In the Trenches with § 104A: an Evaluation of the Parties’ Arguments in Golan V
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Conundra of the Berne Convention Concept of the Country of Origin
Columbia Law School Scholarship Archive Faculty Scholarship Faculty Publications 2021 Conundra of the Berne Convention Concept of the Country of Origin Jane C. Ginsburg Columbia Law School, [email protected] Follow this and additional works at: https://scholarship.law.columbia.edu/faculty_scholarship Part of the Intellectual Property Law Commons, Internet Law Commons, and the Public Law and Legal Theory Commons Recommended Citation Jane C. Ginsburg, Conundra of the Berne Convention Concept of the Country of Origin, COLUMBIA PUBLIC LAW RESEARCH PAPER NO. 14-684 (2021). Available at: https://scholarship.law.columbia.edu/faculty_scholarship/2733 This Working Paper is brought to you for free and open access by the Faculty Publications at Scholarship Archive. It has been accepted for inclusion in Faculty Scholarship by an authorized administrator of Scholarship Archive. For more information, please contact [email protected]. Conundra of the Berne Convention Concept of the Country of Origin Jane C. Ginsburg, Columbia University School of Law* Abstract This essay explores one of the most important, but occasionally intractable, issues under the Berne Convention, the concept of Country of Origin. Article 5(4) of that treaty defines a work’s country of origin, but leaves out several situations, leaving those who interpret and apply the treaty without guidance in ascertaining the country of origin. I will call those situations the “Conundra of the country of origin,” and will explore two of them here. First, what is the country of origin of an unpublished work whose authors are nationals of different countries? Second, what is the country of origin of a work exclusively made available over digital networks? In both situations, in the absence of treaty specification, the work may have multiple countries of origin. -
J.D. Salinger and Copyright's Rule of the Shorter Term
Vanderbilt Journal of Entertainment & Technology Law Volume 19 Issue 4 Issue 4 - Summer 2017 Article 1 2017 J.D. Salinger and Copyright's Rule of the Shorter Term E. Townsend Gard Follow this and additional works at: https://scholarship.law.vanderbilt.edu/jetlaw Part of the Intellectual Property Law Commons Recommended Citation E. Townsend Gard, J.D. Salinger and Copyright's Rule of the Shorter Term, 19 Vanderbilt Journal of Entertainment and Technology Law 777 (2020) Available at: https://scholarship.law.vanderbilt.edu/jetlaw/vol19/iss4/1 This Article is brought to you for free and open access by Scholarship@Vanderbilt Law. It has been accepted for inclusion in Vanderbilt Journal of Entertainment & Technology Law by an authorized editor of Scholarship@Vanderbilt Law. For more information, please contact [email protected]. J.D. Salinger and Copyright's Rule of the Shorter Term E. Townsend Gard* ABSTRACT Recently, the small publishing house Devault-Graves took on the Salinger Estate in an, almost, epic battle to determine whether the copyright term had ended on three of Salinger's early short stories in each country around the world. Devault-Graves wanted a declaratory judgment stating that if the copyright term had expired in the United States, it would have expired in all other countries with a "rule of the shorter term" (RST). But copyright is never that simple, as Devault- Graves soon found out. This short-lived case provides a useful lens through which to view the property rights as defined by the "limited" term in copyright and the pesky concept of RST embodied in the Berne Convention. -
La France Déploie 600 Soldats De Plus Le Grand Huit De Novak
