File #2430: "2018_Book_CopyrightPropertyAndTheSocialC.pdf"
Testo
1|Foreword|5
1|Preface|11
1|Contents|14
1|Part I: Copyright and Developing Countries|16
2|Copyright Legacy and Developing Countries: Important Lessons for Nigeria’s Emerging Copyright Reform|17
3|1 Introduction|17
3|2 Revisiting the Foundations of Intellectual Property Through the Lens of Development|18
3|3 Access to Knowledge Imperative: Role in Copyright and Development|26
3|4 The Present Future of Copyright: Developing Countries in Perspective|29
3|5 Lessons for Nigeria’s Emerging Copyright Reform|34
3|6 Conclusion|38
3|References|39
2|Embracing Open Policies to Enable Access to Information: The Edo State Open Data Portal|41
3|1 Introduction|41
3|2 Underdevelopment in Africa. The Problems/Challenges|42
4|2.1 Accessibility|43
5|2.1.1 The Access Problem|43
6|Legal|44
6|Economic|44
6|Technological|45
4|2.2 Visibility|46
3|3 Open Access to Knowledge as a Tool for Development in Africa|47
4|3.1 OER Africa|47
4|3.2 African Virtual University (AVU)|48
4|3.3 Siyavula|48
4|3.4 Open Initiative Between UNESCO and University of Nairobi|49
4|3.5 NOUN & UNESCO|49
4|3.6 US Book Project|50
4|3.7 World Bank|50
3|4 The Edo State Open Data Portal|51
4|4.1 Participation|52
4|4.2 Transparency|53
4|4.3 Collaboration|53
4|4.4 Achievements/Outputs|54
3|5 Dipping and Dropping/Consumer-Contributor Quagmire|54
3|References|56
4|Journal Articles|56
4|Books and Chapters|56
4|Online and Other Publications|56
2|Copyright in the Palestinian Territories: Setting the Scene|59
3|1 Palestine and the Dilemma of Copyright|59
3|2 Copyright Law and the Political and Legislative Status of the Palestinian Territories|60
4|2.1 The Political Status of the Palestinian Territories|61
5|2.1.1 What Is the PA?|62
5|2.1.2 To What Extent Oslo Accords Are Binding?|65
5|2.1.3 The PA’s Commitments to Protect Intellectual Property Rights|66
4|2.2 The Legislative Process Under the Palestinian Authority|68
5|2.2.1 The Legislative Process Before 2007|68
5|2.2.2 The Legislative Process After 2007|69
3|3 The Necessity of a Palestinian Copyright Law|70
4|3.1 Urgent Local Need to Protect the Palestinian’s Intellectual Works|70
4|3.2 Copyright and an Access Problem|72
3|4 Copyright in Palestine: The Law|74
4|4.1 The Law|74
4|4.2 Palestine and International Copyright Law|77
5|4.2.1 Developments in International Copyright Law|77
3|5 Copyright in Palestine: Reform|79
4|5.1 Fair Use and Fair Dealing|79
4|5.2 Fair Use for Palestine|80
3|6 Change Is Not Impossible|82
3|References|83
4|Journal Articles|83
4|Books and Chapters|83
4|Online Publications|83
4|Agreements and Official Documents|85
4|Others|85
2|Copyright Law in Indonesia: From a Hybrid to an Endogenous System?|86
3|1 Introduction: The Various Influences on the New Copyright Law|86
3|2 A Brief History of Copyright Law in Indonesia|87
3|3 Indonesia and the Different Traditions of Copyright|90
3|4 Copyright Law and Specific Domestic Concerns: The Example of Traditional Cultural Expressions and Licensing Requirements|94
3|5 Conclusion|98
3|References|99
2|Copyright and (Dis)harmonisation: Can Developing Nations Prioritise Their Own Public Good in a Global Copyright Hegemony?|102
3|1 Introduction|102
3|2 Global Copyright Harmonisation|104
3|3 The Constraints of Harmonisation|105
3|4 Some Examples of Individualistic Development of Intellectual Property and Related Laws and Possible Approaches for SC Nations|106
3|5 Conclusion|110
3|References|111
4|Cases|111
4|Journal Articles|111
4|Books and Chapters|112
4|Proceedings and Conference Papers|112
