WIPO i Omdia predstavili su podatke iz kreativne industrije u okvriru sveobuhvatnog Global Innovation Index-a (GII) koji se smatra jednim od najrelevantnijih pokazatelja za razne sfere kreativne industrije. GII nudi pokazatelje u vezi sa brojem nacionalnih igranih filmova, ali i druge koje se odnose na podatke u filmskom, TV i medijskom sektoru, uključujući filmsku produkciju, pozorišnu distribuciju i bioskopske izložbe. Pri čemu analize idu u pravcu uticaja na produckije širom sveta posle perioda pandemije, ali i u pravcu novih veza između filma i drugih sektora.
Pored raznih tabelarnih prikaza koji se odnose na statistike iz prethodnih godina i decenija, date su i prognoze. Jedna od takvih jeste prognoza da će prihodi od bioskopa u budućnosti biti povećani novim filmovima zasnovanim na igračkama ili igrama (na primer, Mario Bros i Transformers). Posledično, prava intelektualne svojine na igračkama i video igrama će poslati važan izvor stvaranja novih sadržaja. Očekuje se i značajno povećanje novih oblika originalnog pozorišnog sadržaja, uključujući koncerte na turnejama uživo (kao što je to bio slučaj sa ‘THE ERAS Tour’, pevačice Tailor Svift).
O usponu IP sadržaja i njihovom povećanom ‘uplivu’ u filmsku industriju, svedoče i analize koje je ranije publikovao Deloitte. Tu se predviđa da će se udeo prihoda u bioskopskim blagajnama od IP video igara udvostručiti do 2025, kao i da sve više filmskih ostvarenja potiče iz sveta video igara što zamagljuje granice između sveta igara i kinematografije. Ovome naročito doprinose mlađe generacije kao publika koja favorizuje razbijanje granica između tradicionalnih medija i njihove dosadašnje podele na filmske i video junake.
U prilog tome koliko je vredna spona između ‘igrica’ i filma govori činjenica da je Super Mario Brothers bio je najuspešniji film o video igricama ikada, pri čemu je njegovo prikazivanje uticalo na enormno uvećanje prihode Nintenda, od čak 1,3 milijarde dolara. Pre toga, nijedna filmska adaptacija video igrica nikada nije prešla 500 miliona dolara zarade na blagajnama.
Na tom talasu, i Electronic Arts je svoju igru Star Wars Jedi: Survivor naveo kao jedan od dva glavna ‘krivca’ za svoju znatno uvećanu kvartalnu zaradu. Slični uspesi prate Sony-jevu seriju igara The Last of Us, koja je postala veliki serijski hit na platformi Home Box Office (HBO), prošle godine. A pareleno Netflix je pokrenuo svoju ponudu mobilnih igara, koja je uključivala video igre zasnovane na filmovima i serijama iz njegovih naslova za striming.
Svi ovi parametri ukazuju na to da su priče (narativi), promocije i glumci značajni za oba sveta (filma i video igara), što se plastično ogleda u tome da produkcijski studiji nastoje da monetizuju svoje najvrednije i najuspešnije sadržaje kroz bioskope i interaktivne univerzume. IP igara pokreće prihode na blagajnama, s jedne strane, što potencijalno dovodi sve više ljudi u igru, sa druge, otvarajući prostore i za druge adaptacije i nastavke.
Globalno stanje kinematografije posle pandemije: rangiranje po zemljama
GII ponovo svrstava indiju na vrh liste kada je fimska produkcija u pitanju, pri čemu se ističe da je da je broj snimljenih filmova u jednoj godini (2022.) dostigao rekornih + 679 ostvarenja. Japan takođe beleži uspon sa + 144, Turska sa +111, kao i Španija sa +49. Međutim, najveća stopa opadanja fimskih snimanja jeste u Sjedinjenim Američkim Državama (-109), zatim Kina (-80), kao i Francuska (-57).
Indijski Bollywood je samo u 2022. godini snimio gotovo 2.500 fimskih ostvarenj, što je 29% celokupmne svetske produkcije. Trećinu od te sume snimio Hollywood (oko 835) što ga u globalnim razmera pozicionira na drugo mesto po stepenu produkcije u svetu, a za sada neobjavljene statistike iz 2024. godine ukazuju da se je broj filmova u Hollywood-u u još većem opadanju.
