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Articoli di riviste sul tema "Copyright Australia"

Autore: Grafiati

Pubblicato: 4 giugno 2021

Ultima modifica: 26 gennaio 2023

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1

Tréguier, Lucie, and William van Caenegem. "Copyright, Art and Originality: Comparative and Policy Issues." Global Journal of Comparative Law 8, no. 2 (September 25, 2019): 95–127. http://dx.doi.org/10.1163/2211906x-00802001.

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This article reviews the laws of France and of Australia in relation to artistic works copyright for useful articles. Australian law applies a different subsistence test to ‘applied art’ than to fine art, whereas French law makes no such distinction, applying the principle of ‘Unité de l’art’. The decision of the High Court of Australia in IceTV Pty Limited v Nine Network Australia Pty Limited [2009] 239 clr 458, which aligns the standard of originality more closely with that applied in European copyright law, invites reconsideration of the Australian approach in favour of a universal standard

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2

Moore, Christopher. "Creative Choices: Changes to Australian Copyright Law and the Future of the Public Domain." Media International Australia 114, no. 1 (February 2005): 71–82. http://dx.doi.org/10.1177/1329878x0511400109.

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Changes to Australian copyright law introduced under the Australia–United States Free Trade Agreement will diminish the public domain, criminalise common copyright infringing practices and locally introduce significant portions of the controversial 1998 American Digital Millennium Copyright Act. This paper examines these imminent changes to Australian copyright law, with specific attention to the potential effects of the extended duration of copyright protection and the introduction of technological anti-circumvention measures. It argues that public domain-enhancing activities are crucial for

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3

Thampapillai, Dilan. "The Novel as Social Satire: 60 Years Later, The Wind Done Gone and the Limitations of Fair Use." Deakin Law Review 17, no. 2 (February 1, 2013): 425. http://dx.doi.org/10.21153/dlr2012vol17no2art86.

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The absence of the doctrine of fair use from Australian copyright law has been a bone of contention in Australia after the Australia-United States Free Trade Agreement (FTA). As the Australian government reformed the Copyright Act 1968 (Cth) in the aftermath of the FTA it eschewed the option of adopting fair use. Instead, Australia chose to incorporate a version of fair use into its existing fair dealing framework. Accordingly, the Copyright Amendment Act 2006 (Cth) inserted ss 41A and 103AA into the Copyright Act. These provisions provide that a fair dealing with a copyright protected work do

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4

Sinnreich, Aram, Patricia Aufderheide, and Donte Newman. "Creative Action Under Two Copyright Regimes: Filmmaking and Visual Arts in Australia and the United States." Communication, Culture and Critique 13, no. 3 (June 10, 2020): 384–401. http://dx.doi.org/10.1093/ccc/tcaa003.

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Abstract A comparison of the behaviors of two creative populations operating within cross-media environments in the United States and Australia tests the comparative effect of the two nations' legal environments on the range of creative expression and on costs of production in increasingly digitized production processes. The U.S. creators have access to the flexible and expansive exception of fair use, while Australian creators' ability to use third-party copyrighted content are far more constrained. While availability of copyright exceptions plays a crucial role, other factors including demog

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5

Puri, K. "Copyright protection of software in Australia." Information & Communications Technology Law 1, no. 1 (January 1992): 79–114. http://dx.doi.org/10.1080/13600834.1992.9965643.

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6

Cantatore, Francina, and Jane Johnston. "Moral Rights: Exploring the Myths, Meanings and Misunderstandings in Australian Copyright Law." Deakin Law Review 21, no. 1 (February 23, 2018): 71. http://dx.doi.org/10.21153/dlr2016vol21no1art727.

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This article examines how moral rights are treated in Australian publishing contracts, and whether this approach is consistent with the expectations of authors, journalists and academics. Although, in theory, moral rights cannot be sold or assigned in Australia, the apparent wide scope for exceptions raises questions of whether there is any real protection afforded to creators under the Copyright Act 1968 (Cth), notably in circumstances that relate to pressure on creators to accept contractual terms in order to get published. Additionally, Australian case law reflects some uncertainty about th

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7

Carson, Louise Caroline, and Kathryn Greenhill. "One hat or many? A comparison of two models for the Copyright Officer position in university libraries." Library and Information Research 39, no. 121 (December 22, 2015): 57–74. http://dx.doi.org/10.29173/lirg659.

