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Dekuzu Posts

EU Action plan to identify 5 key focus areas for IP

Published 15th December 2020

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.

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Technological Changes Since the 1990s Have Changed the Landscape in which Section 512 Operates

Published 29th November 2020

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.

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Anna Záborská’s amendments to proposed regulation on online intermediation services

Published 22nd November 2020

Online intermediary services and online search engines play a crucial role in enabling and promoting digital trade. In order to strengthen the trust of business users and consumers and encourage them to take part in the vast digital ecosystems created by online platforms, it is necessary to set minimum standards for their services.

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When does the Fourteenth Amendment care about copyright infringement?

Published 21st September 2020

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.

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Revisions to section 512 should take into account differences within and among stakeholder classes

Published 5th September 2020

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.

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If the complaint is insufficient as to only the registration ground, if shouldn’t be dismissed with prejudice

Published 2nd September 2020

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.

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SWD IA on the EU copyright modernization – Out-of-commerce works

Published 1st September 2020

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)?

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Third edition of USA copyright office compendium – audiovisual works

Published 1st September 2020

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.”

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Whether Section 120(a) limits the copyright protection of a PGS work that is physically connected to an architectural work?

Published 27th August 2020

 

January 22, 2018, Adrian Falkner filed civil action, seeking relief for (1) copyright infringement and (2) falsification, removal, and alteration of copyright management information in violation of the Digital Millennium Copyright Act. Defendant moved for summary judgment.

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