Darbo tema – atlikėjų teisių kolektyvinis administravimas. Dabartis ir perspektyva. Atlikėjų teisių apsauga yra palyginti naujas reiškinys. Atlikėjų teisių atsiradimas siejamas su XX a. pradžioje atsiradusiomis naujomis technologijomis, leidusiomis gyvus atlikimus pakeisti atlikimo įrašais. Atlikėjai siekė kontroliuoti savo atlikimus ir reikalavo teisių šiems atlikimams apsaugoti. Atlikėjų teisės yra fundamentalios. Jomis ne tik užtikrinama atlikėjų turtinių interesų apsaugą, šios teisės taip pat skatina ir palaiko kūrybingumą bei bendrą visos visuomenės kultūros raidą. Nemažai nacionalinių ir tarptautinių teisės aktų garantuoja atlikėjams jų teises. Svarbiausi iš jų: 1961 m. Romos konvencija, 1996 m. PINO Atlikimų ir fonogramų sutartis bei ES direktyvos. Atlikėjų teisių kolektyvinio administravimo organizacijos – tai jų narių (teisių turėtojų) įsteigtos, dažniausiai pelno nesiekiančios organizacijos. Pagrindinis šių organizacijų tikslas yra surinkti ir paskirstyti teisių turėtojams priklausanti atlyginimą už įvairių jų turtinių teisių panaudojimą. Darbo tikslas – atsižvelgiant į istorines raidos aplinkybes, išsamiai išanalizuoti dabartinį atlikėjų teisių kolektyvinio administravimo reglamentavimą tiek tarptautiniu, tiek regioniniu lygiu. Remiantis analize atsakoma į klausimą ar atlikėjų teisių reglamentavimas bei šių teisių kolektyvinis administravimas šiandieninėje situacijoje yra pakankamas atlikėjų turtiniams interesams apsaugoti. Siekiant tikslo darbe analizuojamas... [toliau žr. visą tekstą] / The topic of this paper is Collective Management of Performers' Rights. Nowadays and Future Perspective. The issue of the performers' neighbouring rights is relatively new. It emerged at the beginning of the twentieth century, particularly as a result of technical developments when recordings began to be substitute for live performances. Performers have sought to keep control of their performances by claiming rights to protect them. These rights are fundamental: they secure not only an ingome for performers but also foster the maintenance and the development of creation and culture in the interest of society as a whole. Many national laws and certain international normative texts (Rome Convention of 1961, WIPO Performances and Phonograms Treaty of 1996 and European Directives) Performers collecting societies are associations of rightholders. They are set up to collect and distribute royalties for rightsholders on a collective basis. Collective management societies of performers are generally non profit organisations based on collective agreements in certain cases. The goal of this paper is a thorough analysis of current regulation of performers rights' collective administration in both international and regional levels taking into consideration the circumstances of historical development. Based on the analysis it will answer the question whether the regulation and collective administration of performers' rights today is sufficient to protect performers' financial interests... [to full text]

The internet offers music lovers virtually limitless possibilities. Unfortunately internet also gives music pirates a new weapon: peer-to-peer (P2P technologies), ftp and unauthorized internet sites. National copyright laws generally mirror the international laws. New technologies have spawned new laws, so this effort is more important than ever. Specific copyright legislation needs to be revised, especially those concerning internet service provider liability for the copyright infringements committed by their users as well as administrative and criminal law.