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Abstract (sommario):

Statute law provides university libraries with a framework for copyright requirements, duties and privileges. In Australia, there are few guidelines or standards for university libraries about providing those copyright services that are not mandated by statute, such as copyright advice and compliance. There is little formally-shared knowledge about the non-statutory services provided by university library Copyright Officers. More information about this would benefit libraries reviewing or establishing these positions. This research uses survey and semi-structured face-to-face interviews with d

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8

Bond, Catherine, Abi Paramaguru, and Graham Greenleaf. "Advance Australia Fair? The Copyright Reform Process." Journal of World Intellectual Property 10, no. 3-4 (July 2007): 284–313. http://dx.doi.org/10.1111/j.1747-1796.2007.00324.x.

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9

Ms. Poonam Pant, and Ms. Bhumika Sharma. "Liability of Internet Service Providers Across Various Countries: An Overview." Legal Research Development: An International Refereed e-Journal 4, no. 1 (September 30, 2019): 06–09. http://dx.doi.org/10.53724/lrd/v4n1.04.

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The role of I.S.P. or Intermediary is very important for effective utilization of information technology. The liability of Intermediary or I.S.P. has gain immense importance at international level. Various countries have defined the liability of I.S.P. either in the form of copyright infringement or for the infringement of information technology. Australia was the first country to enact the legislation relating to the liability aspect of I.S.P. in the form of Copyright Act, 1968 making I.S.P. liable to disable the access to online services hosted outside Australia. Some safe harbors were also

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10

Alexander, Isabella, and Michael Fraser. "Copyright Reform in Australia: Asking the Right Questions." Journal of Media Law 6, no. 1 (July 11, 2014): 8–20. http://dx.doi.org/10.5235/17577632.6.1.8.

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11

Cantatore, Francina. "The Migration of the Book Across Territorial Borders." International Journal of Innovation in the Digital Economy 5, no. 3 (July 2014): 1–16. http://dx.doi.org/10.4018/ijide.2014070101.

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Abstract (sommario):

Although the USA, Canada, UK, and Australia currently retain territorial copyright laws, with commensurate restrictions on parallel, importation of books, advances in digital technology, and the advent of e-books have caused an involuntary migration of the book across these defined borders. This changing publishing sphere has impacted authors' copyright protection, with authors struggling to come to grips with breaches of copyright outside the protection of their own borders. Additionally, the extra-territorial publication of books are often in breach of authors' copyright but difficult to add

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12

Barrett, Jonathan. "Dissonance between Fact and Law: The Example of Visual Artistic Practice and Income Tax Concessions for Peak Copyright." Victoria University of Wellington Law Review 52, no. 4 (January 26, 2022): 689–708. http://dx.doi.org/10.26686/vuwlr.v52i4.7400.

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The principal income tax statutes of both New Zealand and Australia provide special concessions for taxpayers who earn exceptional copyright income in a year of assessment. As authors (creators) of copyright-protected artistic works, visual artists are potential beneficiaries of these preferences but, because they typically produce singular artworks that are not licensed for reproduction, they cannot directly benefit from copyright or, as a consequence, tax concessions granted to copyright assignors or licensors. In New Zealand, a taxpayer who receives peak copyright payments can opt to averag

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13

DEMPSEY, GILLIAN. "Evolution of Copyright Protection for Software Programs in Australia." Law & Policy 17, no. 3 (July 1995): 283–310. http://dx.doi.org/10.1111/j.1467-9930.1995.tb00151.x.

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14

Ailwood, Sarah, and Maree Sainsbury. "The Imperial Effect: Literary Copyright Law in Colonial Australia." Law, Culture and the Humanities 12, no. 3 (July 31, 2016): 716–40. http://dx.doi.org/10.1177/1743872114533871.

