Collective Management of Copyright and Related Rights
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Intellectual Property Protection Under the TRIPS Component of the WTO Agreement
J.H. REICHMAN* Universal Minimum Standards of Intellectual Property Protection under the TRIPS Component of the WTO Agreement I. Preliminary Considerations The absorption of classical intellectual property law into international economic law will gradually establish universal minimum standards' governing the relations between innovators and second comers in an integrated world market.2 This author's previous articles focused on the broader legal and economic implications of this trend.3 The object here is to convey a more detailed and comprehensive *B.A., Chicago, 1958; J.D., Yale, 1979. Professor of law, Vanderbilt Law School, Nashville, Tennessee. The author wishes to thank Rochelle Cooper Dreyfuss, Paul Edward Geller, Paul Goldstein, Robert E. Hudec, and David Nimmer for helpful comments and critical suggestions, John Henderson and Jon Mellis for their research assistance, and Dean John J. Costonis for the grants that supported this project. 1. For a perceptive analysis of the conditions favoring the growth of universal legal standards generally, see Jonathan I. Charney, Universal International Law, 87 AM. J. INT'L L. 529, 543-50 (1993) (stressing "central role" of multilateral forums "in the creation and shaping of contemporary international law" and the ability of these forums to "move the solutions substantially towards acquiring the status of international law"). 2. See, e.g., J.H. Reichman, The TRIPS Componentof the GATT 's Uruguay Round: Competitive Prospectsfor Intellectual Property Owners in an Integrated World Market, 4 FORDHAM INTELL. PROP., MEDIA & ENT. L.J. 171, 173-78, 254-66 (1993) [hereinafter Reichman, TRIPS Component]. For background to these negotiations, see also J.H. -
ELDRED V. ASHCROFT: the CONSTITUTIONALITY of the COPYRIGHT TERM EXTENSION ACT by Michaeljones
COPYRIGHT ELDRED V. ASHCROFT: THE CONSTITUTIONALITY OF THE COPYRIGHT TERM EXTENSION ACT By MichaelJones On January 15, 2003, the Supreme Court upheld the constitutionality of the Copyright Term Extension Act ("CTEA"), which extended the term of copyright protection by twenty years.2 The decision has been ap- plauded by copyright protectionists who regard the extension as an effec- tive incentive to creators. In their view, it is a perfectly rational piece of legislation that reflects Congress's judgment as to the proper copyright term, balances the interests of copyright holders and users, and brings the3 United States into line with the European Union's copyright regime. However, the CTEA has been deplored by champions of a robust public domain, who see the extension as a giveaway to powerful conglomerates, which runs contrary to the public interest.4 Such activists see the CTEA as, in the words of Justice Stevens, a "gratuitous transfer of wealth" that will impoverish the public domain. 5 Consequently, Eldred, for those in agree- ment with Justice Stevens, is nothing less than the "Dred Scott case for 6 culture." The Court in Eldred rejected the petitioners' claims that (1) the CTEA did not pass constitutional muster under the Copyright Clause's "limited © 2004 Berkeley Technology Law Journal & Berkeley Center for Law and Technology. 1. Sonny Bono Copyright Term Extension Act, 17 U.S.C. §§ 108, 203, 301-304 (2002). The Act's four provisions consider term extensions, transfer rights, a new in- fringement exception, and the division of fees, respectively; this Note deals only with the first provision, that of term extensions. -
Harmonizing Copyright's Internationalization With
