Emma RAFOWICZ

Policy topics Emma RAFOWICZ is active on

What Emma RAFOWICZ has said (14)

• 2025-06-13 “E-002400/2025 Answer given by Executive Vice-President Virkkunen on behalf of the European Commission The Commission is aware of the concerns expressed by European independent music producers and performers on the consequences of applying national treatment to the single equitable remuneration right, as stipulated under Directive 2006/115/EC 1 , on third-country nationals in accordance with the EU’s international obligations and the Charter. Over the past years, the Commission conducted a comprehensive evidence-gathering to analyse the remuneration of phonogram producers and performers. This revealed significant differences across Member States in the law and practice of remunerating third-country phonogram producers and performers. The Commission will continue to assess options for the way forward in the light of the EU’s international obligations and the Charter. 1 https://eur-lex.europa.eu/eli/dir/2006/115/oj/eng.”
  EU-US trade relations
• 2025-02-26 “E-000858/2025 Answer given by Executive Vice-President Virkkunen on behalf of the European Commission MediaInvest 1 , a part of the InvestEU 2 programme, is a dedicated equity investment vehicle aimed at stimulating private investment in the audiovisual and gaming sectors. It is implemented by the European Investment Fund 3 (EIF) on behalf of the Commission. To date, the EIF has signed four deals under MediaInvest (Logical Content Ventures (France), focusing on content production; Behold Ventures (Sweden) focusing on video games sector; IPR.VC (Finland) focusing on European films and TV series; Together S.L.P (France), focusing on audiovisual small and medium enterprises). The EIF publishes once a year on its website a list of (i) financial intermediaries 4 being supported via InvestEU, including MediaInvest; and (ii) final beneficiaries 5 that have received financial support via InvestEU for an amount of at least EUR 500 000. As announced in the Communication ‘The Road to the next multiannual financial framework’ 6 , the Commission intends to present its proposal for the next multiannual financial framework in July 2025. InvestEU aim at ensuring that financial intermediaries commit to invest a minimum amount into EU eligible companies. In addition, MediaInvest requires that a significant percentage of the investments targets audiovisual projects based in the EU. 1 https://digital-strategy.ec.europa.eu/en/policies/mediainvest 2 https://eur-lex.europa.eu/legal-content/EN/TXT/?uri=LEGISSUM:4516649 3 eif.org/index.htm 4 www.eif.org 5 https://www.eif.org/InvestEU/equity_products/ieu-equity-visibility-report-final-recipients.pdf 6 COM(2025) 46 final.”
  EU support for traditional (non-digital) media · EU industrial funding
• “Can we accept en masse AI production of child pornography with unprecedented violence? Ai images were circulated on grock through X, and we're seeing this become a day to day event. It is a commodification of horror. Crime is a business like any other. And what can I say about the hypocrisy of the far right on this? Jordan Bardella and the far right, only a few months ago, were calling for Elon Musk to be given the Sakharov Prize for Human Rights. Are they thinking about children and women in Europe? The far right says its patriotic defence, technological sovereignty and uses US companies to run campaigns in Paris. So what is it doing apart from bending the knee before idols such as Musk and the MAGA movement, it is creating an entire movement that has brought you to your knees and we all need to stand up for that.”
  Transparency and oversight of AI-generated content
• “And of course we here want to ensure the independence, independence, and we want to independent media protection. That's very important for us. It's also important as the European Culture Committee of ministers asked for us. They want protection of the culture of all audiovisual media as well. The independent production of that. Now, I would like to know more from you about the Avm's. You've spoken about it in your introduction saying how important the quotas are, saying that they have proved their worth. So we think that the this directive is very important for us when it comes to investments as well. And this has been recognised as well by the president of the Commission. So this director directive is being attacked. Why aren't you going to be defending it more? That's what I would like to know. And then on generative artificial intelligence, you said during your hearing before you were commissioner that you have to have a proper market with protected copyright and actors being protected. So what do you think about the work that we're that's going on with Axel Voss and Jury Committee when it comes to generative artificial intelligence? Thank you very much. And please do keep to your speaking time so that everybody has time to ask a question. And now a fifth. Yes, thank you very much. On the 20th of January, there was a code of conduct relating to hate speech, a revised conduct that's been introduced now.”
  EU support for traditional (non-digital) media
• “Thank you, Madam Chair. Madam Vice President, I've got several questions that I'd like to put to you. You talked about what we need to do to create technological and cultural sovereignty in Europe, and I think that's at the heart of the debate. The debate around generative AI is omnipresent in this committee. We talk about it frequently. I'd like to thank you, because you answered the letter that I and other colleagues sent to you about the about respecting rights for generative AI in Europe. And you said, as you've just said, that with regard to the digital platforms, the major platforms all need to respect our rights, our laws in Europe. That's part of the rule of law and it's part of copyright rules. So I'd like to ask whether you support the request that was made in the heart of the Voss Report, which was adopted in January last year, to establish a right to ensure that any generative AI put on the market has rights attached to it. So I think we really do need to ensure that that right is implemented to ensure that our technological and cultural sovereignty in Europe is asserted.”
