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Oddly Placed Cooperative Burdens in the Online World Anjanette H
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Northwestern University Illinois, School of Law: Scholarly Commons Northwestern Journal of Technology and Intellectual Property Volume 11 | Issue 5 Article 4 2013 Intermediaries’ Precarious Balance Within Europe: Oddly Placed Cooperative Burdens in the Online World Anjanette H. Raymond Indiana University, Kelley School of Business Recommended Citation Anjanette H. Raymond, Intermediaries’ Precarious Balance Within Europe: Oddly Placed Cooperative Burdens in the Online World, 11 Nw. J. Tech. & Intell. Prop. 359 (2013). https://scholarlycommons.law.northwestern.edu/njtip/vol11/iss5/4 This Article is brought to you for free and open access by Northwestern Pritzker School of Law Scholarly Commons. It has been accepted for inclusion in Northwestern Journal of Technology and Intellectual Property by an authorized editor of Northwestern Pritzker School of Law Scholarly Commons. NORTHWESTERN J O U R N A L OF TECHNOLOGY AND INTELLECTUAL PROPERTY Intermediaries’ Precarious Balance Within Europe: Oddly Placed Cooperative Burdens in the Online World Anjanette H. Raymond April 2013 VOL. 11, NO. 5 © 2013 by Northwestern University School of Law Northwestern Journal of Technology and Intellectual Property Copyright 2013 by Northwestern University School of Law Volume 11, Number 5 (April 2013) Northwestern Journal of Technology and Intellectual Property Intermediaries’ Precarious Balance Within Europe: Oddly Placed Cooperative Burdens in the Online World By Anjanette H. Raymond* The Newzbin cases mark a clear shift in the responsibility that European based internet service providers must take in protecting intellectual property rights. Previously, that burden laid primarily with rights holders. Today, however, legislative bodies and courts in both the European Union and the United States have shifted the expectation of protections to a shared burden amongst internet service providers (ISPs) and rights holders. -
United Kingdom
FREEDOM ON THE NET 2014 United Kingdom 2013 2014 Population: 64.1 million Internet Freedom Status Free Free Internet Penetration 2013: 90 percent Social Media/ICT Apps Blocked: No Obstacles to Access (0-25) 2 2 Political/Social Content Blocked: No Limits on Content (0-35) 6 6 Bloggers/ICT Users Arrested: No Violations of User Rights (0-40) 15 16 TOTAL* (0-100) 23 24 Press Freedom 2014 Status: Free * 0=most free, 100=least free Key Developments: May 2013 – May 2014 • Filtering mechanisms, particularly child-protection filters enabled on all household and mobile connections by default, inadvertently blocked legitimate online content (see Limits on Content). • The Defamation Act, which came into effect on 1 January 2014, introduced greater legal protections for intermediaries and reduced the scope for “libel tourism,” while proposed amendments to the Contempt of Court Act may introduce similar protections for intermediaries in relation to contempt of court (see Limits on Content and Violations of User Rights). • New guidelines published by the Director of Public Prosecutions in June 2013 sought to limit offenses for which social media users may face criminal charges. Users faced civil penalties for libel cases, while at least two individuals were imprisoned for violent threats made on Facebook and Twitter (see Violations of User Rights). • In April 2014, the European Court of Justice determined that EU rules on the mass retention of user data by ISPs violated fundamental privacy and data protection rights. UK privacy groups criticized parliament for rushing through “emergency” legislation to maintain the practice in July, while failing to hold a public debate on the wider issue of surveillance (see Violations of User Rights). -
Study on Ip Enforcement Measures, Especially Anti-Piracy Measures in the Digital Environment*
