Teses / dissertações sobre o tema "Copyright Moral rights Australia"

'Moral rights' should not be thought of as a system of ethical or moral principles, rather, they are personal rights of the author of a literary, artistic, musical or like work which proponents of moral rights protection argue arise from the intimate bond between the author of such a work and the work itself. Focus in the common law countries has always been on the economic rights associated with a copyright work and how those economic rights could be best protected and exploited by the copyright owner: 'The common law, however, has always placed more emphasis on the preservation of property interests than on some intangible concept like personality rights which are difficult to calculate in economic terms. The common law has always been more utilitarian and pragmatic in nature than its European counterparts. The legal rights of individuals are protected negatively - that is, you have a compensatory remedy rather than rights per se. ' 1 Within the Australian legal system the economic rights are the exclusive rights contained in section 31 of the Copyright Act 1968 (Cth) and include the right to reproduce the work, publish the work, make a broadcast, make an adaptation of the work (among others). The focus on economic rights is reflected in the ultimate form which the Copyright Act has taken in Australia. That is, the Act affords substantial opportunities to the copyright owner to exploit the work with concomitant protection of those economic or pecuniary rights. By contrast, however, there is minimal protection offered to any moral or personal rights that the original creator of the work may claim to possess. For many moral rights advocates, the call for legislative protection of moral rights has been premised on the basis that a balance between economic rights and moral rights does not currently exist within the copyright field. The opponents of legislative protection allege that the introduction of moral rights would unduly upset the current system, posing threatening implications for investors in the culture industries. 2 This is the environment in Australia in which the moral rights debate has developed. Initially moral rights were seen as being essentially a foreign or alien concept to the system of copyright law in Australia. The past twenty years has seen an increasing focus upon moral rights by the artistic industries, legal academics, the Copyright Law Review Committee and various government bodies. Moral rights have been given some form of recognition and protection in over sixty countries in the world. Even the well-spring of Australian law, that being the English legal system, has enacted legislation which not only recognises moral rights but provides protection for these rights. In addition, other countries with a common law heritage such as Canada, New Zealand, India, South Africa and Nigeria have similarly enacted some form of protection for moral rights.3 Despite this, Australia since becoming a member State of the Berne Convention in 1928 has consistently refused to enact laws which specifically recognise moral rights and provide legislative protection for these rights. Despite the change in views of countries such as New Zealand4 and the United Kingdom5 , Australia has remained somewhat isolationist in its persistence in refusing to provide specific protection for moral rights. It appears, however, that the winds of change have been gaining increasing force in Australia, particularly within the last five years. This dissertation will define and analyse the concept of 'moral rights'. The nature of moral rights, including the rights of attribution, the right of integrity, the right of divulgation (disclosure) and the right of withdrawal, will be considered. The history of the moral rights debate in Australia will be discussed including Australia's obligations as a member of the Berne Convention for the Protection of Literary and Artistic Works ("the Berne Convention") will be considered. The experience of other common law jurisdictions in recognising moral rights and the means adopted to protect moral rights and the efficacy of the means of protection selected will also be examined. This paper will focus upon the question whether moral rights are sufficiently protected within the Australian legal system by the present framework of various common law causes of action and statutory provisions contained in the Copyright Act 1968 (Cth) and the Trade Practices Act 1974 (Cth) and the various State Fair Trading Acts.6 The case for and against greater recognition and protection of moral rights will be examined. In 1994 the Attorney­General's Department published a discussion paper which recommended the introduction of specific moral rights protection in Australia via amendments to the Copyright Act 1968 (Cth).7 The recommendations of the Discussion Paper will be considered as will recent developments in the moral rights debate in Australia. This paper concludes that there has been insufficient recognition and protection of moral rights within the Australian legal system. The combination of common law causes of action and statutory provisions in the Australian legal system, in the absence of specific legislative provisions protecting moral rights, are not sufficient to comply with Australia's treaty obligations under Article 6bis of the Berne Convention. There is an unmet need for greater recognition and protection of moral rights within the Australian legal system and this paper recommends this occur via amendments to the Copyright Act 1968 (Cth) to incorporate specific provisions protecting moral rights.

Available via the Australian National University Library Electronic Pre and Post Print Repository. Title from title screen (viewed Mar. 28, 2003) Includes bibliographical references. Mode of access: World Wide Web.

