U.S. Analysis and Global Overview, Copyright

Total Page:16

File Type:pdf, Size:1020Kb

U.S. Analysis and Global Overview, Copyright ® Copyright in 26 jurisdictions worldwide Contributing editors: Andrew H Bart, Steven R Englund, 2013 Susan J Kohlmann and Carletta F Higginson Published by Getting the Deal Through in association with: AKD Anand and Anand Armengaud & Guerlain Atsumi & Sakai Bloomfield Advocates & Solicitors Castillo & Castillo E Blum & Co AG García Magliona & Cía Limitada Abogados Herbert Smith Freehills Hoet Pelaez Castillo & Duque Hogan Lovells Jenner & Block LLP Johnston Law JWP Patent & Trademark Attorneys Law Office Drnovšek LLC MGAP Attorneys at Law Moeller IP Advisors Nestor Nestor Diculescu Kingston Petersen PMBGR Law Firm PMSP Rechtsanwälte GmbH RPC Salger Rechtsanwälte Suárez de la Dehesa Abogados Thompson Associates Tony Greenman Law Offices Yasaman Law Firm Reproduced with permission from Law Business Research Ltd. This article was first published in Getting the Deal Through – Copyright 2013, (published in July 2013; contributing editors: Andrew H. Bart, Steven R. Englund, Susan J. Kohlmann and Carletta F. Higginson of Jenner & Block LLP). For further information please visit www.GettingTheDealThrough.com. CONTENTS ® Copyright 2013 Overview Andrew H Bart, Steven R Englund, Susan J Kohlmann and Carletta F Higginson Contributing editor Jenner & Block LLP 3 Andrew H Bart, Steven R Englund, Susan J Kohlmann and Carletta F Argentina Estela De Luca and Natalia Pennisi Moeller IP Advisors 4 Higginson Jenner & Block LLP Australia Kristin Stammer and Helen Macpherson Herbert Smith Freehills 11 Publisher Gideon Roberton Austria Isabella Hoedl PMSP Rechtsanwälte GmbH 17 Business development managers Canada Keri AF Johnston, Alpesh Patel, Benjamin Lai and Karol Pawlina Johnston Law 22 Alan Lee, George Ingledew, Dan White Chile Claudio Magliona García Magliona & Cía Limitada Abogados 29 Account manager Megan Friedman China Deanna Wong, Junlin Xiang and Camilla Ojansivu Hogan Lovells 36 Trainee account manager Cady Atkinson, Joseph Rush, Dominican Republic Sylvio Hodos and Julissa Matias Castillo & Castillo 43 Dominique Destrée France Catherine Mateu Armengaud & Guerlain 48 Media coordinator Parween Bains Germany Stephan Dittl Salger Rechtsanwälte 54 Administrative coordinator Sophie Hickey India Pravin Anand and Rahul Ajatshatru Anand and Anand 60 Trainee research coordinator Israel Tony Greenman Tony Greenman Law Offices 66 Robin Synnot Marketing manager (subscriptions) Japan Chie Kasahara Atsumi & Sakai 71 Rachel Nurse [email protected] Malaysia Benjamin J Thompson and Hannah Ariffin Thompson Associates 76 Head of editorial production Adam Myers Netherlands Martin Hemmer and Eliëtte Vaal AKD 81 Production coordinator Nigeria Tolushuwa Oyebokun Bloomfield Advocates & Solicitors 86 Lydia Gerges Poland Dorota Rza¸z˙ewska JWP Patent & Trademark Attorneys 91 Senior production editor Jonathan Cowie Portugal Manuel Durães Rocha PMBGR Law Firm 97 Subeditors Romania Ana-Maria Baciu and Delia Belciu Nestor Nestor Diculescu Kingston Petersen 103 Davet Hyland, Charlotte Stretch Russia Yuriy Korchuganov and Olga Zakondyrina MGAP Attorneys at Law 109 Director Callum Campbell Slovenia Tjaša Drgan Law Office Drnovšek LLC 114 Managing director Spain Jose Antonio Suárez Lozano and Helena Suárez Jaqueti Suárez de la Dehesa Abogados 119 Richard Davey Switzerland Brendan Bolli, Sven Capol, Barbara Gehri and Felix Locher E Blum & Co AG 125 Copyright 2013 Published by Turkey Hamdi Yasaman and Fülürya Yusufog˘lu Yasaman Law Firm 131 Law Business Research Ltd 87 Lancaster Road United Kingdom David Cran, Jeremy Drew and Paul Joseph RPC 137 London, W11 1QQ, UK Tel: +44 20 7908 1188 Fax: +44 20 7229 6910 United States Andrew H Bart, Steven R Englund, Susan J Kohlmann and Carletta F Higginson © Law Business Research Ltd 2013 Jenner & Block LLP 145 No photocopying: copyright licences do not apply. Venezuela Matías Pérez Irazabal Hoet Pelaez Castillo & Duque 152 First published 2006 Eighth edition ISSN 1748-8257 The information provided in this publication is general and may not apply in a specific situation. Legal advice should always be sought before taking any legal action based on the information provided. This information is not intended to create, nor does receipt of it constitute, a lawyer–client relationship. The publishers and authors accept no responsibility for any acts or omissions contained herein. Although the information provided is accurate