Relevant bibliographies by topics / Moral rights in copyright

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Academic literature on the topic 'Moral rights in copyright'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Moral rights in copyright"

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Abdullakhodjaev, Gayrat Talipovich. "Protection Of Moral And Material Rights Of Copyright Subjects." American Journal of Social Science and Education Innovations 03, no. 03 (March 17, 2021): 73–80. http://dx.doi.org/10.37547/tajssei/volume03issue03-12.

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This topic deals with the most common questions about the transfer of copyright to third parties. Violations in the field of copyright in terms of the participation of various subjects and their relationship to objects of copyright legal assessment of the interaction of the author of a work in the field of science, literature and art. Prevention of offenses in the field of copyright.
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Yu, Peter K. "Moral Rights 2.0." 2013 Fall Intellectual Property Symposium Articles 1, no. 4 (March 2014): 873–900. http://dx.doi.org/10.37419/lr.v1.i4.3.

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When the protection of moral rights is brought up in the United States, commentators have always emphasized the differences between continental Europe and the United States.2 Cases that have been widely used as textbook illustrations include Soc. Le Chant de Monde v. Soc. Fox Europe3 and Turner Entertainment Co. v. Huston.4 While the Anglo-American copyright regime and the French author’s right (droit d’auteur) regime were quite similar in the eighteenth century, 5 the protection of moral rights did not attain formal international recognition until 1928.6 The gap between the U.S. and French systems has also grown considerably since the enactment of the 1909 U.S. Copyright Act.
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Emruli, Safet, Agim Nuhiu, and Besa Kadriu. "Copyright and Copyright Protection." European Journal of Interdisciplinary Studies 2, no. 4 (December 1, 2016): 36. http://dx.doi.org/10.26417/ejis.v2i4.p36-40.

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One of the legal intellectual property disciplines are copyrights which concerns artistic and literary works. Copyright is: bundle of exclusive legal rights that has to do with protection of literary and artistic works. It is granted to authors and artists to protect expressive works against unauthorized reproduction or distribution by third parties. Copyright protect “works”, expression of thoughts and ideas. Literary, dramatic, musical and artistic works must be original, it means not to be a copy. Copyright covers two other types of right: economic rights, the right of the owner to benefit financial reward from use of his work by others and moral rights which always have to do with original holder no matter if economic rights are transferred or not. Economic rights can be transferred. Bern Convention for the Protection of the Literary and Artistic Works is international key agreement and the oldest multilateral agreement in the field of copyright. Copyright subsists automatically on the creation of a work, no application needed, nor do any formalities apply. Nature of copyright is territorial and the minimum term of protection is life of the author plus 50 years after his/her death. In European Union and in certain number of countries, terms of protections of are extended to life of the author plus 70 years after his/her death.
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Emruli, Safet, Agim Nuhiu, and Besa Kadriu. "Copyright and Copyright Protection." European Journal of Interdisciplinary Studies 6, no. 1 (December 1, 2016): 36. http://dx.doi.org/10.26417/ejis.v6i1.p36-40.

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One of the legal intellectual property disciplines are copyrights which concerns artistic and literary works. Copyright is: bundle of exclusive legal rights that has to do with protection of literary and artistic works. It is granted to authors and artists to protect expressive works against unauthorized reproduction or distribution by third parties. Copyright protect “works”, expression of thoughts and ideas. Literary, dramatic, musical and artistic works must be original, it means not to be a copy. Copyright covers two other types of right: economic rights, the right of the owner to benefit financial reward from use of his work by others and moral rights which always have to do with original holder no matter if economic rights are transferred or not. Economic rights can be transferred. Bern Convention for the Protection of the Literary and Artistic Works is international key agreement and the oldest multilateral agreement in the field of copyright. Copyright subsists automatically on the creation of a work, no application needed, nor do any formalities apply. Nature of copyright is territorial and the minimum term of protection is life of the author plus 50 years after his/her death. In European Union and in certain number of countries, terms of protections of are extended to life of the author plus 70 years after his/her death.
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Merista, Ovia. "HAK CIPTA SEBAGAI OBYEK JAMINAN FIDUSIA DITINJAU DARI UNDANG-UNDANG NOMOR 28 TAHUN 2014 TENTANG HAK CIPTA DAN UNDANG-UNDANG NOMOR 42 TAHUN 1999 TENTANG JAMINAN FIDUSIA." Veritas et Justitia 2, no. 1 (June 21, 2016): 204. http://dx.doi.org/10.25123/vej.2072.

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<p><em>This article shall discuss the possibility to utili</em><em>z</em><em>e copyright as fiduciary security to a loan, in accordance to Law </em><em>N</em><em>o. 42 of 1999 regarding fiduciary pledge/security and the Copyrights Law (</em><em>Law No. </em><em>28 of 2014). The use of copyrights as a fiduciary security is made possible as copyright owner possess exclusive economic rights and not only moral rights. The procedure to be followed is regulated by Law </em><em>N</em><em>o. 42 of 1999. The economic value of the copyright, is however, determined by the (potential) utilization of the object. In fact the value is calculated against the copyright holder’s right to remuneration or royalty. </em></p><p><em> </em></p><p align="right"><strong><em>Keywords: </em></strong></p><em>copyrights, security to a loan, fiduciary, moral and economic exclusive rights</em>
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Muhamad Harisman. "KEPASTIAN HUKUM HAK CIPTA ATAS KARYA DESAIN ARSITEKTUR DI INDONESIA DIKAITKAN DENGAN PRINSIP ALTER EGO TENTANG HAK CIPTA." Jurnal Poros Hukum Padjadjaran 1, no. 2 (December 7, 2020): 283–302. http://dx.doi.org/10.23920/jphp.v1i2.238.

