Suchergebnisse

The European market for the distribution of digital music for the non-commercial consumer is a highly topical issue in copyright law at the present time. Whereas the EU continues to strive for the further harmonisation of the internal market, a single market for digital services remains elusive. Barriers between Member States are artificially constructed on popular services such as iTunes, rather than the borderless nature of the Internet being taken advantage of. By approaching the question from a multi-disciplinary perspective, this book seeks to explain the reasons why creating a harmonise

AbstractWhat happens when a breakdown in relations results in mutually possessed objectives becoming harder to achieve? This article explores the consequences of the UK's withdrawal from the EU for intellectual property (IP) law and policy. Compared with other fields such as Economic and Monetary Union and the development of the EU's 'social chapter', the UK has been a supportive and proactive player in internal market integration, particularly pertaining to IP protection. As a result of 'Brexit', the EU may find that the impetus for further harmonization and integration in this field is lost, such as with the EU unitary patent. However, the consequences for the UK are likely to be more severe – a loss of influence, both over laws that govern it and in exporting IP norms internationally, as well as a loss of access to certain protections, agencies and market sectors that are within the UK's economic interests.

The May 2016 leak of draft texts produced within the context of the on–going Transatlantic Trade and Investment Partnership negotiations has provided an interesting insight into the positions of the EU and US with regard to different dimensions of regulatory cooperation, with some chapters being complete or near completion (as other articles in this mini–symposium discuss), and others still in a more rudimentary format. One such field of regulation, covered in the leaked 'Tactical State of Play' document, covers geographical indicators (hereafter GIs). However, this coverage is very brief, stating that 'discussions focused on the preparation of an intersessional discussion prior to the next round'. GIs, marks identifying the geographical origin, and by extension (so the argument goes) quality of goods, have continued to be a source of consternation in international trade regulation, with states unable to see eye–to–eye on how they should be protected, if at all.

"Focusing in particular on legislative initiatives concerning copyright and the internet, this book seeks to explain the reasons why copyright law in the EU has developed in a way perceived to be unduly restrictive yet fundamentally unable to address issues of the territoriality of copyright. Using an inter-disciplinary approach that combines legal analysis with political theory, such as Foucault's Networks of Power and Culpepper's Quiet Politics, Farrand explores how success in lobbying for changes in copyright law is the result of complex network relationships, perceptions of industry expertise, and the comparatively low political importance of copyright reform to the average European citizen. Networks of Power in Digital Copyright Law and Policy: Political Salience, Expertise and the Legislative Process therefore presents an original socio-political theoretical framework for assessing developments in Copyright Law.Written with clarity and new insight, this book will be accessible to those new to the areaa of political theory and EU Law, as well as being eminently suited to researchers and post-graduate students of law and politics"--

The Internet has made it possible for amateur game creators to collaborate on projects irrespective of geographical location. The success of projects such as Minecraft, and even CounterStrike, demonstrates that 'indie' developers can create entertainment products just as popular and successful as mainstream developers with huge budgets. However, many individuals instead are more interested in the old than the new – reliving past experiences through the playing of old videogames that are no longer commercially sold. Through the creation of emulators, and the ripping of ROM images (data that allows for the playing of an emulated videogame, such as Super Mario Bros. on the Super Nintendo), games with nostalgic value can be easily distributed, played and replayed. In addition, this allows for the preservation of legacy content that may otherwise be consigned to the 'dustbin of history'. However, irrespective of the effort and ingenuity that goes into the creation of emulation software, and the effort involved in ripping ROM data to make old games playable, are these pursuits entirely legal? The purpose of this paper is to consider the compatibility of such projects with pre-existing norms of intellectual property law, comparing and contrasting the approaches of US and EU IP regimes in their handling of emulators and ROMS. The paper will analyse the issue under pre-existing legislation and with regard to relevant case law, seeking to draw conclusions on whether the existing regimes in copyright law are compatible and satisfactorily balance the right of videogame publishers to seek fair remuneration for their work with the desire by enthusiasts to preserve and relive a form of creative culture.