HARMONIZING COPYRIGHT’S INTERNATIONALIZATION WITH DOMESTIC CONSTITUTIONAL CONSTRAINTS A quick glance through recent copyright legislation suggests that we are in the midst of a “second enclosure movement,” this time fenc- ing off the “intangible commons of the mind” instead of the physical commons of the land.1 In 1992 the Copyright Renewal Act2 (CRA) abolished the longstanding renewal requirement for nearly all works; in 1998 the Sonny Bono Copyright Term Extension Act3 (CTEA) ex- tended the term of copyright protection by twenty years and the Digi- tal Millennium Copyright Act4 (DMCA) heightened penalties for copy- right infringement on the Internet and provided copyright owners with an increased ability to control access to their copyrighted digital me- dia. These are simply a few examples drawn from the larger set of copyright legislation enacted within the past two decades, a set that taken as a whole provides worrisome evidence of a one-way ratcheting up of copyright protection. No surprise, then, that there is widespread feeling among many copyright scholars that Congress has unabashedly ceded to the lobby- ing pressures of the copyright industries and steadily cut into the heart of the public domain.5 Scholars have unleashed a flurry of articles in the past decade warning about the public harms of copyright exten- sions and, cognizant of the skewed political economy, calling for meas- ––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––– 1 James Boyle, The Second Enclosure Movement and the Construction of the Public Domain, LAW & CONTEMP. PROBS., Winter/Spring 2003, at 33, 37 (internal quotation mark omitted). 2 Pub. L. No. 102-307, 106 Stat. 264 (1992). -
On the Three-Step Test
First WIPO Interregional Meeting on South -South Cooperation on Intellectual Property (IP) Governance; Genetic Resources, Tradit ional Knowledge and Folklore (GRTKF) and Copyright and Related Rights jointly organized by the World Intellectual Property Organization (WIPO) and the Government of Brazil Brasilia, August 8 to 10, 2012 Copyright, b alancing of interests , and developing countries Dr. Mihály Ficsor, Chairman, Central and Eastern European Copyright Alliance (CCECA) former Assistant Director General of WIPO I. RELEVANT INTERNATIONAL NORMS M. Ficsor, Brasilia, August 8-10, 2012 2 Three „layers” – and a half – of the international copyright and related rights norms First „layer”: Berne Convention orginially adopted in 1886, regularly revised ; for the last time in 1971 (administered by WIPO) and the Rome Convention adopted in 1961 (jointly administered by WIPO, UNESCO and ILO). Second „layer”: TRIPS Agreement adopted in 1994 (administered by WTO). Third „layer”: WIPO „Internet Treaties”: the WIPO Copyright Treaty (WCT) and WIPO Performances and Phonograms Treaty (WPPT) adopted in 1996 and the Beijing Treaty on Audiovisual Performences (BTAP) adopted in June 2012 The half layer: „guided development period” (1975 to 1988) M. Ficsor, Brasilia, August 8-10, 2012 3 Berne Convention (1) Specific exceptions and limitations: Access to information : free use official texts of a legislative, administrative and legal nature (Art. 2(4)), political speeches and speeches delivered in legal proceedings (Art. 2 bis (1)), and – for informatory purposes – lectures and addresses delivered in public; free re-use of articles and broadcast works on current economic, political or religious topics (Art. 10 bis (1)) and (Art.10 bis (2)). Freedom of speech, research and criticism : free quotation (Art. -
The WIPO Internet Treaties
WORLD General INTELLECTUAL In December 1996, two new treaties were PROPERTY concluded at the World Intellectual Property ORGANIZATION Organization (WIPO): the WIPO Copyright Treaty (WCT) and the WIPO Performances and Phonograms Treaty (WPPT). Together, these WIPO is committed to working towards the treaties represent a milestone in modernizing the broadest possible adherence to the treaties international system of copyright and related around the world in order to safeguard global rights, ushering that system into the digital age. protection for creativity. This project is a key item on the WIPO Digital Agenda, approved by the Background Member States in September 1999. The WIPO Copyright law provides protection for literary and Informationwww.wipo.int on the current situation regarding the Internet artistic works, giving their creators the ability WCT and the WPPT is available on our website at to control certain uses of their works. The law of <http://www.wipo.int/treaties/ip/index.html>. related rights (that is, rights related to copyright) Treaties provides similar protection for the creative For more information contact the contributions of parties involved in presenting World Intellectual Property Organization at: works to the public, such as performers, Address: Telephone: phonogram producers, and broadcasters. 34, chemin des Colombettes +41 22 338 91 11 Copyright and related rights are provided by P.O. Box 18 Fax: CH-1211 Geneva 20 +41 22 733 54 28 national laws in individual countries. International Switzerland E-mail: treaties link the various national laws by ensuring [email protected] that at least a minimum level of rights will be or its New York Coordination Office at: www.wipo.int granted to creators under each national law. -
