Relevant bibliographies by topics / Copyright Act 1968

Academic literature on the topic 'Copyright Act 1968'

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Published: 10 December 2022
Last updated: 29 January 2023

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Journal articles on the topic "Copyright Act 1968"

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Lewis, David P. "Application of anti-piracy provisions of the copyright act 1968." Computer Law & Security Review 7, no. 1 (May 1991): 35–36. http://dx.doi.org/10.1016/0267-3649(91)90046-x.

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Potter, Wellett. "Music Mash-Ups: The Current Australian Copyright Implications, Moral Rights and Fair Dealing in the Remix Era." Deakin Law Review 17, no. 2 (February 1, 2013): 349. http://dx.doi.org/10.21153/dlr2012vol17no2art84.

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This article discusses the likely Australian copyright implications of an increasingly popular form of digital music expression: the music mash-up, a majority of which are created from pre-existing audio/sound recordings and video without permission of the copyright owner. In examining this issue, the analysis of the courts in the recent Larrikin music copyright infringement cases are examined. Consideration of the implications of music mash-up creation to moral rights is also considered. In the hypothetical scenario that a music mash-up artist is accused of copyright infringement, consideration is given as to the likely outcome of the application of the fair dealing exceptions under the Copyright Act 1968 (Cth). Finally, a suggestion is made as to the direction of future law reform in this area.
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Ms. Poonam Pant, and Ms. Bhumika Sharma. "Liability of Internet Service Providers Across Various Countries: An Overview." Legal Research Development: An International Refereed e-Journal 4, no. 1 (September 30, 2019): 06–09. http://dx.doi.org/10.53724/lrd/v4n1.04.

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The role of I.S.P. or Intermediary is very important for effective utilization of information technology. The liability of Intermediary or I.S.P. has gain immense importance at international level. Various countries have defined the liability of I.S.P. either in the form of copyright infringement or for the infringement of information technology. Australia was the first country to enact the legislation relating to the liability aspect of I.S.P. in the form of Copyright Act, 1968 making I.S.P. liable to disable the access to online services hosted outside Australia. Some safe harbors were also provided for I.S.P. as part of the Australia - United States Free Trade Agreement. The US provides for the liability of ISP in the form of Communications Decency Act, 1996, Digital Millennium Copyright Act,1998. Title II of the D.M.C.A. specifically deals with the issue of I.S.P. liability and also provides for the penalties for unauthorized access to a copyright work. As regarding the legislations of Canada, it does not specifically defines the liability of I.S.P., instead it provides safe harbor for those ISP’s providing any means for Internet access. I.S.P.’s are also protected for copyright infringement in Canada. In Singapore the liability of I.S.P. is regulated by the Internet class license and Internet code of Practice which requires the I.S.P. to abide by the conditions of license. I.S.P.’s are also restricted to make public access of those websites which contain offensive content harmful to national interest. Japan’s Copyright Act, 1970, The Provider Liability Limitation Law 2002 protects the I.S.P. against any kind of liability for Copyright infringement. UK enacted two legislations in form of Copyright, Designs and Patents Act 1988 Digital Economy Act 2010 which imposes the obligations on ISP to notify the infringement to its subscribers, also liable to take technical measures to terminate the Internet services after reporting of infringement. The countries also make the provisions for the penalties for offences relating to the infringement of copyright or unauthorized access of information by various I.S.P.’s or Intermediaries. The quantum of punishment is differed in every country according to the nature of offence.
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Ogawa, Megumi. "The Protection of Broadcasts and Broadcasting Organisations under 'New' Copyright Act 1968 of Australia." Joho Chishiki Gakkaishi 11, no. 2 (2001): 11–16. http://dx.doi.org/10.2964/jsik_kj00001039399.

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Thampapillai, Dilan. "The Novel as Social Satire: 60 Years Later, The Wind Done Gone and the Limitations of Fair Use." Deakin Law Review 17, no. 2 (February 1, 2013): 425. http://dx.doi.org/10.21153/dlr2012vol17no2art86.

