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L'objet de cette thèse porte essentiellement sur deux points. Le premier est de démontrer que l'intégration du droit d'auteur, telle qu'elle a actuellement lieu dans les pays en voie de développement rencontre d'importantes difficultés. Une analyse du droit positif international permettra de constater que les conventions internationales en matière de droit d'auteur ne permettent pas de répondre aux problématiques se posant dans les pays en voie de développement. Ensuite, une étude du droit d'auteur en République Islamique d'Iran ainsi qu'en République d'Inde permettra d'illustrer les difficultés auxquelles le législateur dans les pays en voie de développement doit faire face, notamment vis-à-vis de l'équilibre délicat qu'il lui incombe de trouver entre une harmonisation avec le droit international d'une part, et les besoins des populations en termes d'accès à la connaissance d'autre part. Le second point vise à analyser les perspectives pour une intégration efficace du droit d'auteur dans les pays en voie de développement, d'abord celles tenant à l'émergence de l'économie de la connaissance (qui a contribué au développement d'importants mécanismes d'assouplissement), ensuite celles déduites des spécificités même d'un droit d'auteur instaurant un équilibre, telles que la valorisation des limitations et exceptions, accompagnée de la mise en place d'un contexte favorable au droit d'auteur. / The purpose of this thesis is two-folded. First of all, this study aims at demonstrating that the integration of copyright, as it is currently taking place in developing countries remains problematic. An in-depth analysis of the state of international copyright law will help demonstrate that international conventions do not tackle the particular issues arising in developing countries. A detailed study of the copyright legislations in the Islamic Republic of Iran and the Republic of India will also help illustrating the difficulties encountered by the legislator in developing countries, who needs to strike a delicate balance between the harmonization with international law on the one hand, and the needs of the people in terms of access to knowledge on the other. Second of all, this research aims at presenting the prospects for an effective integration of copyright law in developing countries, including those relating to the emergence of the knowledge economy (which has contributed to the development of key flexibility mechanisms). Prospects will also be deduced from the specificities of a balanced copyright legislation, by analyzing the importance of achieving the full potential of limitations and exceptions, and establishing an external environment conducive to copyright.

La bonne foi, notion floue teintée de morale et issue du droit commun, a vocation à intervenir dans toutes les branches du droit. A ce titre, elle trouve naturellement à s’appliquer en droit d’auteur, c’est-à-dire au sein du droit qui organise la protection des rapports entre l’auteur et l’œuvre de l’esprit qu’il a créée, en reconnaissant à ce dernier des droits patrimoniaux et des droits extrapatrimoniaux. Notion duale, la bonne foi s’entend tantôt comme la croyance erronée dans une situation – c’est là la dimension subjective –, tantôt comme l’exigence de loyauté dans le comportement, ce qui renvoie à la dimension objective. Le choix est opéré, au sein de la présente étude, d’embrasser la notion dans sa globalité et non de se concentrer sur l’une ou l’autre des faces de la bonne foi. L’enjeu de la thèse étant d’analyser comment une notion de droit commun peut intervenir au sein d’un droit spécial, il semblait en effet judicieux de ne pas décomposer la notion mais au contraire d’accepter sa polymorphie. La difficulté tient au fait que la bonne foi – dans sa dimension subjective comme dans sa dimension objective – est bien souvent absente de la norme du droit d’auteur, de sorte qu’une première analyse pourrait laisser penser que la notion n’a pas de rôle à jouer en ce domaine. Cependant, il apparaît finalement que cette dernière est bien présente au sein de ce droit spécial, que son intervention soit d’ailleurs positive – auquel cas la notion est prise en compte et reconnue – ou, au contraire, négative (ce qui revient alors à l’exclure volontairement des solutions). Les manifestations de la bonne foi se présentent, en ce domaine, sous deux formes. D’une part, elles peuvent être propres au droit d’auteur : la notion intervient ainsi dans les raisonnements relatifs à la détermination du monopole, droit exclusif reconnu au titulaire de droits, mais également dans les règles applicables à la sanction des atteintes portées à ce droit exclusif. L’utilisation de la notion procède alors d’un choix du juge ou, plus rarement, du législateur et répond à un objectif interne au droit spécial, objectif qui sera bien souvent celui de la défense de l’auteur ou, plus largement, du titulaire de droits. D’autre part, les manifestations de la bonne foi peuvent être importées du droit commun. Si le lieu d’intervention privilégié de la notion en telle hypothèse est le contrat d’auteur (c’est-à-dire le contrat qui organise l’exploitation de l’œuvre) du fait de l’applicabilité de l’article 1134, alinéa 3, du Code civil – lequel impose une obligation de bonne foi dans l’exécution du contrat – aux droits spéciaux, la bonne foi peut aussi s’épanouir au-delà de ce contrat. Le recours à la notion est, dans ce cas, imposé au juge et au législateur spéciaux – lesquels doivent naturellement tenir compte de la norme générale dès lors que celle-ci n’est pas en contradiction avec le texte spécial – et l’objectif poursuivi est alors externe au droit d’auteur : il peut ainsi être question de protéger l’équilibre des relations ou encore de garantir la sécurité juridique des rapports. Plurielles, les interventions de la bonne foi en droit d’auteur invitent ainsi à s’interroger sur les interférences entre droit commun et droit spécial. / Good faith, vague notion which refers to morality and that is derived from common law, can occur in all branches of law. As such, it is naturally applicable in French copyright law, which is the special law that provides the protection of the relationship between the author and the work that he created and that recognizes moral rights and economic rights in favour of the author. Good faith has a double definition: it means both a misbelief in a situation – that is the subjective dimension – and a requirement of loyalty, which refers to its objective dimension. The choice has been made, in this study, to embrace the whole concept instead of focusing on one or the other side of good faith. Because the aim of this thesis is to analyze how a concept of common law can intervene in a special law, it seemed wise to accept its polymorphism instead of deconstructing the concept. The difficulty is that good faith – in its objective dimension as in its subjective dimension – is often absent from the special law: as a consequence, a first analysis might suggest that this concept has no role to play in this area. However, it finally appears that the notion does exist in French copyright law, whether its intervention is positive (and in that case good faith is taken into account and recognized) or negative (in which case the concept is deliberately excluded from the solutions). The expressions of good faith arise in two forms in this field. On one hand, they may be specific to French copyright law: the concept can be used to answer the questions related to the determination of the exclusive right that is granted to the holder of rights, or the questions related to the penalties for copyright infringement. In these hypotheses, the use of good faith is a choice made by the judge or, more rarely, by the legislator and it fulfills a specific objective, proper to French copyright law: this objective is often the defense of the author or, on a wider scale, the right holder. On the other hand, the expressions of good faith can be imported from common law. If the privileged place of intervention in that case is the author’s contract (which is the contract that organizes the exploitation of the work), due to the applicability of the article 1134, paragraph 3, of the French Civil code – which imposes a duty of good faith during the performance of the contract –, good faith also has a part to play beyond this contract. In these cases, the use of the concept is imposed to the judge and the legislator – because both must take into account the general rule when it is not in contradiction with the special one – and the aim is to fulfill a general objective, external to French copyright law: then the goal is to protect the balance of relationships or to guarantee legal certainty. As a consequence, the expressions of good faith in French copyright law are plural and call for questioning the interference between common law and special law.