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15

Rimmer, Matthew. "The Grey Album: Copyright Law and Digital Sampling." Media International Australia 114, no. 1 (February 2005): 40–53. http://dx.doi.org/10.1177/1329878x0511400106.

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In the field of digital sampling, disk jockeys have shown a recent enthusiasm for ‘mash-ups’ — new compositions created by combining the rhythm tracks of one song and the vocal track of another. Most famously of all, DJ Danger Mouse remixed the vocals from Jay-Z's The Black Album and the Beatles' White Album and called his creation The Grey Album. The Grey Album poses a number of difficult issues regarding copyright law and digital sampling. Does such a ‘mash-up’ go beyond the de minimis use of a copyright work? Is The Grey Album protected by the defence of fair use under copyright law because

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16

Mason, Sir Anthony. "Reflections of an Itinerant Judge in the Asia-Pacific Region." International Journal of Legal Information 28, no. 2 (2000): 311–35. http://dx.doi.org/10.1017/s0731126500009112.

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Since my retirement from the High Court of Australia in April 1995, I have pursued various activities. As Chairman of the National Library 1995-1998, National Fellow at the Australian National University and Chancellor of the University of New South Wales, I have been concerned with some current issues concerning libraries, including funding and copyright reform. My main purpose on this occasion is to speak about my experiences as a judicial rover in Fiji, the Solomon Islands and Hong Kong, jurisdictions in which I have been sitting as a Judge and as a lecturer at the Chinese National Judges C

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17

Larsson, Stefan, Susan Wnukowska-Mtonga, Måns Svensson, and Marcin De Kaminski. "Parallel Norms: File-Sharing and Contemporary Copyright Development in Australia." Journal of World Intellectual Property 17, no. 1-2 (March 2014): 1–15. http://dx.doi.org/10.1002/jwip.12018.

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18

Reynolds, Rocque. "The Police Logic of Balancing the Interests in Copyright Law." Public Space: The Journal of Law and Social Justice 5 (December 9, 2010): 21. http://dx.doi.org/10.5130/psjlsj.v5i0.1874.

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This article examines the use of the phrase ‘balancing the interests’ in political debate relating to copyright law. I argue that this phrase no longer leads to broad debate on the proper balance to be struck between private, public and social interests in copyright law. Rather, today the phrase has come to represent a type of police logic which reflects the private interests of copyright owners and users as they already exist. Drawing on the work of Jacques Rancière I suggest that this balance of private interests may be upset by a strategy of ‘subjectivisation’ which challenges the existing

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19

Donovan, Kieran G. "Media Neutrality or Stakeholder Inequality? Why emerging technology requires a rethinking of the stakeholder balance in copyright law." Public Space: The Journal of Law and Social Justice 5 (November 28, 2010): 24. http://dx.doi.org/10.5130/psjlsj.v5i0.1856.

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This paper considers a number of emerging technologies and how they challenge the underpinnings of copyright law in Australia. It draws upon the idea that copyright law must ‘balance’ the rights of stakeholders (creators of works, inventors of technology and users of works) in order to provide the most effective environment for the protection and use of works. This paper further suggests that existing copyright legislation can be divided into provisions that offer rights to creators of works (‘front end’ provisions), and other provisions that restrict the rights of users and inventors of techn

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20

M. Broad, Ellen. "Update from Australia: the copyright cloud hanging over our national collections." Interlending & Document Supply 41, no. 3 (August 12, 2013): 81–86. http://dx.doi.org/10.1108/ilds-06-2013-0018.

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21

Burrell, Robert. "Copyright Reform in the Early Twentieth Century: the View from Australia." Journal of Legal History 27, no. 3 (December 2006): 239–65. http://dx.doi.org/10.1080/01440360601041118.

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22

McCutcheon, Jani. "The Honour of the Dead – the Moral Right of Integrity Post-Mortem." Federal Law Review 42, no. 3 (September 2014): 485–518. http://dx.doi.org/10.22145/flr.42.3.3.