Na trećem mestu nalazi izuzetno napredni Japan, koji uzima sve veći procenat ukupnog share-a u svetu filma, a posebno je značajan u tom smislu ekranizacija popularnih ‘anima’ ostvarenja. Kina je na četvrtom mestu – ona ostaje vrlo snažna kao lokalna produkcija, sa ne toliko velikim ‘izvozom’ filmova.
Preostalih 20 mesta, prema pokazateljima Global Innovation Index-a zauzimaju zemlje sa srednjim ekonomskim prihodima kao što su Meksiko, Argentina, Brazil, Rusija, Filipini i Iran. Dok, kada je reč o broju snimljenih filmova u odnosu na broj stanovnika zemlje u Evropi – vodi Island, a za njim su Švajcarska, Estonija, Češka i Luksemburg.
Afričko tle je zanimljivo po svojim parametrima, i zamlje beleže skokove u filmskim produkcijama. Pa tako Maroko prednjači po tome što je učetvorostručio broj snimljenih filmova tokom četiri godine. A za njim slede Egipat i Južna Afrika.
Advokatska kancelarija Vujinović & Partners savetuje klijente u oblastima audiovizuelne, kreativne, umetničke i medijske industrije. Naši klijenti su filmski i medijski producenti, emiteri i distributeri medijskih sadržaja. Možete nas kontaktirati na office@vujinovicpartners.rs.
Global Innovation Index After Pandemic: More and More Film Productions Originate From the Video GamesWIPO and Omdia presented data from the creative industry, in the report related to the comprehensive Global Innovation Index (GII), which is considered one of the most relevant indicators for various spheres of the creative industry. The GII offers indicators related to the number of national feature films, but also others related to data in the film, TV and media sectors, including film production, theatrical distribution and cinema exhibitions. The analysis goes in the direction of the impact on products around the world after the pandemic period, but also towards new connections between film and other sectors.
In addition to various tabular presentations related to statistics from previous years and decades, forecasts are also given. One such forecast is that future movie theater revenues will be boosted by new movies based on toys or games (for example, Mario Bros. and Transformers). Accordingly, intellectual property rights in toys and video games will be an important source of new content creation. A significant increase in new forms of original theatrical content is also expected, including live touring concerts (as was the case with singer Taylor Swift’s “THE ERAS Tour”).
The rise of IP content and their increased “influence” in the film industry is also evidenced by the analysis that was previously published by Deloitte. It predicts that the share of cinema box office revenue from IP video games will double by 2025, and that more and more film productions originate from the world of video games, blurring the lines between the world of games and cinema. Younger generations especially contribute to this as an audience that favors breaking the boundaries between traditional media and their previous division into film and video heroes.
The fact that Super Mario Brothers was the most successful movie about video games ever shows how valuable the bond between ‘games’ and film is, and its release has contributed to an enormous increase in Nintendo’s revenues, as much as 1.3 billion dollars. Before that, no movie adaptation of a video game had ever crossed $500 million at the box office.
On that wave, Electronic Arts cited its game Star Wars Jedi: Survivor as one of the two main ‘culprits’ for its significantly increased quarterly earnings. Similar success follows Sony’s game series The Last of Us, which became a huge serial hit on the Home Box Office (HBO) platform last year. And in parallel, Netflix launched its mobile gaming offering, which included video games based on movies and series from its streaming titles.
All these parameters indicate that stories (narratives), promotions and actors are important for both worlds (film and video games), which is reflected in the fact that production studios strive to monetize their most valuable and successful content through cinemas and interactive universes. IP games drive revenue at the box office, on the one hand, which potentially brings more and more people to the game, on the other, opening up spaces for other adaptations and sequels.
The global state of cinema after the pandemic: ranking by country
GII again places India at the top of the list when it comes to film production, where it is pointed out that the number of films made in one year (2022) has reached a record + 679 productions. Japan also recorded a rise with +144, Turkey with +111, as well as Spain with +49. However, the highest rate of decrease in film shootings is in the United States of America (-109), followed by China (-80), as well as France (-57).
Indian Bollywood recorded almost 2,500 films in 2022 alone, which is 29% of the total world production. A third of that amount was shot by Hollywood (about 835), which globally positions it in second place in terms of production in the world, and for now unpublished statistics from 2024 indicate that the number of films in Hollywood is in even greater decline.
In third place is extremely advanced Japan, which is taking an increasing percentage of the total share in the world of film, and the screen adaptation of popular ‘anime’ productions is particularly significant in this sense. China is in fourth place – it remains very strong as a local production, with not so much ‘export’ of films.