O objetivo do estudo é demonstrar a possibilidade e a necessidade de proteção jurídica da voz. Para tanto, o estudo analisa se a voz de uma pessoa é única e se conseguimos diferenciar uma pessoa de outra com base em sua voz, enfocando, principalmente, a dublagem de obras audiovisuais, o uso (ou imitação) da voz de celebridades para fins humorísticos, em campanhas publicitárias, institucionais ou políticas, sem autorização ou para fins diversos e/ou após o período autorizado, bem como a divulgação de entrevistas de pessoas comuns sem que a voz do entrevistado seja descaracterizada e o uso da voz de pessoas comuns para fins diversos do combinado, entre outras hipóteses. Na primeira parte do trabalho, verifica-se que a voz é um som vivo e que existe substancial influência do corpo e dos estados psicológicos na voz, e vice-versa. Assim, afirma-se que a voz é um meio pelo qual a pessoa expressa sua personalidade. A segunda parte do trabalho apresenta a evolução histórica da tutela da voz, enquanto que a terceira parte do trabalho traz um panorama da tutela da voz no direito estrangeiro. Na quarta parte do trabalho, apresenta-se a voz como meio de expressão de idéias, como instrumento para interpretação artística e como instrumento de trabalho, e verifica-se que o ordenamento jurídico brasileiro reconhece a voz como um bem jurídico a ser protegido sob diversos enfoques. Em seguida, analisam-se os possíveis fundamentos existentes no ordenamento jurídico brasileiro para a proteção da voz, e constata-se que não há legislação sistematizada sobre o tema. Demonstra-se que muitos autores brasileiros reconhecem na voz um atributo da personalidade, mas não reconhecem a autonomia da voz em relação a outros atributos. Assim, apresentam-se as justificativas para o reconhecimento do direito à voz como um direito da personalidade autônomo, indicando sua natureza jurídica, seu conteúdo, suas características especiais e sua extensão. Aponta-se, ainda, a interrelação do direito à voz com outros direitos da personalidade, sua eventual colisão com direitos de terceiros e possíveis maneiras de solucionar situações fáticas de aparente conflito. Nesse contexto, analisa-se a questão das imitações vocais. Finalmente, é analisada a responsabilidade civil por violação ao direito à voz no Brasil. A quinta parte do trabalho traz propostas para ampliar a efetividade da tutela jurídica da voz no Brasil. O estudo conclui que a voz é um bem jurídico a ser protegido, que essa proteção se dá por meio do direito à voz, direito da personalidade autônomo, cuja extensão deve abranger todas as pessoas, não se podendo mais defender que a tutela da voz limita-se ao âmbito dos direitos conexos ao direito de autor ou a um direito do trabalhador dos meios de comunicação. / The goal of this study is to demonstrate the possibility and necessity of legal protection of the human voice. The study assesses whether a person\'s voice is unique and whether we can distinguish one person from another individual based on their voices. The study focuses mainly on the dubbing of audiovisual works, the use (or imitation) of the voice of celebrities for comedy shows, advertising campaigns, institutional or political use without authorization or for other purposes and/or after the authorized period, as well as the disclosure of the voice in sensitive interviews without cloaking effects and the use of the voice of ordinary people for unauthorized purposes. In the first part of the study, it is shown that the voice is a live sound and that the voice is deeply influenced by the body structure and by psychological elements, and vice versa. Thus, it is said that the voice is a way by which a person expresses their personality. The second part of the study offers the historical evolution of the protection of the voice whereas the third part provides a brief comparative analysis of voice protection in foreign law. The fourth part presents the voice as a way of expressing ideas, as a tool for artistic interpretation, and as a working tool, showing that the Brazilian legal system recognizes the voice as a legal right to be protected under various approaches. The relevant provisions of the Brazilian legal system able to protect the human voice are presented, and it is shown that there is no systematic legislation on the subject matter. In fact, many Brazilian authors acknowledge the voice as an attribute of the human personality, but they do not recognize the autonomy of the voice over other personality attributes. Therefore, the study presents some justifications to acknowledge the legal protection of the human as an independent personality right, indicating its legal nature, contents, special characteristics and extension. The interrelation of the human voice with other personality rights is also presented, along with Possible collisions with third-party rights and the possible ways to resolve factual situations of apparent conflict. In this context, the study explores the issue of vocal imitations. Finally, the liability for violation of the sound of a voice in Brazil is analyzed. The fifth part of the study offers some proposals to expand the effectiveness of the legal protection of the human voice in Brazil. Thus, the study concludes that the human voice is an asset that must be legally protected and that said protection happens by the recognition of a voice right, which is an autonomous personality right, encompassing all people, and that said protection should not be limited to the scope of rights related to copyright or to labor rights of media people.