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Abstract (sommario):

Can the honour of the dead be prejudiced? There is much philosophical debate about whether the dead can, or should, enjoy legal rights. Australia, like many jurisdictions, has apparently bypassed that debate and confers post-mortem moral rights on authors, which endure for at least 70 years after an author's death. The Australian moral right of integrity protects authors from certain conduct in relation to their copyright works, which is prejudicial to their honour or reputation. This deliberate conferral of a posthumous right ostensibly acknowledges that a deceased author's honour can be harm

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23

Singh, Supriya, Meredith Blake, and Jonathan O'Donnell. "Digitizing Pacific Cultural Collections: The Australian Experience." International Journal of Cultural Property 20, no. 1 (February 2013): 77–107. http://dx.doi.org/10.1017/s0940739112000483.

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AbstractIn the absence of specific policies that address the digitization of Pacific cultural collections, it is important to document the practices of Australian museum professionals and cultural experts who deal with close to one-fifth of Pacific cultural objects held in museums. Interviews with 17 museum professionals and cultural experts in Australia help advance reflective practice relating to digitizing Pacific collections. Drawing on principles enshrined in international, regional, and Australian policies and protocols relating to the management of indigenous collections, they favor res

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24

Weatherall, Kimberlee. "The Australia-US free trade agreement’s impact on Australia’s copyright trade policy." Australian Journal of International Affairs 69, no. 5 (July 9, 2015): 538–58. http://dx.doi.org/10.1080/10357718.2015.1048778.

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25

Lee, Gyooho. "A study on the introduction of dynamic injunction as a countermeasure against online copyright infringement." Korea Copyright Commission 35, no. 2 (June 30, 2022): 115–50. http://dx.doi.org/10.30582/kdps.2022.35.2.115.

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Abstract (sommario):

On basis of Article 136 of Korean Copyright Act prescribing criminal sanction against copyright infringement crimes, online information which violates Korean Copyright Act can fall under one of online illegal information under Article 44-7 (1) 9 of the Act On Promotion Of Information And Communications Network Utilization And Information Protection. Article 44-7 (Prohibition on Circulation of Unlawful Information) of the Act On Promotion Of Information And Communications Network Utilization And Information Protection (hereinafter “Information and Communications Network Act”) states that “(1) N

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26

Qaddomi, Hussam. "Copyright © Australian International Academic Centre, Australia EFL for Palestinian Security Personnel in Workplace: Exploring Officers’ Motivation and Attitudes." International Journal of Applied Linguistics & English Literature 3, no. 2 (February 22, 2014): 101–11. http://dx.doi.org/10.7575/aiac.ijalel.v.3n.2p.101.

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27

Mazzola, Riccardo. "“I make an oath and say as follows”: Yolngu judicial discourse on sacred art and copyright." Oñati Socio-legal Series 10, no. 4 (August 1, 2020): 876–902. http://dx.doi.org/10.35295/osls.iisl/0000-0000-0000-1135.

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The main claim of this study is that a dynamic repertoire of Indigenous linguistic conducts and judicial strategies exists in Yolngu (Australia) artworks misappropriation cases discussed before Australian courts, and that its examination helps to clarify Indigenous perspectives on the property of sacred art. This essay – covering an almost untouched field in the literature on “Indigenous intellectual property” – enlightens Yolngu judicial strategies as their answer to the conundrum between the risk of a loss of their cultural identity and the advantage potentially deriving from a state recogni

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28

Carpenter, Chris. "JIP Focuses on Equipment Reliability in Subsea Production Systems." Journal of Petroleum Technology 74, no. 08 (August 1, 2022): 58–60. http://dx.doi.org/10.2118/0822-0058-jpt.

