Society’s progression through the digital streaming age has created a music licensing landscape of grave concern to all stakeholders in the industry. These drastic changes have occurred under an outdated legal framework. This paper will recommend a comprehensive reform to our copyright law to uphold the intentions of copyright in the modern, digital age of today. By looking at the history of copyright and its evolution, one can assess how Congress has been tasked with establishing a fair market value for music by promoting the public interest and fairly compensating copyright owners. This will lead to an evaluation and comparison of those methods used to determine fair market value for creative works that will be the basis of the recommendation used to modernize copyright law. This recommendation will comprehensively provide for equitable treatment for all parties in the streaming age through its totality, additional reforms, and alternative ideas. / Includes bibliography. / Thesis (M.S.)--Florida Atlantic University, 2015. / FAU Electronic Theses and Dissertations Collection

Beveik nuo pat autorių teisių apsaugos pradžios greta autorių teisių buvo įtvirtinti ir autorių teisių apribojimai. Autorių teisių apribojimai yra viena iš keleto autorių teisių ir visuomenės teisės į informaciją, saviraiškos laisvės, teisės į privatumą, mokslą bei kitų prigimtinių žmogaus teisių suderinimo priemonių, kuri įstatymų specialiai numatytais atvejais riboja autorių turtines teises, suteikdama kūrinių naudotojams teisę atlygintinai ar neatlygintinai naudotis kūriniais be autoriaus ar kito autorių teisių subjekto sutikimo. Atsižvelgiant į autorių teisių apribojimų paskirtį suderinti autorių teises su kitomis prigimtinėmis žmogaus teisėmis, autorių teisių apribojimų sampratą lemia atitinkama autorių teisių ir kitų prigimtinių žmogaus teisių pusiausvyra. Veikiama daugybės skirtingų veiksnių, autorių teisių ir kitų prigimtinių žmogaus teisių pusiausvyra nuolat kinta, o reaguodama į šiuos pokyčius, nuolat kinta ir autorių teisių apribojimų samprata. Pastaruoju metu vis dažniau manoma, kad dėl įvairių veiksnių, ypač dėl technologinių, šiuolaikinė autorių teisių ir kitų prigimtinių žmogaus teisių pusiausvyra yra gerokai pakreipta autorių pusėn, dėl ko autorių teisių apribojimų išlikimui kyla didelė grėsmė. Atsižvelgiant į šias problemas ir siekiant, kad ateityje autorių teisių apribojimai išliktų ir galėtų tinkamai įgyvendinti savo paskirtį, teisės literatūroje pateikiama daugybė pasiūlymų kaip autorių teisių apribojimai ateityje galėtų ir turėtų būti reformuojami... [toliau žr. visą tekstą] / Almost from the very beginning of the copyright protection copyright limitations by copyright has been established. Copyright limitations are one of a number of copyright and the society’s right to information, freedom of expression, right to privacy, education and other human rights inherent and harmonization measures that restrict the author’s economic rights with the specifically provided cases by the laws giving users the right repayable or gratuitous to use works without the permission of the author or other copyright subject. In view of purpose of copyright limitations to combine copyright with other inherent human rights copyright limitations are determined by the appropriate copyright and other inherent human rights balance. Copyright and other inherent human rights balance is constantly changed by influencing of many different factors and conception of copyright limitations constantly changes too. Recently, it has increasingly thought, that due to a variety of factors, especially technological, modern copyright and other inherent human rights are significantly tilted the balance toward the author, on what copyright limitations are creating a serious threat for survival. In view of these problems and on purpose to remain the future of copyright limitations and could properly fulfil its purpose, legal literature contains numerous suggestions on how copyright limitations in the future could and should be reformed. These above mentioned copyright limitations on the... [to full text]

The Internet has been lauded as an open and free platform from which one is able to engage with, and share large amounts of information (Stallman, 1997). As one witnesses the shift from analogue media to digitalism, so too is it possible to note a change in cultural practices of media consumers. Users of the media can now be viewed as “prosumers”, producing as well as consuming media products (Marshall, 2004). Digital media users have been given the ability to engineer their own unique media experiences, especially within the realms of the Internet. However, this process has seemingly led to mass copyright infringement as Internet users appropriate various movies, music, television programmes, photographs and animations in order to create such an experience. The art of digital mashing in particular, has been deemed an explicit exploitation of intellectual property rights as it re-cuts, re-mixes and re-broadcasts popular media in a number of alternative ways. YouTube especially has been at the forefront of the copyright furore surrounding digital mash-ups because it allows online users the facility to post and share these video clips freely with other online users. While YouTube claims that they do not promote the illegal use of copyrighted material, they simultaneously acknowledge that they do not actively patrol that which is posted on their website. As such, copyright infringement appears seemingly rife as users share their own versions of popular media through the art of digital mashing. This dissertation however, explores the concept that the creation of mash-ups is not undermining intellectual property rights, but instead produces a new avenue from which culture can emerge. It highlights how Internet users are utilising the culture which surrounds them in an attempt to navigate the new social structures of the online, subsequently arguing that mash-ups are an important element of defining a new postmodern culture, and that the traditional copyright laws of analogue need to be modified in order to secure the development of new and emerging societal structures. / Thesis (M.A.)-University of KwaZulu-Natal, Pietermaritzburg, 2010.

