Art and CopyrightBloomsbury Publishing, 2021. gada 11. marts - 336 lappuses First published in 2001, Art and Copyright has established itself as a leading text in the field. Revised and updated, this third edition includes additional coverage of the following topics: - The relationship between designs law and artistic works; - EU and Brexit developments; - AI-created works; - graffiti and other non-conventional works; - blockchain and rights management; - orphan works; - new exceptions to copyright; and - digital copyright, art databases and online platforms. This book remains an invaluable work for all those involved in art law and for intellectual property lawyers involved with the exploitation and/or sale of artistic works, as well as for intellectual property academics, researchers, law students, curators, publishers, artists, gallery owners, auction houses, and those developing and running online art platforms, databases and technology to transact in art. |
No grāmatas satura
1.–5. rezultāts no 61.
ix. lappuse
... Comment on Bridgeman on the Basis of UK Law Before Infopaq and the Development of a European Standard of Originality by the CJEU ..................................................................135 6.1.4. European Copyright Law ........
... Comment on Bridgeman on the Basis of UK Law Before Infopaq and the Development of a European Standard of Originality by the CJEU ..................................................................135 6.1.4. European Copyright Law ........
4. lappuse
... basis a work reflects the personality of its creator. However, CJEU case law now means 'sweat of the brow' has been replaced in the UK by a requirement that the work is the author's own intellectual creation, the implications of which ...
... basis a work reflects the personality of its creator. However, CJEU case law now means 'sweat of the brow' has been replaced in the UK by a requirement that the work is the author's own intellectual creation, the implications of which ...
9. lappuse
... basis of economics; the second is on the basis of public policy (the cultural argument for copyright); and the third is on the basis of moral rights (or natural law rights).10 None of these justifications, in Michael Spence's words ...
... basis of economics; the second is on the basis of public policy (the cultural argument for copyright); and the third is on the basis of moral rights (or natural law rights).10 None of these justifications, in Michael Spence's words ...
10. lappuse
... basis that only the author or his/her assigns can exploit it.14 To quote Anthony Trollope, 'Take away from English authors their copyrights, and you would very soon take away from England her authors.'15 Of course it can be debated ...
... basis that only the author or his/her assigns can exploit it.14 To quote Anthony Trollope, 'Take away from English authors their copyrights, and you would very soon take away from England her authors.'15 Of course it can be debated ...
11. lappuse
... basis of 'fair use' or 'fair dealing' also come to the fore in this regard. These are discussed in chapters three and six. 2.2.3. Moral. Rights/Natural. Law. Rights. There are two major theories underpinning arguments that authors have an ...
... basis of 'fair use' or 'fair dealing' also come to the fore in this regard. These are discussed in chapters three and six. 2.2.3. Moral. Rights/Natural. Law. Rights. There are two major theories underpinning arguments that authors have an ...
Saturs
1 | |
8 | |
3 The Modern Law of Copyright | 24 |
4 Moral Rights and Artists Resale Right Droit de Suite | 72 |
Copyright Related Rights and Digitisation | 98 |
6 Some Current Issues | 126 |
7 Some Practical Issues and Precedents | 196 |
8 Art and Intellectual Property Rights Other than Copyright | 218 |
9 Conclusion | 229 |
Precedents and Precedent Checklists | 236 |
Index | 247 |
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