Auteursrecht
| Keller, P.
Article 17 stakeholder dialogue: What we have learned so far - Part 1 Kluwer Copyright Blog, 2020. @article{Keller2020,
title = {Article 17 stakeholder dialogue: What we have learned so far - Part 1}, author = {Keller, P.}, url = {http://copyrightblog.kluweriplaw.com/2020/01/13/article-17-stakeholder-dialogue-what-we-have-learned-so-far-part-1/}, year = {2020}, date = {2020-01-16}, journal = {Kluwer Copyright Blog}, keywords = {}, pubstate = {published}, tppubtype = {article} } |
| Keller, P.
Article 17 stakeholder dialogue: What we have learned so far - Part 2 Kluwer Copyright Blog, 2020. @article{Keller2020b,
title = {Article 17 stakeholder dialogue: What we have learned so far - Part 2}, author = {Keller, P.}, url = {http://copyrightblog.kluweriplaw.com/2020/01/14/article-17-stakeholder-dialogue-what-we-have-learned-so-far-part-2/}, year = {2020}, date = {2020-01-16}, journal = {Kluwer Copyright Blog}, keywords = {}, pubstate = {published}, tppubtype = {article} } |
| Dommering, E.
De arresten Funke Medien, Spiegel Onlineen Pelham van het HvJ EU van 29 juli 2019 AMI, 2019 (6), pp. 185-191, 2020. @article{Dommering2020,
title = {De arresten Funke Medien, Spiegel Onlineen Pelham van het HvJ EU van 29 juli 2019}, author = {Dommering, E.}, url = {https://www.ivir.nl/publicaties/download/AMI_2019_6.pdf}, year = {2020}, date = {2020-01-07}, journal = {AMI}, volume = {2019}, number = {6}, pages = {185-191}, abstract = {29 juli 2019 was het D-Day voor het Europese auteursrecht. Toen deed een Grote Kamer van het Hof van Justitie uitspraak in drie zaken waarin het Duitse Bundesgerichtshof prejudici\"{e}le vragen had gesteld over de uitleg en toepassing van de Auteursrechtrichtlijn (Richtlijn 2001/29/EG) in relatie tot het Europese Handvest en indirect ook tot het Europese Verdrag voor de Rechten van de Mens. Het waren alledrie ‘borderline cases’. In de zaak Funke Medien gaat het om de perspublicatie van een proces-verbaal van een periodieke verslaggeving van de buitenlandse interventies van de Bundeswehr, bedoeld voor beperkt gebruik voor bepaalde afgevaardigden in de Bondsdag. Een van deze rapportages was uitgelekt en de Bondsregering probeerde verspreiding tegen te gaan met een beroep op haar auteursrecht; het proces-verbaal zou een ‘werk’ zijn in de zin van het door de richtlijn geharmoniseerde Duitse auteursrecht. In de Spiegel Online-zaak gaat het om de reikwijdte van het citaatrecht in het geval dat er door middel van een hyperlink op het web naar het werk wordt verwezen. De zaak bevat ook de vraag of het werk waaruit werd geciteerd op geoorloofde manier openbaar was gemaakt en of dat een omstandigheid was die citeren kon verhinderen. In de Pelham-zaak gaat het om de vraag of het gebruik van zeer korte muziekfragmenten (‘soundsampling’) moet worden aangemerkt als een geoorloofd citaat in de zin van artikel 5 lid 3 onder d van de richtlijn (beperking van het muziekreproductierecht).}, keywords = {}, pubstate = {published}, tppubtype = {article} } 29 juli 2019 was het D-Day voor het Europese auteursrecht. Toen deed een Grote Kamer van het Hof van Justitie uitspraak in drie zaken waarin het Duitse Bundesgerichtshof prejudiciële vragen had gesteld over de uitleg en toepassing van de Auteursrechtrichtlijn (Richtlijn 2001/29/EG) in relatie tot het Europese Handvest en indirect ook tot het Europese Verdrag voor de Rechten van de Mens. Het waren
alledrie ‘borderline cases’. In de zaak Funke Medien gaat het om de perspublicatie van een proces-verbaal van een periodieke verslaggeving van de buitenlandse interventies van de Bundeswehr, bedoeld voor beperkt gebruik voor bepaalde afgevaardigden in de Bondsdag. Een van deze rapportages was uitgelekt en de Bondsregering probeerde verspreiding tegen te gaan met een beroep op haar auteursrecht; het proces-verbaal zou een ‘werk’ zijn in de zin van het door de richtlijn geharmoniseerde Duitse auteursrecht. In de Spiegel Online-zaak gaat het om de reikwijdte van het citaatrecht in het geval dat er door middel van een hyperlink op het web naar het werk wordt verwezen. De zaak bevat ook de vraag of het werk waaruit werd geciteerd op geoorloofde manier openbaar was gemaakt en of dat een omstandigheid was die citeren kon verhinderen. In de Pelham-zaak gaat het om de vraag of het gebruik van zeer korte muziekfragmenten (‘soundsampling’) moet worden aangemerkt als een geoorloofd citaat in de zin van artikel 5 lid 3 onder d van de richtlijn (beperking van het muziekreproductierecht). |
| van Eechoud, M.
AMI, 2019 (6), pp. 197-202, 2020. @article{vanEechoud2020,
title = {Artikel 15 DSM-richtlijn: bescherming van perspublicaties met betrekking tot onlinegebruik (persuitgeversrecht)}, author = {van Eechoud, M.}, url = {https://www.ivir.nl/publicaties/download/AMI_2019_6_DSM.pdf}, year = {2020}, date = {2020-01-07}, journal = {AMI}, volume = {2019}, number = {6}, pages = {197-202}, abstract = {Het in 2016 voorgestelde naburig recht op perspublicaties was \textendash met de licentieverplichting voor platforms \textendash het meest omstreden onderdeel van de DSM-richtlijn. In dit blad en elders zijn nut, noodzaak en (negatieve) effecten uitgebreid besproken. Nu ligt er dan een ten opzichte van het oorspronkelijke Commissievoorstel uitgekleed recht voor uitgevers (art. 15 DSM-richtlijn), dat wordt ge\"{i}mplementeerd in de Wet op de naburige rechten (nieuw art. 7b Wnr). Dit artikel geeft een korte analyse van de belangrijkste kenmerken van het nieuwe recht, en van de (on)zekerheden die het meebrengt.}, keywords = {}, pubstate = {published}, tppubtype = {article} } Het in 2016 voorgestelde naburig recht op perspublicaties was – met de licentieverplichting voor platforms – het meest omstreden onderdeel van de DSM-richtlijn. In dit blad en elders zijn nut, noodzaak en (negatieve) effecten uitgebreid besproken. Nu ligt er dan een ten opzichte van het oorspronkelijke Commissievoorstel uitgekleed recht voor uitgevers (art. 15 DSM-richtlijn), dat wordt geïmplementeerd in de Wet op de naburige rechten (nieuw art. 7b Wnr). Dit artikel geeft een korte analyse van de belangrijkste kenmerken van het nieuwe recht, en van de (on)zekerheden die het meebrengt.
|
| Goldstein, P., Hugenholtz, P.
International Copyright: Principles, Law, and Practice Oxford University Press, 2019. @book{Goldstein2019,
title = {International Copyright: Principles, Law, and Practice}, author = {Goldstein, P. and Hugenholtz, P.}, url = {https://global.oup.com/academic/product/international-copyright-9780190060619?q=goldstein%20hugenholtz&lang=en&cc=nl}, year = {2019}, date = {2019-12-23}, publisher = {Oxford University Press}, keywords = {}, pubstate = {published}, tppubtype = {book} } |
| Jütte, B.J., Quintais, J.
