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Art and Copyright 2nd edition [Mīkstie vāki]

(Blake Morgan)
  • Formāts: Paperback / softback, 306 pages, height x width: 216x138 mm, weight: 358 g
  • Izdošanas datums: 21-Feb-2012
  • Izdevniecība: Hart Publishing
  • ISBN-10: 1849461627
  • ISBN-13: 9781849461627
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  • Formāts: Paperback / softback, 306 pages, height x width: 216x138 mm, weight: 358 g
  • Izdošanas datums: 21-Feb-2012
  • Izdevniecība: Hart Publishing
  • ISBN-10: 1849461627
  • ISBN-13: 9781849461627
Citas grāmatas par šo tēmu:
In recent years the intellectual property protection afforded to works of art has received increased attention from artists, museums, galleries, auction houses, publishers and their professional staff and legal advisers, as well as from those teaching orstudying copyright and/or the law of cultural property. This was the first text to examine in detail the intellectual property rights protecting artistic works and artists' rights generally in the United Kingdom. First published in 2001, 'Art and Copyright' has established itself as a leading text in the field. Now revised and updated, the second edition includes expanded coverage of Artist's Resale Right and the relationship between designs law and artistic works, as well as greater coverage of new media and art, and digital developments generally. It also includes additional precedent materials and checklists. It remains an invaluable work for all those involved in art law and for intellectual property lawyers involved with the exploitation and/or saleof artistic works, as well as for intellectual property academics, researchers, law students, curators, publishers, artists, gallery owners and all those interested in how the law protects artistic works.

Recenzijas

[ Stokes] strikes a pleasant balance between its purely legal, philosophical, economic, historical and cultural reference points. Acronyms and legal terminology are made accessible and the law, if not always to the reader's liking, is clearly explained. Simon Stokes displays his scholarship and his enthusiasm for the subject with modesty, which makes this work a pleasure to read. -- Professor Jeremy Phillips * Printmaking Today, Volume 21, No. 3 *