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ABSTRAK Seiring berkembangan zaman ragam bentuk arsitektur semakin berkembang yang di dorong oleh perkembangan teknologi dan semakin terbatasnya lahan sehingga desain arsitektur dituntut agar dapat menyesuaikan dengan kondisi tersebut. Karya desain arsitektur merupakan bagian dari Kekayaan Intelektual (KI) atau Intellectual Property adalah suatu hak yang timbul bagi hasil pemikiran yangmenghasilkan suatu produk yang bermanfaat bagi manusia. Undang-undang Nomor 28 Tahun 2014Tentang Hak Cipta mengatur mengenai kepemilikan Hak Cipta untuk menjamin hak-hak bagi pemilik hak cipta atas karya arsitektur tersebut, prinsipnya, setiap orang harus memperoleh imbalan bagi buah pikiranya. Hak cipta terdiri atas hak ekonomi dan hak moral, Hak ekonomi adalah hak untuk mendapatkan manfaat ekonomi atas ciptaan serta produk hak terkait. Hak moral adalah hak yang melekat pada diri pencipta atau pelaku yang tidak dapat dihilangkan atau dihapus tanpa alasan apapun, walaupun Hak Cipta atau Hak Terkait telah dialihkan dan Hak moral dan hak ekonomi merupakan hal yang tidak terpisahkan dari prinsip alter ego. Perkembangan ilmu pengetahuan, teknologi, seni, dan sastra, sudah demikian pesat sehingga memerlukan peningkatan pelindungan dan jaminan kepastian hukumbagi pencipta, pemegang Hak Cipta dan apa yang menjadi objek Hak Cipta. Dilindunginya karya arssitektur ini bertujuan untuk menjamin adanya kepastian hukum bagi pencipta karya terutama bagi pencipta karya arsitektur dan perjanjian merupakan alat untuk memperoleh seperangkat hak dan kewajiban perdata, sehingga para pihak memiliki landasan hukum atas apa yang dilakukan arsitek. ABSTRACT Along with the development of the diverse forms of architectural development that is driven by technological developments and increasingly limited land so that architectural design is demanded to be able to adjust to these conditions. Architectural design work is part of Intellectual Property (KI) or Intellectual Property is a right that arises for the results of thinking that produces a product that is beneficial to humans.KI can also be interpreted as a right for someone because it has made something useful for others. Law Number 28 Year 2014 Regarding Copyright regulates the ownership of copyrights to guarantee the rights of the copyright owner for the architectural work, especially the rights that arise such as economic rights and moral rights. In principle, everyone must get a reward for his thoughts. Copyright consists of economic rights and moral rights. In principle, everyone must get a reward for his thoughts. Copyright consists of economic rights and moral rights. Economic rights are the rights to obtain economic benefits for the work and related product rights. Moral rights are rights inherent in the creator or perpetrator that cannot be eliminated or deleted without any reason, even though Copyright or Related Rights have been transferred and moral rights and economic rights are inseparable from the principle of alter ego.The development of science, technology, art, and literature, has been so rapid that it requires increased protection and guarantees of legal certainty for the creators, holders of copyrights and what are the objects of copyright. The protection of this architectural work aims to ensure legal certainty for the creators of the works, especially for the creators of architectural works, and the agreement is a tool to obtain a set of civil rights and obligations, so that the parties have a legal basis for what the architect does.
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Suka Asih K.Tus, Desyanti. "HAK EKONOMI DAN HAK MORAL KARYA CIPTA POTRET DI SOSIAL MEDIA." VYAVAHARA DUTA 14, no. 1 (September 19, 2019): 12. http://dx.doi.org/10.25078/vd.v14i1.1099.

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<p>Copyright is an exclusive right which contains economic rights and moral rights. Portrait is part of a protected creation. In a portrait that is distributed offline or online through social media, namely economic rights and moral rights that must be presented and adhered to by users. Copyright infragement that still occur for portraits on social media are related to violations of economic and moral rights. The use of portraits on social media without permission for commercial purposes is a form of violation of economic rights. While the form of violations of moral rights over portraits is not to include the creator or source of portraits used in social media. The regulation and protection of economic and moral rights of portraits on social media are regulated in the Copyright Law. Economic rights are stipulated in Article 12 to Article 15. Moral rights are stipulated in Article 5 to Article 7.</p>
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Baloyi, J. Joel. "Demystifying the Role of Copyright as a Tool for Economic Development in Africa: Tackling the Harsh Effects of the Transferability Principle in Copyright Law." Potchefstroom Electronic Law Journal/Potchefstroomse Elektroniese Regsblad 17, no. 1 (April 21, 2017): 165. http://dx.doi.org/10.17159/1727-3781/2014/v17i1a2209.