as of July 2013, be advised that this is a developing area. Printed and distributed by Encompass Print Solutions Tel: 0844 2480 112 Law Business Research Jenner & Block LLP OVERVIEW Overview Andrew H Bart, Steven R Englund, Susan J Kohlmann and Carletta F Higginson Jenner & Block LLP As a result of the significant advances in technology during the past In the US, courts continue to define the type and amount of two decades – as evidenced by the widespread use of computers and knowledge of infringement occurring on a website that, if possessed the internet, the rise of digital media and the heavy use of comput- by a service provider, would disqualify it from a safe harbour pur- erised databases – intellectual property rights and laws have had to suant to the terms of the Digital Millennium Copyright Act (the evolve. Current global trends are focused on striking the appropriate DMCA). Under the DMCA, a service provider with actual knowl- balance between combating piracy by strengthening the protection edge of specific infringing content on its site has a clear obligation to of intellectual property rights in today’s digital environment and remove or disable access to the content. In Viacom’s $1 billion copy- encouraging the promotion of the continued growth and develop- right lawsuit against YouTube and Google Inc in the case Viacom ment of electronic commerce. Intl v YouTube, Viacom asserted that the defendants are liable for The unauthorised dissemination of copyrighted works through infringement of Viacom programmes on YouTube. In June 2010, a the internet continues to pose a significant challenge to copyright lower court granted summary judgment to Google and YouTube, owners worldwide and countries continue to refine their legislative holding that they were protected from copyright infringement liabil- framework for the protection of intellectual property. ity under the safe harbour provision of the DMCA. Last year, the US For example, in China, the Supreme People’s Court recently Court of Appeals for the Second Circuit revived Viacom’s lawsuit issued Judicial Rules on Several Issues Concerning the Application against YouTube and Google Inc, and highlights some of the issues of Law in Hearing Civil Dispute Cases Involving Infringement of raised by the use of copyright when it reversed the lower court’s deci- the Right to Dissemination Through Information Networks, which sion and directed on remand that the lower court consider, among sets forth the situations in which network service providers can be other things, whether YouTube had specific knowledge of infringe- held liable for the infringing activities of network users. The provi- ment, was wilfully blind to infringing activity, had sufficient con- sions consist of 16 articles aimed at providing clear guidelines for trol or syndicated clips to third parties, such that YouTube cannot Chinese courts in determining the vicarious liability of service pro- qualify for the DMCA safe harbour and must be held responsible for viders for copyright infringement in civil cases. the infringing material posted by users. On remand, the lower court Similarly, in Greece, within the past year, a Greek court issued once again found that Google and YouTube are protected by the the first Greek judgment ordering internet service providers (ISPs) to ‘safe harbor’ provisions of the Digital Millennium Copyright Act, take efficient technological measures in order to prevent users from thus setting the stage for another appeal back to the Second Circuit. accessing websites which allow and facilitate the illegal sharing and The Viacom case remains one of the most important internet intel- copying of digital copyrighted works. In Decision 4658/2012 of the lectual property disputes of the last decade and will continue to be Athens First Instance Court, the Court granted a preliminary injunc- watched closely as courts determine the parameters of the DMCA tion to collecting societies and copyright holders against internet and set guidelines for websites to use content uploaded by users. service providers ordering the latter to block Greece-based internet As the digital world continues to evolve, so do intellectual prop- users’ access to webpages hosting copyright infringing material. The erty laws around the globe. We hope that you find our analysis Court treated ISPs as intermediaries under EC Directive 2004/48 helpful and informative as you navigate through the ever-changing and held that blocking access to the webpage hosting copyright copyright landscape in your practice or business. We look forward infringing material is an appropriate interim measure in light of the to hearing from you and welcome any comments that you may have. principle of proportionality. www.gettingthedealthrough.com 3 Jenner & Block LLP UNITED STATES United States Andrew H Bart, Steven R Englund, Susan J Kohlmann and Carletta F Higginson Jenner & Block LLP Legislation and enforcement Various other provisions of the Copyright Act that were not added by the DMCA address additional specialised aspects of digital 1 What is the relevant legislation? exploitation. Among others, section 115 provides
