EUROPEAN PARLIAMENT and COUNCIL DIRECTIVE on the Harmonization of Certain Aspects of Copyright and Related Rights in the Information Society
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8. Putting Artists and Guardians of Indigenous Works First
8 Putting Artists and Guardians of Indigenous Works First: Towards a Restricted Scope of Freedom of Panorama in the Asian Pacific Region Jonathan Barrett1 1 Introduction ‘Freedom of panorama’2 permits use of certain copyright-protected works on public display; for example, anyone may publish and sell postcards of a public sculpture.3 The British heritage version of freedom of panorama, which is followed by many jurisdictions in the Asian Pacific region,4 applies 1 Copyright © 2018 Jonathan Barrett. Senior Lecturer, School of Accounting and Commercial Law, Victoria University of Wellington. 2 The term ‘freedom of panorama’ recently came into common usage in English. It appears to be derived from the Swiss German ‘Panoramafreiheit’, which itself has only been used since the 1990s, despite the exemption existing in German law for 170 years. See Mélanie Dulong de Rosnay and Pierre-Carl Langlais ‘Public artworks and the freedom of panorama controversy: a case of Wikimedia influence’ (2017) 6(1) Internet Policy Review. 3 Incidental copying of copyright works is not considered to be a feature of freedom of panorama. See Copyright Act 1994 (NZ), s 41. 4 Asian Pacific countries are those west of the International Date Line (IDL), as defined for the purposes of the Asian Pacific Copyright Association (APCA) in Brian Fitzgerald and Benedict Atkinson (eds) Copyright Future Copyright Freedom: Marking the 40 Year Anniversary of the Commencement of Australia’s Copyright Act 1968 (Sydney University Press, Sydney, 2011) at 236. 229 MAkING COPyRIGHT WORk FOR THE ASIAN PACIFIC? to buildings, sculptures and works of artistic craftsmanship on permanent display in a public place or premises open to the public.5 These objects may be copied in two dimensions, such as photographs. -
Moral Rights and the Realistic Limits of Artistic Control Susan Rabin
Golden Gate University Law Review Volume 14 | Issue 2 Article 9 January 1984 Moral Rights and the Realistic Limits of Artistic Control Susan Rabin Follow this and additional works at: http://digitalcommons.law.ggu.edu/ggulrev Part of the Intellectual Property Law Commons Recommended Citation Susan Rabin, Moral Rights and the Realistic Limits of Artistic Control, 14 Golden Gate U. L. Rev. (1984). http://digitalcommons.law.ggu.edu/ggulrev/vol14/iss2/9 This Comment is brought to you for free and open access by the Academic Journals at GGU Law Digital Commons. It has been accepted for inclusion in Golden Gate University Law Review by an authorized administrator of GGU Law Digital Commons. For more information, please contact [email protected]. Rabin: Moral Rights MORAL RIGHTS AND THE REALISTIC LIMITS OF ARTISTIC CONTROL Artists, musicians, and authors have a substantial need to protect their work from being presented to the public in a dis torted form. In addition to their insecurity in depending on the public for financial support, most artists are relatively unsophis ticated in the business, commercial, and legal aspects of their art. It is essential that artists understand the scope and limits of available protections - statutory, judicial, contractual, or otherwise. Protection of artistic works raises difficult issues, some of which do not lend themselves to legal analysis and solutions. Foremost is the question: When has an artistic work been al tered in such a way that the author/artist/composer may be damaged economically or personally? -
On the Treatment of the Sui Generis Database Rights in Version 3.0 of the Creative Commons Licenses
On the treatment of the sui generis database rights in Version 3.0 of the Creative Commons licenses. Background: Directive 96/9/EC of the European Parliament and of the Council of 11 March 1996 on the legal protection of databases (the "Database Directive") created a new basis for the protection of databases ("sui generis database protection") not previously recognized under copyright law. The database directive has by now been implemented by the 25 member states of the EU (plus some of the countries such as Norway that are part of the European Economic Area - EEA). Outside of Europe there is no sui generis protection of Databases. In some countries (for example Germany) the database directive has been implemented as part of the national copyright act, while others (such as the Netherlands) have chosen to implement via a separate act (in this case the database act). The lawmakers of the European Union decided that in order to provide greater protection to collections of information they should have a unified legal protection for databases. To this end, they created a sui generis right called database right. The database right lasts for 15 years under this regime, but can be extended if the database is updated. Database rights prevent copying of substantial parts of a database (including frequent extraction of insubstantial parts). However unlike copyright the protection of the database right is not over the form of expression of information but of the information itself [source: en.wikipedia.org/wiki/Database_rights]. Prior to Version 3.0, some localized and translated versions of the Creative Commons licenses (Belgium, Netherlands, France and Germany) contained references to national legislation passed pursuant to the Database Directive, by defining a "work" to include databases protected by these laws. -