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In the English common law tradition copyright is seen as being in the nature of a property right and thus alienable and transmissible from one person to the other. In contrast, the droit d’auteur system of Continental Europe sees copyright as being an author’s right, which attaches to the personality of the author. However, even in this system a distinction can be made between the monist system (as applies in Germany), which treats both moral rights and economic rights as being inseparable and thus equally inalienable, and the dualist system applicable in France, which distinguishes between moral and economic rights, with the former considered inalienable, while the latter is freely alienable. In this way French law embodies the transferability principle in respect of economic rights, in the same way as the Anglo-American system does. Many countries in Sub-Saharan Africa have inherited copyright laws from their erstwhile colonial masters (whether England or France), resulting in the laws of these countries also embodying the transferability principle. It is argued, however, that the transferability principle has had the inadvertent effect of stifling copyright-based entrepreneurship, and thus economic development in these countries. Because of the conditions of impoverishment prevailing in these countries, authors find that they do not have the material resources to economically exploit their copyright works. They thus have no option but to assign their copyrights to others, mainly foreign entities, resulting in an endless cycle where they can never act entrepreneurially in respect of their copyrights. The paper seeks to explore this phenomenon and make proposals of possible solutions.
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Situmeang, Asima Trismawati, Saidin ., and T. Keizerina Devi A. "Legal Protection on the Moral Rights and Economic Rights of the Author of Film Script Writing Pursuant to Law No. 28 of 2014 Concerning Copyright (Analysis of Copyright Infringement Case by a Production House of the “ Benyamin Biang Kerok” Film)." International Journal of Research and Review 8, no. 8 (August 29, 2021): 731–39. http://dx.doi.org/10.52403/ijrr.20210896.

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Moral Rights and Economic Rights are Exclusive Rights that cannot be separated in relation to Copyrights. Copyright protects all forms of work, one of which is Film Script Writing as referred to in Article 40 paragraph (1) of Law Number 28 of 2014 concerning Copyright (UUHC). One of the forms of infringement on the copyrighted work of the film script is the reuse of the film script without the permission of the creator, resulting in the loss of the moral rights and economic rights of the creator. The problems in this study are: how to use the principles of Moral Rights and Economic Rights of the Author in claiming protection against Copyright infringement on Film Script Writing, how legal remedies can be taken in the form of legal protection for the Author of Film Script Writing used without permission, and how analysis of the Judge's decision on the violation of Moral Rights for the Creator in the dispute of the film "Benyamin Biang Kerok" based on the decision of the Panel of Judges Number 09/Pdt.Sus-HKI/Cipta/2018/PN Niaga Jkt. Pst. This research is descriptive analytical with a normative juridical approach. Qualitative analysis methods are used to process and analyze research data and then draw conclusions using deductive methods through a normative framework. The results of the research show: the use of the Principles of Moral Rights and Economic Rights of the Creator as a claim for infringement of Copyright is listed in Article 4, Article 5. This right will continue to exist and is eternally attached to the Creator and will continue to apply indefinitely. Legal efforts as a form of legal protection for Film Scripts that are used without permission are to follow the provisions in Article 95 to Article 109 of the UUHC, namely by preventing violations from occurring and through alternative dispute resolution through arbitration or through the Commercial Court. The Plaintiff's lawsuit was declared defeated by the Panel of Judges, due to lack of parties. But the production of the film "Benyamin Biang Kerok" is not determined as a violation of the exclusive rights of the Creator. This decision has not provided justice and provided legal protection for the Plaintiff as the author of the original manuscript and it is feared that the same violation will continue to occur in the future. Suggestions that can be given include: in providing explanations and strengthening the importance of the Creator's Exclusive Rights, it is necessary to have awareness, socialization and public education so as not to use other people's creations carelessly. Legal efforts to prevent infringement of film script writing is to conduct socialization in the film industry and other related creative industries. Against a decision that has not provided legal protection for the Plaintiff, the Panel of Judges must also determine that the defendant has violated the exclusive rights of the Plaintiff's written film script and stipulates compensation for the violation of exclusive rights committed. Keywords: Legal Protection, Moral Rights, Economic Rights, The Author, Copyrights,Film Script Writing.
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Litman, Jessica. "WHAT WE DON'T SEE WHEN WE SEE COPYRIGHT AS PROPERTY." Cambridge Law Journal 77, no. 3 (August 23, 2018): 536–58. http://dx.doi.org/10.1017/s0008197318000600.

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AbstractFor all of the rhetoric about the central place of authors in the copyright scheme, our copyright laws in fact give them little power and less money. Intermediaries own the copyrights, and are able to structure licenses so as to maximise their own revenue while shrinking their pay-outs to authors. Copyright scholars have tended to treat this point superficially, because – as lawyers – we take for granted that copyrights are property; property rights are freely alienable; and the grantee of a property right stands in the shoes of the original holder. I compare the 1710 Statute of Anne, which created statutory copyrights and consolidated them in the hands of publishers and printers, with the 1887 Dawes Act, which served a crucial function in the American divestment of Indian land. I draw from the stories of the two laws the same moral: Constituting something as a freely alienable property right will almost always lead to results mirroring or exacerbating disparities in wealth and bargaining power. The legal dogma surrounding property rights makes it easy for us not to notice.
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Dissertations / Theses on the topic "Moral rights in copyright"

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Kariyawasam, Kanchana. "Moral rights protection in a copyright system /." [St. Lucia, Qld.], 2001. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe16318.pdf.

