SSA Annual report 2016
More rights distributed thanks to lower commission rate – the year 2016 at SSA at a glance:
- Collections reached a record level of CHF 22,942,707.00 which corresponds to an increase of 0.92% compared to the previous year. This is a result of the increase in remuneration arising from mandatory collective management. In other categories, divergent developments could be observed.
- Expenditure could be reduced thanks to savings in certain areas by 4.3% (-CHF 146,000.00).
- SSA lowered the average commission rate for the fifth time in a row. In 2016, the rate was 12.75%, i.e. 0.31 percentage points, or 2.37% less than in the previous year. Over the last six years, the commission rate decreased by a total of 27.8%.
- SSA pays out remuneration to members and sister societies on a monthly basis. The amount SSA paid out increased by 5.31%.
- At the end of 2016, SSA had 2,999 members.
- SSA is excited about the conclusion of a framework agreement in the VoD sector with the umbrella organisations of Swiss cable network operators. This means a huge step forward with regards to copyright management in the digital economy.
- The consultation on the revision of the Swiss Copyright Act, launched in 2015, triggered a plethora of mainly negative statements and opinions. The working group AGUR was summoned by the Federal Council again. The results look promising, the review shows positive developments. As a result of the vehement opposition by creators, the intended quasi-nationalisation of collective management organisations is now not going to be introduced.
- A total of CHF 1,307,260.00 was spent for cultural purposes in 2016. Of the 475 authors who participated in competitions and programmes, 116 received a subsidy. 9 prizes were awarded during Swiss film festivals.
- Due to the collections made in 2016, CHF 1.217m could be paid into the cultural funds and around CHF 655,000 into the two social funds.
- Legislation is making slow progress at EU level. The desire to create a homogeneous digital market failed due to reality kicking in, since audiovisual works in Europe are financed in line with the principle of territoriality. Cross-border content access was only loosened selectively.
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