Londres Niederbronn-les-Bains Attaque terroriste : trois Debout sur le zinc a rendu blessés, l’assaillant tué Page 5 hommage à Boris Vian Page 22 Haguenau Les Bleus surclassent Wissembourg l’Angleterre (24-17) en ouverture du www.dna.fr Tournoi des Lundi 3 Février 2020 six nations 1,10 € Page 34 Photo AFP/Martin BUREAU consommation Des boulangeries épinglées sur l’hygiène Une vie de labeur à transmettre Photo archives DNA/Michel FRISON Parmi les commerces, ce sont les boulangeries-pâtisseries qui ont les moins bons résultats en matière d’hygiène, selon une association. Page 2 Sahel La France déploie 600 soldats de plus Photo AFP/Daphné BENOIT Photo archives DNA/Laurent RÉA 3HIMSQB*gabbad+[A\C\K\N\A Face aux djihadistes du Sahel, Un tiers des agriculteurs a plus de 56 ans. Se pose pour eux la question de la transmission de leur les forces françaises de l’opération exploitation. Une démarche d’autant plus difficile qu’il s’agit du travail de toute une vie. Page 13 Barkhane vont passer de 4 500 à 5 100 hommes. Page 3 avec l’éditorial TENNIS BADMINTON Le grand huit Mulhouse : belle Pratique de Novak Djokovic moisson à domicile Hippisme Page 9 Jeux - Horoscope Page 10 Le Serbe a remporté Le Red Star Mulhouse Télévision - météo Pages 11 et 12 son huitième Open d’Australie s’est offert trois médailles d’or Chuchotements Page 14 à Melbourne. Il redevient et une d’argent lors des Sports Pages 23 à 44 numéro 1 mondial. Page 44 Photo AFP/Saeed KHAN championnats de France. -
Copyright Retroactivity After the EC Term Directive
Published in: Entertainment and Sports Lawyer , vol. 18 (no. 2) (2000), p. 7. [Page breaks in the published text are shown in brackets below. Notes, which appeared as endnotes, are set out below as footnotes.] For updated analysis, see International Copyright: The Introduction, § 4[3], at https://pgeller.com/Paul_Geller-International_Copyright.pdf. Zombie and Once-Dead Works: Copyright Retroactivity After the E.C. Term Directive PAUL EDWARD GELLER Suppose that you have a work authored by a national from one country. Will it be protected by copyright in other countries? As works get older, this question becomes more difficult to answer. A related pair of issues complicate analysis:1 retroactivity and the rule of the shorter term. This article will consider these issues from the point of view of the European market, where terms of rights have been made longer. Clients with interests in works or recordings with longer rights may be able to make more money in European markets. By contrast, if clients want to use an old work in these markets, for example, an old novel as the basis for a new film, they had better double-check to see that the work has not come out of public- domain graves in the European Community.2 Why the longer terms? Because of an E.C. directive. Such a directive is an order requiring E.C. countries to bring their laws into compliance with its provisions. In the fall of 1993, the E.C. adopted the Term Directive harmonizing the term of copyright and related Paul Geller is the General Editor of International Copyright Law and Practice published by Matthew Bender, teaches international intellectual property at the University of Southern California Law School, and serves as expert counsel in his field. -
Art 150: Introduction to the Visual Arts David Mccarthy Rhodes College, Spring 2003 414 Clough, Ext
Art 150: Introduction to the Visual Arts David McCarthy Rhodes College, Spring 2003 414 Clough, Ext. 3663 417 Clough, MWF 11:30-12:30 Office Hours: MWF 2:00- 4:00, and by appointment. COURSE OBJECTIVES AND DESCRIPTION The objectives of the course are as follows: (1) to provide students with a comprehensive, theoretical introduction to the visual arts; (2) to develop skills of visual analysis; (3) to examine various media used by artists; (4) to introduce students to methods of interpretation; and (5) to develop skills in writing about art. Throughout the course we will keep in mind the following two statements: Pierre Auguste Renoir’s reminder that, “to practice an art, you must begin with the ABCs of that art;” and E.H. Gombrich’s insight that, “the form of representation cannot be divorced from its purpose and the requirements of the society in which the given language gains currency.” Among the themes and issues we will examine are the following: balance, shape and form, space, color, conventions, signs and symbols, representation, reception, and interpretation. To do this we will look at many different types of art produced in several historical epochs and conceived in a variety of media. Whenever possible we will examine original art objects. Art 150 is a foundation course that serves as an introduction for further work in studio art and art history. A three-hour course, Art 150 satisfies the fine arts requirement. Enrollment is limited to first- and second-year students who are not expected to have had any previous experience with either studio or art history. -