Recommended publications
  • Circular 1 Copyright Basics
    CIRCULAR 1 Copyright Basics Copyright is a form of protection Copyright is a form of protection provided by the laws of the provided by U.S. law to authors of United States to the authors of “original works of authorship” that are fixed in a tangible form of expression. An original “original works of authorship” from work of authorship is a work that is independently created by the time the works are created in a a human author and possesses at least some minimal degree of creativity. A work is “fixed” when it is captured (either fixed form. This circular provides an by or under the authority of an author) in a sufficiently overview of basic facts about copyright permanent medium such that the work can be perceived, and copyright registration with the reproduced, or communicated for more than a short time. Copyright protection in the United States exists automatically U.S. Copyright Office. It covers from the moment the original work of authorship is fixed.1 • Works eligible for protection • Rights of copyright owners What Works Are Protected? • Who can claim copyright • Duration of copyright Examples of copyrightable works include • Literary works • Musical works, including any accompanying words • Dramatic works, including any accompanying music • Pantomimes and choreographic works • Pictorial, graphic, and sculptural works • Motion pictures and other audiovisual works • Sound recordings, which are works that result from the fixation of a series of musical, spoken, or other sounds • Architectural works These categories should be viewed broadly for the purpose of registering your work. For example, computer programs and certain “compilations” can be registered as “literary works”; maps and technical drawings can be registered as “pictorial, graphic, and sculptural works.” w copyright.gov note: Before 1978, federal copyright was generally secured by publishing a work with an appro- priate copyright notice.
    [Show full text]
  • An Introduction to Copyright for Small and Medium-Sized Enterprises
    For more information contact the: World Intellectual Property Organisation (WIPO) 34, Chemin des Colombettes P.O Box 18 creative CH-1211 Geneva 20 Switzerland. Fax: +41 22 338 87 60 Email: [email protected] Web page: http://www.wipo.int/sme expressionS Intellectual Property for Business Series 4 | 4 Copies of all publications in this series are available from: An Introduction to The Department of Trade and Industry (DTI) Copyright for Small Postal Address: and Medium-sized Private Bag x400 Pretoria Enterprises 0001 Physical Address: The dti Campus 77 Meintjies Street Sunnyside, Pretoria Web page: www.thedti.gov.za Call Centre: 0861 843 384 Email: [email protected] creative expressionS An Introduction to Copyright for Small and Medium-sized Enterprises Intellectual Property for Business Series 4 | 4 PUBLICATIONS IN THE “INTELLECTUAL PROPERTY FOR BUSINEss” serieS: 1. Making a Mark: An Introduction to Trade marks for Small and Medium-sized Enterprises. 2. Looking Good: An Introduction to Aesthetic Designs for Small and Medium-sized Enterprises. 3. Inventing the Future: An Introduction to Patents and Functional Designs for Small and Medium- sized Enterprises. 4. Creative Expressions: An Introduction to Copyright for Small and Medium-sized Enterprises. All publications in the series are available from the Department of Trade and Industry at: [email protected] 2 PREFACE This is the fourth in a series of guides developed under the World Intellectual Property Organisation (WIPO) Developement Agenda project to assist small and medium sized enterprises (SMEs) to navigate and optimally utilise the South African intellectual property right system. The guide provides a user friendly overview and explanation of South African copyright law.