Ce travail s’attache à étudier le droit des artistes interprètes à la protection de leur travail à l’ère numérique. La première partie de ce travail s’intéresse à la théorie des droits d’auteur, l’histoire des droits moraux, et à l’application de la théorie des droits moraux aux procès qui impliquent les artistes interprètes aux Etats-Unis, au Royaume-Uni, et en France. De plus, ce travail présente le droit international en la matière, y compris la Convention de Berne et le Traite de Beijing. La deuxième partie de ce travail examine l’histoire de l’industrie du cinéma. Plus spécifiquement, il se concentre sur l’histoire de l’industrie du cinéma aux Etats-Unis, au Royaume-Uni et en France, en observant comment les progrès des technologies cinématographiques ont affecté les droits des acteurs de cinéma dans le domaine du droit national et international. La troisième partie de ce travail propose un Protocole au Traité de Beijing afin que créer un mécanisme pour diminuer les obstacles à l'accès à la justice qui empêchent les artistes interprètes de faire valoir leurs droits. La thèse se termine par uneréflexion sur les leçons qui peuvent être tirées de l'histoire et des pratiques actuelles des États-Unis, du Royaume-Uni et de la France en ce qui concerne les droits moraux des artistes interprètes, en recommandant que les trois pays fournissent à l'avenir des protections plus significatives aux artistes interprètes. / This work provides a broad study of the right of performing artists to protect their performances in the Internet era. The first part of this work explores the theoretical foundation of copyright law, the history of moral rights, and the application of the theory of moral rights to cases affecting performing artists in the United States, the United Kingdom, and France. In addition, this work discusses relevant international law, including the Berne Convention and the Beijing Treaty. The second part of this work addresses the history of the movie industry. More specifically, it concentrates on the history of the film industry in the United States, the United Kingdom, and France, observing how technological progress in filmmaking techniques have affected the rights of movie actors under both national and international law. The third part of this work proposes a Protocol to the Beijing Treaty that would create a mechanism to lower the barriers to justice that currently prevent performing artists from vindicating their rights. This work concludes with a reflection on the lessons that can be drawn from both the history and the current practices of the United States, the United Kingdom, and France with respect to the moral rights of performing artists, recommending that the three countries provide more significant protections to performing artists going forward.

Convergence of Copyright and Trademark Protection Key Words: Copyright, Trademark, Protection, Convergence Abstract: The thesis analyzes the concept of copyright and trademark protection in Czech law and the consequences of their simultaneous operation. The aim is to determine whether the existing legislation responds the current trends and demands in our society, where business and arts are becoming interconnected and where the boundaries between those disciplines are blurred. Both protections are initially assigned to theoretical context of legal branches of intellectual property and intangible property. The author also deals with current conception of ownership in Civil Code. Following chapters are based on the principles of civil (continental) law concepts of copyright law and industrial property law established in this part. Subsequently the regulation of copyright protection and trademark protection is discussed in two separate chapters. Those chapters are divided into identical sub-chapters to highlight similarities and differences of both legal institutes. The focus is on subjects of both protections, their beneficiaries, formation, content, duration, means, limitations, international context and the issues of licensing. In the chapter devoted to convergence, various situations which might occur...

Pourquoi les films de cinéma sont-ils souvent attribués à des auteurs alors même que leurs génériques énumèrent des dizaines de noms propres et de noms de métiers ? A la suite de Michel Foucault et de sa définition de la « fonction-auteur » comme forme d’appropriation des discours, cette thèse étudie la genèse et l’existence des auteurs de films au prisme des luttes de définition de leurs droits de propriété. Plutôt que de considérer les auteurs de cinéma comme ceux qui « font » les films ou comme une fiction occultant le caractère collectif de leur fabrication, elle montre que les auteurs sont les produits d’une division du travail cinématographique et des rapports de domination qui la traversent. Ce travail, inscrit dans une perspective de sociologie historique, adopte un référentiel binational centré sur la France et les Etats-Unis, où les auteurs de films ne disposent pas des mêmes droits. Il vise à objectiver les dimensions nationales, internationales et transnationales de l’appropriation des films. La période étudiée débute au moment où des personnes et des groupes ont été définis juridiquement comme des auteurs de cinéma : dès les années 1900.La première partie de ce texte est consacrée à la définition du droit de propriété des films depuis l’émergence du cinéma jusqu’à l’adoption de la loi du 11 mars 1957 et du Copyright Act de 1976. Après des décennies de débats, ces lois ont défini différemment l’identité et les droits des auteurs de films. A partir de publications juridiques, cinématographiques et parlementaires, on étudie ces lois comme les résultats d’un travail de codification structuré