This thesis is a history of moral rights in Australian law. It traces the historical discourse about moral rights in Australian law and demonstrates how that discourse has shaped the meaning moral rights have come to assume in their current form under the current regime contained in the Copyright Amendment (Moral Rijghts) Act 2000. This history examines the reception and later production of a moral rights discourse in Australian law, and reveals that the historical discourse about Australian moral rights was dominated by the three themes; foreignness, international obligation and economic impact. I contend these three themes fundamentally shaped moral rights as they now appear in the moral rights regime. As the history unfolds, it will become clear that the moral rights regime was organised around a specific repertoire of arguments and imaginings, and it is this discourse that informs this thesis. My argument is pursued in three stages. Section One of the thesis provides the historical detail of the moral rights trajectory in Australian jurisprudence, and reveals, within that history, the emergence of three dominant themes, which are pursued in subsequent detail. In addition to the history, this section also provides detailed discussion of the legislative provisions in order to illustrate moral rights as a product of the history, and it highlights some of the shortcomings of the regime and provides some background for the case study in Section Two. Section Two of the thesis interrogates the structure of the moral rights regime by applying the Act's provisions to the case study of indigenous creators, thus providing a contemporary example of how these rights may work in practice, as the result of the historical discourse. Thus this section sets the scene for final part of the thesis, which delves further into the historical discourse. Section Part Three follows the themes of the moral rights debate as they emerged historically. Reconceptualizing the moral rights discourse in this way helps to explain why the debates about moral rights took a particular course and produced the outcomes it did. The starting point for these discussions is a detailed examination of the themes of foreignness, international obligation and economic impact, and follows these themes as they evolved chronologically. In particular, the discussion reveals that the debates about moral rights effectively fall into two eras. The first era (1928-1988) centred around the question of whether Australia should introduce moral rights and the debates about the appropriateness of the reception. At the commencement of the second era (1988-2000) the question shifted to what form moral rights should take. This then provides a backdrop with which to understand why specific discussions about moral rights were sidelined during the years of debates leading up to the legislation; in particular, the subject and the object; which form the fulcrum of a moral rights action. This is an essential part of the history because it explains why the subject and the object came to be imagined and constructed in such a narrow and limited way and clarifies why the moral rights provisions appear manifestly ineffective, particularly for indigenous creators and their communities. This thesis contributes to legal history in three important ways. First, it provides a detailed account of a discourse about moral rights in Australian law, and in doing so challenges the long held assumptions about their reception and production. Second, it highlights the importance of history to legal discourse. Just as regulatory regimes, institutions, and rules are integral to the law, so too are the informal practices, discourses and contexts on which they were based. Third, it reminds the reader that history is a signpost, and this history of moral rights demonstrates that the way this law was derived, imagined and constructed has significance for the social, cultural and legal context in which that process takes place.

The thesis is an exploration of how indigenous knowledge has emerged as a subject within Australian intellectual property law. It uses the context of copyright law to illustrate this development. The work presents an analysis of the political, social and cultural intersections that influence legal possibilities and effect practical expectations of the law in this area. The dilemma of protecting indigenous knowledge resonates with tensions that characterise intellectual property as a whole. The metaphysical dimensions of intellectual property have always been insecure but these difficulties come to the fore with the identification of boundaries and markers that establish property in indigenous subject matter. While intellectual property law is always managing difference, the politics of law are more transparent when managing indigenous concerns. Rather than assume the naturalness of the category of indigenous knowledge within law, this work interrogates the politics of its construction precisely as a ???special??? category. Employing a multidisciplinary methodology, engaging theories of governmental rationality that draws upon the scholarship of Michel Foucault to appreciate strategies of managing and directing knowledge, the thesis considers how the politics of law is infused by cultural, political, bureaucratic and individual factors. Key elements in Australia that have pushed the law to consider expressions of indigenous knowledge in intellectual property can be located in changing political environments, governmental intervention through strategic reports, cultural sensitivity articulated in case law and innovative instances of individual agency. The intersection of these elements reveals a dynamic that exerts influence in the shape the law takes.

This thesis examines the intersection between authors' moral rights and conflict-of-laws. The research question has been triggered by two important, interlinked factors. The first is that the currently applicable choice-of-law rules to moral rights are the same as those applicable to copyright. The second concerns the fact that moral rights are different from copyright - both in their nature and in the interest they aim to protect. Since these two factors coincide, it is questionable whether it ought to be the case that moral rights are subjected to the same choice-of-law rules as are applicable to copyright. The thesis therefore aims to discover whether the currently applicable choice-oflaw rules available in the context of moral rights are suitable for achieving the goals and objectives of conflict-of-laws. In the course of this thesis, I evaluate the potential validity of detaching moral rights from copyright in conflict-oflaws and instead attaching it to the characterization model of general personality rights. The research question is mainly addressed from the perspective of Rome I and Rome II Regulations. However, as there is no EU harmonization concerning general personality rights in conflict-of-laws, the examination will be directed towards France and England as examples of civil and common law traditions. Moreover, reference will also be made to CLIP and ALI principles by reason of comparison.

