Asked by: Giles Watling (Conservative - Clacton)
Question to the Department for Digital, Culture, Media & Sport:
To ask the Secretary of State for Culture, Media and Sport, what assessment she has made of the effectiveness of the Breaching of Limits on Ticket Sales Regulations 2018 at preventing the use of automated software to purchase more tickets than the maximum permitted number.
Answered by John Whittingdale - Shadow Minister (Health and Social Care)
We are committed to supporting fair and transparent ticket pricing and tackling unacceptable behaviour in this market.
We have strengthened the law in relation to ticketing information requirements and have introduced a criminal offence of using automated software to buy more tickets online than is allowed. We also support the work of enforcement agencies in this area, such as the Competition and Markets Authority, National Trading Standards, and the advertising industry's own regulator, the Advertising Standards Authority.
The effectiveness of any legislation is dependent on people and organisations reporting suspected breaches to the relevant enforcement agencies, and we strongly encourage anyone with evidence of suspected ticketing fraud to report it to them.
Asked by: Giles Watling (Conservative - Clacton)
Question to the Department for Digital, Culture, Media & Sport:
To ask the Secretary of State for Digital, Culture, Media and Sport, what recent assessment she has made regarding the impact of artificial intelligence developments on employment opportunities for performers and creative workers.
Answered by Chris Philp - Shadow Home Secretary
Artificial Intelligence (AI) is one of the global trends which will transform our future, changing jobs across the economy, including those working in the arts and creative industries.
The creative industries’ growing interdependence with the digital sector is inspiring business growth, invention and investment. The sector already makes ingenious use of AI in many ways: to recommend content on streaming platforms, to create Luke Skywalker’s voice in The Mandalorian, and to govern the behaviour of non-playable characters in video games. However adoption of AI is not uniform across the sub sectors, which risks us missing prime opportunities to improve productivity and growth.
We want our creative workers to be able to build further on these technological opportunities, which will play an increasingly vital part in the sectors’ success, whilst safeguarding against risks associated with increasing automation. Our Creative Industries Sector Vision will set out a long-term strategy focused on promoting growth, with a section dedicated to the exciting future of this dynamic workforce, including the impact of AI.
In the National AI Strategy, the government set out a number of steps it is taking to develop the brightest, most diverse workforce: from bolstering the provision of higher level skills at PhD and Masters level to developing research that helps employees, from across sectors, to understand what skills are needed for them to effectively use AI in a business setting.
Additionally, UK Research & Innovation (UKRI) is developing a programme to help accelerate the adoption of AI in certain low AI maturity sectors which are key to the UK economy, with the creative industries being a potential priority sector to explore, which will help to improve the sector’s productivity.
Asked by: Giles Watling (Conservative - Clacton)
Question to the Department for Digital, Culture, Media & Sport:
To ask the Secretary of State for Digital, Culture, Media and Sport, whether the Government's proposed trade deals with Norway, Iceland and Liechtenstein include permit free touring provisions for UK support staff involved in touring activities in the EEA.
Answered by Caroline Dinenage
The UK’s creative industries are the finest in the world and this Government understands that the cultural and creative sectors rely on the ability to move people across borders quickly, simply, and with minimal cost and administration.
On 8 July, the UK - Norway, Iceland and Liechtenstein Free Trade Agreement was signed.
The agreement allows UK touring artists, entertainers and support staff to travel to and work in Norway and Liechtenstein for 90 days in any 180 day period, and Iceland for 90 days in one calendar year without the need for a work permit.
The deal was based on the same UK offer that the EU turned down in negotiations. This shows our proposals were workable and our door remains open if the EU is willing to reconsider its position.
To provide further clarity on the arrangements, UK and EEA states plan to issue a non-binding clarification of entry routes for performers, artists and their support staff.
Asked by: Giles Watling (Conservative - Clacton)
Question to the Department for Digital, Culture, Media & Sport:
To ask the Secretary of State for Digital, Culture, Media and Sport, what plans he has to work with his counterparts in the EU member states that have more restrictive visa and work permit requirements than those of the UK, to ensure that artists from the UK can continue touring on a reciprocal basis.
Answered by Caroline Dinenage
We have always acknowledged that the end of freedom of movement would have consequences for touring musicians and performers. That is why, as the Secretary of State has said, we have moved at pace and with urgency to provide greater clarity about the current position, including working with our friends in EU Member States, to support the creative sectors tour in Europe with ease.
Member States are principally responsible for deciding the rules governing what work UK visitors can undertake in the EU, and we have spoken to every Member State. We have established musicians and performers do not need visas or work permits for short-term tours in at least 19 out of 27 Member States. This includes France, Germany, the Netherlands, Denmark and many more. The length of tour permitted without a visa or permit varies across Member States. For many Member States it is for up to 90 days, which will capture the vast majority of tours.
We are continuing to speak to all Member States to encourage them to ensure their rules and guidance are clear and accessible. And we are now working closely with those Member States that do require visas or work permits for short-term tours to encourage them to adopt a more flexible approach, in line with the UK’s own rules which allow creative professionals to tour here easily. Formal approaches have been made to those Member States, and DCMS ministers will play an active role in discussions.
Asked by: Giles Watling (Conservative - Clacton)
Question to the Department for Digital, Culture, Media & Sport:
To ask the Secretary of State for Digital, Culture, Media and Sport, pursuant to the Answer on 25 May to Question 3150 on Theatre: EU Countries, what assessment his Department has made of the varying time limits placed on touring activities without needing visas or work permits offered by the 17 EU Member States.
Answered by Caroline Dinenage
We have always acknowledged that the end of freedom of movement would have consequences for touring musicians and performers. That is why, as the Secretary of State has said, we have moved at pace and with urgency to provide greater clarity about the current position, including working with our friends in EU Member States, to support the creative sectors tour in Europe with ease.