Sample, sample in my song, can they tell where you are from? The Pelham judgment – Part II Kluwer Copyright Blog, 2019. @article{Quintais2019i,
title = {Sample, sample in my song, can they tell where you are from? The Pelham judgment \textendash Part II}, author = {Quintais, J. and J\"{u}tte, B.J.}, url = {http://copyrightblog.kluweriplaw.com/2019/11/19/sample-sample-in-my-song-can-they-tell-where-you-are-from-the-pelham-judgment-part-ii/}, year = {2019}, date = {2019-11-19}, journal = {Kluwer Copyright Blog}, keywords = {}, pubstate = {published}, tppubtype = {article} } |
| Frosio, G., Hugenholtz, P., Husovec, M., Jütte, B.J., Quintais, J., Senftleben, M., van Gompel, S.
2019. @article{Quintais2019g,
title = {Safeguarding User Freedoms in Implementing Article 17 of the Copyright in the Digital Single Market Directive: Recommendations from European Academics}, author = {Quintais, J. and Frosio, G. and van Gompel, S. and Hugenholtz, P. and Husovec, M. and J\"{u}tte, B.J. and Senftleben, M.}, url = {https://papers.ssrn.com/sol3/papers.cfm?abstract_id=3484968}, year = {2019}, date = {2019-11-12}, abstract = {On 17 May 2019 the new Directive (EU) 2019/790 on copyright and related rights in the Digital Single Market was officially published (DSM Directive). Article 17 (ex-Article 13) is one of its most controversial provisions. Article 17(10) tasks the Commission with organising stakeholder dialogues to ensure uniform application of the obligation of cooperation between online content-sharing service providers (OCSSPs) and rightholders, and to establish best practices with regard to appropriate industry standards of professional diligence. This document offers recommendations on user freedoms and safeguards included in Article 17 of the DSM Directive \textendash namely in its paragraphs (7) and (9) \textendash and should be read in the context of the stakeholder dialogue mentioned in paragraph (10).}, keywords = {}, pubstate = {published}, tppubtype = {article} } On 17 May 2019 the new Directive (EU) 2019/790 on copyright and related rights in the Digital Single Market was officially published (DSM Directive). Article 17 (ex-Article 13) is one of its most controversial provisions. Article 17(10) tasks the Commission with organising stakeholder dialogues to ensure uniform application of the obligation of cooperation between online content-sharing service providers (OCSSPs) and rightholders, and to establish best practices with regard to appropriate industry standards of professional diligence.
This document offers recommendations on user freedoms and safeguards included in Article 17 of the DSM Directive – namely in its paragraphs (7) and (9) – and should be read in the context of the stakeholder dialogue mentioned in paragraph (10). |
| Quintais, J.
Kluwer Copyright Blog, 2019. @article{Quintais2019h,
title = {Safeguarding User Freedoms in Implementing Article 17 of the Copyright in the Digital Single Market Directive: Recommendations from European Academics}, author = {Quintais, J.}, url = {http://copyrightblog.kluweriplaw.com/2019/11/12/safeguarding-user-freedoms-in-implementing-article-17-of-the-copyright-in-the-digital-single-market-directive-recommendations-from-european-academics/}, year = {2019}, date = {2019-11-12}, journal = {Kluwer Copyright Blog}, keywords = {}, pubstate = {published}, tppubtype = {article} } |
| Jütte, B.J., Quintais, J.
Sample, sample in my song, can they tell where you are from? The Pelham judgment – Part I Kluwer Copyright Blog, 2019. @article{J\"{u}tte2019c,
title = {Sample, sample in my song, can they tell where you are from? The Pelham judgment \textendash Part I}, author = {J\"{u}tte, B.J. and Quintais, J.}, url = {http://copyrightblog.kluweriplaw.com/2019/11/06/sample-sample-in-my-song-can-they-tell-where-you-are-from-the-pelham-judgment-part-i/}, year = {2019}, date = {2019-11-07}, journal = {Kluwer Copyright Blog}, keywords = {}, pubstate = {published}, tppubtype = {article} } |
| Hugenholtz, P.
Annotatie bij Rb Noord-Nederland 24 juli 2019 (Piet Hein Eek / Dudink) AMI, 2019 (5), pp. 180-181, 2019. @article{Hugenholtz2019h,
title = {Annotatie bij Rb Noord-Nederland 24 juli 2019 (Piet Hein Eek / Dudink)}, author = {Hugenholtz, P.}, url = {https://www.ivir.nl/publicaties/download/Annotatie_AMI_2019_5.pdf}, year = {2019}, date = {2019-10-31}, journal = {AMI}, volume = {2019}, number = {5}, pages = {180-181}, abstract = {Meubelontwerper Piet Hein Eek heeft auteursrecht op de door hem ontworpen meubels van sloophout. Een aantal van de door gedaagde vervaardigde sloophouten tafels en stoelen maken wegens overeenstemmende totaalindrukken inbreuk op het auteursrecht van Eek. Vordering tot vergoeding van schade wegens winstderving toelaatbaar. Geen vergoeding wegens waardevermindering van het auteursrecht.}, keywords = {}, pubstate = {published}, tppubtype = {article} } Meubelontwerper Piet Hein Eek heeft auteursrecht op de door hem ontworpen meubels van sloophout. Een aantal van de door gedaagde vervaardigde sloophouten tafels en stoelen maken wegens overeenstemmende totaalindrukken inbreuk op het auteursrecht van Eek. Vordering tot vergoeding van schade wegens winstderving toelaatbaar. Geen vergoeding wegens waardevermindering van het
auteursrecht. |
| Hugenholtz, P.
Artikelen 3 en 4 DSM-richtlijn: tekst- en datamining AMI, 2019 (5), pp. 167-171, 2019. @article{Hugenholtz2019i,
title = {Artikelen 3 en 4 DSM-richtlijn: tekst- en datamining}, author = {Hugenholtz, P.}, url = {https://www.ivir.nl/publicaties/download/AMI_2019_5.pdf}, year = {2019}, date = {2019-10-31}, journal = {AMI}, volume = {2019}, number = {5}, pages = {167-171}, abstract = {Tekst- en datamining (TDM) \textendash het geautomatiseerd analyseren van grote hoeveelheden ongestructureerde tekst en data \textendash is niet meer weg te denken uit de wetenschap, en speelt daarnaast een steeds grotere rol in een veelheid van andere domeinen, vari\"{e}rend van journalistiek tot artifici\"{e}le intelligentie. De nieuwe DSMrichtlijn voorziet daarom in een tweetal beperkingen van het auteursrecht en het databankenrecht ten aanzien van tekst- en datamining: de ene ten behoeve van nonprofit wetenschappelijk onderzoek (art. 3), de andere voor andere doeleinden (art. 4). Daarmee ontstaat de indruk dat de richtlijn voor TDM ruim baan heeft gemaakt, maar deze schijn bedriegt. Rechthebbenden kunnen door middel van een ‘opt-out’ tekst- en datamining voor commerci\"{e}le doeleinden uitsluiten of aan licenties onderwerpen. In dit artikel worden de TDM-bepalingen van de DSMrichtlijn kritisch besproken. Daaraan gaat vooraf een kort expos\'{e} over tekst- en datamining en de stand van zaken naar huidig auteursrecht.}, keywords = {}, pubstate = {published}, tppubtype = {article} } Tekst- en datamining (TDM) – het geautomatiseerd analyseren van grote hoeveelheden ongestructureerde tekst en data – is niet meer weg te denken uit de wetenschap, en speelt daarnaast een steeds grotere rol in een veelheid van andere domeinen, variërend van journalistiek tot artificiële intelligentie. De nieuwe DSMrichtlijn voorziet daarom in een tweetal beperkingen van het auteursrecht en het databankenrecht ten aanzien van tekst- en datamining: de ene ten behoeve van nonprofit wetenschappelijk onderzoek (art. 3), de andere voor andere doeleinden (art. 4). Daarmee ontstaat de indruk dat de richtlijn voor TDM ruim baan heeft gemaakt, maar deze schijn bedriegt. Rechthebbenden kunnen door middel van een ‘opt-out’ tekst- en datamining voor commerciële doeleinden uitsluiten of aan licenties onderwerpen. In dit artikel worden de TDM-bepalingen van de DSMrichtlijn kritisch besproken. Daaraan gaat vooraf een kort exposé over tekst- en datamining en de stand van zaken naar huidig auteursrecht.
|
| Keller, P.