Thesis (doctoral)--Universiẗat Köln, 2006. / Includes bibliographical references (p. 243-265).

Law / LL.M.

This master's thesis focuses on the argumentation of library organisations and European national libraries in their contributions to the European Commission's public consultation on the review of the EU copyright rules. This study aims to explain how the debate around copyright limitations and exceptions is constructed in library stakeholders' contributions. The construction is explained through argumentation analysis and a theoretical framework of the relations between structural, instrumental, and discursive power. The main findings are that library stakeholders in general are strongly supportive of a EU copyright reform, arguing that democratic values as well as the EU Single Market would benefit. There are also library stakeholders who argue against legislative change, either suggesting extended collective licences, or arguing that the Member States' sovereignity is more important than a pan-European copyright legislation. Furthermore, many library stakeholders propose either a general ”fair use” exception in EU copyright law, or adding several specific exceptions, e.g. for text and data mining, e-lending, publicly funded research openly available, and that contracts and technical protection measures cannot override limitations and exceptions. National libraries and library organisations from the Central and Eastern European Member States' are more supportive of a copyright reform than their Western European counterparts. They do not mention licences as a possible solution. In general, the library stakeholders agree that the interoperability, exchange and cooperation in activities and projects involving several EU Member States suffers from the current copyright legislation. / I den här masteruppsatsen utreds argumentationen som används av biblioteksorganisationer och europeiska nationalbibliotek i deras svar på Europeiska kommissionens samråd rörande en granskning av EU:s upphovsrätt. Studien ämnar besvara frågan om hur debatten kring inskränkningar och undantag i upphovsrätten konstrueras i biblioteksintressenternas samrådssvar. För att besvara denna fråga används argumentationsanalys, samt ett teoretiskt ramverk bestående av relationerna mellan strukturell, instrumentell och diskursiv makt. Resultatet av analysen är att biblioteksintressenterna generellt sett stöttar en reform av EU:s upphovsrätt, med argumenten att både demokratiska värden och EU:s inre marknad gagnas av detta. Andra biblioteksintressenter argumenterar mot en upphovsrättsreform och föreslår i stället kollektiva avtalslicenslösningar, eller så argumenterar de att medlemsländernas suveränitet är viktigare än en sameuropeisk lagstiftning. Dessutom föreslår många biblioteksintressenter antingen ett allmänt ”fair use”-undantag i EU:s upphovsrätt, eller att flera specifika undantag ska läggas till, t.ex. för text- och data-mining, e-bokslån, offentligt finansierad forskning ska publiceras öppet, och att kontrakt och tekniska skyddsåtgärder inte kan upphäva inskränkningar och undantag. Nationalbibliotek och biblioteksorganisationer från central- och östeuropeiska medlemsländer stöttar en upphovsrättsreform i större utsträckning än sina västeuropeiska motsvarigheter. De nämner inte alls licenser som en möjlig lösning. Överlag instämmer biblioteksintressenterna i att interoperabilitet, utbyte och samarbete i aktiviteter och projekt som involverar flera medlemsländer lider av upphovsrättens nuvarande skick.

Digitalisation and the internet have enabled ordinary individuals to make copies of copyrighted content easily, costlessly and with no degradation in terms of quality. While digital private copying is permitted in Europe under Article 5(2)(b) of Directive 2001/29/EC, it represents a major challenge to the interests of the copyright owners and a thorny issue in the context of digital copyright. Despite the fact that all EU Member States, with the exception of Ireland and the UK, have incorporated a statutory limitation for acts of private copying in their national statutes, there is legal uncertainty as to the scope of this limitation. To be permitted, the use of copyrighted content ought to be private and non-commercial; these concepts, however, do not translate well in the digital environment. For instance, one can only wonder whether facebook friends qualify as a private circle and whether downloading works for free from file-sharing networks is a non-commercial act. This thesis provides answers to these questions and determines the actual scope of the private copying limitation. Yet, perfectly lawful private uses of copyrighted content may have an aggregate impact on the interests of the rightholders in the digital environment, where these activities are more widespread. To deal with the digital impact of private copying, Directive 2001/29/EC sets forth a twofold approach; while private copying is premised on condition that the rightholders are compensated for the unauthorised uses of their works, at the same time, the application of technological protection measures is rigorously protected. We examine the efficacy of these approaches in dealing with digital private copying and their adequacy for policy reasons. This thesis concludes that, even though private copying is permissible under the set of conditions laid down by Article 5(2)(b) of Directive 2001/29/EC, its legitimate exercise is jeopardised in the digital environment due to the fact that this limitation is not mandatory. This means that the ability of end users to make private copies may be either technologically or contractually restricted. Yet, the private copying limitation is a manifestation of the fundamental right to privacy, which prevails over copyright enforcement. We therefore urge for an explicit declaration of the imperative status of the private copying limitation against technological or contractual constraints.