The remaining 20 places, according to the Global Innovation Index, are occupied by middle-income countries such as Mexico, Argentina, Brazil, Russia, the Philippines and Iran. However, when it comes to the number of films made in relation to the number of inhabitants of the country in Europe – Iceland leads, followed by Switzerland, Estonia, the Czech Republic and Luxembourg.
African soil is interesting in terms of its parameters, and the country’s record jumps in film productions. Thus, Morocco leads the way by quadrupling the number of films produced in four years. And it is followed by Egypt and South Africa.
Vujinović & Partners specializes in the field audiovisual, creative sector, art, and media industries. Since we actively advise film and media producers, broadcasters, and other distributors of media content, you can anytime contact us at office@vujinovicpartners.rs.
Officially Among the World’s IP Elite: Nikolina Vujinović Ranked by IP STARSThe just published MIP (Managing Intellectual Property) IP STARS ranking list ranked partner Nikolina Vujinović as Copyright star za 2024 for the jurisdiction of Serbia. Nikolina is the only one ranked with this rating in Serbia, which makes this success even greater.
We are honored to be recognized in this international professional guide to legal practices in the field of intellectual property. Nikolina Vujinović and the team she leads have an exceptional practice with specialization in the field of intellectual property law. They advised some of the largest international companies operating on the market of Serbia and the region in the field of media, creative industry, pharmaceuticals and healthcare. They are dedicated to the protection of intellectual property and are involved in many domestic and international projects aimed at improving copyright and related rights.
Once again, big congratulations to our entire team for the results achieved and the recognition received.
Zvanično Među Svetskom IP Elitom: IP STARS rangirao Nikolinu Vujinović
Upravo objavljena MIP (Managing Intellectual Property) IP STARS rang lista je rangirala partnera Nikolinu Vujinović kao Copyright star za 2024. godinu za jurisdikciju Srbije. Nikolina je jedina rangirana sa ovim rejtingom u Srbiji, što ovaj uspeh čini još većim.
Velika nam je čast što smo dobili priznanje u ovom međunarodnom stručnom vodiču za pravne prakse u oblasti intelektualne svojine. Nikolina Vujinović kao i tim koji predvodi imaju izuzetnu praksu sa specijalizacijom u oblasti prava intelektualne svojine. Savetovali su neke od najvećih međunarodnih kompanija koje posluju na tržištu Srbije i regiona u oblasti medija kreativne industrije, farmacije i zdravstva. Posvećeni su zaštiti intelektualne svojine i uključeni u mnoge domaće i medjunarodne projekte koji imaju za cilj unapređenje autorskih i srodnih prava.
Još jednom, velike čestitke celom našem timu za ostvarene rezultate i dobijeno priznanje.
Trademark and Moral Principles – The Saga of EscobarIn the world of intellectual property, the recent case of registering the trademark PABLO ESCOBAR has induced lively debate and raised many questions about the practice and fundamental principles of trademark protection.
Specifically, Escobar Inc., based in Puerto Rico (USA), filed an application for the registration of the trademark to the European Union Intellectual Property Office (EUIPO), consisting of the words PABLO ESCOBAR for classes of goods and services of the Nice Classification no. 3, 5, 9, 10, 12-16, 18, 20, 21, 24-26, and 28-45, which encompass a wide range of goods and services such as non-medicated toiletries, pharmaceutical products, jewelry, clothing, footwear, alcoholic drinks and banking services. EUIPO, by decision No. R 1364/2022-5 from June 1st, 2022. rejected the application on the grounds that it was contrary to public policy and accepted principles of morality. The applicant Escobar Inc. has filed an appeal against this decision, and the EUIPO Board of Appeals dismissed the appeal by decision from February 21st, 2023. The General Court of the European Union issued a Judgment on April 17th, 2024, dismissing the action filed by Escobar Inc., stating in its reasoning that the name of the mark is associated with “drug trafficking and narco-terrorism and with the crimes and suffering resulting therefrom”. An appeal against this Judgment may be lodged with the Court of Justice of the European Union.
During the proceedings, Escobar Inc. argued that in this manner EUIPO violates the presumption of innocence, considering that Pablo Escobar was never convicted of the crimes attributed to him, and that the names like Bonnie and Clyde, Al Capone, or Che Guevara are already registered as EU trademarks. They also argued that there is no definition of the terms “public policy” and “accepted principles of morality”, and practice indicates that the examination of whether a mark is contrary to public policy or accepted principles of morality must be conducted in relation to the perception of the relevant public in the European Union. On the other hand, EUIPO states that previous registrations are merely a circumstance that may be taken into account, but without a mandatory decisive role.