The topic of the paper is integrity right implementation problems. Author‘s right of integrity is on the list of international obligations since the beginning of the XIX century and has to be made available by all Berne convention members‘ national laws. However this International obligation only imlies a minimum standart for integrity right protection, thereby it‘s implementation issues are to be solved at national level. The goal of the paper is identification and analysis of integrity right implementation problems in modern states under the rule of law. Accordingly different legal regulation is one of the main issues of the topic. Establishing conflicts between authors and their work users, identifying persons of law in the integrity right is a great part of this paper. Consequently different sides of the conflick of interests are being elaborated, most frequent dispute cases and ways of solving them are being analised in the light of different legal regulation. His paper also contains legal tradicions of implementing integrity right in continential and common law countries that are being compared to each other, as well as different copyright laws in separate countries and court practice (lithuanian and foreign).

L’appel au renforcement de la protection du droit d’auteur dans le but de mieux lutter contre la contrefaçon, surtout avec l’avènement et le développement incessant des nouvelles technologies, est-il justifié ? Le bilan des efforts déployés récemment sur la scène internationale pour réaliser un tel renforcement, ayant débouché sur l’élaboration du très controversé ACTA, démontre que la réponse à cette question ne peut être ni simple ni immédiate. Evaluer l’opportunité et déterminer la nécessité de renforcer cette protection ne peuvent se faire qu’après un examen approfondi des solutions juridiques, existantes déjà dans les dispositifs nationaux des deux Etats qui assurent chacun une protection efficace des droits des auteurs, tout en adoptant des approches diamétralement opposées en la matière à savoir, la France et les Etats-Unis. Une fois ces deux droits comparés, une inégalité dans le niveau de protection ressort, appelant des améliorations qui passent par une intégration d’institutions juridiques « venues d’ailleurs ». Cette intégration qui aura pour résultat d’harmoniser ces deux droits, dans le respect des particularismes nationaux, pourra se réaliser à l’aide du droit comparé. L’harmonisation des droits nationaux dans le respect de leurs différences est aussi l’oeuvre du droit international surtout lorsqu’il s’agit d’une matière qui ne peut être traitée qu’à l’échelle internationale, voire mondiale. Pour pouvoir comprendre les raisons de la persistance des différences entre les deux droits menant à cette inégalité, l’examen des instruments internationaux adoptés en la matière, censés harmoniser la protection du droit d’auteur, est indispensable. Le bilan de cet examen s’avère mitigé dans la mesure où, les spécificités nationales l’emportent, bloquant ainsi le processus d’harmonisation. Or, le droit comparé a comme rôle principal de préparer un terrain favorable à une harmonisation internationale réussie, en dégageant des solutions concrètes, pratiques et surtout adaptées puisque ne heurtant pas les traditions juridiques nationales qu’il aura réussi à identifier
Is the call to strengthen the protection of copyright in order to better fight copyright infringement, especially with the advent and the constant development of new technologies, justified? The results of the recent efforts on the international stage to achieve such a purpose, which led to the drawing up of the very controversial ACTA, show that the answer to this question cannot be simple nor immediate. Assessing the appropriateness as well as determining the need to strengthen this protection can only be made after a thorough review of legal solutions that already exist in the domestic law of two states, each of which ensures effective protection of copyright while adopting diametrically opposite approaches in this field namely, France and the United States. Once these two domestic laws have been compared, inequality in the level of protection appears, calling for improvements that go through an integration of legal institutions "coming from somewhere else". This integration that will have as a result the harmonization of these two laws while taking into account the national specificities, can be realized using the comparative law. The harmonization of national laws while respecting their differences is the work of international law as well, especially when the subject matter could only be addressed on an international even global scale. To understand the reasons for the persistence of differences between these two laws leading to this inequality, review of international instruments adopted in this field which are supposed to harmonize the protection of copyright, is essential. The results of this review are mixed due to the fact that national differences prevail, thus blocking the harmonization process. However, comparative law's primary role is to prepare the ground for a successful international harmonization, by providing concrete, practical and appropriate solutions given the fact that they do not conflict with national legal traditions that the comparative law has managed to identify