E WIPO/ACE/14/7 ORIGINAL: ENGLISH DATE: JULY 23, 2019 Advisory Committee on Enforcement Fourteenth Session Geneva, September 2 to 4, 2019 STUDY ON IP ENFORCEMENT MEASURES, ESPECIALLY ANTI-PIRACY MEASURES IN THE DIGITAL ENVIRONMENT* Document prepared by Dr. Frederick Mostert, Professor of Practice at the Dickson Poon School of Law, King’s College, London, Research Fellow at the Oxford Intellectual Property Research Centre, and Ms. Jane Lambert, Barrister, Gray’s Inn, London** ABSTRACT This study provides an overview of current approaches to online copyright infringements, focusing specifically on the responses to piracy in the digital sphere across the world. The study explores the global problem of online piracy, the different types of digital tools and administrative measures used by rights holders, online platforms, governments and the judiciary. These digital tools and measures include blocking, notice and takedown, notice and staydown, filtering and monitoring, Bad Actor1 listings, “follow-the-money” principle, public awareness initiatives, codes of conduct and voluntary guidelines, and digital authentication tools such as Blockchain. The study incorporates a discussion on the issues concerning anonymity and the “whack-a-mole” problem and notes the challenge of balancing fundamental rights such as freedom of expression and data privacy rights and the protection of copyright. The study highlights the gaps within the legal measures used at present and current discussions around a possible uniform approach in the form of global guidelines in response to the present dilemma. * This study was undertaken with the aid of funds provided by the Ministry of Culture, Sports and Tourism of the Republic of Korea. -
TTLF Working Papers
Stanford – Vienna Transatlantic Technology Law Forum A joint initiative of Stanford Law School and the University of Vienna School of Law TTLF Working Papers No. 14 Internet Intermediaries’ Liability for Copyright and Trademark Infringement: Reconciling the EU and U.S. Approaches Béatrice Martinet Farano 2012 TTLF Working Papers About the TTLF Working Papers TTLF’s Working Paper Series presents original research on technology, and business- related law and policy issues of the European Union and the US. The objective of TTLF’s Working Paper Series is to share “work in progress”. The authors of the papers are solely responsible for the content of their contributions and may use the citation standards of their home country. The TTLF Working Papers can be found at http://ttlf.stanford.edu. Please also visit this website to learn more about TTLF’s mission and activities. If you should have any questions regarding the TTLF’s Working Paper Series, please contact Vienna Law Professor Siegfried Fina, Stanford Law Professor Mark Lemley or Stanford LST Executive Director Roland Vogl at the Stanford-Vienna Transatlantic Technology Law Forum http://ttlf.stanford.edu Stanford Law School University of Vienna School of Law Crown Quadrangle Department of Business Law 559 Nathan Abbott Way Schottenbastei 10-16 Stanford, CA 94305-8610 1010 Vienna, Austria Sponsors This project was co-sponsored by the Stanford-Vienna Transatlantic Technology Law Forum (Stanford Law School/University of Vienna School of Law) and the Stanford Center for E-Commerce. Acknowledgements I am very grateful to the Stanford-Vienna Transatlantic Technology Law Forum and to all the people I met at Stanford Law School and during my stays in Paris who made this research possible. -
Copyright Amendment (Online Infringement) Bill 2015
Copyright Amendment (Online Infringement) Bill 2015 Joint Submission 16 April 2015 Contents 1 Introduction 3 2 General comments 5 General acceptance of no fault Injunctive Relief process 5 Effectiveness and proportionality 6 Site blocking orders are consistent with fundamental human rights obligations. 8 Costs and other considerations 8 Copyright Amendment (Onine Infringement) Bill 2015 10 3 “Primary purpose” requirement under s115A(1)(c) 10 4 Matters to be taken into account under s115A(5) 13 5 Costs under s115A 20 6 Scope of the Bill 21 page | 2 1 Introduction 1 The Australian Screen Association (ASA), the Australian Home Entertainment Distributors Association (AHEDA), the Motion Picture Distributors Association of Australia (MPDAA), the National Association of Cinema Operators (NACO) and the Independent Cinemas Association of Australia (ICAA) (collectively, the Australian Film/TV Bodies), are pleased to make this submission in response to the Copyright Amendment (Online Infringement) Bill 2015 (the Bill). 2 These associations represent a large cross-section of the film and television industry that contributed $6.1 billion to the Australian economy and supported an estimated 49,000 FTE workers in 2009-10:1 (a) The ASA represents the film and television content and distribution industry in Australia. Its core mission is to advance the business and art of film making, increasing its enjoyment around the world and to support, protect and promote the safe and legal consumption of movie and TV content across all platforms. This is achieved through education, public awareness and research programs, to highlight to movie fans the importance and benefits of content protection. The ASA has operated in Australia since 2004 (and was previously known as the Australian Federation Against Copyright Theft). -
