1971: Film director loses copyright 16

T:
As a result of this law (the new Copyright Law), as I have been saying, the original work, screenplay, and music are now protected by copyright independently, so there is almost no problem in that respect.

In the end, those who were left out were those in charge of "filmmakers, directors, directors, cinematographers, art directors, etc. without the word '衣(Koromo)'" as stated in Article 16, and who also contributed creatively to the overall formation of the film.
These people have been excluded from the protection of personal rights and property rights under the Copyright Law, and this has continued to the present day.

In this way, in a situation where real film copyright holders cannot obtain any rights under the Copyright Law, it is only natural that the burden will be severely passed on to those who are excluded from the law.
Their wages will become increasingly low and their working conditions will become cheaper.
Since those who should be protected by copyright are not protected, it is legally inevitable that the working conditions and production environment of those who are outside copyright protection will deteriorate, which leads to workplace accidents and poor subcontracting conditions.

Copyright law is a law that protects intangible property rights (those who have contributed creatively to the overall formation of a work).

When making a work (for example, a movie), the working conditions of those involved in the employment and labor-management relationships are determined by labor law.

Article 28 of the Constitution guarantees the three labor laws (the right to organize, the right to organize, and the right to collective bargaining (the right to strike)) as basic rights of workers.

If the working conditions are bad, the only way to win is through unity. In that case, a labor union is formed based on labor law.
Regarding working conditions, there is the Labor Standards Act. In case of disputes, there is the Labor Relations Adjustment Act.

Regarding subcontracting and contracting contracts for anime subcontracting, there is the Civil Code. *1

Experts say that "it's fine if you decide through mutual discussion (mentioned above)," but I think the reality of contracting contracts is very poor.

So what should people who work in anime do from now on?
All they can do is unite.
The only way is for people to come together, reflect the rights they actually have in copyright law issues, and return (rights, royalties, etc.) to the copyright holders who are actually working in the field.

I became involved in this issue over 20 years ago.
The organizers asked me to be a lecturer this time.
There is a lot I don't know about anime, so I would like to hear your opinions and reflect them in my future activities.

That's all for now.

*1 There are no "contract documents" for employment or subcontracting in the Japanese anime industry. This has been a problem in recent years, even at the Ministry of Economy, Trade and Industry, and they have created guidelines and requested companies to create contracts, but these are rarely followed.

To be continued