    [Show full text]
  • Case 1:16-Cv-02725-DLC Document 87 Filed 09/08/17 Page 1 of 66
    Case 1:16-cv-02725-DLC Document 87 Filed 09/08/17 Page 1 of 66 UNITED STATES DISTRICT COURT SOUTHERN DISTRICT OF NEW YORK -------------------------------------- X : WE SHALL OVERCOME FOUNDATION and : 16cv2725(DLC) BUTLER FILMS, LLC, on behalf of : themselves and all others similarly : OPINION AND ORDER situated, : : Plaintiffs, : : -v- : : THE RICHMOND ORGANIZATION, INC. (TRO : INC.) and LUDLOW MUSIC, INC., : : Defendants. : : -------------------------------------- X APPEARANCES: For the Plaintiffs: Mark C. Rifkin Randall S. Newman Gloria K. Melwani Wolf Haldenstein Adler Freeman & Herz LLP 270 Madison Ave, 10th Floor New York, NY 10016 For the Defendants: Paul LiCalsi Ofer Reger Robins Kaplan LLC 601 Lexington Ave, Suite 3400 New York, NY 10022 DENISE COTE, District Judge: The defendants The Richmond Organization, Inc. (“TRO”) and its subsidiary and imprint Ludlow Music, Inc. (“Ludlow”) (collectively, the “Defendants”) possess two copyrights in the musical composition “We Shall Overcome” (the “Song” or the Case 1:16-cv-02725-DLC Document 87 Filed 09/08/17 Page 2 of 66 “Copyrighted Song”), registered as a derivative work with the Copyright Office in 1960 and 1963. In this litigation, the plaintiffs We Shall Overcome Foundation (“WSOF”) and Butler Films, LLC (“Butler”) (collectively, the “Plaintiffs”) challenge through a putative class action the validity of the Defendants’ copyrights in the Song. The Plaintiffs have filed a motion for partial summary judgment in which they principally argue that the lyrics and melody in the first verse and its identical fifth verse (“Verse 1/5”) of the Song are not sufficiently original to qualify for copyright registration as a derivative work.1 For the reasons that follow, that portion of the Plaintiffs’ motion for summary judgment is granted.
    [Show full text]
  • The Role of the Register of Copyrights in the Registration Process: a Critical Appraisal of Certain Exclusionary Regulations *
    [Vol.116 COMMENT THE ROLE OF THE REGISTER OF COPYRIGHTS IN THE REGISTRATION PROCESS: A CRITICAL APPRAISAL OF CERTAIN EXCLUSIONARY REGULATIONS * Under the Copyright Act,' the only action required in order to obtain a valid statutory copyright in a published work is publication with the prescribed notice.' In order to perfect the rights accruing under his copyright, however, the claimant must also "promptly" de- posit two copies of the best edition of the copyrighted work, together with a claim of copyright, in the Copyright Office. 3 Fulfillment of this requirement of registration and deposit is a condition precedent to any action for copyright infringement, but the copyright itself ordi- narily remains valid pending fulfillment.4 Thus, although most claimants register their works as a matter of course, registration may be deferred, without loss of any rights, until the eve of suit. Unfortunately for some copyright claimants, however, the re- quirement of registration cannot be satisfied by the claimant's acts alone: recent cases also require that the Register of Copyrights actually issue a certificate of registration before infringement proceedings can be brought.5 To the extent that the Register has any discretion to * This Comment has been entered in the 1968 Nathan Burkan Memorial Compe- tition. ' 17 U.S.C. §§ 1-215 (1964). 2 Washingtonian Publishing Co. v. Pearson, 306 U.S. 30 (1939) ; United States v. Backer, 134 F.2d 533 (2d Cir. 1943). 17 U.S.C. § 10 (1964), provides: Any person entitled thereto by this title may secure copyright for his work by publication thereof with the notice of copyright required by this title; and such notice shall be affixed to each copy thereof published or offered for sale in the United States by authority of the copyright proprietor, except in the case of books seeking ad interim protection under section 22 of this title.