AMI, 2019 (5), pp. 172-173, 2019. @article{Keller2019,
title = {Over artikel 14 DSM-richtlijn: Das Kunstwerk im Zeitalter seiner digitalen Reproduzierbarkeit: Reactie van een fijnproever}, author = {Keller, P.}, url = {https://www.ivir.nl/publicaties/download/AMI_2019_5-1.pdf}, year = {2019}, date = {2019-10-31}, journal = {AMI}, volume = {2019}, number = {5}, pages = {172-173}, abstract = {In 1935 schreef de Duitse filosoof Walter Benjamin (1892-1940) in Parijs het invloedrijke essay ‘Das Kunstwerk im Zeitalter seiner technischen Reproduzierbarkeit’ waarin hij de cultuurtheoretische gevolgen van (fotografische) reproducties van werken van beeldende kunst analyseerde. In het licht van de snelle opkomst van fotografie en de toenemende kwaliteit van fotografische reproducties postuleerde hij dat de originaliteit van kunstwerken gebaseerd was op hun eenmaligheid in het “hier und jetzt”. Reproducties van kunstwerken kenmerken zich volgens Benjamin door het verlies van de aan het originele kunstwerk eigen zijnde “aura”. }, keywords = {}, pubstate = {published}, tppubtype = {article} } In 1935 schreef de Duitse filosoof Walter Benjamin (1892-1940) in Parijs het invloedrijke essay ‘Das Kunstwerk im Zeitalter seiner technischen Reproduzierbarkeit’ waarin hij de cultuurtheoretische gevolgen van (fotografische) reproducties van werken van beeldende kunst analyseerde. In het licht van de snelle opkomst van fotografie en de toenemende kwaliteit van fotografische reproducties postuleerde hij dat de originaliteit van kunstwerken gebaseerd was op hun eenmaligheid in het “hier und jetzt”. Reproducties van kunstwerken kenmerken zich volgens Benjamin door het verlies van de aan het originele kunstwerk eigen zijnde “aura”.
|
| Angelopoulos, C., Quintais, J.
Fixing Copyright Reform: A Better Solution to Online Infringement JIPITEC, 10 (2), 2019. @article{Angelopoulos2019,
title = {Fixing Copyright Reform: A Better Solution to Online Infringement}, author = {Angelopoulos, C. and Quintais, J.}, url = {https://www.jipitec.eu/issues/jipitec-10-2-2019/4913}, year = {2019}, date = {2019-10-11}, journal = {JIPITEC}, volume = {10}, number = {2}, abstract = {The newly-adopted Directive on Copyright in the Digital Single Market (DSMD) will fundamentally reshape EU copyright law. Among its most controversial offerings is Article 17, the so-called “value gap” provision, aimed at solving the alleged mismatch between the value that online content-sharing platforms extract from creative content and the revenue returned to the copyright-holders. This article argues that the new rules are misguided, misconceiving the real problems afflicting modern copyright. These are the proliferation of copyright infringement online in general \textendash not only through content-sharing platforms \textendash and the current piecemeal harmonisation of the rules on the liability of the intermediaries whose services are used to access and disseminate copyright-protected content. The current outdated and fragmented EU legal framework is ill-equipped to address these problems. Instead, it creates legal uncertainty for users and intermediaries in the online environment, while also failing to compensate creators fairly. The new rules will not change this. This article examines the pre-DSMD acquis and proposes a better solution than Article 17, consisting of two key changes: (a) the introduction of a harmonised EU framework for accessory liability for third party copyright infringement; and (b) the adoption of an alternative compensation system for right-holders covering non-commercial direct copyright use by the end-users of certain online platforms.}, keywords = {}, pubstate = {published}, tppubtype = {article} } The newly-adopted Directive on Copyright in the Digital Single Market (DSMD) will fundamentally reshape EU copyright law. Among its most controversial offerings is Article 17, the so-called “value gap” provision, aimed at solving the alleged mismatch between the value that online content-sharing platforms extract from creative content and the revenue returned to the copyright-holders. This article argues that the new rules are misguided, misconceiving the real problems afflicting modern copyright. These are the proliferation of copyright infringement online in general – not only through content-sharing platforms – and the current piecemeal harmonisation of the rules on the liability of the intermediaries whose services are used to access and disseminate copyright-protected content. The current outdated and fragmented EU legal framework is ill-equipped to address these problems. Instead, it creates legal uncertainty for users and intermediaries in the online environment, while also failing to compensate creators fairly. The new rules will not change this. This article examines the pre-DSMD acquis and proposes a better solution than Article 17, consisting of two key changes: (a) the introduction of a harmonised EU framework for accessory liability for third party copyright infringement; and (b) the adoption of an alternative compensation system for right-holders covering non-commercial direct copyright use by the end-users of certain online platforms.
|
| Ende, M. van der, Poort, J., Yagafarova, A.
TPEdigitaal, 13 (2), pp. 97-111, 2019. @article{Poort2019d,
title = {Polderpiraten voor anker}, author = {Poort, J. and Ende, M. van der and Yagafarova, A.}, url = {http://www.tpedigitaal.nl/artikel/polderpiraten-voor-anker}, year = {2019}, date = {2019-10-01}, journal = {TPEdigitaal}, volume = {13}, number = {2}, pages = {97-111}, abstract = {Dit artikel bespreekt hoe de verwerving en consumptie van muziek, films, series, games en boeken zich tussen 2012 en 2017 in Nederland heeft ontwikkeld. Voor al deze soorten materiaal is de omzet in die periode gestegen, behalve voor boeken. De groep die weleens materiaal downloadt of streamt uit illegale bronnen is kleiner geworden voor muziek en games, gelijk gebleven voor films en series en licht gestegen voor boeken. Piraten consumeren echter veel vaker betaalde content dan niet-piraten. De vrees voor piraterij zou de ontwikkeling van e-boekabonnementen daarom niet in de weg moeten staan.}, keywords = {}, pubstate = {published}, tppubtype = {article} } Dit artikel bespreekt hoe de verwerving en consumptie van muziek, films, series, games en boeken zich tussen 2012 en 2017 in Nederland heeft ontwikkeld. Voor al deze soorten materiaal is de omzet in die periode gestegen, behalve voor boeken. De groep die weleens materiaal downloadt of streamt uit illegale bronnen is kleiner geworden voor muziek en games, gelijk gebleven voor films en series en licht gestegen voor boeken. Piraten consumeren echter veel vaker betaalde content dan niet-piraten. De vrees voor piraterij zou de ontwikkeling van e-boekabonnementen daarom niet in de weg moeten staan.
|
| Jütte, B.J., Quintais, J.
Conference on Freedom of Expression and Copyright: Luxembourg, 7 November 2019 Kluwer Copyright Blog, 2019. @article{J\"{u}tte2019b,
title = {Conference on Freedom of Expression and Copyright: Luxembourg, 7 November 2019}, author = {J\"{u}tte, B.J. and Quintais, J.}, url = {http://copyrightblog.kluweriplaw.com/2019/09/24/conference-on-freedom-of-expression-and-copyright-luxembourg-7-november-2019/}, year = {2019}, date = {2019-09-26}, journal = {Kluwer Copyright Blog}, keywords = {}, pubstate = {published}, tppubtype = {article} } |
| Kabel, J.