Pablo Picasso (1881-1973) Picasso and Cubism
Module: Art Theory and History for Senior Students Course Code: AVI 4M Artists like Henri Matisse and a group known as the Fauves pushed the use of brilliant colour and impasto texture further than van Gogh had dared and Pablo Picasso took Cezanne's experiments with perspective to the next level. The early twentieth century was a turbulent time of industrialization and violent political upheaval and PICASSO AND CUBISM the art of this era was suitably adventurous. We will Post Impressionists like van Gogh and Cezanne begin our look at this time with the development of set the stage for a new generation of artists to push cubism through the work of Pablo Picasso. the boundaries of art even further. Young artists were inspired by the bold approach of these artists but wanted to go even further in the use of expressive colour, and in the flattening of the pictorial space of painting. Man Ray (1890-1976) © ARS, NY Pablo Picasso. 1933. Gelatin silver print. 35.2 x 27.9 cm (13 7/8 x 11 in.). The Metropolitan Museum of Art, Ford Motor Company Collection, Gift of Ford Motor Company and John C. Waddell, 1987 (1987.1100.18). Copy Photograph © The Metropolitan Museum of Art Location :The Metropolitan Three Musicians. 1921. 6’7””x7”33/4”. oil on canvas. Museum of Art, New York, NY, U.S.A. Photo Credit : The Museum of Modern Art, New York. Image copyright © The Metropolitan Museum of Art / Art Resource, NY PABLO PICASSO (1881-1973) Picasso was the child prodigy son of Jose Picasso first visited Paris in 1900, and alter- Ruiz Blasco, a drawing master of Malaga Spain, nated between Paris and Barcelona from 1900-1904. -
1 He Society Or the Four Arts MRS
CHAIRMEN OF COMMITTEES OFFICE.. PAINTING AND SCULPTURE COL. HAROLD FOWLER 1 he Society or the Four Arts MRS. PAUL MOORE PRESIDENT FOUR ARTS PLAZA LIBRARY MRS. MARION SIMS WYETH MRS. LORENZO E. WOODHOUSE HONORARY PRESIDENT ralm peach, Florida MUSIC MRS. PAULDING FOSDICK MR. JOSEPH F. GUNSTER April U, 1953 LECTURES VICE-PRESIDENT COL. HAROLD FOWLER BOARD OF DIRECTORS DR. DANIEL J. MCCARTHY MOVING PICTURES VICE-PRESIDENT MRS. LERAY BERDEAU MRS. FREDERICK JOHNSON MR. HARVEY LADEW MR. LERAY BERDEAU MRS. D. J. MCCARTHY DRAMA MR. WILLIAM L MCKIM MR. ARTHUR B. CAMPBELL DR. MATTHEW T. MELLON MRS. EDWARD F. HUTTON VICE-PRESIDENT MRS. JOSEPH M. CUDAHY MR. R. LAURENCE PARISH JUNIOR ACTIVITIES MRS. JOSEPH E. DAVIES MR. MICHAEL G. PHIPPS MRS. FREDERICK MORRISH MR. CHARLTON YARNALL MRS. CHARLES S. DAVIS MRS. JOHN S. PILLSBURY VICE-PRESIDENT MRS. HORACE E. DODGE MRS. RALPH K. ROBERTSON JUNIOR MOVIES MRS. WILLIAM T. GRANT MR. ALFRED SLOAN, JR. MRS. CHARLES WILSON MRS. WILLIAM L. MCKIM MR. WILLIAM T. GRANT MRS. HAROLD W. SWEATT MEMBERSHIP SECRETARY MRS. FREDERICK E. GUEST MRS. GEORGE C VANDUSEN MRS. JOSEPH F. GUNSTER MRS. H. MERCER WALKER MR. C. MARKHAM LANGHAM MR. JAMES HOLLINGSWORTH MR. CHANNINO HARE DR. GEORGE A. WATERMAN MRS. JAMES DE PEYSTER TREASURER MRS. HENRY ITTLESON MR. MARION SIMS WYETH VICE-CHAIRMAN HOUSE MRS. ANN POELLER MRS LORENZO E. WOODHOUSE DIRECTOR ACCESSIONS MRS. M. R. PAGE HUFTY HOSPITALTIY MRS. HAROLD FOWLER GROUNDS AND BUILDINGS MR. GEORGE S. ROSS .ARDEN Mr. Francis Henry Taylor, Director [ MRS. FRANK HORTON The Metropolitan Museum of Art New York 28, New York RECEIV1- Dear Mr. -
2013-2014 Newsletter