4|Online Publications|112
4|Others|113
1|Part II: Government and Copyright|115
2|Australia-US Copyright Relations: An Unhurried View of the Reciprocal Protection of Literary Works|116
3|1 The Present Copyright Relationship Between Australia and the United States of America|117
4|1.1 Australia Under the US Special 301 Report Watch List|118
4|1.2 Protection of US Government Works in Australia|122
4|1.3 Government Use Under the Proposed Trans-Pacific Partnership Agreement|124
4|1.4 Basis for US Action as Guardian of the International Copyright Establishment|125
4|1.5 Position of Australia in the International Copyright Establishment|126
3|2 Early US-Australia Copyright Relations and ‘Freeriding’|128
4|2.1 The Beginnings of US Protection of Australian Works Under the Chace Act of 1891|128
4|2.2 Position in the Australian Colonies|131
4|2.3 Position After the Establishment of the Australian Commonwealth|134
4|2.4 Bi-lateral Protection Between the US and Australia|135
4|2.5 US–Australia Relations Under the Universal Copyright Convention|138
3|3 US–Australia Copyright Practice|139
3|4 Conclusion|142
3|References|144
4|Government Reports|144
4|Articles/Monographs|145
2|The Adoption of the American Model of Fair Use in the UAE Copyright Law|147
3|1 Introduction|147
3|2 The Importance of Copyright and Limitations and Exceptions|148
3|3 The American Fair Use|149
3|4 The European Enumerated System|150
4|4.1 Fair Dealing in the UK and Common Law Countries|150
4|4.2 Exceptions to Author’s Rights in France|152
3|5 The UAE Federal Copyright Law No. 7 of 2002|153
3|6 Reforming Exceptions in UAE Copyright Law|156
4|6.1 Arguments Supporting the Adoption of Fair Use Model|156
4|6.2 Arguments Opposing the Adoption of Fair Use Model|157
3|7 Discussion of the Various Options Available for the UAE Legislator|159
3|8 Conclusion|162
3|References|163
4|Journal Articles|163
4|Books and Chapters|164
4|Online Publications|164
2|Digitising the Public Domain: Non Original Photographs in Comparative EU Copyright Law|166
3|1 Background|166
3|2 Photographic Works and Non-original Photographs|170
4|2.1 The International Landscape|170
4|2.2 The European Landscape|172
3|3 National Implementation|174
4|3.1 Germany|174
4|3.2 France|175
4|3.3 Spain|177
4|3.4 Italy|179
4|3.5 Poland|181
4|3.6 UK|182
4|3.7 The Netherlands|185
3|4 Conclusions|186
3|References|187
4|Journal Articles|187
4|Books and Chapters|188
4|Online Publications|189
4|Websites|189
1|Part III: Copyright, Technology and the Future|190
2|Copyright in the Age of Access|191
3|1 Introduction: The Digital Challenge|191
3|2 A Revenue Model Based on Access Not Control|192
3|3 The Business Case for Access Based Revenue|193
3|4 The Legal Foundation of Access Based Revenue|194
3|5 The Way Forward|196
3|6 Changing Mindset: Client Advice|197
3|7 Conclusion: “I Allow Access, You Experience and We Profit”?|198
3|References|199
4|Journal and News Articles|199
4|Reports|199
2|The Royalties System and Paratrophic Copyright|200
3|1 Introduction|200
3|2 Evolution of Property Systems|202
3|3 Royalties System and Compulsory Recording Licence|203
3|4 Licence for Public Performance of Musical Works|205
3|5 Collecting for Public Performance in UK and Dominions|206
3|6 Photocopying|210
3|7 Complex of Royalties|211
4|7.1 Royalties and Paratrophic Copyright|212
3|8 Government Violation of Principle|214
3|9 Contract|216
3|10 Process of Licensing|218
3|11 A Right of Remuneration: Herbert v Shanley USC 1917|220
3|12 Reasoning of Justice Holmes|221
3|13 Weaknesses in Holmes’s Reasoning|223
3|14 Feudal Comparison|225
