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  • Diritti d'Autore in Rete

    Lisi, Andrea; ; ; JFA; CORA; JLA; Cendon Paolo; ; ; ; ;; Frosio, Giancarlo; U0111104; JFA; JLA (UTET GiuridicaTurin, Italy, 2006)
    status: published
  • Von der Medien- zur Netzpolitik? Eine Analyse des Leistungsschutzrechts für Presseverlage in Deutschland

    Emmer, Martin; Strippel, Christian; Ganter, Sarah Anne; Maurer, Peter (DEU, 2015-02-25)
    Im März 2013 hat die deutsche Regierung ein Gesetz verabschiedet, das die Nutzung von Presseinhalten durch News-Aggregatoren regelt. Es ist der erste Fall, in dem die Verwendung digitaler Inhalte in Deutschland reguliert wird, obwohl es schon früher Versuche gab, Gesetze in diesem Bereich zu verabschieden. Dieser Beitrag untersucht, ob der hier präsentierte Fall einen Paradigmenwechsel von traditioneller Medienpolitik hin zu einer Netzpolitik darstellt. Die Analyse betrachtet die Ausbildung von Akteurskoalitionen, die für das Gesetz eintraten oder versuchten, es zu verhindern, und stellt die Wertedimensionen dar, denen die beteiligten Akteure Priorität in den Debatten um das Leistungsschutzrecht für Presseverlage einräumten.
  • Mediating surveillance: the developing landscape of european online copyright enforcement

    Bright, Jon; Agustina, José R. (University Association for Contemporary European Studies, 2020-02-16)
    After a period of relative laissez faire, governments around the world are beginning to attempt to regulate online life, for a variety of reasons, through various mechanisms of surveillance and control. The drive to enforce the respect of copyright is at the forefront of these attempts, a highly controversial topic which pits proponents of the rights of the creative industry against advocates of freedom of speech. Apart from their inflammatory nature, one distinguishing characteristic of most of these schemes is that they are mediated: that is, they are conducted with the help of third parties, most often internet service providers. The mediation of surveillance is something as yet relatively underexplored by the field of surveillance studies, whose theoretical tools are by and large focussed on a two way relationship between watcher and watched. This article seeks to remedy this deficit, by examining the dynamics of mediation in the context of online copyright enforcement. We argue that, far from being a neutral process, the displacement of surveillance to third parties has a crucial impact on the way in which it is conducted. In particular, the expanding capacity of mediators becomes a reason for justifying surveillance in and of itself.
  • Quibbles'n Bits: Making a Digital First Sale Doctrine Feasible

    Calaba, Victor F. (University of Michigan Law School Scholarship Repository, 2002-10-01)
    Whereas the first sale doctrine historically permitted the transfer and resale of copyrighted works, license agreements used by software companies and the DMCA's strict rules prohibiting tampering with access control devices frustrate exercise of the first sale doctrine with respect to many forms of digital works[...] This article explores the first sale doctrine as it pertains to digital works and proposes ways to make a digital first sale doctrine feasible. Part II describes the first sale doctrine as it has traditionally been applied to non-digital works. Part III discusses modern technology's impact on the distribution and use of copyrighted material. Part IV explores the means by which the first sale doctrine has grown inapplicable to digital works, addressing the use of license agreements, uncertainty as to the Copyright Act, and the DMCA provisions that render the first sale doctrine incompatible with digital works. Part V discusses the impacts on commerce resulting from frustration of the first sale doctrine. Part VI suggests technological methods to protect copyright owners' interests if a digital first sale doctrine were enacted. Part VII concludes by arguing that Congress should implement a digital first sale doctrine.
  • Antibiotic Resistance

    Litman, Jessica D. (University of Michigan Law School Scholarship Repository, 2012-01-01)
    Ten years ago, when I wrote War Stories,' copyright lawyers were fighting over the question whether unlicensed personal, noncommercial copying, performance or display would be deemed copyright infringement. I described three strategies that lawyers for book publishers, record labels, and movie studios had deployed to try to assure that the question was answered the way they wanted it to be. First, copyright owners were labeling all unlicensed uses as "piracy" on the ground that any unlicensed use might undermine copyright owners' control. That epithet helped to obscure the difference between unlicensed uses that invaded defined statutory exclusive rights and other unlicensed uses that might not be illegal. Second, copyright lobbyists insisted that Internet service providers and the makers of software or devices that allowed consumers to engage in unlicensed uses of copyrighted works had a legal obligation to act as copyright police. Finally, copyright owners had filed lawsuits against businesses that sought to exploit statutory gaps or legal privileges to make money from the unlicensed enjoyment of copyrighted works with the apparent goal of litigating those businesses into bankruptcy, whether or not their business models were actually illegal.

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