East Asian Cinema in the UK
Film Distribution in the Age of the Internet: East Asian Cinema in the UK Virginia Crisp Goldsmiths College, University of London for the degree of PhD in Media and Communications 1 I hereby declare that the work presented herein is entirely my own ………………………….. Virginia Crisp, April, 2012 2 Acknowledgements Special thanks go to my supervisor, Professor Chris Berry, for all of his support through the process of developing this thesis. Heartfelt thanks go to my Mum for reading extracts of my work and for believing in me throughout my studies. I would like to thank all of my colleagues at Middlesex University, but particular thanks go to Sarah Baker, James Graham and Ben Little for their endless encouragement. Thanks also go to Andy Goffey, Jo Littler and Farah Mendlesohn, who have all supported my research in different ways. I would also like to give a special mention to Jim Pipkin, Pam Pipkin, Tony Murphy, Sue Murphy and Bunny Veglio for listening to, and encouraging, the bizarre ideas of an irritating child. I would particularly like to thank Gavin, without his love, patience and support I would never have got this far. The final thesis is dedicated to my parents. 3 Abstract This thesis provides an integrated analysis of formal and informal distribution networks for East Asian Cinema in the UK through interviews and ethnographic-style research. It examines what motivates and shapes the acquisition decisions of distributors in these contexts and how these motivations might conflict, interact with, or complement one another. Whilst existing literature has focused on formal distribution and ‘piracy’ as distinct phenomena, this thesis considers both in conjunction with each other and also uncovers the distinct social contexts of each environment. -
Copyright and Shared Networking Technologies Dimita, Gaetano
Copyright and shared networking technologies Dimita, Gaetano The copyright of this thesis rests with the author and no quotation from it or information derived from it may be published without the prior written consent of the author For additional information about this publication click this link. http://qmro.qmul.ac.uk/jspui/handle/123456789/1303 Information about this research object was correct at the time of download; we occasionally make corrections to records, please therefore check the published record when citing. For more information contact [email protected] Copyright and Shared Networking Technologies By Gaetano Dimita A Thesis Submitted for the Degree of Doctor of Philosophy Queen Mary, University of London 2010 1 I confirm that the work presented in the thesis is my own and all references are cited accordingly. I accept that the College has the right to use plagiarism detection software to check the electronic version of the thesis. Gaetano Dimita 2 Abstract The technological zeitgeist has transformed the social-cultural, legal and commercial aspects of society today. Networking technologies comprise one of the most influential factors in this. Although this transformation can be discounted as a mere historical phenomenon dating back to the advent of the printing press, empirical data concerning usage of these technologies shows that there has been a radical shift in the ability to control the dissemination of copyright works. Networking technologies allow, in an unprecedented manner, user-initiated activities including perfect replications, instantaneous dissemination, and abundant storage. They are immune to technological attempts to dismantle them, and impervious to legal attempts to control and harness them. -
Wipo/Ace/12/10 Rev. Original: English Date: July 21, 2017