3|15 Compulsory Character of Paratrophic Systems|228
3|16 Conclusion|229
3|References|232
4|Books|232
4|Journal Articles|232
2|Copyright According to Google|233
3|1 Copyright Policy in the Digital Age|233
3|2 Copyright According to Google|237
4|2.1 Fair Use According to Google|239
4|2.2 Intermediary Safe Harbour According to Google|241
3|3 Copyright Policy-Making in the Google Era|242
3|References|244
2|Dead Cats in the Mail: Dallas Buyers Club and the Emergence of the User in Australian Intermediary Copyright Law|246
3|1 Introduction|246
3|2 Online Copyright Enforcement and Politics of the User|248
4|2.1 Universal Music v Sharman: A Disregard for Users’ Interests|250
4|2.2 Cooper v Universal Music; Roadshow Films v iiNet: Users Not Present|252
3|3 Subtle Shifts: Towards Recognition of the User|255
3|4 Speculative Invoicing and the International Legal Landscape|259
3|5 The Dallas Buyers Club Litigation in Australia|263
3|6 Conclusion|266
3|References|268
2|The Making Available Right: Problems with “the Public”|270
3|1 Introduction|270
3|2 The Elements: An “Act” of Making Available That Is “To The Public”|271
3|3 Copyright’s Dissemination Function: Building a Coherent Theoretical Framework|273
3|4 Contemporary Approaches to “the Public”|275
4|4.1 The “New Public” Criteria in the EU|275
4|4.2 The “Copyright Owner’s Public” in Australia|277
4|4.3 Similar “Commercial Objectives” in the US|279
3|5 The History: Judicial Interpretation of “the Public”|281
4|5.1 Development of the “Copyright Owner’s Public”|282
4|5.2 An Explicit “For Profit” Requirement in the US|283
3|6 Aligning “the Public” with Copyright’s Dissemination Function: Some Proposals for the Future|285
3|7 Conclusion|287
3|References|288
4|Articles/Books/Reports|288
4|Cases|289
4|Legislation|290
4|Treaties|290
4|Other|290
1|Afterword|291
1|Preface|11
1|Contents|14
1|Part I: Copyright and Developing Countries|16
2|Copyright Legacy and Developing Countries: Important Lessons for Nigeria’s Emerging Copyright Reform|17
3|1 Introduction|17
3|2 Revisiting the Foundations of Intellectual Property Through the Lens of Development|18
3|3 Access to Knowledge Imperative: Role in Copyright and Development|26
3|4 The Present Future of Copyright: Developing Countries in Perspective|29
3|5 Lessons for Nigeria’s Emerging Copyright Reform|34
3|6 Conclusion|38
3|References|39
2|Embracing Open Policies to Enable Access to Information: The Edo State Open Data Portal|41
3|1 Introduction|41
3|2 Underdevelopment in Africa. The Problems/Challenges|42
4|2.1 Accessibility|43
5|2.1.1 The Access Problem|43
6|Legal|44
6|Economic|44
6|Technological|45
4|2.2 Visibility|46
3|3 Open Access to Knowledge as a Tool for Development in Africa|47
4|3.1 OER Africa|47
4|3.2 African Virtual University (AVU)|48
4|3.3 Siyavula|48
4|3.4 Open Initiative Between UNESCO and University of Nairobi|49
4|3.5 NOUN & UNESCO|49
4|3.6 US Book Project|50
4|3.7 World Bank|50
3|4 The Edo State Open Data Portal|51
4|4.1 Participation|52
4|4.2 Transparency|53
4|4.3 Collaboration|53
4|4.4 Achievements/Outputs|54
3|5 Dipping and Dropping/Consumer-Contributor Quagmire|54
3|References|56
4|Journal Articles|56
4|Books and Chapters|56
4|Online and Other Publications|56
2|Copyright in the Palestinian Territories: Setting the Scene|59
3|1 Palestine and the Dilemma of Copyright|59
3|2 Copyright Law and the Political and Legislative Status of the Palestinian Territories|60
4|2.1 The Political Status of the Palestinian Territories|61
5|2.1.1 What Is the PA?|62
5|2.1.2 To What Extent Oslo Accords Are Binding?|65
