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Ulitina O. Features of copyright protection of some specific works of contemporary art. The article is devoted to the legal protection issues of the atypical objects of copyright, which belong to modern arts. The place and role of such objects in the system of copyright objects are defined. Based on the study of doctrinal provisionson such atypical objects, their differences from traditional objects of copyright are determined. In article it is also indicated how the place of such objects in the system of contemporary art influences it.An analysis of the Ukrainian legislation and the foreign countries legislation in this area was made, and it allowed to identify such atypical objects in the system of modern art works and in the system of copyright objects.Contemporary art is interesting and complex phenomenon, which is characterized by the great influence of technology, rapid development and large profits. Today, as never before, we can say that creativity can benefit its creator, and art is becoming more accessible to anyone who wants to create something.New platforms for creativity often appear. Frequently they are free of charge, and help new authors to gain an audience and become popular. This process can be observed in almost all creative fields. That has given the impetus to the rapid development and rise of all manifestations of art.Of course, the Internet influences thisprocess the most. The Internet provides access to great opportunities for creating works and promoting them among content consumers. The Internet quickly makes talented people rich and popular, but it also quickly makes people forget about yesterday's idols.However, such processes are beneficial for the art development and modern culture strengthening. They lead to the new arts emergence and to the development of culture and creativity in general, as well as attract funds to the creative industries.This situation leads to the emergence of new atypical copyright objects, which remain outside the legal regulation, and sometimes are found on the verge of infringement of copyright and related rights.Due to the opportunities created by technological and technical development, creativity becomes more accessible, art becomes the prerogative not only of professional artists, but of ordinary talented people. This leads to the emergence of new interesting types of works, the legal status of which is sometimes quite difficult to determine. So the article is dedicated to the issues of legal regulating of this new atypical copyright objects.Key words: copyright, untypical objects, copyright protection ; Стаття присвячена питанням особливості охорони нетипових об'єктів авторського права, які належать до сучасних видів мистецтва. Розглянуто місце та роль таких об'єктів у системі об'єктів авторського права. На основі проведеного дослідження доктринальних положень щодо таких нетипових об'єктів визначено їх відмінності від традиційних об'єктів авторського права, зазначено, яким чином на це впливає місце таких об'єктів у системі сучасного мистецтва.Зроблено аналіз норм законодавства України та зарубіжних країн у цій галузі, який дав змогу виокремити нетипові об'єкти, що належать до творів сучасного мистецтва, у загальній системі об'єктів авторського права.Ключові слова: авторське право, нетипові об'єкти, охорона авторського права

Ulitina O. Features of copyright protection of some specific works of contemporary art. The article is devoted to the legal protection issues of the atypical objects of copyright, which belong to modern arts. The place and role of such objects in the system of copyright objects are defined. Based on the study of doctrinal provisionson such atypical objects, their differences from traditional objects of copyright are determined. In article it is also indicated how the place of such objects in the system of contemporary art influences it.An analysis of the Ukrainian legislation and the foreign countries legislation in this area was made, and it allowed to identify such atypical objects in the system of modern art works and in the system of copyright objects.Contemporary art is interesting and complex phenomenon, which is characterized by the great influence of technology, rapid development and large profits. Today, as never before, we can say that creativity can benefit its creator, and art is becoming more accessible to anyone who wants to create something.New platforms for creativity often appear. Frequently they are free of charge, and help new authors to gain an audience and become popular. This process can be observed in almost all creative fields. That has given the impetus to the rapid development and rise of all manifestations of art.Of course, the Internet influences thisprocess the most. The Internet provides access to great opportunities for creating works and promoting them among content consumers. The Internet quickly makes talented people rich and popular, but it also quickly makes people forget about