lawrence Lessig,
chair of the Creative Commons project.
The BBC Creative Archive, first announced by former
BBC Director-General, Greg Dyke at the Edinburgh Television Festival
in August 2003, launches in autumn 2004 and will allow people to download
clips of BBC factual programmes from bbc.co.uk for non-commercial use,
keep them on their PCs, manipulate and share them, so making the BBC's
archives more accessible to licence fee payers.
However, the initiative also has broader public service
ambitions to pioneer a new approach to public access rights in the digital
Paul Gerhardt, Joint Director, BBC Creative Archive
explains: "We want to work in partnership with other broadcasters
and public sector organisations to create a public and legal domain
of audio visual material for the benefit of everyone in the UK.
"We hope the BBC Creative Archive can establish
a model for others to follow, providing material for the new generation
of digital creatives and stimulating the growth of the creative culture
in the UK."
Access to the BBC Creative Archive will be based on
the Creative Commons model already working in the United States (www.creativecommons.org)
which proposes a middle way to rights management, rather than the extremes
of the pure public domain or the reservation of all rights.
Using the internet, it offers rights holders the opportunity
to release audio visual content for viewing, copying and sharing but
with some rights reserved, such as commercial exploitation rights.
So, in the case of audio visual material, the public
are allowed increased access but the exploitation of the same material
in the commercial arena by rights holders is protected.
The US experience suggests that this model can benefit
rights holders by increasing the size of the market for their work.
"Should we be successful with our approach,"
says Paula Le Dieu, Joint Director, BBC Creative Archive, "we may
be able to release, over time, more programme genres sport, music,
drama and possibly longer formats to the public.
"We can build on the initial factual clips offered
at launch by the BBC Creative Archive and offer a new public asset drawn
from broadcast content for the whole UK."
Professor Lawrence Lessig, chair of the Creative Commons
project, adds: "The announcement by the BBC of its intent to develop
a Creative Archive has been the single most important event in getting
people to understand the potential for digital creativity, and to see
how such potential actually supports artists and artistic creativity.
"If the vision proves a reality, Britain will become
a centre for digital creativity, and will drive the many markets
in broadband deployment and technology that digital creativity
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