Le droit d’exposition des oeuvres graphiques et plastiques est un élément nouveau du droit d’auteur, dégagé par la Cour de cassation en 2002. Il permet à l’auteur d’autoriser ou d’interdire l’exposition publique de ses oeuvres, qu’elles soient de dessin, de peinture, de sculpture, de photographie, d’architecture ou de tout autre oeuvre graphique. Ce droit lui permet aussi d’en contrôler les conditions de présentation et d’en tirer une rémunération. Il est en cela assimilable au droit de représentation, tel qu’il s’exerce pour les oeuvres dramatiques ou musicales. Mais le droit d’exposition ouvre des problématiques nouvelles pour le droit d’auteur. En effet, son objet ne peut être qu’une chose corporelle, qu’il s’agisse de l’exemplaire original de l’oeuvre ou de toute autre copie. Par conséquent, cela oblige à reconsidérer la nature du droit d’auteur, que l’on qualifie usuellement de droit sur « l’immatériel », cette notion étant plus adaptée pour les oeuvres littéraires, dramatiques ou musicales. Cette évolution remet en question le sens même de l’expression « propriété incorporelle », telle qu’elle est employée par le Code de la propriété intellectuelle. Le droit d’exposition interroge donc les fondements du droit d’auteur et bouleverse son contenu et sa portée. La thèse apporte les réponses aux questions qui sont posées par ces problématiques. Ainsi, il sera démontré que l’expression « propriété incorporelle » ne qualifie que la propriété du droit de l’auteur, considéré comme un bien, et non celle de l’oeuvre à proprement parler. En cela, la distinction entre cette propriété et la propriété de l’objet matériel doit être entendue le plus strictement, c’est-à-dire comme une simple distinction des droits. De même, le caractère novateur du droit d’exposition révèle que le droit d’auteur a davantage été conçu pour les oeuvres littéraires, dramatiques et musicales, et non pour les oeuvres graphiques et plastiques. De ce fait, le droit d’exposition concourt également à une harmonisation des prérogatives conférées aux auteurs au titre de la propriété littéraire et artistique
The visual artists display right is a new part of the author’s copyright, introduced by the French supreme court in 2002. It implies, for the author, the right to authorize or prohibit the public exhibition of his works, such as paintings, sculptures, photographs, architectural works or any work of graphic or plastic art. This right also gives the author a control over the conditions of presentation of the work and allows him to exploit it financially. It is similar to the performing right for dramatic and musical works. But the visual artists display right is the cause of new problems about intellectual property. Indeed, the exhibition is based on a physical thing in which the work is embodied. Therefore, we need to examine the nature of copyright, which is considered to have an intangible subject-matter. This concept is more convenient for literary, dramatic and musical works. This development calls the terms “intangible property” into questions, as they are used by the French copyright law. The visual artists display right shakes the very foundations of copyright and upsets its own structure. This thesis is intended to examine theses problems. Thus it appears that the terms “intangible property” refer to the property of the author’s right itself, as a possession, instead of the property of the work. That’s why the distinction between this property and the property of the tangible item should be considered as a distinction between two rights. In addition, the innovative nature of the visual artists display right shows that copyright has more been provided for literary, dramatic and musical works, than for the artistic works. This right also contributes to the harmonization of the literary and artistic property

This diploma thesis deals with selected legal questions regarding artwork in Czech Republic. Author focuses on artwork from copyright and civil legal perspective, specifically author´s rights and copyright and its legal protection (civil, administrative and criminal). It also addresses questions concerning licenses and licensing agreements, relation between artwork and its material object, buying and selling artwork, purchase agreement and other types of contract that artists usually encounter. The aim of this thesis is to identify the current state of legislation in this matter and issues that need to be addressed. Among other methods, author used a comparative method and a research in a form of survey in this thesis.

Ce travail s’attache à étudier le droit des artistes interprètes à la protection de leur travail à l’ère numérique. La première partie de ce travail s’intéresse à la théorie des droits d’auteur, l’histoire des droits moraux, et à l’application de la théorie des droits moraux aux procès qui impliquent les artistes interprètes aux Etats-Unis, au Royaume-Uni, et en France. De plus, ce travail présente le droit international en la matière, y compris la Convention de Berne et le Traite de Beijing. La deuxième partie de ce travail examine l’histoire de l’industrie du cinéma. Plus spécifiquement, il se concentre sur l’histoire de l’industrie du cinéma aux Etats-Unis, au Royaume-Uni et en France, en observant comment les progrès des technologies cinématographiques ont affecté les droits des acteurs de cinéma dans le domaine du droit national et international. La troisième partie de ce travail propose un Protocole au Traité de Beijing afin que créer un mécanisme pour diminuer les obstacles à l'accès à la justice qui empêchent les artistes interprètes de faire valoir leurs droits. La thèse se termine par uneréflexion sur les leçons qui peuvent être tirées de l'histoire et des pratiques actuelles des États-Unis, du Royaume-Uni et de la France en ce qui concerne les droits moraux des artistes interprètes, en recommandant que les trois pays fournissent à l'avenir des protections plus significatives aux artistes interprètes
This work provides a broad study of the right of performing artists to protect their performances in the Internet era. The first part of this work explores the theoretical foundation of copyright law, the history of moral rights, and the application of the theory of moral rights to cases affecting performing artists in the United States, the United Kingdom, and France. In addition, this work discusses relevant international law, including the Berne Convention and the Beijing Treaty. The second part of this work addresses the history of the movie industry. More specifically, it concentrates on the history of the film industry in the United States, the United Kingdom, and France, observing how technological progress in filmmaking techniques have affected the rights of movie actors under both national and international law. The third part of this work proposes a Protocol to the Beijing Treaty that would create a mechanism to lower the barriers to justice that currently prevent performing artists from vindicating their rights. This work concludes with a reflection on the lessons that can be drawn from both the history and the current practices of the United States, the United Kingdom, and France with respect to the moral rights of performing artists, recommending that the three countries provide more significant protections to performing artists going forward