5|2.1.3 The PA’s Commitments to Protect Intellectual Property Rights|66
4|2.2 The Legislative Process Under the Palestinian Authority|68
5|2.2.1 The Legislative Process Before 2007|68
5|2.2.2 The Legislative Process After 2007|69
3|3 The Necessity of a Palestinian Copyright Law|70
4|3.1 Urgent Local Need to Protect the Palestinian’s Intellectual Works|70
4|3.2 Copyright and an Access Problem|72
3|4 Copyright in Palestine: The Law|74
4|4.1 The Law|74
4|4.2 Palestine and International Copyright Law|77
5|4.2.1 Developments in International Copyright Law|77
3|5 Copyright in Palestine: Reform|79
4|5.1 Fair Use and Fair Dealing|79
4|5.2 Fair Use for Palestine|80
3|6 Change Is Not Impossible|82
3|References|83
4|Journal Articles|83
4|Books and Chapters|83
4|Online Publications|83
4|Agreements and Official Documents|85
4|Others|85
2|Copyright Law in Indonesia: From a Hybrid to an Endogenous System?|86
3|1 Introduction: The Various Influences on the New Copyright Law|86
3|2 A Brief History of Copyright Law in Indonesia|87
3|3 Indonesia and the Different Traditions of Copyright|90
3|4 Copyright Law and Specific Domestic Concerns: The Example of Traditional Cultural Expressions and Licensing Requirements|94
3|5 Conclusion|98
3|References|99
2|Copyright and (Dis)harmonisation: Can Developing Nations Prioritise Their Own Public Good in a Global Copyright Hegemony?|102
3|1 Introduction|102
3|2 Global Copyright Harmonisation|104
3|3 The Constraints of Harmonisation|105
3|4 Some Examples of Individualistic Development of Intellectual Property and Related Laws and Possible Approaches for SC Nations|106
3|5 Conclusion|110
3|References|111
4|Cases|111
4|Journal Articles|111
4|Books and Chapters|112
4|Proceedings and Conference Papers|112
4|Online Publications|112
4|Others|113
1|Part II: Government and Copyright|115
2|Australia-US Copyright Relations: An Unhurried View of the Reciprocal Protection of Literary Works|116
3|1 The Present Copyright Relationship Between Australia and the United States of America|117
4|1.1 Australia Under the US Special 301 Report Watch List|118
4|1.2 Protection of US Government Works in Australia|122
4|1.3 Government Use Under the Proposed Trans-Pacific Partnership Agreement|124
4|1.4 Basis for US Action as Guardian of the International Copyright Establishment|125
4|1.5 Position of Australia in the International Copyright Establishment|126
3|2 Early US-Australia Copyright Relations and ‘Freeriding’|128
4|2.1 The Beginnings of US Protection of Australian Works Under the Chace Act of 1891|128
4|2.2 Position in the Australian Colonies|131
4|2.3 Position After the Establishment of the Australian Commonwealth|134
4|2.4 Bi-lateral Protection Between the US and Australia|135
4|2.5 US–Australia Relations Under the Universal Copyright Convention|138
3|3 US–Australia Copyright Practice|139
3|4 Conclusion|142
3|References|144
4|Government Reports|144
4|Articles/Monographs|145
2|The Adoption of the American Model of Fair Use in the UAE Copyright Law|147
3|1 Introduction|147
3|2 The Importance of Copyright and Limitations and Exceptions|148
3|3 The American Fair Use|149
3|4 The European Enumerated System|150
4|4.1 Fair Dealing in the UK and Common Law Countries|150
4|4.2 Exceptions to Author’s Rights in France|152
3|5 The UAE Federal Copyright Law No. 7 of 2002|153
3|6 Reforming Exceptions in UAE Copyright Law|156
4|6.1 Arguments Supporting the Adoption of Fair Use Model|156
4|6.2 Arguments Opposing the Adoption of Fair Use Model|157
3|7 Discussion of the Various Options Available for the UAE Legislator|159
3|8 Conclusion|162
