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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. -
The Constitutional Law of Intellectual Property After Eldred V. Ashcroft
The Constitutional Law of Intellectual Property After Eldred v. Ashcroft By Pamela Samuelson* I. Introduction The past decade has witnessed an extraordinary blossoming of scholarship on the constitutional law of intellectual property,1 much of which focuses on copyright law.2 Had the Supreme Court ruled in favor of Eldred’s challenge to the constitutionality of the Copyright Term Extension Act,3 this body of scholarship would have undoubtedly proliferated with alacrity. Many scholars would have been eager to offer interpretations of implications of an Eldred-favorable decision for other intellectual property disputes.4 Given the Ashcroft-favorable outcome, some may expect the Eldred decision to “deconstitutionalize” intellectual property law and reduce to a trickle further scholarly * Chancellor’s Professor of Law and Information Management, University of California at Berkeley. Research support for this article was provided by NSF Grant No. SES 9979852. I wish to thank Eddan Katz for his exceptional research assistance with this article. 1 See, e.g., Dan L. Burk, Patenting Speech, 79 Tex. L. Rev. 99 (2000); Paul J. Heald and Suzanna Sherry, Implied Limits on the Legislative Power: The Intellectual Property Clause as an Absolute Constraint on Congress, 2000 U. Ill. L. Rev. 1119 (2000); Robert Patrick Merges and Glenn Harlan Reynolds, The Proper Scope of the Copyright and Patent Power, 37 J. Legis. 45 (2000); Mark A. Lemley, The Constitutionalization of Technology Law, 15 Berkeley Tech. L.J. 529 (2000); Malla Pollack, Unconstitutional Incontestability? The Intersection Of The Intellectual Property And Commerce Clauses Of The Constitution: Beyond A Critique Of Shakespeare Co. v. -
You(Tube), Me, and Content ID: Paving the Way for Compulsory Synchronization Licensing on User-Generated Content Platforms Nicholas Thomas Delisa
Brooklyn Law Review Volume 81 | Issue 3 Article 8 2016 You(Tube), Me, and Content ID: Paving the Way for Compulsory Synchronization Licensing on User-Generated Content Platforms Nicholas Thomas DeLisa Follow this and additional works at: https://brooklynworks.brooklaw.edu/blr Part of the Intellectual Property Law Commons, and the Internet Law Commons Recommended Citation Nicholas T. DeLisa, You(Tube), Me, and Content ID: Paving the Way for Compulsory Synchronization Licensing on User-Generated Content Platforms, 81 Brook. L. Rev. (2016). Available at: https://brooklynworks.brooklaw.edu/blr/vol81/iss3/8 This Note is brought to you for free and open access by the Law Journals at BrooklynWorks. It has been accepted for inclusion in Brooklyn Law Review by an authorized editor of BrooklynWorks. You(Tube), Me, and Content ID PAVING THE WAY FOR COMPULSORY SYNCHRONIZATION LICENSING ON USER- GENERATED CONTENT PLATFORMS INTRODUCTION Ever wonder about how the law regulates your cousin’s wedding video posted on her YouTube account? Most consumers do not ponder questions such as “Who owns the content in my video?” or “What is a fair use?” or “Did I obtain the proper permission to use Bruno Mars’s latest single as the backing track to my video?” These are important questions of law that are answered each day on YouTube1 by a system called Content ID.2 Content ID identifies uses of audio and visual works uploaded to YouTube3 and allows rights holders to collect advertising revenue on that content through the YouTube Partner Program.4 It is easy to see why Content ID was implemented—300 hours of video are uploaded to YouTube per minute.5 Over six billion hours of video are watched each month on YouTube (almost an hour for every person on earth),6 and it is unquestionably the most popular streaming video site on the Internet.7 Because of the staggering amount of content 1 See A Guide to YouTube Removals,ELECTRONIC fRONTIER fOUND., https://www.eff.org/issues/intellectual-property/guide-to-youtube-removals [http://perma.cc/ BF4Y-PW6E] (last visited June 6, 2016). -