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This article, written by JPT Technology Editor Chris Carpenter, contains highlights of paper OTC 30219, “SEAR JIP: A Success Story of Collaboration and How To Improve Equipment Reliability on Subsea Production Systems,” by Adriana Botto, Wood; Manish Tomar, Chevron; and Stuart Ferrier, ConocoPhillips, et al. The paper has not been peer reviewed. Copyright 2020 Offshore Technology Conference. Reproduced by permission. The Subsea Equipment Australia Reliability (SEAR) joint industry project (JIP) is a partnership led by Wood with participation from a group of operators including Chevron Australi

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29

Besek, June M., Jessica Coates, Brian Fitzgerald, Wilma Mossink, William G. LeFurgy, Adrienne Muir, Mary Rasenberger, and Christopher D. Weston. "Digital Preservation and Copyright: An International Study." International Journal of Digital Curation 3, no. 2 (December 2, 2008): 103–11. http://dx.doi.org/10.2218/ijdc.v3i2.61.

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The aim of the International Study on the Impact of Copyright Law on Digital Preservation was to review current copyright and related laws and their impact on digital preservation, as well as to make recommendations to help libraries, archives and other preservation institutions sustain digital works. Study partners are based in Australia, the Netherlands, the United Kingdom and the United States. The study found that, in many cases, digital works are not being preserved in a systematic way. This is partly because digital preservation entails more difficult copyright issues than preservation o

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30

Ogawa, Megumi. "The Protection of Broadcasts and Broadcasting Organisations under 'New' Copyright Act 1968 of Australia." Joho Chishiki Gakkaishi 11, no. 2 (2001): 11–16. http://dx.doi.org/10.2964/jsik_kj00001039399.

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31

Atkinson, Violet, Viviane Azard, Marie Malaurie-Vignal, and William van Caenegem. "Comparative study of fashion and IP: Copyright and designs in France, Europe and Australia." Journal of Intellectual Property Law & Practice 11, no. 7 (July 2016): 516–32. http://dx.doi.org/10.1093/jiplp/jpw056.

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32

Shtefan, Olena. "The role of the principle of integrity in copyright protection." Theory and Practice of Intellectual Property, no. 5 (June 11, 2021): 12–25. http://dx.doi.org/10.33731/52020.233729.

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Shtefan O. The role of the principle of integrity in copyright protection.The article is devoted to the disclosure of the essence of the principle of good faith as the quintessence of all principles of law, universal principle, which applies both in procedural and material law. Directly in the article, the principle of good faith is revealed through the prism of the analysis of controversial legal relations arising in copyright relations.The application of the principle of fair use of works is aimed at establishing a balance between the interests of authors of works and the interests of

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33

Jenkins, Georgia. "An Extended Doctrine of Implied Consent – A Digital Mediator?" IIC - International Review of Intellectual Property and Competition Law 52, no. 6 (March 23, 2021): 706–33. http://dx.doi.org/10.1007/s40319-021-01024-2.

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AbstractThis article explores whether an extended doctrine of implied consent can better balance copyright interests in the digital environment, particularly users’ access to digital content. Implied licences are analysed from a variety of jurisdictions including the United Kingdom, the European Union, Germany, the United States and Australia to submit that the role of implied consent emerges as a fundamental legal principle in both common and civil law jurisdictions. Given the significance of consent within the doctrine of exhaustion, the article also evaluates its application in the digital

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34

Jackson, M. "Black Hats and White Hats: Authorisation of Copyright Infringement in Australia and the United States." International Journal of Law and Information Technology 14, no. 1 (December 19, 2005): 28–46. http://dx.doi.org/10.1093/ijlit/eai022.

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35

Barakat Alhossary, Abeer, and Mohd Faiz Sathivellu Bin Abdullah. "Copyright © Australian International Academic Centre, Australia Representations of the ‘Palestinian Prisoners-Shalit Swap’ in Selected Arab and Israeli Online News Articles." International Journal of Applied Linguistics & English Literature 3, no. 2 (February 22, 2014): 178–86. http://dx.doi.org/10.7575/aiac.ijalel.v.3n.2p.178.

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36

leach, helen m. "The Pavlova Wars: How a Creationist Model of Recipe Origins Led to an International Dispute." Gastronomica 10, no. 2 (2010): 24–30. http://dx.doi.org/10.1525/gfc.2010.10.2.24.