Numerous statements and declarations have been made over recent decades in support of open access to research data. The growing recognition of the importance of open access to research data has been accompanied by calls on public research funding agencies and universities to facilitate better access to publicly funded research data so that it can be re-used and redistributed as public goods. International and inter-governmental bodies such as the ICSU/CODATA, the OECD and the European Union are strong supporters of open access to and re-use of publicly funded research data. This thesis focuses on the research data created by university researchers in Malaysian public universities whose research activities are funded by the Federal Government of Malaysia. Malaysia, like many countries, has not yet formulated a policy on open access to and re-use of publicly funded research data. Therefore, the aim of this thesis is to develop a policy to support the objective of enabling open access to and re-use of publicly funded research data in Malaysian public universities. Policy development is very important if the objective of enabling open access to and re-use of publicly funded research data is to be successfully achieved. In developing the policy, this thesis identifies a myriad of legal impediments arising from intellectual property rights, confidentiality, privacy and national security laws, novelty requirements in patent law and lack of a legal duty to ensure data quality. Legal impediments such as these have the effect of restricting, obstructing, hindering or slowing down the objective of enabling open access to and re-use of publicly funded research data. A key focus in the formulation of the policy was the need to resolve the various legal impediments that have been identified. This thesis analyses the existing policies and guidelines of Malaysian public universities to ascertain to what extent the legal impediments have been resolved. An international perspective is adopted by making a comparative analysis of the policies of public research funding agencies and universities in the United Kingdom, the United States and Australia to understand how they have dealt with the identified legal impediments. These countries have led the way in introducing policies which support open access to and re-use of publicly funded research data. As well as proposing a policy supporting open access to and re-use of publicly funded research data in Malaysian public universities, this thesis provides procedures for the implementation of the policy and guidelines for addressing the legal impediments to open access and re-use.

While much has been written on the Australian film and television industry, little has been presented by actual producers, filmmakers and technicians of their time and experiences within that same industry. Similarly, with historical documentaries, it has been academics rather than filmmakers who have led the debate. This thesis addresses this shortcoming and bridges the gap between practitioner experience and intellectual discussion, synthesising the debate and providing an important contribution from a filmmaker-academic, in its own way unique and insightful. The thesis is presented in two voices. First, my voice, the voice of memoir and recollected experience of my screen adventures over 38 years within the Australian industry, mainly producing historical documentaries for the ABC and the SBS. This is represented in italics. The second half and the alternate chapters provide the industry framework in which I worked with particular emphasis on documentaries and how this evolved and developed over a 40-year period, from 1970 to 2010. Within these two voices are three layers against which this history is reviewed and presented. Forming the base of the pyramid is the broad Australian film industry made up of feature films, documentary, television drama, animation and other types and styles of production. Above this is the genre documentary within this broad industry, and making up the small top tip of the pyramid, the sub-genre of historical documentary. These form the vertical structure within which industry issues are discussed. Threading through it are the duel determinants of production: ‘the market’ and ‘funding’. Underpinning the industry is the involvement of government, both state and federal, forming the three dimensional matrix for the thesis. For over 100 years the Australian film industry has depended on government support through subsidy, funding mechanisms, development assistance, broadcast policy and legislative provisions. This thesis aims to weave together these industry layers, binding them with the determinants of the market and funding, and immersing them beneath layers of government legislation and policy to present a new view of the Australian film industry.