This dissertation explores the development of prose fiction continuations from Sir Philip Sidney’s Arcadia to the novels of Samuel Richardson. Examining instances in which a text was continued by someone other than its original author, I ask precisely what this distinction means historically: what factors create a system of literary value in which certain continuations are defined as ‘spurious,’ and how does the discourse surrounding these texts participate in changing attitudes toward authorship, originality, and narrative closure? My work thus contributes to recent critical efforts to historicise authorship and literary property, using prose fiction examples that have not previously been discussed in this context. Analysing the rhetorical strategies found within paratextual materials such as prefaces, dedications, and advertisements, I establish how writers of continuations discuss the motivations for their works, how these are marketed and received, and how the authors of the source texts (or their representatives) respond to them. Through close reading, the dissertation traces the development of persistent metaphors for literary property across these texts, focusing on images of land, paternity, and the author’s ‘spirit.’ The introductory chapter addresses these metaphors’ significance, defines the main elements of continuations, and situates them within the historical context of a growing print marketplace and developments in copyright law. The dissertation then presents a series of case studies of the most documentarily-rich instances of continuation across the period. Starting with The Countess of Pembroke’s Arcadia, published posthumously in an incompletely-revised form, Chapter 2 shows how its gaps allowed other writers to continue the story, while Chapter 3 studies the metaphorical approaches to authorship taken in the continuations’ paratexts. Chapter 4 examines two Restoration texts, The English Rogue and The Pilgrim’s Progress, which combine the Arcadia continuations’ concern about the author’s honour with issues of commercial competition. The intersection of profit, reputation and copyright protection brought out in this chapter is reflected in the subsequent discussion of the career of Samuel Richardson. Chapter 5 shows him responding to public challenges to his authorial control following the success of Pamela, whereas Chapter 6 explores the more private assertions of authority taking place within Richardson’s correspondence during the publication of Clarissa and Sir Charles Grandison. Finally, my conclusion summarises the subsequent legal and critical privileging of original over continuation, emphasising the historical contingency of this process. The broad chronological scope of the dissertation allows the frames of all these texts to inform each other for the first time, crossing the established critical boundary between the ‘romance’ and the ‘novel.’ This approach reveals continuities as well as differences, enabling me to construct a more nuanced picture of Early Modern approaches to prose continuations and authorial ownership. In establishing links between law and literature, the project also provides an important historical context for contemporary debates about copyright, fanfiction, and literary property.

published_or_final_version / abstract / Computer Science / Doctoral / Doctor of Philosophy

The thesis explores the growing impact of copyright in art museums and galleries in the digital environment. Copyright has a great significance in these institutions but it has not received adequate academic consideration. The aim of this thesis is to examine the role of copyright and underline the foremost copyright challenges to museums and galleries in order to find out the appropriate approach to deal with them. The main argument is that copyright challenges museums and galleries to the extent it could disturb the survival of their mission in the digital domain. It argues that copyright provides insufficient protection to museums and galleries when they are copyright owners of digital and contemporary artistic works in particular. Also, it argues that copyright restricts the capacity of using artistic works by museums and galleries as cultural institutions and therefore it obstructs their activities and mission. Further, it argues that uncertain and deficient copyright policy and management practices represent impediment to the continuity and progress of museums and galleries in the digital era. To this effect, the thesis takes analytical approach and considers the legal primary and secondary resources of relevant laws, cases, academic commentary and journal articles. The legal framework is focused on copyright law of the United Kingdom as stated in the Copyright, Designs and Patents Act 1988 and its amendments. Furthermore, the thesis incorporates a review of an empirical study about the impact of copyright in museums and galleries and which is undertaken for this research purposes. The thesis concludes that it is necessary to deal with the specified copyright challenges in a way that maintains and promotes the mission of museums and galleries and facilitates a broader public access to their collections in the digital environment. In order to achieve this, it is recommended that some copyright law reform is needed concerning in particular copyright protection of artistic works and copyright exceptions available to museums and galleries for specific purposes such as preservation, research, and education. Also, it is proposed that museums and galleries require enhanced understanding of copyright law, more awareness, careful consideration and efficient management of copyright.