The Challenges of Copyright in the EU
Briefing June 2015 The challenges of copyright in the EU SUMMARY Despite over a century of international harmonisation, copyright law remains essentially national law, even though some fundamental copyright norms are gradually converging. Today, copyright is regulated at international level mainly through the Bern Convention, the Universal Copyright Convention, and a series of other treaties administered by the World Intellectual Property Organization. At present, national copyright laws are grounded in a handful of universal rules and principles. Exclusive rights are granted to creators for 'original' works which range from art (music, paintings) to information products (maps, databases). The rights conceded under copyright vary with national laws and legal traditions (civil law in continental Europe and common law in Anglo-American countries). However, as a minimum, exclusive rights encompass the rights to reproduce, distribute, rent, lend, or communicate a work to the public. All these rights can be transferred and/or collectively managed by specialist intermediaries (notably for music works). Most national laws also grant moral rights to protect the author's name and reputation. Other provisions – such as the term of copyright protection – differ widely on a global scale. To maintain a fair balance between the interests of users and rights-holders, legislators have foreseen a number of exceptions, allowing for limited free use of certain works. The main European Union instrument providing a legal framework for copyright is the 2001 Copyright Directive. In May 2015, the European Commission unveiled its plans to create a Digital Single Market, aiming in this respect to present legislative proposals reducing the differences between national copyright regimes and allowing for wider online access, including through further harmonisation measures. -
Carrie Russell, Library Copyright Alliance
BEFORE THE COPYRIGHT OFFICE LIBRARY OF CONGRESS IN THE MATTER OF THE FACILITATING ACCESS TO COPYRIGHTED WORKS FOR THE BLIND OR OTHER PERSONS WITH DISABILITIES Docket No. E9-24539 COMMENTS OF THE LIBRARY COPYRIGHT ALLIANCE, THE ELECTRONIC FRONTIER FOUNDATION AND THE CHIEF OFFICERS OF STATE LIBRARY AGENCIES Pursuant to the Notice of Inquiry (NOI) published by the Copyright Office in the Federal Register on October 13, 2009, the Library Copyright Alliance (LCA), the Electronic Frontier Foundation (EFF), and the Chief Officers of State Library Agencies (COSLA) submit the following comments on the topic of facilitating access to copyrighted works for the blind or other persons with disabilities. The Library Copyright Alliance consists of the American Library Association, the Association of College and Research Libraries, and the Association of Research Libraries. The American Library Association (ALA) is a nonprofit professional organization of more than 65,000 librarians, library trustees and other friends of libraries dedicated to providing and improving library services and promoting the public interest in a free and open information society. The Association of College and Research Libraries (ACRL), the largest division of ALA, is a professional association of academic and research library and information professionals to serve the information needs of the higher education community and to improve learning, teaching and research. 1 The Association of Research Libraries (ARL) is a nonprofit organization of 123 research libraries in North America. ARL’s members include university libraries, public libraries, government and national libraries. ARL influences the changing environment of scholarly communication and the public policies that affect research libraries and the diverse communities they serve. -
A Case for a Longer Term of Copyright in Canada - Implications of Eldred V
