Praxedis Ajeng Pradita
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PERLINDUNGAN HUKUM TERHADAP HAK CIPTA BIDANG LAGU DAN/ATAU MUSIK BERDASARKAN PP NOMOR 56 TAHUN 2021 TENTANG PENGELOLAAN ROYALTI HAK CIPTA LAGU DAN/ATAU MUSIK Nafisah Muthmainnah; Praxedis Ajeng Pradita; Cika Alfiah Putri Abu Bakar
Padjadjaran Law Review Vol. 10 No. 1 (2022): PADJADJARAN LAW REVIEW VOLUME 10 NOMOR 1 JULI 2022
Publisher : PADJADJARAN LAW RESEARCH AND DEBATE SOCIETY

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.56895/plr.v10i1.898

Abstract

Abstrak Royalti bertujuan untuk memberikan perlindungan dan kepastian kepada pencipta dan pemilik hak terkait atas ciptaan yang dipergunakan untuk memperoleh keuntungan. Prosedur penarikan, penghimpunan, dan pendistribusian royalti dikenakan kepada suatu karya lagu dan/atau musik yang digunakan secara komersial sebagaimana telah diatur dalam PP No. 56 Tahun 2021 tentang Pengelolaan Royalti Hak Cipta Lagu dan/atau Musik. Besaran pengenaan royalti pada tiap – tiap layanan publik yang bersifat komersial diatur dalam SK Kemenkumham Nomor: HKI.2.OT.03.01-02 Tahun 2016. Pengelolaan royalti tersebut dilakukan oleh Lembaga Manajemen Kolektif Nasional (LMKN) dibantu Lembaga Manajemen Kolektif (LMK) berdasarkan data yang terintegrasi pada pusat data lagu dan/atau musik bertajuk SILM (Sistem Informasi Lagu dan/atau Musik). Penelitian ini mengkaji prosedur pengelolaan royalti dan pihak-pihak yang terlibat didalamnya menggunakan penelitian yuridis normatif dengan data sekunder meliputi bahan hukum primer dan sekunder. Hasil penelitian ini menunjukkan bahwa hadirnya PP Nomor 56 Tahun 2021 tentang Pengelolaan Royalti Hak Cipta Lagu dan/atau Musik berdampak besar terhadap perlindungan hak cipta dari pencipta dan pemilik hak terkait walaupun diperlukan ketentuan dan mekanisme yang lebih jelas dan spesifik dalam melindungi objek pengenaan royalti. Adapun sistem pengelolaan royalti yang penulis arahkan untuk dibangun ialah sistem berbasis online. Kata Kunci : Lagu dan/atau Musik, LMKN, Royalti, Pusat Data Lagu dan/atau musik, SILM Abstract Royalties aim to provide protection and certainty to creators and owners of copyrights over works that are used for profit. The procedure for withdrawing, collecting and distributing royalties is imposed on a song and/or music that is used commercially as regulated in Government Regulation No. 56 of 2021 concerning Management of Song and/or Music Copyright Royalties. The amount of royalty imposed on each commercially public service is regulated in the Ministry of Law and Human Rights Decree Number: HKI.2.OT.03.01-02 Year 2016. The management of royalties is carried out by the National Collective Management Institute (LMKN) assisted by the Collective Management Institute (LMK). Based on integrated data in the song and/or music data center entitled SILM (Song and/or Music Information System). This study examines the royalty management procedure and the parties involved in it using normative juridical research with secondary data including primary and secondary legal materials. The results of this study indicate that the presence of PP No. 56 of 2021 concerning Management of Song and/or Music Copyright Royalties has a major impact on copyright protection of the creators and related rights owners, although a clearer and more specific provisions and mechanisms are needed to protect the object of imposition of royalties. The royalty management system that the author directs to build is and online-based system. Keywords: Song and/or Music, National Collective Management Institute, Royalties, Song and/or Music Data Center, SILM
Pelindungan Hak Ekonomi Terhadap Pencipta Sinematografi Digital: Studi Perbandingan Hukum Hak Cipta Indonesia dan Jerman Praxedis Ajeng Pradita; Eddy Damian; Tasya Safiranita
Jurnal Hukum dan Sosial Politik Vol. 2 No. 1 (2024): Februari : Jurnal Hukum dan Sosial Politik
Publisher : Lembaga Pengembangan Kinerja Dosen

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59581/jhsp-widyakarya.v2i1.2098

Abstract

Cinematographic work is protected by law under the Copyright Law No. 28 of 2014 in Indonesia. The fundamental principle is that the Creator is entitled to fair remuneration for the use of their work, in line with the alter-ego concept that gives the highest position to the Creator. In contrast to Indonesia, Germany has clearly regulated the procedures for the collection, management, and distribution of remuneration through the Urheberrechtsgesetz and the Collective Management Organization (CMO) operating with authorization from the Creator. The research method used is juridical-normative with a descriptive analysis approach. This study applies a comparative legal approach, utilizing data from both conventional and online literary sources, as well as interviews. The research findings indicate that Indonesia does not yet have specific regulations to protect the economic rights of digital cinematography. The absence of a Collective Management Organization (CMO) leads to an imbalance in licensing agreements between the Creator and digital platforms as users of cinematographic works.