Member States are principally responsible for deciding the rules governing what work UK visitors can undertake in the EU, and we have spoken to every Member State. We have established musicians and performers do not need visas or work permits for short-term tours in at least 19 out of 27 Member States. This includes France, Germany, the Netherlands, Denmark and many more. The length of tour permitted without a visa or permit varies across Member States. For many Member States it is for up to 90 days, which will capture the vast majority of tours.
We are continuing to speak to all Member States to encourage them to ensure their rules and guidance are clear and accessible. And we are now working closely with those Member States that do require visas or work permits for short-term tours to encourage them to adopt a more flexible approach, in line with the UK’s own rules which allow creative professionals to tour here easily. Formal approaches have been made to those Member States, and DCMS ministers will play an active role in discussions.
Asked by: Giles Watling (Conservative - Clacton)
Question to the Department for Digital, Culture, Media & Sport:
To ask the Secretary of State for Digital, Culture, Media and Sport, what recent progress he has made on (a) short term visa and (b) work permit requirements for touring artists and support staff since since the publication on the UK-EU Trade and Cooperation Agreement.
Answered by Caroline Dinenage
We have always acknowledged that the end of freedom of movement would have consequences for touring musicians and performers. That is why, as the Secretary of State has said, we have moved at pace and with urgency to provide greater clarity about the current position, including working with our friends in EU Member States, to support the creative sectors tour in Europe with ease.
Member States are principally responsible for deciding the rules governing what work UK visitors can undertake in the EU, and we have spoken to every Member State. We have established musicians and performers do not need visas or work permits for short-term tours in at least 19 out of 27 Member States. This includes France, Germany, the Netherlands, Denmark and many more. The length of tour permitted without a visa or permit varies across Member States. For many Member States it is for up to 90 days, which will capture the vast majority of tours.
We are continuing to speak to all Member States to encourage them to ensure their rules and guidance are clear and accessible. And we are now working closely with those Member States that do require visas or work permits for short-term tours to encourage them to adopt a more flexible approach, in line with the UK’s own rules which allow creative professionals to tour here easily. Formal approaches have been made to those Member States, and DCMS ministers will play an active role in discussions.
Asked by: Giles Watling (Conservative - Clacton)
Question to the Department for Digital, Culture, Media & Sport:
To ask the Secretary of State for Digital, Culture, Media & Sport, what recent assessment he has made of the potential effect of the Trade and Cooperation Agreement with the EU on the ability of theatre productions that originate in the UK to undertake a continuous multinational tour in Europe.
Answered by Caroline Dinenage
This Government recognises the importance of our world leading creative and cultural industries, including theatre. Touring is a vital part of performers’ careers, providing not only a vital income stream, but also enriching opportunities for cultural exchange across the world. Being outside the European Union does not change this. It does, however, mean practical changes on both sides of the Channel that will require understanding and adaptation.
UK performers and artists are of course still able to tour and perform in the EU, and vice versa. However, we understand the concerns about the new arrangements and we are committed to supporting the sectors as they get to grips with the changes to systems and processes.
As the Prime Minister has said, we're working flat out with the industry, including through the DCMS-led working group, on plans to support the creative sectors tour in Europe. Through our bilateral discussions with EU Member States, we have established that in at least 17 out of 27 Member States some touring activities are possible without visas or work-permits.
In recognition of the value of the cultural and creative industries - including theatre - at Budget 2021 this government announced an additional £300 million of support in England through the Culture Recovery Fund. This extra funding means that our total support package for culture during the pandemic is now approaching £2 billion. These are unprecedented sums.
Asked by: Giles Watling (Conservative - Clacton)
Question to the Department for Digital, Culture, Media & Sport:
To ask the Secretary of State for Digital, Culture, Media and Sport, what assessment he has made of the potential merits of allocating additional funding to the Public Lending Right fund to assist authors with falling incomes during the covid-19 outbreak.
Answered by Caroline Dinenage
There are no current plans to increase the overall amount of the PLR central fund in response to the COVID -19 outbreak or more generally. The British Library administers the PLR Scheme on behalf of the Government and the funding level of the PLR would form part of the consideration of British Library’s overall funding at a future spending review.
Asked by: Giles Watling (Conservative - Clacton)
Question to the Department for Digital, Culture, Media & Sport:
To ask the Secretary of State for Digital, Culture, Media and Sport, if he will allocate additional funding to the Public Lending Right fund.
Answered by Caroline Dinenage
There are no current plans to increase the overall amount of the PLR central fund in response to the COVID -19 outbreak or more generally. The British Library administers the PLR Scheme on behalf of the Government and the funding level of the PLR would form part of the consideration of British Library’s overall funding at a future spending review.
Asked by: Giles Watling (Conservative - Clacton)
Question to the Department for Digital, Culture, Media & Sport:
To ask the Secretary of State for Digital, Culture, Media and Sport, whether his Department has undertaken research on the value added by scriptwriting to the UK creative industries.
Answered by Caroline Dinenage
The Government supports scriptwriters as part of its broader sectoral support for the film sector, in particular through the approximately £70 million provided annually (including Lottery funding) to our lead agency for film the British Film Institute, and its funded partners. This funding supports screenwriting specific opportunities offered as part of the BFI Film Academy and BFI NETWORK, which invest in the next generation of screenwriting talent.
While the Department has not undertaken such specific research, the global box office performance of UK films and foreign productions which draw on UK source material is a good indicator of the value of scriptwriting. Of the top 200 grossing films released worldwide from 2010 to 2019, 26 are based on stories and characters created by UK writers, and collectively these films have earned $19 billion at the global box office,13% of the total.