E WIPO/ACE/12/10 REV. ORIGINAL: ENGLISH DATE: JULY 21, 2017 Advisory Committee on Enforcement Twelfth Session Geneva, September 4 to 6, 2017 INSTITUTIONAL ARRANGEMENTS CONCERNING INTELLECTUAL PROPERTY ENFORCEMENT POLICIES AND REGIMES TO ADDRESS ONLINE INFRINGEMENTS Contributions prepared by Italy, Republic of Korea, Thailand, the United Kingdom, Europol and the Motion Picture Association of America, Inc. 1. At the eleventh session of the Advisory Committee on Enforcement (ACE), the Committee agreed to continue to consider among other topics the “exchange of information on national experiences relating to institutional arrangements concerning intellectual property (IP) enforcement policies and regimes, including mechanism to resolve IP disputes in a balanced, holistic and effective manner”. 2. This document contains the contributions prepared by four Member States (Italy, Republic of Korea, Thailand and the United Kingdom), one Non-State Member and one Observer organization on enforcement mechanisms aimed at curbing the growth in the online trade of IP infringing goods and addressing the anonymity, velocity and transnationality of these infringements. Mechanisms discussed include the establishment of specialized police units, intelligence-based investigations, computerized platforms that facilitate online monitoring and data collection, the “follow the money” approach tracing cash flows, website blocking, targeting IP infringing domain names, voluntary measures, and closer cross-border cooperation among enforcement agencies, with right holders and with online intermediaries. 3. The contributions from the police (national and regional), the intellectual property office, the prosecutor’s office, the judiciary, and the right holders, demonstrate the challenges of online IP enforcement, the multiplicity of actors engaging in online IP enforcement and the corresponding need for close collaboration in addressing infringements that are frequently of transnational character. -
DMCA 2.0 Donald P
TIME TO REBOOT?: DMCA 2.0 Donald P. Harris* INTRODUCTION Imagine this scenario. Mary Saint Francis was a longtime librarian of limited means. She had always dreamed of becoming a successful writer and living the way “the other half” lived, retiring from the library and traveling around the world. At 56, and after a number of unsuccessful and little known short stories, she was beginning to believe this would never happen. In March 2013, things changed. Mary wrote a saucy and stimulating novel about being a librarian: The Real Life of a Librarian. Surprisingly, Real Life became an instant success. Over the next year, Mary’s novel achieved critical acclaim, was the subject of Oprah’s Book of the Month, was the topic of numerous talk shows, and was discussed on various news and radio spots. Mary also traveled “the circuit,” courtesy of her publisher, to promote the book. Mary’s dream was soon to be realized—or so she thought. Mary’s novel also became the most downloaded book on the Internet. As a result, Mary did not get rich. In fact, Mary received very little proceeds from her novel due to unauthorized downloading. Dismayed, Mary questioned why people were able to upload, copy, and distribute her book without paying. Mary knew a little about copyright law and thought that having a copyright on her novel protected her, or that someone would (and should) be liable for unauthorized copying and infringement. Mary’s publisher explained to her that under the 1998 Digital Millennium Copyright Act (“DMCA”), Internet Service Providers (“ISPs”) were not liable for the copyright infringement of its subscribers as long as the ISPs followed certain guidelines. -
High Court Judgment Template
Case No: HC08C03346 Neutral Citation Number: [2010] EWHC 608 (Ch) IN THE HIGH COURT OF JUSTICE CHANCERY DIVISION Royal Courts of Justice Strand, London, WC2A 2LL Date: 29 March 2010 Before : THE HONOURABLE MR. JUSTICE KITCHIN - - - - - - - - - - - - - - - - - - - - - Between : (1) TWENTIETH CENTURY FOX FILM CORPORATION (2) UNIVERSAL CITY STUDIOS PRODUCTIONS LLLP (3) WARNER BROS. ENTERTAINMENT INC. (4) PARAMOUNT PICTURES CORPORATION (5) DISNEY ENTERPRISES, INC. (6) COLUMBIA PICTURES INDUSTRIES, INC. Claimants - and - NEWZBIN LIMITED Defendant - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Mr Adrian Speck (instructed by Wiggin LLP) for the Claimants Mr David Harris and Ms Jane Lambert (instructed by Kirwans Solicitors) for the Defendant Hearing dates: 1-3, 8, 10 February, 2, 3 March 2010 - - - - - - - - - - - - - - - - - - - - - Judgment Mr. Justice Kitchin : Introduction 1. This is an action for infringement of copyright arising from the operation of a website called Newzbin on a world wide internet discussion system called Usenet. The claimants are all well known makers and distributors of films. They say Newzbin is focused on piracy in that it locates and categorises unlawful copies of films and displays the titles of these copies in its indices; provides a facility for its users to search for particular unlawful copies and displays the results; and provides a simple one-click mechanism whereby users can acquire unlawful copies of their choice. 