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The absence of the doctrine of fair use from Australian copyright law has been a bone of contention in Australia after the Australia-United States Free Trade Agreement (FTA). As the Australian government reformed the Copyright Act 1968 (Cth) in the aftermath of the FTA it eschewed the option of adopting fair use. Instead, Australia chose to incorporate a version of fair use into its existing fair dealing framework. Accordingly, the Copyright Amendment Act 2006 (Cth) inserted ss 41A and 103AA into the Copyright Act. These provisions provide that a fair dealing with a copyright protected work does not constitute an infringement if it is done for the purposes of parody or satire. These provisions codify part of the ratio of the United States Supreme Court in the seminal case of Campbell v Acuff Rose Music. However, the parameters of these new provisions are unexplored and the sparse nature of fair dealing jurisprudence means that the true meaning of the provisions is unclear. Moreover, two cases from the United States, SunTrust Bank v Houghton Mifflin and Salinger v Colting, underline just how important it is to have legal rules that protect literary ‘re-writes’. Both cases involved authors using an original novel to ‘write back’ to the original author and the broader culture. ‘Writing back’ or the ‘re-write’ has a firm basis in literature. It adds something invaluable to our culture. The key question is whether our legal landscape can allow it to flourish. This paper examines the interaction between fair use and literary re-writes.
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Cantatore, Francina, and Jane Johnston. "Moral Rights: Exploring the Myths, Meanings and Misunderstandings in Australian Copyright Law." Deakin Law Review 21, no. 1 (February 23, 2018): 71. http://dx.doi.org/10.21153/dlr2016vol21no1art727.

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This article examines how moral rights are treated in Australian publishing contracts, and whether this approach is consistent with the expectations of authors, journalists and academics. Although, in theory, moral rights cannot be sold or assigned in Australia, the apparent wide scope for exceptions raises questions of whether there is any real protection afforded to creators under the Copyright Act 1968 (Cth), notably in circumstances that relate to pressure on creators to accept contractual terms in order to get published. Additionally, Australian case law reflects some uncertainty about the traditionally accepted non-economic nature of moral rights. The article examines recent case law in this field, found in Meskenas, Perez and Corby, and considers the literature associated with development of moral rights in Australia. It then presents the findings of a two-part study of moral rights in Australia; first through the results of interviews with 176 Australian authors, journalists and academics, followed by an analysis of 20 publishing contracts. It concludes that — in some, but not all, instances — a combination of the exceptions allowed under the Act and practical exigencies have diluted the unique character of authors’ moral rights and have created an environment of uncertainty.
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Brzózka, Katarzyna. "The polonaise from the film Pan Tadeusz directed by Andrzej Wajda as a choreographic work protected by copyright." Dziennikarstwo i Media 15 (June 29, 2021): 89–100. http://dx.doi.org/10.19195/2082-8322.15.8.

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Choreographic work was the object of copyright protection under the Berne Convention, as revised at Berlin in 1908, as well as under the historical Polish copyright legislations — the 1926 Act (as an original, “not based on any existing work of art” work of “rhythmic art (choreography)”) and the 1952 Act (as a “work of choreographic art” preserved in “scenarios, drawings or photographs”). It was also included, as a “choreographic work”, in the exemplary catalogue of works protected under the Act of 4 February 1994 on Copyright and Related Rights (“the Copyright Act”), currently in force. The purpose of this paper, due to limited framework, is to analyse some basic concepts related to the conditions that a movement composition shall meet in order to qualify as a choreographic work in the meaning of the Copyright Act. It is shown based on the polonaise from the film Pan Tadeusz, directed by Andrzej Wajda. This choice allows to introduce threads related to folklore as well as the use of unprotected pieces of the public domain in choreographies into the discussion. Moreover, the article briefly presents the correlation between choreographic work and other intellectual works — literary, musical, and audiovisual.
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Adu, Theresa Larteley, and Thomas B. van der Walt. "The legal and institutional framework for, and challenges to the payment of reprographic fees in academic libraries in Ghana." Library Management 42, no. 8/9 (October 13, 2021): 550–60. http://dx.doi.org/10.1108/lm-03-2021-0023.