AMI, 2019 (3), pp. 96-99, 2019. @article{Kabel2019b,
title = {Annotatie bij Hoge Raad 29 maart 2019 (Dijkstra / De 4 Jaargetijden): Is artikel 25 Aw nu eindelijk helemaal af?}, author = {Kabel, J.}, url = {https://www.ivir.nl/publicaties/download/Annotatie_AMI_2019_3.pdf}, year = {2019}, date = {2019-07-26}, journal = {AMI}, volume = {2019}, number = {3}, pages = {96-99}, keywords = {}, pubstate = {published}, tppubtype = {article} } |
| Hugenholtz, P.
The New Copyright Directive: Text and Data Mining (Articles 3 and 4) Kluwer Copyright Blog, 2019. @article{Hugenholtz2019e,
title = {The New Copyright Directive: Text and Data Mining (Articles 3 and 4)}, author = {Hugenholtz, P.}, url = {http://copyrightblog.kluweriplaw.com/2019/07/24/the-new-copyright-directive-text-and-data-mining-articles-3-and-4/}, year = {2019}, date = {2019-07-25}, journal = {Kluwer Copyright Blog}, keywords = {}, pubstate = {published}, tppubtype = {article} } |
| Giannopoulou, A.
The New Copyright Directive: Article 14 or when the Public Domain Enters the New Copyright Directive Kluwer Copyright Blog, 2019. @article{Giannopoulou2019b,
title = {The New Copyright Directive: Article 14 or when the Public Domain Enters the New Copyright Directive }, author = {Giannopoulou, A.}, url = {http://copyrightblog.kluweriplaw.com/2019/06/27/the-new-copyright-directive-article-14-or-when-the-public-domain-enters-the-new-copyright-directive/}, year = {2019}, date = {2019-06-28}, journal = {Kluwer Copyright Blog}, keywords = {}, pubstate = {published}, tppubtype = {article} } |
| van Gompel, S.
C. op den Kamp & D. Hunter, (Ed.): A History of Intellectual Property in 50 Objects, 2019 , Chapter 12, pp. 104-111, Cambridge University Press, 2019, ISBN: 9781108325806. @inbook{vanGompel2019e,
title = {Light Bulb}, author = {van Gompel, S.}, editor = {C. op den Kamp & D. Hunter, }, url = {https://www.ivir.nl/publicaties/download/Light_Bulb.pdf}, doi = {10.1017/9781108325806}, isbn = {9781108325806}, year = {2019}, date = {2019-06-26}, urldate = {2019-06-26}, booktitle = {A History of Intellectual Property in 50 Objects}, volume = {2019}, pages = {104-111}, publisher = {Cambridge University Press}, chapter = {12}, keywords = {}, pubstate = {published}, tppubtype = {inbook} } |
| Bodó, B., Handke, C.W., Quintais, J., Vallbé, J.
Knocking on Heaven’s Door: User preferences on digital cultural distribution Internet Policy Review, 8 (2), 2019. @article{Vallb\'{e}2019,
title = {Knocking on Heaven’s Door: User preferences on digital cultural distribution}, author = {Vallb\'{e}, J. and Bod\'{o}, B. and Quintais, J. and Handke, C.W.}, url = {https://policyreview.info/articles/analysis/knocking-heavens-door-user-preferences-digital-cultural-distribution}, year = {2019}, date = {2019-06-20}, journal = {Internet Policy Review}, volume = {8}, number = {2}, abstract = {This paper explores the social, demographic and attitudinal basis of consumer support of a Copyright Compensation System (CCS), which, for a small monthly fee would legalise currently infringing online social practices such as private copying from illegal sources and online sharing of copyrighted works. We do this by first identifying how different online and offline, legal and illegal, free and paying content acquisition channels are used in the media market using a cluster-based classification of respondents. Second, we assess the effect of cultural consumption on the support for a shift from the status quo towards alternative, CCS-based forms of digital cultural content distribution. Finally, we link these two analyses to identify the factors that drive the dynamics of change in digital cultural consumption habits. Our study shows significant support to a CCS compared to the status quo by both occasional and frequent buyers of cultural goods, despite the widespread adoption of legal free and paying online services by consumers. The nature of these preferences are also explored with the inclusion of consumer preference intensities regarding certain CCS attributes. Our results have relevant policy implications, for they outline CCS as a reform option. In particular, they point evidence-based copyright reform away from its current direction in the EU of stronger enforcement measures, additional exclusive rights, and increased liability and duties of care for online platforms. This work shows that CCS may be an apt policy tool to hinder piracy and potentially increase right holder revenues, while respecting fundamental rights and promoting technological development.}, keywords = {}, pubstate = {published}, tppubtype = {article} } This paper explores the social, demographic and attitudinal basis of consumer support of a Copyright Compensation System (CCS), which, for a small monthly fee would legalise currently infringing online social practices such as private copying from illegal sources and online sharing of copyrighted works. We do this by first identifying how different online and offline, legal and illegal, free and paying content acquisition channels are used in the media market using a cluster-based classification of respondents. Second, we assess the effect of cultural consumption on the support for a shift from the status quo towards alternative, CCS-based forms of digital cultural content distribution. Finally, we link these two analyses to identify the factors that drive the dynamics of change in digital cultural consumption habits. Our study shows significant support to a CCS compared to the status quo by both occasional and frequent buyers of cultural goods, despite the widespread adoption of legal free and paying online services by consumers. The nature of these preferences are also explored with the inclusion of consumer preference intensities regarding certain CCS attributes. Our results have relevant policy implications, for they outline CCS as a reform option. In particular, they point evidence-based copyright reform away from its current direction in the EU of stronger enforcement measures, additional exclusive rights, and increased liability and duties of care for online platforms. This work shows that CCS may be an apt policy tool to hinder piracy and potentially increase right holder revenues, while respecting fundamental rights and promoting technological development.
|
| Quintais, J.
Kluwer Copyright Blog, 2019. @article{Quintais2019d,
title = {The New Copyright Directive: A tour d’horizon \textendash Part II (of press publishers, upload filters and the real value gap)}, author = {Quintais, J.}, url = {http://copyrightblog.kluweriplaw.com/2019/06/17/the-new-copyright-directive-a-tour-dhorizon-part-ii-of-press-publishers-upload-filters-and-the-real-value-gap/}, year = {2019}, date = {2019-06-18}, journal = {Kluwer Copyright Blog}, keywords = {}, pubstate = {published}, tppubtype = {article} } |
| Quintais, J.
The New Copyright Directive: A tour d’horizon – Part I Kluwer Copyright Blog, 2019. @article{Quintais2019c,
title = {The New Copyright Directive: A tour d’horizon \textendash Part I}, author = {Quintais, J.}, url = {http://copyrightblog.kluweriplaw.com/2019/06/07/the-new-copyright-directive-a-tour-dhorizon-part-i/}, year = {2019}, date = {2019-06-07}, journal = {Kluwer Copyright Blog}, keywords = {}, pubstate = {published}, tppubtype = {article} } |
| Hugenholtz, P.
Annotatie bij Hoge Raad 6 oktober 2017 (Imation / Thuiskopie en Staat) Nederlandse Jurisprudentie, 2019 (21/22), pp. 3068-3070, 2019. @article{Hugenholtz2019d,
title = {Annotatie bij Hoge Raad 6 oktober 2017 (Imation / Thuiskopie en Staat)}, author = {Hugenholtz, P.}, url = {https://www.ivir.nl/publicaties/download/Annotatie_NJ_2019_182.pdf}, year = {2019}, date = {2019-06-04}, journal = {Nederlandse Jurisprudentie}, volume = {2019}, number = {21/22}, pages = {3068-3070}, keywords = {}, pubstate = {published}, tppubtype = {article} } |
| Kabel, J.