This thesis provides an insight into the current position of moral rights of authors and outlines the perspectives of the doctrine of moral rights in international copyright regime of the 21st century. Such survey is particularly urgent at a time when the doctrine of droit moral, one of the most contentious and controversial issues in copyright, is now in an international spotlight again. The recent decade has seen two contradictory trends in the field of international copyright. The 1994 Uruguay Round saw the emergence of new global intellectual property regime, embodied in the TRIPs Agreement, which elevates copyright into a new stage of development by linking it for the first time with international trade and technology and by substantially widening the scope of its governance. However, this new instrument is almost exclusively concerned with protecting the rights belonging to owners, endorsing the 'sanctity of property', but practically eliminating the protection of the original creators' non-economic, moral rights. Against this background, the 1990's have witnessed an unprecedented commitment to the protection of artist's moral rights in countries that in the past were the strongest opponents of any such notion within their copyright regimes. The question of moral rights has always been considered an issue where a wider international consensus is impossible due to the traditional rift between civil law's authors' rights and common law's copyright philosophies. However, in a world where the protection of intellectual property is increasingly viewed on an international basis - of necessity, because of technological and economic developments - a global consensus on this issue is inevitable. By reviewing the justificatory schemata underlying the doctrine of droit moral and by analyzing the recent statutory developments in several common law jurisdictions in this arena, as well as the concession made by moral rights-devout civilian jurisdictions, this thesis shows that the gap between the two systems is no longer insurmountable. The analysis reveals that despite the underlying philosophical differences, a substantial degree of convergence of copyright and author's rights is occurring, and outlines the sites of consolidation which can serve as a basis for a possible future international agreement on this issue.

碩士
東吳大學
法律學系
102
Abstract Due to advances in technology, the complexity of creation has increased and Professional Services come of age. Most creation can only be created with multiple people’s collaboration instead of one single person’s work. Among these collaborated creations, most of them are under employment conditions. Especially in Newspaper Offices, Advertising Agencies, Construction Companies, and Computer Software Companies, almost every creation is completed collaboratively. For these creations, copyright laws usually focus on their intellectual property aspects while the moral rights of them are seldom discussed. Thus, the moral rights ownership of productions created under employment conditions rarely gets enough attention as it should be. This research compares the difference of the moral rights protection between Taiwan and the US from legislation and practical aspects, and discusses the related research under scholar and expert and judicial practices. Finally, with this research grasping the essence of moral rights protection of the US as reference, the moral rights protection laws of Taiwan can be revised to improve the communication and understanding of employed creations between the creation owners and users, to reconcile the employment relations, and to mutual opposition and conflict by mitigating the obstacles and misunderstandings caused by moral rights.

This legal policy thesis asks: Is sampling so inconsistent with copyright that it warrants a unique system? Sampling is the musical practice of arranging new recordings from existing recordings. Often, it conflicts with copyright, a legal system that aims to encourage progress and innovation, primarily by granting exclusive rights as incentives to create and distribute original works. Two countervailing positions in existing literature articulate the conflict between sampling and copyright. The first views sampling as an appropriative practice that subverts copyright safeguards against unauthorised copying and adaptation. If this is true, then appropriation art cannot be reconciled with copyright law in any stable, lasting or meaningful manner. The second views copyright as an excessive restraint on creativity, a leash on artists. Scholars holding this position point to copyright's longstanding discrimination against sampling, evident from US copyright cases restricting 1990s hip-hop artists and admonishing one sampling artist with biblical commandment: 'Thou shalt not steal'. This thesis argues that sampling can align with the purpose of copyright to encourage progress and innovation. It shows how sampling is consistent with originality, the core concept that separates the copyright wheat from the unprotected chaff. Originality calls not for the conjuring of material from thin air, but rather the rearrangement of prior works, genres and conventions. By locating rearrangement at the heart of originality, we can see that sampling can contribute to the body of original works and therefore the purpose of copyright. In doing so, this thesis shows that sampling conflicts with the operation of copyright, as expressed in international treaty, national laws and industry conventions. While amending the operation of copyright is difficult, it is possible and indeed desirable to reform copyright to encourage rearrangement, not because it enables sampling, but because it promotes originality. Building on the concept that the rearrangement of past material is the foundation of originality, this thesis explains two potential policy responses to promote originality. Encouraging transformative use, as a conceptual foundation for fair use exceptions, can promote the rearrangement of existing original works into new original works. Likewise, ex post monitoring, as an alternative to ex ante licensing, can enable tolerated uses, incremental originality and distributed innovation at the scale of digital platforms.