It’s interesting to note that EUIPO has previously approved and registered trademarks such as THE GODFATHER, EL CHAPO, MAFIA, and YAKUZA. This raises a legitimate question about how the concepts of public policy and accepted principles of morality are interpreted, and why there is inconsistency in the practices of the authorities. The rejection of the application for the mark PABLO ESCOBAR may be seen as a newer trend indicating that EUIPO is now applying the conditions for trademark protection more strictly in the context of “public policy” and “accepted principles of morality” and additionally, this may have broader implications, including the possibility of cancellation of a previously registered trademarks that would be considered unacceptable in light of new interpretations of public policy and moral principles.
In light of this case, it is important to note the recent decision regarding the domain PabloEscobar.com, where through the UDRP procedure, it was determined that the domain belongs to Escobar Inc. The company argued that the domain was previously used for cybersquatting, meaning the unauthorized use of a famous name for the purpose of benefiting from it by the previous domain owners, Neil Okrent and Ivan Munguia. As a result, it was ordered that the domain be transferred to the company, recognizing it is legitimate interest and rights to the name Pablo Escobar. This decision was made considering that Escobar Inc. held the rights to the registered trademark PABLO ESCOBAR with the United States Patent and Trademark Office, and additionally, this trademark is also registered in Austria.
The debate over the interpretation of the terms “public policy” and “accepted principles of morality” in the context of trademark registration clearly highlights the need for more precise guidelines in this area of law. While expecting a potential decision from the Court of Justice of the European Union, PABLO ESCOBAR remains without a trademark in the EU, yet paradoxically, the recognition of this mark is growing.
Žig i Moralni Principi – Saga EskobarU svetu intelektualne svojine, nedavni slučaj registracije žiga PABLO ESCOBAR izazvao je živu raspravu i postavio mnoga pitanja o praksi i osnovnim principima zaštite oznaka.
Naime, kompanija Escobar Inc., sa sedištem u Portoriku (SAD) je podnela prijavu za priznanje žiga Zavodu za intelektualnu svojinu EU (u daljem tekstu: EUIPO) i to znaka koji se sastoji iz reči PABLO ESCOBAR za klase roba i usluga Ničanske klasifikacije br. 3, 5, 9, 10, 12-16, 18, 20, 21, 24-26 i 28-45, koje obuhvataju širok spektar robe i usluga kao npr. nemedicinske toaletne proizvode, farmaceutske proizvode, nakit, odeću, obuću, alkoholna pića, bankarske usluge. EUIPO je odlukom br. R 1364/2022-5 od dana 01.06.2022. godine odbio prijavu sa obrazloženjem da je ista u suprotnosti sa javnom politikom i prihvaćenim moralnim principima. Podnosilac prijave Escobar Inc. je izjavio žalbu na takvu odluku, a Odbor za žalbe EUIPO je odbio žalbu odlukom od dana 21.02.2023. godine. Opšti sud EU je dana 17.04.2024. godine doneo Presudu kojom je odbio tužbu Escobar Inc., gde je u obrazloženju naveo da je naziv znaka povezan sa “trgovinom droge i narko-terorizmom i sa zločinima i patnjom koje proizilaze”. Protiv ove Presude je moguće podneti žalbu Sudu pravde Evropske unije.
Tokom postupaka, kompanija Escobar Inc. je isticala da na navedeni način EUIPO krši prezumpciju nevinosti, imajući u vidu da Pablo Eskobar nikada nije osuđen za zločine koji mu se stavljaju na teret, te da su nazivi poput Bonnie i Clyde, Al Kaponea ili Če Gevare već registrovani kao EU žigovi, kao i da nema definicije pojmova “javne politike” i “prihvaćenih moralnih principa”, a praksa navodi da se ispitivanje da li je znak suprotan javnoj politici ili prihvaćenim moralnim principima mora sprovesti u odnosu na percepciju relevantne javnosti u Evropskoj uniji. EUIPO, s druge strane, navodi da prethodne registracije samo predstavljaju okolnost koja može biti uzeta u obzir, ali bez obavezne odlučujuće uloge.