Annotatie bij Hof Amsterdam 27 november 2018 (Nomenta / Nikki) AMI, 2019 (2), pp. 72, 2019. @article{Kabel2019,
title = {Annotatie bij Hof Amsterdam 27 november 2018 (Nomenta / Nikki)}, author = {Kabel, J.}, url = {https://www.ivir.nl/publicaties/download/Annotatie_AMI_2019_2.pdf}, year = {2019}, date = {2019-05-24}, journal = {AMI}, volume = {2019}, number = {2}, pages = {72}, keywords = {}, pubstate = {published}, tppubtype = {article} } |
| van Eechoud, M.
Annotatie bij Rb. Den Haag 12 december 2018 (FPI Ghana / Koas c.s.) AMI, 2019 (2), pp. 73-74, 2019. @article{vanEechoud2019e,
title = {Annotatie bij Rb. Den Haag 12 december 2018 (FPI Ghana / Koas c.s.)}, author = {van Eechoud, M.}, url = {https://www.ivir.nl/publicaties/download/Annotatie_AMI_2019_2_p73.pdf}, year = {2019}, date = {2019-05-24}, journal = {AMI}, volume = {2019}, number = {2}, pages = {73-74}, keywords = {}, pubstate = {published}, tppubtype = {article} } |
| Jütte, B., Quintais, J.
Advocate General Turns down the Music - Sampling Is Not a Fundamental Right under EU Copyright Law European Intellectual Property Review , 41 (10), pp. 654-657, 2019. @article{J\"{u}tte2019,
title = { Advocate General Turns down the Music - Sampling Is Not a Fundamental Right under EU Copyright Law}, author = {J\"{u}tte, B. and Quintais, J.}, url = {https://papers.ssrn.com/sol3/papers.cfm?abstract_id=3377205}, year = {2019}, date = {2019-05-09}, journal = {European Intellectual Property Review }, volume = {41}, number = {10}, pages = {654-657}, abstract = {In his Opinion in Pelham (C-467/17) Advocate General Szpunar suggests that the use of samples from sound recordings is not permitted under the European copyright rules. While applying an extensive interpretation of the scope of the rights of phonogram producers, he rejects an extensive interpretation of the quotation exception and limits the role of fundamental rights as external checks to copyright law. Despite its merits, there are key aspects of the Opinion that raise concerns: a too broad interpretation of the reproduction right; and an unduly strict view of copyright exceptions \textendash especially quotation \textendash and the role of fundamental rights in shaping the scope of copyright protection. On those points, we suggest that the Court does not follow the Opinion.}, keywords = {}, pubstate = {published}, tppubtype = {article} } In his Opinion in Pelham (C-467/17) Advocate General Szpunar suggests that the use of samples from sound recordings is not permitted under the European copyright rules. While applying an extensive interpretation of the scope of the rights of phonogram producers, he rejects an extensive interpretation of the quotation exception and limits the role of fundamental rights as external checks to copyright law. Despite its merits, there are key aspects of the Opinion that raise concerns: a too broad interpretation of the reproduction right; and an unduly strict view of copyright exceptions – especially quotation – and the role of fundamental rights in shaping the scope of copyright protection. On those points, we suggest that the Court does not follow the Opinion.
|
| Mil, J. van
German Federal Court of Justice asks CJEU if YouTube is directly liable for user-uploaded content Journal of Intellectual Property Law & Practice , 14 (5), pp. 355-356, 2019. @article{Mil2019b,
title = {German Federal Court of Justice asks CJEU if YouTube is directly liable for user-uploaded content}, author = {Mil, J. van}, url = {https://doi.org/10.1093/jiplp/jpz034}, year = {2019}, date = {2019-05-07}, journal = {Journal of Intellectual Property Law & Practice }, volume = {14}, number = {5}, pages = {355-356}, abstract = {On 13 September 2018, the German Federal Court of Justice referred preliminary questions to the Court of Justice of the European Union, including the question whether YouTube performs acts of communication to the public when its users upload unauthorized content onto this platform.}, keywords = {}, pubstate = {published}, tppubtype = {article} } On 13 September 2018, the German Federal Court of Justice referred preliminary questions to the Court of Justice of the European Union, including the question whether YouTube performs acts of communication to the public when its users upload unauthorized content onto this platform.
|
| Hugenholtz, P.
The WIPO Broadcasting Treaty. A Conceptual Conundrum European Intellectual Property Review, 2019 (4), pp. 199-202, 2019, (This opinion is based on a keynote speech delivered at the KEI Seminar, "Appraising the WIPO Broadcast treaty and its Implications on Access to Culture", Geneva, 3-4 October 2018.). @article{Hugenholtz2019c,
title = {The WIPO Broadcasting Treaty. A Conceptual Conundrum}, author = {Hugenholtz, P.}, url = {https://www.ivir.nl/publicaties/download/EIPR_2019_4.pdf}, year = {2019}, date = {2019-04-04}, journal = {European Intellectual Property Review}, volume = {2019}, number = {4}, pages = {199-202}, abstract = {The Broadcasting Treaty that has been discussed at WIPO for over twenty years, seems to be reaching a dead end. The Treaty that aims at extending the legal protection of broadcasters to the digital realm, suffers from three serious flaws: one economic, one conceptual and one pragmatic. Due to the decreasing technical costs of broadcasting, the economic case for granting special rights to broadcasters is weakening. Moreover, properly defining the act of ‘broadcasting’ that would give rise to legal protection, is highly problematic. Finally, no real and urgent need for a new right seems to exist, in light of current legal regimes that broadcasters already rely on under national law. Perhaps the time has come to abandon work on the WIPO Broadcasting Treaty, and move on.}, note = {This opinion is based on a keynote speech delivered at the KEI Seminar, "Appraising the WIPO Broadcast treaty and its Implications on Access to Culture", Geneva, 3-4 October 2018.}, keywords = {}, pubstate = {published}, tppubtype = {article} } The Broadcasting Treaty that has been discussed at WIPO for over twenty years, seems to be reaching a dead end. The Treaty that aims at extending the legal protection of broadcasters to the digital realm, suffers from three serious flaws: one economic, one conceptual and one pragmatic. Due to the decreasing technical costs of broadcasting, the economic case for granting special rights to broadcasters is weakening. Moreover, properly defining the act of ‘broadcasting’ that would give rise to legal protection, is highly problematic. Finally, no real and urgent need for a new right seems to exist, in light of current legal regimes that broadcasters already rely on under national law. Perhaps the time has come to abandon work on the WIPO Broadcasting Treaty, and move on.
|
| Bodó, B.
Kluwer Copyright Blog, 2019 , 2019. @article{Bod\'{o}2019c,
title = {The science of piracy, the piracy of science. Who are the science pirates and where do they come from: Part 2}, author = {Bod\'{o}, B.}, url = {http://copyrightblog.kluweriplaw.com/2019/03/21/the-science-of-piracy-the-piracy-of-science-who-are-the-science-pirates-and-where-do-they-come-from-part-2/}, year = {2019}, date = {2019-03-21}, journal = {Kluwer Copyright Blog}, volume = {2019}, keywords = {}, pubstate = {published}, tppubtype = {article} } |
| Coche, E.
