This study explores the problem of "fair use" in copyright as it applies to the use of POD's, print-on-demand systems, by education and business entities. This qualitative research instrument offers an explanation for the discrepancy between current copyright statutes and the application of these statutes by the US Courts toward regulating the "fair use" doctrine as it applies to POD technology. This synthesis examines the "gray areas" of the US Copyright Act of 1976 and the Copyright Amendments Act of 1992 in conjunction with the ever-changing legal opinions that continuously shape and mold court opinions into copyright ideals. In order to achieve this goal, the following criteria is discussed: 1) the nights of copyright owners; 2) limitations of exclusivity in copyright; 3) judicial and statutory factors in "fair use"; 4) court rulings that affect the common educational and business use of copyright protected materials; and 5) the affect of copyright rulings upon the use of high technology equipment that is presently in use or will be introduced into the market place soon. In effect, this study responds to the copyright dilemma as it pertains to "fair use" upon POD's, digital high speed copy systems, computers/laser printers, video taping systems, audio taping systems, live presentations, transmitted presentations, and other information systems. The following questions will be considered and discussed: 1) What is the history and intent of the fair use doctrine as it applies to the Copyright Act of 1976 and Copyright Amendment Act of 1992; 2) What is the affect of present copyright laws upon POD's; 3) Has court litigation in the last decade restricted the "fair use” doctrine by limiting the uses of copyrighted materials by educational and business entities? Finally and most importantly, in the interest of preserving, improving, and perfecting the relationship between POD users, in both education and business, and the international copyright proprietors, including members of AAP and SPA, this dissertation has explored and developed a copyright user's and owner's "Model of Rights". / Ph. D.

This thesis studies the impact of North American copyright on technological development. The first section proposes a broad vision of copyright including both Canadian and American legal concepts. It analyses different modern definitions of copyright, the origin of the concept and its underlying justifications. The second section presents the historical relations between copyright and technologies. It studies the history of the printing press, the photography, the player-piano, the motion picture, the radio, the cable TV, the photocopier, the videotape, the Digital Audio Tape and the MP3, and the legal challenge they represented. Those elements give us the opportunity to evaluate the influence of copyright on technological development.

No description available.

Thesis (Ph. D.)--University of Michigan, 2001. / Includes bibliographical references (leaves 237-253).

This thesis examines the change towards a property-based view of information in the fields of copyright, database protection and data privacy. Focus will be placed on the United States and the European Union, as those territories together are responsible for more than half of the world's Internet population. The thesis will attempt to show that a view of information as personal property is not actually benefiting society in general and is dangerous for future progress: economic, scientific and social. The thesis suggests balancing the restrictions on access to information as a whole, meaning viewing the restrictions in copyright, database protection and privacy laws to see how they together affect access to information. It argues that these fields of law should supplement each other in maximizing social welfare through a baseline of public access as opposed to a baseline of monopoly.

No description available.

