Christina Angelopoulos studied law at the University of Athens and went on to complete her LL.M. course on European law at the University of Edinburgh. She joined IViR in 2008, where, alongside other research projects, she worked as editor for IRIS, the monthly newsletter on audiovisual law published by the European Audiovisual Observatory. As part of the EuropeanaConnect project, she also performed and coordinated the legal research behind the creation of IViR and NL Kennisland's online Public Domain Calculators.

Currently, Christina is a Ph.D. candidate at IViR. Her thesis will focus on the liability of online intermediaries for copyright infringement.

The Myth of European Term Harmonisation: 27 Public Domains for the 27 Member States, IIC, 2012-5, p. 567.

10.08.2012

Determining the Term of Protection for Films: When Does a Film Fall into the Public Domain in Europe? IRIS Plus, 2012-2.

12.06.2012

See here the foreword of the book.

07.06.2012

Amended Directive Extends the Term of Protection for Performers and Sound Recordings, GRUR International, 2011-11, p. 987-989.

06.12.2011

Creative Commons and Related Rights in Sound Recordings: Are the Two Systems Compatible?, in L. Guibault & C. Angelopoulos (ed.), Open Content Licensing: From Theory to Practice, Amsterdam: Amsterdam University Press, 2011, p. 243-295.

Can the will of the author cancel her copyright? The Creative Commons licensing system depends on a positive answer to this question, and indeed, in the area of copyright proper, for the most part this is the case. But the related rights of performers and phonogram producers are a different matter: in addition to their exclusive rights, performers and phonogram producers are also granted a right to equitable remuneration for the use of their phonograms in communications to the public or broadcasting by wireless means. Given that, in many EU Member States the right to equitable remuneration has been implemented in the form of a (waivable or non-waivable) compulsory licensing scheme, while, even where a voluntary license scheme is in place, the functional reality of collecting societies will limit the flexibility that this will allow right-owners, the following question arises: is the legal framework of related rights and the collective management systems in place for the exploitation of these rights compatible with the use of Creative Commons licenses? 
This book chapter attempts to answer this complicated question with regard to the law of the two EU Member States of the UK and the Netherlands. The issue is examined against the backdrop of the innovative flexible collective management pilot project was initiated for musical works between Buma/Stemra, the Dutch collecting society for music authors and publishers, and Creative Commons Netherlands, the Dutch branch of Creative Commons. The chapter concludes that, when contemplating the application of Creative Commons licenses to musical works in the context of the user’s obligation to pay equitable remuneration to the performer and phonogram producer for use of a phonogram in a communication to the public or broadcast, three main circumstances must be kept in mind:

(a) Whether the work has been published for commercial purposes;
(b) Whether the work is offered by the user on an interactive, on-demand basis;
(c) What type of licensing scheme is established in the country in question for the management of the right.

13.07.2011

(ed. with L. Guibault) Open Content Licensing from Theory to Practice, Amsterdam: Amsterdam University Press, 2011.

This book assembles chapters written by renowned European scholars on a number of selected issues relating to open content licensing. It offers a comprehensive and objective study of the principles of open content from a European intellectual property law perspective and of their possible implementation in practice.

06.07.2011

The archives of many television broadcasters now contain materiel which includes more than half a century of contemporary, documentary and entertainment history and are of immense cultural and economic value. Digitisation has created an entirely new technical basis for making these assets available to a wide audience, and there are a whole range of projects aimed at opening up audiovisual archives (including those of broadcasters). However, many projects to open up broadcasters' archives and exploit them online generally run up against serious problems when it comes to clearing the rights for these archived works. These problems arise, firstly, due to a contractual practice that developed in the pre-digital era and to aspects of copyright law that do not really meet the needs of the digital age. Secondly, the very large number of works stored in archives constitutes a challenge that is not easily overcome. The aim of this IRIS Special is to discuss the subject from a number of different perspectives. The team of authors involved is accordingly made up of representatives of many different interests: copyright holders and those who look after their interests, television broadcasters, lawyers and copyright experts.

See here for more information about this publication.

14.01.2011

Product Placement in European Audiovisual Productions, IRIS plus, 2010-3.

06.08.2010

, J.V.J. van Hoboken, E. Swart, et al.) User-Created-Content: Supporting a participative Information Society, Final Report, Study carried out for the European Commission by IDATE, TNO and IViR, 2008.

28.10.2009

Filtering the Internet for Copyrighted Content in Europe, IRIS plus (Supplement to IRIS - Legal Observations of the European Audiovisual Observatory), 2009-4.

21.05.2009

(with J.V.J. van Hoboken) Workshop on Audiovisual Search: Summary of the Discussion, in Searching for Audiovisual Content, IRIS Special, December 2008.

30.03.2009

Freedom of Expression and Copyright - The Double Balancing Act, Intellectual Property Quarterly, 2008-3, p. 328-353.

Modern intellectual property legislation: Warm for reform, Entertainment Law Review, 2008-2, p. 35-40.

27.03.2008

Updated 16.04.2013