Have you experienced specific problems when trying to use an exception to preserve and archive specific works or other subject matter in your collection?
Generally (draft), a videogame contains two major components: the audiovisual material and the computer program that runs the game. If the copyright in the audiovisual material and the computer program are both owned by the same entity, they should be registered together on one application. By contrast, if the copyright in the program and the audiovisual material are owned by different parties, separate applications will be required.
Clayton Prince Tanksley is an actor and producer. In 2005, Tanksley wrote, produced, directed, filmed, starred in, and copyrighted three episodes of Cream, a show about an African-American record executive who runs his own hip-hop label. In 2008, Tanksley participated in an event called the Philly Pitch hosted by the Greater Philadelphia Film Office.
The challenge ahead: capitalizing on Europe’s intellectual assets to boost recovery and resilience
Intangible assets such as inventions, artistic and cultural creations, brands, software, knowhow, business processes and data are the cornerstones of today’s economy. Over the last two decades, the volume of annual investments in such ‘intellectual property products’ increased by 87% in the EU, while the volume of tangible (non-residential) investments increased by only 30%. Investments in intangibles were also significantly less affected by the 2008 economic crisis.
The technology that allows copyright owners to distribute content directly to consumers’ living rooms via streaming services also enables new forms of piracy: streaming of unlicensed content and stream-ripping – that is, using software to make an unlicensed copy of streamed content that would otherwise be licensed.
In 1717, the pirate Edward Teach, better known as Blackbeard, captured a French slave ship in the West Indies and renamed her Queen Anne’s Revenge. The vessel became his flagship. Carrying some 40 cannons and 300 men, the Revenge took many prizes as she sailed around the Caribbean and up the North American coast.
Requirements that pose a relatively minimal burden for large, established OSPs could be crippling for a small startup that lacks access to enterprise-level technology. Larger rightsholders with in-house enforcement teams may have more resources to monitor online infringement than small rightsholders that must face a choice between devoting their time to creative endeavors or to enforcing their rights.
In August 2013, Ricky Martin and Sony… claimed that they were sponsors” of and advertised the “SuperSong” contest. The contest was a competition; each participant was required to compose a song with lyrics in English, Portuguese, or Spanish. The participants were required to submit their songs in “video format showcasing the performance of the composer” by January 6, 2014.
Would it be necessary in your country to enact legislation to ensure that the results of the 2011 MoU (i.e. the agreements concluded between libraries and collecting societies) have a cross-border effect so that out of commerce works can be accessed across the EU?
Would it be necessary to develop mechanisms, beyond those already agreed for other types of content (e.g. for audio- or audio-visual collections, broadcasters’ archives)?
What Is an Audiovisual Work?
The Copyright Act defines audiovisual works as “works that consist of a series of related images which are intrinsically intended to be shown by the use of machines or devices such as projectors, viewers, or electronic equipment, together with accompanying sounds, if any, regardless of the nature of the material objects, such as films or tapes, in which the works are embodied.”