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PurposeThe purpose of this paper is to evaluate the legal and institutional frameworks for, and the challenges to the payment of the reprographic fees in Ghana.Design/methodology/approachA qualitative research approach was employed to address the objectives of the study. This involved focus group discussion sessions with twelve purposively sampled postgraduate students (six each from the private and public institutions) and the five Technical Committee members of CopyGhana; and qualitative interview sessions with the head librarians of four academic universities (two private and two public).FindingsThis study shows that CopyGhana derives its existence from Copyright Act 2005, (Act 690) section 49, and Copyright Regulations (L.I. 1962) 2010, sub-regulation 18. Copyright Regulations (L.I. 1962), 2010, sub-regulation 18 mandates CopyGhana to identify all the outfits that engage in photocopying for immediate licensing, and to protect the economic rights of foreign rightsholders within the jurisdiction of Ghana. Though students and library staff generally agree to the payment of the reprographic fees (the students however want to see it legally insulated against possible future arbitrary increases), the position of university authorities possesses a big challenge to its implementation.Originality/valueThe paper evaluated the legal and institutional frameworks for the payment of the reprographic fees, and the challenges in its implementation, and proposes that CopyGhana may have to activate its legal right to sue in order to overcome the challenges posed by university authorities, as is being done in other jurisdictions.
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Makkar, Kashish. "Taxing the Sale of Software: Revisiting the Definition of ‘Royalty’ Under the DTAAs." Business Law Review 41, Issue 1 (February 1, 2020): 29–33. http://dx.doi.org/10.54648/bula2020004.

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The characterization of payments, for taxation, in the hands of, non-resident payees arising out of a cross-border sale of software, has always remained controversial in India. While the Revenue, contends that such payments are ‘Royalties’ for Licensing of, Copyrights, the taxpayers argue that these payments are merely, Proceeds on the Sales of Copyrighted Articles. There have been, several conflicting decisions by different Income Tax Tribunals, and High Courts that have legitimized each of these characterizations., While the Courts and Tribunals led by the Delhi, HC held for the taxpayers by characterizing these payments as, Proceeds of Sales, the Courts and Tribunals led by the, Karnataka HC held for the Revenue. Therefore, albeit in, different jurisdictions within the country, a dichotomy persisted. In an attempt to resolve this dichotomy, the Government, of India introduced a clarificatory amendment to the Indian, Income Tax Act, 1961 in 2012. However, the conflict persisted, as the amendment did not clarify and could not have, clarified the status of these payments under the Double, Taxation Avoidance Agreements (DTAAs) As a result, the, dichotomy, now limited to Non-Resident Payees whose resident, jurisdiction has a DTAA with India, still prevailed. These, jurisdictions include several Commonwealth nations such as the, UK, Australia, Malaysia, Canada, etc. and Ireland, which is, the most preferred jurisdiction to operate from for almost all the, tech corporations in the world. Therefore, this dichotomy still, affects the tax liability of the residents of these jurisdictions and, their ease of doing business with India. In this article, the author will highlight that the dichotomy,, though existent, has no basis in law. The author will, highlight that the characterization of these payments as has been, contended by the Revenue is the only legitimate characterization., This characterization not only draws support from the, established Rules of Statutory Interpretation but also promotes, the ease of doing business in India. Agreement, Consideration, Copyright, Double-Tax, Income Tax, Licensing, Literary, Payment, Royalty, Resident
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Юмашев, Юрий, Yuriy Yumashev, Елена Постникова, and Elena Postnikova. "INTERNATIONAL LAW ASPECTS OF GERMAN COPYRIGHT LAW (GCL)." Journal of Foreign Legislation and Comparative Law 3, no. 4 (August 23, 2017): 93–98. http://dx.doi.org/10.12737/article_598063fae98166.23072693.