COMMENTAIRE A CASE FOR A LONGER TERM OF COPYRIGHT IN CANADA - IMPLICATIONS OF ELDRED V. ASHCROFT par Kamil Gérard AHMED* En 1993, une directive de l'Union européenne a obligé les États membres à prolonger dans leur droit interne la durée minimale du droit d'auteur de vingt ans, la portant ainsi à soixante-dix ans après le décès de l'auteur, et exclut cette prolongation ne s=appliquant pas aux États non membres qui n=offrent pas la même durée de protection. Cette directive a été le fer de lance de changements législatifs à l'échelle internationale. En 1998, le Congrès américain a adopté le Copyright Term Extension Act, qui prolonge de vingt ans la durée de la protection des droits d'auteur existants et futurs. En 2003, l'arrêt de la Cour suprême des États-Unis Eldred c. Ashcroft, a confirmé la légalité du Copyright Term Extension Act. La protection couvrant la vie de l'auteur et les soixante-dix années suivant son décès dans l'Union européenne et aux États-Unis a eu des répercussions au Canada, où le régime de protection dans la Loi sur le droit d'auteur couvre à ce jour la durée de vie de l=auteur plus cinquante ans. Le présent exposé soutient la position que le Parlement canadien ne doit pas ignorer les développements à l'égard du droit d'auteur dans l'Union européenne et aux États-Unis et qu'il devrait modifier la Loi sur le droit d'auteur du Canada afin de prolonger la durée du droit d'auteur à soixante-dix ans après le décès de celui-ci. -
Wipo Copyright Treaties Implementation and On-Line Copyright Infringement Liability Limitation
WIPO COPYRIGHT TREATIES IMPLEMENTATION AND ON-LINE COPYRIGHT INFRINGEMENT LIABILITY LIMITATION WIPO COPYRIGHT TREATIES IMPLEMENTATION AND ON-LINE COPYRIGHT INFRINGEMENT LIABILITY LIMITATION MAY 22, 1998.--Committed to the Committee of the Whole House on the State of the Union and ordered to be printed Mr. COBLE, from the Committee on the Judiciary, submitted the following REPORT [To accompany H.R. 2281] [Including cost estimate of the Congressional Budget Office] The Committee on the Judiciary, to whom was referred the bill (H.R. 2281) to amend title 17, United States Code, to implement the World Intellectual Property Organization Copyright Treaty and Performances and Phonograms Treaty, having considered the same, reports favorably thereon with an amendment and recommends that the bill as amended do pass. TABLE OF CONTENTS The amendment is as follows: [2] Strike out all after the enacting clause and insert in lieu thereof the following: TITLE I--WIPO COPYRIGHT TREATIES IMPLEMENTATION SEC. 101. SHORT TITLE. This title may be cited as the ''WIPO Copyright Treaties Implementation Act''. SEC. 102. TECHNICAL AMENDMENTS. (a) DEFINITIONS.--Section 101 of title 17, United States Code, is amended-- (1) by striking the definition of ''Berne Convention work''; (2) in the definition of ''The 'country of origin' of a Berne Convention work''-- (A) by striking ''The 'country of origin' of a Berne Convention work, for purposes of section 411, is the United States if'' and inserting ''For purposes of section 411, a work is a 'United States work' only -
Overview of WIPO-Administered Treaties on Copyright and Related Rights
Max Planck Institute for Innovation and Competition Copyright and Related Rights: Beijing and Marrakesh Treaties Overview of WIPO-Administered Treaties on Copyright and Related Rights WIPO in cooperation with the Copyright Directorate of the Ministry of Culture of Albania Tirana, March 6, 2018 Prof. Dr. Silke von Lewinski 1 Max Planck Institute for Innovation and Competition | Munich Overview I. Authors’ rights treaties 1. Berne Convention for the Protection of Literary and Artistic Works 2. WIPO Copyright Treaty (WCT) II. Treaties on related rights 1. Rome Convention for the Protection of Performers, Producers of Phonograms and Broadcasting Organizations 2. WIPO Performances and Phonograms Treaty (WPPT) 3. Beijing Treaty on Audiovisual Performances III. Treaty on access to works by visually impaired people: Marrakesh VIP Treaty 2 Max Planck Institute for Innovation and Competition | Munich Overview I. Why do we need such treaties? 1. National copyright laws usually only apply to national situations 2. Works “travel”, are exploited beyond national borders 3. Without an international obligation in a treaty, such works often would not be protected beyond national borders II. Relation between treaties 3 Max Planck Institute for Innovation and Competition | Munich I. Authors‘ rights treaties 1. The Berne Convention a. History and objective - After initial network of various bilateral treaties on authors’ rights: need for one multilateral treaty - Entry into force: September 9, 1886 - Revisions since then: 5 (latest in Paris, 1971) - Number of member states: 175 - Objective: international system granting protection for works of authors in international situations 4 Max Planck Institute for Innovation and Competition | Munich I. Authors‘ rights treaties 1. -