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Almawla, Hanan Mohamed. "Moral rights in the conflict-of-laws : alternatives to the copyright qualifications." Thesis, Queen Mary, University of London, 2012. http://qmro.qmul.ac.uk/xmlui/handle/123456789/8730.

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This thesis examines the intersection between authors' moral rights and conflict-of-laws. The research question has been triggered by two important, interlinked factors. The first is that the currently applicable choice-of-law rules to moral rights are the same as those applicable to copyright. The second concerns the fact that moral rights are different from copyright - both in their nature and in the interest they aim to protect. Since these two factors coincide, it is questionable whether it ought to be the case that moral rights are subjected to the same choice-of-law rules as are applicable to copyright. The thesis therefore aims to discover whether the currently applicable choice-oflaw rules available in the context of moral rights are suitable for achieving the goals and objectives of conflict-of-laws. In the course of this thesis, I evaluate the potential validity of detaching moral rights from copyright in conflict-oflaws and instead attaching it to the characterization model of general personality rights. The research question is mainly addressed from the perspective of Rome I and Rome II Regulations. However, as there is no EU harmonization concerning general personality rights in conflict-of-laws, the examination will be directed towards France and England as examples of civil and common law traditions. Moreover, reference will also be made to CLIP and ALI principles by reason of comparison.
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Banks, Catherine, and n/a. "Lost in Translation: A History of Moral Rights in Australian Law." Griffith University. Griffith Law School, 2005. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20061006.114720.

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This thesis is a history of moral rights in Australian law. It traces the historical discourse about moral rights in Australian law and demonstrates how that discourse has shaped the meaning moral rights have come to assume in their current form under the current regime contained in the Copyright Amendment (Moral Rijghts) Act 2000. This history examines the reception and later production of a moral rights discourse in Australian law, and reveals that the historical discourse about Australian moral rights was dominated by the three themes; foreignness, international obligation and economic impact. I contend these three themes fundamentally shaped moral rights as they now appear in the moral rights regime. As the history unfolds, it will become clear that the moral rights regime was organised around a specific repertoire of arguments and imaginings, and it is this discourse that informs this thesis. My argument is pursued in three stages. Section One of the thesis provides the historical detail of the moral rights trajectory in Australian jurisprudence, and reveals, within that history, the emergence of three dominant themes, which are pursued in subsequent detail. In addition to the history, this section also provides detailed discussion of the legislative provisions in order to illustrate moral rights as a product of the history, and it highlights some of the shortcomings of the regime and provides some background for the case study in Section Two. Section Two of the thesis interrogates the structure of the moral rights regime by applying the Act's provisions to the case study of indigenous creators, thus providing a contemporary example of how these rights may work in practice, as the result of the historical discourse. Thus this section sets the scene for final part of the thesis, which delves further into the historical discourse. Section Part Three follows the themes of the moral rights debate as they emerged historically. Reconceptualizing the moral rights discourse in this way helps to explain why the debates about moral rights took a particular course and produced the outcomes it did. The starting point for these discussions is a detailed examination of the themes of foreignness, international obligation and economic impact, and follows these themes as they evolved chronologically. In particular, the discussion reveals that the debates about moral rights effectively fall into two eras. The first era (1928-1988) centred around the question of whether Australia should introduce moral rights and the debates about the appropriateness of the reception. At the commencement of the second era (1988-2000) the question shifted to what form moral rights should take. This then provides a backdrop with which to understand why specific discussions about moral rights were sidelined during the years of debates leading up to the legislation; in particular, the subject and the object; which form the fulcrum of a moral rights action. This is an essential part of the history because it explains why the subject and the object came to be imagined and constructed in such a narrow and limited way and clarifies why the moral rights provisions appear manifestly ineffective, particularly for indigenous creators and their communities. This thesis contributes to legal history in three important ways. First, it provides a detailed account of a discourse about moral rights in Australian law, and in doing so challenges the long held assumptions about their reception and production. Second, it highlights the importance of history to legal discourse. Just as regulatory regimes, institutions, and rules are integral to the law, so too are the informal practices, discourses and contexts on which they were based. Third, it reminds the reader that history is a signpost, and this history of moral rights demonstrates that the way this law was derived, imagined and constructed has significance for the social, cultural and legal context in which that process takes place.
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Rimmer, Matthew Rhys. "The pirate bazaar the social life of copyright law." View electronic text, 2001. http://eprints.anu.edu.au/documents/disk0/00/00/08/14/index.html.

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Available via the Australian National University Library Electronic Pre and Post Print Repository. Title from title screen (viewed Mar. 28, 2003) Includes bibliographical references. Mode of access: World Wide Web.
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Klein, Jeff. "Identity Protection: Copyright, Right of Publicity, and the Artist's Negative Voice." Bowling Green State University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1395585265.

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Gudaitė, Martyna. "Teisės į kūrinio neliečiamybę įgyvendinimo problemos." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2007. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2006~D_20070105_093921-83127.