Zanimljivo je primetiti da je EUIPO prethodno odobrio i registraciju žigova kao što su THE GODFATHER, EL CHAPO, MAFIA i YAKUZA. Postavlja se opravdano pitanje kako se tumače pojmovi javne politike i prihvaćenih moralnih principa, kao i zašto postoji neujednačenost u praksi organa. Odbijanje prijave za znak PABLO ESCOBAR može se smatrati novijim trendom koji ukazuje na to da EUIPO sada strože primenjuje uslove zaštite žiga u kontekstu “javne politike” i “prihvaćenih moralnih principa”, a pored toga ovo može imati šire implikacije, uključujući i mogućnost poništaja već registrovanih žigova koji bi se smatrali neprihvatljivim u svetlu novih tumačenja javne politike i moralnih principa.
U svetlu ovog slučaja, važno je napomenuti i nedavnu odluku koja se odnosila na domen PabloEscobar.com, gde je putem postupka UDRP-a utvrđeno da domen pripada kompaniji Escobar Inc., kompanija je argumentovala da je domen prethodno korišćen u svrhu cybersquattinga, odnosno zloupotrebe poznatog imena radi neovlašćenog sticanja koristi od strane prethodnih vlasnika domena Neil Okrent i Ivan Munguia. Kao rezultat, naloženo je da se domen prenese kompaniji, priznajući njen legitimni interes i prava nad imenom Pablo Escobar. Na ovaj način je odlučeno s obzirom na to da je kompanija Escobar Inc. bila nosilac prava registrovanog žiga PABLO ESCOBAR pred američkim Zavodom za patente i žigove, a dodatno, ovaj žig je registrovan i u Austriji.
Rasprava o tumačenju pojmova “javne politike” i “prihvaćenih moralnih principa” u kontekstu registracije žiga jasno ukazuje na potrebu za preciznijim smernicama u ovoj oblasti prava. Dok se očekuje eventualna odluka Suda pravde Evropske unije, Pablo Escobar ostaje bez žiga u EU, a paradoksalno, prepoznatljivost ove oznake je sve veća.
New Media Regulations Adopted by the RegulatorThe Regulatory Authority for Electronic Media adopted 15 by-laws of new regulations in the field of media, in accordance with Article 128 of the Law on Electronic Media.
Among the rules that for the first time define a new area in the domain of audiovisual media services, the Rulebook on Mandatory Measures of Service Providers of Video Content Sharing Platforms stands out. This rulebook regulates the measures that service providers of video content sharing platforms are obliged to apply and the way of keeping records of video content sharing platform service providers. Among other things, it is stated that service providers are obliged to establish and implement a system that allows users to determine the categorization of certain content that may be harmful to minors.
The Rulebook on obligations and criteria for the participation of European audiovisual works and the share of Serbian musical works in the programs of media service providers is also highlighted. This rulebook regulates the obligations and criteria for the participation of European audiovisual works and European audiovisual works of independent producers in the programs of television media service providers, the obligations of participation and the way of highlighting European audiovisual works in the programs of audiovisual media service providers at the request and shares of Serbian music works in the programs of media service providers. Article 4 of this rulebook stipulates that “the television media service provider is obliged to ensure that European audiovisual works participate in more than 50% of the total annual published program, half of which must be Serbian audiovisual works.”
The by-laws that were adopted are from the domain of protection of minors, urgent notification of the public about the disappearance of a minor, a list of the most important events, the implementation of prize competitions, an act on the transfer of a license and changes in the ownership structure, the amount and method of determining fees and fees for the provision of services. And at the same session of the Regulator, the Instruction on how to apply the provisions of the Law on Electronic Media, which regulates own production, was also adopted.
Vujinović & Partners specializes in the field audiovisual, creative sector, art, and media industries. Since we actively advise film and media producers, broadcasters, and other distributors of media content, you can anytime contact us at office@vujinovicpartners.rs.
Novi Pravilnici iz Oblasti Medija Usvojeni od Strane RegulatoraSavet Regulatornog tela za elektronske medije usvojio je 15 podzakonskih akata novih pravilnika iz oblasti medija, u skladu sa članom 128. Zakona o elektronskim medijima.
Među pravilnicima koji po prvi put definišu novu oblast iz domena audio-vizuelnih medijskih usluga izdvaja se Pravilnik o obaveznim merama pružalaca usluga platformi za razmenu video sadržaja. Ovim pravilnikom uređuju se mere koje su pružaoci usluga platformi za razmenu video sadržaja dužni da primenjuju i način evidencije pružalaca usluga platformi za razmenu video sadržaja. Pored ostalog se navodi i da su pružaoci usluga dužni da uspostave i primene sistem kojim se korisnicima omogućuje da odrede kategorizaciju određenog sadržaja koji može biti škodljiv maloletnicima.
