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From DVDs to OTT, the entertainment domain has come a long way owing to rapid digitalization affecting creative authorship over their creations [1]. Recent court decisions have clarified the scope of copyright in film screenplays, personality rights, and underlying works concerning contentcreation and licensing in broadcasting.
But the suit, in which 24-year-old influencer Sydney Nicole Gifford accuses another influencer, 22-year-old Alyssa Sheil, of copying both her posts and her style, may have an outsized effect on the law around online contentcreation. Influencer marketing has become increasingly central to commerce. –Gifford v.
In this post, we offer an overview of the project to date, stratified across CREATe’s core research themes : Creative Industries , the Public Domain , and Competition and Markets. The digital revolution has moved legal questions about copyright, information, and competition law to the regulatory centre of the creative industries.
intellectualpropertylaws, copyright protection only exists where there is human selection and arrangement of information; there is no copyright protection for material generated by a non-human. [4] Accordingly, while these tools can be used as a launchpad for ideas, they should not yet be used to produce a final deliverable.
By enforcing robust legal protections and holding infringing platforms accountable, stakeholders can ensure a fair and sustainable environment for contentcreation and distribution. In conclusion, as OTT platforms continue to dominate the entertainment landscape, addressing copyright infringement remains a critical priority.
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