O objetivo do estudo é demonstrar a possibilidade e a necessidade de proteção jurídica da voz. Para tanto, o estudo analisa se a voz de uma pessoa é única e se conseguimos diferenciar uma pessoa de outra com base em sua voz, enfocando, principalmente, a dublagem de obras audiovisuais, o uso (ou imitação) da voz de celebridades para fins humorísticos, em campanhas publicitárias, institucionais ou políticas, sem autorização ou para fins diversos e/ou após o período autorizado, bem como a divulgação de entrevistas de pessoas comuns sem que a voz do entrevistado seja descaracterizada e o uso da voz de pessoas comuns para fins diversos do combinado, entre outras hipóteses. Na primeira parte do trabalho, verifica-se que a voz é um som vivo e que existe substancial influência do corpo e dos estados psicológicos na voz, e vice-versa. Assim, afirma-se que a voz é um meio pelo qual a pessoa expressa sua personalidade. A segunda parte do trabalho apresenta a evolução histórica da tutela da voz, enquanto que a terceira parte do trabalho traz um panorama da tutela da voz no direito estrangeiro. Na quarta parte do trabalho, apresenta-se a voz como meio de expressão de idéias, como instrumento para interpretação artística e como instrumento de trabalho, e verifica-se que o ordenamento jurídico brasileiro reconhece a voz como um bem jurídico a ser protegido sob diversos enfoques. Em seguida, analisam-se os possíveis fundamentos existentes no ordenamento jurídico brasileiro para a proteção da voz, e constata-se que não há legislação sistematizada sobre o tema. Demonstra-se que muitos autores brasileiros reconhecem na voz um atributo da personalidade, mas não reconhecem a autonomia da voz em relação a outros atributos. Assim, apresentam-se as justificativas para o reconhecimento do direito à voz como um direito da personalidade autônomo, indicando sua natureza jurídica, seu conteúdo, suas características especiais e sua extensão. Aponta-se, ainda, a interrelação do direito à voz com outros direitos da personalidade, sua eventual colisão com direitos de terceiros e possíveis maneiras de solucionar situações fáticas de aparente conflito. Nesse contexto, analisa-se a questão das imitações vocais. Finalmente, é analisada a responsabilidade civil por violação ao direito à voz no Brasil. A quinta parte do trabalho traz propostas para ampliar a efetividade da tutela jurídica da voz no Brasil. O estudo conclui que a voz é um bem jurídico a ser protegido, que essa proteção se dá por meio do direito à voz, direito da personalidade autônomo, cuja extensão deve abranger todas as pessoas, não se podendo mais defender que a tutela da voz limita-se ao âmbito dos direitos conexos ao direito de autor ou a um direito do trabalhador dos meios de comunicação. / The goal of this study is to demonstrate the possibility and necessity of legal protection of the human voice. The study assesses whether a person\'s voice is unique and whether we can distinguish one person from another individual based on their voices. The study focuses mainly on the dubbing of audiovisual works, the use (or imitation) of the voice of celebrities for comedy shows, advertising campaigns, institutional or political use without authorization or for other purposes and/or after the authorized period, as well as the disclosure of the voice in sensitive interviews without cloaking effects and the use of the voice of ordinary people for unauthorized purposes. In the first part of the study, it is shown that the voice is a live sound and that the voice is deeply influenced by the body structure and by psychological elements, and vice versa. Thus, it is said that the voice is a way by which a person expresses their personality. The second part of the study offers the historical evolution of the protection of the voice whereas the third part provides a brief comparative analysis of voice protection in foreign law. The fourth part presents the voice as a way of expressing ideas, as a tool for artistic interpretation, and as a working tool, showing that the Brazilian legal system recognizes the voice as a legal right to be protected under various approaches. The relevant provisions of the Brazilian legal system able to protect the human voice are presented, and it is shown that there is no systematic legislation on the subject matter. In fact, many Brazilian authors acknowledge the voice as an attribute of the human personality, but they do not recognize the autonomy of the voice over other personality attributes. Therefore, the study presents some justifications to acknowledge the legal protection of the human as an independent personality right, indicating its legal nature, contents, special characteristics and extension. The interrelation of the human voice with other personality rights is also presented, along with Possible collisions with third-party rights and the possible ways to resolve factual situations of apparent conflict. In this context, the study explores the issue of vocal imitations. Finally, the liability for violation of the sound of a voice in Brazil is analyzed. The fifth part of the study offers some proposals to expand the effectiveness of the legal protection of the human voice in Brazil. Thus, the study concludes that the human voice is an asset that must be legally protected and that said protection happens by the recognition of a voice right, which is an autonomous personality right, encompassing all people, and that said protection should not be limited to the scope of rights related to copyright or to labor rights of media people.