Takođe se izdvaja i Pravilnik o obavezama i kriterijumima učešća evropskih audio-vizuelnih dela i udela srpskih muzičkih dela u programima pružalaca medijskih usluga. Ovim pravilnikom se uređuju obaveze i kriterijumi učešća evropskih audio-vizuelnih dela i evropskih audio-vizuelnih dela nezavisnih producenata u programima pružalaca medijske usluge televizije, obavezi učešća i načinu isticanja evropskih audio-vizuelnih dela u programima pružalaca audio-vizuelnih medijskih usluga na zahtev i udelima srpskih muzičkih dela u programima pružalaca medijskih usluga. Član 4. ovog pravilnika propisuje da je ”pružalac medijske usluge televizije dužan da obezbedi da evropska audio-vizuelna dela učestvuju sa više od 50% u ukupnom godišnje objavljenom programu, od čega polovinu moraju da čine srpska audio-vizuelna dela.”
Podzakonska akta koja su usvojena su iz domena zaštite maloletnika, hitnom obaveštavanju javnosti o nestanku maloletnog lica, lista najvažnijih događaja, sprovođenje nagradnih takmičenja, akt o prenosu dozvole i promena vlasničke strukture, visini i načinu utvrđivanja naknade i naknade za pružanje usluga. A na istoj sednici Regulatora je usvojeno i Uputstvo o načinu primene odredaba Zakona o elektronskim medijima kojima se uređuje sopstvena produkcija.
Advokatska kancelarija Vujinović & Partners savetuje klijente u oblastima audio-vizuelne, kreativne, umetničke i medijske industrije. Naši klijenti su filmski i medijski producenti, emiteri i distributeri medijskih sadržaja. Možete nas kontaktirati na office@vujinovicpartners.rs.
BEKOP Conference – About Law and LawyersNikolina Vujinović, a partner at the law firm Vujinović & Partners, participated in the “Panel on Advocacy” on the last day of the three-day Belgrade Law Conference (BEKOP) held at the National Assembly of the Republic of Serbia.
The “Panel on Advocacy,” held on April 21st, addressed the challenges in contemporary advocacy, with a particular focus on what young colleagues can expect at the beginning of their careers.
This year’s BEKOP had a rich and diverse program, which included panels on lawyers in business, mediation, arbitration, judiciary, and prosecution, among other topics. The popular conference carried the slogan “Usus est optimus magister – Experience is the best teacher,” and took place from April 19th to 21st.
BEKOP is primarily aimed at law students and graduates who want to learn firsthand about their future professions. Lecturers at BEKOP conferences are renowned experts in the fields of judiciary, prosecution, administration, advocacy, notarial and enforcement professions, arbitration, mediation, and legal experts in the fields of business, auditing firms, insurance, banking, etc.
BEKOP Konferencija – o Pravu i Pravnicima
Nikolina Vujinović, partner advokatske kancelarije Vujinović & Partners, bila je učesnica ”Panela o advokaturi”, poslednjeg dana trodnevne Beogradske konferencije pravnika (BEKOP) održane u Narodnoj skupštini Republike Srbije.
”Panel o advokaturi”, koji je održan 21. aprila, aktuelizovao je temu izazova u savremenoj advokaturi, sa posebnim osvrtom na ono što mlade kolege mogu očekivati na početku karijere.
Ovogodišnji BEKOP imao je bogat i raznovrstan program koji je, pored ostalog, podrazumevao panele u vezi sa pravnicima u privredi, medijaciji, arbitraži, sudstvu i tužilaštvu. Popularna konferencija ponela je slogan ”Usus est optimus magister – Iskustvo je najbolji učitelj”, i trajala je od 19. do 21. aprila.
Inače, BEKOP je namenjen prevashodno studentima prava i diplomiranim pravnicima koji žele da iz prve ruke nauče nešto više o svojim budućim profesijama. Predavači na BEKOP konferencijama su već godinama, po pravilu, eminentni stručnjaci iz oblasti sudstva, pravobranilaštva, uprave, tužilaštva, advokature, notarske i izvršiteljske profesije, arbitraže, medijacije i pravni stručnjaci iz oblasti privrede, revizorskih kuća, osiguranja, bankarstva…