WILLIAMS GRADUATE PROGRAM IN THE HISTORY OF ART OFFERED IN COLLABORATION WITH THE CLARK ART INSTITUTE WILLIAMS GRAD ART THE CLARK 2013–2014 NEWSLETTER LETTER FROM THE DIRECTOR Marc Gotlieb Dear Alumni, Art Department in the field of African Art, and who will be teaching in the graduate program this spring. Greetings from Williamstown. I hope you enjoy our redesigned alumni newsletter, the last and The newsletter includes a special conversation with most significant phase of a visual identity project Michael Ann Holly, Starr Director of Research that includes the launch of a new website and Emeritus at the Clark, and this year’s Robert other communications pieces designed to capture Sterling Clark Visiting Professor. Many thanks to some of the freshness and contemporaneity of the program and its Ashley Lazevnick MA ’12 and Oliver Wunsch setting. By now many of you have had the opportunity to visit the MA ’11 for taking this on! And many thanks, too, new Clark and its spectacular new wing, including renovated galleries to our post-doctoral fellow, Kristen Oehlrich, for and a reflecting pool looking out over Stone Hill. But there is more to putting this splendid newsletter together. Most of come—the Manton Building, which houses the Graduate Program and all, thanks to our alumni for contributing updates the library, will reopen to the public this summer, with a new spacious to the newsletter! reading room, a new works on paper study center and gallery, and facil- With all best wishes, ities that will bring the entire complex fresh new life. If you do visit, please stop by and say hello—Karen, George, Kristen and I would be Marc delighted to see you. -
The Development and Incorporation of International Norms in the Formation of Copyright Law
The Development and Incorporation of International Norms in the Formation of Copyright Law GRAEME B. DINWOODIE* The means by which international norms are developed and incorporated in the formation of copyright law have changed dramatically in recent years. In this article, Professor Dinwoodie explores the nature of those changes. The classical model of international copyright law afforded countries significant latitude to implement international standards in ways tailored to their own economic and cultural priorities. The lack of an effective method of enforcing international standards consolidated that deference to national autonomy. And international treaties tended merely to codify existing commonly accepted national standards. This model has undergone changes of late, most notably (but not exclusively) in the context of the TRIPS Agreement, which subsumed the principal international copyright obligations within the WTO Dispute Settlement system. This change to the classical model is potentially significant in many ways. Most directly, failure to fulfill international copyright obligations may be met by the imposition of trade sanctions. More broadly, however, the interpretation of international copyright obligations by WTO panels may alter the degree of national autonomy afforded member states and may make international copyright law more forward looking in nature. International copyright lawmaking by activist WTO panels thus may generate costs as well as gains. Professor Dinwoodie considers these issues through an analysis of the first (and, thus far, the only) report of a WTO dispute settlement panel regarding violation of a copyright provision contained in the TRIPS Agreement. This report, handed down in June 2000, found that an exemption introduced into section 110(5) of the U.S. -
I Infringed Again: an Analysis of U.S
City University of New York (CUNY) CUNY Academic Works Student Theses Baruch College Spring 4-30-2018 Oops!... I Infringed Again: An Analysis of U.S. Copyright and its Intended Beneficiaries Gabriele A. Forbes-Bennett CUNY Bernard M Baruch College How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/bb_etds/79 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] 1 Oops!... I Infringed Again: An Analysis of U.S. Copyright and its Intended Beneficiaries Gabriele Forbes-Bennett 30 April 2018 Submitted to the Committee on Undergraduate Honors at Baruch College of the City University of New York in partial fulfillment of the requirements for the degree of Bachelor of Arts in Political Science and the Management of Musical Enterprises with Honors Professor Elizabeth Wollman, Honors Faculty Sponsor ____________________ Professor Marc Edelman, Signatory ____________________ Professor Donna Gitter, Signatory ____________________ 2 Table of Contents 1. Abstract 4 2. Why was the law created? 