Review of the EU Copyright Framework
Review of the EU copyright framework European Implementation Assessment Review of the EU copyright framework: The implementation, application and effects of the "InfoSoc" Directive (2001/29/EC) and of its related instruments European Implementation Assessment Study In October 2014, the Committee on Legal Affairs (JURI) requested from the European Parliament Research Service (EPRS) an Ex Post Impact Assessment on Directive 2001/29/EC on the harmonisation of certain aspects of copyright and related rights in the information society (InfoSoc). This EPRS publication was originally commissioned in the context of JURI's own- initiative implementation report, which was adopted in Plenary in July 2015, Rapporteur Julia Reda MEP. However, it is also relevant to the work of JURI Committees' Working Group on Intellectual Property Rights and Copyright (CWG), chaired by Jean Marie Cavada MEP. Furthermore, this request was made in the wider context of the Commission's review of the EU legislative framework on copyright, and the ensuing legislative proposals, which have been a long time in the planning and which are now expected for the 4th quarter of 2015. The objective of these proposals is to modernise the EU copyright framework, and in particular the InfoSoc Directive, in light of the digital transformation. Accordingly, in response to the JURI request, the Ex-Post Impact Assessment Unit of the European Parliament Research Service decided to produce a "European Implementation Assessment on the review of the EU copyright framework". Implementation reports of EP committees are now routinely accompanied by European Implementation Assessments, drawn up by the Ex-Post Impact Assessment Unit of the Directorate for Impact Assessment and European Added Value, within the European Parliament's Directorate-General for Parliamentary Research Services. -
Copyright in Central and Eastern Europe: an Intellectual Property Metamorphosis
Fordham Intellectual Property, Media and Entertainment Law Journal Volume 8 Volume VIII Number 1 Volume VIII Book 1 Article 4 1997 Copyright in Central and Eastern Europe: An Intellectual Property Metamorphosis Silke von Lewinski Head of Department, International Law, Max Planck Institute for Foreign and International Patent, Copyright and Competition Law, Munich, Germany; Adjunct Professor, Franklin Pierce Law Center; Chief Legal Expert in Copyright, European Union Follow this and additional works at: https://ir.lawnet.fordham.edu/iplj Part of the Entertainment, Arts, and Sports Law Commons, and the Intellectual Property Law Commons Recommended Citation Silke von Lewinski, Copyright in Central and Eastern Europe: An Intellectual Property Metamorphosis , 8 Fordham Intell. Prop. Media & Ent. L.J. 39 (1997). Available at: https://ir.lawnet.fordham.edu/iplj/vol8/iss1/4 This Article is brought to you for free and open access by FLASH: The Fordham Law Archive of Scholarship and History. It has been accepted for inclusion in Fordham Intellectual Property, Media and Entertainment Law Journal by an authorized editor of FLASH: The Fordham Law Archive of Scholarship and History. For more information, please contact [email protected]. LEWINSKI.TYP 9/29/2006 4:47 PM Copyright in Central and Eastern Europe: An Intellectual Property Metamorphosis Dr. Silke von Lewinski* INTRODUCTION The intellectual property systems of Central and Eastern Europe are changing rapidly as those nations join the ranks of capitalist countries. As the former Communist bloc countries con- tinue their transition from Socialist to free market systems, they are feeling growing pressure to implement new standards of protection for intellectual property rights. -
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. -
The Right to Seeds in Europe and the Protection of the Right to Seeds in Europe the United Nations Declaration on the Rights