Preface v
Acknowledgments (in respect of the First Edition) vii
Frequently Cited Material xv
Table of Cases
xxiii
Table of Legislation
xxxv
1 Introduction
1(10)
1.1 Background and Scope
1(2)
1.2 Copyright and Art
3(8)
2 The Copyright System: Justification and History
11(20)
2.1 Introduction
11(1)
2.2 Justifications for Copyright
12(15)
2.2.1 The Economic/Utilitarian Justifications for Copyright
13(1)
2.2.2 Public Policy Arguments
14(1)
2.2.3 Moral Rights
15(6)
2.2.4 Copyright Scepticism
21(5)
2.2.5 Some Conclusions
26(1)
2.3 The History of Copyright
27(4)
3 The Modern Law of Copyright
31(52)
3.1 Background
31(2)
3.2 UK Law
33(50)
3.2.1 The Classes of Work Protected by Copyright
34(16)
3.2.2 Criteria for Protection: Work Must be `Original'
50(2)
3.2.3 Who is the Author?
52(1)
3.2.4 The Need for Fixation/Permanence of the Work
53(1)
3.2.5 Qualifying Factors for Protection
54(1)
3.2.6 The Duration of Protection
55(1)
3.2.7 The First Owner of the Copyright
56(1)
3.2.8 The Scope of the Copyright Monopoly: Economic Rights, the Idea/Expression Dichotomy and Exceptions to Copyright
56(12)
3.2.9 Other Rights Analogous or Related to Copyright (excluding Moral Rights but including Designs)
68(15)
4 Moral Rights and Droit de Suite
83(28)
4.1 Moral Rights
83(6)
4.2 Implications of Moral Rights
89(6)
4.2.1 Morrison Leahy Music and Another v Lightbond Limited and Others (1991)
90(1)
4.2.2 Tidy v The Trustees of the Natural History Museum and Another (1996)
91(1)
4.2.3 Pasterfield v Denham and Another (1999)
92(1)
4.2.4 Confetti Records v Warner Music (2003)
93(1)
4.2.5 Conclusion: Derogatory Treatment in UK Law
94(1)
4.3 Moral Rights in the United States
95(2)
4.4 Artist's Resale Right (Droit de Suite)
97(14)
4.4.1 Background, Rationale and History
97(4)
4.4.2 EU Harmonisation
101(5)
4.4.3 UK Implementation of the Resale Right Directive
106(5)
5 Art and the Internet: Copyright, Related Rights and Digitisation
111(16)
5.1 Copyright in Digital and Digitised Works
111(2)
5.1.1 Digital Works
111(2)
5.1.2 Digitised Works
113(1)
5.2 Copyright and Computer-Generated Works
113(2)
5.3 Transitory Copying and the Internet
115(3)
5.3.1 Caching
116(1)
5.3.2 Linking and Framing
117(1)
5.3.3 Liability of ISPs and Others, Including for User-Generated Content
117(1)
5.4 Transmission Right
118(1)
5.5 Publication Right
119(1)
5.6 Database Right
120(1)
5.7 Implications of Moral Rights for the Digital Environment
121(1)
5.8 Art, Copyright Legislation and the Digital Future
122(5)
5.8.1 Legislation
122(3)
5.8.2 The Future
125(2)
6 Some Current Issues
127(66)
6.1 Copyright in Photographs
127(14)
6.1.1 Graves' Case (1869)
128(2)
6.1.2 The Bridgeman Case (1998)
130(6)
6.1.3 Comment
136(5)
6.2 Copyright and Visual Search Engines: Fair Use and Fair Dealing in the Online Environment
141(15)
6.2.1 Kelly v Arriba Soft (1999-2004)
142(6)
6.2.2 Perfect 10 v Google (2006-11)
148(2)
6.2.3 Comment
150(1)
6.2.4 A View from the United Kingdom
150(6)
6.3 Image Sharing, User-Generated Works and Online Artistic Collaboration
156(8)
6.3.1 Case Study: The National Portrait Gallery, Derrick Coetzee and Wikimedia Commons
156(6)
6.3.2 User-Generated Content and Online Artistic Collaboration
162(2)
6.4 Modern Art and Copyright (including Film, Video and Performances)
164(16)
6.4.1 Ready-Mades, Objets Trouves, Installations and Assemblage
164(2)
6.4.2 Appropriation Art
166(1)
6.4.3 Minimalist Art
167(1)
6.4.4 Film Copyright, Modern Art and Advertising: Gillian Wearing, Mehdi Norowzian and Beyond
168(4)
6.4.5 The Limits of Appropriation: Parody
172(6)
6.4.6 Appropriation and Parody: Some Concluding Thoughts
178(1)
6.4.7 Film, Video, Multimedia Works, Animation, Computer Games and Performance Works: Copyright and Performers' Rights
178(2)
6.5 Orphan Works
180(3)
6.6 Art, Originality, Infringement and Recent Developments in EU Copyright Law
183(2)
6.7 Traditional Cultural Expressions and Copyright
185(8)
7 Some Practical Issues and Precedents
193(16)
7.1 Copyright in the Context of Art Loans
193(3)
7.2 Copyright and Setting Up a Website: Acquiring and Using Image Rights
196(2)
7.3 The Use of Images in Art Books: The Limits of Fair Dealing
198(1)
7.4 Transferring/Acquiring Copyright in Artistic Works: Commissioned Art Works and Moral Rights Waivers
199(2)
7.5 Licensing Artistic Works
201(1)
7.6 Artist's Resale Right (ARR) in the United Kingdom: Practical Guidance
201(8)
7.6.1 What is Artist's Resale Right?
202(1)
7.6.2 Resale Royalty
203(1)
7.6.3 What Works of Art are Relevant?
204(1)
7.6.4 What Sales Attract the Resale Royalty?
205(1)
7.6.5 Who is Entitled to Claim the Right?
206(1)
7.6.6 Who is Liable to Pay the Resale Royalty?
206(1)
7.6.7 Right to Information
207(1)
7.6.8 The Works of Deceased Artists
207(2)
8 Art and Intellectual Property Rights other than Copyright
209(18)
8.1 Breach of Confidence
210(1)
8.2 Passing Off
211(4)
8.3 Trade Marks
215(3)
8.4 Domain Names
218(4)
8.4.1 Samfrancis.com: Frederick M Nicholas, Administrator, The Sam Francis Estate v Magdison Fine Art Inc (2000)
220(1)
8.4.2 Gallerina.com: Gallerina v Mark Wilmshurst (2000)
221(1)
8.4.3 Artnews.net: Artnews, LLC v Ecorp.com (2000)
221(1)
8.4.4 Gettymuseum.com/Gettysmuseum.com; Brooklynmuseumofart.com/.org: The J Paul Getty Trust v Domain 4 Sale & Company and Brooklyn Institute of Arts and Sciences v Fantastic Sites (2000)
222(1)
8.5 Privacy and Publicity Rights
222(5)
9 Conclusion
227(8)
9.1 Categories of `Art' and the Subsistence of Copyright
228(3)
9.2 Appropriating the Public Domain: Idea versus Expression
231(1)
9.3 The Digital Future
232(3)
Appendix A Precedents and Precedent Checklists 235(14)
Appendix B Sources for Cases, Images and Legislation 249(2)
Index 251
Simon Stokes is a partner with Blake Lapthorn in London and a Visiting Research Fellow at Bournemouth Law School.