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As in biology, debates between evolutionists and creationists can occur in historical disciplines dealing with the origins of technological devices and processes. In food history, the popular belief that dishes are invented, in particular by chefs, reflects an underlying creationist model. In the case of the pavlova cake, this model demands a sole creator, time and place of invention. Since this dish is iconic in both Australia and New Zealand, disputes over its origin culminated in what the media termed the ““Pavlova Wars,”” despite the evidence from cookbook analysis for progressive parallel

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Pila, Justine. "Works of Artistic Craftsmanship in the High Court of Australia: The Exception as Paradigm Copyright Work." Federal Law Review 36, no. 3 (September 2008): 363–79. http://dx.doi.org/10.22145/flr.36.3.4.

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Johnson, T. "Battling in a virtual world: a proposal for increased copyright protection of multimedia products in Australia." Journal of Intellectual Property Law & Practice 7, no. 7 (April 19, 2012): 515–24. http://dx.doi.org/10.1093/jiplp/jps048.

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Pila, Justine. "Works of Artistic Craftsmanship in the High Court of Australia: The Exception as Paradigm Copyright Work." Federal Law Review 36, no. 3 (September 2008): 363–79. http://dx.doi.org/10.1177/0067205x0803600304.

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40

Faturoti, Bukola. "Re-importing the concept of ‘authorisation’ of copyright infringement to Nigeria from the UK and Australia." International Review of Law, Computers & Technology 31, no. 1 (January 2, 2017): 4–25. http://dx.doi.org/10.1080/13600869.2017.1275115.

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41

Chuang, Min-Tun, Ben Chang, and Hsin-Chieh Chen. "Copyright © Australian International Academic Centre, Australia Investigating Reported Social and Affective Strategy Use by EFL Learners in Virtual and Real Learning Environments." International Journal of Applied Linguistics & English Literature 3, no. 2 (February 22, 2014): 27–33. http://dx.doi.org/10.7575/aiac.ijalel.v.3n.2p.27.

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Makkar, Kashish. "Taxing the Sale of Software: Revisiting the Definition of ‘Royalty’ Under the DTAAs." Business Law Review 41, Issue 1 (February 1, 2020): 29–33. http://dx.doi.org/10.54648/bula2020004.

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Abstract (sommario):

The characterization of payments, for taxation, in the hands of, non-resident payees arising out of a cross-border sale of software, has always remained controversial in India. While the Revenue, contends that such payments are ‘Royalties’ for Licensing of, Copyrights, the taxpayers argue that these payments are merely, Proceeds on the Sales of Copyrighted Articles. There have been, several conflicting decisions by different Income Tax Tribunals, and High Courts that have legitimized each of these characterizations., While the Courts and Tribunals led by the Delhi, HC held for the taxpayers by

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Ghafele, Roya. "Reply to George S. Ford’s ‘A Counterfactual Impact Analysis of Fair Use Policy on Copyright Related Industries in Singapore: A Critical Review’." Laws 9, no. 1 (January 15, 2020): 2. http://dx.doi.org/10.3390/laws9010002.

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Ford’s ‘Comments (Laws 2018, 7(4), 34; https://doi.org/10.3390/laws7040034, https://www.mdpi.com/2075-471X/7/4/34)’ are biased by a partisan approach to the issues at stake and cannot be based on scientific evidence. The article “A Counterfactual Impact Analysis of Fair Use Policy on Copyright Related Industries in Singapore”, which Gibert and Gafelle wrote together nearly a decade ago, came under heavy criticism by George S. Ford from an organization named the Phoenix Centre for Advanced Legal and Economic Public Policy Studies in an article ‘A Counterfactual Impact Analysis of Fair Use Polic

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Hanna, Pat, and Richard Fotheringham. "Script of Louis XI." Queensland Review 23, no. 2 (December 2016): 143–50. http://dx.doi.org/10.1017/qre.2016.45.