The aim of this master's thesis is to probe into copyright, especially the moral rights that are inevitably included. Due to the complexity of terminology in intellectual property law, which includes the copyright, it is first provided an overview of intellectual property rights and somewhat as highlighting of some changes that were caused by the adoption of the new Civil Code, particularly with regards to the change of perspective in the conception of a thing in a legal sense. After this lets say general introduction to intellectual property rights the main focus passes to the definition of basic copyright terminology and there are outlined the principles by which is our copyright controlled. For a better understanding of moral rights in copyright it is explained what the nature of those rights actually is, together with the definition of basic approaches to moral rights and property rights as well and of course in relation to differentiation from general personality rights, i.e. those that lack the aspect of the creative nature. Due to the recodification of private law, especially the inheritance law, it is also pointed out that according to the current regulation author's commands not to disclose his particular work is not for the purposes of inheritance proceedings just a wishful thinking, but...

Moral rights in copyright Abstract This thesis, after a brief introduction to the issue of copyright, defines the basic concepts relating to author's moral rights and its nature. It provides an insight into the issue from various different points of view, focusing on the natural nature of moral rights and the natural nature of an author's work, that is reflected in the copyright legislation. The thesis also offers a comparison of two major legal systems of copyright - the authors' right system and the copyright system, which demonstrate the key institutes and characterize both legal cultures through their typical features and differences. The thesis draws attention to the fact that the regulation of copyright and moral rights in particular is far from uniform in the national context and that there are significant differences not only between the different legal systems but also within those legal systems. The thesis also presents copyright and moral rights in valid Czech legislation in terms of the systemic and conceptual definition of the Czech copyright law and then discusses in detail the individual moral rights of authors. An important part of this thesis is the issue of originality as one of the conceptual features of the work. The thesis explains the role of the Court of Justice of the European Union...

Moral rights in the Czech Republic and in selected countries of continental and Common Law legal systems Abstract This thesis focuses on moral rights, which together with economic rights form one of basic ways how to divide copyright law. The primary function of moral (copyright) rights is to protect various rights of the author, which are not economic rights. In the introduction part of this thesis there are basic definitions and specifications of moral rights and their genesis in the continental legal system. The second chapter explains the different approach to moral copyright in the continental legal system and in the Common Law legal system, including a short historical excursion into those legal systems. The third chapter is briefly dedicated to the development of copyright law with the emphasis on moral rights during the 18th century, explanation of the difference between one-tier and two-tier approach to copyright law and certain issues regarding the territoriality of law. It also contains relevant legal acts that were in force in the Czech Republic during the 20th and partially during the 19th century. The fourth chapter consists of thorough explanation concerning each type of moral rights in the Copyright act that is currently in force in the Czech Republic. The fifth chapter is devoted to moral...

O presente trabalho versa na análise dos crimes contra o direito de autor e os problemas que se levantam com a aplicabilidade prática das normas previstas no título IV do Código do Direito de Autor e dos Direitos Conexos. Para além disso, será feita uma breve menção a outras incriminações que se encontram fora do Código.
The present work deals with the analysis of crimes against copyright and the problems that arise with the practical applicability of the rules provided for in Title IV of the Code of Copyright and Related Rights. In addition, a brief mention will be made of other offenses outside the Code.