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The topic of the paper is integrity right implementation problems. Author‘s right of integrity is on the list of international obligations since the beginning of the XIX century and has to be made available by all Berne convention members‘ national laws. However this International obligation only imlies a minimum standart for integrity right protection, thereby it‘s implementation issues are to be solved at national level. The goal of the paper is identification and analysis of integrity right implementation problems in modern states under the rule of law. Accordingly different legal regulation is one of the main issues of the topic. Establishing conflicts between authors and their work users, identifying persons of law in the integrity right is a great part of this paper. Consequently different sides of the conflick of interests are being elaborated, most frequent dispute cases and ways of solving them are being analised in the light of different legal regulation. His paper also contains legal tradicions of implementing integrity right in continential and common law countries that are being compared to each other, as well as different copyright laws in separate countries and court practice (lithuanian and foreign).
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Anderson, Jane Elizabeth Law Faculty of Law UNSW. "The production of indigenous knowledge in intellectual property law." Awarded by:University of New South Wales. School of Law, 2003. http://handle.unsw.edu.au/1959.4/20491.

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The thesis is an exploration of how indigenous knowledge has emerged as a subject within Australian intellectual property law. It uses the context of copyright law to illustrate this development. The work presents an analysis of the political, social and cultural intersections that influence legal possibilities and effect practical expectations of the law in this area. The dilemma of protecting indigenous knowledge resonates with tensions that characterise intellectual property as a whole. The metaphysical dimensions of intellectual property have always been insecure but these difficulties come to the fore with the identification of boundaries and markers that establish property in indigenous subject matter. While intellectual property law is always managing difference, the politics of law are more transparent when managing indigenous concerns. Rather than assume the naturalness of the category of indigenous knowledge within law, this work interrogates the politics of its construction precisely as a ???special??? category. Employing a multidisciplinary methodology, engaging theories of governmental rationality that draws upon the scholarship of Michel Foucault to appreciate strategies of managing and directing knowledge, the thesis considers how the politics of law is infused by cultural, political, bureaucratic and individual factors. Key elements in Australia that have pushed the law to consider expressions of indigenous knowledge in intellectual property can be located in changing political environments, governmental intervention through strategic reports, cultural sensitivity articulated in case law and innovative instances of individual agency. The intersection of these elements reveals a dynamic that exerts influence in the shape the law takes.
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Dagher, Chantal. "Analyse comparée franco-américaine de la protection des œuvres par le droit d’auteur." Thesis, Paris 2, 2017. http://www.theses.fr/2017PA020041.

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L’appel au renforcement de la protection du droit d’auteur dans le but de mieux lutter contre la contrefaçon, surtout avec l’avènement et le développement incessant des nouvelles technologies, est-il justifié ? Le bilan des efforts déployés récemment sur la scène internationale pour réaliser un tel renforcement, ayant débouché sur l’élaboration du très controversé ACTA, démontre que la réponse à cette question ne peut être ni simple ni immédiate. Evaluer l’opportunité et déterminer la nécessité de renforcer cette protection ne peuvent se faire qu’après un examen approfondi des solutions juridiques, existantes déjà dans les dispositifs nationaux des deux Etats qui assurent chacun une protection efficace des droits des auteurs, tout en adoptant des approches diamétralement opposées en la matière à savoir, la France et les Etats-Unis. Une fois ces deux droits comparés, une inégalité dans le niveau de protection ressort, appelant des améliorations qui passent par une intégration d’institutions juridiques « venues d’ailleurs ». Cette intégration qui aura pour résultat d’harmoniser ces deux droits, dans le respect des particularismes nationaux, pourra se réaliser à l’aide du droit comparé. L’harmonisation des droits nationaux dans le respect de leurs différences est aussi l’oeuvre du droit international surtout lorsqu’il s’agit d’une matière qui ne peut être traitée qu’à l’échelle internationale, voire mondiale. Pour pouvoir comprendre les raisons de la persistance des différences entre les deux droits menant à cette inégalité, l’examen des instruments internationaux adoptés en la matière, censés harmoniser la protection du droit d’auteur, est indispensable. Le bilan de cet examen s’avère mitigé dans la mesure où, les spécificités nationales l’emportent, bloquant ainsi le processus d’harmonisation. Or, le droit comparé a comme rôle principal de préparer un terrain favorable à une harmonisation internationale réussie, en dégageant des solutions concrètes, pratiques et surtout adaptées puisque ne heurtant pas les traditions juridiques nationales qu’il aura réussi à identifier
Is the call to strengthen the protection of copyright in order to better fight copyright infringement, especially with the advent and the constant development of new technologies, justified? The results of the recent efforts on the international stage to achieve such a purpose, which led to the drawing up of the very controversial ACTA, show that the answer to this question cannot be simple nor immediate. Assessing the appropriateness as well as determining the need to strengthen this protection can only be made after a thorough review of legal solutions that already exist in the domestic law of two states, each of which ensures effective protection of copyright while adopting diametrically opposite approaches in this field namely, France and the United States. Once these two domestic laws have been compared, inequality in the level of protection appears, calling for improvements that go through an integration of legal institutions "coming from somewhere else". This integration that will have as a result the harmonization of these two laws while taking into account the national specificities, can be realized using the comparative law. The harmonization of national laws while respecting their differences is the work of international law as well, especially when the subject matter could only be addressed on an international even global scale. To understand the reasons for the persistence of differences between these two laws leading to this inequality, review of international instruments adopted in this field which are supposed to harmonize the protection of copyright, is essential. The results of this review are mixed due to the fact that national differences prevail, thus blocking the harmonization process. However, comparative law's primary role is to prepare the ground for a successful international harmonization, by providing concrete, practical and appropriate solutions given the fact that they do not conflict with national legal traditions that the comparative law has managed to identify
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Solórzano, Solórzano Raúl. "Regarding the moral right of the authors to the integrity of their work: reflections about the damage done to the murals in the Centre of Lima." Pontificia Universidad Católica del Perú, 2015. http://repositorio.pucp.edu.pe/index/handle/123456789/115773.

