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Traditional Tattoos on the Red Carpet: Continuing the Conversation of Collective Ownership

IPilogue

These events point to two prevalent issues within the current legal framework: First, that current intellectual property laws do not properly acknowledge collective ownership over shared culture within Indigenous communities and second, whether tattoo designs have the potential to be protected through copyright laws. v Datafile Ltd. ,

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Rights Retention Strategy or How to End a Mexican Stand Off – Part One

Kluwer Copyright Blog

In the first part, I’ll explain the forces at play in the publishing industry, why copyright ownership in academia is so important and how the publishing process works. After all, section 11(6) of Copyright, Designs and Patents Act 1988 is pretty clear.

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[Guest post] Generative AI, originality, and the potential role of contract in protecting unoriginal works

The IPKat

This post further explores the argument that the outputs of generative AI tools are unprotected in the UK, despite the language in section 9(3) of the Copyright, Designs and Patents Act 1988 UK (CDPA) relating to computer-generated works. Does UK copyright law protection extend to computer-generated works which are not original?

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Shielding Innovation: Understanding Copyright Protection for App Developers and Their Software

Intepat

However, this flourishing industry brings forth a multitude of legal challenges, encompassing privacy concerns and intellectual property protection. In the context of the Copyright Act, computer software is categorized as a ‘literary work’. What is copyright protection?

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Copyright Ownership of Movies and Films in Canada: Who’s on First?

IPilogue

Something has recently gone awry with the law of copyright ownership in a movie or other film — a “cinematographic work”, as s. Part I of the Act deals with the ownership of copyright in works. Section 13(1) provides that the author of a work is its first copyright owner. 2 of the Copyright Act RSC 1985, c.