Кулініч О.О. Теоретичні проблеми реалізації та захисту права фізичної особи на власне зображення: дис. ... доктора юрид. наук: 12.00.03 / Кулініч Ольга Олексіївна. - Одеса, 2017. - 489 с.
Дисертація на здобуття наукового ступеня доктора юридичних наук за спеціальністю 12.00.03 - цивільне право і цивільний процес; сімейне право; міжнародне приватне право. - Національний університет «Одеська юридична академія», Одеса, 2017. Дисертація є першим у вітчизняній науці цивільного права спеціальним комплексним дослідженням теоретичних проблем реалізації та захисту права фізичної особи на власне зображення. Досліджено загальні наукові підходи до визначення природи та змісту права фізичної особи на власне зображення, а також його взаємозв’язку з правами інтелектуальної власності. Сформульовано авторську концепцію охорони права фізичної особи на власне зображення. Розкрито співвідношення таких «зовнішнього вигляду людини» та «зображення людини» як цивільних категорій, їх ознак та факторів, що впливають на формування та зміну зазначених об’єктів. Визначено окремі види зображень у взаємозв’язку з охоронюваними законом правами та інтересами зображуваної особи. Охарактеризовано об’єктний і суб’єктний склад правовідносин з реалізації та захисту права фізичної особи на власне зображення, механізм правового регулювання відносин у цій сфері. Сформульовано межі здійснення права на власне зображення, систему принципів та критеріїв визначення правомірності вільного створення та використання зображення людини. Обґрунтовано правові умови, способи реалізації права фізичної особи на власне зображення, зокрема шляхом надання згоди та укладення договору про створення та використання зображення людини. Встановлено особливості обставин, що підлягають доведенню при здійсненні захисту права фізичної особи на власне зображення та ефективність застосування окремих цивільно- правових способів захисту з врахуванням матеріалів судової практики. Сформульовано науково обґрунтовані пропозиції з удосконалення цивільно-правового регулювання відносин у сфері створення та використання зображення людини, механізму правової охорони права фізичної особи на власне зображення.
Диссертация на соискание научной степени доктора юридических наук по специальности 12.00.03 - гражданское право и гражданский процесс, семейное право, международное частное право. - Национальный университет «Одесская юридическая академия», Одесса, 2017. Диссертация является первым в отечественной науке гражданского права специальным комплексным исследованием теоретических проблем реализации и защиты права физического лица на собственное изображение. Исследованы общие подходы к определению юридической природы, содержания права физического лица на собственное изображение и его соотношению с правами интеллектуальной собственности. Предложен концептуальный подход к пониманию права на собственное изображение как субъективного гражданского права, которому присущи такие признаки: наличие органических, функциональных связей, а также связей взаимодействия с правами интеллектуальной собственности; двойная природа (является одновременно неимущественным и имущественным правом); отсутствие неразрывной связи с субъектом-носителем; направленность на удовлетворение неимущественных и имущественных интересов физического лица. Определены изображение человека как нематериальное благо, его признаки, факторы, влияющие на создание и изменение, а также соотношение с внешним обликом как личным неимущественным благом физического лица, его признаками и факторами, влияющими на формирование и изменение. Проанализированы различные формы объективизации изображения человека во взаимосвязи с интересами физического лица, которые могут быть затронуты при создании и использовании изображения человека. Охарактеризованы правоотношения в сфере создания и использования изображения человека, определены особенности объектного, субъектного состава и содержания данных правоотношений. Исследован вопрос о презумпции согласия физического лица на проведение фото-, видео-, кино-, телесъемки. Проанализирован критерий открытости съемки как действий субъекта, её осуществляющую, в соотношении с осознанностью её восприятия субъектом, в отношении которого она осуществляется. Предложена классификация места нахождения человека во время съемки как основа для определения объективных и разумных ожиданий уединится и ограничить доступ посторонних к определенным событиям личной жизни. Охарактеризован договорной механизм регулирования отношений, возникающих при создании и распространении изображения человека. Раскрыты особенности использования изображения людей при продвижении, одобрении товаров и услуг субъектов предпринимательской деятельности. Рассмотрены последствия нарушений договорных обязательств и сделан вывод о взаимовлиянии репутации субъектов, производящих товары и услуги и репутации лица, одобряющего или продвигающего такие товары и услуги. Сформулирована система принципов и критериев определения правомерности создания и распространения изображений людей. С учетом анализа национальной и зарубежной судебной практики сделан вывод о необходимости применения этих критериев в совокупности для определения правомерности использования изображения. На основании судебной и юридической практики определен перечень фактов, подлежащих доказыванию при нарушении права на собственное изображение. Сделан вывод об эффективности применения различных способов защиты прав и интересов физических лиц, изображенных на фотографиях и в иных художественных произведениях. Сформулированы научно обоснованные предложения по совершенствованию гражданско-правового регулирования отношений в сфере создания и использования изображения человека, механизма правовой охраны права физического лица на собственное изображение.
The thesis for the degree of Doctor of Law in the specialty 12.00.03 - Civil Law and Civil Procedure; Family law; International Private Law. - National University «Odessa law Academy», Odessa, 2017. The thesis is the first in the native science of civil law special comprehensive research of theoretical problems of realization and protection of the right of natural person to the own image. The general scientific approaches to the definition of nature and content of the right of individuals to their own image are studied, as well as its correlation to intellectual property rights is clarified. The author’s concept of the protection of the right of natural person to the own image is provided. The dissertation reveals the correlation of such categories as «the appearance of individual» and «the image of individual» as civil categories, their characteristics and factors influencing the formation and change of these objects. The certain types of images are identified in conjunction with the protected by law rights and interests of the represented person. The objective and subjective composition of legal relations for realization and protection of the right of natural person to the own image is characterized, the mechanism of legal regulation of relations in this sphere is described. The limits of exercise of the right to the own image is formulated, the system of principles and criteria for determining the legality of a free creating and use of the individual’s image is represented. The legal terms and ways of realization of the right of natural person to the own image are substantiated, in particular by giving the consent and conclusion of contract on creation and use of the individual’s image. The peculiarities of the circumstances, which are subject to proof while defending the right of natural person to the own image, are specified, and the effectiveness of particular civil-law methods of protection considering judicial practice is defined. Scientifically based proposals are formulated for improvement of civil legal regulation of relations in the sphere of creation and use of the image of individual, mechanism of legal protection of the right of natural person to the own image.