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The article deals with international law aspects of the GCL. To this aim firstly the international conventions on copyright law are analyzed, in particular: the Berne Convention for the Protection of Literary and Artistic Works in the wording of the Paris Act of 1971, the Convention on the Establishment of the World Intellectual Property Organization of 1967, the Convention for the Protection of Performers, Producers of Phonograms and Broadcasting Organizations of 1961 and Aspects of intellectual property rights (TRIPS) 1994. There is also an analysis of the EU copyright law in terms of its correlation with the law of the EU member-states and an assessment of its evolution. It is emphasized that the core fact of origin of authorship is determined on the basis of the national legislation of the Member-States. Special attention is paid to the scope of the “principle of exhausted rights”. The article also touches upon the aspect of private international law. Particular attention is paid to the legal regulation of the Internet, including Internet providers, and its impact on the formation of the GCL. The problem of combating Internet piracy is also raised, as copyright infringement often occurs in relation to works published online. In addition, the article revealed what changes were made to the GCL to comply with EU law (including secondary law acts and the practice of the EU Court). The result of the study is, among other things, the conclusion that special legal mechanisms should be developed to regulate new forms of selling works that have emerged as a result of technological progress and in the near future the Internet will undoubtedly form ways for the further development of the GCL. However, this process can negatively affect the leading role of the author as a creative person.
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Dissertations / Theses on the topic "Copyright Act 1968"

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Gilchrist, John Steel. "The government as proprietor, preserver and user of copyright material under the Copyright Act 1968 (CTH)." Thesis, Queensland University of Technology, 2012. https://eprints.qut.edu.au/62189/1/John_Gilchrist_Thesis.pdf.

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This thesis examines the role of government as proprietor, preserver and user of copyright material under the Copyright Act 1968 (Cth) and the policy considerations which Australian law should take into account in that role. There are two recurring themes arising in this examination which are significant to the recommendations and conclusions. The first is whether the needs and status of government should be different from private sector institutions, which also obtain copyright protection under the law. This theme stems from the 2005 Report on Crown Copyright by the Copyright Law Review Committee and the earlier Ergas Committee Report which are discussed in Chapters 2 and 8 of this thesis. The second is to identify the relationship between government copyright law and policy, national cultural policy and fundamental governance values. This theme goes to the essence of the thesis. For example, does the law and practice of government copyright properly reflect technological change in the way we now access and use information and does it facilitate the modern information management principles of government? Is the law and practice of government copyright consistent with the greater openness and accountability of government? The thesis concludes that government copyright law and practice in each of the three governmental roles recognised under the Copyright Act 1968 has not responded adequately to the information age and to the desire and the ability of individuals to access information quickly and effectively. The solution offered in this thesis is reform of the law and of public policy that is in step with access to information policy, the promotion of better communication and interaction with the community, and the enhanced preservation of government and private copyright materials for reasons of government accountability, effective administration and national culture and heritage.
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Bartholomew, Peter G. "Personal rights, property rights and Section 55(2) of the Copyright Act 1968 : a consideration of the adaptation right in the compulsory licensing scheme for recording of musical works." Thesis, Queensland University of Technology, 1998. https://eprints.qut.edu.au/36898/1/36898_Digitised%20Thesis.pdf.

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Gething, Steven. "Are the offences in the Copyright Act 1968 (Cth) legitimate and effective? : an analysis based in harm and social norms theory." Thesis, Queensland University of Technology, 2012. https://eprints.qut.edu.au/63909/1/Steven_Gething_Thesis.pdf.

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This thesis examines the effectiveness of offences in the Copyright Act 1968 (Cth) in the online environment. The application of social norm theories suggests that the offences will be ineffective in creating an effective deterrent to non-commercial copyright infringement.
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Davis, LiAnna L. "A rhetorical analysis of competing copyright conceptualizations, the Digital Millennium Copyright Act and Creative Commons." CONNECT TO ELECTRONIC THESIS, 2008. http://dspace.wrlc.org/handle/1961/5478.

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Dean, O. H. "The application of the Copyright Act, 1978, to works made prior to 1979." Thesis, Stellenbosch : Stellenbosch University, 1988. http://hdl.handle.net/10019.1/4934.