    [Show full text]
  • Copyright 2018 4Th Edition a Practical Cross-Border Insight Into Copyright Law
    ICLG The International Comparative Legal Guide to: Copyright 2018 4th Edition A practical cross-border insight into copyright law Published by Global Legal Group, in association with Bird & Bird LLP With contributions from: Anderson Mōri & Tomotsune KISCH IP Arnold & Porter Kaye Scholer LLP LexOrbis Bereskin & Parr LLP LPS L@w Bird & Bird LLP MinterEllison BROSS & PARTNERS PEREZ CORREA & ASOCIADOS, SC Daniel Legal & IP Strategy S. P. A. Ajibade & Co Deep & Far Attorneys-at-Law Seow & Associates FRORIEP Legal SA SyCip Salazar Hernandez & Gatmaitan Gorodissky & Partners (Ukraine) Vash Patent LLC Güzeldere & Balkan Law Firm Weisselberg Avocat HOYNG ROKH MONEGIER ZY Partners JIPYONG The International Comparative Legal Guide to: Copyright 2018 General Chapter: 1 Communication to the Public: the Only Right Worth Talking About? – Will Smith & Phil Sherrell, Bird & Bird LLP 1 Contributing Editor Country Question and Answer Chapters: Phil Sherrell, Bird & Bird LLP 2 Australia MinterEllison: John Fairbairn & Emily Hawcroft 7 Sales Director Florjan Osmani 3 Brazil Daniel Legal & IP Strategy: Giovanna M. Sgaria de Morais Moulin & Account Director Hannah Vitória M. Fernandes 14 Oliver Smith Sales Support Manager 4 Canada Bereskin & Parr LLP: Jill Jarvis-Tonus 20 Toni Hayward 5 China ZY Partners: Zhou Qiang & Deng Huiqiong 26 Senior Editors Suzie Levy, Rachel Williams 6 France Weisselberg Avocat: Elise Weisselberg 32 Chief Operating Officer Dror Levy 7 Germany HOYNG ROKH MONEGIER: Thomas H. Schmitz & Mathis Breuer 37 Group Consulting Editor Alan Falach 8 India LexOrbis: Dheeraj Kapoor & Aprajita Nigam 42 Publisher Rory Smith 9 Japan Anderson Mōri & Tomotsune: Masayuki Yamanouchi & Yuri Fukui 49 Published by 10 Korea JIPYONG: Seung Soo Choi & Seungmin Jasmine Jung 55 Global Legal Group Ltd.
    [Show full text]
  • Circular 2 Copyright Registration
    CIRCULAR 2 Copyright Registration This circular provides guidelines for An application for copyright registration contains three submitting a complete, accurate essential elements: a completed application form, a nonre- fundable filing fee, and a nonreturnable deposit—that is, a copyright claim. It covers copy or copies of the work being registered and “deposited” • Completing online and paper with the Copyright Office. The Office will not review your claim until it has received these three elements in compliance applications with its regulations and policies. • Submitting a filing fee This circular provides guidelines to help you make sure 1 • Preparing a deposit copy you submit a complete, accurate copyright claim. Detailed registration requirements can be found in the Compendium • Communicating with the Office of U.S. Copyright Office Practices. • Determining when your registration takes effect Copyright Application A copyright application establishes the basic facts of a claim: the title of the work, the author of the work, the name and address of the claimant or owner of the copyright, the year of creation, whether the work is published, whether the work has been previously registered, and whether the work includes preexisting material. Once submitted to the Office, the application becomes part of the public record and can be viewed by the public upon request. In completing an application, it is important to give clear and accurate information. Establishing a full, accurate record serves the public interest, provides potential licensees with accurate information, and decreases the cost of copyright litigation. Online Application The Copyright Office strongly encourages you to apply online to register an individual literary work, visual arts work, motion picture, musical work, sound recording, other per- forming arts work, or single serial issue.