yesterday's idols.However, such processes are beneficial for the art development and modern culture strengthening. They lead to the new arts emergence and to the development of culture and creativity in general, as well as attract funds to the creative industries.This situation leads to the emergence of new atypical copyright objects, which remain outside the legal regulation, and sometimes are found on the verge of infringement of copyright and related rights.Due to the opportunities created by technological and technical development, creativity becomes more accessible, art becomes the prerogative not only of professional artists, but of ordinary talented people. This leads to the emergence of new interesting types of works, the legal status of which is sometimes quite difficult to determine. So the article is dedicated to the issues of legal regulating of this new atypical copyright objects.Key words: copyright, untypical objects, copyright protection ; Стаття присвячена питанням особливості охорони нетипових об'єктів авторського права, які належать до сучасних видів мистецтва. Розглянуто місце та роль таких об'єктів у системі об'єктів авторського права. На основі проведеного дослідження доктринальних положень щодо таких нетипових об'єктів визначено їх відмінності від традиційних об'єктів авторського права, зазначено, яким чином на це впливає місце таких об'єктів у системі сучасного мистецтва.Зроблено аналіз норм законодавства України та зарубіжних країн у цій галузі, який дав змогу виокремити нетипові об'єкти, що належать до творів сучасного мистецтва, у загальній системі об'єктів авторського права.Ключові слова: авторське право, нетипові об'єкти, охорона авторського права

Nowadays the process of cooking is becoming more creative, it acquires certain features of art. Cooking is developing not only at the level of the restaurant business because of the special creative contribution of the chefs, but also in the kitchens of ordinary people who are trying to add diversity to their dishes. Today, food should be not only delicious, butalso aesthetically pleasing. «Instagram dishes», «Instagram plating» are especially popular, because of their attractiveness and unusual look.The article is devoted to the study of the copyright protection of culinary products.The copyright legislation of Ukraine and some foreign countries, which in one or another way can be used for protection of the intellectual property rights to culinary products are analyzed. The article also considers the question of whether culinary products can be recognized as derivative works. It is determined whether the recipe can be protected by copyright and established how the concepts of culinary product and recipe relate.Author states that a culinary product as a category consists of four components: 1) idea (recipe/technological process of production), 2) name, 3) the process of cooking itself, and 4) platting (presentation of the dish). The concept of «recipe» is absent at the legislative level in Ukraine.According to the Ukrainian and foreign scientific sources the recipe can be protected by copyright as a literary work. However, in this case only the form in which the recipe is expressed (fixing in tangible medium of expression) is protected. The idea, the essence of the recipe will not be protected under the copyright protection. Therefore, the protection offered by the copyright law in this case cannot be used to protectthe rights to a culinary product made by the recipe. The finished dish is the final product of the recipe, the result of being fixed in a tangible medium, similar to the architectural projects and buildings in which the projects are «fixed».The author claims that some culinary products can be recognized as a derivative works which relates to the original works of fine art. A specific category of Ukrainian legislation – branded food can be protected by the norms of Ukrainian copyright law. ; Статья посвящена исследованию вопроса возможности охраны кулинарных изделий нормами авторского права. Проанализированы нормы законодательства Украины и некоторых зарубежных стран в сфере авторского права, кото- рые тем или иным образом могут быть использованы для охраны прав на кули- нарные изделия. Рассмотрен вопрос о том, могут ли кулинарные изделия быть признаны производными произведениями от оригинальных произведений искусства, например, произведений изобразительного искусства. ; Стаття присвячена дослідженню питання можливості охорони кулінарних виробів нормами авторського права. Зроблено аналіз норм законодавства України та деяких зарубіжних країн з авторського права, які тим чи іншим чином можуть бути використані щодо охорони прав на кулінарні вироби.У статті розглянуто питання про те, чи можуть кулінарні вироби бути визнані похідними творами від оригінальних творів інших галузей мистецтва, наприклад, творів образотворчого мистецтва.Визначено, чи може рецепт охоронятися нормами авторського права, та встановлено, як саме співвідносяться поняття «кулінарний виріб» і «рецепт».