par des normes préexistantes et par les relations entre les acteurs qui ont participé à leur rédaction. Le développement du droit de propriété cinématographique est à la fois la cause et la conséquence de la constitution d’un espace de négociation regroupant des professionnels du droit, des hauts fonctionnaires, des professionnels de la politique et des organisations professionnelles du cinéma, dont certaines se sont constituées dans le but de défendre le statut d’auteur de leurs membres. La deuxième partie de la thèse prolonge et dépasse l’étude du droit de propriété en analysant l’appropriation des films comme une relation structurée par la division du travail cinématographique et social. Les luttes de définition de l’auteur de film qui ont débuté dans les années 1910 ont contribué à la hiérarchisation du personnel cinématographique et à la différenciation de la valeur cinématographique par rapport à d’autres formes de valeur économique et artistique. Des témoignages, autobiographies et publications cinématographiques permettent de montrer que l’attribution des films à des auteurs dépend de diverses relations de production, de diffusion et de valorisation des films, comme la répartition des tâches et du pouvoir entre le personnel, les incertitudes et inégalités qui structurent les trajectoires des prétendants au statut d’auteur et les vertus cognitives et distinctives de la fonction-auteur employée par les critiques et une fraction des spectateurs. On mobilise pour cela les travaux de Pierre Bourdieu sur les champs de production culturelle, d’Howard Becker sur les mondes de l’art et d’autres recherches sur les professions et artistiques et non-artistiques. En outre, la thèse constate que les hiérarchies professionnelles du cinéma se sont construites à l’intersection de rapports de domination communs à différents domaines d’activité. Par exemple, le genre a servi à hiérarchiser les groupes professionnels, à répartir le travail cinématographique et à exclure les femmes de certains métiers du cinéma. Le cinéma a produit d’immenses inégalités de richesse qui ont attisées les luttes de définition de l’auteur et accru le prestige de certains métiers. La troisième partie est centrée sur les cinéastes et leurs mobilisations autour du droit de propriété des films depuis les années 1960. / Why are motion pictures often attributed to authors – or “filmmakers” – while dozens of names and occupations appear in film credits? Following Foucault’s definition of authorship as a form of appropriation, this dissertation focuses on copyright law and authorship battles in order to explain the origins and existence of film authors. Rather than considering authors as the individuals who “make” movies or as a fiction overshadowing the collective nature of filmmaking, I show that the attribution of films to authors is the result of the division of filmmaking labor and its power relations. This research uses a sociohistorical perspective and a transnational approach centered on the United States and France, where film authors are not granted the same authorship rights. It shed lights on the national, international and transnational dimensions of the appropriation of motion pictures. This study starts when film authors first appeared in copyright law: as early as the 1900s.The first part of this dissertation focuses on the writing of motion pictures’ property rights from the birth of cinema to the passing of the French copyright law of 1957 and of the Copyright Act of 1976. After decades of battles, these laws provided different definitions of film authors and granted them with different rights. Using legal publications, congressional records and reports, as well as film journals, I study French and American laws as the results of a codification process shaped by preexisting law and by the cooperation and power relation between the actors who participated in their writing. The development of motion pictures’ property rights are the cause and consequence of the constitution of a space for negotiation between lawyers, public officials, politicians and film organizations. I explain that French and American copyright norms were structured by legal expertise, competition between lawyers, relations between film organizations and the unequal economic, legal and political power of these organizations. A study of the revisions of the Berne Convention for the protection of literary and artistic works also show the interdependency between national and international norms of film authorship and authorship.The second part of the dissertation study the appropriation of motion pictures as a social relation based on the division of filmmaking labor and social labor. Film authorship battles which started in the 1910s contributed to the creation of professional hierarchies and to the differentiation of film value from other forms of economic and artistic value. I use various writings of film professionals, along with other sources, to show that film authorship was shaped by various aspects of film production, dissemination and reception (including the power relations between film professionals, the diversity of film careers and the uses of authors’ names by film critics and audiences). To study the division of filmmaking labor, I use Pierre Bourdieu’s research on cultural fields, Howard Becker’s work on art worlds as well as scholarship on professions. The dissertation also shows that the professional hierarchies of motion picture production interrelate with various forms of domination common to other fields. This dissertation is meant to be useful for scholars interested in the history of copyright law, motion pictures, authorship, the division of (artistic) labor, professions and transnational approaches.