THE RIGHT TO SEEDS IN EUROPE THE UNITED NATIONS DECLARATION ON THE RIGHTS OF PEASANTS AND OTHER PEOPLE WORKING IN RURAL AREAS AND THE PROTECTION OF THE RIGHT TO SEEDS IN EUROPE THE RIGHT TO SEEDS IN EUROPE 3 IN EUROPE SEEDS THE RIGHT TO ACKNOWLEDGEMENTS This Academy Briefing was researched and written by Dr Christophe Golay, Senior Research Fellow and Strategic Adviser on Economic, Social and Cultural Rights at the Geneva Academy of International Humanitarian Law and Human Rights (Geneva Academy), and by Dr Adriana Bessa, Senior Research Fellow at the Geneva Academy. With thanks to Fulya Batur, Claudio Brenni, José Esquinas-Alcázar, Guy Kastler, and Pauline Verrière, who provided helpful comments on an earlier draft, and to Munizha Ahmad-Cooke for her meticulous copy-editing. The Geneva Academy would like to thank Fondation Salvia for the support it has given to the Geneva Academy’s research on this issue. DISCLAIMER This Briefing is the work of the authors. The views expressed in it do not necessar- ily reflect those of the project’s supporters or of anyone who provided input to, or commented on drafts. The designation of states or territories does not imply any judgement by the Geneva Academy or Fondation Salvia regarding the legal status of such states or territories, their authorities and institutions, the delimitation of their boundaries or the status of any states or territories that border them. April 2019 ISBN: 9782970125310 © The Geneva Academy of International Humanitarian Law and Human Rights CONTENTS CONTENTS 5 CONTENTS D. STATES’ OBLIGATIONS 37 KEY FINDINGS AND RECOMMENDATIONS 7 THE RIGHT TO SEEDS IN EUROPE 4 IN EUROPE SEEDS THE RIGHT TO 1. -
Modernisation of the EU Copyright Rules
Max Planck Institute for Innovation and Competition Research Paper No. 17-12 Reto M. Hilty Valentina Moscon Editors Modernisation of the EU Copyright Rules Position Statement of the Max Planck Institute for Innovation and Competition Max Planck Institute for Innovation and Competition Research Paper Series Max Planck Institute for Innovation and Competition for Innovation Institute Planck Max Reto M. Hilty • Valentina Moscon (Editors) Modernisation of the EU Copyright Rules Position Statement of the Max Planck Institute for Innovation and Competition Editors Professor Dr. Reto M. Hilty Director, Max Planck Institute for Innovation and Competition, Munich. Dr. Valentina Moscon Senior Research Fellow, Max Planck Institute for Innovation and Competition, Munich. Imprint Max Planck Institute for Innovation and Competition, 2017 Marstallplatz 1, 80539 Munich ISBN 978-3-00-057529-7 DOI 10.17617/2.2470998 Published under Creative Commons by-nc.sa 3.0 Germany Licence https://creativecommons.org/licenses/by-nc-sa/3.0/de/deed.en Foreword On 14 September 2016 the European Commission published a package of proposals aimed at the modernisation of copyright within the digital single market. The full suite of proposals (hereinafter “copyright package”) as well as the Commission’s background documents can be accessed via ec.europa.eu/digital-single-market/en/modernisation-eu-copyright-rules. This copyright package is of particular interest to the Max Planck Institute for Innovation and Competition (hereinafter the Institute), which has been committed since its founding in 1966 to the analysis and development of intellectual property and competition law on the basis of established scientific principles. The Institute regularly advises governmental bodies and other organisations taking an international approach and placing emphasis on the comparative analysis of law as well as economic and technological aspects of legal development. -
A Criticism of the E.U. Directive Protecting Computer Software
Buffalo Journal of International Law Volume 3 Number 2 Article 5 1-1-1997 A Criticism of the E.U. Directive Protecting Computer Software Robert Shaposka Follow this and additional works at: https://digitalcommons.law.buffalo.edu/bjil Part of the European Law Commons, and the Intellectual Property Law Commons Recommended Citation Shaposka, Robert (1997) "A Criticism of the E.U. Directive Protecting Computer Software," Buffalo Journal of International Law: Vol. 3 : No. 2 , Article 5. Available at: https://digitalcommons.law.buffalo.edu/bjil/vol3/iss2/5 This Note is brought to you for free and open access by the Law Journals at Digital Commons @ University at Buffalo School of Law. It has been accepted for inclusion in Buffalo Journal of International Law by an authorized editor of Digital Commons @ University at Buffalo School of Law. For more information, please contact [email protected]. A CRITICISM OF THE E.U. DIRECTIVE PROTECTING COMPUTER SOFTWARE Robert Shaposka* I. INTRODUCTION Computer technology offers a vision of humankind's future - a "sneak peek" into the culture of tomorrow. Disheartening, however, is the chasm separating computer related legislation and the realities underpinning the computer world's actual practices. Early legal protection of computers was general and basic. Often legislatures treated computers as pure goods; an oversimplified approach incompatible with the unusual international market forces affecting the fledgling industry. Computers no longer fit within a neat definition of goods, as Charles Levy writes: If you look at the computer industry in the world.. .the hardware is not the money maker for computers (sic) companies any more. -
Directive 96/9/Ec
