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Cet ouvrage est indispensable aux auteurs, comme à ceux qui protègent leurs droits ou exploitent leurs œuvres sur un nouveau support ou sur le Net. Il analyse les questions soulevées par l'adaptation du droit d'auteur et des droits voisins (producteurs et artistes-interprètes) à ce qu'il est convenu d'appeler l'environnement numérique, après les traités de l'OMPI (Organisation mondiale de la propriété intellectuelle) du 20 décembre 1996 et à la lumière de la récente proposition de directive communautaire sur l'harmonisation de certains aspects du droit d'auteur et des droits voisins dans la société de l'information y compris bien sûr les plus controversées : la qualification de l'œuvre multimédia, le droit sui generis reconnu aux producteurs de bases de données, le butinage (browsing) des internautes, la transmission numérique à la demande, l'avenir de l'exception de copie privée et du droit moral, la gestion collective, la détermination de la loi applicable à la diffusion sur les réseaux numériques.
Multimedia products have experienced tremendous market success. Yet too often they are given inadequate protection under existing national and international copyright schemes. Irini Stamatoudi provides a comprehensive, comparative treatment of multimedia works and copyright protection in this clear and concise volume. A detailed introduction outlines the nature of the multimedia work, as well as the scope of existing legislation; separate chapters consider collections and compilations, databases, audiovisual works and computer programs (video games are here treated as a 'test case'). Stamatoudi then analyses issues of qualification, regime of protection, and offers a model for a European legislative solution. Copyright and Multimedia Products will interest academics and students, as well as practitioners and copyright policy makers.
An understanding of the changing nature of the law and practice of copyright infringement is a task too big for lawyers alone; it requires additional inputs from economists, historians, technologists, sociologists, cultural theorists and criminologists. Where is the boundary to be drawn between illegal imitation and legal inspiration? Would the answer be different for creators, artists and experts from different disciplines or fields? How have concepts of copyright infringement altered over time and how do such changes relate, if at all, to the cultural norms operating amongst creators in different fields? With such an approach, one might perhaps begin to address the vital and overarching question of whether strong copyright laws, rigorously enforced, impede rather than promote creativity. And what can be done to avoid any such adverse consequences, while maintaining the effectiveness of copyright as an incentive-mechanism for those who need it?
How does copyright law take into account the interests of third parties, especially the general public’s interest in the greatest possible dissemination of knowledge and culture? Twelve basic questions give copyright law experts from more than forty countries the opportunity to provide answers related to their national law on the following matters: categories of works and subject matter, eligibility conditions, duration, “users’ rights,” the three-step test, misuse, differentiations between categories of right holders, TPM, and relations of copyright law to other legal areas such as fundamental rights, competition law, consumer protection law, media law etc. The standardized form of the reports makes it easy to see the impacts of copyright law in the industrialized countries as well as in emerging economies; in common-law and civil-law approaches; in countries of the Andean Community and of the European Union, as well as in countries that are not party to the WIPO Treaties. A detailed preliminary chapter provides an approachable overview of issues and results. This chapter also discusses the voice of academia, represented by the European Copyright Code of the “Wittem Group.”
Le code de la propriété intellectuelle permet-il d'appréhender les problèmes juridiques posés par les nouvelles technologies ? Analyse le domaine d'application de la loi, décrit les évolutions déjà opérées dans la loi pour tenir compte de l'évolution technologique. Enfin, répond aux problèmes concrets quand la loi est inadaptée. Importantes annexes avec notamment textes des directives CE.
Initially, introducing compliance functions within the financial industry had been forced by regulatory scrutiny. Later, it started to spread to other regulated companies, in particular those publicly listed. Now, compliance has become an asset of corporates that want to build their reliability among clients, shareholders, employees and business partners. This book looks at the efficiency of the compliance measures introduced and the best practices of building compliance norms. This recently observed practice of compliance was triggered by the expectation of regulators, shareholders, clients, business partners and the public for robust compliance mechanisms. This book looks at the vast interest in this topic among business people who strive to introduce the systems and the mechanisms of non-compliance risk management in their companies and at the uncountable difficulties and obstacles they meet. The book fills the gap of thorough analysis of this subject by pointing out the solutions successfully introduced in global financial organizations, and would be of interest to academics, researchers and practitioners in corporate finance, corporate governance and risk management.