    [Show full text]
  • Copyright Manual on Registration of Artistic Works and Incidental Issues
    COPYRIGHT MANUAL ON REGISTRATION OF ARTISTIC WORKS AND INCIDENTAL ISSUES Government of India Ministry of Commerce and Industry Department of Industrial Policy and Promotion COPYRIGHT OFFICE COPYRIGHT MANUAL ON REGISTRATION OF ARTISTIC WORKS AND INCIDENTAL ISSUES OBJECTIVE The General Objective of the “Copyright Manual on Registration of Artistic Works and Incidental Issues” being published shall be to bring uniformity and consistency of practice with respect to the procedures involved in the examination and registration of various Copyright applications pertaining to artistic works in administration of the Copyright Act 1957 and Copyright Rules 2013 made thereunder. It is further hoped that the manual will be useful for the examiners of the Copyright Office and the users of the system. 1 COPYRIGHT MANUAL ON REGISTRATION OF ARTISTIC WORKS AND INCIDENTAL ISSUES FOREWORD “Copyright is a form of protection provided by the Indian legislature to authors/ owners of original works of authorship from the time the works are created and expressed in a tangible form”. Copyright is a right which subsists in a number of different kinds of works such as literary, dramatic, musical or artistic works, sound recording and cinematograph films.1 The Copyright Act 1957 governs the law related to the copyrights in India. The Copyright Act, 1957 as amended in 2012, supplemented by the Copyright Rules, 2013, with subsequent amendments, is the governing law for copyright protection in India. India is a member of the Berne Conventions and Universal Copyright Convention. The Government of India has also issued the International Copyright Order, 1999, according to this order; any work first published in any country - which is a member of any of the above conventions - is granted the same treatment as if it was first published in India.
    [Show full text]
  • The International Comparative Legal Guide To: Copyright 2019
    ICLG The International Comparative Legal Guide to: Copyright 2019 5th Edition A practical cross-border insight into copyright law Published by Global Legal Group, in association with Bird & Bird LLP With contributions from: Acapo AS LexOrbis Advance Partners Liad Whatstein & Co. Anderson Mōri & Tomotsune Løje, Arnesen & Meedom ARENAIRE LPS L@w Bereskin & Parr LLP MinterEllison Bird & Bird LLP Paradigma – Law & Strategy Daniel Legal & IP Strategy Patent & Law Firm YUS, LLC De Beer Attorneys Inc. PÉREZ CORREA & ASOCIADOS, S.C. Deep & Far Attorneys-at-Law S. P. A. Ajibade & Co. Fross Zelnick Lehrman & Zissu, P.C. Seow & Associates Grupo Gispert SyCip Salazar Hernandez & Gatmaitan Güzeldere & Balkan Law Firm Synch Advokat AB Hamdan AlShamsi Lawyers & Legal Consultants Wenger Plattner JIPYONG LLC ZY Partners Klinkert Rechtsanwälte PartGmbB The International Comparative Legal Guide to: Copyright 2019 General Chapter: 1 Brexit and Copyright: More Questions than Answers? – Phil Sherrell & Will Smith, Bird & Bird LLP 1 Country Question and Answer Chapters: 2 Australia MinterEllison: John Fairbairn & Katherine Giles 7 Contributing Editor Phil Sherrell, Bird & Bird LLP 3 Brazil Daniel Legal & IP Strategy: Antonio Curvello & 14 Hannah Vitória M. Fernandes Sales Director Florjan Osmani 4 Canada Bereskin & Parr LLP: Jill Jarvis-Tonus 20 Account Director Oliver Smith 5 China ZY Partners: Zhou Qiang & Fu Mingyang 26 Sales Support Manager 6 Denmark Løje, Arnesen & Meedom: Tanya Meedom & Susie P. Arnesen 33 Toni Hayward Sub Editor 7 France ARENAIRE: Pierre
    [Show full text]
  • Resurrecting Copyright Formalities: No ‘Deadly’ Human Rights Implications
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by ResearchArchive at Victoria University of Wellington BHUMIKA KHATRI RESURRECTING COPYRIGHT FORMALITIES: NO ‘DEADLY’ HUMAN RIGHTS IMPLICATIONS LLM RESEARCH PAPER LAWS 532: HUMAN RIGHTS AND INTELLECTUAL PROPERTY FACULTY OF LAW 2016 Resurrecting Copyright Formalities – No ‘Deadly’ Human Rights Implications II Table of Contents Abstract..............................................................................................................................III I Introduction..............................................................................................................1 II A Closer Look at Copyright Formalities...................................................................3 A Types of Formalities.....................................................................................3 B Functions of Copyright Formalities..............................................................5 III International Law on Copyright Formalities.............................................................7 A Berne Convention.........................................................................................7 B Other International Treaties..........................................................................8 IV Reintroducing Mandatory Copyright Formalities: An Analysis...............................8 A Legal Certainty.............................................................................................9 B Facilitation of Rights Clearance...................................................................9