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Based on the recent damage done to the murals in the Centre of Lima, this article analyzes the conflict that can occur between the moral right of authors to the integrity of their work and the property rights of the holders of the support containing the intellectual creation. Criteria are provided to analyze conflicts in which murals are involved. Finally, the infringement of moral right of integrity is discussed.
Sobre la base del reciente daño efectuado a los murales en el Centro de Lima, a través del presente artículo se analiza el conflicto que puede producirse entre el derecho moral de los autores a la integridad de sus obras y el derecho de propiedad de los titulares del soporte que contiene la creación intelectual. Se brinda criterios a tomarse en cuenta en los conflictos donde estén involucrados murales. Finalmente, se examina las posibles infracciones al derecho moral de integridad.
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Mouron, Philippe. "Le droit d'exposition des oeuvres graphiques et plastiques." Thesis, Aix-Marseille 3, 2011. http://www.theses.fr/2011AIX32062/document.

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Le droit d’exposition des oeuvres graphiques et plastiques est un élément nouveau du droit d’auteur, dégagé par la Cour de cassation en 2002. Il permet à l’auteur d’autoriser ou d’interdire l’exposition publique de ses oeuvres, qu’elles soient de dessin, de peinture, de sculpture, de photographie, d’architecture ou de tout autre oeuvre graphique. Ce droit lui permet aussi d’en contrôler les conditions de présentation et d’en tirer une rémunération. Il est en cela assimilable au droit de représentation, tel qu’il s’exerce pour les oeuvres dramatiques ou musicales. Mais le droit d’exposition ouvre des problématiques nouvelles pour le droit d’auteur. En effet, son objet ne peut être qu’une chose corporelle, qu’il s’agisse de l’exemplaire original de l’oeuvre ou de toute autre copie. Par conséquent, cela oblige à reconsidérer la nature du droit d’auteur, que l’on qualifie usuellement de droit sur « l’immatériel », cette notion étant plus adaptée pour les oeuvres littéraires, dramatiques ou musicales. Cette évolution remet en question le sens même de l’expression « propriété incorporelle », telle qu’elle est employée par le Code de la propriété intellectuelle. Le droit d’exposition interroge donc les fondements du droit d’auteur et bouleverse son contenu et sa portée. La thèse apporte les réponses aux questions qui sont posées par ces problématiques. Ainsi, il sera démontré que l’expression « propriété incorporelle » ne qualifie que la propriété du droit de l’auteur, considéré comme un bien, et non celle de l’oeuvre à proprement parler. En cela, la distinction entre cette propriété et la propriété de l’objet matériel doit être entendue le plus strictement, c’est-à-dire comme une simple distinction des droits. De même, le caractère novateur du droit d’exposition révèle que le droit d’auteur a davantage été conçu pour les oeuvres littéraires, dramatiques et musicales, et non pour les oeuvres graphiques et plastiques. De ce fait, le droit d’exposition concourt également à une harmonisation des prérogatives conférées aux auteurs au titre de la propriété littéraire et artistique
The visual artists display right is a new part of the author’s copyright, introduced by the French supreme court in 2002. It implies, for the author, the right to authorize or prohibit the public exhibition of his works, such as paintings, sculptures, photographs, architectural works or any work of graphic or plastic art. This right also gives the author a control over the conditions of presentation of the work and allows him to exploit it financially. It is similar to the performing right for dramatic and musical works. But the visual artists display right is the cause of new problems about intellectual property. Indeed, the exhibition is based on a physical thing in which the work is embodied. Therefore, we need to examine the nature of copyright, which is considered to have an intangible subject-matter. This concept is more convenient for literary, dramatic and musical works. This development calls the terms “intangible property” into questions, as they are used by the French copyright law. The visual artists display right shakes the very foundations of copyright and upsets its own structure. This thesis is intended to examine theses problems. Thus it appears that the terms “intangible property” refer to the property of the author’s right itself, as a possession, instead of the property of the work. That’s why the distinction between this property and the property of the tangible item should be considered as a distinction between two rights. In addition, the innovative nature of the visual artists display right shows that copyright has more been provided for literary, dramatic and musical works, than for the artistic works. This right also contributes to the harmonization of the literary and artistic property
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Books on the topic "Moral rights in copyright"

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Authors, Society of. Copyright and moral rights. London: Society of Authors, 1995.

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Garnett, Kevin. Moral rights. London: Sweet & Maxwell, 2002.

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Authors, Society of. Quick guide 1: Copyright and moral rights. London: Society of Authors, 2002.

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Morrison, Virginia. Moral rights bill: A discussion paper. Redfern, NSW: Australian Copyright Council, 2000.

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Morrison, Virginia. Moral rights bill: A discussion paper. Redfern, NSW: Australian Copyright Council, 2000.

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Newman, Simon T. McB. Moral rights and adaptation rights in phonograms: A report. [London]: Intellectual Property Institute, 1996.

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Moral rights: Principles, practice and new technology. Oxford: Oxford University Press, 2011.