Nowadays the process of cooking is becoming more creative, it acquires certain features of art. Cooking is developing not only at the level of the restaurant business because of the special creative contribution of the chefs, but also in the kitchens of ordinary people who are trying to add diversity to their dishes. Today, food should be not only delicious, butalso aesthetically pleasing. «Instagram dishes», «Instagram plating» are especially popular, because of their attractiveness and unusual look.The article is devoted to the study of the copyright protection of culinary products.The copyright legislation of Ukraine and some foreign countries, which in one or another way can be used for protection of the intellectual property rights to culinary products are analyzed. The article also considers the question of whether culinary products can be recognized as derivative works. It is determined whether the recipe can be protected by copyright and established how the concepts of culinary product and recipe relate.Author states that a culinary product as a category consists of four components: 1) idea (recipe/technological process of production), 2) name, 3) the process of cooking itself, and 4) platting (presentation of the dish). The concept of «recipe» is absent at the legislative level in Ukraine.According to the Ukrainian and foreign scientific sources the recipe can be protected by copyright as a literary work. However, in this case only the form in which the recipe is expressed (fixing in tangible medium of expression) is protected. The idea, the essence of the recipe will not be protected under the copyright protection. Therefore, the protection offered by the copyright law in this case cannot be used to protectthe rights to a culinary product made by the recipe. The finished dish is the final product of the recipe, the result of being fixed in a tangible medium, similar to the architectural projects and buildings in which the projects are «fixed».The author claims that some culinary products can be recognized as a derivative works which relates to the original works of fine art. A specific category of Ukrainian legislation – branded food can be protected by the norms of Ukrainian copyright law. ; Статья посвящена исследованию вопроса возможности охраны кулинарных изделий нормами авторского права. Проанализированы нормы законодательства Украины и некоторых зарубежных стран в сфере авторского права, кото- рые тем или иным образом могут быть использованы для охраны прав на кули- нарные изделия. Рассмотрен вопрос о том, могут ли кулинарные изделия быть признаны производными произведениями от оригинальных произведений искусства, например, произведений изобразительного искусства. ; Стаття присвячена дослідженню питання можливості охорони кулінарних виробів нормами авторського права. Зроблено аналіз норм законодавства України та деяких зарубіжних країн з авторського права, які тим чи іншим чином можуть бути використані щодо охорони прав на кулінарні вироби.У статті розглянуто питання про те, чи можуть кулінарні вироби бути визнані похідними творами від оригінальних творів інших галузей мистецтва, наприклад, творів образотворчого мистецтва.Визначено, чи може рецепт охоронятися нормами авторського права, та встановлено, як саме співвідносяться поняття «кулінарний виріб» і «рецепт».

The article is dedicated to the problem of joint-author- ship of the photographic work. Author analyses Ukrainian legislation and case law to answer the question, whether the photographer and model may be co-owners of intellectual property rights in photo. The author proves the possibility of joint authorship in this case, as it does not contradict the Ukrainian law.The article contains the analysis of existing Ukrainian legislation in this field, which regulates copyright questions between the photographer and the model.The author delineates the copyright of the photographer and the personal non-proprietary rights of the model involved in the photoshoot.The article defines the place of the photomodel in the system of subjects of copyright. It is proposed to distinguish the model as subject of the photographic image. This definition may simplify the question of model's copyright on photographic work.The author defines the features of the contract between the photographer and the model, outlining the main provisions that such contract should include, taking into account the interests of the photographer and model. ; Статья посвящена вопросу возможности возникновения соавторства фотографа и модели, изображение которой содержится в фотографическом произведении. В статье установлены особенности возникновения соавторства на фотографическое произведение, разграничены авторские права фотографа и личные неимущественные права модели, принимающей участие в съемке. Доказана возможность возникновения соавторства, с учетом существующей судебной практики.В статье определено место модели в системе субъектов авторского права на фотографическое произведение. Предложено выделить модель как участника фотосъемки, в качестве субъекта фотографического изображения.Автор определяет особенности договора между фотографом и моделью, очерчивая основные положения, которые должен содержать такой договор, учитывая интересы фотографа и модели. ; Статтю присвячено питанню можливості виникнення співавторства фотографа та моделі, зображення якої міститься у фотографічному творі. Встановлено особливості виникнення співавторства на фотографічний твір, розмежовує авторські права фотографа та особисті немайнові права моделі, яка бере участь у зйомці. Доведено можливість виникнення співавторства, спираючись на існуючу судову практику.Визначено місце моделі в системі суб'єктів авторського права на фотографічний твір. Запропоновано виокремити модель, як учасника фотозйомки, у якості суб'єкта фотографічного зображення.Автор визначає особливості договору між фотографом і моделлю, окреслюючи основні положення, які повинен містити такий договір, ураховуючи інтереси фотографа та моделі.