Copyright 2020 a Practical Cross-Border Insight Into Copyright Law
International Comparative Legal Guides Copyright 2020 A practical cross-border insight into copyright law Sixth Edition Published by Global Legal Group, in association with Bird & Bird LLP Featuring contributions from: Acapo AS Fross Zelnick Lehrman & Zissu, P.C. Simba & Simba Advocates Anderson Mōri & Tomotsune Grupo Gispert SyCip Salazar Hernandez & Gatmaitan Armengaud & Guerlain Hamdan AlShamsi Lawyers & Legal Consultants Synch Advokat AB Bae, Kim & Lee LLC Hylands Law Firm Wenger Plattner Baptista, Monteverde & Associados, Sociedade Klinkert Rechtsanwälte PartGmbB Wintertons Legal Practitioners de Advogados, SP, RL LexOrbis Bereskin & Parr LLP Liad Whatstein & Co. Berton Moreno + Ojam MinterEllison Bird & Bird LLP OFO VENTURA INTELLECTUAL PROPERTY & Daniel Law LITIGATION De Beer Attorneys Inc. PÉREZ CORREA & ASOCIADOS, S.C. De Berti Jacchia Franchini Forlani Studio Legale Semenov&Pevzner Deep & Far Attorneys-at-Law Shin Associates ICLG.com Table of Contents Expert Chapter 1 The DSM Directive: A Significant Change to the Regulation of Copyright Online Phil Sherrell & William Wortley, Bird & Bird LLP Country Q&A Chapters 5 Argentina 100 Norway Berton Moreno + Ojam: Marcelo O. García Sellart Acapo AS: Espen Clausen & Alexander Hallingstad 10 Australia 104 Philippines MinterEllison: John Fairbairn & Katherine Giles SyCip Salazar Hernandez & Gatmaitan: Vida M. Panganiban-Alindogan 17 Brazil Daniel Law: Hannah Vitória M. Fernandes & 111 Portugal Antonio Curvello Baptista, Monteverde & Associados, Sociedade de Advogados, SP, RL: Filipe Teixeira Baptista & Mariana Canada 23 Bernardino Ferreira Bereskin & Parr LLP: Catherine Lovrics & Naomi Zener Russia China 116 30 Semenov&Pevzner: Ksenia Sysoeva & Roman Lukyanov Hylands Law Firm: Erica Liu & Andrew Liu South Africa France 122 37 De Beer Attorneys Inc.: Elaine Bergenthuin & Claire Armengaud & Guerlain: Catherine Mateu Gibson 42 Germany Klinkert Rechtsanwälte PartGmbB: Piet Bubenzer & 128 Spain Dr. -
Intellectual-Property Laws in the Hong Kong S.A.R.: Localization and Internationalization Paul Tackaberry"
Intellectual-Property Laws in the Hong Kong S.A.R.: Localization and Internationalization Paul Tackaberry" In preparation for the handover, Hong Kong en- En vue de la r6trocession, l'ancien conseil 16gis- acted local ordinances in the areas of patents, designs latif de Hong-Kong a adopt6 diverses ordonnances and copyright. A new Trade Marks Ordinance is ex- dans les domaines des brevets, du design et des droits pected after the handover. Interestingly, much of this d'auteurs. On s'attend 6galement . ce qu'une ordon- legislation is based on United Kingdom statutes. The nance sur les marques de commerce soit adoptde peu success of this legislation in safe-guarding intellectual- de temps apr~s la r6trocession. Plusieurs de ces textes property rights ("IPRs") will depend less upon its con- 16gislatifs sont bas6s sur le module anglais. Le succ~s tents, and more upon a clear separation of the state and de la protection des droits de propridt6 intellectuelle judiciary in the Special Administrative Region ddpendra toutefois moins du contenu de ces lois que de ("S.A.R.") of Hong Kong. Despite the absence of a la s6paration claire entre le systime judiciaire et l'tat 1997 CanLIIDocs 49 tradition of the formal protection of IPRs, China has dans la nouvelle Zone administrative sp6ciale de Hong- identified a need to enact comprehensive intellectual- Kong. Bien qu'elle n'ait pas de tradition de protection property legislation. However, the absence of Western- de Ia propri6t6 intellectuelle, la R6publique populaire style rule of law in China has contributed to foreign de Chine a reconnu la n6cessit6 d'adopter une 16gisla- dissatisfaction with the enforcement of IPRs. -
Common-Law Copyright in the USA