3|References|163
4|Journal Articles|163
4|Books and Chapters|164
4|Online Publications|164
2|Digitising the Public Domain: Non Original Photographs in Comparative EU Copyright Law|166
3|1 Background|166
3|2 Photographic Works and Non-original Photographs|170
4|2.1 The International Landscape|170
4|2.2 The European Landscape|172
3|3 National Implementation|174
4|3.1 Germany|174
4|3.2 France|175
4|3.3 Spain|177
4|3.4 Italy|179
4|3.5 Poland|181
4|3.6 UK|182
4|3.7 The Netherlands|185
3|4 Conclusions|186
3|References|187
4|Journal Articles|187
4|Books and Chapters|188
4|Online Publications|189
4|Websites|189
1|Part III: Copyright, Technology and the Future|190
2|Copyright in the Age of Access|191
3|1 Introduction: The Digital Challenge|191
3|2 A Revenue Model Based on Access Not Control|192
3|3 The Business Case for Access Based Revenue|193
3|4 The Legal Foundation of Access Based Revenue|194
3|5 The Way Forward|196
3|6 Changing Mindset: Client Advice|197
3|7 Conclusion: “I Allow Access, You Experience and We Profit”?|198
3|References|199
4|Journal and News Articles|199
4|Reports|199
2|The Royalties System and Paratrophic Copyright|200
3|1 Introduction|200
3|2 Evolution of Property Systems|202
3|3 Royalties System and Compulsory Recording Licence|203
3|4 Licence for Public Performance of Musical Works|205
3|5 Collecting for Public Performance in UK and Dominions|206
3|6 Photocopying|210
3|7 Complex of Royalties|211
4|7.1 Royalties and Paratrophic Copyright|212
3|8 Government Violation of Principle|214
3|9 Contract|216
3|10 Process of Licensing|218
3|11 A Right of Remuneration: Herbert v Shanley USC 1917|220
3|12 Reasoning of Justice Holmes|221
3|13 Weaknesses in Holmes’s Reasoning|223
3|14 Feudal Comparison|225
3|15 Compulsory Character of Paratrophic Systems|228
3|16 Conclusion|229
3|References|232
4|Books|232
4|Journal Articles|232
2|Copyright According to Google|233
3|1 Copyright Policy in the Digital Age|233
3|2 Copyright According to Google|237
4|2.1 Fair Use According to Google|239
4|2.2 Intermediary Safe Harbour According to Google|241
3|3 Copyright Policy-Making in the Google Era|242
3|References|244
2|Dead Cats in the Mail: Dallas Buyers Club and the Emergence of the User in Australian Intermediary Copyright Law|246
3|1 Introduction|246
3|2 Online Copyright Enforcement and Politics of the User|248
4|2.1 Universal Music v Sharman: A Disregard for Users’ Interests|250
4|2.2 Cooper v Universal Music; Roadshow Films v iiNet: Users Not Present|252
3|3 Subtle Shifts: Towards Recognition of the User|255
3|4 Speculative Invoicing and the International Legal Landscape|259
3|5 The Dallas Buyers Club Litigation in Australia|263
3|6 Conclusion|266
3|References|268
2|The Making Available Right: Problems with “the Public”|270
3|1 Introduction|270
3|2 The Elements: An “Act” of Making Available That Is “To The Public”|271
3|3 Copyright’s Dissemination Function: Building a Coherent Theoretical Framework|273
3|4 Contemporary Approaches to “the Public”|275
4|4.1 The “New Public” Criteria in the EU|275
4|4.2 The “Copyright Owner’s Public” in Australia|277
4|4.3 Similar “Commercial Objectives” in the US|279
3|5 The History: Judicial Interpretation of “the Public”|281
4|5.1 Development of the “Copyright Owner’s Public”|282
4|5.2 An Explicit “For Profit” Requirement in the US|283
3|6 Aligning “the Public” with Copyright’s Dissemination Function: Some Proposals for the Future|285
3|7 Conclusion|287
3|References|288
4|Articles/Books/Reports|288
4|Cases|289
4|Legislation|290
4|Treaties|290
4|Other|290
1|Afterword|291