In today’s data-driven society, also called the Fourth Industrial Revolution, Text and Data Mining (TDM) has become an essential tool in managing the booming Big Data in its different sizes and forms. It is also an inherent part of AI research using machine learning, where these techniques highly depend on datasets derived from TDM to self-learn and to make autonomous decisions. Through the lens of copyright and related rights, TDM may be used to train AI for the purpose of AI-driven creativity, where AI has already helped in actualizing paintings, compose music and to produce movie trailers. However, since TDM typically involves extraction and/or copying of works and other subject matter protectable by copyright and related rights – in order to create datasets relevant to each AI project – it is at risk of infringing the exclusive right of reproduction and sui generis database right under the EU acquis. Indeed, TDM used for the purpose of AI-driven creativity may not necessarily amount to an infringement, if the restricted act is covered by prima facie an available exception or limitation. Several pre-existing exceptions and limitations under the EU acquis, i.e. temporary act of reproduction, scientific research, normal use of a database, extraction of insubstantial part from a database and the mandatory exception for computer programs, have been examined as possible candidates to screen unlicensed TDM activities from copyright and related rights infringement. However, this thesis observes that due to their narrow scope and the legal fragmentation caused by the voluntary implementation of some of the exceptions, these are not fully adapted to cover unlicensed TDM and thus creating legal uncertainties for AI developers. In this regard, in order to transfers the fundamental principle of copyright and related rights into the digital age and to compete with legal systems that offer a more friendly environment for TDM (e.g. US, Japan and UK), the European legislator adopted the Digital Single Market Directive 2019/790 (DSM Directive) comprising two obligatory TDM exceptions in articles 3 and 4. However, despite the reduction of several legal uncertainties and the diverging national implementations of the pre-existing exceptions and limitations, the adopted regime has significant shortcoming that may hinder the AI development in Europe. Ultimately, this thesis concludes that despite following an approach that better fits the digital environment, the DSM Directive fails to address the new era of the Fourth Industrial Revolution to which AI belongs.

De tous les droits de propriété intellectuelle, le droit d’auteur était celui qui semblait le plus éloigné des préoccupations économiques des autorités de concurrence. Conçu à l’origine dans un souci de protection de la création littéraire et artistique, il apparaît aujourd’hui davantage comme un outil de puissance économique tourné vers la protection de l’investissement et, plus généralement, un vecteur de l’activité économique. C’est à ce titre que l’application des règles de concurrence à des pratiques mettant en cause l’exercice ou la gestion de droits d’auteur est désormais considérée comme incontournable. Cette application se doit cependant d’être mesurée. Elle bouscule parfois les principes de la propriété littéraire et artistique et conduit à s’interroger sur une définition plus appropriée des contours de la protection offerte par le droit d’auteur. En outre, la remise en cause, au nom du principe de libre concurrence, de pratiques par ailleurs conformes aux règles du droit d’auteur, n’est pas sans risque. Elle contribue à modeler les contours du droit d’auteur selon une conception propre au droit de la concurrence et peut tendre, parfois, vers un amenuisement des prérogatives des titulaires de droits ou un affaiblissement du niveau de leur protection. À terme, la création pourrait s’en trouver menacée. Il convient donc de rechercher, en toute hypothèse, un équilibre permettant de satisfaire aussi bien à l’exigence de concurrence sur les marchés qu’à l’impératif d’efficacité de la protection du droit d’auteur. / Among all intellectual property rights, copyright seemed to be initially far away from the economic concerns of competition authorities. Originally designed with a view to protecting literary and artistic creation, it now appears more as a tool of economic power turned to investment protection, and, more generally, as a vehicle of economic activity. As such, the application of competition rules to practices based on exercise or management of copyright is now regarded as unavoidable. However, such application must be performed with care and caution as it sometimes bumped into the principles of literary and artistic property and raises questions about a more appropriate definition of the protection offered by copyright. Moreover, the modification of practices complying with copyright rules, in the name of free competition, is not without risk. It leads to draw the outlines of copyright according to considerations designed for competition laws and can aim, sometimes, towards an erosion of the rights of copyright’s owners or a decline of their level of protection. Eventually, creation could be threatened. In any event, it is therefore essential to look for an equilibrium which would satisfy both the requirements and principles of free market competition and the necessity to effectively protect copyright.