www.rbs2.com/clc.pdf 16 Jul 2013 Page 1 of 29 Common-Law Copyright in the USA Copyright 2013 by Ronald B. Standler No copyright claimed for works of the U.S. Government. No copyright claimed for quotations from any source, except for selection of such quotations. Keywords common, common-law, conversation, copyright, first publication, fixed, general publication, interview, law, lecture, limited publication, music, performance, perpetual, recording, transfer Table of Contents Introduction . 2 Overview . 3 after 1 Jan 1978 . 4 History . 5 Law Before Copyright Act of 1976 . 5 A. right of first publication . 5 B. common-law copyright is perpetual . 9 C. transfer of common-law copyright . 9 D. “general publication” terminates common-law copyright . 10 “limited publication” does not terminate common-law copyright . 12 public performance is limited publication . 14 delivery of lecture or speech is limited publication . 15 E. no preemption by Copyright Act of 1909 . 17 Law After Copyright Act of 1976 . 17 preemption by Copyright Act of 1976 . 18 legislative history . 19 unfixed works . 21 California Statute . 22 Are Conversations or Interviews Copyrightable? . 23 Music Recorded Before 15 Feb 1972 . 24 www.rbs2.com/clc.pdf 16 Jul 2013 Page 2 of 29 sale of recordings does not extinguish common-law copyright . 24 pirated/bootleg recordings of music . 26 Conclusion . 28 Bibliography . 28 Introduction The subject of this essay is the murky and poorly articulated common-law copyright in the USA. Even amongst specialists in intellectual property law (i.e., patents, trademarks, copyright, trade secrets) few lawyers understand common-law copyright. Because lawyers who are arguing common-law copyright cases are not doing adequate legal research, these lawyers do not adequately explain common-law copyright to judges, which leads to confusing, conflicting, or erroneous judicial decisions. -
INTELLECTUAL PRIVILEGE: Copyright, Common Law, and The
INTELLECTUAL PRIVILEGE Copyright, Common Law, and the Common Good TOM W. BELL Arlington, Virginia Founders’ Copyright 2014 by Tom Bell. (See opposite for more information.) Second printing, April 2018 Printed in the United States of America Mercatus Center at George Mason University 3434 Washington Blvd., 4th Floor Arlington, VA 22201 www.mercatus.org 703-993-4930 Library of Congress Cataloging-in-Publication Data Bell, Tom W. Intellectual privilege : copyright, common law, and the common good / Tom W. Bell. pages cm ISBN 978-0-9892193-8-9 (pbk.) -- ISBN 978-0-9892193-9-6 (e-book (kindle)) 1. Copyright--United States. I. Title. KF2994.B45 2014 346.7304’82--dc23 2014005816 COPYRIGHT NOTE Not long ago, in “Five Reforms for Copyright” (chapter 7 of Copyright Unbalanced: From Incentive to Excess, published by the Mercatus Center at George Mason University in 2012), I suggested that the United States should return to the kind of copyright the Founders supported: the one they created in their 1790 Copyright Act. The Founders’ copyright had a term of only fourteen years with the option to renew for another fourteen. It conditioned copyright on the satisfaction of strict statutory formali- ties and covered only maps, charts, and books. The Founders’ copyright protected only against unauthorized reproductions and offered only com- paratively limited remedies. This book follows through on that policy advice. The Mercatus Center and I agreed to publish it under terms chosen to recreate the legal effect of the Founders’ 1790 Copyright Act. For example, the book’s copy- right will expire in 2042 (if not before), and you should feel free to make a movie or other derivative work at any time. -
The Basics of Copyright Law Just Enough Copyright for People Who Are Not Attorneys Or Intellectual Property Experts by Mitchell Zimmerman