DIRECTIVE 96/9/EC (Database Directive) of the European Parliament and of the Council of 11 March 1996 on the legal protection of databases [Introductory remarks] 1. General. The Database Directive has created a two-tier protection regime for electronic and non-electronic databases. Member States are to pro- tect databases by copyright as intellectual creations (Chapter 2), and provide for a sui generis right (database right) to protect the contents of a database in which the producer has substantially invested (Chapter 3). Both rights may apply cumulatively if the prerequisites for both regimes are fulfilled. The introduction of sui generis protection was considered necessary after supreme courts in the Netherlands and the US had held that copyright does not protect databases reflecting merely economic investment or intellectual effort (see Feist (US) and Van Dale (Netherlands)). Prior to implementation, intellectual property protection for non-original compilations existed in just a few Member States (the United Kingdom, Denmark, Sweden and the Nether- lands). Many Member States provided only for unfair competition remedies, to be applied in special circumstances, or no remedies at all. However, the absence of a harmonized legal framework for unfair competition in Europe necessitated the introduction of a sui generis right to complement copyright protection for databases (recital 6). 2. Harmonization. The Directive is based on arts. 47(2), 55 and 95 of the EC Treaty, and is aimed at harmonizing the legal protection of databases across the European Community. The copyright chapter of the Directive harmonizes the originality standard for databases, which prior to the implementation dif- fered greatly between Member States, especially between countries of the authors’ right tradition where a measure of creativity, personal character or personal imprint was required, and the two Member States (Ireland and the UK) of the British copyright tradition where mere skill and labour sufficed. -
Promoting Artistic Progress Through the Enforcement of Creative Commons Attribution and Share-Alike Licenses
Florida State University Law Review Volume 36 Issue 4 Article 7 2009 Little Victories: Promoting Artistic Progress Through the Enforcement of Creative Commons Attribution and Share-Alike Licenses Ashley West [email protected] Follow this and additional works at: https://ir.law.fsu.edu/lr Part of the Law Commons Recommended Citation Ashley West, Little Victories: Promoting Artistic Progress Through the Enforcement of Creative Commons Attribution and Share-Alike Licenses, 36 Fla. St. U. L. Rev. (2009) . https://ir.law.fsu.edu/lr/vol36/iss4/7 This Comment is brought to you for free and open access by Scholarship Repository. It has been accepted for inclusion in Florida State University Law Review by an authorized editor of Scholarship Repository. For more information, please contact [email protected]. FLORIDA STATE UNIVERSITY LAW REVIEW LITTLE VICTORIES: PROMOTING ARTISTIC PROGRESS THROUGH THE ENFORCEMENT OF CREATIVE COMMONS ATTRIBUTION AND SHARE-ALIKE LICENSES Ashley West VOLUME 36 SUMMER 2009 NUMBER 4 Recommended citation: Ashley West, Little Victories: Promoting Artistic Progress Through the Enforcement of Creative Commons Attribution and Share-Alike Licenses, 36 FLA. ST. U. L. REV. 903 (2009). COMMENT LITTLE VICTORIES: PROMOTING ARTISTIC PROGRESS THROUGH THE ENFORCEMENT OF CREATIVE COMMONS ATTRIBUTION AND SHARE-ALIKE LICENSES ASHLEY WEST* I. INTRODUCTION .................................................................................................. 903 II. THE BIRTH AND GROWTH OF THE CREATIVE COMMONS .................................... 906 -
Civil Protection for New Agricultural Varieties: a Comparative Study
REVIEW OF INTERNATIONAL GEOGRAPHICAL EDUCATION ISSN: 2146-0353 ● © RIGEO ● 11(4), WINTER, 2021 www.rigeo.org Research Article Civil Protection for New Agricultural Varieties: A comparative Study Mothana Abdulkadem Mashaf1 Ahmed Hashim Abed2 College of Law, University of Misan, Iraq College of Law, University of Misan, Iraq [email protected] [email protected] Abstract The vital role that new agricultural varieties play in the food fields or in the pharmaceutical industry made them vulnerable to piracy and abuse of the contriver's rights. Therefore, it is necessary to give civil protection to agricultural varieties. For a variety to be protected, it must meet certain conditions that are subjective and procedural conditions. If as long as these conditions are met, the breeder of this variety is granted a certificate of protection that gives him/her an exclusive and moral right to confront all. The matter should not stop at this point, but conservative measures and special rules for compensation in this field must be established to protect agricultural varieties in order to enable the contriver to maintain his/her exclusive and moral right throughout the period of legal protection. Keywords New agricultural varieties, temporary protection, precautionary measures, permanent protection, compensation. To cite this article: Mashaf, M, A.; and Abed, A, H. (2021) Civil Protection for New Agricultural Varieties: A comparative Study Review of International Geographical Education (RIGEO), 11(4), 1365-1374. doi: 10.48047/rigeo.11.04.130 Submitted: 20-03-2021 ● Revised: 15-04-2021 ● Accepted: 15-05-2021 © RIGEO ● Review of International Geographical Education 11(4), WINTER, 2021 Introduction.