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The script of Louis XI used as the basis for this edition is the only known surviving version, a typescript on lined foolscap held in the National Archives of Australia, Canberra, in the Copyright Applications Series CRS A1336/1 item 14,222. It appears to have been typed from an earlier script that has not survived — probably a much-amended manuscript given numerous transcription errors, and was not subsequently corrected. As a consequence, it retains traces of that earlier version. Its title, typed in caps at the top of each page, is ‘SHELL SHOCK’, but on the first page this has been crossed

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Rizzi, Andrea, and Matthew Absalom. "Using online streamed audio and podcasting in L2 teaching and learning: how do they work and copyright implications." EuroCALL Review 12 (September 16, 2007): 27. http://dx.doi.org/10.4995/eurocall.2007.16361.

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<p>Providing students with contemporary, up-to-date listening experiences in L2 is an ongoing challenge for language educators. Indeed, much commercially available material is dated or presents language in an idealised and decontextualised way. Audiostreaming provides a wealth of resources which may go some way towards resolving these issues. Contemporary teaching and learning materials on an extremely wide range of topics are easily downloaded from national radio station websites and are accessible via systems such as podcasting. This paper discusses one attempt at integrating these res

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46

Bobula, Joel. "Pharmacoeconomic Guidelines and Principles: An International Comparison." Journal of Pharmacy Practice 8, no. 4 (August 1995): 185–92. http://dx.doi.org/10.1177/089719009500800407.

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This article compares and contrasts the PhRMA Methodological and Conduct Principles for Pharmacoeconomic Research and the pharmacoeconomic guidelines/principles from Australia, Great Britain, and Canada. Whereas the UK Guidance is the most general and the least prescriptive of the four sets of guidelines/ principles, the Canadian Guideline is the most detailed and prescriptive in nature. The PhRMA Principles consists of a set of broad principles that will foster high quality pharmacoeconomic research without impeding further methodological development of the field. The main focus of the PhRMA

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Dharmatilake, Bodhi. "Reformulating the 'fair dealing' defence in copyright law to accommodate transformative musical works and maximise creativity in Australia." International Journal of Technology Policy and Law 2, no. 1 (2015): 1. http://dx.doi.org/10.1504/ijtpl.2015.067958.

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Missingham, Roxanne, and Lorena Kanellopoulos. "University presses in libraries: potential for successful marriages." OCLC Systems & Services: International digital library perspectives 30, no. 3 (August 5, 2014): 158–66. http://dx.doi.org/10.1108/oclc-01-2014-0001.

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Purpose – The purpose of this paper is to discuss the role of libraries and university presses and to present the Australian National University (ANU) Press and Library as a case study of successful structural integration. Design/methodology/approach – The paper analyses current debates about libraries as structural centres for running university presses. Taking into consideration the major areas of debate, the methodology used is to analyse the operation of the press; compare the financial parameters to two traditional Australian university presses; analyse the policy and procedures of the pr

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Liew, Pei Hong, and Mohd Effendi@Ewen Mohd Matora. "A Persepsi dalam Penggunaan Flipped Classroom dalam Pengajaran dan Pemudahcaraan (Pdpc): Sorotan Literatur Bersistematik." Malaysian Journal of Social Sciences and Humanities (MJSSH) 5, no. 12 (December 2, 2020): 188–200. http://dx.doi.org/10.47405/mjssh.v5i12.565.

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Tujuan artikel ini adalah untuk mengetahui penggunaan flipped classroom dalam pembelajaran dan pemudahcaraan (Pdpc) dalam tempoh 2016 hingga 2020. Satu kajian ulasan sistematik telah dijalankan untuk mendapatkan maklumat yang berkaitan dengan tajuk yang hendak dikaji dengan menggunakan pangkalan data dalam talian seperti ERIC (Education Research and Information), PQDT Online (ProQuest Dissertations and Theses Copyright), Science Direct dan MYTO. Terdapat beberapa kata kunci digunakan iaitu “flipped classroom”, “flipped classroom AND perception” dan “inverted learning” untuk mencari kajian yang

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Lee, J. C. J. "The ongoing design duty in Universal Music Australia Pty Ltd v Sharman License Holdings Ltd Casting the scope of copyright infringement even wider." International Journal of Law and Information Technology 15, no. 3 (December 8, 2006): 275–98. http://dx.doi.org/10.1093/ijlit/eal020.

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