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Sainsbury, Maree. Moral rights and their application in Australia. Sydney: Federation Press, 2003.

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Das droit moral in den Niederlanden. [Münster?: s.n.], 2000.

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Coombe, Rosemary. Copyright, neighbouring rights and moral rights: Background materials for student presentations. [Toronto]: [Professional Development Programme], Osgoode Hall Law School of York University, 2000.

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Book chapters on the topic "Moral rights in copyright"

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Hart, Tina, and Linda Fazzani. "Ownership and Duration of Copyright and Moral Rights." In Intellectual Property Law, 163–69. London: Macmillan Education UK, 1997. http://dx.doi.org/10.1007/978-1-349-14129-6_19.

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McCutcheon, Jani. "Disability exceptions under Australian copyright and moral rights law." In International Perspectives on Disability Exceptions in Copyright Law and the Visual Arts, 123–37. Abingdon, Oxon ; New York, NY : Routledge, [2020]: Routledge, 2020. http://dx.doi.org/10.4324/9780429342677-14.

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Hart, Tina, Simon Clark, and Linda Fazzani. "Ownership and duration of copyright, moral rights and artist’s resale right." In Intellectual Property Law, 211–19. London: Macmillan Education UK, 2013. http://dx.doi.org/10.1007/978-1-137-06736-4_17.

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Rosignoli, Stefano. "Author, Work and Trade: The Sociology of Samuel Beckett’s Texts in the Years of the Broadcasts for BBC Radio (1957–89). Copyright and Moral Rights." In Samuel Beckett and BBC Radio, 139–67. New York: Palgrave Macmillan US, 2017. http://dx.doi.org/10.1057/978-1-137-54265-6_7.

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Smith, Paul. "Rights." In Moral and Political Philosophy, 95–112. London: Palgrave Macmillan UK, 2008. http://dx.doi.org/10.1007/978-0-230-59394-7_7.

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Milne, A. J. M. "Moral Universality and Moral Diversity (i)." In Human Rights and Human Diversity, 45–61. London: Palgrave Macmillan UK, 1986. http://dx.doi.org/10.1007/978-1-349-08428-9_4.

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Sherman, James A. "From Moral Duties to Moral Rights." In Renewing Liberalism, 383–434. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-28277-0_14.

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Rowlands, Mark. "Animal Rights and Moral Theories." In Animal Rights, 1–7. London: Palgrave Macmillan UK, 2009. http://dx.doi.org/10.1057/9780230245112_1.

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Horsthemke, Kai. "Moral Education and Animals." In Animal Rights Education, 111–29. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-98593-0_4.

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Goodale, Mark. "Human Rights." In A Companion to Moral Anthropology, 468–81. Chichester, UK: John Wiley & Sons, Ltd, 2012. http://dx.doi.org/10.1002/9781118290620.ch26.

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Conference papers on the topic "Moral rights in copyright"

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Sokendai, Naonori Kato. "An Analysis on Premium Value of Moral Right of Author in Japanese Copyright Law: Based on Intellectual Property High Court Judge from 2005 to 2010." In 2011 IEEE/IPSJ 11th International Symposium on Applications and the Internet (SAINT). IEEE, 2011. http://dx.doi.org/10.1109/saint.2011.41.

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Tallova, Lydie. "ROLE OF MORAL RIGHTS IN DIGITIZATION OF COPYRIGTED WORKS." In SGEM 2014 Scientific SubConference on POLITICAL SCIENCES, LAW, FINANCE, ECONOMICS AND TOURISM. Stef92 Technology, 2014. http://dx.doi.org/10.5593/sgemsocial2014/b21/s5.103.

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Anokhov, I. V. "Rights And Moral Engineer's Responsibility. Ethics As Way To Reduce Technological Risks." In RPTSS 2018 - International Conference on Research Paradigms Transformation in Social Sciences. Cognitive-Crcs, 2018. http://dx.doi.org/10.15405/epsbs.2018.12.3.

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Harlov, Eng Boyko Hristov. "Copyright and Related Rights in the Digital World 2020." In 2020 28th National Conference with International Participation (TELECOM). IEEE, 2020. http://dx.doi.org/10.1109/telecom50385.2020.9299557.

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Treder, Malwina. "OFFENCES UNDER POLISH LAW ON COPYRIGHT AND RELATED RIGHTS." In 4th International Multidisciplinary Scientific Conference on Social Sciences and Arts SGEM2017. Stef92 Technology, 2017. http://dx.doi.org/10.5593/sgemsocial2017/12/s02.075.

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Wijaya, Andy, and Rihantoro Aji. "Declarative Principles Registration Of Copyright Rights In Disruption Era." In Proceedings of the 1st International Conference on Business, Law And Pedagogy, ICBLP 2019, 13-15 February 2019, Sidoarjo, Indonesia. EAI, 2019. http://dx.doi.org/10.4108/eai.13-2-2019.2286557.

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Skenderi, Besnik, and Diamanta Skenderi. "Ethical relationship between stakeholders and stockholders and their moral rights on the corporation Differences." In University for Business and Technology International Conference. Pristina, Kosovo: University for Business and Technology, 2013. http://dx.doi.org/10.33107/ubt-ic.2013.32.

