By Pascal Kamina
Highbrow estate concerns within the movie are hugely complicated and speedily evolving. within the first booklet in this topic, Kamina analyzes movie safety within the fifteen member states of the eu Union, giving targeted emphasis to the U.K. and France. He addresses key facets of movie copyright, together with the most good points of household laws of defense of movie works in the european within the context of ecu harmonization of copyright legislation. He additionally considers vital new advancements on contracts and ethical rights. Of curiosity to practitioners, teachers and scholars.
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Extra info for Film copyright in EU
68. 19 The 1862 Act provided for a registration of each photograph taken from a different negative, but at that time photo-plays were registered only as reels of ﬁlms. 20 Finally, there was no performing right or ‘right of exhibition’ in relation to photographs. 21 Protection under the heading of dramatic works was thought even more uncertain, due to the ruling in Tate v. 23 However, it is clear that this condition could have been met by the written script. 25 Therefore, copyright protection was limited to the written script, 17 18 20 21 22 23 24 25 Barker Motion Co.
1954) 20 CPR 75; 14 Fox Pat. C. 114. Nordisk Films Co. Ltd v. Onda [1919–24] MCC 337. S. Ricketson, The Berne Convention on the Protection of Literary and Artistic Works, Kluwer, 1987, para. 3, pp. 550–1; H. Laddie, P. Prescott and M. Vitoria, The Modern Law of Copyright, Butterworths, 1995, para. 13. 24 Film copyright in the European Union were made of photographs, they did not all comprise dramatic works, original or not. In that case, the question is less a question of originality than a question of characterisation as a dramatic work.
In a Memorandum of January 1994, the International Bureau of the WIPO stated that multimedia works could be considered as audiovisual works within the meaning of the Treaty on the International Registration of Audiovisual Works of 20 April 1989. In addition to certain similarities in the creation process and the advantages presented by the authorship scheme, characterisation as an audiovisual work is sometimes used to attract public subsidies for ﬁlm production. 8 Film copyright in the European Union system of the European Union and of Community law.