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Thesis (LLD) -- Stellenbosch University, 1988.
Article 1 Section 8 Clause 8 of the Constitution of the United States of America empowers Congress "to promote the progress of science and useful arts, by securing for limited times to authors and inventors the exclusive right to their respective writings and discoveries". This simple clause sums up in a few words the philosophy and underlying principles of modern copyright law. Copyright law, like other branches of intellectual property law (i.e. the laws of patents, trade marks and designs), seeks to create a system whereby the creator of original works or intellectual property is afforded a qualified monopoly in the use or exploitation of his work in order, first, to compensate and reward him for the effort, creativity and talent expended and utilized in the creation of his work, and secondly, to act as an incentive for him to use his talents and efforts to create more and better works or items of intellectual property. The qualified monopoly is limited in duration and after the expiry of the term the work falls into the public domain and can be freely used and reproduced by others. A balance is struck between the interests of the individual and the public interest. The rationale behind this philosophy is the establishment of a profit incentive for creators of intellectual property. The effectiveness of the profit motive is dependent upon the degree to which the creator of the intellectual property is able to maintain and enforce his qualified monopoly. If the law is not effective in enabling the creator of intellectual property to maintain and enforce his monopoly then the efficiency of the operation of the profit motive will be impaired. Consequently, the soundness and effectiveness of the law of copyright is a . significant factor in the promotion of the creation of intellectual property and ultimately• in enriching our culture and promoting our knowledge and well-being. Viewed from a different perspective, the purpose of copyright is to prevent one man from appropriating to himself what has been produced by the skill and labour of others1 . In broad terms, copyright may be described as the exclusive right in relation to a work embodying intellectual property (i.e. the product of the intellect) to do or to authorize others to do certain acts in relation to that work, which acts represent in the case of each type of work the manners in which that work can be exploited for personal gain or profit. Copyright is an immaterial property right. The subject of the right is a work of the intellect or spirit and thus an intangible. Copyright in a work is akin to ownership in a tangible article. The following analysis of the essential nature of copyright by Slomowitz AJ in Video Parktown North (Pty) Limited v Paramount Pictures Corporation is instructive: "It seems to me that when he who harbours an idea, by dint of his imagination, skill or labour, or some or all of them, brings it into being in tactile, visible or audible form, capable thereby of being communicated to others as a meaningful conception or apprehension of his mind, a right of property in that idea immediatelycomes into existence. The proprietary interest in that object of knowledge is the ownership of it and is called 'copyright'. It might just as well be called 'ownership', but we have chosen to call it by another name, reserving 'ownership' as the appellation for the proprietary interest in corporeal things, by way of semantic, but not, as I see it, legal, distinction. In this sense, copyright has sometimes been called 'intellectual property', as it indeed is. " Copyright subsists in the work of the intellect embodied in a material form which is a tangible article. The tangible or physical form of the work embodies two separate items of property, i.e. the copyright in the work of the intellect and the ownership of the tangible article. Ownership of the two items of property must be distinguished and can vest in different persons. Transfer of the ownership of one of the i terns of property does not necessarily affect transfer of the ownership of the other item of property.
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Treiger-Bar-Am, Leslie Kim. "A right of autonomy in expression : section 80 of the Copyright, Designs and Patents Act 1988." Thesis, University of Oxford, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.431448.

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Hanekom, H. L. D. (Hendrik Lodewyk Deetlefs). "Die objek van outeursreg." Thesis, Stellenbosch : Stellenbosch University, 1989. http://hdl.handle.net/10019.1/66768.