Darbe detaliai apžvelgiamos intelektinės nuosavybės techninės apsaugos formos, įvairios jų klasifikacijos, iš kurių šiame kontekste svarbiausias yra skirstymas į aktyvias ir pasyvias techninės apsaugos priemones. Darbe išsamiai analizuoti apsaugos mechanizmai, skirti intelektinę nuosavybę saugančių techninių apsaugos priemonių teisinei apsaugai, pradedant 1996 m. PINO autorių teisių, fonogramų gamintojų ir transliuotojų sutartimis, 2001 m. ES direktyva dėl autorių teisių ir gretutinių teisių informacinėje visuomenėje tam tikrų aspektų suderinimo, baigiant įvairių valstybių (įskaitant ir Lietuvos) nacionaliniu teisiniu reguliavimu. Atliktos teisinės informacijos analizės pagrindu atskleidžiamos intelektinės nuosavybės teisinių ir techninių apsaugos priemonių suderintos ir nesuderintos sritys ir daroma išvada, jog teisinės apsaugos mechanizmas, pasirinktas sureguliuoti techninių apsaugos priemonių naudojimą ir kitus susijusius veiksmus, buvo netikslus ir nepasiteisino, kadangi daugelis valstybių nacionaliniu lygiu skirtingai ir neatsižvelgiant į pirminius tikslus interpretavo ir įgyvendino techninių apsaugos priemonių teisinės apsaugos nuostatas. Praktinis situacijos tyrimas atskleidžia neigiamą visuomenės ir teisių gynimo institucijų požiūrį į pasirinktą teisinės apsaugos modelį ir į techninių apsaugos priemonių naudojimą apskritai, kadangi techninės apsaugos priemonės sukelia daug problemų teisėtiems intelektinės nuosavybės objektų naudotojams ir nedaro poveikio asmenims... [toliau žr. visą tekstą] / Master Paperwork thoroughly overviews technical protection measures of intellectual property and various classifications of them and determines the main differentiation in this work context – i.e. classification to active and passive technical protection measures. This paperwork also deeply analyses legal protection mechanisms of technical protection measures, starting WIPO Copyright, Phonogram producers and broadcasters treaties of year 1996, continuing to European Union directive on the harmonization of certain aspects of copyright and related rights in the information society of year 2001 and finishing the analysis of the national legal regulations of different world countries, including Lithuania. Under the basis of the analysis of the legal information, the author reveals harmonized and incompatible areas between legal protection of intellectual property and technological protection measures and concludes that the legal protection mechanism, which was chosen to regulate the usage and other related actions of technological protection measures, was not correct and did not serve the purpose, because many countries diversely and without seeking primary goals of WIPO treaties interpreted and implemented the provisions of the legal protection of technological protection measures. The practical survey of the situation reveals negative opinion of society, scholars and justice institutions concerning the chosen legal protection model and concerning the usage of technological... [to full text]

華人至馬來亞的歷史相當長遠，但馬來亞華人參與馬來亞政治的運動卻從戰後才風起雲湧。1945年日本戰敗，大英帝國重拾對馬來亞的控制。1946年出現的馬來亞聯盟（或名聯邦）計畫（Malayan Union）擴大了馬來亞境內公民權的取得資格，並且中國與英國於1943年簽訂的中英新約，廢除過去英國對中國的不平等條約，中國與英國互為平等國家，此舉是否侵犯了馬來亞華人擁有的各種通商權益，立場不同的各界展開了一場激烈的論戰。1948年大英帝國毅然實施與馬來亞聯盟計畫迥然不同的馬來亞聯合邦（Federation of Malaya），短縮了公民權的取得，並且以馬來人的利益至上。面對此一變局，馬來亞華人團體各自採取了不同的管道來應變：有從政治層面下手的溫和手段，也有馬來亞共產黨的武裝暴動。在戰後初期，1940年代末的馬來亞地區經歷了種種巨大變革，華人就在這種劇烈變幻的世局中試圖力挽狂瀾，從公民權到通商權益的爭議，至1950年代馬來亞華人爭取官方語言與教育的權利，都是戰後一連串爭取政治平等運動的延續；最後1957年馬來亞獨立，今日馬來西亞華人的處境就在那時成形。