    [Show full text]
  • Register of Copyr1ght.S
    SIXTY-NINTH ANNUAL REPORT OF THE REGISTER OF COPYR1GHT.S FOR THE FISCAL YEAR ENDING JUNE 30, 1966 COPYRIGHT OFFICE THE LIBRARY OF CONGRESS IL.C. Card No. 10-36017 This report is reprinted from the Annual Report of the Libdnof Congreee for the fiscal year ending June 30,1966 Contents THECOPYRIGHT OFFICE ............................ 1 The Year's Copyright Business ......................... 2 Official publications .............................. 4 Copyright Contributions to the Library of Congress ................ 4 Administrative Developments ........................... 4 Problems of Registrability ........................... 5 Organizational Problems ............................ 5 Notices of Intention To Use ...................... : ... 5 Legislative Developments ............................ 6 Judicial Developments ..............................8 Performing Rights and Community Antenna Systems ............... 8 Rights of Exhibition and Copying ....................... 10 Author's "Moral Right" ........................... 11 Subject Matter of Copyright ......................... 13 Publication ................................. 16 Notice of Copyright ............................. 17 Copyright Registration ............................ 19 Ownership. Assignment. and Renewal of Copyright ............... 21 Infringement and Remedies .........................23 Other Judicial Developments .........................26 International Developments .......................... 28 Tables: International Copyright Relations of the United States as of December
    [Show full text]
  • The Fairness and Morality of French and American Law Compared Jean-Luc Piotraut*
    AN AUTHORS’ RIGHTS-BASED COPYRIGHT LAW: THE FAIRNESS AND MORALITY OF FRENCH AND AMERICAN LAW COMPARED JEAN-LUC PIOTRAUT* I. INTRODUCTION...................................................................549 II. FAIRNESS AND MORALITY WITH RESPECT TO JUSTIFICATION FOR COPYRIGHT PROTECTION .............................................553 A. The Purposes of Copyright..............................................553 B. The Recognition of Authors............................................557 C. The Nature of Copyright ................................................562 III. FAIRNESS AND MORALITY WITH RESPECT TO ACCESS TO COPYRIGHT PROTECTION ....................................................566 A. The Subject Matter of Copyright .....................................566 B. The Formalities Issue .....................................................573 C. The Ownership of Copyright...........................................576 IV. FAIRNESS AND MORALITY WITH RESPECT TO THE SCOPE OF COPYRIGHT PROTECTION ....................................................580 A. Economic Rights............................................................581 1. Contents of Rights ................................................581 2. Limitations on Rights ...........................................585 B. Moral Rights.................................................................595 1. Types of Rights......................................................596 2. Main Features .......................................................609 V. CONCLUSION ......................................................................615
    [Show full text]
  • Copyright Formalities: a Return to Registration? Dev S Gangjee1
    7 Copyright formalities: A return to registration? Dev S Gangjee1 Introduction Among the regimes constituting the field of intellectual property (IP) law, copyright stands apart. Unlike patent, trademark or (with some qualifications) design protection,2 the recognition and enforcement of proprietary interests is automatic, arising upon creation. It is not conditioned upon the fulfilment of formalities.3 This relative informality of copyright is celebrated as a virtue, as well as a necessary by-product of underlying normative commitments. However the ease with which proprietary rights are generated, their profusion and the ensuing difficulty of keeping track of them have led to calls for the (re)introduction of formalities, to bring some much-needed clarity to copyright entitlements.4 1 Faculty of Law, University of Oxford. I am profoundly grateful to the editors and my fellow contributors for comments during the workshop in Strasbourg (2014), which initiated this project, as well as to Jane Ginsburg for insightful suggestions and gentle rebuke. 2 While designs are protected via various registration-based regimes, they are also accommodated under copyright, unfair competition and unregistered designs systems. For a comprehensive review of national laws, see WIPO Secretariat, Summary of Replies to the Questionnaires (Parts I and II) on Industrial Design Law and Practice (SCT/18/7 and SCT/18/8 Rev.), WIPO/Strad/INF/2 Rev.2 (19 June 2009). 3 S Dusollier, Scoping Study on Copyright and Related Rights and the Public Domain, WIPO Committee on Development and Intellectual Property, CDIP/7/INF/2 (4 Mar 2011), Annex 32. 4 The arguments of proponents and opponents are considered in Section 3 below.
    [Show full text]