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Thesis (LLM)--Stellenbosch University, 1989.
ENGLISH ABSTRACT: English abstract not available
AFRIKAANSE OPSOMMING: Die tradisionele opvatting was dat Outeursreg gemoeid is met die beskerming van die materiele vorm waarin idees vasgele is. Sedertdien het die klem egter verskuif na die beskerming van die idee self mits dit egter in stoflike vorm vervat is. In hierdie tesis word ondersoek ingestel na wat presies die objek van Outeursreg is en watter rol stoflike aanbieding in Outeursreg sped. Ter aanvang word gekyk na die ontstaan en ontwikkeling van Outeursreg. Daar word gekyk na die pick wat Outeursreg in die regsisteem beklee met spesifieke verwysing na die tradisionele indeling van subjektiewe regte. Dit blyk hieruit dat Outeursreg, as bestaandeel van Immaterieel goedereg, 'n onstoflike regsobjek het nl. die produk van die outeur se geestesarbeid of dan sy idee. Die verwysing na die vereiste van stoflike aanbieding van idees verg egter nadere ondersoek. Die Wet op Outeursreg 98 van 1973 word ontleel met betrekking tot die aard van beskermde werke; vereistes vir Outeursregbaskerming; definisies van terme soos "outeur" en "maak" asook die van die onderskeie werke; die eiendomsregterminologie en skendingshandelinge. Regsvergelykend word oorsigtelik ook na die Amerikaanse Reg verwys. Uit hierdie ontleding blyk stoflikheid vir doeleindes van die tradisionele Outeursregwerke te verwys na tasbare aanbieding daarvan, mar dat sb 'n eng definisie nie gehandhaaf kan word ten opsigte van moderne tegnologiese ontwikkelings soos uitsendings en programdraende seine nie, aangesien hierdie werke van sä 'n aard is dat tasbare vasle:gging daarvan nie noodwendig altyd plaasvind nie. Onder die skrywers wat hierdie probleem bespreek is professors Copeling en Van der Merwe wat aan stoflikheid 'n alternatiewe, wyer betekenis toedig nl. kommunikeerbare of sintuiglik waarneembare aanbieding. 'n Botsing tussen die tradisionele en aanbevole definisie van stoflikheid in die regspraak word ook uitgewys. Ten einde tegnologie te akkommodeer word die wyer definisie van stoflikheid in hierdie tesis voorgehou. Die implikasies van hierdie wyer definisie van stoflikheid is egter verreikend. Professor Copeling bevestig dan ook dat dit die moontlikheid van Outeursreg in mondelinge kommunikasies inhou. Gevolglik word daar veral gekyk waarom idees as sulks beskerm word deur Onregmatige Mededinging, maar nie deur Outeursreg nie - 'n vraag wat beantwoord word met verwysing na die invloed van moderne tegnologie op die tradisionele indelings van die Immaterieel goederereg. Uit hierdie ondersoek blyk dit dat Onregmatige Mededinging berus op die Immaterieel goederereg in plaas van die Deliktereg. Die uitgebreide definisie van stoflikheid veroorsaak dat die bestaande indelings van Immaterie61 goedereregte versmelt. Dit ruim ook die huidige konflik rondom die vereiste van stoflikheid in die Wet op Outeursreg 93 van 1973 uit die weg. Laastens word kortliks gewys op die drastiese veranderinge in die spelreels vir inligtingsprodukte wat nodig sal wees om die balans tussen die aansprake van Outeursreghebbendes en die gemeenskap te handhaaf indien die uitgebreide definisie van stoflikheid aangewend word. Uiteindelik dien stoflikheid ook in sy uitgebreide vorm steeds die tradisionele doe om die werk af te skei van die maker se persoonlikheid en dit sodoende buite die mens gelee te maak.
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Ekkayokkaya, Tanaphot. "Analysis of the legality of 'reverse engineering' of computer programs under the copyright designs and patents act 1988 : an approach for the future." Thesis, University of Southampton, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.273990.

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McConnachie, Boudina. "Legal access to our musical history: an investigation into the copyright implications of archived musical recordings held at the International Library of African Music (ILAM) in South Africa." Thesis, Rhodes University, 2009. http://hdl.handle.net/10962/d1002313.

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This thesis explores the South African Copyright Act No. 98 of 1978 as it pertains to the archived holdings at the International Library of African Music (ILAM) situated at Rhodes University, Grahamstown, South Africa. The purpose of analysing this law is to advise and assist ILAM in fulfilling royalty payment obligations as stipulated in a contract signed between ILAM and the Smithsonian Global Sound (formally Global Sound Network) in 2001. In order to clearly comprehend the scope of the royalty payment clause in the Smithsonian Institution’s contract with ILAM, this research includes an examination of: the history and nature of South African copyright as a sub-structure of intellectual property; specific internationally documented copyright infringement cases; the recording and documentation practices of Hugh Tracey (ILAM’s founder and director from 1954 to 1977); the contract between Global Sound Network and ILAM; and contentious issues surrounding collective ownership and indigenous knowledge. In conclusion, this research suggests equitable solutions to ILAM’s copyright concerns and proposes the Eastern Cape Music Archiving Project (ECMAP) as a practical vehicle to assist the South African Department of Trade and Industry in implementation of the South African Intellectual Property Amendment Bill (2008) if, and when, it is passed.
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Books on the topic "Copyright Act 1968"

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National Council for Educational Technology., ed. Copyright-the act of 1988. London: National Council for Educational Technology, 1988.

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National Council for Educational Technology. Copyright: The act of 1988. London: The Council, 1989.