The Basics of Copyright Law Just Enough Copyright for People Who Are Not Attorneys or Intellectual Property Experts by mitchell zimmerman This article originally appeared in the not protect the underlying ideas embodied in a California Bar Journal as an educational piece work; neither does it protect against independent for attorneys not expert in intellectual property development. law, but is suitable for non-attorneys as well. Basic copyright protection is automatic, essentially You have been helping a client set up her consulting free, and more or less world-wide in scope. Although business for failing bookstores (Speak Volumes people often speak of “copyrighting” a work or Recovery Group), and she mentions that she has “obtaining a copyright,” these are misnomers. The developed a PowerPoint presentation and hand-outs copyrights in any original work of authorship come for use in their seminars. “Do you think we should into existence automatically, without further action, as trademark or copyright these materials?” she asks. of the moment of “fixation” of the work. Registering “We’re really jazzed about the slides; we made them a work with the U.S. Copyright Office and marking a much more exciting by using a lot of photos we work with a copyright notice are not required, and found on the internet. Also, the manuals we give our failure to do so does not result in loss of the basic customers include some great ideas we’ve developed rights of copyright holders. about bookstore inventory control — the copyright will keep our competitors from using our ideas if we copyright requirements register the manual, right?” There are three basic requirements for copyright “Well,” you respond, “ummm… ahh…. -
The Next Great Youtube: Improving Content Id to Foster Creativity, Cooperation, and Fair Compensation
BOROUGHF_FORMAT3 (DO NOT DELETE) 3/27/2015 1:39 AM THE NEXT GREAT YOUTUBE: IMPROVING CONTENT ID TO FOSTER CREATIVITY, COOPERATION, AND FAIR COMPENSATION Benjamin Boroughf* ABSTRACT YouTube prides itself on its automatic copyright detection and filtering program known as Content ID because it goes beyond YouTube’s legal responsibilities under the Digital Millennium Copyright Act and because it allows copyright holders to control and profit from their content. However, Content ID is not the technological paragon YouTube and some scholars see it as. By relying on a system that automatically matches, blocks, and monetizes videos that allegedly contain any amount of infringing content, both YouTube and copyright holders have promoted a system that opposes the Copyright Act and YouTube’s goals of promoting creativity and protecting fair use. Without earlier human review and involvement, this costly Content ID system is susceptible to false positives and accidental matches, harming the public’s access to new forms of creativity. Without limiting monetization to the proportion of matched content in a video, Content ID also encourages copyright holders to take advantage of the hard work and creativity of YouTubers by stripping away all of their monetary incentives. This article demonstrates why these problems exist and it sets forth a proposal that seeks to slightly modify Content ID to better align it with the Copyright Act and YouTube’s own goals, while encouraging communication, cooperation, creativity, and fair compensation between copyright holders and YouTubers. * Attorney, Appellate Division, Illinois Attorney Registration & Disciplinary Commission. J.D. 2014, Chicago-Kent College of Law. Sincere thanks to Professor Edward Lee for providing insightful comments and direction, and to the Freedom of the Internet spring 2014 class for providing valuable feedback and discussion. -
Copyright Ordinance
Review of Certain Provisions of Copyright Ordinance CONTENTS Page Foreword i Chapter 1 Copyright Exemption 1 Chapter 2 Scope of Criminal Provisions Related to 8 End-user Piracy Chapter 3 End-user Liability Associated with Parallel 12 Imported Copies Chapter 4 Defence for Employees against End-user 16 Criminal Liability Chapter 5 Proof of Infringing Copies of Computer 19 Programs in End-user Piracy Cases Chapter 6 Circumvention of Technological Measures for 22 Copyright Protection Chapter 7 Rental Rights for Films 26 Chapter 8 Issues Relating to the World Intellectual 30 Property Organization Internet Treaties Appendix I Sections 38 and 39 of the Copyright 35 Ordinance (Cap 528) Appendix II List of Proposed Improvements on Certain 37 “Permitted Acts” Provisions in the Copyright Ordinance following the Public Consultation Exercise in 2001 Summary 39 Foreword FOREWORD During the discussion of the Copyright (Amendment) Bill 2003 (the 2003 Bill) in the Legislative