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Нинциева, Тамила Магомедовна, and Селима Тимуровна Исламова. "RESPONSIBILITY IN THE FIELD OF COPYRIGHT." In Сборник избранных статей по материалам научных конференций ГНИИ "Нацразвитие" (Санкт-Петербург, Июль 2021). Crossref, 2021. http://dx.doi.org/10.37539/july192.2021.69.13.018.

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В настоящей статье рассматриваются вопросы, связанные с наступлением юридической ответственности за нарушения в области права интеллектуальной собственности, а именно авторского и смежных прав. Отмечается, что в Российской Федерации за нарушения в указанной области предусмотрены гражданско-правовая, административная и уголовная ответственности. Делается акцент на раскрытие диспозиции каждого правонарушения авторского и смежных прав. This article discusses issues related to the occurrence of legal liability for violations in the field of intellectual property rights, namely copyright and related rights. It is noted that in the Russian Federation civil, administrative and criminal liability is provided for violations in this area. Emphasis is placed on disclosing the disposition of each violation of copyright and related rights.
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Tishchenko, P. "HYPOTHESIS OF RETRO-ACTIVE MORAL AND LEGAL STATUS OF HUMAN EMBRYOS/FOETUSES AND WOMEN’S RIGHTS." In SAKHAROV READINGS 2020: ENVIRONMENTAL PROBLEMS OF THE XXI CENTURY. Minsk, ICC of Minfin, 2020. http://dx.doi.org/10.46646/sakh-2020-1-101-104.

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Возкаев, Сайд-Умар Сайд-Алиевич. "VIOLATION OF COPYRIGHT AND RELATED RIGHTS ON THE INTERNET: BASIC MANIFESTATIONS." In Высокие технологии и инновации в науке: сборник избранных статей Международной научной конференции (Санкт-Петербург, Май 2020). Crossref, 2020. http://dx.doi.org/10.37539/vt185.2020.36.60.024.

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Сегодня крайне важное место в нарушении авторских и смежных прав занимает интернет. Осложняет ситуацию также большие объёмы информации, хранящиеся в Сети, и проблемы с обработки этой информации с целью выявления нарушений интеллектуального права. В данной статье рассматриваются наиболее типичные формы нарушения авторских и смежных прав в сети Интернет. Today, the Internet occupies an extremely important place in violation of copyright and related rights. The situation is also aggravated by the large amounts of information stored on the Web, and the problems with the processing of this information in order to identify intellectual property violations. This article discusses the most common forms of violation of copyright and related rights on the Internet.
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Reports on the topic "Moral rights in copyright"

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Robinson, Eric. Digital Rights Management, Fair Use, and Privacy: Problems for Copyright Enforcement through Technology. SOAR@USA: Scholarship and Open Access Repository, December 2009. http://dx.doi.org/10.46409/sr.jkvn1411.

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Zwitter, Andrej J. From Needs to Rights—A Socio-Legal Account of Bridging Moral and Legal Universalism via Ethical Pluralism. Librello, May 2013. http://dx.doi.org/10.12924/pag2013.01010074.

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Brianne, Selman, Brian Fauteux, and Andrew deWaard. A User-Centric Case for Rights Reversions and Other Mitigations: The Cultural Capital Project Submission to ISED Consultation on Term Extension. University of Winnipeg Library, March 2021. http://dx.doi.org/10.36939/ir.202103091613.

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Term extension is unlikely to benefit any but the largest of rightsholders, and indeed, in general independent creators typically do not benefit greatly from the promised financial exploitation promised by copyrights. This has been made even more evident by the COVID pandemic - while copyrighted works are consumed more than ever, independent creators have sunk further into poverty. We propose mitigation strategies for term extension that would help the people who are creating Canada’s cultural landscape, as well as additional actions that would alleviate additional current copyright losses.
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Lyzanchuk, Vasyl. COMMUNICATIVE SYNERGY OF UKRAINIAN NATIONAL VALUES IN THE CONTEXT OF THE RUSSIAN HYBRID WAR. Ivan Franko National University of Lviv, February 2021. http://dx.doi.org/10.30970/vjo.2021.49.11077.

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The author characterized the Ukrainian national values, national interests and national goals. It is emphasized that national values are conceptual, ideological bases, consolidating factors, important life guidelines on the way to effective protection of Ukraine from Russian aggression and building a democratic, united Ukrainian state. Author analyzes the functioning of the mass media in the context of educational propaganda of individual, social and state values, the dominant core of which are patriotism, human rights and freedoms, social justice, material and spiritual wealth of Ukrainians, natural resources, morality, peace, religiosity, benevolence, national security, constitutional order. These key national values are a strong moral and civic core, a life-giving element, a self-affirming synergy, which on the basis of homogeneity binds the current Ukrainian society with the ancestors and their centuries-old material and spiritual heritage. Attention is focused on the fact that the current problem of building the Ukrainian state and protecting it from the brutal Moscow invaders is directly dependent on the awareness of all citizens of the essence of national values, national interests, national goals and filling them with the meaning of life, charitable socio-political life. It is emphasized that the missionary vocation of journalists to orient readers and listeners to the meaningful choice of basic national values, on the basis of which Ukrainian citizens, regardless of nationality together they will overcome the external Moscow and internal aggression of the pro-Russian fifth column, achieve peace, return the Ukrainian territories seized by the Kremlin imperialists and, in agreement will build Ukrainian Ukraine.
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