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Hepworth & Chadwick, solicitors. Copyright, Designs and Patents Act 1988. Leeds: Hepworth & Chadwick, 1989.

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Division, New Zealand Law Reform. The Copyright Act 1962, options for reform. Wellington: Law Reform Division, Dept. of Justice, 1989.

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US GOVERNMENT. Laws concerning the Access Board: Architectural Barriers Act of 1968, section 502 of the Rehabilition Act of 1973, section 504 of the American with Disabilities Act of 1990. Washington, DC (1331 F St., N.W., Washington 20004-1111): The Board, 1994.

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Reform of the Copyright Act 1962: A discussion paper. Wellington, N.Z: Law Reform Division, Dept. of Justice, 1985.

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United States. Congress. Senate. Committee on the Judiciary. The Berne Convention Implementation Act of 1988: Report (to accompany S. 1301). [Washington, D.C.?: U.S. G.P.O., 1988.

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United States. Congress. Senate. Committee on the Judiciary. The Berne Convention Implementation Act of 1988: Report (to accompany S. 1301). [Washington, D.C.?: U.S. G.P.O., 1988.

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United States. Congress. Senate. Committee on the Judiciary. The Berne Convention Implementation Act of 1988: Report (to accompany S. 1301). [Washington, D.C.?: U.S. G.P.O., 1988.

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Copyright, Designs and Patents Act 1988: Elizabeth II. 1988. Chapter 48. London: HMSO, 1988.

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Book chapters on the topic "Copyright Act 1968"

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Dowie-Whybrow, Margaret. "COPYRIGHT, DESIGNS AND PATENTS ACT 1988." In Core Statutes on Intellectual Property 2018–19, 1–568. London: Macmillan Education UK, 2018. http://dx.doi.org/10.1057/978-1-352-00348-2_1.

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Dowie-Whybrow, Margaret. "Copyright, Designs and Patents Act 1988." In Core Statutes on Intellectual Property, 1–8. London: Macmillan Education UK, 2013. http://dx.doi.org/10.1007/978-1-137-35471-6_1.

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Dowie-Whybrow, Margaret. "Copyright, Designs and Patents Act 1988 (c. 48)." In Core Statutes On Intellectual Property 2017–18, 1–558. London: Macmillan Education UK, 2017. http://dx.doi.org/10.1057/978-1-352-00087-0_1.

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Ricketson, Sam, and Jane C. Ginsburg. "The Subsequent Development of the Berne Convention, 1886–1971." In International Copyright and Neighbouring Rights, 77–120. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780198801986.003.0003.

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This chapter examines the changes which have been made to the Berne Convention from its inception in 1886 until the adoption of its last revised text in Paris in 1971. Article 17 of the 1886 Act provided for periodic revisions, and these (apart from the first and last) have occurred at roughly twenty-year intervals during this period: in 1896, 1908, 1928, 1948, 1967, and then, finally, 1971. There was also one minor addition made in 1914, when, at Canada’s request, the UK Government drafted a protocol permitting the government of a Berne Union country to restrict protection in the case of authors from non-Union countries which failed to protect the authors from the Union country ‘in an adequate manner’. Since 1971, developments concerning the Berne Convention have largely happened ‘off stage’, or in different arenas, such as the World Trade Organization (established in 1994). Nonetheless, in this post-1971 period, the Convention has continued to be the centrepiece of the international copyright system and, in many ways, has become even more critical than it was in the pre-1971 period.
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Brown, Abbe, Smita Kheria, Jane Cornwell, and Marta Iljadica. "5. Copyright 4: exceptions and limitations." In Contemporary Intellectual Property, 164–203. Oxford University Press, 2019. http://dx.doi.org/10.1093/he/9780198799801.003.0005.