У статті розглядаються особливості гармонізації національних законодавств країн ЄС з положеннями Директиви Європейського Парламенту і Ради 2001/84 від 27.09.2001 року про право слідування на користь автора оригіналу твору мистецтва. Здійснено огляд історичного контексту прийняття Директиви 2001/84/ЄС, проаналізо­вано досвід європейських країн щодо імплементації положень Директиви. ; В статье рассматриваются особенности гармонизации национальных законодательств стран ЕС с положениями Директивы Европейского Парламента и Совета 2001/84 от 27.09.2001 года о праве следования в пользу автора оригина­ла произведения искусства. Сделан обзор исторического контекста принятия Ди­рективы 2001/84/ЕС, проанализирован опыт европейских стран относительно им­плементации положений данной Директивы. ; The article is dedicated to the analysis of the Directive 2001/84/EC of the European Parliament and of the Council of 27 September 2001 on the resale right for the benefit of the author of an original work of art provisions. The resale right for the benefit of the author of an original work of art still remains one of the most current issues in the sphere of copyright commercialization.The process of implementation of the provisions of the Directive 2001/84/EC of the European Parliament and of the Council of 27 September 2001 on the resale right for the benefit of the author of an original work of art in European countries is analyzed. The experience of the harmonizing the norms of the national legislation and the Di­rective 2001/84/EC provisions in countries such as the United Kingdom, Austria, Spain, the Netherlands has been researched.The relevance of the study lies in the need for European integration processes for Ukraine. Euro integration processes today are one of the most priority directions of Ukraine's development. Harmonization of the national legislation with the legislation of the European Union is a priority task. Harmonization of Ukraine's intellectual property legislation in this regard is an important part of the current reforms. The article 190 «Re­sale right» of the Association Agreement between the European Union and its Member States, of the one part, and Ukraine, of the other part is correlated with the provisions of Directive 2001/84 of the European Parliament and of the Council of 27 September 2001 on the on the resale right for the benefit of the author of an original work of art.Taking into account modern reforms in intellectual property, it is reasonable to study the experience of foreign countries on the implementation of provisions of Di­rective 2001/84/EC, since the resale right is quite controversial and current issue.

У статті розглядаються особливості гармонізації національних законодавств країн ЄС з положеннями Директиви Європейського Парламенту і Ради 2001/84 від 27.09.2001 року про право слідування на користь автора оригіналу твору мистецтва. Здійснено огляд історичного контексту прийняття Директиви 2001/84/ЄС, проаналізо­вано досвід європейських країн щодо імплементації положень Директиви. ; В статье рассматриваются особенности гармонизации национальных законодательств стран ЕС с положениями Директивы Европейского Парламента и Совета 2001/84 от 27.09.2001 года о праве следования в пользу автора оригина­ла произведения искусства. Сделан обзор исторического контекста принятия Ди­рективы 2001/84/ЕС, проанализирован опыт европейских стран относительно им­плементации положений данной Директивы. ; The article is dedicated to the analysis of the Directive 2001/84/EC of the European Parliament and of the Council of 27 September 2001 on the resale right for the benefit of the author of an original work of art provisions. The resale right for the benefit of the author of an original work of art still remains one of the most current issues in the sphere of copyright commercialization.The process of implementation of the provisions of the Directive 2001/84/EC of the European Parliament and of the Council of 27 September 2001 on the resale right for the benefit of the author of an original work of art in European countries is analyzed. The experience of the harmonizing the norms of the national legislation and the Di­rective 2001/84/EC provisions in countries such as the United Kingdom, Austria, Spain, the Netherlands has been researched.The relevance of the study lies in the need for European integration processes for Ukraine. Euro integration processes today are one of the most priority directions of Ukraine's development. Harmonization of the national legislation with the legislation of the European Union is a priority task. Harmonization of Ukraine's intellectual property legislation in this regard is an important part of the current reforms. The article 190 «Re­sale right» of the Association Agreement between the European Union and its Member States, of the one part, and Ukraine, of the other part is correlated with the provisions of Directive 2001/84 of the European Parliament and of the Council of 27 September 2001 on the on the resale right for the benefit of the author of an original work of art.Taking into account modern reforms in intellectual property, it is reasonable to study the experience of foreign countries on the implementation of provisions of Di­rective 2001/84/EC, since the resale right is quite controversial and current issue.