Diploma thesis " Information and library services for students of art schools with a focus on dramatic and musical art in the Czech Republic " aims to analyze the environment of libraries with a fund focused on music and theater, which serves students of art schools. This thesis also describes library and information services and the impact of copyright law to provide services in libraries with a fund containing score, audio and audiovisual media. The last section describes methodology of qualitative research and evaluates research by force field analyzing method and also analyzed findings and recommendations to address the identified facts.

The topic of this master's degree diploma thesis is the Google Books service, formerly Google Book Search and Google Print. The wider general context is described briefly in the first two chapters. Google company and its portfolio of services are introduced, as well as the latest progress in sharing of information, for example trends as digital libraries and open access. Third chapter presents results of the analysis of the Google Books as the complex system. Mentioned are: a history of the service, Library Project, Partner Program, metadata harvesting, scanning methods, available searching options, all information and functionalities in the individual records, users' participation. Chapter four is focused on copyright law and disputes related to the Google Books. Fifth chapter deals with the usage of the Google Books in the Czech Republic, in the terms of all local activities. Great attention belongs to digitization in cooperation of Google company with National Library of the Czech Republic. Two questionnaires were done for this thesis, between college students and large Czech publishers. Good knowledge of the service existence was found; the most attractive attribute is the presence of full texts. Publishers appreciate a possibility of selling e-books. Detailed results of both surveys are the content of...

「智慧財產權」係指人類精神活動之成果而產生財產上之價值者，由法律所創設之一種權利。然而著作權是智慧財產權之一種，著作權法是為了保障著作人應有之權利而制定之法律，但並非所有著作均受到著作權法的保護，立法者於制定著作權法時，考量重點有三：著作人之權益、社會公共利益與國家社會發展三方面，然而著作人在創作時，往往會涉及先人文化之遺產，所以立法時仍顧及公共利益予以限制，再者著作權制度終極目標乃是促進國家文化發展，當面臨公共利益與著作權人權益保護衝突時，應特別注意兩者之平衡，考量使社會大眾能在合理程度範圍內，自由利用著作權人之文化創作，以促進國家社會發展。 隨著科技時代的來臨，過去人類所創造的文化資產與各類的知識，可以藉由科技來加以保存、整理、傳播及利用，一方面使得知識能永久保存下來，一方面使得知識與文化資源得以共享，繼而加速文明的進步。有鑑於此，各國也紛紛著手進行數位典藏計劃，我國擁有悠久的歷史背景、累積豐富的文化資產以及珍貴的文獻與歷史文物，現也正積極進行相關的數位典藏計劃，而圖書館的典藏受到資訊科技的影響，逐漸開始著手進行自動化的工作，並引進許多電子資源，這些資源建立了數位館藏，內容包含電子書、電子期刊、電子資料庫，也進一步參與了許多數位典藏計劃，但數位資源與數位典藏當中仍然有許多著作權相關的問題瀰漫著，而資源建立進而引發著作權的問題。 美國著作權法是全世界發展最為完善的國家之一，其使用各種方式來協助一些侵權問題嚴重的國家，而我國對於著作權法的修訂，與美國方面的淵源頗深，並由圖書館數位典藏管理的角度來進行分析，針對中美兩國圖書館數位典藏管理與著作權法之關係，擬就研究問題逐一進行分析與探討之。在兩國數位典藏管理與著作權法的議題之中，時常有相關性的議題產生，進而牽動整體修法的方向，需要相互比對。本研究藉由比較研究法的方式，瞭解兩國之間的差異性，並且透過描述、解釋、併排、比較的過程，最後進行分析之，將比較之結果做一結論，以驗證研究假設，得出具體性的建議。 / Intellectual property right is a priority protection based upon a compromise as an aspect of human spirit activities achievement. With respect of it creates a statutory and potential property right for writers of which does not cover for all of writings, the cardinal principle of establishing copying is writer’s rights and interests, public interest, and society development three factors. In respect of the writer as in creating to which may involved with culture inheritance affiliated rights that need to take both of upon factors into account on copyright system establishment. Particularly, how to negotiate the conflict rights to make balance for the public interest and writer’s copyright protection in terms of promoting society development by adopting the creations of writers’ copyright freely which under a legitimate range. Benefited from the help of high technique of science adoption for those cultural properties and correlative knowledge preservation, organization, broadcasting, and utilization of which make a possibility of sharing cultural resources by each other and to keep progressing for human culture constantly. Consequently, adopt a digital collection plan for national heritage become a current for the global nations. In concern of the long-standing historical background of Republic of China, have an abundant cultural heritage and plentiful valuable document and historical relics that engaged in a necessary planning project for processing correlative digital collection