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An example of this would be the work carried out by AISGE – a Spanish organisation that manages dubbing actors’ intellectual property rights in Spain and abroad. There is no doubt, however, that BTAP strengthens relatedrights of artists in audiovisual works and ensures their payment abroad.
To the readers of this blog who have been following (for example here or here ) the debates around the enactment and implementation of the DSM Directive – a directive that aims to be in sync with the ‘rapid technological developments’ – the above sentence might seem counterintuitive. Favouring the press publishers.
Whether the government has taken any steps to address concerns raised by creative writers and artists in their lawsuits against AI-powered Large Language Models, especially regarding issues such as the source of training, systematic theft, violation of moralrights, threat to livelihoods, and royalty payment. Is It Though?
Not a copyright dispute … and the non-role of Article 14 of the DSM Directive In sum: the CHC provides a way to control for-profit reproductions of Italian cultural heritage, irrespective of their copyright status (it is in any case worth recalling that under Italian copyright law moralrights protection is … perpetual).
When you enforce your copyright, you enforce your copyright-relatedrights, which fall under Intellectual Property Rights (IPRs). The copyright owner or holder has the right to control who uses his creative work and the contexts in which the said work could be used. For more visit: [link].
However, under German copyright law, photographs that do not meet the originality requirement under Section 2(1) of the UrhG can still be protected as Lichtbilder (photographs) by means of a specific relatedright under Section 72 of the UrhG. By contrast, the author of a simple photograph is not granted any moralright.
The question as to whether the required serious infringement of moralrights had occurred could, the BGH ruled, only be ascertained on the basis of an analysis of the entire circumstances of the specific case. The BGH assumed that an infringement of the relatedright of the film producer had occurred.
This first part covers the definition of a work, authorship and moralrights. Parts 2 to 4 will address exploitation rights, relatedrights, exceptions and limitations, copyright contract law and enforcement. Moralrights (Sections 12-14 UrhG).
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