Heks'nkaas or the "Fifty Shades of Taste" Explained by the CJEU through EU Copyright Law European Intellectual Property Review, 2019 (3), pp. 173-180, 2019. @article{Coche2019b,
title = {Heks'nkaas or the "Fifty Shades of Taste" Explained by the CJEU through EU Copyright Law}, author = {Coche, E.}, url = {http://uba-sfx.hosted.exlibrisgroup.com/uva-linker?url_ver=Z39.88-2004&url_ctx_fmt=info:ofi/fmt:kev:mtx:ctx&ctx_enc=info:ofi/enc:UTF-8&ctx_ver=Z39.88-2004&rfr_id=info:sid/sfxit.com:azlist&sfx.ignore_date_threshold=1&rft.object_id=110978977740233&disable_directlink=true&sfx.directlink=off;}, year = {2019}, date = {2019-03-12}, journal = {European Intellectual Property Review}, volume = {2019}, number = {3}, pages = {173-180}, abstract = {If the CJEU were to grant a prize to the 2018 most "original" copyright dispute, Levola Hengola v Smilde Foods (C-310/17) (the Heks’nkaas case) would undoubtedly stand among the nominees. The main reason why this case hit the spotlight is most probably because it touched upon the fundamentals of EU copyright law, namely its protectable subject-matter. Intriguingly, the complexities of copyright were unveiled by the following question: "Does Union law preclude the taste of food\textemdashas the author’s own intellectual creation\textemdashfrom being protected by copyright?" Notwithstanding the court’s dissenting answer, which clarified the scope of EU copyright law, it is of paramount importance to also discuss and unravel the ruling’s preceding procedure, including the Opinion by the Advocate General, as it shed light on the many existing controversies within copyright law.}, keywords = {}, pubstate = {published}, tppubtype = {article} } If the CJEU were to grant a prize to the 2018 most "original" copyright dispute, Levola Hengola v Smilde Foods (C-310/17) (the Heks’nkaas case) would undoubtedly stand among the nominees. The main reason why this case hit the spotlight is most probably because it touched upon the fundamentals of EU copyright law, namely its protectable subject-matter. Intriguingly, the complexities of copyright were unveiled by the following question: "Does Union law preclude the taste of food—as the author’s own intellectual creation—from being protected by copyright?" Notwithstanding the court’s dissenting answer, which clarified the scope of EU copyright law, it is of paramount importance to also discuss and unravel the ruling’s preceding procedure, including the Opinion by the Advocate General, as it shed light on the many existing controversies within copyright law.
|
| Bodó, B.
Kluwer Copyright Blog, 2019 , 2019. @article{Bod\'{o}2019b,
title = {The science of piracy, the piracy of science. Who are the science pirates and where do they come from: Part 1}, author = {Bod\'{o}, B.}, url = {http://copyrightblog.kluweriplaw.com/2019/03/06/the-science-of-piracy-the-piracy-of-science-who-are-the-science-pirates-and-where-do-they-come-from-part-1/}, year = {2019}, date = {2019-03-07}, journal = {Kluwer Copyright Blog}, volume = {2019}, keywords = {}, pubstate = {published}, tppubtype = {article} } |
| Delinavelli, G.
The EU Counterfeit & Piracy Watch List: political aims and legal challenges Kluwer Copyright Blog, 2019 , 2019. @article{Delinavelli2019,
title = {The EU Counterfeit & Piracy Watch List: political aims and legal challenges}, author = {Delinavelli, G.}, url = {http://copyrightblog.kluweriplaw.com/2019/03/05/the-eu-counterfeit-piracy-watch-list-political-aims-and-legal-challenges/}, year = {2019}, date = {2019-03-07}, journal = {Kluwer Copyright Blog}, volume = {2019}, keywords = {}, pubstate = {published}, tppubtype = {article} } |
| van Gompel, S.
Smaak, auteursrecht en objectafbakening: over perceptie en bepaalbaarheid AMI, 2019 (1), pp. 9-16, 2019. @article{vanGompel2019d,
title = {Smaak, auteursrecht en objectafbakening: over perceptie en bepaalbaarheid}, author = {van Gompel, S.}, url = {https://www.ivir.nl/publicaties/download/AMI_2019_1.pdf}, year = {2019}, date = {2019-02-21}, journal = {AMI}, volume = {2019}, number = {1}, pages = {9-16}, abstract = {Het hoge woord is eruit: op smaak rust geen auteursrecht. Dit volgt direct uit het Levola/Smilde-arrest, waarin het Hof van Justitie van de Europese Unie (HvJ EU) vaststelt dat de Auteursrechtrichtlijn (Richtlijn 2001/29) ‘eraan in de weg staat dat de smaak van een voedingsmiddel op grond van deze richtlijn auteursrechtelijk wordt beschermd en dat een nationale wettelijke regeling in die zin wordt uitgelegd dat zij auteursrechtelijke bescherming verleent aan een dergelijke smaak’. De reden om smaak van auteursrechtelijk bescherming uit te sluiten is dat smaak onvoldoende nauwkeurig en objectief bepaalbaar is om object van bescherming te zijn. Als verklaring wijst het HvJ EU op de subjectiviteit en variabiliteit van de smaakperceptie en het ontbreken van technische middelen voor smaakbepaling. Zoals in deze bijdrage wordt uiteengezet, is deze argumentatie niet overtuigend en zelfs ondeugdelijk. Het bepaalbaarheidsvereiste is evenwel plausibel en navolgenswaardig, omdat het beoogt om meer rechtszekerheid te cre\"{e}ren over het object van auteursrechtelijke bescherming.}, keywords = {}, pubstate = {published}, tppubtype = {article} } Het hoge woord is eruit: op smaak rust geen auteursrecht. Dit volgt direct uit het
Levola/Smilde-arrest, waarin het Hof van Justitie van de Europese Unie (HvJ EU) vaststelt dat de Auteursrechtrichtlijn (Richtlijn 2001/29) ‘eraan in de weg staat dat de smaak van een voedingsmiddel op grond van deze richtlijn auteursrechtelijk wordt beschermd en dat een nationale wettelijke regeling in die zin wordt uitgelegd dat zij auteursrechtelijke bescherming verleent aan een dergelijke smaak’. De reden om smaak van auteursrechtelijk bescherming uit te sluiten is dat smaak onvoldoende nauwkeurig en objectief bepaalbaar is om object van bescherming te zijn. Als verklaring wijst het HvJ EU op de subjectiviteit en variabiliteit van de smaakperceptie en het ontbreken van technische middelen voor smaakbepaling. Zoals in deze bijdrage wordt uiteengezet, is deze argumentatie niet overtuigend en zelfs ondeugdelijk. Het bepaalbaarheidsvereiste is evenwel plausibel en navolgenswaardig, omdat het beoogt om meer rechtszekerheid te creëren over het object van auteursrechtelijke bescherming. |
| Hugenholtz, P.
Openbaarheid van tarieven en licentievoorwaarden van cbo’s AMI, 2019 (1), pp. 1-8, 2019. @article{Hugenholtz2019b,
title = {Openbaarheid van tarieven en licentievoorwaarden van cbo’s}, author = {Hugenholtz, P.}, url = {https://www.ivir.nl/publicaties/download/AMI_2019_1_PBH.pdf}, year = {2019}, date = {2019-02-21}, journal = {AMI}, volume = {2019}, number = {1}, pages = {1-8}, abstract = {Op grond van de Wet toezicht zijn collectieve beheersorganisaties verplicht ‘standaardlicentieovereenkomsten en normaal toepasselijke tarieven’ actief openbaar te maken. Over de betekenis en reikwijdte van deze verplichting bestaat in Nederland onduidelijkheid en zelfs onenigheid, maar (nog) geen jurisprudentie. In dit artikel wordt gepoogd om, mede aan de hand van een analyse van de rechtsgronden van deze verplichting, te komen tot een juiste en in de praktijk hanteerbare interpretatie van de openbaarheidsplicht.}, keywords = {}, pubstate = {published}, tppubtype = {article} } Op grond van de Wet toezicht zijn collectieve beheersorganisaties verplicht
‘standaardlicentieovereenkomsten en normaal toepasselijke tarieven’ actief openbaar te maken. Over de betekenis en reikwijdte van deze verplichting bestaat in Nederland onduidelijkheid en zelfs onenigheid, maar (nog) geen jurisprudentie. In dit artikel wordt gepoogd om, mede aan de hand van een analyse van de rechtsgronden van deze verplichting, te komen tot een juiste en in de praktijk hanteerbare interpretatie van de openbaarheidsplicht. |
| van Eechoud, M.