  EU digital & tech sovereignty
• “Thank you. Thank you very much to all of you for this exchange of views. Several of the speakers have reiterated that generative AI is an unprecedented challenge for artists and culture. This is not just a fight between innovation on the one hand and culture on the other. No, this is a civilizational issue. We have a European model, but we also have a democratic culture. And this culture is a key challenge for European culture. We have the invasion of Ukraine by Russia, which is carrying out a cultural cleansing. And often culture is considered just as a good and seeing a Consumer market there for the taking. Now this obviously if we don't enjoy there is this is in line with our values. We may see degeneration of AI which is fed by artificial data. And it may end up being unsustainable because the data will not allow for transparency or for remuneration of authors. Professor Bensimon, you very relevantly pointed out in your report which has been published that safeguarding the right to appeal needs to be a red line. The the rights of rights holders need to be enshrined so that we and we have enough, um, transparency with guarantees. This right to appeal is being deliberately ignored by the Commission. And I think that we are all disappointed with the code of practice, but there's also a lack of clarity. It's all too opaque. We want to see, uh, European Data Register. How can you explain, especially in line with the texts adopted at trilogue, that the Commission. Is able to flout this right to to appeal? Do you not think that we should move towards new mechanisms to allow proof to be given that the content has not been generated by a. Now, obviously we need to respect many principles, but the transparency of the database, consent and fair remuneration are the key ones. Thank you.”
  Transparency and oversight of AI-generated content
• “And we know then that the condition of eligibility for this programme, especially on the opening of the media plus in article 16, well, there will be a lot of questions in which we will try to to answer collectively and to create. I would say a frame that at the end guarantee that European funding public fundings primarily, primarily benefits the European audiovisual ecosystem and obviously the cultural ecosystem without concentration. And at the end, I want to say that today we need to say that this proposal seems to be driven primarily by a defensive logic, obviously, linking culture to disinformation to security threats, to the preservation of European identity. It is obviously also at the core of what today we also face, especially as a European Union, that faces a lot of, I would say, unbalanced and also insecurities. But we know that a defensive vision is not the only one that can that can prevail. It is an important one. But we need also to rebalance this vision because a cultural agenda. Some people talked about a cultural compass before us. Well, that means more than only protecting. That means more than only defence. It must also create inspiration. It must inspire project for our entire society and offer future oriented imaginaries. It is not only about defense but also about hope. And I will believe that together with all shadow rapporteurs and obviously the Code Committee and the Commission, we will create a hopeful program. Thank you guys.”
  EU and national cultural identities
• “Thank you for the. Thank you very much indeed, chairman. Thank you, Commissioner, for being here. It's excellent to have this opportunity for this exchange of views. I'm sorry, but I'll have to be very quick. Chapter two working conditions of the professionals in the sector. This is something which is important. What do you intend to do to ensure that they have a decent standard of living? How do you intend to provide adequate financing for the projects that they might want to pursue? And how do you intend to create a leverage effect so that they can actually respond to the tenders that they and the opportunities they have? They also would need some support for this often, I think. How do you think a sectoral approach will be beneficial if you have a literary approach, a literary sector, a cinema sector, a music sector or music strand. How do you think this will actually benefit us? What criteria are you going to apply to the use of AI? Are there going to be restrictions on it to make sure that there are ethical standards complied with? I am not even Parisian, but really, you do need to look at the issue of security in museums, because half the problem, of course, is stems from austerity and the lack of funding in the sector. So what are you going to do about having more funding? I don't want to mention the Louvre, but you know what I'm saying.”
  EU and national cultural identities
• “Madam chair, colleagues, I would like to start by thanking the committee for all the work that's been done on this dossier, particularly the rapporteur and my colleagues, Miss Grossman. I am particularly pleased to see that we have made progress when it came to compromise amendment 21, which takes up part of our proposals, in particular in terms of speaking up about conversion practices and calling for a ban across Europe. I do hope that the Afet committee will take on board the very hard work which has gone in to this by all members of the committee. The EU needs to set an example, and we should show clearly that there is no place for conversion practices in our continent. This is a form of torture targeting Lgbtiq+ people. This is a kind of torture, which is shamefully called conversion therapy and seeks to legitimise an absurd, dangerous and harmful ideology. Let us recall that sexual identity and gender expression is not an illness, so there is no need for any kind of cure to be prescribed. And if you are homosexual, bisexual, transgender or queer, that is not a choice. I want to pay tribute to the European Citizens Initiative and the exceptional work which has been done to fight against conversion practices at a European level. However, this mobilisation now needs a firm coordinated response. Our fight for human rights and equality for all is a feminist battle. It is a universalist battle, and I wanted to say to citizens in Europe, in particular to LGBTQ people, that in the face of the actions by the conservative right, we will not give way. Thank you.”