The Orrin Hatch – Bob Goodlatte Music Modernization Act
The Orrin Hatch – Bob Goodlatte Music Modernization Act A Guide for Sound Recordings Collectors This study was written by Eric Harbeson, on behalf of and commissioned by the National Recording Preservation Board. Members of the National Recording Preservation Board American Federation of Musicians National Academy of Recording Arts and Sciences Billy Linneman Maureen Droney Alternate: Daryl Friedman American Folklore Society Burt Feintuch (in memoriam) National Archives and Records Administration Alternate: Timothy Lloyd Daniel Rooney Alternate: Tom Nastick American Musicological Society Judy Tsou Recording Industry Association of America Alternate: Patrick Warfield David Hughes Alternate: Patrick Kraus American Society of Composers, Authors and Publishers SESAC Elizabeth Matthews John JosePhson Alternate: John Titta Alternate: Eric Lense Association for Recorded Sound Collections Society For Ethnomusicology David Seubert Jonathan Kertzer Alternate: Bill Klinger Alternate: Alan Burdette Audio Engineering Society Songwriters Hall of Fame George Massenburg Linda Moran Alternate: Elizabeth Cohen Alternate: Robbin Ahrold Broadcast Music, Incorporated At-Large Michael O'Neill Michael Feinstein Alternate: Michael Collins At-Large Country Music Foundation Brenda Nelson-Strauss Kyle Young Alternate: Eileen Hayes Alternate: Alan Stoker At-Large Digital Media Association Mickey Hart Garrett Levin Alternate: ChristoPher H. Sterling Alternate: Sally Rose Larson At-Large Music Business Association Bob Santelli Portia Sabin Alternate: Al Pryor Alternate: Paul JessoP At-Large Music Library Association Eric Schwartz James Farrington Alternate: John Simson Alternate: Maristella Feustle Abstract: The Music Modernization Act is reviewed in detail, with a Particular eye toward the implications for members of the community suPPorted by the National Recording Preservation Board, including librarians, archivists, and Private collectors. The guide attemPts an exhaustive treatment using Plain but legally precise language. -
ELDRED V. ASHCROFT: the CONSTITUTIONALITY of the COPYRIGHT TERM EXTENSION ACT by Michaeljones
COPYRIGHT ELDRED V. ASHCROFT: THE CONSTITUTIONALITY OF THE COPYRIGHT TERM EXTENSION ACT By MichaelJones On January 15, 2003, the Supreme Court upheld the constitutionality of the Copyright Term Extension Act ("CTEA"), which extended the term of copyright protection by twenty years.2 The decision has been ap- plauded by copyright protectionists who regard the extension as an effec- tive incentive to creators. In their view, it is a perfectly rational piece of legislation that reflects Congress's judgment as to the proper copyright term, balances the interests of copyright holders and users, and brings the3 United States into line with the European Union's copyright regime. However, the CTEA has been deplored by champions of a robust public domain, who see the extension as a giveaway to powerful conglomerates, which runs contrary to the public interest.4 Such activists see the CTEA as, in the words of Justice Stevens, a "gratuitous transfer of wealth" that will impoverish the public domain. 5 Consequently, Eldred, for those in agree- ment with Justice Stevens, is nothing less than the "Dred Scott case for 6 culture." The Court in Eldred rejected the petitioners' claims that (1) the CTEA did not pass constitutional muster under the Copyright Clause's "limited © 2004 Berkeley Technology Law Journal & Berkeley Center for Law and Technology. 1. Sonny Bono Copyright Term Extension Act, 17 U.S.C. §§ 108, 203, 301-304 (2002). The Act's four provisions consider term extensions, transfer rights, a new in- fringement exception, and the division of fees, respectively; this Note deals only with the first provision, that of term extensions.