Annotatie bij Hoge Raad 8 juni 2018 (Pearson) AMI, 2019 (1), pp. 34-39, 2019. @article{vanEechoud2019,
title = {Annotatie bij Hoge Raad 8 juni 2018 (Pearson)}, author = {van Eechoud, M.}, url = {https://www.ivir.nl/publicaties/download/Annotatie_AMI_2019_1.pdf}, year = {2019}, date = {2019-02-21}, journal = {AMI}, volume = {2019}, number = {1}, pages = {34-39}, keywords = {}, pubstate = {published}, tppubtype = {article} } |
| van Eechoud, M.
Annotatie bij Rb. Den Haag 19 november 2018 (TVS / Revo) AMI, 2019 (1), pp. 40-41, 2019. @article{vanEechoud2019b,
title = {Annotatie bij Rb. Den Haag 19 november 2018 (TVS / Revo)}, author = {van Eechoud, M.}, url = {https://www.ivir.nl/publicaties/download/Annotatie_AMI_2019_1_p40.pdf}, year = {2019}, date = {2019-02-21}, journal = {AMI}, volume = {2019}, number = {1}, pages = {40-41}, keywords = {}, pubstate = {published}, tppubtype = {article} } |
| Thije, P. ten
Kluwer Copyright Blog, 2019 , 2019. @article{Thije2019b,
title = {Bastei L\"{u}bbe: “Fundamental Rights as a defence to circumvent enforcement of Copyright protection? No!”, says CJEU.}, author = {Thije, P. ten}, url = {http://copyrightblog.kluweriplaw.com/2019/02/11/bastei-lubbe-fundamental-rights-as-a-defence-to-circumvent-enforcement-of-copyright-protection-no-says-cjeu/}, year = {2019}, date = {2019-02-12}, journal = {Kluwer Copyright Blog}, volume = {2019}, keywords = {}, pubstate = {published}, tppubtype = {article} } |
| Schroff, S.
An alternative universe? Authors as copyright owners- the case of the Japanese Manga Industry Creative Industries Journal, 2019 , 2019. @article{Schroff2019,
title = {An alternative universe? Authors as copyright owners- the case of the Japanese Manga Industry}, author = {Schroff, S.}, url = {https://www.tandfonline.com/doi/full/10.1080/17510694.2018.1563420}, year = {2019}, date = {2019-01-31}, journal = {Creative Industries Journal}, volume = {2019}, abstract = {Comics today are a major business and they form the source material for a whole range of sectors in the creative industries. In an environment where major investments are necessary to turn a comic into a cross-media success, commercial intermediaries such as Disney have become the key copyright holders. By controlling the copyright, they ensure full control over all aspects of its monetisation. However, this is not the only way success can be achieved on a commercial scale. In Japan, the creators of comics (Mangaka) keep their copyright- a direct contradiction to current copyright thinking. This paper addresses this conundrum by examining both the Manga business and copyright law to identify if the reasons why copyright is not centralised in the hands of the commercial intermediary, especially the publishers. The analysis will show that while there are differences between Japan and the EU/US, but these do not affect the role of copyright law and indeed failing to acquire the rights is a choice, not a necessity. Instead, this article will highlight that the competitive Manga market in combination with the uniquely Japanese publication right and social control best explain why Mangas are successful and Mangaka keep their rights.}, keywords = {}, pubstate = {published}, tppubtype = {article} } Comics today are a major business and they form the source material for a whole range of sectors in the creative industries. In an environment where major investments are necessary to turn a comic into a cross-media success, commercial intermediaries such as Disney have become the key copyright holders. By controlling the copyright, they ensure full control over all aspects of its monetisation. However, this is not the only way success can be achieved on a commercial scale. In Japan, the creators of comics (Mangaka) keep their copyright- a direct contradiction to current copyright thinking. This paper addresses this conundrum by examining both the Manga business and copyright law to identify if the reasons why copyright is not centralised in the hands of the commercial intermediary, especially the publishers. The analysis will show that while there are differences between Japan and the EU/US, but these do not affect the role of copyright law and indeed failing to acquire the rights is a choice, not a necessity. Instead, this article will highlight that the competitive Manga market in combination with the uniquely Japanese publication right and social control best explain why Mangas are successful and Mangaka keep their rights.
|
| Mil, J. van
German BGH – Does YouTube Perform Acts of Communication to the Public? Kluwer Copyright Blog, 2018 , 2019. @article{Mil2019,
title = {German BGH \textendash Does YouTube Perform Acts of Communication to the Public?}, author = {Mil, J. van}, url = {http://copyrightblog.kluweriplaw.com/2019/01/27/german-bgh-does-youtube-perform-acts-of-communication-to-the-public/}, year = {2019}, date = {2019-01-29}, journal = {Kluwer Copyright Blog}, volume = {2018}, keywords = {}, pubstate = {published}, tppubtype = {article} } |
| van Gompel, S.
Annotatie bij Rb. Amsterdam 27 augustus 2018 (Rutten / RF Mediaproducties) AMI, 2018 (6), pp. 257, 2019. @article{vanGompel2019b,
title = {Annotatie bij Rb. Amsterdam 27 augustus 2018 (Rutten / RF Mediaproducties)}, author = {van Gompel, S.}, url = {https://www.ivir.nl/publicaties/download/Annotatie_AMI_2018_6_257.pdf}, year = {2019}, date = {2019-01-18}, journal = {AMI}, volume = {2018}, number = {6}, pages = {257}, keywords = {}, pubstate = {published}, tppubtype = {article} } |
| van Gompel, S.
Annotatie bij Rb. Overijssel 12 juni 2018 (Eiser / Rijksuniversiteit Groningen) AMI, 2018 (6), pp. 259-260, 2019. @article{vanGompel2019c,
title = {Annotatie bij Rb. Overijssel 12 juni 2018 (Eiser / Rijksuniversiteit Groningen)}, author = {van Gompel, S.}, url = {https://www.ivir.nl/publicaties/download/Annotatie_AMI_2018_6_259.pdf}, year = {2019}, date = {2019-01-18}, journal = {AMI}, volume = {2018}, number = {6}, pages = {259-260}, keywords = {}, pubstate = {published}, tppubtype = {article} } |
| Bodó, B., Handke, Christian W., Quintais, J.
Truce in the Copyright War? The Pros and Cons of Copyright Compensation Systems for Digital Use Review of Economic Research on Copyright Issues, 15 (2), pp. 23-56, 2019. @article{HandkeBodoQuintais2018,
title = {Truce in the Copyright War? The Pros and Cons of Copyright Compensation Systems for Digital Use }, author = {Handke, Christian W. and Quintais, J. and Bod\'{o}, B. }, url = {https://ssrn.com/abstract=3311019 }, year = {2019}, date = {2019-01-16}, journal = {Review of Economic Research on Copyright Issues}, volume = {15}, number = {2}, pages = {23-56}, abstract = {This paper discusses copyright compensation systems (CCS) -- that provide licenses for downloading and non-commercial use of copyright works in return for a fee -- in the light of welfare economics and transaction cost economics. Recent empirical studies suggest that CCS could improve social welfare at least for recorded music. The general theme of the theoretical discussion in this paper is a simplicity-flexibility trade-off. On the one hand, CCS seek to reduce the costs of administering and trading copyrights online. On the other hand, standard copyright licenses distort the market mechanism. This paper discusses the costs and benefits of various CCS proposals compared to alternative ways of managing copyright online. }, keywords = {}, pubstate = {published}, tppubtype = {article} } This paper discusses copyright compensation systems (CCS) -- that provide licenses for downloading and non-commercial use of copyright works in return for a fee -- in the light of welfare economics and transaction cost economics. Recent empirical studies suggest that CCS could improve social welfare at least for recorded music. The general theme of the theoretical discussion in this paper is a simplicity-flexibility trade-off. On the one hand, CCS seek to reduce the costs of administering and trading copyrights online. On the other hand, standard copyright licenses distort the market mechanism. This paper discusses the costs and benefits of various CCS proposals compared to alternative ways of managing copyright online.
|
| van Gompel, S.
