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| Sociedad Chilena del Derecho de Autor | |
|---|---|
| Name | Sociedad Chilena del Derecho de Autor |
| Native name | Sociedad Chilena del Derecho de Autor |
| Formation | 1929 |
| Headquarters | Santiago de Chile |
| Region served | Chile |
| Type | Collective management organization |
| Leader title | President |
Sociedad Chilena del Derecho de Autor is a Chilean collective management organization dedicated to the administration of authors' rights for musical, literary, audiovisual, and artistic works. Founded in Santiago de Chile, it operates within the framework of Chilean intellectual property legislation and interacts with international entities to license and collect royalties for creators. The organization engages with cultural institutions, broadcasting companies, performing arts venues, and educational establishments across Chile.
The organization traces roots to early 20th century initiatives alongside institutions such as Universidad de Chile, Teatro Municipal de Santiago, Sociedad de Autores y Compositores de Música de España, Confédération Internationale des Sociétés d'Auteurs et Compositeurs, and later exchanges with World Intellectual Property Organization and Organisation for Economic Co-operation and Development delegations. During the 1930s and 1940s its formation paralleled developments involving Carlos Ibáñez del Campo administrations, interactions with Biblioteca Nacional de Chile, collaborations with Fundación Biblioteca Nacional, and debates in the Congreso Nacional de Chile. In the 1960s and 1970s the society's activity intersected with performers linked to Violeta Parra, Víctor Jara, Inti-Illimani, Los Jaivas, and dialogues with cultural policy actors from Ministerio de Educación de Chile and Consejo Nacional de la Cultura y las Artes. After the 1990s the society expanded contacts with Society of Authors and Composers (SADAIC), ASCAP, BMI, PRS for Music, and bilateral accords with Instituto Nacional de Derechos Intelectuales and the World Trade Organization Chilean delegations.
Governance has included boards with representatives from sectors represented by entities like Sociedad Chilena del Derecho de Autor founders, music publishers tied to Canal 13 (Chile), film producers linked to Cineteca Nacional, theater collectives associated with Centro Cultural Gabriela Mistral, and literary societies such as Sociedad de Escritores de Chile. Administrative divisions often reflect departments akin to those in Sociedad General de Autores y Editores and Japanese Society for Rights of Authors, Composers and Publishers structures, with regional offices near Valparaíso, Concepción, Chile, Antofagasta, La Serena and liaison with municipal cultural units like Ilustre Municipalidad de Santiago. Leadership interacts with tribunals such as Corte Suprema de Chile when disputes arise and with regulatory bodies including Servicio de Impuestos Internos.
Primary functions include collective licensing, rights management, royalty collection, dispute resolution, and cultural promotion, executed in venues ranging from Teatro Oriente to Festival de Viña del Mar stages. Activities involve negotiations with broadcasters such as Televisión Nacional de Chile, Mega (Chilean TV channel), Canal 13 (Chile), and streaming platforms comparable to Spotify and YouTube. The society negotiates tariffs referenced in agreements with entities like Chilevisión and international festivals including Festival Internacional de Cine de Valdivia and Santiago a Mil. It also provides services to composers connected to Pablo Neruda foundations, to performers akin to Mon Laferte, and to publishers such as Editorial Universitaria.
Membership encompasses authors, composers, lyricists, publishers, and heirs represented by affiliations similar to those in Society of Authors, Composers and Publishers of Mexico (SACM), Asociación de Editores de Chile, Sociedad de Escritores de Chile, and performance unions like Sindicato de Actores de Chile. Admission procedures echo practices used by Sociedad de Autores y Compositores de Música de España and require documentation comparable to registrations with Registro Civil de Chile or declarations before Notaría. Members have included creators paralleling profiles of Gonzalo Rojas estates, Nicanor Parra estates, and estates managing rights of figures associated with Teatro Nacional Chileno and regional cultural centers.
Royalty collection mechanisms operate through blanket licenses and usage reporting from radio broadcasters like Radio Cooperativa, Radio Bio-Bio, concert promoters such as Producciones Teatro Municipal and venues including Movistar Arena (Santiago), with distributions calculated by schedules resembling those used by BMI and ASCAP. The society administers repertories involving publishers like Warner Chappell Music affiliates, local labels connected to Feria Chilena del Disco and catalogues of composers comparable to Francisco Flores del Campo. Auditing and accounting practices align with standards referenced by International Federation of the Phonographic Industry and financial regulators including Superintendencia de Valores y Seguros.
The organization has faced controversies over tariff setting and transparency, echoing disputes seen in cases involving ASCAP and SACEM, debates in legislative bodies such as Cámara de Diputados de Chile, and public criticism during high-profile events like Festival de Viña del Mar performances. Critics have cited disputes over distribution criteria that recall litigation before the Corte de Apelaciones de Santiago and administrative reviews similar to those involving Instituto Nacional de Derechos Intelectuales. Allegations have sometimes involved comparisons to practices scrutinized in jurisdictions overseen by European Court of Human Rights and commercial negotiations observed by World Intellectual Property Organization observers.
The society operates under Chilean intellectual property statutes including provisions comparable to those in the Ley de Propiedad Intelectual (Chile) framework and interacts with institutions such as Instituto Nacional de Derechos Intelectuales, Dirección de Bibliotecas, Archivos y Museos, and the Ministerio de las Culturas, las Artes y el Patrimonio. International treaties affecting its work include instruments akin to the Berne Convention for the Protection of Literary and Artistic Works, agreements related to Agreement on Trade-Related Aspects of Intellectual Property Rights, and bilateral accords negotiated with entities influenced by United States–Chile Free Trade Agreement delegations. Judicial oversight has involved precedents from courts such as the Corte Suprema de Chile and appellate tribunals that interpret statutory mandates.
Category:Intellectual property organizations in Chile