Not only Russian copyright, broadcast and digital law
When Russian president has mentioned his concerns about the scales of counterfeits in Russian light industry, the Prosecutor General’s office has reported its achievements and statistics demonstrating what has been done. According to office it was revealed 19 thousands violations of law, including organization of illegal migration and violations of rules in the field of public procurement.
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Among the options proposed in consultation paper for reform to the copyright board of Canada it could be outlined some of them with regard to collective rights management and tariff setting procedure, including the practice of individual agreements or the analogue of interim license in USA.
Comments closedThe Internet has favoured the entry of new market players and the development of new services (e.g. music streaming services, Video on Demand – VoD – platforms, etc.) providing access to a large quantity and variety of content online. Digital technologies also offer new opportunities to cultural heritage institutions (CHIs) willing to digitise and disseminate parts of their collections that would otherwise remain confined to their premises with limited access to the public.
Comments closedThe term “de minimis” comes from the legal principle “de minimis non curat lex,” which means “the law does not take notice of very small or trifling matters.” As the Supreme Court stated, “copyright protects only those constituent elements of a work that possess more than a de minimis quantum of creativity.” Works that contain no expression or only a de minimis amount of original expression are not copyrightable and cannot be registered with the U.S. Copyright Office.
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Video-on-demand services have the potential to play a decisive role in the dissemination of audiovisual works across the European Union. However, the availability of those works, in particular European works, on video-on-demand services remains limited. Agreements on the online exploitation of such works may be difficult to conclude due to issues related to the licensing of rights.
Comments closedThe last few years the administration of Kazan annually organizes “Aksenov festival” in the memory of Russian writer Vasily Aksenov. For this event, “Aksenov Fest”, theatrical performances have been funded and Aksenov’s literary works have been published in Tartarian language. But Aksenov heirs are not involved in it. They did not receive royalties and were not asked about any permission to exploit Aksenov’s intellectual property. That is what the heirs of Aksenov don’t like.
Comments closedNAB members are both creators and users of copyrighted works and, as such, recognize the important need to balance the rights of copyright owners against the public interest. The blanket licensing of performance rights is inherently anti-competitive because the very nature of the PRO’s blanket license involves the fixing of a single price for all music, irrespective of which songs are actually used.
Comments closedThe Office believes that an interpretation of the consent decrees that would require these PROs to engage in 100-percent licensing presents a host of legal and policy concerns. Such an approach would seemingly vitiate important principles of copyright law, interfere with creative collaborations among songwriters, negate private contracts, and impermissibly expand the reach of the consent decrees. It could also severely undermine the efficacy of ASCAP and BMI, which today are able to grant blanket licenses covering the vast majority of performances of musical works – a practice that is considered highly efficient by copyright owners and users alike.
Comments closedThe Board is an administrative tribunal created by the Act that is empowered to establish, through tariffs or individual licences, the royalties to be paid in certain cases for the use of content that is subject to copyright. In almost all cases, the jurisdiction of the Board is limited to rights that are collectively managed by organizations referred to in Canada as collective societies.
Comments closedThe copyright law does not protect typeface or mere variations of typographic ornamentation or lettering. A typeface is a set of letters, numbers, or other symbolic characters with repeating design elements that are consistently applied in a notational system that is intended to be used in composing text or other combinations of characters. Typeface includes typefonts, letterforms, and the like.
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