Thesis (LLM)--Stellenbosch University, 1989. / ENGLISH ABSTRACT: English abstract not available / AFRIKAANSE OPSOMMING: Die tradisionele opvatting was dat Outeursreg gemoeid is met die beskerming van die materiele vorm waarin idees vasgele is. Sedertdien het die klem egter verskuif na die beskerming van die idee self mits dit egter in stoflike vorm vervat is. In hierdie tesis word ondersoek ingestel na wat presies die objek van Outeursreg is en watter rol stoflike aanbieding in Outeursreg sped. Ter aanvang word gekyk na die ontstaan en ontwikkeling van Outeursreg. Daar word gekyk na die pick wat Outeursreg in die regsisteem beklee met spesifieke verwysing na die tradisionele indeling van subjektiewe regte. Dit blyk hieruit dat Outeursreg, as bestaandeel van Immaterieel goedereg, 'n onstoflike regsobjek het nl. die produk van die outeur se geestesarbeid of dan sy idee. Die verwysing na die vereiste van stoflike aanbieding van idees verg egter nadere ondersoek. Die Wet op Outeursreg 98 van 1973 word ontleel met betrekking tot die aard van beskermde werke; vereistes vir Outeursregbaskerming; definisies van terme soos "outeur" en "maak" asook die van die onderskeie werke; die eiendomsregterminologie en skendingshandelinge. Regsvergelykend word oorsigtelik ook na die Amerikaanse Reg verwys. Uit hierdie ontleding blyk stoflikheid vir doeleindes van die tradisionele Outeursregwerke te verwys na tasbare aanbieding daarvan, mar dat sb 'n eng definisie nie gehandhaaf kan word ten opsigte van moderne tegnologiese ontwikkelings soos uitsendings en programdraende seine nie, aangesien hierdie werke van sä 'n aard is dat tasbare vasle:gging daarvan nie noodwendig altyd plaasvind nie. Onder die skrywers wat hierdie probleem bespreek is professors Copeling en Van der Merwe wat aan stoflikheid 'n alternatiewe, wyer betekenis toedig nl. kommunikeerbare of sintuiglik waarneembare aanbieding. 'n Botsing tussen die tradisionele en aanbevole definisie van stoflikheid in die regspraak word ook uitgewys. Ten einde tegnologie te akkommodeer word die wyer definisie van stoflikheid in hierdie tesis voorgehou. Die implikasies van hierdie wyer definisie van stoflikheid is egter verreikend. Professor Copeling bevestig dan ook dat dit die moontlikheid van Outeursreg in mondelinge kommunikasies inhou. Gevolglik word daar veral gekyk waarom idees as sulks beskerm word deur Onregmatige Mededinging, maar nie deur Outeursreg nie - 'n vraag wat beantwoord word met verwysing na die invloed van moderne tegnologie op die tradisionele indelings van die Immaterieel goederereg. Uit hierdie ondersoek blyk dit dat Onregmatige Mededinging berus op die Immaterieel goederereg in plaas van die Deliktereg. Die uitgebreide definisie van stoflikheid veroorsaak dat die bestaande indelings van Immaterie61 goedereregte versmelt. Dit ruim ook die huidige konflik rondom die vereiste van stoflikheid in die Wet op Outeursreg 93 van 1973 uit die weg. Laastens word kortliks gewys op die drastiese veranderinge in die spelreels vir inligtingsprodukte wat nodig sal wees om die balans tussen die aansprake van Outeursreghebbendes en die gemeenskap te handhaaf indien die uitgebreide definisie van stoflikheid aangewend word. Uiteindelik dien stoflikheid ook in sy uitgebreide vorm steeds die tradisionele doe om die werk af te skei van die maker se persoonlikheid en dit sodoende buite die mens gelee te maak.

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

No description available.

In becoming a signatory to the World Intellectual Property Organization (WIPO) Treaties, Canada has undertaken the obligation to provide protection against the circumvention of technological measures designed to protect copyright works. While on its face the obligation appears simple, in reality it brings about an intersection of policy, law and technology; a complex situation with far reaching repercussions. The U.S., a co-signatory to the WIPO Treaties, responded to this tension by enacting the Digital Milennium Copyright Act (DMCA), which heavily regulated circumvention technology and garnered wide-spread criticism. Critics labeled the law as unpredictable and overbroad legislation, which has chilled free speech, violated fair use, stifled research and study and encouraged monopolies by eliminating competition. Drawing largely on the U.S. experience, this thesis aims to suggest a possible route for Canada to take when fulfilling its own obligations under the WIPO. It will begin with a review of the relevant provisions of the Treaties to determine the extent of Canada's obligation. It will then examine Canada's proposal papers and the responses of its citizens to the questioned posed regarding future anti-circumvention legislation. It will also examine the DMCA in detail and attempt to distil its flaws. Finally, it will investigate the extent of the need for new anti-circumvention legislation in Canada by examining Canada's existing laws dealing with the protection of technology measures. Such process will provide evidence that Canada has, to a large extent, complied with its obligations under the WIPO while maintaining the delicate balance between the stakeholders of copyright law. Thus while new anti-circumvention legislation may still be in order, Canada has the latitude to craft a law that fully recognizes the rights of all stakeholders in the copyright equation and is consistent with its own copyright policies.