recently. However, a solemn concern emerged by the subject of copyrights as integrating the electronic book, electronic periodical, and electronic information bank into the respective sub-subject planning. United States as the world top faultless copyright law featured country, which providing assistance to help those countries that seriously infringed by copyright tort and implementing different methods to improve copyright revision. Especially, according to the reality of Republic of China has a long good relationship with United States that is necessary to make a comparison study for respective library digital collection management and copyright between two countries. Regarding the two study subjects of which interact debate revelation frequently that is necessary to make a comparative analysis and probe into the core of two correlative digital collection managements on the direction of integral law revision. In this study, implement comparative analysis to understand the differences between two countries and through the process of description, interpretation, juxtaposition, and comparison to analyze the comparison result. At last, a specific proposal provided by the analysis conclusion and testify assumes in this paper.

In the age of digitalizarion several new ways of creating immaterial property have sprung up due to the resurgence of artificial intelligence (AI). This has paved the way for different kinds of tech including the assistance of AI in a more normalized way. A prominent variation of this tech is called "deepfake". Deepfakes are a technology that essentially places your face, likeness, mannerisms, and voice onto new situations that the creator then steers to make the deepfake do or say things that the person whose deepfake is based on hasn't done or said. This technology has been used in a myriad of ways, all from humourous content to extorsion and revenge porn. The aim of this master thesis is to analyse how immaterial law protection is achieved through current Swedish immaterial law principles and how these fit within the context of heavily based AI-tech such as deepfakes. This is done through a dogmatic lens, meaning that a systematization and mapping of both Swedish and EU-based laws and praxis are done as well as discussing the current thoughts on AI-assistance throughout the creative process. Another subject that is touched upon is the parody exception in immaterial law and the concept of adaptation and how these work with and apply to AI-based creations. Part of the problems that we face right now is that we have no existing legal parameters to solve the problem of larger AI-involvement in creative processes, this is certainly going to change how we view copyright law today. When comparing and using EU as well as Swedish praxis to analyze the AI-problem a common denominator is that all copyright law and praxis is based around the presumption that there needs to be a human involved in the majority of the creative process. AI already exists as a part of many creative processes today without any questions asked, however when the AI-part is more significant in the process the question becomes complicated when paired with traditional copyright law perspectives. However, some discussions have been going on in both Swedish and EU legal spheres, mostly in the EU who are going to legislate more in the field of AI. In Sweden there have been no legislative processes when it comes to AI in copyright law however there have been some governmental organisations and essays that have shed a light on the matter. I conclude this master thesis by writing about the findings of each question as has been mentioned above, namely that AI becomes a significant factor in deciding if a deepfake achieves copyright protection or not and the same can be said about parodies. After this I make a concluding analysis of the urgency of a need for laws that tackle AI in the area of immaterial laws listing other areas that might need it more than immaterial laws as has been explored throughout this thesis as well and that Sweden needs to take part in every discussion about this to form a sustainable legal framework for AIs in the context of immaterial laws. This will open up for a clear framework when assessing different technologies that use AI like deepfakes as well.