This master thesis is dedicated to the press publishers’ right introduced by Article 15 of the Directive (EU) 2019/790 on copyright and related rights in the Digital Single Market. The article became one of the most debated provisions in the whole directive. On the one hand, the discussion was driven by EU press publishers because of thecommercial crisis in the traditional press publishing and news mediasectors. Press representatives began to express concerns about the free riding of press publications by content aggregators and search engines who usually reuse such contents for profit. On the other hand, service providers argued that press publishers would lose traffic to their websites, affecting the quality of the press and constrainingfundamental rights. This conflict pushed the press publishers to bringing these issues before courts, legislators and competition authorities. Since these complaints were not resolved completely, the only way to resolve the conflict seemed to be the introduction of the EU-wide related right.

La construction de la propriété intellectuelle au Cambodge remonte à une date récente. Cetteconstruction se traduit, d’une part, par l’adoption d’un cadre juridique consacrant la notionjuridique de la propriété intellectuelle et, d’autre part, par l’élaboration des mécanismes deprotection de la notion consacrée.Comme la législation de la propriété intellectuelle a été adoptée pour assurer la conformité dudroit cambodgien aux exigences de l’OMC, il n’est pas surprenant de constater que la notion et lerégime juridique de la propriété littéraire et artistique et ceux de la propriété industriellecambodgiennes sont presque identiques à ceux qui sont prévus dans l’Accord ADPIC et dans lesTraités et Conventions administrés par l’OMPI. À cause des obstacles d’ordre juridique,économique et social, la plupart des lois cambodgiennes de la propriété intellectuelle ne connaitpas encore une application effective et correcte dans la pratique. En conséquence, la notion de lapropriété intellectuelle cambodgienne est très peu développée.Pour faire respecter le titre de propriété littéraire et artistique et celui de la propriété industrielle,les mécanismes légaux et judiciaires visant à prévenir les atteintes au droit exclusif dont disposentles titulaires du droit, à préserver les éléments de preuves et à réprimer des atteintes sont prévusdans la législation cambodgienne portant sur la propriété intellectuelle. Par ailleurs, le recours auxmodes alternatifs de règlements de litiges tels que l’arbitrage commercial, la médiation et laPreliminary Alternative Disputes Resolution est également possible. L’efficacité et l’effectivitéde la mise en oeuvre de ces mécanismes pour la protection de la propriété intellectuelle sur leterritoire cambodgien sont une question d’actualité. / The construction of intellectual property rights in Cambodia dates back to a recent time. This construction implies, on the one hand, the adoption of a specific legal framework that establishes the notion of intellectual property and, on the other hand, the elaboration of protection mechanisms of the established notion. As the legislation on intellectual property was adopted to ensure the conformity of Cambodian law with WTO requirements, it is not surprising that the notion and legal regime of literary and artistic property and that of industrial property are almost identical to what is provided under TRIPS Agreement and other Treaties and Conventions administered by the WIPO. Because of legal, economic and social barrier, most of Cambodian laws relating to intellectual property have not been effectively and correctly applied in practice. Consequently, the notion of intellectual property has not been well developed.To enforce the exclusive right of literary and artistic property and that of industrial property, the legal and judicial mechanisms aiming at preventing infringement, preserving the proofs and punishing the infringement are provided under Cambodian legislation relating to intellectual property. Moreover, utilization of alternative disputes resolutions mechanisms such as commercial arbitration, mediation and Preliminary Alternative Disputes Resolution, is also possible. The efficiency of these mechanisms for the protection of intellectual property in Cambodia is, however, a topical question.