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