2. The defendant is the company that owns and operates Newzbin. It says that its website is simply a search engine like Google but directed to Usenet rather than the world wide web. It also says it is “content agnostic” and designed to index the entire content of Usenet. Where possible, it provides hyperlinks with the result that any supply of unlawful material is an act occurring exclusively between the hyperlink user and the relevant Usenet server operators and that the defendant plays no part in any such activity. -
Þorsteinn Ólafsson
MS ritgerð Viðskiptafræði Sjóræningjar Frumkvöðlar eða sníkjudýr? Þorsteinn Ólafsson Viðskiptafræðideild Háskóla Íslands Leiðbeinandi: Margrét Sigrún Sigurðardóttir Júní 2010 Ágrip Ólögleg dreifing afþreyingarefnis á borð við tónlist og kvikmyndir hefur aukist gífurlega á síðustu árum og hefur myndast mikil umræða um neikvæð áhrif hennar. Byltingin byrjaði með Napster árið 1999 og rúmum tíu árum síðar hefur orðið mjög einfalt og hraðvirkt að sækja alla afþreyingu frítt á netinu. Jafningjanet komu afþreyingariðnaðinum í opna skjöldu og gjörbreytti því umhverfi sem hann er rekinn í. Flest sjóræningjaefnis sem dreift er á netinu má rekja til neðanjarðarsamfélags sem kallast senan. Rannsókn ritgerðarinnar fólst í eigindlegum viðtölum við einstaklinga innan hennar og eru niðurstöður notaðar til að meta réttmæti fyrirliggjandi gagna um senuna og fá betri skilning á hvata, hugmyndafræði og siðferðislegum skoðanir sjóræningja. Í þessari ritgerð er fjallað um sjóræningjastarfsemi og hvaða áhrif hún hafi á rekstrarumhverfi hugverka. Neikvæðum áhrifum er skipt í beina- eða skapandi eyðileggingu, en seinna hugtakið lýsir því hvernig tækni- eða markaðsbreytingar geta lagt heilan iðnað í rúst á meðan að nýr og betri rís úr öskunni. Þrátt fyrir að höfundur telur aðgerðir sjóræningja ekki vera dæmi um skapandi eyðileggingu þá sé hlutverk þeirra aftur á móti mjög stórt í framþróun markaðsins. Í stað þess að berjast gegn aðgerðum þeirra ættu fyrirtæki að horfa aðgerðir sjóræningja sem vísbendingu um breyttar kröfur markaðsins og keppast við að fullnægja þeim. Íslenskar sölutölur miða í kvikmyndahús og DVD diska benda til þess að sjóræningjaefni sé ekki staðgengisvara fyrir myndefni og er horft til verðteygni og breytta neyslumynstra í stað sjóræningja þegar horft er á minnkun í sölu tónlistar. -
Copyright and the Digital Economy
Response to the Issues Paper: Copyright and the Digital Economy Joint-Submission November 2012 _____________________________________________________________ This submission is made by the following : Australian Federation Against Copyright Theft (AFACT), the Australian Home Entertainment Distributions Association (AHEDA), the Motion Picture Distributors Association of Australia (MPDAA), the National Association of Cinema Operators (NACO), the Australian Independent Distributors Association (AIDA), the Independent Cinemas Association of Australia (ICAA), and the Media Entertainment and Arts Alliance (MEAA) collectively referred to as the Australian Film/TV Bodies. These associations represent the following: Ace Cinemas Group Gympie Cinemas Regal Twin Amalgamated Holdings Group Hamilton Cinema Regency Media Anchor Bay Home Entertainment Hayden Orpheum Regent Cinema Arcadia Twin Cinema Hervey Bay Cinemas Rialto Arts Centre Gold Coast Hopscotch Entertainment Ritz Cinemas Arts Lounge Glen Innes Hoyts Corporation Roma Cinemas Astor Theatre Hoyts/Studiocanal Roseville Cinemas Australian Federation Against Huskisson Pictures Roxy Cinema Nowra Copyright Theft Australian Home Entertainment Icon Sale Cinema Distributors Association Australian Independent Imax Saraton Cinemas Distributors Association Ballina Fair Cinemas Independent Cinemas Association Satellite Cinema Kingaroy of Australia Bay City Cinemas Batemans Bay Katherine Cinemas First Street Scottys Cinemas Becker Films Lake Cinema Boolaroo Semaphore Odeon Star Pty Ltd Belgrave Twin Cinema