  LGBTIQ+
• “Thank you, Madam Chair. Madam Vice President, I've got several questions that I'd like to put to you. You talked about what we need to do to create technological and cultural sovereignty in Europe, and I think that's at the heart of the debate. The debate around generative AI is omnipresent in this committee. We talk about it frequently. I'd like to thank you, because you answered the letter that I and other colleagues sent to you about the about respecting rights for generative AI in Europe. And you said, as you've just said, that with regard to the digital platforms, the major platforms all need to respect our rights, our laws in Europe. That's part of the rule of law and it's part of copyright rules. So I'd like to ask whether you support the request that was made in the heart of the Voss Report, which was adopted in January last year, to establish a right to ensure that any generative AI put on the market has rights attached to it. So I think we really do need to ensure that that right is implemented to ensure that our technological and cultural sovereignty in Europe is asserted.”
  Artificial Intelligence
• “Um, there's a real risk today of funds being relocated, reallocated towards other priorities rather than safeguarded for cultural activities. So I want to state that in this committee, of course, I want to say also that maybe because a lot of sectors who have been talking to us about this issue want to have, maybe. Um, well, I would say sexual approaches right now. And when we know, especially that the music sector is in need of a sexual approach, can we maybe have, um, some, I would say, um, explanation about, well, how maybe the program was actually successful to different sectors. I think it is important for, for us, for the audiovisual sector. It has been said that, uh, there was a success with co-production. It was said in the, in the presentation, um, can you maybe I want to say that for us, it will be also a priority, obviously, for the audiovisual sector and that if it is for now not present in the text, uh, since it has been a success, it will obviously be a priority for us to find again this aspect in the future proposal. Obviously, we are talking about this program because we know that for us it it is indispensable, especially in the audiovisual sector, music sector, for ensuring pluralism and artistic diversity and for counteracting the risk of concentration by large, vertically integrated groups.”
  EU and national cultural identities
• “Thank you. Colleagues, I can hear the far right saying that fighting discrimination is the same as fighting Europe and European civilization. I've even heard people talking about fighting Christmas as if they are the only ones who represent European identity, as if they just embody Christmas. Now you are not Europe. You hate Europe. The identity for Europe is democracy, its peace, its diversity, its universalism. You claim to be patriots. But all you are is fascist nationalists. We are seeing discrimination becoming more and more widespread. How can you say that your patriots, when you want to encourage discrimination for Europeans, you are funding anti-Jewish movements. Male. Men's rights movements. Discriminatory movements. And it's important for us to act. The horizontal Anti-Discrimination directive is a specific tool that we need to implement what the far right wants. Can could be something allowed by the commission if we don't act. And if if the Commission does not act. Thank you.”
  EU policy on integration and ethnic, racial and religious discrimination
• “Yeah, everyone, thank you. And sorry for being late. I was in a traffic jam. Um, so first of all, I want to say thank you for everyone being here for this important debate. We know that this is something obviously really important for us as the European Union, especially in this cold Committee. Um, I will maybe state a few things, but, uh, maybe also speak about what is positive and what is our positive views with this actually debate. And maybe what will our focus be on this, uh, this thing maybe. Thank first of all, all the shadow rapporteurs, because we already had some discussions, especially before summer when we actually didn't know what the proposal would be. I want to thank also the chair, because I know that you have been a strong support for the Agora EU and especially what was Creative Europe programme before. So maybe speak about what the positive aspects of all of this is right now. Let's say that when we hear that the program is a success, it is obviously true to say that it is also shown right now with a significant increase of the proposal in funding with a big envelope, a big, uh, with a budget envelope of €4.9 billion. So obviously it is important, with an emphasis placed on the promotion of artistic freedom, which is obviously welcome, especially right now in the European Union, even if the concrete modalities, modalities of its implementation remained Obviously to be clarified. And that's what we will do in our debates and in every work that we will have together. Obviously we have several concerns, I would say, and maybe a few questions that I'm asking the commission to, um, maybe how do we evaluate the success on on certain points? Um, obviously, we know today that the fact that the agora, the Agora EU program is placed under the budgetary heading, competitiveness, prosperity and security raised this question.”
  EU and national cultural identities
• “Thank you very much. Now the sad. Thank you very much, chair. Mrs.. Colleagues. Well, I think by way of introduction, I should say that the matters that you're responsible for and that we are we discuss as well, are essential Central matters of culture isn't subsidiary or accessory either at all. But we are convinced now that Europe is at this crossroads and is being attacked when it comes to democracy at its borders as well. And I could say more about that with what we're discussing at the EP. You know, the situation in Ukraine. So culture is very essential and it's especially a very important way of talking about defense as well. Now we are hearing about the importance of developing European defense, of course. And we know here in the Culture Committee that culture is a very important place where we have a democracy and reaction sort of clashing, coming together. So these issues that we deal with are fundamental. They're so important. They are matters that concern all of us and for the future of Europe. So with that in mind. We are wanting to have these discussions with you, and I have a number of questions for you. One about Agora EU and Mr. Micallef is responsible for that as well. And then there is the the MSD directive, the copyright directive as well. So my first question is quite straightforward. Will you support MEPs who want to set up a clear distinction between audiovisual matters and those relating to information? Of course they are both crucial.”
  EU and national cultural identities