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This chapter discusses exceptions and limitations to the rights of the copyright owner. Copyright law establishes many such exceptions and limitations, listed in the Copyright, Designs and Patents Act 1988 (CDPA 1988) as the ‘permitted acts’. These acts can be carried out in relation to the copyright work without the owner’s permission or, in some cases, can be performed subject to terms and conditions specified by the statute rather than by the copyright owner. The chapter discusses the influence of the international framework and EU Directives on exceptions and limitations. It analyses the ‘permitted acts’ and discusses the freedoms afforded through them to users of protected works in the UK, and also briefly considers how far they may be set aside by contractual provision.
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Lewis, Jeremy, John Bowers, Martin Fodder, and Jack Mitchell. "Whistleblowing and Copyright." In Whistleblowing, 839–58. 4th ed. Oxford University PressOxford, 2022. http://dx.doi.org/10.1093/oso/9780192848093.003.0019.

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Abstract A worker may want to make a disclosure using documents of which their employer or another person is the copyright owner. This chapter outlines the nature of the proprietary right to copyright under the Copyright Designs and Patents Act 1988 (CDPA) and how copyright is infringed. It then describes the defence of fair dealing and the limitations of the utility of that defence to the whistleblower, given that the work in question must have been ‘made available to the public’. The public interest defence which is preserved by section 171(3) of the CDPA is then explained with the impact of the passing of the Human Rights Act 1998 on the development of the law as to the public interest defence. The chapter concludes with consideration of the interrelationship of rights under the CDPA and those in relation to the making of protected disclosures under the Employment Rights Act 1996.
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Brown, Abbe, Smita Kheria, Jane Cornwell, and Marta Iljadica. "4. Copyright 3: economic rights and infringement." In Contemporary Intellectual Property, 115–63. Oxford University Press, 2019. http://dx.doi.org/10.1093/he/9780198799801.003.0004.

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This chapter considers the ‘economic rights’ the copyright owner enjoys while copyright protection endures. These are the rights that the Copyright, Designs, and Patents Act 1988 (CDPA 1988) calls ‘acts restricted by copyright’, which may be exploited by transferring them to others or licensing others to use them for a price. The chapter discusses the rights flowing from ownership of copyright and the international framework that underpins them, noting the influence upon UK law of a number of EU Directives. It identifies the general principles pertaining to infringement of economic rights, before turning to the detailed rules on each economic right: to make copies, issue copies to the public; rent or lend commercially to the public; perform, show, or play in public; communication to the public; and make adaptations. It discusses authorisation of infringement (accessory liability) in relation to these economic rights, and finally considers secondary infringement of copyright.
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Torremans, Paul. "20. Design and copyright." In Holyoak and Torremans Intellectual Property Law, 341–47. Oxford University Press, 2019. http://dx.doi.org/10.1093/he/9780198836452.003.0020.

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Aesthetic designs are protected under the provisions of the Registered Designs Act 1949, while functional designs are governed by the provisions of the Copyright, Designs and Patents Act 1988. This chapter discusses the natural overlap between design law and copyright, and the influence of the law reform in s. 51 CDPA 1988 on the defence created in the British Leyland case. It also looks at the reform of s. 52 CDPA 1988.
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"Digital Millennium Copyright Act of 1998." In Encyclopedia of Library and Information Science, Fourth Edition, 1316–24. CRC Press, 2017. http://dx.doi.org/10.1081/e-elis4-120044854.

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"Digital Millennium Copyright Act of 1998." In Encyclopedia of Library and Information Sciences, Third Edition, 1577–85. CRC Press, 2009. http://dx.doi.org/10.1081/e-elis3-120044854.

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Conference papers on the topic "Copyright Act 1968"

1

Foroughi, Abbas, Marvin Albin, and Sharlett Gillard. "Issues and Opportunities in Digital Rights Management." In 2002 Informing Science + IT Education Conference. Informing Science Institute, 2002. http://dx.doi.org/10.28945/2481.

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In the wake of the Digital Millennium Copyright Act, of 1998, Digital Rights Management systems are beginning to provide copyright protection for digital content which magazine and book publishers, music companies, software and game producers, and business-to-business participants place online. Creators and providers of digital content are now increasingly able to control end users’ use of, and accessibility to, their products and stand to gain huge profits from this capability. However, as DRM technologies evolve and develop, so does end user concern about restrictions to their access to, and use of, information. The DRM industry will have to provide a balance between fair compensation for the creators of digital content and the rights of end-users to access and use the information they need.
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2

"Copyright page." In 1986 American Control Conference. IEEE, 1986. http://dx.doi.org/10.23919/acc.1986.4788896.

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