Synopsis This thesis is focused on the rights, which accompany the performer. Does not aim to focus on the details of individual institutions, but rather to organize informations about the rights attaching to the performer and artistic performance. In four chapters the author tries to depict these rights since their inception, since the creation of an artistic performance to the moment when the performance become a part of public domain, as well as the right to the these free artistic performances. The first chapter is an introduction to the subject, defines the legal concepts - an author, performer, author's work, artistic performance etc. and also covers the concept non- legal - art, in spite of its abstractness, to author of this thesis seems to be crucial in the legal definition of a performer. The second chapter deals with the own performer's rights, property and personality rights and their duration. In the third chapter the autor drala with legal representation of performers by common agent, who represents performers when dealing with the rights to jointly created performance. Furthermore, in the sekond part of this chapter focuses on a different type of legal representation: mandatáry manager collective rights and collective management in general. The last, fourth chapter describes the use of...

Cette thèse est une étude de la consommation des films pornographiques de 1990 à nos jours, et de la manière dont elle a pu affecter la sensibilité générale des spectateurs et celle de certains artistes du cinéma ordinaire fascinés par le spectacle du sexe. L’augmentation exponentielle du nombre de films pornographiques accessibles au public (de la production professionnelle de longs métrages à la fabrication amateure de courtes séquences) et la généralisation de leur consommation via notamment les nouvelles technologies, obéissent cependant à des règles précises (partie 1). En passant de la salle de cinéma au salon, la charge subversive et choquante du film pornographique s’est transformée sans s’atténuer. La visibilité de la consommation du film pornographique s’accompagne de l’invisibilité publique du spectacle du sexe. Ce dernier est devenu majoritairement une affaire privée. Elle prend au sérieux la capacité d’action du film sur le spectateur et la nécessité pour ce dernier, étant donné son caractère dérangeant et le plaisir coupable qu’il induit, de le maîtriser, de l’apprivoiser, de le domestiquer. Le souci de soi du pornophile explique à la fois le déplacement du point de vue du législateur et de celui des éducateurs, de la censure du « film X » à la nécessaire protection du mineur (partie 3), et la prise en compte par les artistes du cinéma classique des jeux du sexe dans les jeux de l’art (partie 2). Plus généralement, l’étude interroge la transformation de la sensibilité des spectateurs, qu’ils soient amateurs du genre, indifférents ou opposés à ce dernier. Le constat d’une normalisation du film pornographique ne s’entend pas comme une banalisation morale du « film X » mais comme un déplacement du regard porté sur le spectacle du sexe et sur ses usages. Le transfert de culpabilité du regard public à la conscience de soi est neutralisé par la domestication du film pornographique. Elle permet aux amateurs du genre de passer de l’excitation sexuelle mécanique à la maîtrise des jeux du corps et des techniques du plaisir sexuel (partie 3). / This thesis focuses on pornographic films’ consumption from 1990s to the present day, and how it may have affected viewers general sensitivity and impacted ordinary film artists fascination for sex show. The exponential increase in the number of accessible pornographic films to the public (including professional production of feature films and amateur production of short sequences) and the generalisation of their consumption via new technologies in particular, which nonetheless, comply with precise rules (part 1). As we moved from cinema viewing to the living room one, the subversive and shocking charge of pornographic film transformed itself without diminishing. The visibility of pornographic films consumption is parallelly accompanied by sex show public invisibility. Indeed, sex spectacle has mainly become a private matter. It takes seriously the film's ability to act on the viewer and the need for the latter, given its disturbing nature and the guilty pleasure it induces, to control, tame and domesticate it. Society adaptation to sex spectators self-respect got materialised through legislation and education adaptation, which includes a reconsideration and massive shift in “"X films" censorship and new awareness toward minors protection (part 3), and the consideration by classical film artists of sex games in art games (part 2). More generally, the study questions the transformation of spectators' sensitivity, whether they are amateurs of the genre, indifferent or opposed to it. The observation of a normalization of pornographic film is not understood as a moral trivialization of "film X" but as a shift in the focus on the spectacle of sex and its uses. Guilt transfer from public gaze to self-awareness is hence, neutralized by the domestication of pornographic film. It allows lovers of the genre to move from mechanical sexual excitement to mastering body games and sexual pleasure techniques (part 3).

This thesis aimed to examine the prevailing international intellectual property regime as embodied especially in the TRIPS Agreement, for purposes of outlining some of the criticisms levelled against it especially by the less developed world. The work aimed to illustrate how, despite the imperfections of the system, certain intellectual property rights could still be used strategically by African countries to bolster the entrepreneurial spirit, in the form of musical entrepreneurship for purposes of enhancing their international trade capacity.

Radomír Pivoda Srovnání autorskoprávní ochrany autora a výkonného umělce A comparison of copyright protection of authors and performing artists The main goal of this thesis is to compare the key aspects of the copyright protection of authors and performing artists in the Czech Republic. The basic differences are explained with respect to its historical evolution, which is put into context with the current social situation in the field of art. The paper is divided into six chapters. The first chapter gives an explanation of the basic terminology used in the area of copyright law and sets the frame for the comparison of authors and authorship and performing artists and their artistic performances. In the Czech Republic, authorship is based on the expression of a piece of art in any way perceivable by human senses. There is no registration principle in effect. This fact provides the starting point for the protection of authors' rights. Therefore it is important to precisely define what can be considered a piece of art and who can be recognised as an author or a performing artist. The second chapter deals with the legal treatment of authors according to the Czech Copyright Act and other legal regulations, including the recent case law and description of the most often infringements of the copyright...

This thesis aimed to examine the prevailing international intellectual property regime as embodied especially in the TRIPS Agreement, for purposes of outlining some of the criticisms levelled against it especially by the less developed world. The work aimed to illustrate how, despite the imperfections of the system, certain intellectual property rights could still be used strategically by African countries to bolster the entrepreneurial spirit, in the form of musical entrepreneurship for purposes of enhancing their international trade capacity.

Magister Legum - LLM / This thesis aimed to examine the prevailing international intellectual property regime as embodied especially in the TRIPS Agreement, for purposes of outlining some of the criticisms levelled against it especially by the less developed world. The work aimed to illustrate how, despite the imperfections of the system, certain intellectual property rights could still be used strategically by African countries to bolster the entrepreneurial spirit, in the form of musical entrepreneurship for purposes of enhancing their international trade capacity. / South Africa