Council, some owners of copyright works advocated that the existing scope of criminal liability for using infringing copies for business (end-user criminal liability) should be expanded, whereas users of copyright works expressed grave concerns about the adverse impact of any expansion on dissemination of information and education. Both parties agreed that the subject of expansion in the scope of end-user criminal liability could be further examined together with the subject of exemptions for copyright restricted acts. To enable these related issues to be widely discussed and thoroughly considered, we proposed and the Legislative Council agreed to delete from the 2003 Bill all provisions related to end-user criminal liability. -
Quest for International Copyright Protection Harry G
Cornell Law Review Volume 39 Article 3 Issue 1 Fall 1953 Quest for International Copyright Protection Harry G. Henn Follow this and additional works at: http://scholarship.law.cornell.edu/clr Part of the Law Commons Recommended Citation Harry G. Henn, Quest for International Copyright Protection , 39 Cornell L. Rev. 43 (1953) Available at: http://scholarship.law.cornell.edu/clr/vol39/iss1/3 This Article is brought to you for free and open access by the Journals at Scholarship@Cornell Law: A Digital Repository. It has been accepted for inclusion in Cornell Law Review by an authorized administrator of Scholarship@Cornell Law: A Digital Repository. For more information, please contact [email protected]. THE QUEST FOR INTERNATIONAL COPYRIGHT PROTECTION Harry G. Henn* The past century has witnessed many efforts to establish an effective system of world-wide copyright protection. The most recent attempt, the Universal Copyright Convention of 1952, was signed at Geneva, Switzer- land, on September 6, 1952, by forty nations,1 including the United States. Presently awaiting ratification by the nations of the world, the Univer- sal Copyright Convention is best understood by a knowledge of (1) the preceding century-long quest for international copyright protection; (2) the present systems of such protection; and (3) the improvement in such protection reasonably to be anticipated from acceptance of the Convention by the nations of the world. HISTORY OF INTERNATIONAL COPYRIGHT PRIOR TO 1852 The recognition of rights of copyright in foreign works has evolved gradually. So long as contemporary works were distributed almost exclu- sively within their authors' nations, lack of protection elsewhere caused no serious concern. -
A Unified Theory of Copyright†
(1) PATTERSON 6/2/2009 6:20 PM BOOK A UNIFIED THEORY OF COPYRIGHT† L. Ray Patterson and Stanley F. Birch, Jr.* Edited by Craig Joyce** TABLE OF CONTENTS EDITOR’S NOTE ............................................................................ 221 PREFACE ...................................................................................... 223 CHAPTER 1. INTRODUCTION AND OVERVIEW ............................... 227 CHAPTER 2. THE COPYRIGHT CLAUSE AND COPYRIGHT HISTORY ............................................... 241 2.1 Introduction ............................................................ 241 2.2 The Source of the Copyright Clause ........................ 243 2.3 The Stationers’ Copyright ....................................... 244 2.4 The Printing Patent ................................................ 246 2.5 Copyright and Censorship ...................................... 248 2.6 The Stationers’ Copyright and the Public Domain Problem .................................... 249 2.7 The Statutory Copyright ......................................... 250 2.8 The Battle of the Booksellers: Natural Law v. Positive Law .................................. 253 A. The Millar Case .............................................. 254 †The preferred citation for this book is: L. RAY PATTERSON & STANLEY F. BIRCH, JR., A UNIFIED THEORY OF COPYRIGHT (Craig Joyce ed., 2009), printed in 46 HOUS. L. REV. 215 (2009). * L. Ray Patterson, Late Pope Brock Professor, University of Georgia School of Law; Stanley F. Birch, Jr., Judge of the Eleventh Circuit,