Internet ha permès als creadors de jocs amateurs col·laborar en projectes independentment de la seva situació geogràfica. L'èxit de productes com Minecraft, i fins i tot CounterStrike, demostra que els desenvolupadors «independents» poden crear productes de lleure tan populars i amb tant d'èxit com els desenvolupadors consolidats i amb grans pressupostos. Tanmateix, molts consumidors estan més interessats en productes vells que en els nous -reviure experiències passades jugant a videojocs antics que ja no són disponibles al mercat. Amb la creació d'emuladors, i la còpia d'imatges ROM (dades que permeten jugar a videojocs emulats, com Super Mario Bros. a la Super Nintendo), es poden distribuir jocs amb valor nostàlgic i s'hi pot jugar i tornar a jugar fàcilment. A més, això permet la conservació de contingut antic (legacy content) que si no fos així podria acabar arxivat a la «paperera de la història». No obstant això, independentment de l'esforç i la inventiva que impliquen la creació de programari d'emulació, i l'esforç que implica copiar dades ROM per a poder jugar a jocs antics, són completament legals aquestes activitats? El propòsit d'aquest article és considerar la compatibilitat d'aquests projectes amb les normes preexistents de les lleis de propietat intel·lectual, comparant i contrastant els enfocaments dels règims de propietat intel·lectual dels EUA i la UE a l'hora de tractar emuladors i ROM. L'article analitzarà la qüestió sota la legislació preexistent i respecte a jurisprudència rellevant, amb la intenció d'arribar a conclusions sobre si els règims existents de legislació de drets d'autor són compatibles i concilien satisfactòriament el dret de les productores de videojocs de pretendre una remuneració justa pel seu treball amb el desig dels entusiastes de preservar i reviure una forma de cultura creativa. ; The Internet has made it possible for amateur game creators to collaborate on projects irrespective of geographical location. The success of projects such as Minecraft, and even CounterStrike, demonstrates that 'indie' developers can create entertainment products just as popular and successful as mainstream developers with huge budgets. However, many individuals instead are more interested in the old than the new - reliving past experiences through the playing of old videogames that are no longer commercially sold. Through the creation of emulators, and the ripping of ROM images (data that allows for the playing of an emulated videogame, such as Super Mario Bros. on the Super Nintendo), games with nostalgic value can be easily distributed, played and replayed. In addition, this allows for the preservation of legacy content that may otherwise be consigned to the 'dustbin of history'. However, irrespective of the effort and ingenuity that goes into the creation of emulation software, and the effort involved in ripping ROM data to make old games playable, are these pursuits entirely legal? The purpose of this paper is to consider the compatibility of such projects with pre-existing norms of intellectual property law, comparing and contrasting the approaches of US and EU IP regimes in their handling of emulators and ROMS. The paper will analyse the issue under pre-existing legislation and with regard to relevant case law, seeking to draw conclusions on whether the existing regimes in copyright law are compatible and satisfactorily balance the right of videogame publishers to seek fair remuneration for their work with the desire by enthusiasts to preserve and relive a form of creative culture. ; Internet ha posibilitado a los creadores de juegos amateurs colaborar en proyectos independientemente de su localización geográfica. El éxito de productos como Minecraft, e incluso CounterStrike, demuestra que los desarrolladores «independientes» pueden crear productos de entretenimiento tan populares y exitosos como los desarrolladores consolidados y con grandes presupuestos. Sin embargo, muchos consumidores están más interesados en lo viejo que en lo nuevo -revivir experiencias pasadas, jugando a viejos videojuegos que ya no están disponibles en el mercado. Mediante la creación de emuladores, y la copia de imágenes ROM (datos que permiten jugar a videojuegos emulados, como Super Mario Bros, en la Super Nintendo), se pueden distribuir juegos con valor nostálgico y se puede jugar y volver a jugar con ellos fácilmente. Además, esto permite la conservación de contenido antiguo (legacy content) que de otro modo podría acabar archivado en la «papelera de la historia». No obstante, independientemente del esfuerzo y la inventiva que implica la creación de software de emulación, y el esfuerzo que supone copiar datos ROM para poder jugar a juegos antiguos, ¿son estas actividades completamente legales? El propósito de este artículo es considerar la compatibilidad de estos proyectos con las normas preexistentes de propiedad intelectual, comparando y contrastando los enfoques de los regímenes de EE. UU. y la UE a la hora de tratar emuladores y ROM. El artículo analizará la cuestión bajo la legislación preexistente y en relación con la jurisprudencia relevante, con la intención de llegar a conclusiones en cuanto a si los regímenes existentes de derechos de autor son compatibles y concilian satisfactoriamente el derecho de las productoras de videojuegos de pretender una remuneración justa por su trabajo con el deseo de los entusiastas de preservar y revivir una forma de cultura creativa.