Ten geleide: 'A je to!' 25 jaar Wet op de naburige rechten AMI, 2018 (6), pp. 235, 2019. @article{vanGompel2019,
title = {Ten geleide: 'A je to!' 25 jaar Wet op de naburige rechten}, author = {van Gompel, S.}, url = {https://www.ivir.nl/publicaties/download/AMI_2018_6.pdf}, year = {2019}, date = {2019-01-11}, journal = {AMI}, volume = {2018}, number = {6}, pages = {235}, keywords = {}, pubstate = {published}, tppubtype = {article} } |
| Hugenholtz, P.
De naburige rechten hebben hun tijd gehad AMI, 2018 (6), pp. 243-244, 2019. @article{Hugenholtz2019,
title = {De naburige rechten hebben hun tijd gehad}, author = {Hugenholtz, P.}, url = {https://www.ivir.nl/publicaties/download/AMI_2018_6-3.pdf}, year = {2019}, date = {2019-01-11}, journal = {AMI}, volume = {2018}, number = {6}, pages = {243-244}, keywords = {}, pubstate = {published}, tppubtype = {article} } |
| Gervais, D.J.
Related rights in United States law AMI, 2018 (6), pp. 245-251, 2019. @article{Gervais2019,
title = {Related rights in United States law}, author = {Gervais, D.J.}, url = {https://www.ivir.nl/publicaties/download/AMI_2018_6-2.pdf}, year = {2019}, date = {2019-01-11}, journal = {AMI}, volume = {2018}, number = {6}, pages = {245-251}, abstract = {This article explains the origin of the rights of performers, sound recording producers, audiovisual producers and broadcasters in the United States. As US law does not formally recognize a category of ‘related rights’, some of those rights exist under copyright law and are, therefore, subject to copyright rules such as the originality requirement, the possibility for authors to claim rights back 35 years after a transfer by contract, and the work-made-for-hire doctrine. Other rights are protected under different statutes.}, keywords = {}, pubstate = {published}, tppubtype = {article} } This article explains the origin of the rights of performers, sound recording producers, audiovisual producers and broadcasters in the United States. As US law does not formally recognize a category of ‘related rights’, some of those rights exist under copyright law and are, therefore, subject to copyright rules such as the originality requirement, the possibility for authors to claim rights back 35 years after
a transfer by contract, and the work-made-for-hire doctrine. Other rights are protected under different statutes. |
| Coche, E.
Kluwer Copyright Blog, 2018. @article{Coche2018h,
title = {‘Hommage au fromage’ or how the CJEU said farewell to Heks’nkaas by excluding copyright protection for works of taste}, author = {Coche, E.}, url = {http://copyrightblog.kluweriplaw.com/2018/12/05/hommage-au-fromage-or-how-the-cjeu-said-farewell-to-heksnkaas-by-excluding-copyright-protection-for-works-of-taste/}, year = {2018}, date = {2018-12-05}, journal = {Kluwer Copyright Blog}, keywords = {}, pubstate = {published}, tppubtype = {article} } |
| Kabel, J.
AMI, 2018 (5), pp. 203-206, 2018. @article{Kabel2018d,
title = {Tentoonstellen van ongepubliceerde brieven: Annotatie bij Hof Amsterdam 6 februari 2018 (Anne Frank Stichting / Anne Frank-Fonds)}, author = {Kabel, J.}, url = {https://www.ivir.nl/publicaties/download/Annotatie_AMI_2018_5.pdf}, year = {2018}, date = {2018-10-30}, journal = {AMI}, volume = {2018}, number = {5}, pages = {203-206}, keywords = {}, pubstate = {published}, tppubtype = {article} } |
| Hugenholtz, P.
Annotatie bij Geschillencommissie Auteurscontractenrecht 27 juli 2018 (Soof 2) AMI, 2018 (5), pp. 213-215, 2018. @article{Hugenholtz2018h,
title = {Annotatie bij Geschillencommissie Auteurscontractenrecht 27 juli 2018 (Soof 2)}, author = {Hugenholtz, P.}, url = {https://www.ivir.nl/publicaties/download/Annotatie_AMI_2018_5-1.pdf}, year = {2018}, date = {2018-10-30}, journal = {AMI}, volume = {2018}, number = {5}, pages = {213-215}, keywords = {}, pubstate = {published}, tppubtype = {article} } |
| Hugenholtz, P.
The WIPO Broadcasting Treaty. A Conceptual Conundrum 2018. @misc{Hugenholtz2018g,
title = {The WIPO Broadcasting Treaty. A Conceptual Conundrum}, author = {Hugenholtz, P.}, url = {https://www.ivir.nl/publicaties/download/Keynote_WIPO_Broadcasting_Treaty_2018.pdf}, year = {2018}, date = {2018-10-24}, abstract = {Keynote at KEI Seminar, Appraising the WIPO Broadcast Treaty and its Implications on Access to Culture, Geneva 3-4 October 2018}, keywords = {}, pubstate = {published}, tppubtype = {misc} } Keynote at KEI Seminar, Appraising the WIPO Broadcast Treaty and its Implications on Access to Culture, Geneva 3-4 October 2018
|
| Hugenholtz, P.
De sluipende unificatie van het auteursrecht in Europa Berichten Industriële Eigendom (BIE), 2018 (4), pp. 157-161, 2018. @article{Hugenholtz2018f,
title = {De sluipende unificatie van het auteursrecht in Europa}, author = {Hugenholtz, P.}, url = {https://www.ivir.nl/publicaties/download/BIE_2018_4.pdf}, year = {2018}, date = {2018-09-21}, journal = {Berichten Industri\"{e}le Eigendom (BIE)}, volume = {2018}, number = {4}, pages = {157-161}, abstract = {Nu de harmonisatie van de auteursrechtwetgeving in Europa bijna is afgerond, wint het idee van daadwerkelijke eenmaking van het auteursrecht in de Europese Unie terrein. In een mededeling over het EU-auteursrechtbeleid heeft de Europese Commissie de invoering van een unitair auteursrecht, dat voor de nationale auteurswetten van de lidstaten in de plaats zou moeten komen, als ‘langetermijnvisie’ vastgelegd. Desalniettemin lijkt formele unificatie in de vorm van een Auteursrechtverordening nog ver weg. Ondertussen maken de Europese wetgever en het Hof van Justitie stap voor stap een einde aan de territorialiteit van het auteursrecht, waardoor een eengemaakt Europees auteursrecht langzaam maar gestaag toch dichterbij komt. In dit artikel wordt dit proces van sluipende unificatie van het auteursrecht geschetst. }, keywords = {}, pubstate = {published}, tppubtype = {article} } Nu de harmonisatie van de auteursrechtwetgeving in Europa bijna is afgerond, wint het idee van daadwerkelijke eenmaking van het auteursrecht in de Europese Unie terrein. In een mededeling over het EU-auteursrechtbeleid heeft de Europese Commissie de invoering van een unitair auteursrecht, dat voor de nationale auteurswetten van de lidstaten in de plaats zou moeten komen, als ‘langetermijnvisie’ vastgelegd. Desalniettemin lijkt formele unificatie in de vorm van een Auteursrechtverordening nog ver weg. Ondertussen maken de Europese wetgever en het Hof van Justitie stap voor stap een einde aan de territorialiteit van het auteursrecht, waardoor een eengemaakt Europees auteursrecht langzaam maar gestaag toch dichterbij komt. In dit artikel wordt dit proces van sluipende unificatie van het auteursrecht geschetst.
|