5 a. What were the original terms? Where did they come from? 5 3. The 1831 Amendment 6 4. The purpose of the law begins to change 8 5. The 1971 Amendment 11 6. The 1976 Act 14 a. The Berne Convention 15 b. The Buenos Aires Convention 16 c. The Universal Copyright Convention 17 7. What sets the 1976 Act apart? 18 a. The length of copyright protection 18 b. Copyright Registration 19 c. Qualifications for copyright protection 21 d. -
An International Copyright Proposal for the United States
NATION, DURATION, VIOLATION, HARMONIZATION: AN INTERNATIONAL COPYRIGHT PROPOSAL FOR THE UNITED STATES DAVID NIMMER* I INTRODUCTION For most of its two centuries, the United States has been a copyright island, its jurisprudence having evolved in isolation from developments elsewhere. As long as it served American interests, U.S. copyright law did not concern itself with the waves that our statutes or rulings would set in motion outside our borders, and few ripples from abroad affected U.S. copyrights. In 1955, however, the international tide began to lap against U.S. copyright shores. In 1976, Congress acknowledged what had by then become the crash of foreign waves, amending parts of the Copyright Act to reflect international standards. Finally, in 1989, the floodgates opened to a massive effort to bring the United States into the world copyright fold and to amend U.S. law for compatibility with that purpose. Fully three years after this 1989 effort, the integration is still not complete, however. Certain backwaters exist in U.S. copyright law, as yet untouched by the standards observed throughout the rest of the world. And a perilous undertow threatens the subsistence of copyrights in various U.S. works abroad and various foreign works inside the United States. This article addresses those lingering anomalies. The structure of this article is as follows: Part II summarizes the historical background during which the United States progressed from a copyright piracy haven to the foremost exporter of intellectual property. Part III begins the discussion of copyright duration, which is the focus of the article, and compares the durational schemes provided under U.S. -
Henri Matisse
Henri Matisse Henri Matisse Ảnh Henri Matisse chụp bởi Carl Van Vechten, 1933. Tên khai Henri Matisse sinh 31 tháng 12, 1869 Sinh Le Cateau-Cambrésis, Nord- Pas-de-Calais 3 tháng 11, 1954 (84 tuổi) Mất Nice, Pháp Quốc tịch Pháp Hội họa, Đồ họa in ấn, Điều Lĩnh vực khắc, Vẽ, Nghệ thuật cắt dán hoạt động ảnh Trường phái dã thú, Chủ nghĩa Trào lưu hiện đại Tác phẩm Harmony in Red, 1908 Henri Matisse (31 tháng 12 năm 1869 - 3 tháng 11 năm 1954) là một nghệ sĩ người Pháp, nổi tiếng với khả năng sử dụng màu sắc và chất lỏng cũng như khả năng hội họa tuyệt vời và nguyên sơ. Với tư cách là một họa sĩ, nhà điêu khắc, nhà làm đồ họa in ấn. Matisse được biết đến như là một trong những nghệ sĩ nổi tiếng nhất thế kỉ 20. Ông là nhân vật tiên phong của trường phái dã thú, vào thập niên 1920, ông được coi là một trong những người nâng tầm truyền thống cổ điển trong hội họa Pháp. Tài năng của ông trong việc sử dụng ngôn ngữ màu sắc biểu cảm và khả năng hội họa đặc trưng. Henri Matisse được coi là một trong những nhân vật đi đầu trong nghệ thuật hiện đại. Mục lục 1 Các tác phẩm nổi tiếng 2 Một vài bức tranh của Matisse 3 Sách 4 Chú thích 5 Liên kết ngoài Các tác phẩm nổi tiếng Woman Reading (1894), Museum of Modern Art, Paris [1] Notre-Dame, une fin d'après-midi (1902), Albright-Knox Art Gallery, Buffalo, New York [2] The green line (1905) [3] The Open Window (1905) [4] Woman with a Hat (1905) [5] Les toits de Collioure (1905) [6] Landscape at Collioure (1905) [7] Le bonheur de vivre (1906) [8] The Young Sailor II (1906) [9] Self-Portrait